Dobro je vedeti

Koristni namigi za lažje delo z nami

Da bi Vam olajšali delo z nami, smo pripravili nekaj navodil in koristnih namigov, ki Vam bodo pomagali uspešno pripraviti grafične predloge za kvalitetnejšo končno izvedbo.
1. FTP strežnik 2. Navodila za pripravo PDF datotek (Coreldraw) 3. Splošni pojmi in priprava datotek 4. Razlaga grafičnih pojmov 5. Formati papirjev 6. Resolucija slik (English) 7. Datoteke(English) 8. Osnove barv 9. Razlaga pojmov Bitmap in vektorska grafika

1.) FTP strežnik

Zdaj lahko večje datoteke odložite na naš FTP strežnik. Kliknete na link ftp.infokart.si (pozneje lahko kliknite na krogec na našem logotipu) ter vpišete Username: upload in Password: upload. Nato enostavno s pomočjo miške potegnete datoteko v Vašo mapo! Prosim obvestite nas o prispelih datotekah na našem serverju.

Če Vam je to prekomplicirano lahko kliknete gumb FTP desno zgoraj. Tukaj lahko enostavno brez gesel vašo datoteko naložite na FTP, vendar ne boste mogli narediti svoje mape!

Za bolj kontroliran prenos datotek si lahko naložite WindowsCommander (vsebino kopirate v poljubno mapo, npr. "Wincmd" ter poženite datoteko "Wincmd32.exe"). Pod zavihek NET kliknite na FTP Connect in nato na New connection. Nastavite kot kaže spodnja slika, ter kliknite OK!!!

Tako lahko kar iz enega okna kopirate v drugo okno (FTP) s pomočjo tipke F5...

Ostali programi:

http://filezilla-project.org Gratis FTP software za Mac in PC
http://www.apple.com/downloads/macosx/internet_utilities/classicftpformac.html Mac FTP

2.) Navodila za pripravo PDF datotek (Coreldraw)

Vaš izdelek oziroma design lahko kvalitetno izvozite v PDF datoteko s pomočjo Corelove funkcije "Publish to PDF" v prvem meniju "File". Nato kliknite levo spodaj na "Settings" in okna nastavite kot spodaj na priloženih slikah.

Bistveno: izklopite "Bitmap downsampling", da se vam resolucija bitnih slik pomotoma ne zmanjša ter vklopite "Text as curves". Po potrebi lahko nastavite "compression" za manjše datoteke!

Bistveno: vklopite "Output all object as CMYK", ostalo ni pomembno! Tako boste dobili kvalitetno PDF datoteko iz CorelDraw za tisk na ploterjih oziroma offset strojih.

3.) Splošni pojmi in priprava datotek

Možnosti izvedbe:
Izpise lahko napravimo na različne materiale (cerada, nalepka, PopUp, RollUp, banner, papir, foto papir, nalepka, prosojna nalepka, avtomobilska nalepka, Blockout, fabric, tekstil,...) in jih po potrebi dodatno zaščitimo s plastifikacijo (laminiramo). Pri solventnem tisku (trdi, pravi solvent), ki ga nudimo, laminiranje načeloma ni potrebno, razen v primeru lepšega izgleda (mat, sijaj plastika), zaščite proti močnim topilom (alkohol), zaščite proti močnem in intenzivnem drgnenju, kar sicer lahko poškoduje tudi laminat, razen močnejših laminatov, ki zdržijo večje obremenitve.

Lastnosti tiskalnika:
- Največja širina materiala je 152 cm, največja širina tiska je 150 cm. Dolžina tiska je omejena na dolžino role.
- Ločljivost tiska je od 360 x 360 dpi do 2880 x 2880 dpi. V praksi se največ uporablja 360 x 540 dpi, ki je zaradi variabilne pike vsaj tako ali celo bolj natančen kot pri konkurenčnih tiskalnikih npr. 720 x 720 dpi. Za zelo zahtevne izpise (manjše plakate) lahko tiskamo s 720 x 720 dpi, s še večjo ločljivostjo pa le redko oz. na željo naročnika. Enostavno ni potrebe za to. Visoko oz. višjo kvaliteto dosežemo z več prehodi med tiskanjem.

Grafična priprava:
- Uporabljajte programe Ilustrator, Freehand, QuarkXPress, Pagemaker, Photoshop ali InDesign, manj zaželjene pa so nekatere verzije CorelDraw-a, ki so manj natančne (to se sicer pozna le pri sestavljenih printih, npr. v več panelov, ipd).
- Pripravite celotno podobo čimbolj natančno in preverite skupno dolžino in višino (numerična določitev).
Če delate pripravo za velik format v pomanjšanem merilu, morate biti še toliko bolj natančni, saj se pri npr. 10x povečanju, povečajo tudi napake! V tem primeru upoštevajte tudi potrebno velikost fotografij za povečavo.
- Dodatki za porezavo, če je tiskano v živ rob (več možnosti)
a) Lahko dodate križe za porezavo in dodate npr.: 1-3 mm za porezavo. Priložen podatek o velikosti križev nam omogoči, da natančno prekontroliramo dimenzijo pred tiskom. b) Lahko enostavno naredite za nekaj mm večjo datoteko in nam sporočite, koliko mora biti neto obrezan format. c) Lahko pa napravite natanko 1:1, brez dodatka za porezavo in bomo pri nas raztegnili grafiko (neproporcionalno) za 1 mm na vsako stran za porezavo.

Opomba (zgolj v vednost):
Izpis po dolžini zaradi korekcije pomika na stroju (mediacomp) ni vedno 100,00% natančen – lahko včasih odstopa tudi za nekaj milimetrov. Obrežemo ga na format.

Priporočena ločljivost
Odvisno, kakšna je fotografija; več detajlov, črt in kontur ima, bolj je priporočljivo, da je večja. Lahko je večja, kadar gre za manjši format tiska in želite foto kvaliteto detajlov. V spodnji tabeli so navedene ločljivosti dpi (dot per inch) za fotografije pri končni velikosti (1:1):

Format / ločljivost
< A3 (30 x 42 cm) = 300 – 600 dpi
B2 (50 x 70 cm) = 150 – 200 dpi
1 x 1 m = 75 – 150 dpi
2 x 2 m = 50 – 100 dpi
> 3 x 3 m = 35 – 100 dpi

- Datoteka mora biti v CMYK barvnem sistemu Lahko tudi Pantone, vendar to označite. Lahko pa Pantone elemente pretvorite v CMYK po njihovi lestvici. Nekatere Pantone barve je težje doseči – saj so daleč izven CMYK barvnega prostora; če so ti elementi vektorski nam pomaga, saj lahko v (PDF ali EPS) datoteki označimo barvo na vseh elementih in jo prilagodimo.

Opomba:
- Barvni prehodi: če uporabljate barvne prehode (‘ferlaufe’, po domače), nastavite pri izvozu: čimveč korakov za prehod (to opcijo ima zelo dobro CorelDraw) ali pa pri zahtevnih bitmap prehodih (v Photoshopu) dodate Add Noise v vrednosti 5 do 20. Prehode printer naredi zelo lepo, brez stopničk.

Črna barva in odtenki sivine
Kadar želite doseči zelo globoko črnino, jo mešajte s cyan, magento in yellow (zadošča npr.: C65 M50 Y50 K100 – višjih vrednosti ni potrebno dajati, še posebej zaradi hitrejšega sušenja barve. Sivi odtenki so tudi sicer najlepši in popolnoma enakomerni, če so mešani po CMYK barvni lestvici in niso samo iz črne (K).

Posebni odtenki
Kadar vaša stranka želi poseben odtenek, ga lahko v RIP-u zamenjamo in "ulovimo", vendar to velja le za tiste odtenke, ki so na vektorskih elementih. Barvnih prehodov na ta način ni moč spreminjati.

Curves, contrast, levels ipd.
Celotni datoteki za tisk lahko spremenimo omenjene vrednosti in jih načeloma vedno shranimo. POZOR: te nastavitve se nanašajo na celotno datoteko. Vsekakor je potreben testni izpis in potrditev naročnika.
- Datoteka za print in korekcija barv: Izvozite v format EPS, PS, PDF, TIFF, BMP ali JPG (max. kvaliteta). Napravite barvni izpis z vsemi označbami in ga priložite k CD/DVD (format za PC!). Če pošiljate po elektronski pošti ali na ftp strežnik lahko priložite JPG sliko v pomanjšani velikosti za predogled. Če želite, da so barve natančno take, kot izvirnik, pridite potrditi testni izpis (navadno to ni potrebno).

Postopek naročila:
1. Na naročnikovo željo lahko napravimo testni izpis za korekturo pred tiskom in testni izpis za kontrolo ločljivosti.
2. Naročnik potrdi tesni izpis (ter ga uskladi z nami v kolikor želi drugačne nastavitve barv).
3. Izpis (običajna hitrost za vrhunski/kakovosten tisk je npr.: 3 do 6 m2/uro).
Sušenje izpisa. Izpis je na dotik suh takoj. Za kvalitetno dodelavo (šivanje, robljenje, plastificiranje, kaširanje) pa je zelo priporočljivo, da se barva popolnoma posuši (12-24 ur). Odvisno tudi od nanosa barve in materiala.

Rok izdelave:
Izpis izdelamo takoj ali v roku 24 ur. Več časa pa je potrebno za dodelavo, npr.: plastificiranje/laminiranje, kaširanje, obrez, montaža. Pred določitvijo roka se posvetujte z nami.

4.) Razlaga grafičnih pojmov

Kaj pomenijo naslednje postavke v vaši ponudbi: tisk 2/2, tisk 4/4, tisk 2/0 ...?
Te postavke označujejo število barv na tiskarsko polo. Prva številka označuje število barv tiska na prvi strani, druga številka pa na drugi strani tiskarske pole. Oznaka »tisk 4/4« tako pomeni polnobarvni tisk (full colour) na obeh straneh. Torej 4 pomeni CMYK in 2 dvobarvni tisk!

Kako naj vam pripravimo datoteke za tisk?
Datoteke lahko pripravite v programskih okoljih Windows (PC), Linux (PC) ali Unix (Macintosh). Izdelane so lahko v grafičnih programih, kot so Adobe Illustrator, Corel Draw, Page Maker, Free Hand, Quark Xpress, Adobe Photoshop, Adobe InDesign ipd. Najprimernejša formata datotek za tisk sta PDF in PS (PostScript). Pri izdelavi datotek je pomembno, da upoštevate tudi dodatke za porezavo (3 mm) in da barve vseh elementov shranite v barvni shemi CMYK. Grafične elemente lahko po želji definirate tudi po barvni lestvici Pantone. Resolucija fotografij naj bo 300 dpi. Črne elemente (npr. besedilo) na barvnem ozadju postavite čez ozadje (overprint), ostali elementi pa naj vsebujejo prekrivanje, ki se določa glede na vrsto tiska. Datoteka mora vsebovati dodatek za porezavo, oznake za razrez in pasarje.

Kaj je PDF-format?
Poleg preproste uporabe pri pripravi datotek za tisk je ena od prednosti PDF-zapisa tudi do desetkrat manjši podatkovni prostor, ki ga ta zavzame. PDF-dokumente izdelamo s pomočjo programa Adobe Acrobat Distiller, ki kakršnokoli datoteko pretvori v PDF-format.

Kaj je format PostScript?
Večina grafičnih programov ponuja možnost zapisa datotek v formatu PostScript.
Prednost takšnega zapisa je predvsem kompatibilnost in prilagodljivost programskim orodjem in opremi, ki se uporabljajo ob pripravi za tisk.

Kaj je barvna lestvica Pantone?
Barvna lestvica Pantone je ena od najbolj uporabljanih barvnih lestvic; pri njej so posamezne barve in barvni odtenki označeni s številkami.

Kaj pomenita »overprint« in »prekrivanje«?
»Overprint« pomeni popolno prekrivanje neke barve z drugo. To je mogoče le s črno barvo, saj je le ta dovolj močna, da lahko povsem prekrije barve ozadja. Tipičen primer overprinta so črna besedila, napisana prek fotografij ali grafičnih elementov.

»Prekrivanje« se uporablja pri vseh ostalih barvah, ki niso dovolj močne, da bi popolnoma prekrile ozadje. Zato pod takšnimi elementi puščamo belo podlago, videz celote brez belih robov pa dosežemo z minimalnim prekrivanjem ozadja na mestih stika.

Kaj pomeni »oznaka za razrez«?
Oznake za razrez so črtice, ki označujejo linije razreza (npr. rob strani).

Kaj so »pasarji«?
Pasarji so oznake (križec v krogcu), s pomočjo katerih tiskarske pole natančno vpnemo v tiskarski stroj.

Lahko pred tiskom vidim poskusni odtis?
Pred začetkom tiska vedno naredimo poskusni odtis, ki ga lahko Vi ali Vaši oblikovalci pregledate in potrdite.

Kaj pomeni CMYK?
CMYK je kratica za barvno shemo, ki je najprimernejša za tisk. Sestavljajo jo štiri barve, iz katerih se pri tisku reproducira celotni barvni spekter: Cyan (svetlo modra), Magenta (rdečkasta), Yellow (rumena) in Key (črna). Ker računalniški monitorji in tiskalniki uporabljajo drugo barvno shemo (RGB), je treba vse datoteke pred oddajo v tisk spremeniti v CMYK.

Kaj pomenita »živi rob« in »dodatek za porezavo«?
»Živi rob« pomeni, da površina odtisa sega povsem do roba tiskovine. Ker povsem natančno obrezovanje brez pojavljanja belih robov ni mogoče, se pri tem vedno upošteva še 3 milimetre »dodatka za porezavo«.

Želimo Vam veliko domišljije in veselja ob ustvarjanju!

5.) Formati (English)

Article - Paper Sizes and Specifications

ISO Paper Standards - Technical Definition
Standard paper sizes like ISO A4 are widely used all over the world today. In the ISO paper size system, the height-to-width ratio of all pages is the square root of two (1.4142 : 1). In other words, the width and the height of a page relate to each other like the side and the diagonal of a square. This aspect ratio is especially convenient for a paper size. If you put two such pages next to each other, or equivalently cut one parallel to its shorter side into two equal pieces, then the resulting page will have again the same width/height ratio.

The ISO paper sizes are based on the metric system. The square-root-of-two ratio does not permit both the height and width of the pages to be nicely rounded metric lengths. Therefore, the area of the pages has been defined to have round metric values. As paper is usually specified in g/m², this simplifies calculation of the mass of a document if the format and number of pages are known.

ISO 216 defines the A series of paper sizes based on these simple principles:

The height divided by the width of all formats is the square root of two (1.4142).
Format A0 has an area of one square meter.
Format A1 is A0 cut into two equal pieces. In other words, the height of A1 is the width of A0 and the width of A1 is half the height of A0.
All smaller A series formats are defined in the same way. If you cut format An parallel to its shorter side into two equal pieces of paper, these will have format A(n+1).
The standardized height and width of the paper formats is a rounded number of millimeters.

For applications where the ISO A series does not provide an adequate format, the B series has been introduced to cover a wider range of paper sizes. The C series of formats has been defined for envelopes.

The width and height of a Bn format are the geometric mean between those of the An and the next larger A(n-1) format. For instance, B1 is the geometric mean between A1 and A0, that means the same magnification factor that scales A1 to B1 also scales B1 to A0.
Similarly, the formats of the C series are the geometric mean between the A and B series formats with the same number. For example, an (unfolded) A4 size letter fits nicely into a C4 envelope, which in turn fits as nicely into a B4 envelope. If you fold this letter once to A5 format, then it will fit nicely into a C5 envelope.
B and C formats naturally are also square-root-of-two formats.

ISO Paper Sizes

A series formats
Size	mm	inches
4A0	1682 × 2378	66 1/4 × 93 5/8
2A0	1189 × 1682	46 3/4 × 66 1/4
A0	841 × 1189	33 × 46 3/4
A1	594 × 841	23 3/8 × 33
A2	420 × 594	16 1/2 × 23 3/8
A3	297 × 420	11 3/4 × 16 1/2
A4	210 × 297	8 1/4 × 11 3/4
A5	148 × 210	5 7/8 × 8 1/4
A6	105 × 148	4 1/8 × 5 7/8
A7	74 × 105	2 7/8 × 4 1/8
A8	52 × 74	2 × 2 7/8
A9	37 × 52	1 1/2 × 2
A10	26 × 37	1 × 1 1/2
B series formats
Size	mm	inches
B0	1000 × 1414	39 3/8 × 55 3/4
B1	707 × 1000	27 3/4 × 39 3/8
B2	500 × 707	19 3/4 × 27 3/4
B3	353 × 500	13 7/8 × 19 3/4
B4	250 × 353	9 7/8 × 13 7/8
B5	176 × 250	7 × 9 7/8
B6	125 × 176	4 7/8 × 7
B7	88 × 125	3 1/2 × 4 7/8
B8	62 × 88	2 1/2 × 3 1/2
B9	44 × 62	1 3/4 × 2 1/2
B10	31 × 44	1 1/4 × 1 3/4
C series formats
Size	mm	inches
C0	917 × 1297	36 × 51
C1	648 × 917	25 1/2 × 36
C2	458 × 648	18 × 25 1/2
C3	324 × 458	12 3/4 × 18
C4	229 × 324	9 × 12 3/4
C5	162 × 229	6 3/8 × 9
C6	114 × 162	4 1/2 × 6 3/8
C7	81 × 114	3 3/16 × 4 1/2
C8	57 × 81	2 1/4 × 3 3/16
C9	40 × 57	1 5/8 × 2 1/4
C10	28 × 40	1 1/8 × 1 5/8

Magnification Factors
It is often necessary to either increase or reduce an An page in size on a photocopier, digital printer, or in a software application. In order to maintain an accurate magnification you should always use the exact percentages shown in the table below:

from

A10

100%

71%

50%

35%

25%

18%

12.5%

8.8%

6.2%

4.4%

3.1%

141%

100%

71%

50%

35%

25%

18%

12.5%

8.8%

6.2%

4.4%

200%

141%

100%

71%

50%

35%

25%

18%

12.5%

8.8%

6.2%

283%

200%

141%

100%

71%

50%

35%

25%

18%

12.5%

8.8%

400%

283%

200%

141%

100%

71%

50%

35%

25%

18%

12.5%

566%

400%

283%

200%

141%

100%

71%

50%

35%

25%

18%

800%

566%

400%

283%

200%

141%

100%

71%

50%

35%

25%

1131%

800%

566%

400%

283%

200%

141%

100%

71%

50%

35%

1600%

1131%

800%

566%

400%

283%

200%

141%

100%

71%

50%

2263%

1600%

1131%

800%

566%

400%

283%

200%

141%

100%

71%

A10

3200%

2263%

1600%

1131%

800%

566%

400%

283%

200%

141%

100%

Envelope Formats
The DL format is the most widely used business letter format envelope size. DL probably originally stood for “DIN lang” historically, but ISO 269 now explains this abbreviation more diplomatically as “Dimension Lengthwise” instead. Its size falls somewhat out of the system and equipment manufacturers have complained that it is slightly too small for reliable automatic enveloping. Therefore, DIN 678 introduced the C6/C5 format as an alternative for the DL envelope. For postal purposes, ISO 269 and DIN 678 define the following envelope formats:

Format	mm	Content Format
C6	114 × 162	A4 folded twice = A6
DL	110 × 220	A4 folded twice = 1/3 A4
C6/C5	114 × 229	A4 folded twice = 1/3 A4
C5	162 × 229	A4 folded once = A5
C4	229 × 324	A4
C3	324 × 458	A3
B6	125 × 176	C6 envelope
B5	176 × 250	C5 envelope
B4	250 × 353	C4 envelope
E4	280 × 400	B4

North American Formats
The United States, Canada, and in part Mexico, are today the only industrialized nations in which the ISO standard paper sizes are not yet widely used. Their formats are as follows:

Format	mm	inches
Letter	216 x 280	8.5 x 11.0
Legal	216 x 356	8.5 x 14.0
Executive	184 x 267	7.25 x10.5
Tabloid	279 x 431	11 x 17
Ledger	431 x 279	10.5 x 7.25

6.) Resolucija slik (English)

The Rule of Thumb

As a general rule of thumb you should work on these resolution values:

Any graphics that you are producing for screen use (ie website graphics or on-screen displays) should generally be 72dpi.
Any graphics that you intend to print yourself on your desktop printer should generally be 150dpi.
Any graphics that you are having professionally produced by a commercial press or digital printing provider should be 300dpi.
There are exceptions to these rules of thumb but if you keep these basic rules in mind whenever you create images you won't go far wrong. Some advice on the exceptions will follow later.

What is Image Resolution?
Image resolution or "dpi" ("dots per inch", also called "ppi" or "pixels per inch") determines the number of pixels that a digital image can contain and as such the depth of quality and size of the file. The more pixels an image can contain, the better quality it can be but also the larger the file size. It is important to understand how resolution affects image sizes - in print, the resolution does not affect the image size, but on screen, resolution can have dramatic effects on the image size. See the example images below. All three of these images have been originated at 3 inches square but at three different resolutions. If we were to print these images then they would all be identical size but would appear in degrading quality as the resolution gets lower. However as you can see, when viewed on a screen they are wildly different in size. This is because on a screen you can only view images at the screen resolution of 72dpi (96dpi on some systems). This is why the larger resolution images appear to be so big when viewed on a screen.

Quality
As you can see from the simple example below, the more pixels an image contains the more detail and quality it can contain. If you look at the smaller size images below, you will see that when they are expanded they become very "blocky" or "pixellated". There are a number of adopted standards in resolution which you should adhere to as often as possible to ensure best results. The commercial print world uses 300dpi for most of its output, so you should try and originate artwork to this resolution where possible.

Q and A
Q: Do images always have to be 300dpi for commercial printing?
A: No, there are exceptions to the rule. If you are reproducing a fairly large low-resolution image at a small print size then you can very often get away with this. A classic example these days is the use of a digital camera to take photos for printed brochures. The camera may be a 6-megapixel camera capable of taking photos at 72dpi or 180dpi (below the commercial 300dpi standard) at fairly large print sizes (quite often bigger than A4 in size). If this image is to be reproduced faily small on the document then the resolution becomes irrelevant as the physical size of the image usually compensates for the lower resolution.

Q: What should I do to create images across several media?
A: Always create your images at 300dpi for print usage, and then down-size them for use on desktop printers and websites. Never work at a low resolution and attempt to up-size them as this results in blocky and untidy images, whereas reducing images tends to work fine.

Q: If I increase an image to 300dpi will it improve the quality?
A: No, this is a common misconception. If your original image is under 300dpi then resizing it up to 300dpi simple expands the pixels, it does not improve the quality. In some cases it can actually degrade the quality. It is always best to down-size an image rather than attempt to up-size an image. If your original file is very small and low-resolution then you may have to accept that it is simply unusable in a commercial application.

Q: Should I ever originate images above 300dpi?
A: There are times when you may wish to create a very high resolution image at 600dpi, 900dpi, 1200dpi or even higher to preserve the quality. You may submit images of this extreme resolution for commercial printing - the quality may be just that bit better - but the downside is that production costs might be higher or leadtimes may be longer as the digital processing equipment will require more time to process the huge volumes of data. In general there is no need to submit images to a commercial printer above 300dpi but there may be special jobs when it is desirable.

Q: What size should I originate images at?
A: There is no simple answer to this question as it depends on the final output. As a general rule you should, where possible, originate your image either the same size or slightly bigger than the final output. However, if your final output is to be very large such as the side of a van or a giant poster then this will be unfeasible as it will generate such a huge file. We have found that any images which have to be output at very large print sizes are usually fine at about 30% - 60% of the final output size.

Q: Does the colour mode (RGB or CMYK) affect the resolution?
A: No. The colour mode is a totally separate issue and not related to resolution.

7.) Datoteke (English)

Name	Type	Summary

GIF (Graphic Image File) Indexed color file, mostly for the web.	Bitmap	GIF87a was the original web graphic file format. The current version, GIF89a, supports 1-bit transparency and simple animation. GIF is the best web option for images with flat, solid colors - the sort of images you normally create in Vector drawing programs like Illustrator. GIF is rarely a good choice for non-Web use and one of the worst for high quality print. GIF is a "lossless" format meaning that even after the file has been compressed no quality is lost from the image quality.

JPEG (Joint Photographic Experts Group) Compressed, lossy file format, mostly for photo-type images on the web. Can hold RGB data; many compression levels and other options available.	Bitmap	Developed by the Joint Photographic Experts Group, JPEGS are perhaps the most well-known of the graphics family, being used in many areas of digital life, including websites, digital cameras, mobile phones, and a variety of other media. JPEGS allow full colour photographic quality images to be saved in relatively good detail with lossy compression applied. The greater the level of compression, the more quality is lost from the image. It is possible to create a very large high quality JPEG with no compression to achieve outstanding quality in printed reproduction, as well as very small compressed files for websites, which makes JPEGS a very versatile option for a plethora of uses.

PNG (Portable Network Graphics) Designed to replace the GIF on the web, but hasn't.	Bitmap	Recent substitute for GIFs (and some JPEGs) online. Many technical advantages over GIFs - for example, multi-bit transparency map, metadata for color management (gamma and profile) - but also larger file sizes. There is very uneven browser support so far, so it hasn't really caught on.

SVG (Scalable Vector Graphics) Vector graphics for the web	Vector	This Adobe-sponsored standard for placing true Vector graphics online has failed to catch-on in any significant way. Although approved by the W3C (the body which governs Internet standards) there is poor browser support and very little interest in this file type.

TIFF (Tagged Image File Format) Prepress file format for raster data such as photos.	Bitmap	TIFF remains a popular format in press and sign studios. It is strictly a Bitmap-only format, which cannot support any type of Vector data, and can have levels of compression applied. TIFF supports a very wide range of colour models and resolutions and is known for its versatility and reliability, although it does produce very large files when used with high quality images.

EPS (Encapsulated Postscript File) PostScript format.	Supports Bitmap and Vector	A PS (PostScript) file is a simple text file, and there are basically three things you can do with it: dump it to a printer; convert it to PDF via Acrobat Distiller; or - if you're a PostScript programmer - edit it directly in a text editor. An EPS file is an extended version of the PS format. Basically, it is a PS file together with some other files stuffed into an "envelope". The other files included in an EPS may consist of a low-resolution preview image, font data, clipping path data, Vector and Raster information, and so on. These days EPS is a widely-used standard in many graphic studios because of its versatility and convenience.

AI (Adobe Illustrator) Native format of popular Vector art creation software	Vector	Adobe Illustrator format is widely-used by many graphic studios because it is easy to work with and can be saved as PDF or EPS with minimal fuss for portability. As well as designing Vector-based graphics, AI can embed Bitmap images.

PDF (Portable Document Format) Adobe's attempt at a "universal" file format.	Supports Bitmap and Vector	Adobe's PDF file, also known as Adobe Acrobat file, is a genuine attempt at making documents totally portable. A PDF file is a slightly-editable type of PostScript file which can contain virtually any type of data that a document needs in order to display properly. Adobe offers the Acrobat Reader free of charge so that PDFs can be exchanged easily. PDFs are good for a number of things, from creating books and manuals to generating artwork proofs and production files.

PSD (PhotoShop Document) Native format of popular Bitmap art creation software	Bitmap	Adobe Photoshop is one of the most widely-used products in the industry, renowned for its wealth of creative tools and useful options for designers and digital graphic artists. Any graphics file saved in the PSD format can maintain the layers and effects that were generated in Photoshop thus making it fully editable in the software.

BMP (Bitmap) Microsoft's own home-grown image format	Bitmap	Microsoft's own Bitmap BMP file type is used in the Windows environment for various purposes, such as displaying icons, but has very little purpose outside of that remit. BMP files are unsuitable for web use or for print.

CDR (CorelDraw) Native format of popular Vector art creation software	Vector	CorelDraw is similar to Adobe Illustrator in that it is primarily a Vector graphics creation product which can output files in many different useful formats and can embed Bitmaps.

SWF (Small Web Format) Popular online Flash media file	Vector	Macromedia Flash is widely used online to produce Vector-based graphics and animation. It has no real use outside of web design.

8.) Osnove barv (English)

The Painter's Colour Wheel
Artists and designers who work in paint learn colour theory in order to create images with harmonious colour combinations. While some of the creative principles of this theory can be transferred to print and web, the processes of creating the colours is very different. Painters will physically mix paint to generate the colours they desire. Starting with the three main primary colours of yellow, red and blue, these can be mixed to create "secondary" colours (for example mixing primary red with primary yellow creates secondary orange). The further mixing of secondary colours creates tertiary colours. With practice and training artists can create attractive colour combinations by creating compositions using these relationships in colour: A careful balance of "opposite" colours (for example primary yellow and secondary purple) can create interesting contrasts; "Warm" or "Cold" hues can generate certain moods or provoke various emotional responses; Lots of colours can be created from very few original paints which results in a harmonious and natural finish. Expert painters and graphic artists will limit the number of paints they use because applying too many pigments can make an image appear too "fake".

RGB (Red, Green, Blue)
RGB (Red, Green, Blue) is a colour model used to determine the colour of light. Obviously mixing colours in RGB does not work the same as in paint or ink; for example mixing red and green in paint will create a muddy colour, whereas in RGB it creates bright yellow. If you look at the diagram below, you will notice that mixing all three RGB colours creates pure white. Black is created by an absolute absence of light (zero value). It is important to remember that this process creates "light" rather than "colour". It is a hugely important colour model because all computer monitors use this model (as do televisions, DVD players, game consoles, etc) to display colours. Computers manage this process by giving each component a numerical value between 0 and 255. Giving each of the three components a number value (R = [value] G = [vale] B = [value]) it is possible to create millions of colours.
Pure red will be shown as:
R = 255 G = 0 B = 0
You can create a warm brown using these values:
R = 163 G = 98 B = 9
Black is simply: R = 0 G = 0 B = 0
White is a maximum mix of all three elements as discussed earlier:
R = 255 G = 255 B = 255

CMYK (Cyan, Magenta, Yellow, Black)
CMYK (Cyan, Magenta, Yellow and Black) is the colour model used by all commercial printers and wide format digital printers and it describes the process of creating colours in printer's ink. In prinicple the process is very simple - by mixing various amounts of these four colours it is possible to create virtually any colour. This is known as "CMYK Printing" or "4-Colour Process". Litho printers make 4 printing plates, one for each of the 4 process colours (see the butterfly plates below). Printers print each colour plate in turn onto a piece of paper; by the time all four plates are printed the image appears in full colour. Like the RGB colour model described above, the modern method of managing this process is to give each of the four colours a numerical value in a compute program. Unlike the RGB model which uses the binary values 0 - 255, CMYK uses percentage from 0% - 100% to define its value. By following these values carefully it is possible to match exact colours. For example, to achieve a process red you would mix Magenta and Yellow at 100% each and use no Black or Cyan. Thus, process red is described as:
C = 0 M = 100 Y = 100 = K = 0

This process cannot create white. In RGB white is the maximum value of all three colour components whereas in CMYK white is the absolute absence of any colour (in other words, white is simply the white of the paper showing through where no ink has been laid).

Understanding when to use the correct colour model
All too often we, like many other studios, receive incorrectly prepared images for printing by inexperienced designers. The most common error of all is receiving RGB images (usually JPEGS) for printing on a CMYK system. Thankfully modern software such as Photoshop and most printer RIPs are very good at converting RGB to CMYK and the problems are usually kept to a minimum. However, this isn't always the most reliable means of handling artwork and to ensure accurate colours and integrity of the design, artwork for printing should be originated in CMYK rather than converted. A classic example is to look at the way a computer screen "illuminates" Cyan and the way a printing machine reproduces the same colour:

On the left is the RGB version of Cyan, which seems to "glow" from the screen because of the unique mix of light that creates it. On the right is the CMYK version of Cyan, made from a single colour ink. As you can see they are both very different. There are many colours that this can happen with which is why it is always better to originate your artwork in CMYK if it is to be reproduced in print rather than convert it which can result in some unpredictable changes. It isn't unusual for a client to be disappointed with the printed image because the on-screen RGB image looked so vibrant!

USE CMYK WHEN:
Your design is to be reproduced in any type of commercial print, whether it is litho, digital, laser, or screen printing.

USE RGB WHEN:
You are designing for the screen only, such as web graphics, multimedia presentations, television graphics, or computer games.

9.) Razlaga pojmov Bitmap in vektorska grafika

Many clients and, remarkably, some designers fail to understand the difference between the two primary groups of graphics, "Vector" (also called "outline" graphics) and "Bitmap" (also called "raster" or "rendered" graphics). A Vector graphic is one which is built using nodes to map a series of lines and curves which form an object (a logo, a letter, a picture, etc). A Bitmap image is a grid of very small coloured squares called "Pixels" which collectively form the image.

It is worth mentioning in advance, because it is a critical point, that when we refer to Bitmap and Vector graphics, we are not referring to any particular file format or extension (such as JPEGs or TIFFS). Though file formats are typically responsible for saving one type of graphic or another, the distinction between Vector and Bitmap is independent of any assigned extension. Thus, while a .jpg file is always a Bitmap graphic, a Bitmap graphic is not always a .jpg file.

Bitmaps
Bitmap graphics are composed of Pixels, each of which contains specific color information. A Pixel is minutely small; a single image may be composed of hundreds of thousands of individual Pixels. Much like cells revealed from a piece of tissue when seen under a microscope, these Pixels are only clearly and individually visible when the image is magnified, as shown below.

Bitmaps are ideal for full colour and photographic images because of the vast range of colours available in each individual pixel. One of the main problems faced with Bitmaps is when they are blown-up to large sizes; because the individual pixels are being expanded it is often likely that the image may appear blocky, or "pixelated". To combat this issue, good origination is essential with high resolution images which can withstand being blown-up to large sizes.

Vector Images
Vector graphics are formed using nodes, or "points", which can be joined using lines or curves to create any type of shape, and then filled with colours, tints or patterns. Unlike Bitmaps, which are stored as a "grid of colours" to create a finished image, Vector graphics are mathematical creations. For this reason, the programs that are used to create them save instructions on how the image should be drawn, rather than how it looks. This is the key difference between the two types of graphics. Because the computer has a description of how the image should be drawn, it can be redrawn at any size, in any position, without losing any quality. A vector graphic resized to 5 or even 50 times its original dimensions is simply reproduced, exactly, at the new size using mathematics rather than physically expanding the components of the image. Unlike Bitmaps, Vectors never go blocky regardless of how big they are blown-up, which is why designers call them "scalable" graphics.

The price of this scaling flexibility is that Vector images must remain relatively simple in comparison to Bitmap images. It is impossible to render the nuances of a photographic image in a vector editor; as a result, illustrative vector graphics have a distinct look and feel, even when produced in great detail. The examples below show Vector artwork, and demonstrate the clean illustrative qualities these graphics produce:

Conversion issues
With the correct software, any Vector image can be rendered as a Bitmap image easily. However, converting the other way, from Bitmap to Vector, isn't always as easy and doesn't always produce good results. Vector graphics are not ideal for photographic work or similarly complex images. The second image below is a Vector version of the first image (which is a standard Bitmap). As you can see, without the "grid of colours" to carry the wealth of colour depth information, the Vectorized photograph is reduced to a series of coloured shapes which are far less detailed.