US Navy Course NAVEDTRA 14065 Illustrator Draftsman 3 & 2 Vol 4-Presentations Graphics

NONRESIDENT
TRAINING
COURSE
July 1998
Illustrator Draftsman
3&2
Volume 4—Presentations Graphics
NAVEDTRA 14065
DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

Although the words “he,” “him,” and
“his” are used sparingly in this course to
enhance communication, they are not
intended to be gender driven or to affront or
discriminate against anyone.
DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

PREFACE
By enrolling in this self-study course, you have demonstrated a desire to improve yourself and the Navy.
Remember, however, this self-study course is only one part of the total Navy training program. Practical
experience, schools, selected reading, and your desire to succeed are also necessary to successfully round
out a fully meaningful training program.
COURSE OVERVIEW: In completing this nonresident training course, you will demonstrate a
knowledge of the subject matter by correctly answering questions on the following subjects: prepress copy
preparation, television graphics, displays and exhibits, and audiovisual presentations.
THE COURSE: This self-study course is organized into subject matter areas, each containing learning
objectives to help you determine what you should learn along with text and illustrations to help you
understand the information. The subject matter reflects day-to-day requirements and experiences of
personnel in the rating or skill area. It also reflects guidance provided by Enlisted Community Managers
(ECMs) and other senior personnel, technical references, instructions, etc., and either the occupational or
naval standards, which are listed in the Manual of Navy Enlisted Manpower Personnel Classifications
and Occupational Standards, NAVPERS 18068.
THE QUESTIONS: The questions that appear in this course are designed to help you understand the
material in the text.
VALUE: In completing this course, you will improve your military and professional knowledge.
Importantly, it can also help you study for the Navy-wide advancement in rate examination. If you are
studying and discover a reference in the text to another publication for further information, look it up.
1998 Edition Prepared by

DMCS(SW) Sandra M. Bryan
Published by
NAVAL EDUCATION AND TRAINING
PROFESSIONAL DEVELOPMENT
AND TECHNOLOGY CENTER
NAVSUP Logistics Tracking Number

0504-LP-026-7310
i
Sailor’s Creed
“I am a United States Sailor.
I will support and defend the

Constitution of the United States of
America and I will obey the orders
of those appointed over me.
I represent the fighting spirit of the

Navy and those who have gone
before me to defend freedom and
democracy around the world.
I proudly serve my country’s Navy

combat team with honor, courage
and commitment.
I am committed to excellence and

the fair treatment of all.”
ii
CONTENTS
Chapters 1. Copy Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
2. Audiovisual Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1
3. Television Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1
4. Displays and Exhibits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1
Appendices I. Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AI-1
II. References Used to Develop This TRAMAN. . . . . . . . . . . . . . . . . . . . AII-1
Index INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INDEX-1
iii
ILLUSTRATOR DRAFTSMAN (DM) TRAINING SERIES
The following volumes in the DM Training Series are available or planned:
DM, Vol. 1, Equipment. This is an overview of general shop administration, available

NAVEDTRA equipment, required operator adjustments, and equipment maintenance.
12720 Knowing the capabilities and limitations of the equipment before creating
artwork is essential.
DM, Vol. 2, Standard Drafting Practices And Theory. Industry standards for technical
NAVEDTRA drawing, geometric construction, general drafting practices, parallel
12721 projections, perspective, and composition are foundational material on which
all executionable practices rely.
DM, Vol. 3, Executionable Practices. These chapters cover the theory of color,
NAVEDTRA photography, computer-generated art, figure drawing, cartooning, animation,
12722 mediums, lettering, and airbrush. These are the skills a successful DM must
master.
DM, Vol. 4, Presentations Graphics. Copy preparation, audiovisual presentations,

NAVEDTRA television graphics, and displays and exhibits are end products and will
12723-A influence the how and why DMs do business.
Nonresident Nonresident Training Courses for the Illustrator Draftsman (DM) TRAMAN:
Training
Paygrade Volume NRTC
Courses
(NRTC) E4/E5 Volume 1 NAVEDTRA 72720
Volume 2 NAVEDTRA 72721
E6/E7 Volume 1 NAVEDTRA 82720
NOTE: Check the Naval Education and Training Professional Development and
Technology Center home page for advancement requirements
(http://www.cnet.navy.mil/netpdtc/netpdtc.htm.) and the Catalog of
Nonresident Training Courses, NAVEDTRA 12061, for ordering information.
iv
INSTRUCTIONS FOR TAKING THE COURSE
ASSIGNMENTS assignments. To submit your assignment

answers via the Internet, go to:
The text pages that you are to study are listed at
the beginning of each assignment. Study these http://courses.cnet.navy.mil
pages carefully before attempting to answer the
questions. Pay close attention to tables and Grading by Mail: When you submit answer
illustrations and read the learning objectives. sheets by mail, send all of your assignments at
The learning objectives state what you should be one time. Do NOT submit individual answer
able to do after studying the material. Answering sheets for grading. Mail all of your assignments
the questions correctly helps you accomplish the in an envelope, which you either provide
objectives. yourself or obtain from your nearest Educational
Services Officer (ESO). Submit answer sheets
SELECTING YOUR ANSWERS to:
Read each question carefully, then select the COMMANDING OFFICER

BEST answer. You may refer freely to the text. NETPDTC N331
The answers must be the result of your own 6490 SAUFLEY FIELD ROAD
work and decisions. You are prohibited from PENSACOLA FL 32559-5000
referring to or copying the answers of others and
from giving answers to anyone else taking the Answer Sheets: All courses include one
course. “scannable” answer sheet for each assignment.
These answer sheets are preprinted with your
SUBMITTING YOUR ASSIGNMENTS SSN, name, assignment number, and course
number. Explanations for completing the answer
To have your assignments graded, you must be sheets are on the answer sheet.
enrolled in the course with the Nonresident
Training Course Administration Branch at the Do not use answer sheet reproductions: Use
Naval Education and Training Professional only the original answer sheets that we
Development and Technology Center provide—reproductions will not work with our
(NETPDTC). Following enrollment, there are scanning equipment and cannot be processed.
two ways of having your assignments graded:
(1) use the Internet to submit your assignments Follow the instructions for marking your
as you complete them, or (2) send all the answers on the answer sheet. Be sure that blocks
assignments at one time by mail to NETPDTC. 1, 2, and 3 are filled in correctly. This
information is necessary for your course to be
Grading on the Internet: Advantages to properly processed and for you to receive credit
Internet grading are: for your work.
• you may submit your answers as soon as COMPLETION TIME

you complete an assignment, and
• you get your results faster; usually by the Courses must be completed within 12 months
next working day (approximately 24 hours). from the date of enrollment. This includes time
required to resubmit failed assignments.
In addition to receiving grade results for each
assignment, you will receive course completion
confirmation once you have completed all the
v
PASS/FAIL ASSIGNMENT PROCEDURES For subject matter questions:
If your overall course score is 3.2 or higher, you E-mail: [email protected]

will pass the course and will not be required to Phone: Comm: (850) 452-1001, Ext. 2167
resubmit assignments. Once your assignments DSN: 922-1001, Ext. 2167
have been graded you will receive course FAX: (850) 452-1370
completion confirmation. (Do not fax answer sheets.)
Address: COMMANDING OFFICER
If you receive less than a 3.2 on any assignment NETPDTC N313
and your overall course score is below 3.2, you 6490 SAUFLEY FIELD ROAD
will be given the opportunity to resubmit failed PENSACOLA FL 32509-5237
assignments. You may resubmit failed
assignments only once. Internet students will For enrollment, shipping, grading, or
receive notification when they have failed an completion letter questions
assignment--they may then resubmit failed
assignments on the web site. Internet students E-mail: [email protected]
may view and print results for failed Phone: Toll Free: 877-264-8583
assignments from the web site. Students who Comm: (850) 452-1511/1181/1859
submit by mail will receive a failing result letter DSN: 922-1511/1181/1859
and a new answer sheet for resubmission of each FAX: (850) 452-1370
failed assignment. (Do not fax answer sheets.)
Address: COMMANDING OFFICER
COMPLETION CONFIRMATION NETPDTC N331
6490 SAUFLEY FIELD ROAD
After successfully completing this course, you PENSACOLA FL 32559-5000
will receive a letter of completion.
NAVAL RESERVE RETIREMENT CREDIT
ERRATA
If you are a member of the Naval Reserve, you
Errata are used to correct minor errors or delete may earn retirement points for successfully
obsolete information in a course. Errata may completing this course, if authorized under
also be used to provide instructions to the current directives governing retirement of Naval
student. If a course has an errata, it will be Reserve personnel. For Naval Reserve
included as the first page(s) after the front cover. retirement, this course is evaluated at 5 points.
Errata for all courses can be accessed and (Refer to Administrative Procedures for Naval
viewed/downloaded at: Reservists on Inactive Duty, BUPERSINST
1001.39, for more information about retirement
http://www.advancement.cnet.navy.mil points.)
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We value your suggestions, questions, and

criticisms on our courses. If you would like to
communicate with us regarding this course, we
encourage you, if possible, to use e-mail. If you
write or fax, please use a copy of the Student
Comment form that follows this page.
vi
Student Comments
Course Title: Illustrator Draftsman 3 & 2, Volume 4—Presentations Graphics
NAVEDTRA: 14065 Date:
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NETPDTC 1550/41 (Rev 4-00
vii
CHAPTER 1
COPY PREPARATION
Overview
Introduction Computers have drastically changed prepress copy preparation for subsequent
reproduction. The creation of artwork and text is becoming an electronic
phenomena. Still, there are instances that require mechanical techniques.
Thoroughly acquaint yourself with the traditional methods and techniques and
aggressively incorporate new technology into your work space.
Objectives The material in this chapter enables you to do the following:
Evaluate paste-up mechanicals for reproducibility.
Identify and select suitable typefaces for headlines.
Select page sizes and formats.
Scale photographs and copyfit text.
Compare halftone, continuous tone, and combination copy for reproduction.
Eliminate or reduce backgrounds from photographs.
Define signature format and multipage spreads.
Recognize standard proofreaders marks.
Continued on next page
1-1
Overview, Continued
Acronyms The following table contains a list of acronyms that you must know to
understand the material in this chapter.
Acronym Meaning
CAPS Capital Letters
CL Center Line
DPI Dots Per Inch
LC Lower Case Letters
LPI Lines Per Inch
PPM Pages Per Minute
RIFF Raster Image File Format
TIFF Tagged Image File Format
UP Upper Case
1-2
Overview, Continued
In this chapter This chapter covers the following topics:
Topic See Page

Press Processes 1-4
Copy Types 1-8

Prepress Preparation 1-11
Dummies 1-26
Copyfitting 1-34
Scaling Artwork 1-35

Mechanical Preparation 1-42
Electronic Prepress Preparation 1-55
Color Separation 1-56
Registration 1-59
Proofreader's Marks 1-61
Quality Control 1-73
1-3
Press Processes
Introduction Before you prepare copy for reproduction, familiarize yourself with the type
of press and processes available to you. Press capabilities and limitations
will dictate the parameters of the copy you prepare.
Processes The four types of basic printing processes are letterpress, gravure,
lithography/offset lithography, and electronic digitization. Letterpress and
gravure are seldom used in Navy shops. Until recently, lithography/offset
lithography has been the primary method of reproduction, and now electronic
digitization and laser imagery are taking over.
Letterpress Letterpress, the oldest form of printing, is a form of relief printing. A

letterpress plate is carved or etched by hand or chemical with the image area
left raised. The open or nonimage areas are etched below the surface of the
plate. The raised portions of the plate receives ink from a roller. When
paper contacts the raised (inked) portions of the plate, an image appears on
the paper.
Figure 1-1 illustrates the letterpress printing process.
Figure 1-1.—Letterpress printing.
1-4
Press Processes, Continued
Gravure The gravure process is opposite that of letterpress in that the image area is
etched below the surface of the plate. The raised nonimage portion of the
plate is wiped clean of ink. Paper, pressed against the plate, lifts the ink out
of the etched areas.
Figure 1-2 shows the gravure process.
Figure 1-2.—Gravure printing.
1-5
Lithography/ Lithography is based on the principle that oil and water do not mix.
offset Lithography originated with a hand drawing in greasy crayon on a flat
lithography surface of limestone. The greasy image repelled water and retained oily ink
to transfer an image to paper. The nongreasy areas, flushed clean with water
did not retain ink and resulted in a nonimage or open area. Offset
lithography is the most widely used form of printing in Navy print shops. A
photographically sensitive metal plate of aluminum or zinc retains the image
on its surface after exposure to light and chemical development. The image
area retains ink and transfers the image to a rubber blanket (blanket cylinder)
which in turn transfers the image to an impression cylinder. The impression
cylinder transfers the image to the paper surface.
Figure 1-3 shows the basic offset lithographic process.
Figure 1-3.—Offset lithographic printing.
1-6
Electronic Electronic digitization and laser technology are replacing chemical-dependant

digitization printing and photographic processes. In addition to high-end copier options,
these copier-printers incorporate servers to interface with microcomputers,
scanners, and disk drives to accept electronic data from remote work stations.
They allow you to edit, move, cut, paste, scan, merge files, create instant
halftones from continuous tone masters, and enhance photography. These
electronic copier-printers and digital duplicators have a signature setup and a
bypass feature to eject jobs from the machine for traditional bindery
operations. Some machines have collators, folders, stitchers, and trimmers
to produce quality bindery in the finishing operation. Job orders are also part
of the electronic programming feature of the machine. This new generation
of printing technology allows total electronic prepress preparation of
documents. Electronic printing equipment has excellent resolution of 600
dots per inch (DPI) and 1 GB (gigabyte) of memory. Scan rate is 20 plus
documents per minute and press speeds exceed 135 pages per minute (PPM).
This future generation of printing presses may be more in the domain of the
Lithographer's Mate and isolated to a few ships and stations who can afford
this costly machinery, but you should aggressively seek and learn it’s
processes.
1-7
Copy Types
Introduction Copy is a broad term for any material intended for reproduction. It is
artwork and/or text that is ready for the print shop in the form of proofs,
drawings, photographs, and so forth. The three basic forms of copy material
are line, continuous tone, and combination.
Line copy Line copy is material that has no graduations in tone; that is, artwork
composed of black lines, dots, or solid areas. Text, preprinted shading
sheets, and black line illustrations made with pen and/or brush and ink are
examples of line drawings.
Figure 1-4 shows an example of a line drawing.
Figure 1-4.—A line drawing.
1-8
Copy Types, Continued
Continuous Continuous tone copy is material in which graduations of tone occur in an

tone copy uninterrupted flow. This type of copy includes original photographs, wash
drawings, oil paintings, pencil and poster drawings, and airbrush work.
Continuous tone copy must be converted into a halftone before printing.
Traditional continuous tone copy requires the extra step of exposure through
a special screen to produce a halftone. In digital duplication, a computer
using a process called dithering produces halftones cells.
Figure 1-5 shows an example of continuous tone copy. Imagine this

illustration without the halftone dot pattern required to reproduce the
illustration in this book.
Figure 1-5. —Continuous tone copy.
1-9
Copy Types, Continued
Combination Combination copy is artwork that consists of continuous tone copy and line
copy copy. An example of this is a photograph with lettering or labels. To
reproduce this type of copy, you must make two negatives; one negative is
for the lettering (line copy) and one negative for the continuous tone copy
(halftone). The two negatives combine to produce a combination image
during printing.
Figure 1-6 shows an example of combination copy.
Figure 1-6.—Combination copy.
1-10
Prepress Preparation
Introduction You must understand the versatility of the printing process to avoid going
beyond its limitations during prepress preparations. If you have a sound
knowledge of this in preparing the mechanicals, you will eliminate or solve
production problems. The actual process of printing is one of the last steps
in the reproduction process.
Planning Planning begins when the job enters the shop. Planning involves more than
determining the operations involved and estimating the time, personnel, and
materials to do the job. It includes specific prepress considerations that
influence the creation of the mechanical.
Prepress Prepress considerations influence the construction of the mechanical. The

considerations first factor to determine is format. After you set the format of the finished
product, select the stock and type.
1-11
Prepress Preparation, Continued
Format Format is the general appearance of the formal printed product. It includes
the size, shape, look, and feel of the finished product. Consider the physical
limitations of your production equipment such as the presses, copy camera,
plate size, screen limitations, and the finishing requirements of folding,
binding, and trimming before setting a format. The maximum dimensions of
a product are set by the size of the stock available, size of the presses, and
the capacity of the bindery equipment.
Figure 1-7 shows format configurations.
Figure 1-7.—Format configurations.
1-12
Format size Within the limits of your equipment, the nature of the publication and most
economical use of stock determine product size. Select a page size that,
when cut from stock sheets, produces the least amount of waste. Most page
sizes are divisions or multiples of the standard 8 1/2- by 11-inch sheet. If you
are working in signatures, make sure the overall size coincides with the
dimensions of the press plate. Signatures are multiples of four pages, printed
and folded as a unit.
Figure 1-8 shows a signature format.
Figure 1-8.—Signature format: A. Flat; B.

Folded.
1-13
Format shape The shape the printed image makes on a page is a facet of format. Some
rectangular forms are more visually pleasing than others. The three popular
rectangular formats are the regular rectangle, the golden mean rectangle, and
the hypotenuse rectangle. The dimensions of rectangles vary according to
page size.
REGULAR RECTANGLE: The regular rectangle is two-thirds wide as it is

long, such as 6 by 9 inches or 4 by 6 inches. These are common sizes for
booklets and phamplets. The regular rectangle has a ratio of 2:3.
GOLDEN MEAN RECTANGLE: The golden mean rectangle has a ratio of

3:5.
HYPOTENUSE RECTANGLE: The hypotenuse rectangle has a ratio of

5:7.
Figure 1-9 shows proportional rectangles.
Figure 1-9.—Proportional rectangles.
1-14
Stock selection When you select paper for a particular job, consider the printing process (if
printing illustrations) and the purpose of the end product. Line drawings and
text reproduce well on any stock, however, heavily laid paper is difficult to
print with halftones. The purpose of the job also affects the selection of
stock. If the job must be durable, select a good paper; if a job will ultimately
be thrown away, select a thin, inexpensive paper stock. Consider the bulk of
the stock for large publications and whether it will require a more rigid stock
as a cover. A self cover is defined as using the same stock for the cover that
you used for the text.
Typography Typography or type is divided into text type used for solid blocks of text and
display type used for display advertising and headings. The design of a style
of type is known as typeface and is identified by a name, such as Futura,
Bodoni, or Clarendon. Select a typeface appropriate to the mood expressed
by the copy. Although less a factor in the selection of body text, a dynamic
typeface used in display text can make the difference between a successful
and a mediocre product.
Typesetting Machine set text type ranges from 8 to 14 point. For small blocks of text and
cut lines or captions for illustrations, 12-point type is ideal. For general
purpose text use a lo-point letter.
Figure 1-10 shows examples of various typefaces.
Figure 1-10. —A block of text set in various typefaces.
1-15
Display type Display type is letters that draw attention. These typefaces create an illusion
as a result of thick and thin lines, curves, and the presence or absence of
serifs or embellishments.
Figure 1-11 shows the effects of display type.
Figure 1-11.—Display type.
1-16
Legibility Legibility is your primary concern when selecting typefaces. The factors that
contribute to legibility are the style of the letter; the type size; the line length;
the spacing between lines, words, and letters; the indentations; and the
margins around the print.
Style of the Letter styles denote the overall appearance of a letter. A letter has height,
letter weight, and decoration. Letter height is the vertical height of the letter.
Letter weight is how thick (boldface) or thin (lightface or open-faced) a letter
appears and whether it is condensed, expanded, or geometrically symmetric.
A letter may also have serifs, kerns, and other decorative elements that affect
legibility and identify it as a particular style. Simpler letter styles, such as a
Roman, Helvetica, or Bookface, have unobtrusive serifs and are easier to
read than more ornate styles. Gothic, Stymie, or other letters that are sans
serif or have unusual serifs are tiring to read for any length of time. Ornate
and decorative typefaces lose impact when used extensively and repel readers
when used as body text.
Figure 1-12 shows letters of different decor as body text.
Figure 1-12.—Type styles as text.
1-17
Type size - In type size, height is expressed in points. A point is a unit of measurement
height that approximates one seventy-second of an inch (1/72). There are
approximately 72 points to an inch. The size of a typeface is measured by its
height in points.
Figure 1-13 shows how point size affects letter height.
Figure 1-13.—Point size and letter height.
1-18
Type size - The weight of type may be lightface, open-face, regular weight, or boldface.
weight Additionally, letter dimensions may be condensed, expanded, geometrically
symmetric or italicized.
LIGHTFACE: Thin, hairline strokes that give a light, airy illusion to the
letter style are characteristic of a lightface letter.
OPEN-FACE: An open-faced letter appears to be an outline of the letter

with the center portions left open. Open-faced letters, when left open, appear
lighter in weight than when filled in. You may fill in an open-faced letter
with a contrasting color or colors for a creative effect.
REGULAR WEIGHT: Neither too thick or too thin, a regular weight letter
reproduces at optimum legibility.
BOLDFACE: Boldface letters appear heavy and dense. They add emphasis
and seem to jump from the page when used judiciously in body text.
Figure 1-14 shows letter weight.
Figure 1-14.—Using the

letter "O" to demonstrate
letter weight.
1-19
Type style - CONDENSED: Letters that appear vertically squeezed or pinched are
weight condensed. Condensed letters can give the appearance of being heavier than
(Continued) they really are. Use condensed letters when the length of text exceeds the
line space allotted.
EXPANDED: Horizontally stretched or flattened letters are called expanded.

They appear lighter in weight than they really are. Used creatively,
expanded letters can lengthen a short headline to fill a predetermined space.
GEOMETRICALLY SYMMETRIC: Geometrically symmetric letters have

geometrically or mathematically correct dimensions and proportions. To
determine if a letter is geometrically proportioned, look at the letter "O" and
evaluate any distortions.
ITALICIZED: Italicized letters slant to the left or right of center. Before

negatively affecting legibility, a letter can lean a maximum of 68 degrees
from center. Italicized letters add emphasis.
Figure 1-15 shows the letter "O" in various typefaces.
Figure 1-15.—Using the

letter "O" to demonstrate
geometric proportions of
various typefaces.
1-20
Line length The length of a line is measured in picas. Picas are also used to measure the
width and length of pages and columns. There are 12 points to a pica and
approximately 6 picas to an inch. Do not use points and picas
interchangeably as they do not precisely coincide as a unit of measure. Use
the point system or a line gauge to specify instructions to a typesetter. Some
typesetters prefer specifications in picas only.
Figure 1-16 shows a line gauge or printer's rule.
Figure 1-16. —A printer's rule or line gauge; A. The pica and inch
scale, B. The agate and inch scale.
1-21
Spacing Spacing between letters, words, and lines affect legibility.
LETTERSPACING: Letterspacing is the placement of extra space between

the letters of words to improve or balance the type. Divide the spacing
evenly between letters and words to maintain visual balance.
WORD SPACING: Word spacing is the adjustment of spaces between words

to shorten or extend a line of type. This is often used to justify text.
Justification is the alignment of both the right and left margins to a
predetermined length. Mechanical word spacing uses an em space. The em
space is the standard unit of measure for the typeface being used and equals
the square of the body type based on the letter "M". One half of an em
space is known as a en space. Too much space in between words causes a
disturbing visual break in composition by creating rivers of white space on
the printed page.
LINE SPACING: Spacing between the lines of text is called line spacing or
leading. Line spacing is the distance in points from the base line of one line
of type to the base line of the next line of type. Long lines of text require
more spacing between lines. If no additional spacing is used between lines,
the text is said to be set solid. Navy publications generally use 2-point
leading.
Figure 1-17 shows examples of line spacing.
Figure 1-17.—Line spacing.
1-22
Spacing KERNING: Kerning reduces the amount of space between letters or

(Continued) combinations of letters to achieve visual balance. Kerning is the opposite of
letter spacing.
Figure 1-18 shows an example of kerning.
Figure 1-18.—Kerning.
1-23
Indentations Indentions give emphasis and new starting points to a printed page.
Indenting text is the moving of one or more lines of printed or typewritten
material in from the margins. Paragraphs, quotations, hanging, stepped or
staggered indentations are all used to facilitate communication. Set poetry
according to the style set by the author.
PARAGRAPHS: Indent paragraphs to indicate the beginning or end of a

complete thought or idea.
LONG QUOTES: Place long quotations or quotations requiring special

emphasis in a separate paragraph. They may be set full measure or indented
from both margins.
SHORT QUOTES: Bury short quotations in the body of the text.
HANGING INDENTATIONS: The first line of a hanging indentation is set

flush left with all other lines set one or more em spaces from the left. This
type of indention is used in tabular work, listings, legends, and captions
when they exceed two lines.
STEPPED or STAGGERED INDENTATIONS: Progressively stepped or

staggered indentations are normally used in newspaper headings and modern
layouts with irregular indentations. Some poetry is also staggered or
stepped.
Figure 1-19 shows an example of staggered indentation.
Figure 1-19.—Staggered indentations.
1-24
Margins Margins act as a frame to keep the readers attention focused on the text.
Even margins are monotonous and narrow margins make reading difficult. A
well-designed page contains a mass of type pleasingly framed in white space.
The margins of a single page layout should have equal left- and right-hand
margins with the bottom margin slightly larger than the top margin. When
setting opposing pages, the margins that join the pages together, or inner
margins, are made narrower than all other margins. When opened, this
gutter of white space should equal the width of the extreme left or right
margin. The top margin is larger than the outside margins and the largest
margin of all is at the bottom of the page.
Figure 1-20 shows the margins of a single page and an opposing page layout.
Figure 1-20.—Margins with the

dimension "E" denoting equal
amounts of space.
1-25
Dummies
Introduction You now have determined the prepress preparation required to proceed to the
next phase of the reproduction process. This is the phase of preparing a
mock-up, called a dummy, that you paste and bind together in exact
reproduction size. Dummies show the areas in publications that illustrations
and text occupy. They show the size, the binding, and the paper of the final
product. They enable you, your crew, and the originator to visualize the end
product, project problems, and settle controversial points while still in the
planning stage. Once production begins, dummies also serve as a guide to
keep the project on track. Prepare your dummies before the mechanicals.
The two types of dummies are the preliminary dummy and the paste-up
dummy.
Preliminary The preliminary dummy should be made up before the publication is typeset.
dummies
General Start by making thumbnail sketches, building your design around the most
construction of important elements on the page. In a preliminary dummy for a lengthy
preliminary publication, make the layouts for key pages first, such as the cover, the title
dummies page, and one or two of the text pages. This should give you an idea about
how many pages the publication will take. You may be able to copyfit small
publications to determine the number of overall pages.
Figure 1-21 shows a series of thumbnail sketches for a preliminary dummy.
Figure 1-21.—Thumbnail sketches

for a preliminary dummy.
1-26
Dummies, Continued
Cover page The cover page may have both illustrations and type, hand lettering and type,
or type or illustration alone. If the publication is one of a series, the cover
should match the others in the series. You may use different colors of stock,
but it should have the same characteristics as the other publications. You can
use almost any typeface on the cover. Historical content or the mood of the
text may influence your choice. If the text consists of more than five or six
words, vary the type size to reduce monotony.
Figure 1-22 shows cover pages.
Figure 1-22.—Cover pages.
1-27
Dummies, Continued
Title page The type used for the title page is usually from the same series or family as
the type used for the text unless you need another typeface for
distinctiveness. Arrange the type in a pyramid, block, or as fluctuating lines.
Set the title in the largest size of type and the other lines in order of
importance. The dimensions of the title page are the same as the dimensions
for the regular text pages.
Figure 1-23 shows a title page layout.
Figure 1-23.—A title page layout.
1-28
Dummies, Continued
Other pages The principal requirement of the other pages, such as the preface or table of
contents, are legibility and attractiveness. When you plan the index, place
convenience for the reader ahead of artistic design. Index pages are set in 8-
point type with hanging indentations and initials or words set in capitals or
boldface type. Divide the index pages into two or three columns.
Text Indicate areas of text by drawing a rectangle or ruling in a series of lines.

Trace or rough-in display text. Cutlines (captions or legends) below the
illustrations are text that pertain directly to the image. Set a caption a full
column width regardless of the width of the illustration. If a legend consists
of one or two lines, center it, otherwise, create a hanging indentation by
setting the first line flush left and indenting the following line 1 em.
Illustrations Sketch or trace illustrations or draw a rectangle and indicate which

and illustration or photograph belongs in that area. Place them close to the text
photographs to which they apply. If an illustration is narrower than the type or if it does
not have a square outline, run four or five lines of type above and below it to
square up the page. For extremely narrow art, set the type on a narrow
measure and place it beside the illustration.
Single Place single illustrations at the top or at the optical center of the page. The
illustrations optical center is one tenth (page length) above the mathematical center of the
page.
Facing pages In book work, consider facing pages as a unit. The right page predominates
with the left so if you have only one illustration, place it on the right-hand side of
illustrations the layout. If you have two illustrations, share them between the two pages.
Visually balance page layout, either symmetrically or asymmetrically.
Unusual One unusual creative technique is a bleed illustration. These illustrations

illustrations have no margin between the edge of the image and the edge of the page.
They appear to bleed right off the page. Use this technique sparingly. Do
not bleed every illustration in the publication. If you have several related
images, you may group them together as a montage and allow the overall
montage to bleed from the page.
1-29
Dummies, Continued
Layout Figure 1-24 shows a preliminary dummy with text and illustrations indicated.
examples
Figure 1-24.—Text and illustrations on a preliminary dummy.
1-30
Dummies, Continued
Layout Figure 1-25 shows the position of illustrations or photographs on facing

examples pages.
(Continued)
Figure 1-25.—Positioning illustrations or photos on facing pages.
1-31
Dummies, Continued
Layout Figure 1-26 shows an additional method of indicating areas for illustrations
examples and text on a preliminary dummy.
(Continued)
Figure 1-26.—Another method of indicating areas for

illustrations and type on a dummy: A. Prepared copy, B.
Two-page layout.
1-32
Dummies, Continued
Paste-up Paste-up dummies are dummies made from proofs pulled after the type is set.
dummies
General Proofs intended for dummy purposes are run on colored paper. Obtain extra
construction of proofs to catch typographical errors. At the top of each proof is a galley
paste-up number. Mark this number several times throughout each column of typeset
dummies print with a heavy lead or grease pencil. By doing this, the printer can tell
instantly which gallery the type is in when they make up the pages. Trim the
proofs and paste them into place on the layout sheets along with the proofs of
illustrations. Use a repositionable adhesive, such as transparent tape or wax.
Unfortunately, type does not always measure out the way you would like it to
and you will have too much or too little space. Keep several pages laid out
in advance to check the fit of the material before you paste them into place.
Figure 1-27 shows preprinted layout sheets with text and illustrations pasted-
up.
Figure 1-27.—Preprinted layout sheets

with text and illustration pasted-up.
1-33
Copyfitting
Introduction Copyfitting, or copy casting, is the process by which you plan and specify
the setting of a given body of text to fit an available space. There are
different methods for copy fitting; the two methods for copyfitting covered
by this chapter are the character count method and the line measurement
method. To begin, use a page of double spaced typewritten text on a sheet of
8 1/2 by 11-inch paper. The left-hand margin and the top margin should
measure 1 1/2 inches while the right-hand margin and bottom margin should
measure 1 inch.
Character To use the character count method of copyfitting, count the number of
count method characters (letters, numerals, punctuation, and spaces) contained in a
typewritten manuscript and the number of characters per typeset line length
in a chosen size and style of letter to calculate the number of column inches
required.
To use the character count method:
Step Action
1 Count the number of characters on each page of the typed
manuscript.
2 Determine the number of characters in one typeset line of
determined length in the chosen typeface.
3 Determine the number of lines per inch by
measuring 1 inch and counting the number of lines, then,
divide this number into the total number of lines in the
typewritten copy to get the length of the copy in inches.
4 Make allowances for headings and illustrations using good
judgment and experience.
1-34
Copyfitting, Continued
Character To determine the number of characters in a typeset line:

count method
(Continued)
Step Action
1 Find a printed sample composed in the size and type style desired.
2 Measure the length of the desired line in picas from the left margin
and draw a vertical line at this point down the right side of the
page.
3 Count the characters between the left margin and the drawn line for
five representative lines.
4 Divide the total number of characters by five to get an average of
characters per line.
5 Divide the total number of characters in the typewritten manuscript

by the average number of characters per line of type. The result is
the number of lines the copy will fill.
1-35
Character Figure 1-28 shows the character count method of copy casting.
count method
(Continued)
Figure 1-28.—The character count method of copy casting.
1-36
Line The line measurement method is another process for measuring copy to fit
measurement into a predetermined space.
method
To use the line measurement method, use this table:
Step Action
1 Measure a distance from the left margin of the copy and draw a line
down the right side of the paper.
2 Multiply the distance from the left margin to the drawn line by:
10 (pica; 10 elements per inch) or
12 (elite; 12 elements per inch)
3 Measure the depth of the copy by multiplying page length by:

6 (single spaced copy) or
3 (double spaced copy)
4 Multiply the number of lines by the number of characters per
average line to find the number of characters on the page.
5 Add this number to the number of characters in the long lines that
run beyond the drawn line on the right of the page.
6 Subtract the number of characters required to fill short lines. The
result is the total character count for the page.
1-37
Scaling Artwork
Introduction Not all mechanicals are comprised of text only. You must know how to
proportionally scale art and photographs to fit into a predetermined space.
Scaling is calculating the dimensions for a reduction or enlargement of a
given image. You can use a slide rule, a mathematical formula, the diagonal
line method, or a scaling wheel to scale artwork. This segment will cover
the most common and easily available methods, the diagonal line method and
the scaling wheel which is often called a proportional scale.
Diagonal line The diagonal line method reduces or enlarges the size of the original artwork
or the size of the allotted space in the paste-up or mechanical.
To use the diagonal line method, use this table:
Step Action
1 Cover the allotted space on the mechanical with tracing paper or an
overlay.
2 Using a straightedge and a pencil, draw the outline of the allotted
space on the paper.
3 Extend the left-hand vertical line and the lower horizontal line.
4 Using a triangle, draw a line from the lower left-hand corner
through the upper right-hand corner of the outline.
5 Place the overlay on top of your original artwork aligning the left
side and the bottom.
6 Determine whether the height or width is most important for your
image.
7 Mark the line corresponding to your selection of the most important
dimension and extend this line to the diagonal.
8 Using your straightedge, draw a line from where the last line
intersected the diagonal to complete the box or rectangle.
1-38
Scaling Artwork, Continued
Proportional The proportional scale is a tool that calculates the new dimension of a piece
scale of scaled artwork and the percentage of reduction or enlargement. It is
composed of two disks joined at the center with a fastener that allows the
disks to rotate. The disks are approximately 6 inches in diameter and made
of a white laminate lettered in black.
Figure 1-29 shows a proportional scale.
Figure 1-29.—A proportional scale.
1-39
Use To use a proportional scale for reduction, use this table:
Step Action
1 Measure the dimensions of the allotted space.
2 Measure the dimensions of the original artwork.
3 Rotating the scale, align the dimension representing width of the
original artwork across from the dimension representing the
allotted width.
4 Without moving the scale, read the dimension located directly
across from the dimension for height on the original artwork. This
is the proportional height of the allotted dimension.
5 A small window toward the center of the scale will give you the
ratios of the percentage of the original size and the number of times
the artwork is reduced.
To use a proportional scale for enlargements, use this table:
Step Action
1 Measure the dimensions of the allotted space.
2 Measure the dimensions of the original artwork.
3 Using the measurements on the scale inversely, rotate the scale to
align the dimension representing the width of the original artwork
with the dimension representing the width of the allotted space.
4 Without moving the scale, read the dimension located directly
across from the dimension for height on the original artwork. This
is the proportional height of the allotted dimension.
5 The small window toward the center of the scale will give you the
percentage of enlargement of the original artwork but, will not give
you the number of times enlarged.
1-40
Uniformity When you prepare a series of illustrations for a publication, draw them all to
the same scale, if possible. This will save you time at the camera, in the
darkroom, and in preparing the mechanical paste-up. This will also improve
the overall appearance of the product. Carefully plan artwork that contain
text to assure a uniform size of the text in the finished product.
Limitations There are limitations on the amount of reduction or enlargement a piece of

artwork can endure. Prepare your line copy for same size or smaller
reproduction. In general, make your artwork a maximum of two times larger
or a minimum of one and one-half times larger than the desired size, or at
another scale in between the two, as long as it remains proportionally
correct. This technique minimizes irregularities and makes the drawing
appear more finished. Artwork drawn very large and extensively reduced
will begin to fill in detail and appear dark and heavy. Artwork drawn small
and enlarged will appear crude and rough because defects tend to magnify.
Before beginning a drawing for reproduction, remember that both the lines
and the spaces between the lines are reduced or enlarged.
Figure 1-30 shows the effects of enlargement and reduction on artwork.
Figure 1-30.—Reduction and enlargement will lose detail and

magnify defects in reproduced artwork.
1-41
Mechanical Preparation
Introduction The printing process largely determines the quality of reproduction; however,
the best machinery available cannot hide the flaws in a poorly constructed
mechanical. It is through the mechanical that the DM exerts a direct
influence on the resulting print, both in quality and cost.
Preparation Before you begin creating artwork for reproduction, you must gather your
materials and information. Determine the press operation involved and the
materials to do the job. Settle on a format, finished stock, and type style. If
the originator provides artwork, it may require cropping, retouching,
eliminating background clutter, or halftone screening. If you must copyfit or
scale artwork, do so before you commit yourself to paper.
Cropping Sometimes you use only a specific portion of the original artwork in a
finished product. Cropping is the procedure of defining the desired
reproduction image area within a larger piece of work. A simple method of
cropping uses two right angles cut from opaque paper or board. By
maneuvering the two pieces of angled paper, you can frame the desired
subject in many different ways. You indicate crop marks on a drawing or
photograph by lightly marking the borders of the artwork or print, by
marking an overlay attached to the artwork or print, or by cutting a window
in an opaque masking paper, such as goldenrod, to expose the desired portion
of the artwork or print. Use a grease pencil if you mark on the borders of
original artwork so it can be easily removed. Do not mark more than one set
of crop marks on the same artwork.
Figure 1-31 illustrates the use of cropping arms.
Figure 1-31. —Cropping arms.
1-42
Mechanical Preparation, Continued
Retouching Photographs are rarely used for reproduction without some work being done
to them to highlight important features or to suppress undesirable
characteristics. You may eliminate minor flaws in a photograph by using a
photo retouch pencil or opaque retouch greys applied by brush or airbrush.
Handle a photograph carefully and avoid leaving fingerprints on the photo
surface during preparation. Your natural oils will prevent the paint from
adhering. The surface of a photograph has a slick resin coating which you
must lightly abrade with Fuller's Earth, a fine, white powder, before you
begin retouching. Paint the light values first, then the middle values. Paint
the dark values last.
RETOUCH PENCILS: Retouch pencils are available in various shades of

grey and color. Avoid digging into the surface of the photograph. Use a
slow, fine, circular motion to match the values in the image and spray the
finished print lightly with a fixative.
RETOUCH GREYS (cake form): Retouch greys are a series of opaque greys
plus black and white in a premixed cake. Wherever you use white, use it
pure or it will reproduce as a light grey. Spray the retouched print with a
fixative.
RETOUCH GREYS OR COLOR (liquid form): Apply liquid form retouch

greys or colors with an airbrush. Extremely detailed or extensive retouching
is possible.
Figure 1-32 shows retouch greys in cake form.
Figure 1-32. —Retouch greys.
1-43
Silhouetting or Silhouette an object if you need to reproduce a subject in outline form. This
vignetting process partially obscures or completely eliminates background clutter.
Vignetting is a process of softening a background with a burned-edge effect.
You may use either a photograph or a halftone. If you must preserve the
original print, cover it with a clear acetate overlay in tight registration.
To silhouette an object, follow this table:
Step Action
1 Clean the surface of the photograph with Fuller's Earth.
2 Carefully outline the desired object with a 1/4-inch width margin of
opaque white. Apply thin coats. Do not cake on the opaque white
as it tends to chip and flake when dry.
3 Indicate to the printer the removal of all background material
outside of the white border.
To brush or airbrush a silhouette, follow this table:
Step Action
1 Clean the surface of the photograph with Fuller's Earth.
2 Apply a stencil or mask to protect the areas of the image you wish
to retain.
3 Apply an even coat of pigment over the undesired area.
4 Allow to dry.
5 Remove the frisket or mask.
6 Use a small cotton wad to remove excess pigment seepage and to

soften the edges of the outline to make it look more natural.
1-44
Silhouetting Figure 1-33 illustrates the procedure for silhouetting.

and vignetting
(Continued)
Figure 1-33. —Silhouetting procedure.
1-45
Silhouetting or Figure 1-34 shows the removal of background objects by eliminating the
vignetting background with opaque pigment.
(Continued)
Figure 1-34. —Removing background objects.
1-46
Silhouetting Figure 1-35 shows the process of removing excess paint with a moist cotton
and vignetting swab and feathering hard edges left by the silhouetting process to create a
(Continued) more natural appearance.
Figure 1-35. —Removing excess paint with moist cotton.
To vignette an object, follow this table:
Step Action
1 Prepare the surface of the photograph with Fuller’s Earth.
2 Apply a frisket or mask to protect the areas of the image to remain

unaffected.
3 Airbrush pigment onto the photograph beginning with the four

corners using a light, airy, circular motion.
4 Continue to rotate the photograph, spraying the four corners one by
one, until the pigment covers the amount of the photograph desired.
Strive to keep the coverage even.
5 Allow to dry.
6 Remove the frisket or mask.
7 Clean the desired image area of seepage and soften the edges
around the image to give a more natural effect.
1-47
Silhouetting Figure 1-36 illustrates the vignetting process.

and vignetting
(Continued)
Figure 1-36. —The vignetting process.
1-48
Silhouetting Figure 1-37 shows an subject with a vignetted background.

and vignetting
(Continued)
Figure 1-37. —Vignetted head-and-shoulders portrait.
1-49
Halftones Some printing presses and machines are not capable of producing good
quality continuous tone images. Continuous tone images, such as
watercolors, drawings, oil paintings, photographs, and other works composed
of a series of tones tend to blend together or lose detail. To separate these
tones, the artwork must be shot through a screen that breaks the image up
and records it as a series of dots. This process is known as halftone
screening. Exposure, similar to that used in line photography, is determined
by the intensity of the light reflected from the original copy, distance between
the film and the screen, size and shape of the lens aperture, speed and
contrast of the film emulsion, and the duration of the exposure.
BLACK-AND-WHITE HALFTONE SCREENS: Halftone screens used for

black-and-white photography are generally rectangular and made of glass or
acetate. Glass halftone screens are made of two sheets of optical quality
glass, each etched with fine parallel lines filled with opaque pigment and
sealed together with the lines crossing each other at right angles. Halftone
screens are available in standard rulings from 50 to 400 lines per inch set at a
45-degree angle to the screen. The lines on the screen are the same width as
the space between them. Therefore, a 50-line screen has 50 lines and 50
spaces to each inch. Screens are grey or magenta in color. The 45-degree
angle makes the dot pattern less noticeable to the human eye. Position a
glass halftone screen a short distance in front of the film plane. Position an
acetate halftone screen in direct contact with the film.
COLOR HALFTONE SCREENS: Halftone screens used for color

separation work are circular. You must set the angle of the screen and
rotate it for each color shot. Halftone screens for color work are not in
color. Color halftone screen are available in standard rulings.
DIGITAL HALFTONE SCREENS: A computer with a desktop scanner or

video digitizer scans continuous tone artwork and photography transforming
them into a digital format. The scanner must be a grey scale scanner. If you
alter the image, do so before scanning. Limited image alteration is possible
with the appropriate image-editing software. Scan the imagery at a resolution
twice the final screen ruling. Save the image in a Tagged Image File Format
(TIFF) or Raster Image File Format (RIFF). You can output these digital
halftones to laser printers or high-resolution copier-printers.
1-50
Halftones On occasion, the individual requesting the job may not have the original
(Continued) continuous tone photograph but, a reproduced copy that has already been
through the halftone screen. If the halftone screen used was coarse and open,
you may be able to shoot it as a line shot. If not, you may have to rescreen
the image. Rescreening a halftone image will create a wavelike or checkered
pattern where the two dot patterns overlap. This is called moire. This
pattern can be undesirable and distracting. You can reduce or eliminate this
effect by turning the screen 15 degrees away from the halftone or using a
screen 50 lines coarser or finer than the original screen.
Figure 1-38 shows a sectional view of a glass halftone screen.
Figure 1-38.—A sectional view of a glass halftone screen.
1-51
Halftones Figure 1-39 shows the effects of different screen patterns.

(Continued)
Figure 1-39.—The different screen rulings.
1-52
Halftones Figure 1-40 shows the moirè effect created by the overlap of differing screen
(Continued) patterns.
Figure 1-40.—The moirè effect.
1-53
Putting it all The finished mechanical must withstand considerable handling as it moves
together from one phase of reproduction to another. Prepare your mechanical on
illustration board and cover it with a protective covering of tissue paper or
acetate. The larger the mechanical, the heavier the illustration board. If the
mechanical has one overlay, tape the overlay to the top of the illustration
board. If the mechanical has multiple overlays, register each overlay to the
illustration board so that they may be removed and easily replaced by the
camera person. Leave ample border all around the image on the mechanical
to insert instructions for the keying of separate copy elements. Mark these
instructions in nonreproducible blue on white areas and yellow on black
areas, such as a black patch. Use initials or numbers to key halftone
negatives for insertion. Above all else, keep the mechanical clean; the
camera records every stray mark, including marks that are ghostly visible.
Figure 1-41 shows a mechanical with a halftone insertion indicated.
Figure 1-41.—A layout containing

masked-out areas for halftones.
1-54
Electronic Prepress Preparation
Introduction Increasingly, more sophisticated digital presses are appearing in work spaces.
These machines allow the DM or LI to electronically program (digitize) the
job parameters into memory instead of using conventional mechanicals and
press plates.
Purpose Because prepress preparation is minimal, short-run or small jobs are more
economical to run. Digitized printing allows flexibility during the revision
process of a book and eliminates the need for a stockpile or large inventory at
distribution points. Rapid turnaround time, now defined in hours, not days,
increases the customer base and customer satisfaction. The term on-demand
printing is often, but not solely, associated with digitized printing.
Digital printing Digital printing is a relatively new concept in the printing industry. This
type of printing uses plates, created by a spark discharge, to print. This
eliminates liquids, such as ink and water used in traditional offset
lithography. Digital printing is defined as any printing using a raster-based
process to produce an image carrier or replicate directly to a substrate from
digital document files. Color applications, currently limited, are increasing
as the new technology develops. Eventually, digital approaches will apply to
every facet of graphics communication whether you print 1,000, 100, or 1
duplicate. Make sure you read and understand the operating manuals that
pertain to the equipment.
1-55
Color Separation
Introduction You may have an opportunity to create artwork intended for color printing
using the traditional offset lithographic process. The three types of color
separation processes are process color, spot color, and fake color. The
format of the master artwork determines the type of separation process you
use.
Process color When you create the master artwork in a continuous tone medium, such as a
watercolor or a photograph, the color separation process is left to the camera
operator. This is process color. Very close reproductions result from using
color in the artwork similar to the color available to press inks.
How process The printer makes four separate negatives and four separate press plates for
color works each piece of continuous tone color artwork. Since colors photograph as
black or shades of grey, the printer uses regular black-and-white film. A
grey scale, photographed along side the artwork will assist the photographer
in comparing densities and contrast for each negative. The negatives must
have the same contrast and density or the resultant print will be out of
balance. Shooting through a halftone filter and a series of color filters
separates the colors of the original copy and breaks the image into a dot
pattern. The printer changes the angle of the halftone screen for each
negative to cause the dot pattern to overlap or print side by side in the final
print. A blue filter records yellow, a red filter records cyan (blue), a green
filter records magenta (red), and no filter or a combination of the three filters
records the black in the original. Conventionally develop the film. Hand
correct any negative aberrations. Expose and develop the press plates. Pull
a proof from the press plate in the appropriate color. This is known as a
progressive proof. The colors of the original artwork reproduce when the
plates are run on the press in the proper colors of ink. Overprinting
produces the color sensations of secondary and tertiary colors. Overlapping
three or more colors produce black.
1-56
Color Separation, Continued
Spot color Spot color is a process you use to indicate areas for color separation by
placing an overlay over a simple black-and-white line illustration. Make
precise instructions to the printer on this overlay. If the drawing is
complicated or has detailed color areas, make the color separations yourself.
Create an overlay for each primary color, register it to the master, and
indicate the desired color of ink. This process produces flat color with no
modeling or shading. You create modeling or single color variations by
using a shading sheet in the artwork or requesting the camera person to use a
benday sheet.
Fake color Fake color involves printing from original line artwork or continuous tone
photograph by indicating color or screen tints on a separate overlay. The
outlines of the image define the various color areas to strip in color panels.
Duotones Using only two plates to print a color image with a dark dominant ink and a
lighter secondary ink, results in a print known as a duotone. Two negatives
are shot at different angles from a single piece of artwork. One of these
negatives is shot flatter than the other so that one plate will supply color
while the other plate supplies detail. The detail is usually printed in the
darker or dominant ink. You may use any combination of inks or black ink
and a grey ink (called a true duotone). The two plates printed together
produce a duotone print that appears to have more dimension than the
original image.
Bourges sheets In the creation of artwork for color reproduction, you want to most nearly
approximate the finished product before you commit yourself to the expense
of color printing. Bourges sheets are transparent color sheets available in
various colors and densities. By building up, removing, or cutting out
sections of the sheets, you create color copy in separate overlays. The
combined overlays simulate the printed product.
1-57
Color Separation, Continued
Benday or The benday process involves photographing negatives through percentage

shading sheets screens to filter the intensity of the image. Shading sheets are similar to the
benday process except, the artist uses a light-tack adhesive-backed pre-
printed percentage screen in the creation of the master artwork. The
percentage of the screen represents the solidity of the image. For example, a
20-percent screen is light, whereas an 80-percent screen is dark. Screens are
available as dots, lines, and patterns.
Figure 1-42 show example of flat color (black) with various screens.
10% 20% 30% 40% 50% 60% 90%

DMJA0032
Figure 1-42.—Varying percentages of flat color.
1-58
Registration
Introduction To print images requiring more than one plate and ensure that the plates print
in sequence or in close proximity to each other requires a system of
registration. The more complicated a multiplate image is, the closer you
must work with the camera person and printer.
Registration Registration or register is the accurate placement of each overlay to a piece of

master artwork. You should use three points on different planes for locating
registration marks. Registration marks appear as circles centered on cross
hairs. Place registration marks outside of the image area. Make sure the
printer knows to remove registration marks before printing so they will not
appear in the final product. The four types of registration are no register,
loose register, lap register, and hairline register.
Figure 1-43 shows a registration mark.
DMJA0033
Figure 1-43.—A registration mark.
1-59
Registration, Continued
No register With no register, each color or plate prints independently or without relation
to all other plates. It does not require registered overlays, merely
instructions to the printer.
Loose register Loose register is used for images not requiring highly accurate placement of
the color portions. You make a separate overlay for each color and key this
overlay to the master art. Simplicity in the master artwork is paramount.
Lap register Lap register permits a slight overlay in the separate colors or plates. This
simplifies the DM's task in creating the overlays and eliminates white gaps or
spaces which occur if the registration is off. Colors of similar densities that
overlay form a black line, while lapping patterns or textures requires you to
draw a red line between them to avoid moire.
Figure 1-44 shows lap registration.
Figure 1-44.—Lap registration.
Hairline A hairline register should be left for photomechanical separation by the

register camera person or printer. The overlap in a hairline register is negligible.
Save this registration technique for full color or full color continuous tone
art.
1-60
Proofreader's Marks
Introduction Copy preparation symbols, accepted by the printing trade, are standard
throughout the United States. Study the symbols and marks. Knowledge of
copy preparation symbols enables you to intelligently communicate with print
shops and photo labs. Careful application of theses standards eliminates poor
work before it reaches the printer.
Proofreader’s Proofreader's marks and editorial marks are essentially the same. The main
and editorial difference is in their use.
marks
EDITORIAL MARKS: Editorial marks are made directly to the manuscript
in the body of the copy. If this is not possible, insert corrections above or
below the line of type and indicate placement with a carot . If there are
several corrections, place them in the right margin, in sequence and separated
with a diagonal line.
PROOFREADER'S MARKS: Place proofreader's marks in the margins of a

proof with their position indicated in the text with a carot. If there are
several errors in the same line, place the marks in sequence, separated by a
diagonal line. If the lines of type are long, divide the page down the center
and place the corrections in the margins on the side of the page where the
error occurs. If you are marking cold-type proofs, place a tissue overlay
over the text and mark the corrections on the overlay.
1-61
Proofreader's Marks, Continued
Marks Figure 1-45 shows editorial marks for copy preparation.
Figure 1-45.—Editor's marks.
1-62
Marks Figure 1-46 shows proofreader's marks for text.

(Continued)
Figure 1-46.—Proofreader's marks for text.
1-63
Marks Figure 1-47 shows proofreader's marks for spacing.

(Continued)
Figure 1-47.—Proofreader's marks for spacing.
1-64
Marks Figure 1-48 shows proofreader's marks for punctuation.

(Continued)
Figure 1-48.—Proofreader's marks for punctuation.
1-65
Marks Figure 1-49 shows proofreader's marks for alignment.

(Continued)
Figure 1-49.—Proofreader's marks for alignment.
1-66
Preliminary Before reviewing text and illustrations, do a preliminary review. Run through
review the copy several times, looking for different errors each time. A checklist
will make sure the proofreader does a thorough job searching for errors.
Start at the beginning of the copy for each step in the following checklist.
Preliminarv review:
Step Action
1 Review the copy to see if all pages are in sequence and the artwork
is available.
2 Locate the cover. Write the word "cover" in the upper-left corner
and circle the word. If the cover is art, write on a blank piece of
paper the same size as the artwork and write "cover-see artwork
submitted." This is page number one.
3 Number the pages. At the end of the last page write "all" and circle
it.
4 Check to make sure the classification is correctly marked on each
page and that the distribution statement is correct.
Now you are ready to concentrate on the text review.
1-67
Text review Once you complete the preliminary review, begin marking type styles and
sizes. Stamp or write, in the upper-left corner of each page, the type style
and size, desired leading, and the width of the line. Mark headings, legends,
and display lines separately maintaining uniformity throughout the document.
Mark legends for type size and length of line. Key artwork into the
manuscript by inserting the notation "illustration no. inserted here."
Make sure all text to be set in italics, small caps, and caps are correct.
Underlining a word indicates italics, two underlines means set the text in
small caps, three underlines means large caps and a wavy underline means
set the word in boldface.
Margin and Review the copy again, this time mark all indentations. It is not necessary to
indentation mark paragraphs if they are clearly indicated in type. Marks for paragraphs
review include the paragraph sign (¶), or the em square . Mark "fl" next to lines
that run flush. Mark unusual indentations. Numbers 1 through 9 are
indented 1 em or 1 en (1 nut), while two-digit numbers are set flush to align
figures set in type. Set tables one type size smaller than the main body type
and set box heads one type size smaller than table type.
Clarity Nothing should be left for the printer to question. Mark anything that is not
easily understood. Emphasize mathematical symbols, Greek letters, unusual
spellings and abbreviations. Indicate that these irregularities must remain by
marking "stet" or "follow" next to them. If making notations on the copy,
circle it so that the printer does not confuse it with the copy. Once you
complete your review of the text, edit the copy again to make sure you are
consistent with your marks and instructions.
1-68
Clarity Figure 1-50 shows an example of text marked for the printer.
(Continued)
Figure 1-50.—Text marked for the printer.
1-69
Clarity Figure 1-51 shows an example of paragraph and indentation marking for the
(Continued) printer.
Figure 1-51.—Paragraph and indentation marking for the printer.
1-70
Artwork review In reviewing artwork, you must be able to determine if it will reproduce
properly. Submit original art for reproduction. The artwork should be of
higher contrast than the contrast desired in the final reproduction. Use the
following checklist to review artwork.
Artwork review:
Step Action
1 Check each piece of artwork for copyright. If you use copyrighted

material, review the letter of permission to make sure your use falls
within specified parameters and a credit line appears to indicate its
source.
2 Check line resolution. Lines should be dense and black without
filling in or blurring.
3 Check the accuracy of the crop marks.
4 Review the instructions to the camera operator for clarity.
5 Check each overlay for the correct color notations and registration
marks.
6 Make sure the preferred reproduction treatment and finished shape
appears on each piece of art.
7 Each piece of art should have the title of the job and a figure
number assigned. Assemble all of the artwork in sequence, number
them consecutively and write the plate number on the flap or cover
attached to the illustration.
1-71
Paste-up review The mechanical is ready for review after all text and illustrations are scaled,
cropped, typeset, proofed, checked, and pasted into place. This is the last
chance for correction before the printer begins to prepare press plates.
To review the mechanical, follow this table:
Step Action
1 Review the mechanical for cleanliness.

2 Erase all pencil guidelines.
3 Remove excess adhesive.
4 Examine line resolution for breaks or irregularities..
5 Eliminate smearing and smudges.
6 Make sure all instructions are clear and convey exactly the
preferred finish treatment.
1-72
Quality Control
Introduction Vigorously control the quality of the mechanical before it leaves the shop to
minimize production expenses and needless delays poorly executed
mechanicals create. But, quality control extends beyond the shop and into
your follow-up with the print shop.
Precautions Once the job is sent to the printer, periodically check on its progress.
Anticipate problems and offer assistance. Do not change a job in progress.
During lengthy preparation periods, inform the originator on the progress of
the job and any problems with the job. Insist on quality at every stage of
execution.
1-73
Summary
Review This chapter covers traditionally created mechanicals for offset lithography
from prepress considerations to quality control of the finished publications.
Good preparation and planning are paramount in typesetting, copyfitting,
scaling, cropping, retouching, and pasting copy for reproduction. Follow the
tables within this text or develop your own checklists to ensure professional
quality mechanicals leave the shop. Avoid common pitfalls in printing. The
time you save by thorough preparation is phenomenal.
Comments The skills Lithographer's Mates possess for reproducing material of

uncompromising quality is greatly undervalued in the charged atmosphere of
electronic digitization. For a real education on printing and the effects of
good and poor mechanical preparation, find a Navy Print shop and follow a
job from the time it enters the shop until the time it leaves. Obtain and
complete the LI training manual. There is no better way to learn the subtilies
of creating artwork for reproduction or halftones, and negatives of correct
density than to experience it. Learn quickly before it becomes a skill lost to
technology.
1-74
CHAPTER 2
AUDIOVISUAL PRESENTATIONS
Overview
Introduction Part of your job as a DM is to prepare visual aids to support instructional

activities, command briefings, conferences, and lectures. These events may use
a variety of communication and projection devices to convey statistical data
and operational information clearly and rapidly. An effective visual promotes
efficient communications.
Match media products with intended audiences.
Catalog, file, and store graphs, charts, prints, slides, and viewgraphs.
Create master art for slides or viewgraphs.
Mount and mat artwork and photographs.
2-1
Overview, Continued
Topic See Page

Media Selection 2-3
Posters 2-4
Lecture Pads 2-5

Organization Charts 2-6
Flow Charts 2-16
Graphs 2-18
Mounting 2-25
Matting 2-32
Viewgraphs 2-35
Slides 2-48
Computer-Generated Presentations 2-51
2-2
Media Selection
Introduction Selecting the most appropriate method of presentation depends upon the
objectives of the originator and the intended message. Often, the originator
makes this decision before requesting artwork. However, if the choice has
not been made, or the originator is open to suggestion, your expertise in
presentation methods becomes invaluable.
Types of aids Once the objectives and information have been set, make a decision on how
to effectively convey the information and what type of training aids you
intend to use. A flyer or poster may suffice, or perhaps the information
warrants a lengthy brief. Regardless of the form of presentation, the two
major types of briefing or training aids are manipulative aids and
demonstrative aids.
Manipulative Manipulative aids are training aids that physically require audience
aids participation. This method could be complicated and tax the intellectual and
physical abilities of the student, such as a flight trainer, or simple, such as
writing on a lecture pad. Manipulative aids teach skills.
Demonstrative As a DM, most of your work involves demonstrative aids. These training
aids aids present material or knowledge functions for the student to intellectually
digest. Demonstrative aids show objects, processes, or concepts. They
depict things that are naturally invisible (gases, electrons), hidden (internal
parts), obscure (difficult to understand), or dangerous. Demonstrative aids
can be dynamic or static.
Dynamic aids Dynamic aids are demonstrative aids that show movement, progressive
disclosure, or some form of change. Examples of dynamic training aids are
video, motion pictures, viewgraphs with overlays, and computer-generated
presentations and animation.
Static aids Static aids are demonstrative aids that are static in nature and do not depict
movement or change. Examples of static aids include lecture pads, posters,
slides, and viewgraphs and cartoons.
2-3
Posters
Posters Posters are a form of static display. They convey short messages simply and
directly. Their purpose is to attract attention and get a message across
quickly. The lettering on a poster should be a part of the design, and the
message should be as brief and clear as possible.
Figure 2-1 is an example of a poster.
Figure 2-1.—A poster.
2-4
Lecture Pads
Lecture pads Lecture pads are large pieces of paper bound together on an easel. Lecture
pads lend themselves well to impromptu or spontaneous briefing or training
techniques. They create the illusion of an intimate presentation. They can
also fail miserably as a presentation technique with an inexperienced
presenter. Some presenters request the DM to letter the lecture pad before
presentation.
Constructing Use freehand lettering to create the text. When you create a lecture on a
the lecture lecture pad for presentation, use the following guidelines:
Make the letters legible.
Use capital letters for short titles and capitals and lower case letters for
captions and phrases that exceed five or six words.
Optically space letters to present visually pleasing information in a logical

sequence.
Maintain adequate white space between lines of lettering to promote

legibility.
Use fresh markers that contrast sharply with the background color of the
lecture paper.
Confine the copy to short, descriptive text.
Limit each page to one major topic.
Avoid smudging lecture paper. Use a piece of scrap paper between your
arm and the paper surface.
Place a sheet of paper in between sheets of the lecture pad to prevent

markers from bleeding through and spotting the next page.
If you have many pages to letter, make a layout in black ink on a separate
sheet of paper or cardstock to slip underneath the page you are working on.
This will eliminate pencil lines and excessive erasures on the final product.
2-5
Organization Charts
Introduction Organization charts or diagrams graphically show the structure of an

organization. Organization charts may show the titles, departments, or
responsibilities of personnel in an organization. They also serve to outline
responsibilities and illustrate the chain of command. Create organization
charts that are clearly understood.
Organization To be effective, limit organization charts to showing lines of authority,

charts responsibility, the span of control, or functional relationships. Do not
include individual names. The three types of organization charts are the
structural chart, the functional chart, and the position or billet assignment
chart.
Structural A structural chart is the most simple representation of an organization. It

chart establishes basic control relationships and reporting responsibilities. It
contains a minimal amount of information.
Figure 2-2 shows a structural organization chart.
Figure 2-2. —A structural organization chart.
2-6
Organization Charts, Continued
Functional A functional chart shows the functions of the components represented. The
chart blocks of the chart contain text explaining the function of each component on
the chart.
Figure 2-3 shows a functional chart.
Figure 2-3. —A functional organization chart.
2-7
Position or A position or billet assignment chart shows the various billets required by the
billet components of an organization. This chart may show names, billets or titles,
assignment and grades of personnel in the component positions. Because names and
chart grades of assigned individuals change frequently, create a position or billet
assignment chart framework to laminate or save on permanent disk memory
before adding data that frequently change.
Figure 2-4 shows a position or billet assignment chart.
Figure 2-4. —A position or billet assignment organization chart.
2-8
Combinations The intended use of a chart should guide you in selecting the type of chart to
create. If the chart is small and simple, you may be able to combine all three
types of charts into one, however, combining too much information into one
chart makes the chart more difficult to use.
Figure 2-5 shows a combination chart.
Figure 2-5. —A combination organization chart.
2-9
Organization Chart, Continued
Chart format Organization charts should conform to specific standardized practices while
maintaining the principal points of completeness, simplicity, clarity,
symmetry, and unity.
STANDARDIZED PRACTICE: Section blocks should be the same size, and

drawn on the same level. In limited space, draw subsidiary components in a
vertical line directly below the parent component. When drawing lines of
authority to vertically drawn components, use one line and branch each
subsidiary unit from it. Do not use diagonal lines. Avoid crossing lines of
authority.
COMPLETENESS: Make an organization chart as complete as possible in

identifying component relationships. Write notes on subsidiary activities,
additional duties, inactive functions, and provide other clarifying statements.
Place the date in the upper-left corner.
SIMPLICITY: Eliminate confusing or complicated elements. Arrange

blocks to simplify lines of authority so long as the information on the chart
remains correct.
CLARITY: Clarity and simplicity are similar, not identical. A chart with
only a limited number of blocks is simple but if the lines are confusing or the
blocks or titles omitted, the chart is not clear.
Figure 2-6 shows effective and ineffective organization charts.
Figure 2-6. —A correctly and

incorrectly drawn organization
chart.
2-10
Chart format Figure 2-7 shows an organization chart modified to make it less complex.
(Continued)
Figure 2-7. —Simplifying organization charts.
2-11
Chart format SYMMETRY: You should create a visual balance of the chart on the paper,
(Continued) either symmetrically or asymmetrically. A chart that is not balanced on the
paper appears disconcerting.
Figure 2-8 shows an organization chart modified to make it balanced and

symmetrical.
Figure 2-8. —An organization chart modified to make it balanced

and symmetrical.
2-12
Chart format UNITY: Unity involves each component on the chart relating to the other
(Continued) components. No branch, unit, or section can exist by itself. Each element
must be clearly subordinate to a command authority.
Block As a general rule, make the blocks in an organization chart proportional.

construction The command block is usually the largest with successive level blocks
proportionally smaller. An exception is the functional chart where you
should allow more room for descriptive statements. Stagger blocks on levels
with numerous subdivisions to conserve space.
Figure 2-9 shows an organization chart redrawn with the numerous

subdivisions staggered to conserve space.
Figure 2-9. —Subdivision staggering.
2-13
Line The two types of line conventions used in organization charts are lines of
conventions authority and block lines. Create a legend on a chart that contains lines of
many resolutions or definitions.
LINES OF AUTHORITY: Lines of authority are solid lines that run either
horizontally or vertically from or to the center of each block. Take care not
to cross lines of authority as this confuses the path of command. To denote
liaison or intercommunication, use a dashed line and explain the relationship
in a legend.
BLOCK LINES: You may use many variations of line resolutions to indicate
special circumstances or relationships on an organization chart. If you do,
place a legend on the chart to explain their meaning. Use the following table
to determine the appropriate line convention for your organization chart.
Line Conventions Purpose

Solid line Existing, full-time subdivisions.
Dashed (hidden) Proposed, full-time subdivisions.

line - - - - - - - - - -
Alternating dot- Full-time subdivisions being abolished.

dot-dash lines . ._ . .
Dotted line . . . . . . . . . Inactive command components or components
manned upon mobilization
2-14
Line Figure 2-10 shows block line conventions.

conventions
(Continued)
Figure 2-10. —Line conventions.
2-15
Flow Charts
Introduction Flow charts show the steps or stages of a process. They show the sequence
of operations and the operations performed. You must be able to interpret
and translate various symbols to create a chart that is easy to visualize and
follow.
Symbols The language of flow charts is symbols. These symbols represent decision
points, devices, and functions. The symbols are uniform in meaning and
always have the same meaning regardless of where they appear. Symbols
drawn over themselves represent multiples or sequential steps. The multiple
symbols are drawn from front to back. Use a flow chart template to
construct a flow chart.
Figure 2-11 shows a flow chart template.
Figure 2-11. —A flow chart template.
2-16
Flow Charts, Continued
Symbols Figure 2-12 shows flow chart symbols in multiples.

(Continued)
Figure 2-12. —Flow chart symbols drawn in multiples to represent

multiple cards, reports, files, or tapes.
Flow The arrangement of flow chart symbols shows the direction of flow. Flow
direction is from left to right and top to bottom. If the direction of flow is
otherwise, indicate the direction with arrowheads placed at the point of entry
to the symbol.
Construction Most flow charts are intended for distribution so you should make a flow
chart on 8 1/2 by 11-inch paper or a size proportional to it.
To construct a flow chart, use the following table:
Step 1 Action
Draw the primary flow lines in nonreproducible pencil. Allow
1 enough space in between these lines for the largest symbols and
any additional flow lines, arrowheads, and notes.
2 Using the template, draw the symbols in nonreproducible pencil.
Set the symbols equidistant from each other.
3 Ink over symbols.

4 Ink over flow lines and arrowheads.
5 Add lettering.
2-17
Graphs
Introduction Graphs are a graphic representation of quantitative data such as a table or

chart. A graph, or chart, conveys information, data, and statistics for
comparison, analysis, and prediction. Graphs are easier to understand than a
table of text and figures. The graphs covered in this segment are rectangular
coordinate graphs, bar graphs, line graphs, percentage bar graphs, and pie
charts.
Rectangular Rectangular coordinate graphs show the relationship between two or more
coordinate variables. You can plot a large number of points and compare their related
graphs curves to show overall trends as opposed to absolute quantities. These points
or coordinates reflect quantities in relation to a given reference frame.
Reference A reference frame of a rectangular coordinate graph is a vertical and a

frame horizontal line that intersect at a 90-degree angle. The vertical line is the
y-axis and the horizontal line is the x-axis. The point of intersection of the
y- axis and x-axis is the coordinate 0, (0,0), or origin. This intersection
creates four quadrants, numbered counterclockwise I, II, III, and IV. The
following table lists the value of each quadrant:
Quadrant Value
Quadrant I Positive values along each axis.
Quadrant II Negative x-axis values, positive y-axis values.

Quadrant III Negative values along each axis.
Quadrant VI Positive x-axis values, negative y-axis values.
2-18
Graphs, Continued
Reference Figure 2-13 shows a reference frame of a rectangular coordinate graph with
frame the quadrants indicated.
(Continued)
Figure 2-13. —A rectangular coordinate graph.
2-19
Graphs, Continued
Coordinates or The coordinates or points on a rectangular coordinate graph represent

points quantities. You can plot a large number of points in a compact space to show
several related quantities. Show the coordinates on the graph as a pair of
numbers placed inside parentheses and separated by a comma. List the
x-coordinate first, followed by the y-coordinate. If the point has a letter
designator, for example P (point), place it to the left outside of the
parenthetical coordinates.
Figure 2-14 shows a rectangular coordinate graph with designated points.
Figure 2-14. —The coordinates of point P.
2-20
Graphs, Continued
Bar graphs A bar graph shows, by varying lengths of parallel lines, comparisons or
trends in quantitative measure. Plot constant values along the x-axis and
dependant or variable values along the y-axis. Providing the information is
kept simple and a legend defines the bar representation, you can display more
than one set of figures on a bar graph.
Figure 2-15 shows a simple bar graph.
Figure 2-15. —A bar graph.
2-21
Graphs, Continued
Bar graphs To construct a bar graph, use the following table:

(Continued)
Step Action
1 Use an x- and y-axis as a reference frame.

2 Determine which axis to assign each value.
3 Select a paper size. Fill the entire page proportionally. Allow for
margins, figures, and explanatory notes.
4 Determine a scale for the x-values.
Leave space between the y-axis and the first plot.
Leave an equal amount of space after the last plot as you left
between the y-axis and first plot.
Center the parallel bar over the plot along the axis.
5 Determine a scale for the y-values.
Use the largest value and round this to the next higher number.
Make sure to leave space for the margins, title, and explanatory
notes.
Divide the remaining space by the number of values you require
and select an appropriate dimension.
6 Lay out the x-axis.
7 Lay out the y-axis.
8 Plot the values.
9 Ink or tape in the axes and bars.
10 Letter the graph.
2-22
Graphs, Continued
Line graphs Line graphs are similar to bar graphs except that instead of drawing parallel
bars, you plot a series of points with the coordinates. You then connect these
points with a line. The lines may be of varying resolutions or colors
provided you have drawn a legend on the chart to explain the meaning of
each line.
Figure 2-16 show a line graph.
Figure 2-16. —A line graph.
2-23
Graphs, Continued
Percentage bar There are two graphs you may use to represent percentage breakdowns,
graphs percentage bar graphs and pie charts. Construct a percentage bar graph as
you would a bar chart. However, each parallel bar extends full measure up
the y-axis and has a sum total of 100 percent. Divide the parallel bar into
percentages and indicate these figures within the section to which they
pertain. To further clarify quantities, add color or shading to the various
segments within the bar.
Figure 2-17 shows a percentage bar graph.
Figure 2-17. —A percentage bar graph.
2-24
Graphs, Continued
Pie charts Pie charts are another way of illustrating a percentage breakdown. Pie charts
work well with information that is simple and has few divisions. To plot a
pie chart, you should know angular measurement and how to use a
protractor.
Angular A pie chart is based on a 360-degree circle. Three hundred sixty degrees
measurement represents 100 percent. You should have solid information on the percentage
value that the segments of the pie represent. Multiply the percentages
individually by 3.6 to find the degree of angle to plot with the protractor on
the pie. When you add up the plotted segments, you should have 100
percent. The formula for determining angular measurement on a pie chart is
to take the given percentage and multiply by 3.6.
Figure 2-18 shows a completed pie chart.
Figure 2-18. —A pie chart.
2-25
Mounting
Introduction Sometimes, an originator asks only that you affix a photograph or artwork to
a piece of cardstock. If the resultant work is used in a presentation, you must
take great care to make the cardstock and image presentable and to keep all
surfaces free of residual adhesive and dirt.
Mounting There are two ways to mount artwork to cardstock, the cold press technique
and the hot press technique. Each technique uses wet and dry processes.
Cold press The cold press technique for mounting photographs and artwork involves
using adhesive-backed paper or acetate, aerated rubber-based cement,
aerosols, rubber cement, pastes, and wheat paste. The dry prcess uses
adhesive-backed paper or acetate and aerated rubber-based cement. With the
dry process, there is no liquid to spread. Dry processes allow little or no
repositioning or correction. The wet process uses rubber cement, spray
adhesive, pastes, and wheat paste. Wet processes are repositionable until
dry, but their moisture could damage the image surface if the paper becomes
saturated.
2-26
Mounting, Continued
Cold press To use an aerated rubber-based cement and associated press, use this table:
(Continued)
Step Action
1 Unroll the adhesive and its backing sheet on a cutting surface,
adhesive side up.
2 Position image face up on the adhesive and lightly press around the
edges with your hand.
3 Trim adhesive and backing sheet to edges of the image.
4 Place the adhesive sheet and image face down on the bedplate.
Cover the item with the bedplate protective cover. If you do not
have a bedplate, cover the item with scrap card stock and burnish
the back with an agate burnisher, rubber roller, or spoon back.
5 Crank the bedplate handle to move the bedplate between a pair of
rollers.
6 Remove the bedplate cover.
7 Remove the paper backing sheet from the image to expose the
cement.
8 Position the image on the presentation cardstock and repeat steps 4
through 6.
2-27
Mounting, Continued
Cold press To use rubber cement or an aerosol rubber cement, use this table:
(Continued)
Step Action
1 Cut out the artwork to correct size.

2 Use a nonreproducing blue pencil to lightly mark the position of
the artwork on the mounting board.
3 Apply rubber cement or spray adhesive to the face of the mounting
board within the area defined by the pencil marks and the back of
the artwork.
4 Allow the cement to dry.
5 Place a slip sheet of paper or tracing paper over the cement covered
surface of the mounting board leaving approximately 1/4-inch
exposed at the top. Use two slip sheets when mounting large
pieces and slide them out from the center.
6 Position the artwork face up and firmly press against the top (or
center).
7 Slowly slide the slip sheet out of the way while smoothing the
artwork against the mounting board. Smooth from the center of the
artwork to the edges.
8 Place a clean paper or tracing paper over the image and continue to
burnish the image into place with an agate burnisher or rubber
roller until it is secure.
9 Use a rubber cement pick-up (crepe laytex) to remove excess
cement and cement residue.
2-28
Mounting, Continued
Cold press Figure 2-19 illustrates the steps involved in using rubber cement.
(Continued)
Figure 2-19. —The steps involved in using rubber cement or an aerosol

rubber cement.
2-29
Mounting, Continued
Hot press A hot press technique uses heat or heat-activated adhesive to mount
photographs and artwork to cardstock. The disadvantage of this method is
that the high temperature may harm the artwork. Hot glue guns and waxers
are wet processes. The hot adhesive is fluid until set. The dry process of
hot press mounting uses a press set to a very high temperature to activate a
thin sheet of adhesive placed between the art and cardstock. Use a lower
temperature setting when you mount photographs as the heat ruptures the
surface emulsion. Products using wax-based adhesives, such as shading
sheets or lettering strips, melt in the heat of the process. Art mounted with
hot glue or dry mount is not repositionable; art mounted with wax. is
repositionable until it is burnished.
To use a dry mounting press, use this table:
Step Action
1 Turn on the dry mount press. Set the temperature to 200 to 250
degrees.
2 Plug in and turn on a tacking iron.
3 Cut a piece of mounting tissue the same size as the artwork.
4 Tack the mounting tissue to the back of the artwork with the
tacking iron. If you have to use more than one sheet of mounting
tissue, leave a narrow seam between pieces. Do not overlap the
edges. Overlapping will leave a visible seam on the face of the art.
5 Position the art on the cardstock.
6 Cover the face of the print and using the tacking iron, lightly spot
tack the art to the cardstock.
7 Place the art (covered with the protective paper) on the bed of the
hot dry mount press.
8 Apply pressure to the bail or handle that lowers the press for
approximately 10 seconds.
9 Remove the mounted print from the press.
2-30
Mounting, Continued
General Adding a chemical, particularly an adhesive, to a print or piece of artwork

will eventually degrade the image. Petroleum-based adhesives yellow and
discolor the image. Synthetic adhesive may yellow or darken, become
brittle, or accelerate image deterioration. Select an adhesive carefully. Make
sure the adhesive you choose will not harm the art. Apply an adhesive
carefully. Make sure your work area and your hands are clean before you
begin work. Try not to smear adhesives over the work area and clean the
working surface after you complete the job. If there is a question of
permanence, opt for an archival quality adhesive or adhesive tape and stick
only the corner areas.
2-31
Matting
Introduction A mat is a border made of paper or illustration board that compliments as it

surrounds an image. Matting a picture is done for protection, ease of
handling, framing, and appearance. Before displaying or presenting a
certificate, a photograph, or a piece of artwork to an individual, you should
mount, mat, and if possible, frame it. It takes skill to cut professional
looking mats.
Mats A mat focuses your attention on the image within the mat. When used in a
frame, mats protect image surfaces from direct contact with the glass that
may trap moisture and cause mildew. When used alone, mats protect image
areas from fingerprints and smudges.
Tools To cut a mat requires skill and patience. You need a pencil, a rule, a steel
straightedge, a crafts knife with a sharp blade, sandpaper or an emery board,
tape, a matboard, and a backing board. You may be fortunate enough to
have a hand-held mat cutter or, better still, a carriage-type mat cutter.
Mat The width of the top and the sides of a mat are equal. The width of the
proportions bottom of the mat is slightly larger in dimension than the top and sides. A
good ratio to work with is 3 to 4.
Cutting a mat The key to successful mat cutting is to use a sharp blade in your knife. The
by hand first thing you prepare should be the blade. Lightly mark the mat dimensions
on the surface of the mat. Place the steel straightedge on the mat and cut
along the inside edge. That way, should your knife slip, the cut would be on
the portion of the mat you intended to discard. Begin your cuts at the
corners. Hold the knife at a right angle to the mat to make a square cut and
at a lesser angle to make a bevel cut. Maintain the same angle of cut for all
sides of the mat.
2-32
Matting, Continued
Cutting a mat To cut a mat by hand, use this table:

by hand
(Continued)
Step Action
1 Measure the opening of the frame or determine the overall

dimension.
2 Measure the image area you want exposed through the mat.
3 Cut a matboard and a back board the same size as the opening in
the frame or the overall desired dimension.
4 On the surface of the mat, lightly mark the dimensions of the mat
opening.
5 Place the steel straightedge on the mat surface to guide your blade.
6 Beginning at the corners, cut through the matboard.

7 Remove the unwanted portion of the mat.
8 Using a piece of sandpaper or an emery board, remove jagged or
rough edges.
9 Carefully remove pencil lines with a nonabrasive eraser.
10 Place a piece of tape along the top edge of the image with the
sticky side half on the back of the image and half exposed.
11 Carefully position the mat over the image area and press down over
the tape.
12 Put the back board behind the matted image and place in the frame.
If you are not framing the matted image, secure the back board to
the back of the matboard with double-backed tape.
2-33
Matting, Continued
Cutting a mat Cutting a beveled mat with a carriage-type cutter is easier than cutting one by
with a carriage- hand. Some carriage devices cut straight-edged mats while other cutters cut
type cutter oval or round mats. You can use a combination of both types of mat cutters
for creative or decorative cut mats. The devices maintain a precise angle of
cut while you draw the cutting blade across a fixed beam. The blade remains
the primary key to cutting a successful mat.
To cut a mat with a carriage-type mat cutter, use this table:
Step Action
1 Measure the inside dimension of the frame or determine the overall

dimension of the desired mat.
2 Measure the image area that you want exposed through the mat.
3 On the back side of the mat, mark the dimensions of the desired
opening.
4 Adjust the cutter stops on the carriage to correspond with the
measurements of the inside diameter of the mat, or the major and
minor axis of a round or oval mat.
5 Position the matboard face down and align with the left edge of the
mat cutter. Apply pressure to the carriage to secure the matboard in
place.
6 Insert the blade approximately 1/16 th inch above the corner and
draw the blade down the carriage beam to just beyond the bottom
corner. The stops on the carriage will stop your stroke.
7 Reposition the matboard for each side. The carriage for a round or
oval mat will cut the mat in one continuous circular movement.
8 Remove the unwanted portion of the mat.

9 Smooth out jagged or rough edges with sandpaper or emery board.
10 Place and attach the image into the mat and the mat onto the
backboard.
2-34
Viewgraphs
Introduction Viewgraphs are the most common and versatile media for visual
presentations. They offer spontaneity and interaction. Once the media of
choice, they lost popularity to the 35mm slide. However, computer-
generated graphics and color printers have bolstered their popularity.
Sometimes, the viewgraph is the appropriate media to recommend for a
presentation.
Advantages There are many advantages of viewgraph presentations. Viewgraphs are easy
to change, right up to the last minute. They are large in format, allowing for
easy preview. Their size approximates a notebook or binder. The projection
device is easy to work and overhead projectors are commonplace. You can
make paper copies from the same artwork used for the viewgraph to
distribute to the audience and increase audience participation. Viewgraphs do
not require a totally darkened room to project. Providing you use the right
type of marker, you can reuse viewgraphs that have blanks to fill in from
class to class.
Disadvantages There are few disadvantages of viewgraphs. Primarily, viewgraph

presentations require someone to switch viewgraphs as the presentation
progresses. If left to an inexperienced person, the presentation may look
amateurish or slipshod.
Format The standard aperture area of a viewgraph is 7 1/2 by 9-inch. Using a

horizontal format maximizes presentation area by filling the viewing screen.
Mixing horizontal and vertical formats in the same presentation may prove
distracting and vertically oriented viewgraphs can bleed on to the floor or
ceiling.
Artwork Keep images simple. Limit concepts presented by projecturals to a single

topic. Break complicated visuals into a series of simple images for
presentation. Use color purposefully to emphasize or clarify detail. Keep
reduction in mind. Often, artwork created for a viewgraph will wind up as a
slide.
2-35
Viewgraphs, Continued
Layout Begin your artwork with a layout sheet placed under your transparent or
translucent paper. Make this sheet from gridded paper and indicate the
aperture outline for viewgraphs, slides, and television cards. Mark the true
center and the optical center distinctly. Place three or four registration marks
outside of the largest aperture opening to key masters and overlays for color
separation work.
Figure 2-20 shows a lavout sheet.
Figure 2-20. —A layout sheet.
2-36
Handmade The quickest way to make a viewgraph is to take a felt-tipped marker or

viewgraphs grease pencil and mark directly on the surface of an acetate sheet. Drawing
inks do not adhere to the slick plastic surface of the viewgraph. Some felt-
tipped markers are permanent and others erase with water. Strokes appear to
pool or be uneven in density when you use markers to fill large areas with
color. Use this unavoidable effect creatively. If you want areas of solid
color without apparent strokes, use an adhesive-backed color acetate and
burnish it carefully to the acetate surface.
Lifts You can use the lift method to create one-of-a kind viewgraphs. You lift an
image from a printed image using rubber cement, adhesive-backed acetate, or
the dry mount press. Each technique destroys the page and can only be used
once. The image you select to lift must be an image printed on a clay-based
paper stock. To test for clay in the paper stock, moisten a small portion of
the paper and rub your finger over the wet area. If you can easily rub away
the paper surface and it leaves a white, chalky residue on your fingers, it is
clay coated.
Figure 2-21 shows the steps involved in lifting images from a printed page.
Figure 2-21. —Lifting an image from a pre-

printed page.
2-37
Lifts To make a lift from an image on clay-based paper, use this table:
(Continued)
Step Action
1 Select the image you intend to lift. Make sure it is not copyrighted
and remember that you will destroy the paper copy.
2 Test the paper for clay content. If the paper leaves a white chalky
residue, you may proceed to lift the image. If the paper does not
contain clay, you cannot lift the image.
3 Choose the method of lift. Lifting methods do not vary

significantly. With the rubber cement method, you coat both the
acetate and the image face with rubber cement. Allow the two
surfaces to dry before adhering them together.
4 Place the image under the acetate and carefully burnish the image
into the adhesive. With a dry mount press, place the acetate film
and image into a dry mount press and heat them for 5 to 10
minutes.
5 Soak the acetate covered image in warm water. Mineral spirits also
work well. Be careful not to dissolve the inks in the image.
6 Gently rub the paper back by hand or with a sponge until the paper
fibers disappear to expose clear acetate. Rubbing too hard will
damage an already softened image.
7 Fix the back of the image with fixative or clear lacquer before
using.
2-38
Diazo Making a viewgraph with the diazo process involves using specially treated
films and papers and a diazo printer. Diazo film, foils, and paper treated
with a mixture of diazo salts and azo dyestuff form images in colors and
black. The salts are light sensitive. After you expose a foil to a light source,
particularly an ultraviolet light, develop it in an alkaline medium, such as the
vapors of commercial ammonia (ammonia hydroxide) with a reading of 26°
Baumè. The salts combine with the azo dyestuff during the development
process to leave an image. Exposure time in the printer is critical, develop
only long enough to obtain maximum color saturation.
Figure 2-22 shows the diazo process simplified.
Figure 2-22. —The diazo process simplified.
2-39
Master artwork The diazo process requires the creation of master artwork. Prepare this art
on a good quality, fine fiber translucent or transparent paper. Make the
image area opaque. Light must pass through areas that are not to result in
an image, while opaque areas are necessary to block the ultraviolet light for
an image to appear. Use the same paper stock for all images in the series.
This procedure eliminates changing exposure time in the diazo printer and
minimizes film waste. Master artwork for the diazo process is a one-to-one
reproduction ratio. For enlargements or reductions, use a copy camera. You
can use the same master artwork repeatedly.
Figure 2-23 shows a simplification of the diazo sandwich.
Figure 2-23. —A simplified diazo sandwich.
2-40
Exposure and The exposure and development of diazo foils and papers are by trial and
development error. The variables that effect exposure and development are the
translucency of the master, the color foil selected, the age of the foil, the
intensity of the light source, and the degree of saturation of the ammonia
vapors. Once you make an acceptable exposure, write the exposure time
down on paper and keep it near. Refer to it for the basis of all other
exposures in that series of foils. When running multiple overlays for
registration on a master viewgraph, run all foils for that viewgraph in the
same direction to minimize the distortion caused by shrinkage or expansion
from exposure to the heat of the light source.
To expose and develop a diazo foil, use this table:
Step Action
1 Remove a foil from its light-proof package.

2 Locate the manufacturer's nick and place it in the upper-left corner
as you face the foil. This ensures that the emulsion side is up.
3 Place the master artwork either face up or face down on the foil.
Emulsion to emulsion between art and foil results in images with
the least distortion.
4 Feed combined art and foil into the machine for exposure.
Exposure is variable. Once you obtain the correct exposure, write
it down and use it as a basis for all other exposures.
5 The art and foil will exit the exposure section of the diazo machine
and the machine will automatically separate the art into the forward
bin while the diazo foil continues into the development section.
6 Develop the foil only long enough to obtain maximum color
saturation. In some cases, you may have to slow down the speed of
the machine.
7 The developed foil exits the machine either to the top bin or the bin
in the back of the machine.
2-41
Diazo reversals Using a negative image instead of a positive image can be advantageous when
you want to focus viewer attention on the screen. Negative transparencies
are known as reversals. They have a clear image on a dark or colored
background. Reversals are easier on the eyes than positive images. To
prevent eyestrain, do not mix reversals with positive image viewgraphs.
Start with a negative image master or make your own negative by using a
commercially available reversing film in the diazo machine.
Figure 2-24 shows an example reversal.
Figure 2-24. —A reversal.
2-42
Diazo You may duplicate artwork to distribute or exchange with other commands.
intermediates Duplication eliminates the need to redraw existing art. Duplicate the original
artwork on a diazo intermediate foil such as a sepia, sepia matte, or orange
sepia. Make sure the image is dense. Corrections, additions, or deletions
are easily made on intermediates.
Thermographic You can use a copier to produce viewgraphs. The master art need not be
or electronic translucent to reproduce on a copier. The only requirement is to change the
production paper in the paper tray for acetate. The acetate foil produces a black image
on a clear or colored background. The primary disadvantage of a
thermographic or electronically produced viewgraph is that the image is a
surface deposit of toner that may crack and flake off or be easily scraped.
Computer- Computers are capable of producing viewgraphs. Several software packages

generated offer image and text integration for export as a viewgraph and/or paper
production products. The computer is. also capable of displaying these images on a
monitor or projecting images on a screen much like an overhead projector.
With some presentation software packages, you can command a computer to
change images automatically by entering the seconds of display desired and
the mode of transition.
2-43
Mounting a Once you produce a viewgraph, you should mount it, particularly if it is part
viewgraph of a canned or permanent brief. Standard sized precut mounts are available
with generally similar aperture openings. Mounts may be plastic or
cardboard. If you have to make your own mount, any lightweight, opaque
material will suffice. Position the viewgraph face down in the aperture
opening, tape all around the edges of the foil out of the way of the image area
with transparent plastic tape. Masking tape does not hold up well under
excessive handling and heat. Cellophane tape will become brittle with age.
When mounting more than one foil on a multi-foil static projectural, tape the
edges of each foil with a 2-inch strip of tape and the final foil all the wav
around.
Figure 2-25 shows a foil taped to a mount.
Figure 2-25. —Taping foils to the back of the frame.
2-44
Overlays The use of overlays is one of the most effective features of overhead
projection. Using overlays is one way to turn a static display into a dynamic
display. Overlays progressively and selectively reveal elements and portions
of information to enhance communication. Mount the base foil to the mount
first. Fasten each overlay with tape or commercially available hinges on the
left or right side of the veiwgraph. If mounting multiple overlays in a given
sequence, tape them all on one side of the mount. This ensures that they will
always appear in order. If there are many overlays for consecutive
disclosure, start taping the overlays on the right side, working clockwise until
the last overlay is taped along the top edge. Trim off any excess acetate to
make the overlay lie smoothly against the mount. Attach small tabs of tape
to the edges and number in sequence.
Figure 2-26 shows a multiple foil overlay.
Figure 2-26. —Multiple foil overlays.
2-45
Progressive Another method of creating progressive disclosure on a static viewgraph is to

disclosure block or mask portions of it with an opaque card. The items you may use to
block viewgraph portions include solid, opaque cards slid down the projected
surface of the viewgraph, or hinged cards gradually peeled away to reveal
information. Irregularly cut masks block selected images and create interest.
Figure 2-27 shows a static viewgraph illustrating the progressive disclosure

techniques for presentation.
Figure 2-27. —Viewgraphs that show progressive disclosure

techniques.
2-46
Motion You can simulate the effects of motion by using stressed cellophane and a
rotating polarized spinner. As light travels through stressed cellophane and
the polarized spinner, the light waves vibrate and the axis of the light wave
turns. The severity and direction of vibration depend upon how the stressed
cellophane and polarized spinner are oriented relative to each other.
Commercially available products to simulate motion are available from a
variety of manufacturers.
Figure 2-28 shows how to achieve the effects of polarized motion.
Figure 2-28. —Creating the illusion of motion.
2-47
Slides
Introduction Color slides are a popular and effective media for presentation. Much of the
artwork you produce for a viewgraph, you may use for a 35mm slide with
little alteration. At times, you may produce slides by directly photographing
a scene or machinery. Slides are often the most appropriate method to
recommend.
Advantages One of the advantages of a slide presentation is economy, particularly if

multiple copies are needed. Their compact size makes them easy to transport
and distribute. Users can adapt or combine presentations merely by adding
or deleting slides. You can reverse the slide sequence or select any slide in a
tray at any time during a presentation. Projected slides are large visual
displays that make it easy to point out specific elements.
Disadvantages The primary disadvantage of using slides in a presentation is the requirement

to dim the light to achieve maximum color saturation of the projected image.
Format The format of the artwork created for 35mm slides is different from the
format for art created for use in a viewgraph. The format for art intended as
a 35mm slide is 6 4/10 by 9 1/2 inches. Create the artwork on a horizontal
format to maximize the total viewing area. Keep in mind that some theaters
and classrooms are not set up to project a vertically oriented slide without
silohetting overhead structures or bleeding on to the deck. Do not mix
horizontal and vertical formats in the same presentation.
Artwork You create artwork for a 35mm slide using any and all methods and medias.
You may have to travel to a job site to photograph machinery or scenes the
originator wants to include as part of the brief. When you create art for
color reproduction as a 35mm slide, no stray marks may appear and the
image surface must remain scrupulously clean. The sensitive nature of color
slide film reproduces every flaw including fingerprints.
Layout Create a layout sheet as previously covered for veiwgraphs and use this sheet
to layout all master artwork. To improve convenience and versatility, select
the aperture that corresponds to the majority of the media you produce and
use the same aperture for every piece of art.
2-48
Slides, Continued
Mounting Slide mounts may be plastic or light cardboard. Generally, the photo lab that
develops the slides will also mount them for you.
Marking Slide mounts offer very little space to mark on. Use a permanent marker to
indicate the general subject and the classification. You may also want to
mark the slide to indicate the numerical sequence of the slide and to indicate
how to position the slide (thumbspot) in the slide tray for correct projection.
Thumbspots Thumbspots are marks or dots placed on the lower-left corner of the slide
mount (as you view the slide) that indicate the orientation of the slide for
correct projection. When you need to load a slide tray for front screen
projection, load the slides so the thumbspots are in the upper-right corner
when the slide is facing you. For rear screen projection, rotate the
thumbspot to the upper-left corner when the slide is facing away from you.
Figure 2-29 shows a slide marked with a thumbspot and the correct
positioning for placing the slide in the tray.
Figure 2-29. —Thumbspots.
2-49
Slides, Continued
Diagonal line Another way to indicate the correct orientation of a slide is to draw a line
method diagonally across the top of the slide mounts as you hold them all together.
If a jagged line occurs in this diagonal, you know that a slide is missing.
This procedure works primarily for canned slide shows that rarely change.
Figure 2-30 shows the procedure for marking a stack of slides with a
diagonal line.
Figure 2-30. —Marking slides with the diagonal line method.
2-50
Computer-Generated Presentations
Introduction As more commands install computer equipment, computers assume a larger

role in the production of art and in the presentation of it. Inevitably, you will
interface with a computer.
Generics Because so many software programs exist, and Navy shops have not
standardized the purchase of computer hardware or software, it is impossible
to cover in detail the steps required to operate the computer system in front
of you now. The best source of information remains the owner/operator
manuals.
Production Although the actual production of a viewgraph, a slide, or artwork has

metamorphisized into a sequence of keystrokes on a computer, knowledge of
graphic fundamentals, layout and composition, and color theory still
determine the success of the end product.
Presentation The role of the computer as a presentation device is still evolving. You can
view a presentation of static visuals directly from the computer monitor or
you can project them onto a screen. You create the visuals, set the viewing
time of each visual, and cue a dissolve or disintegrate the image into the next
image. You can also use the computer to create animation or motion.
Animation In animation, you draw the key positions of the figure in the extreme
positions of the desired movement. Then, you draw the drawings in between
the extremes. When you view the drawings in rapid succession, you simulate
the effect of motion. All of this took many drawings in tedious repetition.
With computer animation software, you click and drag the element into the
desired position and anchor it. The computer generates the transitional
drawings.
Motion/video Video imagery altered by computer and spiced with text integration provides
a dynamic presentation and powerful teaching device. Film footage on beta
tape fed through the computer can be altered and edited. Text integration
with a voice or music overdub creates a very polished professional
presentation. A limiting hardware factor is the amount of hard drive or
RAM memory.
2-51
Summary
Review This chapter covers presentation media from the simplest, most direct lecture
pad to the more sophisticated computer-generated presentation. The reliable
viewgraph and slide presentations are still used in commands that do not have
the means to purchase computer equipment.
Comments Match an originators needs with a presentation method. Traditional

presentation media all have specific purposes for which they are ideal. At
times, the computer may be the choice. Irregardless, the DM must have a
good foundation in layout, composition, color theory, and graphics
fundamentals. No amount of computer savvy can compensate for a lack of
visual literacy. Make sure you have a traditional education in graphic media.
In the absence of Navywide standard software, presentations intended for
travel or distribution might require more traditional methods.
2-52
CHAPTER 3
TELEVISION GRAPHICS
Overview
Introduction Shipboard closed-circuit television and shore commands with their own
television broadcast systems use graphics material. Television and video are a
visual imaging media. You should have a basic understanding of television
graphics and their preparation to fully exploit television as a communications
device.
Compare the impact of televised media to slide or viewgraph presentations.
Identify the transmission sequence in television theory.
Identify the aspect ratio of graphics prepared for television transmission.
Select a value scale or color key to use in television presentations.
Differentiate between disclosure devices in television transmission.
Construct a storyboard.
3-1
Overview, Continued
Acronyms The following table contains a list of acronyms you must know to understand
the material in this chapter:
Acronym Meaning
CCD Charge Coupled Device
CG Character Generator
CPU Computer Processing Unit

CRT Cathode-Ray Tube
RAM Random Access Memory

TV Television
Topic See Page

Page
Television Theory 3-3
Television Graphics 3-5
Character Generators 3-8
Studio Cards 3-9
Disclosure Devices 3-14
Basic Production 3-18
Series Production 3-21
Computer-Generated Production 3-22
3-2
Television Theory
Introduction Television is the offspring of three media-theater, film, and radio.

Numerous technical advances include programmable television, unlimited
channel access, stereo sound, vivid color, and video cassette and computer
hook-up. The basic theory remains focused on the cathode-ray tube (CRT).
Basic theory Television and video cameras detect and digitally convert light rays reflected
from a scene or subject into electrical impulses. These cameras use change
coupled device (CCD) technology to perform this conversion. Microphones
pick up and transmit sound as electrical impulses. These electrical impulses
are simultaneously sent to a transmitter or recorded on tape. To view the
program, the transmitter sends a signal to a television set that acts as a
receiver for the signal. Inside the receiver, the signals are separated into
impulses of video and audio. The video and audio circuits change the signals
into pictures on the face of the CRT tube and sound from the loudspeakers.
Figure 3-1 shows a pictorial diagram of the concept of television.
Figure 3-1. —The concept of television.
3-3
Television Theory, Continued
Television and Television and video cameras see light reflected from objects in a scene.
video cameras This light varies according to the lighting and shade on an object. A
television camera is optically similar to a movie camera but it does not use
film.
Picture tube The shape of a normal picture tube, or the aspect ratio is 3 to 4. It is the
ratio of the height to the width of a video frame or television tube. This
dimension approximates the dimensions or ratio of the normal range of
vision.
Figure 3-2 shows a representation of the aspect ratio of television.
Figure 3-2. —Television aspect ratio.
3-4
Television Graphics
Introduction The images you see on televison are a combination of human talents,
television (TV) graphics or recorded films. Color slides, credit captions,
titles, photographs, diagrams, and film footage all fall into the category of
TV graphics. Graphics intended for TV transmission are created on studio
cards or with a character generator (CG).
Limitations Within the 3:4 aspect ratio, there are three area limitations that affect the
creation of graphics intended for transmission. The three area limitations are
the scanning area, the essential area, and the border area.
Scanning area The total picture or area the camera sees is called the scanning area. The
transmission and reception of electrical impulses include a peripheral loss of
10- to 15-percent of the total scanning area. This loss results in distortion
and is less visible in scenes, where it appears as blurred resolution, and most
visible with text, where it renders text illegible.
Figure 3-3 shows the scanning area of a TV screen.
Figure 3-3. —Scanning area.
3-5
Television Graphics, Continued
Essential area The essential area is the part of the screen that displays images with
maximum resolution or clarity. Include all titles and lettering in the essential
area or the lettering will not project without distortion. The essential area is
also referred to as the safe title area.
Figure 3-4 shows the essential area, or safe title area of a TV screen.
Figure 3-4. —Safe title area.
3-6
Television Graphics, Continued
Border area The border area is as important to a graphic as the scanning and essential
areas even though the border area is part of graphic designed not to be seen.
The border area around a graphic protects it from damage by mishandling.
The border also prevents the camera from seeing past the art or card at some
behind-the-scenes activity.
Figure 3-5 shows-all the area limitations for TV graphics that we discussed.
Figure 3-5. —Area limitations.
3-7
Character Generators
Introduction When you intend to use only printed information on a graphic, you should
use a character generator (CG) to generate the text. A CG saves time and
removes the tedium of laying out mass quantities of text.
Character A character generator is a computer graphics system used widely in closed

generators circuit and broadcast television. It creates text (letters and numbers) in a
variety of sizes and fonts. A CG has a keyboard similar to a microcomputer
and can store text on a floppy or hard disc drive system. A CG requires no
special skill to operate and allows the user to make flawless letters.
Figure 3-6 is a character generator (CG).
Figure 3-6. —Character generator.
3-8
Studio Cards
Introduction Studio cards are artwork created for television transmission and are
frequently created on a cardstock or rigid backing. Rigidity makes cardstock
easier to handle in front of the camera. Studio cards are classified according
to function.
Size No single card size is appropriate for all television artwork or pictures. A
generally accepted standard for cards is 10 by 12 inches. Using this standard
size card offers the following advantages:
Easy handling. There is enough boarder to prevent damage to the art. It

is also easier to handle many cards on a card stand in front of the camera
when they are all the same size.
Easy filing. The size of this card easily fits into a standard size office
filing cabinet.
Economy. You can cut 9 standard size cards from 30- by 40-inch board
stock without waste.
Convenience. Most art and photographs fit this size card.
Style The style of a graphic should match the style of the program or subject.
Titles should reflect the character of the show without being tactless or
obtrusive.
Contrast The contrast of graphics cards for television reproduction refers to the
amount of light and dark areas in the picture. This is critical for good
reproduction, particularly in black and white transmission. Limit your
palette on a color graphic to three tints and two shades of each intense hue.
More than six values of a single hue are hard to distinguish. Light tints of
hues, such as a yellow, will fade into white. Shades of blues and reds may
appear black. Greys are difficult to reproduce accurately. Use a mat finish
paint or medium. The best way to determine the most responsive palette for
your television system is to experiment with it.
3-9
Studio Cards, Continued
Legibility Content (text or image) and image size affect the legibility of television
graphics. Contrast text sharply with the background. Reduce large or
complicated material to simple and essential elements or rearrange and divide
information into units. You should set standards of uniformity in text size by
defining the limitations in maximum and minimum height. Attempt to
confine text to no more than 10 words on the screen at a time. Eliminate
very fine detail from the imagery. Keep it simple and bold to increase
emphasis and strengthen impact.
Types The four types of studio cards are the standard studio card, the plain title
card, the illustrated title card, and the super title card.
Standard studio Standard studio cards contain only illustrations or pictures. Lettering never
cards appears on a standard studio card. Often, viewgraphs or 35mm slides are
made from the standard studio card.
Figure 3-7 is an example of a standard studio card.
Figure 3-7. —Standard studio card.
3-10
Plain title cards Plain title cards contain printed information or text only. The card is dark or
light with contrasting letters to give the needed information in as few words
as possible.
Figure 3-8 is an example of a plain title card.
Figure 3-8. —Plain title card.
3-11
Illustrated title Illustrated cards have both text and images. Image may be artwork or
cards photographic. Lettering may be on the card itself or on an overlay.
Figure 3-9 is an example of an illustrated title card.
Figure 3-9. —Illustrated title card.
3-12
Super title Super title cards have white lettering over a black background. The
cards background is later dropped out and the image transposed over the image
seen by another camera. Closing credits of a program are telecast with super
title cards. Do not superimpose text over faces.
Figure 3-10 shows a super title card.
Figure 3-10. —Super title card.
3-13
Disclosure Devices
Introduction Controlling the amount and the sequence with which information is shown to
a viewer is known as progressive disclosure. Any device or method used to
control disclosure is a disclosure device.
Analog or Analog or digital programmers are disclosure devices that make text appear
digital to roll onto the screen without disrupting regular television programming.
programmers Weather bulletins are an example of the use of an analog or digital
programmer.
Tilt cards Vertically oriented cards whose information exceeds the capabilities of the
camera and requires an up and down motion of the camera to transmit all
information are known as tilt cards. Use tilt cards only for creative effects or
when it is not possible to divide visuals into smaller segments.
Figure 3-11 is a tilt card.
Figure 3-11. —A tilt card that

vertically exceeds the vertical
limitations of the aspect ratio.
3-14
Disclosure Devices, Continued
Pan cards A card where the information exceeds the horizontal angle of view of the
camera and requires the camera to travel side-to-side, the length of the card,
is known as a pan card. Use pan cards only for creative effects or when you
cannot simplify visuals.
Figure 3-12 is a pan card.
Figure 3-12. —A pan card that horizontally exceeds the horizontal

limitations of the aspect ratio.
3-15
Drop-in or Information displayed on drop-in or drop-out cards appear to fall into or out
drop-out cards of view. These cards are advantageous for presenting large amounts of
information. These devices resemble a three-ringed binder rigged
horizontally. Perforations appear on the top or bottom of each card.
Figure 3-13 is an example of a drop-in/drop-out device.
Figure 3-13. —Drop-in/drop-out device.
3-16
Crawl A drum, called a crawl, rotated by hand or by motor to which you attach a
series of lettering on a long strip of paper, is known as a crawl device. The
lettering appears to scroll onto the screen and off again. Most often, the
lettering contrasts against a background and is superimposed over an image.
Many TV shows use a crawl device to display closing credits.
Figure 3-14 shows examples of crawl devices.
Figure 3-14. —A crawl device.
3-17
Basic Production
Introduction Television production is extremely complex and expensive. It requires a high

degree of coordination among many people. Standardizing procedures as
much as possible alleviates confusion. Breaking each scene into basic
elements or steps by story treatment, storyboarding, and scripting also helps
simplify the task of creating television productions.
Story treatment The story treatment is a word picture of the proposed presentation and is
usually written in the form of a scenario of the production on story cards.
Make decisions regarding the overall treatment, prevailing mood, and the
production content at this time. Make a detailed written treatment to clearly
define the direction the production is to take.
Figure 3-15 shows a blank story card.
Figure 3-15. —A blank story card.
3-18
Basic Production, Continued
Storyboarding A storyboard displays all the story cards associated with a production. A
storyboard or a planning board organizes the visuals or scenes in logical
progression. Write key scenes or points on 3- by 5-inch cards, one idea per
card. Repeat the process until no more ideas come to mind. Arrange the
cards in logical sequence. Edit by adding or deleting cards from the
storyboard. Arrange the cards to represent the continuity or flow of the
complex production.
Figure 3-16 shows a storyboard.
Figure 3-16. —A storyboard.
3-19
Basic Production, Continued
Script The script is the producer’s blueprint. It is a working plan used to translate
ideas into audiovisual productions. Script are necessary regardless of the
length or apparent simplicity of a production. The time and money they save
are worth the extra effort to create them. Scripts follow a planned pattern
beginning with an original idea for a scenario and ending with a word
diagram. A script contains more than the spoken dialogue; it also contains
the proposed production treatment (media), the action outline, the shot
breakdown, and the shooting order. In short, scripts should contain all
information required to complete the project, including scene locations,
costumes, camera set-ups, lighting requirements, props, and special
photographic and sound effects.
3-20
Series Production
Introduction At times, you may create a series of training segments or briefs. Make each
installment of a series similar in format and attitude. Maintaining uniformity
allows you to concentrate on the production without having to make the
preliminary decisions over again. Uniformity also identifies a particular
segment as part of a larger series and relieves the audience of having to
switch gears or mind set for each training segment.
Documentation When you create a training series, complete a folder for each installment.
Write down all the production information as accurately and detailed as
possible. Maintain continuity throughout the production by regularly
referring to the data complied in the first production folder. When necessity
demands alterations or changes, incorporate these changes throughout the
production, if practical.
3-21
Computer-Generated Production
Introduction Computers produce most of the graphics you see on TV news programs.
Although most commands do not require the high a degree of sophistication
that the networks do, there are several flag staff commands that use similar
technology. Some staff briefs require imagery manipulation and the
integration of supplemental information may appear in some flag briefs or
command indoctrinations. Two types of television production you should
understand are infographics and infomercials.
Infographics Infographics is any artwork you create electronically (by computer) for
transmission via CRT. These stills should conform to the correct aspect ratio
of conventionally prepared artwork. Infographics is created primarily to
inform or instruct.
Infomercials Infomercials involve live action, video footage electronically (by computer)
enhanced or altered for transmission via CRT as opposed to direct film
footage without electronic manipulation. Infomercials are not documentaries.
Their primary motivation is to sell or influence thoughts or actions.
Infomercials have a clearly intended commercial message.
Hardware Hardware requirements for text integration and video manipulation vary.
Video and graphics consume extensive amounts of RAM memory in addition
to the applications software occupying hard drive memory.
Software To add text to a video production requires a text integration software

package. Let the needs or projected needs of the shop dictate the selection of
software. Remember that software packages require extensive memory and a
CPU capable of high processing speed.
3-22
Summary
Review This chapter covers elementary theory of television transmission. Graphics,

produced within area limitations and color restrictions, project well.
Progressive disclosure adds dimension to an otherwise static display of
information. Computer-generated art or video footage is rapidly replacing
standard studio television graphics.
Comments It is unfortunate so few Illustrator Draftsmen have the opportunity to

interface on a large scale with computer-generated television graphics. Video
manipulation is a fascinating and mushrooming field. Prime examples of the
fluidity of the medium are the movies Forrest Gump and Toy Story. In
Forrest Gump, familiar images were inperceptivley manipulated to give false
impressions. Toy Story is the pinnacle of animated three-dimensional
sophistication. Should you have the opportunity to use computer graphics in
an official capacity for the Navy, you have a moral, ethical, and legal
obligation to portray imagery truthfully. Research the instructions that
pertain to audiovisual imagery and follow them.
3-23
CHAPTER 4
DISPLAYS AND EXHIBITS
Overview
Introduction At times, a display or exhibit is the appropriate way to communicate with a

large audience. You must plan your displays and exhibits to present a
professional and careful arrangement.
Evaluate the location or space to set up a display or exhibit.
Recognize the differences between displays and exhibits.
Distinguish between the impact of displays or exhibits and presentations.
Identify a target audience for a display or exhibit.
Topic See Page
Displays 4-2
Exhibits 4-3
Hanging 4-4
Cataloging 4-7
Storing 4-8
4-1
Displays
Introduction A display illustrates a process, an evolution, or a development. Displays may

be simple or elaborate. A display may be a chart for hanging in a passageway
or a series of posters in a spacious Quarterdeck. The impact of a display
depends upon your ability to organize material into a comprehensive statement.
Displays The material for a display should have a central theme or message. Set up a
display when the intended audience is transitory and large, and the material is
general in nature. You do not need to advertise a display. You can create a
display that is loud and colorful or sedate and somber. Let the nature of the
material dictate the overall mood. Displays allow audiences to sift through
information and focus on information that interests them. Displays can make
the audience feel like a participant.
Location Select a spacious and secure area with maximum pedestrian traffic, such as a
Quarterdeck, conference room, or passageway. Plan the placement of the
display material where it can be seen and read without choking traffic flow or
interfering with set routine. Place the display items at the eye level of the
average viewer. If display items are fragile or highly pilferable, arrange for a
secure enclosure. Locate items in secure enclosures away from the main traffic
areas to encourage lingering without creating a choke point.
Presentation The material presented in a display should be professional in appearance. The

quality of lettering, in particular, is an indication of the ability of the draftsmen
who created the display. Keep all labels in the same typeface and on the same
size and color of card. When you vary letter style, make it a part of the display
design. Mount illustrations and photographs without bubbles or wrinkles. Cut
the edges of presented material with a sharp knife blade. Remove feathered
edges and correct crooked ones. Keep all presentation materials clean and
ready for the next show.
4-2
Exhibits
Introduction An exhibit is a presentation of a body of work. Exhibitions are similar to

displays, with subtle differences. You will not often have an occasion to set up
an exhibit, but you should know the fine line between a display and exhibit.
Exhibits The work in the exhibit may be by one creator or by many creators in one style.
There need not be an overriding theme. For example, an exhibition of
Salvadore Dali will have only work created by Dali but, an exhibition of
Surrealists will contain work by Dali, Magritte, and other artists in the same
school of thought. Exhibits are usually somber, surrounded by as much
neutrality as possible so as not to interfere with the impact of the work
presented. Exhibits are intended for large, transitory audiences with a
fundamental interest in the material on exhibit. Advertise an exhibit to create
pre-opening interest.
Location Locate an exhibit near heavily trafficked areas. Keep the exhibit room quiet,
scrupulously clean, and the room temperature cool. Select a spacious and
secure area, such as a conference room or classroom. When an exhibit closes,
you should be able to lock the space.
4-3
Hanging
Introduction Items in a display or exhibit should present a professional appearance. Mount

all illustrations and photographs. Although not mandatory, consider matting
and framing the work. Arrange the material either chronologically or by a
theme. Pay attention to the way you direct the viewer's line of sight.
Hanging images Hang material to a common reference point. The four basic reference points
are the vertical or horizontal center line, the flush base or top, the grid
arrangement or a stepped arrangement. Place all material at the eye level of the
average viewer. Leave a large amount of space between each item. Make sure
all presented work is clean and free of defects. Keep the exhibit room quiet,
scrupulously clean, and the room temperature cool.
VERTICAL or HORIZONTAL CENTER LINE: A vertical or horizontal

arrangement of elements is the strongest presentation. Vertical arrangements
are more active than horizontal arrangements. A horizontal center line of an
image is its optical center which is approximately 1/10th above the
mathematical center. Locate the horizontal axis of a horizontal arrangement
approximately 5 1/2 feet from the floor.
Figure 4-1 shows a horizontal arrangement and a vertical arrangement.
Figure 4-1. —A common vertical and horizontal

reference point.
4-4
Hanging, Continued
Hanging images BASE or TOP FLUSH EDGE: The flush edge arrangement is most often
(Continued) found in more formal settings such as museums and art shows. Select an
arbitrary height at which to hang the images and consider the average eye
level. Do not hang images closer than 18 inches from the ceiling. A viewer
easily progresses through images with one image leading into another.
Figure 4-2 shows a flush arrangement of images with the common reference
points at the top and at the base.
Figure 4-2. —A flush edge common reference point.
4-5
Hanging, Continued
Hanging images GRID ARRANGEMENT: A gridded arrangement is the most dynamic

(Continued) arrangement particularly if the items are irregularly sized. This arrangement
is also the best choice for unrelated display items. Divide the display area or
wall into sections or a grid. Place the most important work in the center and
place the other work on the cross sections of the grid. This technique draws
viewers in and directs their line of sight toward the center.
Figure 4-3 shows a gridded arrangement.
Figure 4-3. —Cross sections

of the grid direct the
placement of images.
STEPPED or DIAGONAL ARRANGEMENT: A stepped or diagonal
arrangement is the most difficult arrangement to create successfully. It is
hard to follow and requires some effort on the part of the viewer. The
viewers line of sight is led away from other images toward the floor or
ceiling. Use it sparingly.
Figure 4-4 shows a stepped or diagonal arrangement.
Figure 4-4. —A stepped or

diagonal can direct a viewer's
attention away from the image.
4-6
Cataloging
Introduction Displays and exhibits require some form of identification. Even the simplest
display can turn into a nightmare when you must return the items or retrieve
items for an additional display.
Marking Annotate a display as you would other artwork retained on file. Include in
the information you write on display material, the date, any copyright
material, and the sequence number of the display. Mark display or exhibit
items you retain in storage or in the shop. Mark them inconspicuously on the
back in the lower-right corner. Use a pencil or another media that will not
bleed or stain through. It is not customary to retain original art from an
exhibit. It is usually sold or returned to the owners who have lent it. For
retained art from an exhibit, mark it as you would other art in the file and
include in the information recorded, the year of creation, the media, the
foundation, the overall size, any series numbers, and the name of the artist.
4-7
Storing
Introduction Artwork, if not properly stored and protected, will deteriorate and ruin. If
you retain art for regularly staged displays or exhibits, make sure it is safe
from water and excessive heat. Make sure the artwork is away from high
traffic areas and protected from rats, roaches, and moths.
Preparation Before you store art after a display or exhibition, clean it. Remove
fingerprints, smudges, and dust balls. Fingerprints and dust accelerate the
deterioration of the media. Direct and intense light also prematurely age
media. Mark the art and wrap it in a soft protective tissue or ph-neutral
paper. Mark the protective paper so that you can easily tell what the contents
are.
Temperature Store the protected work in a cool, dry area. Professional storage facilities
should have hermetically protected rooms to control temperature and
humidity.
Storage Store artwork off the deck. Select a location that offers protection without
wedging it between pipes or lagging. Place the art where there is the least
amount of traffic or movement. Roaches and other types of bugs are drawn
to the flavorful egg and milk emulsions in some media, such as poster paints,
gouache, and tempura. Keep the storage room clean and regularly sprayed
for bugs.
4-8
Summary
Review This chapter addresses the differences in displays and exhibits. Careful
marking and storage of display and exhibit items will ensure their availability
for the next setup.
Comments Displays can be fun. They should be positive experiences for you and for the
audience, even when the subject is serious. You have a great deal of
freedom in tactics and strategy. You can let your imagination go. The point
is to draw attention to the information. Don’t let a display inhibit you. After
all, you have been creating displays, albeit in their simplest form, since you
designed the bulletin board in elementary school.
Exhibits may be scary if the work displayed is your own. This should be
your best work. You are not only showing your artistic prowess, but also
revealing your most personal feelings. If the work is not yours, your
understanding of the body of the work should guide you in organizing the
exhibit.
Most ships and stations offer many opportunities for displays and exhibits.
Conference rooms, classrooms, passageways, and gedunks all have displays
or commemorative memorabilia. Nearly every Quarterdeck has a testimony
to the accomplishments or the history of the ship/station. Keep an eye on
your Quarterdeck. Take the initiative. Don't allow that hallowed area to
become a tattered eyesore. Look for the opportunities to display and exhibit.
4-9
APPENDIX I
GLOSSARY
Glossary
Introduction One important key to success in any technical rate is mastery of the language
associated with it. Learn the glossary as an integral part of your learning
process. Use the terms other professionals are using in your field.
A ACCENT LIGHT—A light that highlights or emphasizes the subject in a

scene.
ACETATE—Tough, transparent, or semitransparent sheets available in

various thicknesses used as overlays in color separation, friskets in retouching,
cels for animated drawings, and displays. Treated acetate readily accepts ink
and paint.
ACHROMATIC —Black, white, and the grays in between.
ACRYLIC PAINTS—See POLYMER.
ACTINIC LIGHT—The short waves of the light spectrum (green, blue, and
ultraviolet) that cause chemical changes in light-sensitive photographic
emulsions.
ACTION LINES—Extra lines drawn around or following a cartoon figure or

object to emphasize motion.
ACTIVATOR —The solution or chemical that starts the reaction of the

developing agent in a photosensitized emulsion.
ADDITIVE PROCESS—A process that produces white light by starting with

darkness and combining colored light.
ADHESIVE —( 1) A gelatin or casein used as a binder in pigment; (2) A

chemical compound used as a glue.
AI-1
Glossary, Continued
A (Continued) ADVANCING COLORS—Colors that appear to come forward, such as red,

yellow, and orange.
AESTHETIC—Pertaining to the beautiful, particularly in art.
AGATE—Type size of 5 1/2 points.
AIRBRUSH—An atomizer that applies a fine spray of paint under pressure

from a tank of compressed air or carbonic gas.
AIRBRUSHING —Using an airbrush to create art or improve the appearance

of art.
ANALOGOUS COLORS—Colors closely related to one another on a color

wheel, such as blue, blue-green, and green.
ANATOMY—The bone and muscle structure of humans and animals as it

affects the appearance of surface forms and contours.
ANGLE—A figure formed by two lines or planes extending from, or

diverging at, the same point.
ANHYDROUS AMMONIA SYSTEM—A system that uses a mixture of

water and ammonia in the developing section of some whiteprint machines.
ANILINE COLORS—Brilliant colors derived from coal tar that tend to fade
in time.
ANIMATED CARTOON—A cartoon drawn in a series of progressive

actions to give the effect of continuous movement.
ANIMATION—Sequentially drawn pictures displaying a range of motion

which, when viewed in rapid succession, appear to be moving.
ALIGNED SECTION—A sectional view that revolves some internal features

into or out of the plane of view.
AI-2
Glossary, Continued
A (Continued) AMERICAN STANDARDS ASSOCIATION—Also called ASA. See ISO

or EXPOSURE INDEX.
ANTIQUE STOCK—A rough-surfaced paper, such as wove or laid.
APERTURE—An opening behind the lens that allows exposure to one frame
of film.
APPLICATION BLOCK—The part of a drawing of a subassembly,

showing the reference number for the drawing of the assembly or adjacent
subassembly.
ARC—A portion of a curved line.
ARC LAMP—A light source resulting from the application of current to two
carbon electrodes that form an electric arc.
ARCHITECT'S SCALE—A scale used when dimensions or measurements

represent feet and inches.
AREA (PICTURE)—The flat surface within the border of a picture.
ARROWHEAD—An indicator shaped like an elongated triangle used at the

end of a lead line to direct attention to an object or a point of reference.
ART—Any copy other than text; any photograph, painting, or drawing in

line, halftone, or continuous tone.
ART BRUSHES—See BRUSHES.
ART GUM—A soft, grit-free eraser used to clean drawings and remove
unwanted pencil lines.
ARTIST'S BOARD—See ILLUSTRATION BOARD.
ARTWORK—Illustrations, drawings, photographs, renderings, paintings,

sketches, and copy.
AI-3
Glossary, Continued
A (Continued) ASCENDERS—The part of lowercase letters that project above the main
body waistline, such as h, d, and f.
ASPECT RATIO—The proportion of the media format that governs the size
of the original artwork.
ASSEMBLE EDITING—Putting scenes in chronological or progressive

order.
ASYMMETRICAL —An informal balance of objects or sections of equal

mass and weight on each side of a center line.
ATTITUDE —A position or action of the body or part of the body that

approximates an emotion, character, or personality.
ATTRIBUTES OF MEDIA—Specific characteristics of a chosen medium.
AUDIO—Sound that is heard.
AUDIO-TUTORIAL—Also called AT. Instructions given to a student that

uses primarily sound.
AUDITABLE PICTURE ADVANCE SIGNAL—An auditable signal that

indicates the moment to change the image to another.
AUTO-TRACE —A software option that allows the tracing of one image into
another file option.
AUXILIARY VIEW—A drawing showing the true shape of objects that

have features not parallel to the three principal planes of projection.
AXONOMETRIC PROJECTION—A drawing that shows the inclined

position of an object in an isometric, dimetric, or trimetric format.
B BACKGROUND ART—Design, texture, pattern, or other form of artwork

used to create a background effect for type and illustration.
AI-4
Glossary, Continued
B (Continued) BACKUP—The registration of two sides of a printed sheet.
BALANCE—A harmonious arrangement of the various components in a

picture plane in a symmetrical (formal) or asymmetrical (informal) format.
BALL-AND-SOCKET JOINT—A flexible joint that rotates in all directions.
BALLOON—(l) A space containing the words spoken by cartoon characters;

(2) A distortable shape used as a base to draw a cartoon head.
BALLOON LETTERING—Informal, single-stroke lettering used in comic

strip balloons.
BAR CHART—A graphic representation comparing numerical values by

means of rectangles of equal width.
BASE ART—Also called BASIC ART and BLACK ART. See BLACK
ART.
BEADED SCREEN—A screen comprised of glass or plastic beads that

reflect light from a projected image.
BEAM COMPASS—A compass capable of drawing circles and arcs that

exceed the limits of a standard compass.
BEND ALLOWANCE—An additional amount of metal used in a bend in

metal fabrication.
BENDAY—Mechanical shading applied to artwork to give a variety of tones

to line drawings. Benday is named for its inventor, Benjamin Day.
BÉLZIER CURVES—A computer tool that draws precise curves with great
accuracy.
BILL OF MATERIALS—A list of standard parts or raw materials needed to

fabricate items.
AI-5
Glossary, Continued
B (Continued) BINDER—An adhesive, coagulate, reducer, or extender added to pigments

to maintain consistency, to promote adhesion, and to facilitate application.
BISECT—To divide into two equal parts.
BIT—The smallest unit of electronic information a computer can handle.
BIT MAP—Also called PIXEL MAP. A matrix of dots or pixels.
BLACK ART—Also called BASE ART. Art used in making process plates
for illustrations of two or more colors.
BLACK-AND-WHITE—(1) Line art executed in a black-and-white medium

only; (2) Continuous-tone art executed in black, white, and intermediate
tones.
BLACK PATCH—A black masking patch pasted into the exact size and
location on artwork where a photograph is to appear on the reproduction
copy.
BLEED—The borders on the artwork and printing plate that extend beyond
the final trimmed edge of the sheet.
BLENDING —Mixing or incorporating one color or tone with another.
BLOCKING IN—Indicating the broad outline of an object or shapes in a

picture using preliminary lines.
BLOCK OUT—Eliminating an unwanted section of a picture.
BLOWUP—An enlargement.
BLUEPRINT —A direct, positive print made on chemically treated paper

from a translucent or transparent drawing.
BOARD—Any heavy material used for mounting art or making displays.
AI-6
Glossary, Continued
B (Continued) BOARD ART—Any artwork mounted on heavy board stock.
BODY TYPE—Type used for the main body of text in printed matter.
BOLDFACE —Type emphasized by darkening or increasing letter weight.
BOOKLET—A pamphlet bound within paper covers.
BOOT-UP—Start-up of the computer.
BONE—An instrument with a plastic, agate, or metal tip used for burnishing
shading sheets, pressure-sensitive letters, and paste-ups.
BORDER AREA—The areas around a graphic that represents a protective

perimeter.
BOUNCE LIGHT—Lighting set up to reflect from nearby surfaces onto a

subject.
BOURGES PROCESS—A method of color separation using prepared

colored or toned papers or acetate sheets.
BOW INSTRUMENTS—Drafting tools that draw circles and arcs less than
one inch in diameter.
BOX—To enclose with borders or rules.
BREAK LINE—Lines to reduce the graphic size of an object, generally to

conserve paper space.
BRIEFING CHART—Also called BRIEFING PAD. A visual aid that

presents information on large paper or board.
BRIGHT—A short haired, flat, chisel-shaped brush.
BRISTLE.—A hog hair brush used primarily in oil painting.
AI-7
Glossary, Continued
B (Continued) BRISTOL BOARD—A drawing surface made of fine, tough, flexible

cardboard available in several thicknesses and in a variety of surfaces.
BROADSIDE—Also called BROADSHEET. A large, folded advertising

piece.
BROCHURE—A bound pamphlet.
BROKEN COLOR—Two or more colors applied simultaneously to artwork

without prior mixing or blending.
BROKEN OUT SECTION—An auxiliary view used when a partial view of

an internal feature is insufficient.
BROWNPRINT—A photographic print or silverprint that produces a brown

image.
BRUSHES—A collection of bristles or hairs used to apply pigment and

glues.
BULLET—A symbol used to preface listed items.
BURNISH—The application of pressure to secure paste-ups, shading sheets,

and lettering to artwork.
BURNISHER —Also called BONE. An instrument made of plastic, wood,

glass, metal, stone, or ivory used to flatten, smooth, or polish a surface with
hand pressure.
BUSY—Excessive or competing detail.
BUTTON BAR—Also called TOOL BOX. A program specific legend of

options available to a computer user.
AI-8
Glossary, Continued
C CABINET PROJECTION—A type of oblique drawing with the angled

receding lines drawn to one-half scale.
CALLOUT —To call attention to a part or item in an illustration.
CAMCORDER —A video camera and recorder in one unit.
CAMEO PAPER—Paper of a dull, smooth finish used frequently for carbon

and graphite pencil drawings.
CAMERA LUCIDA—Also called LACEY LUCY. An instrument with

prism lenses used for enlarging or reducing artwork.
CAMERA-READY COPY—See REPRODUCTION COPY.
CANVAS—A surface made of cloth, usually cotton or linen, for painting.
CANVAS BOARD—Cardboard covered with cotton or linen used as a

surface for painting.
CANVASKIN —A paper with a textured surface resembling canvas.
CAPTION —Any descriptive heading or title for an illustration or table.
CARBON PENCIL—Pressed carbon in a wood casing.
CARICATURE —The deliberate exaggeration and distortion of prominent

features or mannerisms.
CARPENTER'S PENCIL—A wide, flat lead pencil ideal for chisel point
lettering or laying in broad tones.
CARTOON —A comic or satiric drawing.
CARTOUCHE —A scroll-like design used ornamentally in printing or hand

lettering.
AI-9
Glossary, Continued
C (Continued) CASEIN—A curd of milk and lime used as a binder in tempura paint.
CAVALIER PROJECTION—A form of oblique drawing with the receding

lines drawn full scale at 45° to the orthographic front view.
CD—See COMPACT DISK.
CD ROM—See COMPACT DISK READ-ONLY MEMORY.
CEL—Acetate overlays used in television art and animation.
CEL LEVEL—The number of cels placed one over another on the same
background and photographed at the same time.
CENTER DISK—A drafting instrument that protects the paper surface from
damage when drawing multiple concentric circles with a compass.
CENTER OF INTEREST—The part of the picture that attracts the most

attention.
CENTER LINE—Lines that indicate the center consisting of alternating long

and short dashed evenly spaced.
CENTER SPREAD—Two facing pages formed by one folded sheet of

paper.
CENTRAL PROCESSING UNIT—Also called CPU. The integrated circuit

(IC) chip that controls the speed and processing power of the computer.
CHAIN or CIVIL ENGINEER'S SCALE—A scale, generally triangular,

divided in decimal units or units of 10.
CHARACTER—Any letter, number, punctuation mark, or space in printed

matter.
AI-10
Glossary, Continued
C (Continued) CHARACTER GENERATOR—A computer hardware or software device

that provides a means for formulating a character font and as a controlling
function during printing.
CHARCOAL —Specially charred willow sticks used for drawing on a paper

with tooth.
CHARCOAL DRAWING—A drawing made with charcoal.
CHARCOAL PENCILS—Charred willow sticks encased in wood for

strength.
CHIAROSCURO —Rendering forms using a balanced contrast between

pronounced light and dark elements.
CHINESE WHITE—An opaque white watercolor pigment.
CHISEL POINT—Drawing or lettering with a wide, flat point.
CHOKES—Used to trap a dark element over a light background to avoid or

minimize white space showing around the element during press plates
misalignment.
CHROMA —See INTENSITY.
CIRCULAR SCREEN—A photographic screen used with a process camera,

which allows screen adjustment to eliminate the wavelike or checkered effect,
called moire.
CIRCUMFERENCE—The length of a line that forms a circle.
CIRCUMSCRIBED—To draw around or enclose within one geometric form

another form or object.
CLICK ON—To select a computer function by clicking the buttons on a

mouse.
AI-11
Glossary, Continued
C (Continued) CLIP ART—A collection of artwork filed away for future use.
CMYK—An acronym for cyan, magenta, yellow, and black, a color

specification system for color separation and printing.
COATED PAPER—Paper coated with a finely ground filler or clay to

produce a smooth surface.
COBALT DRIER—A liquid agent used in a medium to accelerate the drying

of oil paints.
COLD COMPOSITION—Composition of type that uses no molten metal to

form the image.
COLD MOUNT—A method of mounting artwork or photographs to a

surface.
COLD PRESSED—A paper or illustration board with a medium to rough

surface texture.
COLLAGE—Artwork made by arranging and pasting pieces of cloth,

newspaper, and various other materials on a surface to form a composition.
COLLATING—Gathering single sheets or leaves in sequence.
COLLOTYPE—A method of reproducing paintings and drawings using a

gelatin plate.
COLOR—A sensation caused by light waves of different lengths comprised

of three elements: hue, value, and intensity.
COLOR BARS—Bars of color that appear on a video screen to facilitate fine

tuning of the color resolution.
COLOR BLENDING—Blending or combining different colors to form

another color or smooth gradient.
AI-12
Glossary, Continued
C (Continued) COLOR CHART—An arrangement of colors.
COLOR CYCLING—A spectral effect that creates the illusion of movement

on the computer screen.
COLOR DIMENSIONS—The three elements of color: hue, value, and

intensity.
COLOR GRAPHICS ADAPTER BOARD—Also called CGA or a Video

Graphics Adapter (VGA). This IC chip defines the ability of the computer to
execute commands during the creation of artwork in the computer.
COLOR HARMONY—A unified or aesthetically pleasing effect produced

by a combination of colors.
COLOR INTERVAL—The degree of visual difference between two colors

as measured by hue, value, and intensity.
COLOR KEY—The overall effect of the selected pallette, for instance, a

high-key illustration of light, bright or vibrant color and a low-key
illustration of dull or monotonous colors.
COLOR NOTATION —The specification of color by written symbols and

numerals based on an established color system used on sketches for future
reference.
COLOR PROOF —An engraver's or printer's proof showing the effect of

final color in perfect registration.
COLOR SCALE —A series of colors that display a change or gradation in

hue, value, and intensity.
COLOR SCHEME —A group of colors that dominate a picture or create a

unity within it.
AI-13
Glossary, Continued
C (Continued) COLOR SEPARATION—( 1) The photographic. process of separating full-

color originals into the primary printing colors; (2) An artist manually
separating the originals for full color reproduction in the creation stage of a
master artwork.
COLOR SKETCH—A rough drawing or layout approximating the color in

the final picture.
COLOR SYMBOLISM—The use of color to signify or suggest an emotion,

idea, or characteristic.
COLOR WHEEL—A circular color chart with colors arranged according to

their positions as a primary, secondary, or tertiary color.
COLUMN—(l) A section of text or other matter that makes up a vertically

divided page; (2) A vertical section of a table.
COMBINATION PLATE—A press plate that combines both halftones and

line work.
COMIC STRIP—A series of drawings, in panel format, portraying the

adventures of characters, humorous or otherwise, usually published in
newspapers.
COMMERCIAL ART—Artwork of any kind prepared for commercial

advertising and general promotion.
COMPACT DISK—Also called CD. A small disk of electronic files

encased in a plastic casing.
COMPASS—An instrument for drawing circles and arcs.
COMPUTER DISPLAY MONITOR—An output device that allows the

computer operator to see an image of electronic media on a cathode-ray
screen similar to a television monitor.
AI-14
Glossary, Continued
C (Continued) COMPUTER PLATFORM—The use of a particular brand of computer to

develop software programs specifically for that brand.
COMPLEMENTARY COLORS—Any two opposing hues on a color

wheel.
COMPOSITE—Comprised of two or more parts.
COMPOSITION—The arrangement of forms, colors, lines, and other

pictorial units.
COMPOSITOR—A machine that converts electronic data into an acceptable

format for a printer.
COMPREHENSIVE —A layout of art or type, either in black-and-white or

color.
COMPREHENSIVE SKETCH—A finished layout that defines all of the

elements, such as type, illustration, and spacing.
COMPRESSED FILES—Compacting computer-generated files to save disk

and memory space or to facilitate faxing.
COMPUTER GRAPHICS—Artwork created by the use of a computer.
CONSTRUCTION —The drawing of objects so that they appear solid or

three dimensional.
CONSTRUCTION LINES—Lightly drawn lines used in the preliminary

layout of a drawing.
CONTACT SCREEN—A screen placed in direct contact with the film or

plate to obtain a halftone pattern from a continuous-tone original.
CONTINUOUS-TONE ART—Artwork created using any medium that does

not use a halftone process to represent tone.
AI-15
Glossary, Continued
C (Continued) CONTOUR PEN—Adjustable pen nibs on a rotatable shaft used for drawing
curvilinear lines.
CONTRAST —The range of tonal differences.
COOL COLOR—Colors that appear to project cooler temperatures.
COOLED COLOR—A color resulting from the addition of a cool color to a

warmer color.
COPY—Any matter, including photographs, rules, designs, and text, used

for producing printed matter.
COPYBOARD—A table or frame that holds original copy during a

photographic exposure.
COPYFIT—Scaling copy to fit into an allotted space.
COPYRIGHT—Exclusive protection of ownership given to a creator of an

original work.
COQUILLE BOARD—A drawing board that comes in a variety of

roughened surfaces that break up crayon or brush strokes into texture more
suitable for line reproduction.
COURSEWARE —All materials pertaining to a software program or course

of instruction.
CPU—See CENTRAL PROCESSING UNIT.
CRAWL DEVICE—A rotating drum used to display credit lines for

television transmissions.
CREMNITZ—See WHITE LEAD.
CROP—To cut off.
AI-16
Glossary, Continued
C (Continued) CROP MARKS—Marks used to define the limits of an image for

reproduction.
CROPPING—Defining the limits of an image for reproduction.
CROSSHATCH —Parallel lines drawn across other parallel lines to indicate

tone.
CROW QUILL—A fine, stiff pen nib with little spring used for drawing fine
lines and lettering.
CRT—Also called CATHODE-RAY TUBE. A screen or monitor that

converts light rays to electrical impulses for transmission or receiving.
CURE—A solid form of six equal square sides.
CURSOR—A position indicator on a computer monitor.
CUTAWAY DRAWING—A drawing where a portion of the object is cut

away revealing the internal structure.
CUTLINE—The placing of a caption in an illustration.
CUTTING PLANE LINE—A sectional view showing a theoretical cut on

the item.
CYAN—Light blue-green color.
CYCLE OF ACTION—The completion of a single action of animated

movement.
D DAISY WHEEL PRINTER—A spinning wheel with spokes having raised

letters and numbers.
DAMAR FINISH—Varnish used as a final protective coat over a painting or

mixed as part of the painting medium.
AI-17
Glossary, Continued
D (Continued) DATA POINTS—Symbols used to plot information or events on a graph or

chart.
DATUM LINE—A line that indicates the position of a datum plane.
DEADLINE—Final delivery date.
DEBUGGING—Locating and eliminating software deficiencies.
DECAL—See DECALCOMANIA.
DECALCOMANIA—An image printed on specially prepared paper or film

for transfer to another surface.
DECKLE EDGE—The rough or uneven edge of paper intentionally

produced during manufacturing.
DELINEATE—To give depth to line art by making particular lines heavier.
DENSITY RANGE—Also called DENSITY SCALE. Measured differences

between the minimum and maximum densities of a particular negative or
positive.
DEPICT—To represent.
DEPTH—Thickness as measured downward from the surface of an object.
DEPTH OF FIELD—The distance between the closest sharply focused point

to the farthest point in focus.
DESCENDERS —The parts of lowercase letters that fall below the main
body base line, such as g, p, and q.
DESIGN—A planned or intended arrangement of the elements in a

composition.
DESIGNER'S COLORS—Opaque watercolors of high quality.
AI-18
Glossary, Continued
D (Continued) DESKTOP PUBLISHING—The preparation of copy ready to go directly to

press.
DETAIL DRAWING—A drawing that gives specific information.
DETAIL PEN—Also called SWEDE PEN. A broad nibbed, adjustable

ruling pen with greater ink capacity than a standard ruling pen.
DETAIL VIEW—A view that shows part of the principal view of an item
using the same plane and arrangement but in greater detail and in a larger
scale.
DEVELOPER —A chemical that causes a reaction in an exposed emulsion to

reveal an image in that emulsion.
DIAZO FILM—A flexible transparent base coated with an emulsion of diazo

salts and couplers.
DIAZO PAPER—Paper treated with a diazo compound and azo dyestuff

component.
DIAZOCHROME —Diazo sensitized films that produce colored dye images

on a transparent plastic base.
DIFFUSED LIGHT—Evenly spread light.
DIMENSION LINE—A thin, unbroken line with each end terminating in an

arrowhead used to define the dimensions of an object.
DIMETRIC PROJECTION—An axonometric projection of an object where

two axes make equal angles with the plane of projection and the third axis
makes a smaller or larger angle with the plane of projection.
DINGBATS—Stars or ornaments used to embellish type.
DISCHORD—Color or elements that compete or are not in visual harmony

that creates an uneasy or unattractive image.
AI-19
Glossary, Continued
D (Continued) DISK—Also called DISC. (1) A flat photomatrix used in phototypesetting

and computer equipment; (2) A layer of magnetic oxide used to store
electronic data.
DISK DRIVE—A device that reads, adds, or deletes information stored on a

disk.
DISPLAY LETTERING—Any large, prominent lettering used to attract

attention.
DISPLAYS—A collection of objects and images arranged to tell a story.
DISPLAY TYPE—Large type used for headings and titles.
DISSOLVE —The fading of one scene as another replaces it.
DISSOLVE UNIT—An electronic device that automatically pulses a slide

projector to dissolve an image and replace it with another.
DISTORTION—Changed or twisted out of natural shape.
DIVIDERS —An instrument used for dividing lines into equal segments and
transferring measurements.
DOMINANT—Prominent or most important.
DOT MATRIX PRINTER—A printer that uses a number of pins to form

letters and numbers.
DOTS PER INCH—Also called DPI. A standard measurement for

resolution in the computer graphics industry.
DOUBLE-ACTION AIRBRUSH—An airbrush that requires the user to

push down a button to expel air through the brush and to pull back the button
to release paint.
AI-20
Glossary, Continued
D (Continued) DRAFTING MACHINE—A machine that combines the functions of a T-

square or straightedge, a triangle, a ruler, and a protractor.
DRAWING —The representation of objects, ideas, or emotions on a flat

surface using line, tone, or color.
DRAWING THROUGH—Sketching in the structural lines of an object as if

it were transparent.
DRIER—A substance used to hasten the drying times of paint or ink.
DROP CARDS—Drop-out or drop-in title cards rigged to fall in and out of

camera view.
DROP OUT—Masked or opaqued areas present in the halftone negative,

print, or plate.
DROP-OUT HALFTONE—A halftone reproduction that eliminates the

screen dots in white areas, often accomplished photographically by the
platemaker or by re-etching.
DRY BRUSH—Drawing or painting with a brush that contains very little

substance to create a textural effect.
DRY MOUNT—Mounting photographs without paste or rubber cement.
DRY MOUNT PRESS—An electrically heated press that activates an

adhesive sheet or foil placed between the image and the illustration board.
DUCK—A lead weight used to position a spline while drawing irregular

curves.
DUMMY—A rough draft or proposal of printed material pasted or bound

together in exact reproduction size that show the areas illustration and text
will occupy.
DUOTONE—Two-color halftone print made from a screened photograph.
AI-21
Glossary, Continued
E EARTH COLORS—Pigments made from earth minerals.
EDGE—The border or outline of a form or shape.
EDIT—To check, add, or delete.
EDIT CONTROLLER—A machine that locates the beginning and end of a

scene used for cuing VCRs for presentation.
EGG-OIL TEMPERA—An opaque watercolor similar to egg-based tempura

but with an added oil that makes the medium easier to handle and adaptable
to a wider range of effects.
EGG TEMPURA—An opaque watercolor paint that uses egg yoke as a

binder.
ELECTRONIC IMAGING—The creation, enhancement, and alteration of

images through electronic or computer digitization.
ELEVATION —A four-view drawing of a structure showing front, sides, and

rear.
ELITE—A type size for typewriters approximating 10 point printing type

having 12 characters to the linear inch of copy and 6 lines to the vertical
inch.
ELLIPSE —The enclosed plane forming a regular oval where the shortest
dimension through the center is the minor axis and the longest dimension is
the major axis.
EM—A measure of type equal to the square of the type body, derived from
early type practices in which the letter M was cast on a square body.
EMPHASIS —Stress or accent on any part of a design or picture.
EMULSION—A suspension of fine drops or globules of one liquid in

another liquid.
AI-22
Glossary, Continued
E (Continued) EN—A measure of type equal to one half of an EM.
ENCRUSTING —Taking a video image and wrapping it around an image of

an object.
ENGINEERING DRAWING—An orthographic drawing of a piece of

equipment or of its detailed parts containing information and instructions
sufficient for manufacture.
ENGINEER'S SCALE —A scale used whenever dimensions are in feet and

decimal parts of a foot, or when a scale ratio is a multiple of 10.
ERASING SHIELD—A small, thin spring metal plate with variously sized
and shaped openings used to protect the surrounding area of a drawing while
erasing in an adjacent area.
ESSENTIAL AREA—The part of a picture that contains all of the title or

lettering intended for viewer consumption and often corresponding with the
safe title area.
EQUILATERAL—Equal angles and equal sides.
EXPLODED VIEW—A pictorial view of a device in a state of disassembly,

showing the appearance and interrelationship of parts.
EXPOSURE INDEX—The degree of light sensitivity of film.
EXPORT—The transfer of files to another software application.
EXTENSION BAR—A leg extension to a standard compass which expands

the diameter of a circle that the compass is able to draw.
EXTENSION LINE—A line used to indicate the extent of a dimension.
EYE LEVEL—Also called HORIZON LINE. The horizontal plane at the

artist's eye level to which that person relates linear perspective.
AI-23
Glossary, Continued
F FACE—Also called TYPEFACE. A style of type.
FADE-IN —To bring an image from a pale version into full contrast
gradually.
FADE-OUT—To bring an image from a full contrast of darks and lights to a

pale version gradually.
FEATHER—A bleeding effect where small featherlike indications surround

the characters.
FEATURE—A cartoon panel or strip appearing regularly in a publication.
FELT NIB PEN—A drawing pen with a felt nib or tip that ink soaks through
from a reservoir.
FERRULE—The part of a brush that holds the hairs or bristles.
FIGURE—A line illustration or photograph of any kind used in a

publication.
FILLS—Color, shades, or patterns added to computer-generated imagery.
FILM NEGATIVE—A photolithographic negative produced by a process

camera.
FILM POSITIVE—A film- or acetate-based material having a black area or

image and a translucent or clear background.
FILM SPEED—The degree of light sensitivity of film.
FINE ART—The personal expression of the artist who creates it.
FINISHED ART—Any piece of artwork complete or ready for reproduction.
FINISH MARKS—Marks used to indicate the degree of smoothness of the

finish on machined surfaces.
AI-24
Glossary, Continued
F (Continued) FIRST GENERATION—Photographically reproduced copy made from the

original.
FIX—To spray with a clear coat to protect or preserve an image surface.
FIXATIVE—Any clear solution sprayed or coated on a surface to stabilize,

protect, or preserve an image.
FIXER—A solution or chemical that stabilizes the development of

photosensitized films.
FLEXIBLE CURVE RULE—A scale or rule that bends in shape to irregular

curved surfaces.
FLAKE WHITE—See WHITE LEAD.
FLANNEL BOARD—Also called FELTBOARD. A presentation board

covered in felt or flannel that cut out shapes backed with a slightly abrasive
backing will cling to.
FLAPPING—See MOUNTING AND FLAPPING.
FLAT BRUSH—A flat oil painting brush that is thicker and with longer
bristles than the bright brush.
FLAT COLOR—Color that is dull or grayed or has a matte surface.
FLAT TONE—An area of uniform or even color.
FLIP CARD—One of a series of photographs or drawings shown in

sequence to tell a story or deliver a message.
FLOP—To reverse from right to left or vice versa.
FLOPPY DISK—A disk of magnetic oxide that stores electronic data for
retrieval by a computer disk drive.
AI-25
Glossary, Continued
F (Continued) FLOW CHART—A chart that shows the flow of data through a data
processing system and the sequence of their performance.
FLOUROGRAPHIC —See DROP-OUT HALFTONE.
FLUSH—Even with the margin or the widest line in a column or page.
FOCAL POINT—Center of interest.
FOCAL LENGTH—The distance from the center of the lens to the film
plane.
FOCI METHOD—A method of drawing ellipses by plotting a series of

points as their circumference using two points on the major axis (foci) as
reference and connecting these points with french curves.
FOCUS—Image sharpness.
FOLIO—A sheet of paper folded once giving four pages.
FONT—Typeface designs and sizes.
FORESHORTEN—To depict an object or line in less than its true length.
FORM—The shape and structure of an object or figure.
FORMAL BALANCE—See BALANCE or SYMMETRY.
FORMAT—A general structure or composition.
F/STOP—Settings on the lens diaphragm of a camera lens that measure the

amount of light allowed to reach the film.
F/16 RULE—Setting the camera for an f/stop of f/16 and the shutter speed
close to the ASA/ISO rating of the film.
FRAME—A single unit in a storyboard, a cartoon feature or a film strip.
AI-26
Glossary, Continued
F (Continued) FRAME GRABBER—Also called VIDEO CAPTURE. A device that

isolates one frame of a video image and inputs this frame into a computer.
FREEHAND DRAWING—Drawing without the use of mechanical aids.
FRENCH CURVES—Instruments used to draw smooth, irregular curves.
FRESCO—Painting on freshly spread, moist plaster with pigments.
FRESNEL LENS—A intense prismatic lens of concentric divisions, which

concentrate and focus light through a transparent image onto a mirror and to
a screen in an overhead projector.
FRISKET —A covering placed over part of a drawing or photograph to

protect that section while working on the rest of the artwork.
FRONTISPIECE—An illustration preceding and usually facing the title page

of a book.
FULL-COLOR PAINTING—A painting in which the three primary colors

or some variation of them is evident.
FULL MEASURE—The entire width of a line of type flush with both

margins measured in picas.
FULL SECTION—A sectional view that passes entirely through the object.
FULLERS EARTH—A fine white powder used for preparing the surface of
a photograph to accept retouching.
G GALLEY PROOF—A rough proof of type made for proofreading,

submitted before pages are made up.
GANG RUN—Several different jobs printed simultaneously on a large press

in the same colors on one sheet to save time and reduce costs.
AI-27
Glossary, Continued
G (Continued) GANG SHOOTING—Photographing several pages of original copy at the

same time.
GELATIN—A pure glue made from animal or vegetable matter.
GENERATION—A single step in a reproduction process.
GIGABYTE—Approximately one billion bytes of information, a kilobyte to

the third power (1,024 x 1,024 x 1,024).
GLAZE—An application of a transparent color or value over another color

or value.
GLOSSY PRINT—A print having a shiny finish, which does not readily
absorb inks or paints.
GLYCERIN—A heavy oil, colorless and odorless, used in the preparation of

watercolor pigment.
GOLDENROD —Paper or plastic mask material used to support negatives in

making press plates.
GOTHIC—An alphabet or typeface characterized by strokes of equal or

almost equal thickness, usually without serifs.
GOUACHE —An opaque watercolor.
GRADED WASH—A wash that blends a light tone to a dark tone or vice
versa.
GRADUATED FILL—To fill with color, shade, or pattern that variegates

from dark to light or vice versa.
GRAPHIC ARTS—A form of art specializing in work prepared primarily

for conveying information.
AI-28
Glossary, Continued
G (Continued) GRAPHIC INTERFACE—Screen graphics on the computer screen that

make the computer easier to use.
GRAPHICS PRINTER—A high-resolution printer capable of printing

graphic images.
GRAPHICS TABLET—An electronic input device that allows the user to

draw on the tablet before committing the image to memory.
GRAPHITE—The black marking substance in a lead pencil.
GRAVER—A needle or square pointed tool used to scratch lines into

scratchboard.
GRAVURE —A photomechanical printing process (intaglio) with the images

recessed below the surface of the plate.
GRAY—A color formed by mixing black and white or complementary

colors.
GRISAILLE —A decorative gray monochromatic painting designed to create

the illusion of a bias-relief sculpture.
GUM ARABIC—A water soluble gum used as a binder in some watercolors

and tempura paints.
GUTTER—(l) The inner margin of a printed page extending from the

printed portion to the fold or binding; (2) The area between two columns on
a printed page.
H HALF SECTION—A combination of an orthographic projection and a

section view to show two halves of a symmetrical object.
HALFTONE—A tonal pattern of shades from white through black defined

by a series of dots.
AI-29
Glossary, Continued
H (Continued) HALFTONE SCREEN—A screen placed in front of the negative material in

a process camera to break up a continuous-tone image into a dot formation.
HARD COPY—Copy of any kind produced on paper or any substrate except

film, used for proofing, checking, revising, or redrawing.
HARMONY—A pleasing arrangement of the picture elements, because of

the similarity of one or more qualities.
HEXAGON —A six-sided figure.
HIDDEN LINE—Thick, short dashed lines used to show a hidden part or

edge.
HIGHLIGHT HALFTONE.—See DROP-OUT HALFTONE.
HIGH SURFACE—See HOT PRESSED.
HINGE JOINT—A joint limited to back-and-forth movement.
HOLDING LINE—A line usually drawn in black on a mechanical intended

for reproduction.
HOOK AND LOOP BOARD—A briefing board covered with nylon hook
material to which items backed with a nylon loop material will stick.
HORIZON LINE—An imaginary horizontal line representing the observer's

line of sight.
HOT PRESSED—Also called HIGH SURFACE. A smooth art paper or

illustration board.
HUE—The name given to distinguish any color.
HYPO—See SODIUM THIOSULFATE.
AI-30
Glossary, Continued
I ICON—Onscreen computer symbols that portray functions by graphic

images.
ILLUMINATION —The hand decoration of text in a book, a manuscript, or

a diploma.
ILLUSTRATION—A picture designed to interpret a story or an article.
ILLUSTRATION BOARD—Heavy paper board manufactured especially for

artists available in a variety of sizes, surfaces, and weights.
IMAGE AREA—An area that encompasses a printed, drawn, or

photographed image and the light or dark background space around the
image.
IMPORT—The transfer of files from other software applications.
INDEFINITE BLENDING—Adding paint or ink to a wet surface to

promote indefinite effects.
INDIA INK—Pigment made of lampblack and a binder suspended in water

as a fluid ink.
INFINITY—The farthest distance marking on a lens.
INFORMAL BALANCE—See BALANCE.
INK JET PRINTER—A high-resolution printer that uses a minute jet spray
of ink to create an image.
INPUT—Text or parameters entered into a computer memory or saved on

disk.
INPUT DEVICE—See KEYBOARD or JOYSTICK. An accessory used to

provide text or commands into a computer or disk.
INSCRIBED —An object completely enclosed by another.
AI-31
Glossary, Continued
I (Continued) INTAGLIO—Printmaking from engraved or etched lines and surfaces.
INTENSITY —The degree of strength, saturation, or purity of a color.
INTERFACE—Interaction between accessories.
INTERMEDIATE—A copy of an original on translucent or transparentized

film, paper, or cloth, which now becomes a master to make other copies.
IRREGULAR CURVES—Curvilinear forms that do not contain arcs easily

replicated by a compass or circle template.
ISOMETRIC PROJECTION—A set of three or more views of an object

that appears rotated, giving the appearance of viewing the object from one
corner.
ITALICS—Letters whose form has an oblique slant to the right or left.
IVORY BLACK—A fine black pigment.
J JOYSTICK—See TRACKBALL or MOUSE. A computer input device used

for remote manipulation of a cursor.
JUSTIFICATION—Spacing within the line of type of a predetermined

measure to align the margins.
JUXTAPOSITION—Side-by-side placement for a desired effect.
KERN—Part of a letter that appears as a hairline connection between

adjacent letters.
KERNING—The addition of space between characters.
KEY—A scale of values, tones, or hues.
KEY ART—See BLACK ART.
AI-32
Glossary, Continued
K (Continued) KEY LINE—A line drawn in red on a mechanical to indicate position and
size of a piece of copy that will not be visible in the reproduction.
KEYBOARD—A computer input device based on the principle of a

typewriter keyboard used to input text and commands into a computer.
KEYSTONE EFFECT—Onscreen distortion created when the projector is

not parallel to the deck or screen surface.
KID FINISH—A medium-textured surface of art paper or illustration board.
KILOBYTE—Abbreviated as K, a kilobyte is 1,024 bytes of data.
L LAMINATE —(l) A transparent plastic or acrylic cover material; (2) To

cover a surface with a transparent plastic or acrylic material.
LAMINATION —A plastic or acrylic used to cover a surface.
LAMPBLACK—A very fine black pigment used in various black paints and
inks.
LASER—An acronym for Light Amplification by Simulated Emission of

Radiation.
LASER PRINTER—A high-resolution printer that uses laser technology to

create an image.
LAYING IN—The initial broad application of tone to a picture.
LAYOUT—The arrangement of a book, a magazine, or other publication so

that text and illustrations follow a desired format.
LEADING—Spacing between lines of type, measured in points.
LEADER LINE—Thin, unbroken lines used to connect numbers, references,

or notes to appropriate surfaces.
AI-33
Glossary, Continued
L (Continued) LEAF—A single sheet that includes both sides.
LEAK—An accidental escape of fill color or texture from an object or shape

not completely enclosed by pixels.
LENS—Optical glass components arranged in a formation that creates a focal

point at a specific distance from a screen.
LENS DIAPHRAGM—Controls the amount of light allowed to reach the

film.
LEGEND—A description of any special or unusual marks, symbols, or line

connections.
LENTICULAR SCREEN—A projection screen with a surface patterned to

reflect a projected image with minimum glare.
LETTERHEAD—(1) The printed matter, usually the name and address of a

company, at the head of a sheet of letter-quality paper; (2) A sheet of paper
bearing a letterhead.
LETTERING —Letters and words formed or printed by hand.
LETTERPRESS PRINTING—A printing process in which the raised, inked

surfaces of the type and/or plates transfer an impression directlv to the paper.
LETTER-QUALITY PRINTER—A printer that imitates letters with

resolution similar to a typewriter.
LETTERSPACING—Placing additional space between the letters of words

to expand the length of a line or to improve and balance typography.
LIFT METHOD—(l) The process of using laminate material to remove or

lift an image from clay-coated stock; (2) scanning text or graphics onto disk
for importation to another application.
AI-34
Glossary, Continued
L (Continued) LIGHT BOX—A box with a translucent glass or plexiglass top illuminated
from underneath, used for tracing and layout.
LIGHTFACE —The lightest and thinnest form of a type series.
LIGHT PEN—An electronic input device used to draw freehand against a

CRT screen.
LIMITED PALETTE—(l) A palette with a restricted number of pigments;

(2) A palette that lacks one or more of the three primary colors.
LINE—A continuous, unbroken mark made by a pen, a pencil, a brush, or

other drawing instrument.
LINE AND WASH—A technique combining a black line with transparent

wash.
LINE COPY—A composition of black lines and masses without gradation of

tone.
LINE DRAWING—A drawing composed entirely of lines, dots, and areas of

solid black.
LINE OF DIRECTION—The line the eye follows when looking at the

picture.
LINES PER INCH—Also called LPI. A standard measurement of resolution

for the color printing trade.
LINE WEIGHT—The thickness of pencil, ink, or other lines in artwork.
LINSEED OIL—An oil obtained by pressing the seeds of a plant, which

produces linen fiber used as a medium in oil painting.
AI-35
Glossary, Continued
L (Continued) LITHOGRAPHY—See OFFSET PRINTING or OFFSET LITHOGRAPHY.

A reproduction process in which grease crayon lines and masses drawn on a
flat, polished stone print through the affinity of grease to grease (grease
crayon and printer's ink). The wetted stone repels the ink from the other
areas not covered with crayon.
LITHOGRAPHIC PENCILS—An oily pencil or crayon used to mark

lithographic plates.
LOCAL COLOR—The actual color of an object without regard to the effect

of changing light and shadow conditions.
LOCAL COLOR VALUE—The actual lightness or darkness of a color

without regard to the effect of changing light and shadow conditions.
LOGOTYPE —Also called LOGO. The lettered signature, nameplate, or

trademark of a commercial firm.
LONGSHOT—A picture showing a full figure or a distant view.
LACEY LUCY—See CAMERA LUCIDA.
M MACHINE COMPOSITION—Type set by a machine.
MACRO LENS—A short focal-length lens specifically designed to allow

closeup photography.
MAHLSTICK—A rod used in the palette hand to support or steady the

painting hand.
MAKEUP—See LAYOUT. The arrangement of text and illustrations on a

page in conformance to standard practices in the industry or to publication
requirements.
MAGNETIC CHALKBOARD—A briefing board that accepts chalk

markings and magnetic attachments.
AI-36
Glossary, Continued
M (Continued) MARS COLORS—Artificial earth colors.
MASKING—To block out a portion of an illustration by pasting paper over

it to prevent it from reproducing.
MASKING TAPE—An opaque, paper tape used to cover the edges of a

picture while painting and to fasten artwork temporarily to a drawing board.
MASTER—An original typed, drawn, or typeset copy intended for

reproduction.
MAT—A cardboard or paper decorative enclosure around a picture.
MATCH DISSOLVE—Holding one element on a screen as one scene

dissolves into another.
MATTE—Dull or without shine.
MATTE PRINT—A print having a dull finish.
MATTE SCREEN—A projection screen with a dull surface to reduce glare

from overhead lights.
MEASURE —The length of a line of type measured in picas.
MEATBALL —See BULLET.
MEDIA INTEGRATION—Also called MULTIMEDIA. Mixing various

presentation devices in the same presentation.
MECHANICAL —A page or layout prepared as an original for

photomechanical reproduction.
MECHANICAL DRAWING—A method of drawing using precision tools to

produce mathematically precise layouts, diagrams, and engineering drawings.
AI-37
Glossary, Continued
M (Continued) MEDIUM—(l) A liquid that dilutes a paint without damaging its adhesive;
(2) The mode of expression employed; (3) The actual instrument or material
used by the artist.
MEGABYTE—Abbreviated MB or M, approximately one million bytes of

data.
MEMORY—That portion of computer hardware that retains data for later

retrieval.
MENU—A selection of options displayed on a computer screen.
MICROCOMPUTER—Another name for a personal computer or computer

workstation not attached to a mainframe system.
MILITARY STANDARDS—Also called MIL-STD. A formalized set of

government standards.
MIXED MEDIUM—Also called MIXED MEDIA. A combination of two or

more mediums.
MODEM—An electronic input/output device that connects computer

workstations for communications.
MOIRÉ—An wavy or checkered pattern that results when photographing a

halftone through a screen.
MONOCHROMATIC —Shades or tints of one color.
MONTAGE—See COMPOSITE. (1) Arranging a number of pictures or

designs in a combination, often with some overlapping, so that they form a
composite whole; (2) The resultant arrangement or composition.
MONITOR—The viewing screen of a computer system.
MOOD—An outward projection of a feeling or emotion that affects behavior

communicated by action, situations, or symbology in a picture.
AI-38
Glossary, Continued
M (Continued) MORGUE—See PICTURE MORGUE, CLIP ART, or RESEARCH FILE.
MOUNT—To fasten onto another surface.
MOUNTING AND FLAPPING—Fastening original artwork or copy to a

board allowing sufficient excess around the picture borders to accommodate
attaching a protective overlay along one side.
MOUNTING BOARD—Heavy paper boards used as backboards to support

drawings, paintings, and photographs.
MOUSE—A hand-held computer input device that allows rapid movement

and selection.
MULTIMEDIA —Also called MEDIA INTEGRATION. A combination of

presentation devices used in the same presentation.
MULTIPURPOSE BOARD—A briefing board with a slick, bright, white

surface that accepts erasable marker, marker, and magnetic backed
accessories.
MUNSELL COLOR SYSTEM—A system of color analysis and

identification that distinguishes between the three measurable dimensions of
hue, value, and chroma (intensity).
MURAL—Any picture painted or fixed permanently on a wall or ceiling.
MYLAR—Tough, highly stable, polyester film used as a base for

engineering drawings, laminating, overlays, and a wide variety of other
applications.
NARRATION —Also called VOICE OVER. The description or commentary

that accompanies television and video presentations.
NCR PAPER—No Carbon Required paper; chemically coated paper that

transfers a copy of an image to the sheet directly behind it without the use of
a carbon.
AI-39
Glossary, Continued
N (Continued) NEGATIVE, PHOTOLITHOGRAPHIC—A film negative having a

translucent image and a black background produced by a process camera and
used primarily to make printing plates.
NEUTRAL COLOR—(l) A color that lacks hue and intensity; (2) A color
that contains some amount of its complementary; (3) An earth color.
NIB—A point at the end of a pen or marker.
NOISE—Adding a random pattern of pixels over an image to add texture,

create a new value, or give a painterly effect.
NORMAL LENS—Also called STANDARD LENS. A 50mm focal-length

lens, which most closely approximates normal vision with minimal distortion.
O OBLIQUE PROJECTION—A view produced when the projectors are at an

angle to the plane of the object illustrated.
OCTAGON —A figure having eight sides.
OFFSET LITHOGRAPHY—See LITHOGRAPHY. Lithographic printing

where an inked plate prints on a rubber blanket, which then offsets the image
to paper stock.
OFFSET SECTION—A section view of two or more planes in an object to

show features that do not lie in the same plane.
OIL PAINT—Any pigment ground in linseed oil or poppy oil.
OILSTONE—A stone or abrasive used to sharpen needlepoints and blades.
ONE POINT PERSPECTIVE—Also called PARALLEL PERSPECTIVE.

When the height and width of an object are parallel to the plane of projection.
ONION SKIN—Also called MANIFOLD PAPER. Thin, translucent paper

used to make a typewriter carbon copy or to serve as a tissue overlay for
work requiring correction or protection.
AI-40
Glossary, Continued
O (Continued) ONSCREEN —An image that appears on the computer or television screen.
OPAQUE—(l) Impermeable to light; not transparent or translucent; (2) To

paint over unwanted portions of a negative with a solution to prevent light
from seeping through.
OPAQUE PROJECTOR—A device that projects an opaque object to a

desired size on another surface.
OPAQUE WATERCOLOR—See WATERCOLOR. A creamy, opaque

paint-like gouache or tempura, available in tubes, jars, or by mixing white
with transparent colors.
OPAQUING—Covering up with opaque paint.
OPTICAL CENTER—A point slightly above (10%) the geometric center of

a layout that the eye perceives as the center.
OPTICAL ILLUSION—An unreal or misleading image perceived by the eye

as real.
OPTICAL SPACING—The arrangement of spacing between letters for

legibility and appearance, which varies with the shape of the letters to
achieve optical equalization.
ORGANIZATION CHART—A block chart or diagram showing the names,

titles, departments, and responsibilities of personnel in an organization.
ORIGINAL—See MASTER. Copy submitted to the printer for

reproduction.
ORTHOGRAPHIC PROJECTION—A method of projection with six

principal views.
OSCILLATING AIRBRUSH—An airbrush with a reciprocating needle used

for fine detailed work.
AI-41
Glossary, Continued
O (Continued) OUTPUT—The end product generated by an electronic device, such as a

computer, printer, or copier.
OUTPUT DEVICE—An electronic accessory to a computer system that

provides some type of end product either visually or as a hard copy.
OUTLINE—The outside edge of a shape or form.
OUTLINE DRAWING—A drawing where lines define the outer limits of

the forms without the representation of modeling, light, or shadow.
OVERHEAD PROJECTION—A projector that uses of a system of mirrors

and a fresnel lens to project a transparent image or object to another surface
or screen.
OVERLAP—To cover a part of one shape or line with another.
OVERLAY—A transparent or translucent sheet taped over the original art

for protection or to indicate instructions or corrections.
OVERPRINTING—Printing an image over another impression.
OZALID MACHINE—An ammonia process printmaking machine that

produces the same-size copy from transparent or translucent originals.
P PAINTING KNIFE—See PALETTE KNIFE. A type of palette knife made

for applying paint to a picture.
PALETTE—(l) The surface on which the artist places paint and mixes
colors before applying them to canvas or other painting surface; (2) A group
of colors or gray values chosen for use in the same picture.
PALETTE KNIFE—A thin, flexible, steel blade set in a wooden or plastic

handle available in a variety of shapes used for mixing paints and impasto,
applying paint directly to a canvas or to create special textures directly on the
surface of a picture.
AI-42
Glossary, Continued
P (Continued) PALETTING—Moving the pigment back and forth across a palette with a
paint brush to achieve a certain consistency in texture or color or to load the
brush with pigment adequately.
PANEL—(l) A given area in which a cartoon is drawn, with or without a

defined frame; (2) One box or frame of a comic strip; (3) One unit of a
storyboard.
PANORAMA—Also called PAN. Slow, steady camera movement from side

to side.
PANTOGRAPH—A mechanical device based on the shape of a

parallelogram, used to reduce, enlarge, or copy pictures.
PANTONE COLOR SYSTEM—An industry accepted system of color

analysis and identification which distinguishes between the three measurable
dimensions of hue, value, and chroma (intensity).
PARABOLIC REFLECTORS—Lamp reflectors that assist even

illumination and shorten exposure time.
PARALLAX—Distortion present when exposing film through a lens not

aligned with the veiwfinder, distortion corrected by a rangefinder camera.
PARALLEL PROJECTION—See ONE POINT PERSPECTIVE.
PARALLEL STRAIGHTEDGE —A long, straight edge supported at both

ends to maintain parallel motion.
PARTIAL SECTION—A sectional view consisting of less than a half

section.
PASTEL—(l) A dry pigment mixed with a variety of binders to form a stick

or crayon for application to a picture surface; (2) A picture executed in the
pastel medium.
AI-43
Glossary, Continued
P (Continued) PASTEUP—The process of pasting an image or part of an image on a

reproduction page or sheet before photographing for platemaking or printing.
PATTERN —(l) The regular or irregular distribution or arrangement of

elements; (2) Regularly repeated flat designs used to create two-dimensional
textures.
PENS, PLOTTER—A pen nib or jet spray attached to a plotter output

device.
PENS, STEEL BRUSH—Steel pen nibs designed to create large poster size
lettering.
PENS, TECHNICAL—Conical or tubular tipped pen nibs designed to

produce a consistently even line of a predetermined weight in a standard or
metric measurement available with and without a reservoir.
PENTAGON—A five-sided figure generally having equal sides and angles.
PERCENTAGE CHART—Also called PIE CHART. A circular chart

divided into wedges whose sum equals 100% or 360°.
PERPENDICULAR —A vertical line meeting or intersecting a horizontal

line at 90°.
PERSONIFICATION—Attributing human qualities to animals or inanimate

objects.
PERSPECTIVE—The visual impression of lines moving closer together as

distance increases.
PHANTOM LINES—Also called ALTERNATE POSITION LINES. Lines

consisting of one long and two short dashes, evenly spaced, terminating in a
long line, used to indicate an additional position of a part or object.
AI-44
Glossary, Continued
P (Continued) PHANTOM VIEW—A view showing an alternate position of a movable

object.
PHOTOGRAPHIC TYPESETTERS—See TYPESETTERS,

PHOTOGRAPHIC.
PHOTOLETTERING—A method of simulating hand lettering or display

type by photographic means.
PHOTOLITHOGRAPHY —The transferring of a drawing to a lithographic

plate by photography.
PHOTOMECHANICAL —Pertaining to any process of printing or

duplicating images by mechanical means from a photographically prepared
printing plate.
PHOTOSTAT—Also called STAT. A photographic image recorded by a

camera so constructed that it photographs and develops directly on paper, in
negative values.
PHOTOTYPE —Type set by photographic means.
PICA—A unit of measure equal to 12 points or 1/6 of an inch.
PICKUP—A square of gum rubber used to remove excess rubber cement.
PICTORIAL DRAWING—Any drawing that depicts an object with

recognizable clarity.
PICTURE AREA—The flat surface within the borders of a picture.
PICTURE MORGUE—Also called MORGUE. See CLIP ART.
PICTURE PLANE—An imaginary plane placed between the observer and

the object, usually at right angles to an observer's line of vision.
PIE CHART—See PERCENTAGE CHART.
AI-45
Glossary, Continued
P (Continued) PIGMENT—Dry color matter that becomes paint when mixed with a vehicle
or binder.
PINHOLE —A small light spot that appears on a developed photographic

negative resulting from particles of dust and lint on the unexposed negative,
the camera lens, the vacuum board glass, or other parts of the camera.
PIN REGISTER—A method of holding elements in place in overlay work

and animation.
PIXEL—Also called PICTURE ELEMENT. A small bit of digital data from

a computer screen.
PIXEL MAP—Also called BIT MAP. A matrix of pixels that form a digital
image on the computer screen.
PIXILATED—Having jagged edges.
PIXEL—Specifying the size of a pixel on the computer screen.
PLAIN TITLE CARD—Printed information only on a card for television

transmission of credit lines.
PLAN VIEW—A view of an object or area as it would appear if viewed

from directly above.
PLANE—A flat surface.
PLANNING CARDS—A small card containing a idea or point placed in

sequence on a storyboard.
PLAT—A map or plan view of a lot showing principal features, boundaries,

and location of structures:
PLATE FINISH—A smooth surfaced paper.
PLY—A single layer of drawing paper.
AI-46
Glossary, Continued
P (Continued) POINT—A standard type measure of 1/72 of an inch or 72 points equals 6

picas.
POLYMER—Paints that have polyvinyl acetate or acrylic resin as a binder

used as either a transparent or opaque medium.
POLYGON—Common geometric constructions.
PORTRAITURE—The process or art of depicting an individual by drawing,

painting, or photographing from life.
PORTRAY—To delineate or depict.
POSTER—A large cardboard or paper display sign.
POSTER BOARD—A medium weight cardboard suitable for show cards.
POSTER COLOR—An opaque watercolor used for making show cards.
POSTERIZATION—A technique for adding poster-like qualities to a

photograph, a film, or an illustration by separating the normal tones of a
subject into distinctly separated, strong tones.
POUNCE—A powdered substance that improves the ink-absorbing qualities

of tracing cloths and papers.
PRELIMINARY DRAWINGS—Drawings done in preparation for a

finished piece of art.
PRE-PRESS —The preparatory stage of art or copy immediately before

committing the image to a plate.
PRIMARY COLORS—The red, yellow, and blue in a subtractive process

and the red, yellow, and green in the additive process of color theory.
PRINT—An image made from a master negative or plate.
AI-47
Glossary, Continued
P (Continued) PRINTING—A process for reproducing copy.
PRINTING PLATE—Also called CUT. A flat piece of metal used on a

printing press that contains the image either engraved or etched
photographically on the surface.
PRISM—A transparent piece of crystal or optical glass having two plane

surfaces which are not parallel that separate white light into the visible colors
of the spectrum.
PROCESS COLOR REPRODUCTION—A combination of halftone plates,

usually red, yellow, blue, and black, which when printed in perfect register,
combine to produce a full-color reproduction.
PRODUCTION DEPARTMENT—The people responsible for purchasing

and maintaining schedules on printing, typography, engravings, bindings,
paper, and sometimes the purchase of art for an organization.
PROGRESSIVE PROOFS—Proofs showing the order of printing and shade

of ink for each required plate.
PROGRESSIVE DISCLOSURE—Systematically revealing information on a

partially obscured visual.
PROJECTION—The act or art of projecting lines and planes in orthographic

and perspective drawings.
PROJECTOR—A device containing a light and lenses for projecting an

image onto another surface.
PROJECTURAL —(1) An image projected onto another surface; (2) The

image so projected.
PROOF—A printed impression from a negative, a plate, or a body of type

submitted for examination or correction.
AI-48
Glossary, Continued
P (Continued) PROOFREADER'S MARKS—Standard marks placed in the margin nearest

the word that indicate corrections in typeset copy.
PROPORTION —The relation to size of one part or thing to another or one

portion of something to the whole.
PROPORTIONAL DIVIDERS—A drafting instrument used for transferring

measurements from one scale to another or to divide lines and circles into
equal parts.
PROPORTIONAL SPACING—Also called DIFFERENTIAL

LETTERSPACING. The spacing of characters in proportion to size by
means of the typewriters and office composing machines used in the
preparation of cold composition copy.
PROPS—Accents or accessories that identify the time frame or location of a

subject.
PROTRACTOR—A circular or semicircular rule for measuring off the

degree of an angle.
Q QUILL PEN—See CROW QUILL. A pen nib made from a feature quill.
R RADIAL FILL—To fill an object with color, pattern, or shade that appears
to radiate from the center of the object.
RADIATION—A divergence of lines, tones, or colors from a common point

to different directions.
RADIUS—A straight line from the center of a circle or sphere to a point on

its circumference.
RADIUS CURVE—A drawing tool used to draw arcs of a predetermined

radius.
AI-49
Glossary, Continued
R (Continued) RANDOM ACCESS MEMORY—Also called RAM. Retrievable computer

memory accessible at will without sequential reading.
RANGEFINDER —The ground glass in a camera used to focus an image.
RASTER-BASED—An image based on the manipulation of a matrix of

pixels or dots.
RASTER IMAGE PROCESSOR—Also called RIP. A device for

converting vector-based imagery to high resolution raster images.
READ—To access electronically stored data.
REAR PROJECTION SCREEN—A matte surface, translucent screen used

when projecting an image from behind to a screen.
REBOOT—Restart the computer system.
RECEDING COLORS—Colors that appear to move away or create the

illusion of distance.
RECTANGULAR COORDINATE GRAPH—A graph based on a grid

system where values are plotted by X and Y coordinates.
REFERENCE NUMBERS—Numbers used on one drawing to refer to

another drawing for further details.
REFERENCE PLANE—The normal plane used to reference all information.
REGISTER—To align a page or any elements of an image or impression to

match the position of successive impressions.
REGISTER MARKS—Marks used to key an overlay to a drawing or

mechanical as in color separation or combination plates.
REMOVED SECTION —A drawing of the internal cross section of an object

located near the basic drawing of the object.
AI-50
Glossary, Continued
R (Continued) RENDER—To represent, portray, or depict in a drawing or painting.
RENDERING—A drawing or painting in which tonal values vary from white

through black or from light to dark shades.
REPRODUCIBILITY —The ability of line and halftone copy to reproduce as

acceptable and legible.
REPRODUCIBLE ART—Second-generation art made from the original art

and mortised or pasted onto the reproduction page.
REPRODUCTION —Making one or more copies of an original piece of

work.
REPRODUCTION COPY—Also called CAMERA-READY COPY. Copy

ready in all respects for photomechanical reproduction.
REPRODUCTION PROOFS—Also called REPROS. Exceptionally clean,

sharp proofs on a highly coated paper used for reproduction.
REPROGRAPHICS—The reproduction of images by copying machines and

their methods and processes.
RESCALE—To enlarge or reduce in size or to change in shape without

changing proportion to fit new space configurations.
RESEARCH FILE—See MORGUE, PICTURE MORGUE, or CLIP ART.
RESOLUTION—Clarity, focus, or density.
RETOUCH—To delete unwanted image areas or make repairs to copy by

painting out with an opaque solution.
RETOUCH GRAYS—A series of opaque watercolors ranging from white to

black.
AI-51
Glossary, Continued
R (Continued) RETOUCHING—The alteration of detail or removal of spots and blemishes

in a photographic print or negative.
RETOUCH VARNISH—A light, colorless varnish sprayed on a dull, dried-

out area or an unfinished oil painting to restore the "wet" colors or values,
making it easier to mate with new paint.
REVERSE—See FLOP. To turn over.
REVERSAL—See REVERSE PRINT.
REVERSE PRINT—A print where the black values of the originals are
white.
REVISION BLOCK—Space located in the upper-right corner of a drawing

to record any changes to the original drawing.
REVOLVED SECTION—A drawing of the internal cross section of an

object superimposed on the basic drawing of the object.
ROMAN—One of a group of alphabets or typefaces characterized by thick

and thin strokes and often with serifs.
ROSS BOARD—An illustration board that comes in a variety of roughened

surfaces that divide crayon or brush strokes into broken textures suitable for
reproduction.
ROTATION —A view in which the object is rotated or turned to reveal a

different plane or aspect.
ROUND BRUSH—A cylindrical brush having an evenly tapered point.
RUBBER CEMENT—Semitransparent glue consisting of gum rubber and a

petroleum or benzol solvent.
RUB-ONS—Transfer sheets containing reprinted characters, symbols, and

numerals applied by burnishing over an acetate or paper back sheet.
AI-52
Glossary, Continued
R (Continued) RULING PEN—An instrument that holds ink between two adjustable blades.
RUNNING HEAD—The title repeated at the top of consecutive pages in a

book or magazine.
SABLE BRUSH—A flat or round-shaped brush made from the tail hair of a
Kolinsky (Asiatic) mink.
SAFELIGHT—A colored light used to illuminate a darkroom without

harming photosensitive film or paper.
SANDPAPER PAD—A pad of sandpaper sheets mounted on a strip of wood

used to sharpen a pencil lead or pastel.
SANS SERIF—Without serifs, a letter that does not have a finishing stroke.
SATURATION—The purity or intensity of color.
SCALE—(l) Proportions or relative dimensions; (2) To enlarge or reduce

without changing the original proportions.
SCALE CLIP—A clip attached to a scale that focuses on the scale currently
in use.
SCALE DRAWING—A drawing that shows relative sizes and proportions.
SCALING—Also called DIMENSIONING or SIZING. Enlarging or

reducing copy or an image to the correct dimensions to occupy a given area.
SCANNING AREA—The total area or picture that the camera sees.
SCRAP FILE—See RESEARCH FILE.
SCRATCHBOARD—A type of illustration board with a chalky surface

uniformly covered with ink.
AI-53
Glossary, Continued
S (Continued) SCREEN—A glass plate or film with crosshatched lines which

photographically produces a halftone for reproduction from a continuous-tone
original.
SCREEN PROCESS PRINTING—Also called SILKSCREEN. A form of

stencil printing that uses silk, nylon, or metal screen to contain the image.
SCREEN REFRESH—A continuous update of computations that create the

image on a computer screen.
SCRIPT—(l) Lettering based on hand writing; (2) A paper or papers which

describe in detail all of the elements of a commercial or story.
SCROLL—A rapid up-or-down movement of a computer screen image

during a search function.
SECONDARY COLORS—The colors (orange, green, and violet) that lie

halfway between the three primary colors.
SECTION LINE—Thin, diagonal lines used to indicate the surface of an

imaginary cut in an object.
SECTIONAL VIEW—The view obtained by cutting away part of an object

in an illustration to show the shape and construction of the interior.
SEPIA—A dark, warm brown color of low brilliance.
SEPIA INTERMEDIATE—An intermediate used in making duplicate

transparencies by the whiteprint process.
SERIF—The finishing stroke or line projecting from the end of the main
stroke of many letters in some typefaces.
SET PALETTE —One hue mixed with a group of colors to create color
harmony or unity in a chosen palette.
AI-54
Glossary, Continued
S (Continued) SETTING—Background or surrounding.
SHADE—A mixture of pure color and black.
SHADING—Lines, values, or color applied to create form, shadow, or

pattern.
SHADING MEDIUMS—Preprinted tones and patterns used to enhance the

appearance of copy and artwork.
SHADING SHEETS—Sheets of cellophane or acetate preprinted with tones

and patterns with a low-tack adhesive for applying to artwork.
SHAPE—The flat silhouette or two-dimensional form of an object.
SHELF LIFE—The length of time before sensitized material deteriorates.
SHIP'S CURVES—Instruments for drawing elongated, irregular curves that

closely approximate the curves found in shipbuilding.
SHUTTER SPEED—A method of controlling the length of time that light

can reach a film.
SIGHT LINE—An imaginary line extending from the eyes of a figure in a

drawing to an object indicating that person’s direction of glance.
SINGLE-ACTION AIRBRUSH—A device that releases both air and

pigment by pressing down on a button.
SIGNATURE —A sheet of paper printed on both sides and folded to make up

part of a publication.
SILHOUETTE —An outline of an object or figure filled in solidly without

indication of modeling or surface structure.
SILKSCREEN—A method of printing through a stencil fixed to a screen of

natural or synthetic fiber or metal mesh.
AI-55
Glossary, Continued
S (Continued) SIZE—Also called SIZING. Various gelatinous materials made from starch,
clay, glue, and casein used for glazing or coating papers and cloths.
SKETCH—A quickly executed drawing as a preparation toward more

finished work.
SKETCHING PENCIL—See CARPENTER'S PENCIL. A soft-leaded

pencil used for freehand sketching.
SMALL CAPS—Capital letters smaller than the standard capitals of a

typeface and the size of the body of the lowercase letters.
SODIUM THIOSULFATE—Also called HYPO. A salt with water solution

that dissolves the silver halides used in photographic papers and films.
SOFT EDGE—A blended or graduated transition from one value or color to

another.
SOFTWARE—Computer programs that direct the output devices and

determine the input devices effectivity.
SPECIAL EFFECTS GENERATOR—A device that adds or creates effects

to visual images during recording on videotape.
SPECIAL IRREGULAR CURVE—Irregular curves for a specific purpose,

such as ship's curves, mechanical engineer's curves, conic sections,
logarithmic spirals, and flexible curve rules.
SPECTRUM—The arrangement of colors side-by-side as refracted by a

prism.
SPEEDBALL PENS—Lettering and drawing pens manufactured by the Hunt

Manufacturing Company that are the hallmark of hand lettering pen nibs.
SPEED LINES—Extra lines following a moving figure or object in a cartoon

representing the disturbance the movement causes in the atmosphere.
AI-56
Glossary, Continued
S (Continued) SPHERE—A form where all points are equidistant from the center.
SPINE—The bound edge of a book.
SPLINE—A flexible rule, held in place by lead ducks, used to draw irregular
curves.
SPLIT BRUSH TECHNIQUE—Also called DRY BRUSH TECHNIQUE.

Painting or drawing with a brush having the hairs separated to form more
than one point.
SPLIT COMPLEMENT—A color scheme that uses a key hue with the two
colors that lie adjacent to its opposite on the color wheel.
SPLIT FIELD—A rangefinder that focuses an image by dividing the image

in half and requiring alignment into a whole.
SPOT COLOR—Using a combination of two individual colors, a main

color, usually black, and an accent color instead of a full-color output.
SQUEEGEE —(1) An implement used on silk process printing presses that

forces ink and ink compounds through the screen and stencil onto a printing
surface to form the image; (2) The process of forcing pigment across a
surface with other than a brush.
STABILIZER—A chemical that arrests the continued development of an

image and fixes that image into the surface.
STABILO PENCIL—A pencil that uses grease or wax as a binder for

pigment and is capable of writing on glass.
STAT—See PHOTOSTAT.
STATIC—Lacking in movement.
STATION POINT—The point of observation in the making of perspective

drawings.
AI-57
Glossary, Continued
S (Continued) STILL LIFE—A pictorial arrangement of inanimate objects.
STIPPLE—The effect obtained by using a series of dots or flicks in drawing.
STOCK—Material printed or worked on by printers or artists.
STOP BATH—A chemical solution that stops photographic development.
STOPPER —An eye-catching device in a picture that grabs and holds a

viewer's attention.
STORYBOARD —A panel presentation of rough sketches of a proposed

series of views.
STRAIGHTEDGE—An instrument with long, straight edges
STRIP IN—To position copy-not pasted up on the mechanical before

platemaking.
STRIPPING—Cutting out and placing in position.
STUDIO CARD—Illustration or pictorial information on a card intended for

television transmission.
STUMP—A pencil-shaped roll of paper used to blend pastel, pencil, and

charcoal.
STYLIZED —Characterized by an emphasis on style and design.
STYLUS-A scraping instrument with sharp or chiseled edge.
SUBHEAD—A secondary headline or title.
SUBTRACTIVE COLOR PROCESS—The process of forming colors by

mixing pigments.
AI-58
Glossary, Continued
S (Continued) SUBORDINATION—Subduing part of a picture to make it less important

than another part.
SUPERIMPOSED—Also called SUPER. One image or text placed over

another without totally obscuring the first.
SUPERIMPOSED IMAGE—A rangefinder that focuses an image by

requiring the alignment of two images over each other.
SUPPORT—The reinforcement or backing for a painted surface.
SURREALISM—An art movement whose objective is to explore the realm

of unconscious emotion and dreams.
SWATCH—A small sample specimen.
SWEDE PEN—A broad nibbed, adjustable ruling pen.
SWIPE FILE—See RESEARCH FILE.
SYMBOL—A visual element that represents something else.
SYMMETRY —Similarity in size, shape, and relative position of parts on

opposite sides of a dividing line.
T TABOURET—A portable cabinet used to hold the artist's drawing tools and
materials.
TEAR SHEETS—Also called CLIP ART and PICTURE MORGUE.
TECHNICAL ILLUSTRATION—Drawings for technical reports,

proposals, manuals, and catalogs, as well as visual aids, briefing charts,
projecturals, slides, and posters.
TECHNIQUE—(l) The method of using a tool or medium; (2) The

characteristic appearance of a medium; (3) The particular style of an artist.
AI-59
Glossary, Continued
T (Continued) TELEPHOTO LENS—A long focal-length lens that has the effect of
bringing far objects nearer.
TELEVISION GRAPHICS—Graphics created specifically for transmission

via television.
TEMPURA —Dry pigment mixed with an emulsion of egg yolk or milk to

form an opaque watercolor.
TEMPLATE—A guide made to ensure the uniform consistency of frequently

used symbols.
TERTIARY COLORS—Any intermediate hue that contains some part of

each of the three primary colors.
TEXT—Typewritten or printed matter forming the main body of a work.
TEXTURE—The feel or appearance of a surface created by the repetition of

forms or design.
THERMAL TRANSFER PRINTER—A printer that uses heat to fuse the

image to a paper surface.
THIRD DIMENSION—The effect of depth or bulk achieved by the artist on

a flat surface.
THREE DIMENSIONAL—Possessing height, width, and depth.
THREE-QUARTER VIEW—A view of an object rotated to a position

halfway between a front and a side view.
THREE-POINT PERSPECTIVE—A view where no dimension, height,

width, or depth, is parallel to the plane of projection.
THUMBNAIL SKETCH—Page layouts showing the allocation of space for

headings, photographs, line artwork, and text.
AI-60
Glossary, Continued
T (Continued) THUMBSPOTS—Visual indicators placed on a slide mount to identify the

emulsion side of the film and simplify tray loading.
TILING—A fill pattern effect that repeats a pattern over and over.
TILT CARD—A vertical card that requires up-and-down camera movement.
TIME LINE—A projected plan of execution outlining significant milestones

and deadlines used to monitor work in progress closely.
TINT—A mixture of pure color and white.
TISSUE OVERLAY—Thin, translucent paper placed over artwork for

protection and corrections.
TITANIUM WHITE—An opaque white.
TITLE BLOCK—Space in the lower right corner that contains the identity
of the drawing, the subject matter, the origins, the scale, and other data.
TITLE CARD—A television card that contains text only.
TONAL—Having gradations of gray or intermediate values.
TONE—(l) A value usually predominate which sets the key; (2) A thin layer
of paint applied to a ground to eliminate the whiteness of the surface before
painting.
TOOL BOX—See BUTTON BAR.
TOOTH—The ability of the paper surface to accept various mediums.
TORTILLON—Also called STUMP or STOMP. Tightly rolled paper,

leather, or felt used to blend charcoal, pastels, pencil, chalk, or crayon.
TOUCHE—A liquid-masking agent or lithographic crayon applied by brush

to a lithographic plate or stone.
AI-61
Glossary, Continued
T (Continued) TOUCH SCREEN TECHNIQUE—Activating the pixels on a CRT screen

through the touch of an electronic light pen or the fingertip.
TRACING PAPER—A thin, transparent, or translucent paper used for

transferring an image from one surface to another by tracing.
TRACKBALL —See JOYSTICK or MOUSE.
TRAMMEL—A mechanical device used to draw an ellipse.
TRANSFER SHEET—Preprinted characters and symbols on cellophane or

acetate used in preparing cold composition, camera-ready copy.
TRANSLUCENT —The characteristic of allowing light to pass through

without permitting objects to be seen clearly through it.
TRANSPARENCY—Any transparent material intended for projection that

bears an image.
TRANSPARENT—The characteristic of allowing light and objects to be

seen clearly through it.
TRAPS—A slight overlap of the outline of an element to prevent white space

from showing around the edges minimizing the effect of press plate
misalignment.
TRIAD—The use of any three pigments equally spaced on a color wheel.
TRIANGLE—A triangular shaped ruling guide available in various sizes and

angles usually made of clear plastic or metal.
TRIM MARKS—Marks used on printed sheets or other substrate to indicate

where to cut or trim stock both vertically and horizontally.
TRIMETRIC PROJECTION —An axonometric projection of an object

where no two axes make equal angles with the plane of projection requiring
three different foreshortening ratios.
AI-62
Glossary, Continued
T (Continued) T-SQUARE—A ruling guide with a 90° angled crosspiece at one end used in
making horizontal lines.
TURPENTINE —A solvent distilled from the sap of pine or from pine wood
used as a thinner and to clean brushes.
TUTORIAL—A lesson guide.
TWO DIMENSIONAL—Flat, without depth, having only width and height.
TWO-POINT PERSPECTIVE—Also called ANGULAR PERSPECTIVE.

The most common type of perspective drawing where the object is sitting at
an angle to the plane of projection and each object has two vanishing points.
TYPEFACE—The printing surface of an alphabet judged by its design,

printability, wearability, and position on the letter body.
TYPE FAMILY—A group of typefaces similar although not exactly alike in

design.
TYPE SERIES—Different sizes of the same typeface.
TYPESETTERS, PHOTOGRAPHIC—Machines that supply a variety of

type designs and sizes, automatically letterspaced and justified on transparent
film or plastic-coated opaque paper.
TYPOGRAPHY—The art of type selection and arrangement.
U ULTRAVIOLET LIGHT—Actinic (shorter wavelength) or useable part of

the light spectrum needed to react or harden light-sensitive coatings.
UNDERTONE—A color whose effect is modified by other colors imposed

over them.
UNRETOUCHED—Not altered or improved by any means.
AI-63
Glossary, Continued
U (Continued) UPPERCASE —The capital letters of an alphabet.
USER INTERFACE—The visual and physical attributes of a software

program including tools-, text-, and graphics-handling characteristics.
UTILITY PLAN—A floor plan of a structure showing locations of heating,

electrical, plumbing, and other service components.
V VALUE—The relative lightness and darkness of different areas of the picture

represented in tones, shading, line balance, and layout.
VALUE SCALE—The complete range of values from the lightest to the

darkest.
VAN DYKE—A brownprint negative and sometimes a brownline positive.
VANISHING POINT—The point at which parallel lines receding from the

observer appear to converge in a perspective drawing or photograph.
VARIGRAPH—A lettering device that allows manipulation of letter size,

slant, and shape.
VARNISH—A solution made of a resin in a volatile medium.
VEHICLE—A liquid used as a carrier of pigment in paint.
VECTOR-BASED—Images based on a series of plotted points that define

precise lines and geometric shapes.
VELLUM—A kind of fine, translucent paper resembling parchment or onion

skin used for duplicating copies made with a whiteprint machine.
VELOX—A print of a photograph or other continuous-tone copy prescreened

before paste-up or platemaking with line copy eliminating the need for a,
composite negative.
AI-64
Glossary, Continued
V (Continued) VERTICAL SCAN RATE—Also called FRAME RATE. The number of

times per second a screen redraws an image.
VIDEO DIGITIZING CAMERA—A camera or film recorder attached to

the front of a CRT screen used to record images.
VIDEO DISPLAY TERMINAL (VDT)—A visual display used in

photocomposition work in conjunction with a keyboard.
VIEWING PLANE LINE—See CUTTING PLANE LINE.
VIEWGRAPH —See PROJECTURAL.
VIEWPOINT —The eye level of the viewer and the distance from the scene.
VIGNETTE—Fading an image from heavier to lighter tones blending it into

the background or eliminating the background altogether.
VISIBLE LINE—The outline used for all edges seen by the eye.
VISUALIZING PAPER—A white, semitransparent paper used for making

layouts and preliminary drawings.
VISUAL LITERACY—The ability to communicate effectively using only

visual language.
W WARM COLORS—Colors associated with heat or fire.
WASH—A monochromatic rendering with a brush and transparent

watercolor.
WASH DRAWING—A watercolor painting consisting mainly of washes.
WATERCOLOR—A dry pigment bound by an adhesive, such as gum

arabic, and applied, greatly reduced by water, to a surface in a transparent
fashion.
AI-65
Glossary, Continued
W (Continued) WAXER—A device that applies a thin layer of hot, adhesive wax to the back
of a surface.
WET BRUSH—A blending technique of laying two pigments side-by-side

and blurring the line of demarcation while the pigments are still wet.
WHITE LEAD—A fine, poisonous, opaque white pigment used in flake

white and Cremnitz white oil paints.
WIDE ANGLE LENS—A very short focal-length lens that encompasses a

larger horizontal view than a standard lens. This lens, depending on the
focal length, records an image with increasingly pronounced (barrel)
distortion.
WINDOW—See BLACK PATCH.
WORD PROCESSING—The transformation of a concept or idea into

printed communication media by using mechanical or automated systems,
methods, or processes.
WORD SPACING—The adjustment of spacing between words to shorten or

extend a line to achieve justification.
WORKING DRAWING—A thorough preliminary drawing done on tracing

paper then transferred to a working surface for the finished rendering.
WOVE PAPER—A broad range of papers having an even fiber formation

produced over fine wire mesh.
WRAPPING —(l) A computer feature that automatically enters a soft return

reveal code and continues to enter data from the same sentence on another
line; (2) Selecting a pattern or design and wrapping it around an object on the
screen.
WRICO—A hand-lettering system using a set of templates and a drop fed

pen.
AI-66
Glossary, Continued
X XEROGRAPHY —A copying process that uses electrostatic forces to form

an image.
ZINC WHITE—A zinc oxide based pigment that is less opaque than titanium
and lead white.
ZIP-A-TONE —A transparent acetate sheet preprinted with patterns of dots

or lines that create tone.
ZONE NUMBERS—Numbers and letters on the border of a drawing to

provide reference points to aid in locating specific points in the drawing.
ZOOM LENS—A variable focal-length lens that functions as a telephoto lens

but allows you to select the range of the object magnification.
AI-67
APPENDIX II
References Used to Develop The TRAMAN

NOTE: Although the following references were current when this TRAMAN was published,
you will need to ensure you are studying the latest revision.
Chapter 1 Adams III, Richard M., Halftone Characteristics, Graphic Arts Technical
Foundation, Pittsburgh, PA, 1992.
Destree, Thomas M., The Lithographers Manual, Graphic Arts Technical

Foundation, Inc., Pittsburgh, PA, 1994.
Fenton, Howard M. And Frank J. Romano, On-Demand Printing: The

Revolution in Digital and Custom Printing, Graphic Arts Technical
Foundation, Pittsburgh, PA, 1995.
Lucas, Charles J., Typography, Graphic Arts Technical Foundation, Pittsburgh,

PA, 1981.
Pearl, Bill, Scaling Copy, Graphic Arts Technical Foundation, Pittsburgh, PA,
1980.
Chapter 2 Kemp, Jerrold E., and Don C. Smellie, Planning, Producing, and Using
Instructional Technologies, 7th Edition, Harper Collins College Publishers,
New York, NY, 1994.
Chapter 3 Kemp, Jerrold E., and Don C. Smellie, Planning, Producing, and Using
New York, NY, 1994.
Chapter 4 Brown, Charlene, The Art Of Framing, Walter Foster Publishing, Tustin, CA,
1991.
Kemp, Jerrold E. And Don C. Smellie, Planning, Producing, and Using

New York, NY, 1994.
AII-1
INDEX
B Basic Production, 3-18

script, 3-20
storyboarding, 3-19
story treatment, 3-18
C Cataloging, 4-7
marking, 4-7
Character Generators, 3-8
Color Separation, 1-56
benday or shading sheets, 1-58
bourges sheets, 1-57
duotones, 1-57
fake color, 1-57
how process color works, 1-56
process color, 1-56
spot color, 1-57
Computer Generated Presentations, 2-51
animation, 2-51
generics, 2-51
motion/video, 2-51
presentation, 2-51
production, 2-51
Computer Generated Production, 3-22
hardware, 3-22
infographics, 3-22
infomercials, 3-22
software, 3-22
Copyfitting, 1-34
character count, 1-34, 1-35, 1-36
line measurement, 1-37
Copy Types, 1-8
combination copy, 1-10
continuous-tone copy, 1-9
line copy, 1-8
INDEX-1
INDEX, Continued
D Disclosure Devices, 3-15

analog or digital programmers, 3-14
drop-in or drop-out cards, 3-16
crawl devices, 3-17
pan cards, 3-15
tilt cards, 3-14
Displays, 4-2
location, 4-2
presentation, 4-2
Dummies, 1-26
cover page, 1-27
facing pages with illustrations, 1-29
general construction of paste-up dummies, 1-33
general construction of prelimary dummies, 1-26
illustrations and photographs, 1-29
layout examples, 1-30, 1-31, 1-32
other pages, 1-29
paste-up dummies, 1-33
preliminary dummies, 1-26
single illustrations, 1-29
text, 1-29
title page, 1-28
unusual illustrations, 1-29
E Electronic Pre-press Preparation, 1-55

digital printing, 1-55
purpose, 1-55
Exhibits, 4-3
location, 4-3
presentation, 4-3
F Flow Charts, 2-16

construction, 2-17
flow, 2-17
symbols, 2-16, 2-17
INDEX-2
INDEX, Continued
G Graphs, 2-18
angular measurement, 2-25
bar graphs, 2-21, 2-22
coordinates or points, 2-20
line graphs, 2-23
percentage bar graphs, 2-24
pie charts, 2-25
rectangular coordinate graphs, 2-18
reference frame, 2-18, 2-19
H Hanging, images, 4-4, 4-5, 4-6, 4-7
L Lecture Pads, 2-5

constructing the lecture, 2-5
M Media Selection, 2-3

demonstrative aids, 2-3
dynamic aids, 2-3
manipulative aids, 2-3
static aids, 2-3
types of aids, 2-3
Mechanical Preparation, 1-42
cropping, 1-42
halftones, 1-50, 1-51, 1-52, 1-53
preparation, 1-42
putting it all together, 1-54
retouching, 1-43
silhouetting or vignetting, 1-44, 1-45, 1-46, 1-47, 1-48, 1-49
Matting, 2-32
cutting a mat by hand, 2-32, 2-33
cutting a mat with a carriage-type cutter, 2-34
mats, 2-32
mat proportions, 2-32
tools, 2-32
INDEX-3
INDEX, Continued
M (Continued) Mounting, 2-26

cold press, 2-26, 2-27, 2-28, 2-29
general, 2-31
hot press, 2-30
O Organization Charts, 2-6

block construction, 2-13
chart format, 2-10, 2-11, 2-12, 2-13
combination charts, 2-9
functional charts, 2-7
line conventions, 2-14, 2-15
position or billet charts, 2-8
standardized practice, 2-10
structural charts, 2-6
P Posters, 2-4
Prepress Preparation, 1-11
display type, 1-16
format, 1-12
format shape, 1-14
format size, 1-13
indentations, 1-24
legibility, 1-17
line length, 1-21
margins, 1-25
planning, 1-11
prepress considerations, 1-11
spacing, 1-22, 1-23
stock selection, 1-15
style of the letter, 1-17
typesetting, 1-15
type size-height, 1-18
type size-weight, 1-19, 1-20
typography, 1-15
INDEX-4
INDEX, Continued
P (Continued) Press Processes, 1-4

electronic digitation, 1-7
gravure, 1-5
letterpress, 1-4
lithography/offset lithography, 1-6
processes, 1-4
Proofreader's Marks, 1-61
artwork review, 1-68
clarity, 1-65, 1-66, 1-67
margin and indentation review, 1-65
paste-up review, 1-69
preliminary review, 1-64
proofreader's and editorial marks, 1-61, 1-62, 1-63
text review, 1-65
Q Quality Control, 1-70

precautions, 1-70
R Registration, 1-59
hairline register, 1-60
lap register, 1-60
loose register, 1-60
no register, 1-60
registration, 1-59
S Series Production, 3-21

documentation, 3-21
Scaling Artwork, 1-38
diagonal line, 1-38
limitations, 1-41
proportional scale, 1-39
uniformity, 1-41
using a proportional scale, 1-40
INDEX-5
INDEX, Continued
S (Continued) Slides, 2-48

advantages, 2-48
artwork, 2-48
diagonal line method, 2-50
disadvantages, 2-48
format, 2-48
layout, 2-48
marking, 2-49
mounting, 2-49
thumbspots, 2-49
Storing, 4-8
preparation, 4-8
storage, 4-8
temperature, 4-8
Studio Cards, 3-9
contrast, 3-9
illustrated title cards, 3-12
legibility, 3-10
plain title cards, 3-11
size, 3-9
standard studio cards, 3-10
super title cards, 3-13
style, 3-9
T Television Graphics, 3-5

border area, 3-7
essential area, 3-6
limitations, -- 3-5
scanning area, 3-5
Television Theory, 3-3
basic theory, 3-3
picture tube, 3-4
television or video cameras, 3-4
Types, studio cards, 3-10
INDEX-6
INDEX, Continued
V Viewgraphs, 2-35
advantages, 2-35
artwork, 2-35
computer-generated production, 2-43
diazo, 2-39
diazo intermediates, 2-43
diazo reversals, 2-42
disadvantages, 2-35
exposure and development, 2-40, 2-41
format, 2-35
handmade viewgraphs, 2-37
layout, 2-36
lifts, 2-37, 2-38
master artwork, 2-40
motion, 2-47
mounting a viewgraph, 2-44
overlays, 2-45
progressive disclosure, 2-46
thermographic or electronic production, 2-43
INDEX-7
Assignment Questions
Information: The text pages that you are to study are

provided at the beginning of the assignment questions.
ASSIGNMENT 1
Textbook Assignment: "Copy Preparation," chapter 1, pages l-l through 1-50.
l-l. Of the following printing 1-6. Which of the following formats is

processes, which one is the primary NOT a basic form of copy material?
process used in Navy print shops?
1. Line
1. Gravure 2. Halftone
2. Letterpress 3. Manuscripts
3. Electronic digitization 4. Continuous-tone
4. Lithographic/offset
lithographic l-7. What basic form of copy material
has no graduated tones?
l-2. What printing process is the oldest
form of printing? 1. Line
2. Halftone
1. Gravure 3. Photographs
2. Letterpress 4. Continuous-tone
3. Electronic digitization
4. Lithographic/offset l-8. What basic form of copy material
lithographic requires the extra step of
conversion before printing?
l-3. In offset lithographic printing,
the paper surface receives ink from 1. Line
what press component? 2. Halftone
3. Continuous-tone
1. Zinc plate
2. Ink rollers l-9. A continuous-tone photograph with a
3. Blanket cylinder text overlay comprises what basic
4. Impression cylinder form of copy material?
l-4. Which of the following operations 1. Line

does electronic digitization and 2. Halftone
laser copiers NOT allow? 3. Continuous-tone
1. Editing l-10. You can eliminate printing

2. Photographing production problems with what sound
3. Halftone creation knowledge factors?
4. Job order completion
1. Policies of print shop
l-5. Which of the following terms is a supervisory personnel
broad term that refers to material 2. Press and process limitations
intended for reproduction? 3. Finishing operations
4. Abilities of print shop
1. Copy personnel
2. Text
3. Proofs l-11. What is the next step you should
4. Artwork take after you select the proper
printing process?
1. Type
2. Format
3. Paper stock
4. Press schedules
1
l-12. The format of printed products l-19. What term refers to the design of a
includes which of the following style of type?
attributes?
1. Type weight
1. Look 2. Type class
2. Feel 3. Type size
3. Shape 4. Typeface
4. All of the above
l-20. How do display typefaces create
1-13. Your decision as to the shape and illusions?
size of the pages of a job should
depend on which of the following 1. By using curves
information? 2. By using thick and thin lines
3. By using the presence or
1. Press capacity absence of serif and
2. Bindary capacity embellishments
3. Available stock 4. All of the above
4. All of the above
l-21. What type of lettering should you
IN ANSWERING QUESTIONS 1-14 THROUGH 1-16, choose when selecting a typeface
SELECT FROM COLUMN B THE RECTANGULAR FORM for text in the body of a job?
THAT USES THE RATIOS IN COLUMN A.
RESPONSES IN COLUMN B MAY BE USED MORE 1. A legible design
THAN ONCE. 2. A boldface design
3. A italicized design
A. RATIO B. RECTANGLES 4. A decorative design
1-14. 5:7 1. Hypotenuse l-22. What dimensions compose an overall

letter?
1-15. 2:3 2. Golden mean
1. Weight
1-16. 3:5 3. Regular 2. Height
3. Decoration
4. Signature 4. All of the above
l-23. The letter height of a typeface is

1-17. You should design most booklets and expressed in what unit of measure?
pamphlets to conform to what
rectangular format? 1. Picas
2. Points
1. Regular 3. Pixels
2. Golden mean 4. Fractions
3. Hypotenuse
4. Pythagorean l-24. Which type weight reproduces with
optimum legibility in the finished
l-18. What type of stock should you use product?
for a printing job that will be
read once and thrown away? 1. Boldface
2. Lightface
1. Cover stock 3. Openface
2. Colored stock 4. Regular weight
3. Inexpensive paper
4. Good durable paper
2
l-25. What should you do to the letters l-31. What typographic procedure causes
in a line of text that are too long "rivers" of white space on a
to fit into an allotted space? printed page?
1. Italicize them 1. Removing the short words from

2. Condense them the text
3. Expand them 2. Improper letterspacing
4. Redraw them 3. Improper indentations
4. Improper word spacing
l-26. You can determine if a typeface has
been expanded or condensed by l-32. What typographic procedure reduces
examining the geometric proportions the amount of space between letters
of what letter? or combinations of letters?
1 . D 1. Letterspacing
2. G 2. Word spacing
3. O 3. Line spacing
4. Q 4. Kerning
l-27. There are (a) what number of picas l-33. What is the purpose of
i n o n e i n c h , and (b) what number of indentations?
points in one pica?
1. To make the page of text less
1. (a) 12 (b) 6 readable
2. (a) 2 (b) 6 2. To give the reader's eye a new
3. (a) 6 ( b ) 12 starting point
4. (a) 6 (b) 2 3. To give the reader eye strain
4. To move the text in equally
l-28. To order typeset copy, you should from the margins
specify the line measure in what
unit(s) of measure? l-34. Hanging indentations are used for
which of the following purposes?
1. Picas
2. Points 1. Poetry
3. Picas and inches 2. Legends
4. Picas and points 3. Special emphasis
4. Short quotations
l-29. What term refers to the placement
of additional space between the 1-35. In an open book, the back margin
letters of words to improve and should appear to equal what other
balance typography? margin(s)?
1. Leading 1. Top margin

2. Letterspacing 2. Bottom margin
3. Justification 3. Either side margin
4. Indenting 4. All other margins
l-30. What term is known as the spacing l-36. A preliminary dummy should be what
of lines of type to a predetermined size?
length so that the left and right
margins align? 1. 1/2 actual job size
2. 3/4 actual job size
1. Justification 3. 80% actual job size
2. Letterspacing 4. l/l actual job size
3. Legibility
4. Leading
3
l-37. When should a preliminary dummy be l-42. What does the term "cutlines"
created? pertain to?
1. When filling out the job order 1. Text

with the originator 2. Captions
2. After accepting the job 3. Illustrations
3. Before the job is typeset 4. Cropping instructions
4. After the job is typeset
l-43. In what way should areas of text be
l-38. What pages are NOT considered key indicated on a preliminary dummy?
pages for making up a preliminary
dummy? 1. By the use of thumbnail
sketches
1. Text 2. By drawing a rectangle only
2. Index 3. By using lines drawn
3. Title horizontally by a ruler only
4. Cover 4. Either by drawing a rectangle
or using lines drawn
l-39. If you are laying out a cover to a horizontally by a ruler
publication that is part of a
s e r i e s , how should you design the l-44. Where should you place a single
cover? illustration on a page?
1. Any way you desire 1. At the mid-point of the base

2. Exactly like all other Navy surrounded by text
covers 2. Just above the optical center
3. To match other publications in of the page only
that series 3. The top of the page only
4. To match other Navy 4. Either just above the optical
instructions center or at the top of the
page
l-40. You can improve the appearance of a
long title of a publication by l-45. For the purpose of page layout,
varying which of the following what page visually outweighs the
characteristics? others?
1. Color 1. Right
2. Type size 2. Cover
3. Type style 3. Title
4. Each of the above 4. Left
l-41. What are the principal design l-46. What method should you use to add
requirements for pages such as the interest to a page that requires
table of contents? several illustrations?
1. To match all other pages 1. Make the illustrations one

2. Attractiveness and legibility column wide
3. To match typefaces and 2. Group them as a montage and let
attractiveness the panel bleed
4. To be convenient and contain an 3. Use each illustration
artistic design separately and bleed each one
4. Box each illustration and place
them throughout the page
4
l-47. When should you create a paste-up l-52. When you use the character count
dummy? method of copyfitting, what step
should you take after finding the
1. When the job is submitted total number of characters on a
2. When the job is accepted manuscript page?
3. After the type is set
4. Before type is set 1. Set the margins
2. Divide the total number of
1-48. What materials should be used for a characters by five
paste-up dummy? 3. Count the characters in five
representative lines
1. Preprinted rub-on lettering 4. Determine the number of
sheets characters in one line
2. Printed layout sheets
3. Manuscript copy l-53. What is the procedure for
4. Type proofs determining the length of copy in
inches using the character count
l-49. What is the advantage of having method?
extra proof sheets?
1. Divide the number of lines per
1. To size each page inch into the total number of
2. To trim each page lines in the copy
3. To mark typographical errors 2. Divide the total number of
4. To indicate spacing characters in the manuscript by
instructions the average number of
characters per line
l-50. You should lay out several pages of 3. Count the number of characters
a book in advance to avoid what in 5 lines and multiply by 20
problem? 4. Count the characters in one
l i n e , multiply by the number of
1. Misnumbering final copy pages lines on the page and divide by
2. Repeated shifting from one job 12
to another
3. Work delays while waiting for l-54. To determine the number of
adhesives to dry characters in a typeset line using
4. Changing the layout of the the character count method of
pasted pages to fit copy and copyfitting, how many
illustrations representative lines should you
count?
l-51. Specifying the type and set of a
given body of text is known as what 1. 5
process? 2. 7
3. 6
1. Copyfitting 4. 4
2. Justification
3. Planning the layout l-55. To properly use the line
4. Indentational letterspacing measurement method of copyfitting
to determine copy depth, you should
multiply page length by (a) for
single-spaced, and (b) for double-
spaced manuscripts?
1. (a) 12 (b) 10
2. (a) 10 (b) 12
3. (a) 3 (b) 6
4. (a) 6 (b) 3
5
l-56. What term refers to the process of l-61. Which of the following percentages
determining the reduction or of enlargement or reduction will
enlargement of an image to occupy a reproduce with optimum results?
given area?
1. 175
1. Reproduction size 2 . 80
2. Control dimension 3 . 50
3. Cropping 4 . 33
4. Scaling
l-62. What effect will reducing the
l-57. Which of the following methods is overall size of artwork have on the
the easiest and most popular method reproduction copy?
for scaling artwork?
1. The weight of the center and
1. Mathematical formulation extension lines decreases
2. Proportional dividers 2. All lines except the object
3. Proportional scale outline decreases
4. Slide rule 3. All lines increase in weight
4. All lines decrease in weight
l-58. Normally, w h a t i s t h e c o n t r o l l i n g
dimension for scaling artwork? l-63. What is the major drawback to
enlarging artwork for reproduction?
1. Width
2. Height 1. Crudity
3. Length 2. Distortion
4. Paper size 3. Disproportion
4. Spaces fill in
l-59. What part of a proportional scale
displays the ratio of the l-64. What aspect of reproduction can you
percentage of the original size and directly influence through the
the number of times the art is preparation of a mechanical?
reduced?
1. End use
1. The outer disk 2. Quality
2. The center disk 3. Distribution
3. The window near the center of 4. Press process-
the disk
4. The LED readout in the upper- l-65. What material should you acquire
right corner before starting a job intended for
reproduction?
l-60. What should you do when scaling
series artwork to improve the 1. Ink
appearance of a job and save time 2. Paper stock
in the camera room? 3. Bindery products
4. All pertinent information
1. Reduce all art proportionally
2. Enlarge all art to the same l-66. What do crop marks describe?
size
3. Enlarge all art uniformly in 1. Reduction of an image
size 2. Enlargement of an image
4. Prepare all art to the same 3. Selected portion of an image
scale 4. Clean border area of an image
6
l-67. What material should you use to l-72. What procedure should you use to
make a pair of cropping arms? silhouette an object in a
photograph when you must retain the
1. Large sheets of white paper original image untouched?
2. Large sheets of black paper
3. White cardstock cut at right 1. Cut the image area out of a
angles copy image
4. Black cardstock cut at right 2. Mask the image area of a copy
angles and airbrush the background
3. Cover the image with an acetate
l-68. What procedure should you use to mask and airbrush the acetate
indicate crop marks on a 4. Alter the image for the best
photograph? quality reproduction and tell
the originator afterward
1. Mark the borders of the image
2. Mark an overlay attached to the l-73. What process should you use to
image prepare continuous-tone images for
3. Cut a window in an opaque mask reproduction?
or goldenrod
4. All of the above 1. Halftone screening
2. Combination copy
1-69. What product should you use to 3. Image separation
remove the light resin coating from 4. Redrawing
the surface of photographs?
l-74. What device should you use to
1. Rottenstone reduce tonal art to a series of
2. Talcum powder dots for reproduction on a printed
3. Fuller's earth page?
4. Eraser particles
1. Combination film
l-70. Which of the following media 2. Halftone film
contains a photographically matched 3. Glass screen
series of pigments containing 4. Glass lens
white, black, and greys?
l-75. Which of the following types of
1. Watercolors screens is/are used in making
2. Retouch greys halftones?
3. Acrylic colors
4. All of the above 1. Wire
2. Glass only
1-71. What process isolates an image and 3. Acetate only
removes the background? 4. Glass and acetate
1. Cropping
2. Opaquing
3. Vignetting
4. Silhouetting
7
ASSIGNMENT 2
Textbook Assignment: "Copy Preparation" chapter 1, pages 1-50 through 1-71; and
"Audiovisual Presentations," chapter 2, pages 2-1 through 2-31.
2-l. What type of screen should you 2-6. Where on or in a mechanical should
place in direct contact with film you place the instructions to the
emulsion when making a halftone? printer?
1. Wire 1. On the overlays

2. Glass 2. In the work area
3. Acetate 3. In the border area
4. Halftone 4. On the back of the mounting
board
2-2. Where in relation to the camera and
t h e n e g a t i v e , should you place a 2-7. Why should you remove every stray
glass halftone screen? mark from continuous-tone artwork?
1. In direct contact with the film 1. Stray marks appear as red lines
2. Between the film plane and the in the finished product
lens 2. Stray marks confuse the printer
3. Between the film plane and the 3. Only stray marks appear
camera 4. All stray marks appear
4. In direct contact with the
camera lens 2-8. Desktop publishing programs that
output directly to inkjet printers
2-3. What resolution should you select are an elementary form of digital
when scanning copy through a grey printing.
scale digital scanner?
1. True
1. 1X 2. False
2. 2X
3. 3X 2-9. Reproducing halftone copy from
4 . 4X continuous-tone originals in full
process color requires what total
2-4. What situation creates a moire number of plates?
pattern?
1. Five
1. Anti-newton rings on the 2. Two
halftone screen 3. Three
2. Overlapping two different 4. Four
patterns
3. Rescreening a halftone image 2-10. Through what device should you
4. Overlapping two different photograph each color in a
patterns and rescreening a multicolor printing process?
halftone
1. Mats
2-5. You should prepare a mechanical on 2. Filters
what type of material? 3. Screens
4. Templates
1. Acetate
2. Construction paper
3. Illustration board
4. All of the above
8
2-11. When you photograph color images 2-16. Where should editorial marks be
through a halftone screen, what, made?
i f a n y t h i n g , happens when you
rotate screen positions? 1. On a separate sheet of paper
2. On a separate overlay
1. The color print contains a 3. On the manuscript
diagram dot pattern 4. On the proofs
2. Filters are changed to produce
the desired colors 2-17. What should you use to separate
3. Some dots overlap and some multiple error marks from the same
print side-by-side to produce line of text?
secondary and tertiary colors
4. Nothing 1. Commas
2. Hyphens
2-12. What color process term denotes a 3. Semicolons
simple black-and-white illustration 4. Diagonal lines
with a registered color overlay
that contains instructions to the 2-18. What symbol or line should you use
printer? to indicate errors in the body of
text?
1. Spot
2. Flat 1. Slash
3. Process 2. Carot
4. Overprint 3. Carrot
4. A long line
2-13. What combination of colors
exemplify a true duotone? 2-19. What is the definition of a nut?
1. Pink and red 1. 1 ee space

2. Black and grey 2. 1 en space
3. Blue and green 3. 1 em space
4. Light blue and dark blue 4. 1 mm space
2-14. What is the purpose of register 2-20. To avoid confusion, how should you
marks on overlays? mark copy with instructions to the
printer?
1. To key it to the master
2. To show areas for trimming 1. Underline notations
3. To indicate areas for reduction 2. Make notations in red
4. To indicate areas for 3. Circle your notations
enlargement 4. Attach a sheet of notations to
copy
2-15. What action should you take to
avoid moiré when lap registering 2-21. When developing training aids, you
patterns? should discuss which of the
following factors with the
1. Avoid the overlap originator?
2. Opaque the overlap
3. Cut out the overlap 1. Intended message
4. Draw a red line to cover the 2. Lecture pads
overlap 3. Viewgraphs
4. Slides
9
2-22. What are the two major types of 2-28. What kind of training aid, if any,
training aids? can be produced with only a large
pad of paper?
1. Dynamic and static
2. Manipulative and static 1. Lecture pad
3. Demonstrative and dynamic 2. Animation
4. Manipulative and demonstrative 3. Slide
4. None
2-23. Training aids used for skills
instruction are referred to as what 2-29. When lettering lecture pads, which
type of aid? of the following guidelines should
help improve legibility?
1. Fundamental
2. Manipulative 1. Use caps and lowercase letters
3. Demonstrative 2. Add space between words and
4. Informational letters
3. Confine the copy to short,
2-24. Training aids designed to present a descriptive text
series of ideas or steps in a 4. All of the above
process are referred to as what
type of aid? 2-30. To prepare clear, concise lecture
pads containing only text, what
1. Fundamental technique should you use?
2. Manipulative
3. Demonstrative 1. Use all caps
4. Informational 2. Use all lowercase letters
3. Limit the subject to a major
2-25. Which of the following training topic
aids are dynamic in nature? 4. Color code main ideas and
topics
1. Slides
2. Posters 2-31. What function is served by placing
3. Cartoons a sheet of paper under the page you
4. Animation are currently lettering?
2-26. A lecture pad is an example of what 1. Preventing information from the

type of training aid? following page to bleed through
2. Inserting more information at a
1. Demonstrative aid later date
2. Manipulative aid 3. Aiding in placing titles,
3. Dynamic aid margins, a n d t e x t
4. Static aid 4. Avoiding smudging the chart
2-27. What is the primary purpose of a 2-32 For an organization chart to be

poster? e f f e c t i v e , you should draw it to
show which of the following types
1. To reach a large audience of information?
2. To attract attention
3. To covey a message 1. Span of control
4. To attract attention and to 2. Functional relationships
convey a message 3. Authority and responsibility
4. All of the above
10
IN ANSWERING QUESTIONS 2-33 THROUGH 2-36, IN ANSWERING QUESTIONS 2-39 THROUGH 2-42,
SELECT FROM COLUMN B THE TYPE OF SELECT FROM COLUMN B THE PRINCIPAL POINTS
ORGANIZATION CHART USED FOR THE PURPOSE IN THAT MATCH THE DEFINITIONS IN COLUMN A.
COLUMN A. RESPONSES IN COLUMN B MAY BE RESPONSES IN COLUMN B MAY BE USED MORE
USED MORE THAN ONCE. THAN ONCE.
A. PURPOSES B. CHART TYPES A. DEFINITIONS B. PRINCIPAL POINTS
2-33. Establish basic 1. Structure 2-39. Eliminating 1. Completeness

control relation- complicated
ships 2. Functional elements 2. Simplicity
2-34. Indicate func- 3. Position or 2-40. Well-balanced 3 . Symmetry

tion of com- billet arrangement
ponents assignment
2-41. Indicate 4 . Unity
2-35. Establish report- clarifying
ing responsibili- statements
ties and date
2-36. Identify billets 2-42. Interrelating

components
2-37. Organization charts should meet

which of the following 2-43. When drawing a structural
requirements? organization chart, what method
should you use to achieve unity?
1. Show greater detail on
subsidiary activities 1. Make all blocks one size
2. Show simplicity, completeness, 2. Make blocks proportional in
unity, and clarity size
3. Combine different types of 3. Make each block relate to
information another block
4. Conform to a format 4. Make lines of authority smaller
than block lines
2-38. To avoid confusion when making an
organization chart, which of the 2-44. In some functional charts, the
following actions should you take? blocks for lower echelon levels are
made larger than the blocks for
1. Avoid crossing lines of h i g h e r e c h e l o n l e v e l s . For what
authority reason is this done?
2. Make all blocks the same size
3. Use asterisks 1. To balance the chart
4. Use colored ink 2. To unify and clarify the chart
3. To make the chart easier to
read
4. To provide space for written
descriptions
2-45. Authority lines should be drawn as

what type of lines?
1. Hidden vertical or diagonal

2. Solid horizontal or diagonal
3. Solid vertical or horizontal
4. Hidden vertical or horizontal
11
2-46. To make an organization chart 2-51. When you are laying out a flow
better looking and easier to read, chart using the flowchart template,
you should take which of the how should the symbols be drawn?
following actions?
1. Right to left
1. Lay it out with nonreproducible 2. Centered on the paper
blue pencil 3. With a l-inch margin all around
2. Create a legend for different 4. With equal distances between
line resolutions symbols
3. Use a heavier line weight for
the lines of authority than for 2-52. For presenting statistics in
the blocks comparisons, f o r c o n v e y i n g
4. Use a heavier line weight for information, and for analyzing
the lettering data, which of the following tools
are most useful to you?
2-47. What kind of subdivision on
structural charts is shown with 1. Graphs
dotted-lines (........)? 2. Flow charts
3. Organization charts
1. Existing part time 4. All of the above
2. Proposed full time
3. Abolished full time 2-53. To designate the position of a
4. Mobilized components point in relation to a given
reference frame, you should use
2-48. Flow chart symbols represent what what device?
elements?
1. A rectangular coordinate graph
1. Decision points 2. A percentage chart
2. Quantities and positions 3. A bar chart
3. Functions and direction of flow 4. A pie chart
4. Devices and direction of motion
2-54. In what way are the quadrants of a
2-49. How should you illustrate the use rectangular coordinate graph
or creation of multiple files in a numbered?
flow chart?
1. Clockwise
1. Use arrowheads at the point of 2. Counterclockwise
entry 3. Along the x and y axes
2. Use symbols with the 4. Numerically from right to left
appropriate text
3. Use symbols in an overlay
pattern
4. Use numerals to indicate
multiples
2-50. How should you draw the symbols on

a flow chart to indicate the
direction of flow?
1. Top to bottom only

2. Left to right only
3. Top to bottom and left to right
4. Right to left
12
IN ANSWERING QUESTIONS 2-55 THROUGH 2-57, 2-58. To illustrate such things as
REFER TO FIGURE 2A. comparative costs and quantity,
what type of graph should you
chose?
1. Rectangular coordinate graph

2. Percentage chart
3. Bar graph
4. Pie chart
2-59. When constructing a bar graph, what

step should you take first?
1. D e t e r m i n e t h e s c a l e
2. Select the page size
3. Determine the reference frame
4. Determine the length of the
bars
2-60. After you determine the reference

frame for a bar graph, what should
be your next step?
1. Plot values
2. Select the paper size
Figure 2A. 3. Find a suitable scale
4. Choose appropriate axes
4-55. Which of the following coordinates 2-61. When a bar graph is drawn on the
represents point R? right side of a sheet of paper, for
what are the margins at the sides
1. (-2, -2.2) of the sheet used?
2. (-2, 2.2)
3. (2.2, -2) 1. Distance scales
4. (-2.2, -2) 2. Additional bars
3. The title of the graph
2-56. Which of the following values 4. Explanatory notes and figures
assigned to the x and y coordinates
locates point Q? 2-62. When selecting a scale for the y-
axis of a bar graph, what action
1. x = 1.6, y = -1.4 should you take before plotting the
2. x = - . 8 , y = 1.6 values?
3. x = .8, y = 1.6
4. x = -.8, y = -1.6 1. Use an engineer's scale
2. Find the largest values to be
2-57. What are the values of coordinates plotted
x and y for point P? 3. Add additional values to the
largest value
1. x = 2.5, y = -1.4 4. All of the above
2. x = -2.5, y = 1.4
3. x = -1.4, y = -2.5
4. x = -2.5, y = -1.4
13
2-63. When comparing several related 2-68. When mounting artwork using the
percentages, what type of graph or rubber cement method, what action
chart should you use? should you take when the artwork is
properly positioned?
1. Pie chart only
2. Percentage bar chart only 1. Remove the excess cement
3. Pie chart and percentage bar 2. Press the top of the artwork
chart firmly to anchor it to the
4. Bar chart board
3. Use an old triangle to press
2-64. What total percentage does each bar the artwork flat
in a percentage bar chart 4. Draw a scale down the artwork
represent? to press it flat to the board
1 . 10 2-69. What implement should you use to

2 . 100 remove the residual cement and dirt
3. 360 from the surface of newly mounted
4. The value of each item artwork?
2-65. When laying out a pie chart, what 1. A kneaded eraser

information do you determine by 2. Rubber. cement thinner
multiplying the percentage of each 3. Rubber cement pick-up
segment by 3.6 degrees? 4. The end of your finger
1. Percent of each sector 2-70. What feature of the artwork you are
2. Number of sectors in the chart mounting with rubber cement should
3. Number of degrees in each prompt you to use two slip sheets
sector under it?
4. Percent of degrees in each
sector 1. It is too large
2. It is too small
2-66. In what application method do you 3. It is too flimsy
apply rubber cement to the 4. It is too valuable
underside of a piece of artwork and
move it around to position it? 2-71. What causes blistering in a color
photograph mounted by the dry hot
1. Spray method press technique?
2. Thinner method
3. Wet mount method 1. Temperature set too low
4. Dry mount method 2. Temperature set too high
3. Temperature set at 200 degrees
2-67. When mounting art with rubber 4. Overlapping adhesive layers
cement, what should you do to underneath the photograph
properly align the art on the
board? 2-72. When, i f e v e r , should you use a dry
mount press to mount artwork
1. Use register marks to center containing wax-based products?
the artwork
2. Use an old triangle to slide 1. Always
the artwork 2. Only when a slip sheet is used
3. Use a nonreproducible blue 3. Only when the artwork is face
pencil to mark the position of down in the press
the artwork 4. Never
4. Place the artwork directly on
the mounting board while still
wet and slide it around
14
2-73. When using the dry mount press, 2-74. When you are using a dry mount
what should you do if it requires press, the cover or slip sheet
two sheets of adhesive laying side- serves what purpose?
by-side to adhere a picture?
1. As a mounting surface
1. Overlap the sheets and fold the 2. As an additional adhesive
edges under so they do not 3. Keeps the face of the artwork
extend beyond the borders of and press bed clean
the picture 4. Keeps the mounting board and
2. Leave a space between the the artwork clean
sheets and trim their edges
even with the borders of the 2-75. What adhesive quality should you
picture consider when mounting original
3. Overlap the sheets and let artwork to a board?
their edges extend beyond the
borders of the picture 1. Stink
4. Leave a space between the 2. Process
sheets and let their borders 3. Availability
extend beyond the picture 4. Deterioration
15
ASSIGNMENT 3
Textbook Assignment: " A u d i o v i s u a l P r e s e n t a t i o n s , " c h a p t e r 2 , pages 2-32 through 2-53;
"Television Graphics," chapter 3, pages 3-1 through 3-23; and
"Displays and Exhibits,' chapter 4, pages 4-1 through 4-9.
3-1. What is the purpose of a mat? 3-5. What is a major difference between
cutting a mat by hand and cutting a
1. To focus attention mat on a carriage cutter?
2. To protect from fingerprints
3. To prevent direct contact 1. The mat board is face -up when
between artwork and glass in a cutting a mat by hand and face
frame down when cutting with a
4. All of the above carriage
2. The corners of a hand-cut mat
3-2. If the top and both sides of a mat are exact while the corners of
measure 3/4 inch wide, what should a carriage cut mat are not
be the width of the bottom edge? 3. The hand-cut mat has a straight
edge and the carriage-cut mat
1. 1 inch has beveled edges
2. 3/4 inch 4. The hand-cut mat can be very
3. 7/8 inch large but the carriage-cut mat
4. 15/16 inch is limited in size
3-3. Why should you cut against a 3-6. What are the most common types of
straightedge along the inside edge projecturals used in the Navy
of a hand-cut mat? today?
1. To protect your leg 1. Videotape and 8mm movie film

2. To protect your hand 2. 35mm slides only
3. To protect the useable portion 3. Viewgraphs and 35mm slides
of the mat 4. Transparencies and viewgraphs
4. To guide the blade straight
from corner to corner 3-7. What is the most common aperture
area of a viewgraph?
3-4. What is the key to successful
cutting of both hand-cut and 1. 6 4/ 10 b y 9 1 / 2 i n c h e s
carriage-cut mats? 2. 7 1/2 b y 9 1 / 2 i n c h e s
3. 10 by 9 1 / 2 i n c h e s
1. Angle of the blade 4. 10 by 10 inches
2. Depth of the blade
3. Profile of the blade
4. Sharpness of the blade
16
3-8. When you design projecturals, the 3-12. You have limited resources but want
horizontal format is preferable for to create a handmade viewgraph with
what reason? c o l o r . What technique, when used
creatively, will give your
1. It ensures that the projected viewgraph a professional
image fills as much of the appearance?
viewing screen as possible
2. Suspended light fixtures and 1. Spraying color on acetate
low ceilings do not usually 2. Pooling color from the strokes
interfere only of a marker
3. Horizontal formatting is easier 3. Cutting out cellophane and
to layout then vertical sticking it to the viewgraph
formatting only 4. Limiting color to the black
4. It ensures that the projected letter on a clear background
image fills the screen as much
possible and it is easier to 3-13. A liftable magazine picture has
lay out than a vertical format what characteristics?
3-9. To eliminate confusion in a crowded 1. It leaves a white deposit when

viewgraph, what should you do? rubbed with a wet finger
2. It remains intact when a hot
1. Add color iron is pressed over it
2. Reduce the viewgraph to a slide 3. It is vivid in color
3. Limit the viewgraph to one 4. All of the above
topic
4. Remove unnecessary information 3-14. The emulsion used on diazo foils is
made up of what two components?
3-10. A viewgraph layout sheet should
contain which of the following 1. Azo dyestuff and diazo salts
features? 2. Diazo salts and ultraviolet
light
1. Grid paper and registration 3. Azo dyestuff and ammonium
marks hydroxide
2. Aperture outlines for 4. Ammonium hydroxide and an
viewgraphs, slides, and TV alkaline medium
cards
3. Optical center and true center 3-15. What happens when you expose the
4. All of the above emulsion on diazo film to
ultraviolet light and develop the
3-11. Which of the following techniques film in an alkaline medium?
is the quickest way to make a
viewgraph? 1. A colored image forms
2. Diazo salts combine with azo
1. Diazo dyestuff to form an image
2. Photographic 3. The azo dyestuff and ammonia
3. Marker on acetate fumes form an image
4. Computer-generated 4. The emulsion chemically changes
so that no image appears
17
3-16. When you are using diazo materials 3-20. When making diazo viewgraphs, you
to produce viewgraphs, how do the can minimize distortion by taking
images on the diazo foils form? what action?
1. By exposing the emulsion to 1. Turn the machine blower to high

ultraviolet light and 2. Run diazo foils alternately at
developing in ammonia vapors right angles to each other
2. By exposing the emulsion to 3. Run diazo foils at the highest
ammonia vapors and developing allowable speed
in ultraviolet light 4. Run all foils in the same
3. By developing the foil in direction through the machine
ammonia vapors after total
exposure to ultraviolet light 3-21. What is the indication that the
4. By developing the foil in emulsion on a diazo foil is facing
ammonia vapors, causing the you?
diazo salts to combine with the
azo dyestuff 1. The nick on the foil is in the
upper-right corner
3-17. What is the purpose of the opaque 2. The nick on the foil is in the
image area of a diazo master? upper-left corner
3. The dot on the foil is in the
1. To keep all light rays from upper-left corner
striking the foil 4. The master is reversed and
2. To enable ultraviolet light to facing down
reach the foil
3. To prevent ultraviolet light 3-22. What is the most critical step in
from reaching the foil exposing and developing diazo foils
4. To block infrared light correctly?
3-18. When preparing a series of diazo 1. Use ammonia with a 26° Baumé
masters, what will eliminate reading
changing exposures and prevent film 2. Use only dimensionally stable
waste? products
3. Develop only as long as
1. Use a fine fiber opaque paper necessary, exposure varies
2. Use a fibrous paper 4. Develop for lengthy periods
3. Use acetate
4. Use the same paper stock for 3-23. Reversals are effective for which
all masters of the following reasons?
3-19. At what scale should you make a 1. They are easy on the eyes
diazo master? 2. They contain a clear image on a
darkened background
1. Any scale 3. They focus the viewer's
2. Same as reproduction size attention on a small section of
3. Larger than reproduction size the screen
4. Smaller than reproduction size 4. All of the above
18
3-24. Why should you never use a positive 3-29. When mounting multiple overlays on
format viewgraph in the same a viewgraph frame, what foil should
presentation as negative formatted you mount first?
viewgraphs?
1. Base
1. To prevent eyestrain 2. Blue
2. To avoid having to completely 3. Black
darken the room 4. Bottom
3. To avoid using dark colored
backgrounds 3-30. What is the reason you should mount
4. To prevent having to project several overlays to the same side
front and rear simultaneously of the viewgraph mount?
3-25. To update a sepia intermediate 1. To strengthen one side of the

without having the original mount
artwork, you should take what 2. To attach all overlays neatly
action? on one side
3. To ensure that each overlay
1. Redraw the intermediate appears in the correct sequence
2. Correct the intermediate 4. To reduce the amount of tape
3. Request a revision from the required to mount all of the
originating authority overlays
4. Throw the intermediate away and
start over 3-31. What is/are the reason(s) for using
tabs on multiple overlay
3-26. What total number of colored diazo viewgraphs?
foils may be run from a single
sepia intermediate? 1. To indicate sequence
2. To indicate the ordering of
1. One fastening
2. Two 3. To fasten each overlay equally
3. Six to the frame
4. Unlimited 4. All of the above
3-27. If commercial mounts are not 3-32. For what reason are 35mm slides
a v a i l a b l e , which of the following used at many Navy commands?
materials can you use as a
viewgraph frame? 1. They are low in production
costs
1. Acetate 2. They are versatile
2. Making tape 3. They are compact
3. Tracing paper 4. All of the above
4. Illustration board
3-33. What is the major advantage of
3-28. You should use what type of tape to using 35mm slides over viewgraphs?
attach a transparency to a
transparency mount? 1. They are easily copied
2. They hold the audience's
1. Masking tape attention
2. Packing tape 3. They get the message across
3. Cellophane tape quickly
4. Transparent plastic tape 4. They can be used in either
front or rear screen projection
19
3-34. When you are designing artwork for 3-39. What is a limiting hardware factor
35mm slides, you should use what in the creation of computer-
format? generated graphics for
presentation?
1. 3:5
2. 5 :7 1. Keyboard
3. Vertical 2. Monitor
4. Horizontal 3. Memory
4. Mouse
3-35. To make sure that 35mm slides are
in the proper order and in correct 3-40. Television and video cameras detect
position, you should place what type of light?
thumbspots where on the frame?
1. Deflected
1. Upper-right corner when slide 2. Reflected
is facing you 3. Diffused
2. Upper-left corner when slide is 4. Bounce
facing you
3. Lower-right corner when slide 3-41. A receiver separates transmitted
is facing you signals into what two impulses?
4. Lower-left corner when slide is
facing you 1. Audio and CRT
2. Visual and CRT
3-36. Where should you locate the 3. Audio and sound
thumbspots to position slides in a 4. Visual and audio
carousel tray for front screen
projection? 3-42. Which of the following statements
best describes what a TV camera
1. Lower-left corner "sees"?
2. Upper-left corner
3. Upper-right corner 1. Everything within lens range
4. Lower-right corner 2. Electrical impulses of varying
strength
3-37. When you use the diagonal line 3. Varying amounts of light
method for marking slides, what reflected from a scene
does a break in the continuity of 4. All of the above
t h e line mean?
3-43. Which of the following factors has
1. The rubber band is out of the greatest effect on light
position reflected from an object recorded
2. The slides are in the correct by a TV camera?
position
3. A missing or improperly 1. Object size
sequenced slide 2. Object color
4. The thumbspots are improperly 3. Shade on the object
positioned on the slides 4. Location of the object
3-38. The s u c c e s s o f t h e e n d p r o d u c t i n 3-44. What does the shape of a picture

any graphic media depends upon what tube approximate?
factor(s)?
1. Film size
1. Budget 2. Lens range
2. Supplies 3. Normal range of vision
3. Computer savvy 4. Industry standardized tube
4. Fundamental graphics knowledge dimensions
20
3-45. What are the proportions of 3-52. Generally, cards used in preparing
standard shaped picture tubes? artwork or picture for TV
transmission are what size?
1. Three units wide and four units
high 1. 8 1/2 by 11 inches
2. Three units high and four units 2. 10 by 13 1/3 inches
wide 3. 10 by 12 inches
3. Five units high and four units 4. 11 by 14 2/3 inches
wide
4. Four units high and five units 3-53. To give some clue to the type and
wide character of a television show, you
should make graphics with which of
3-46. Which of the following media are the following characteristics?
referred to as television graphics?
1. With motion
1. Photographs 2. With an introduction
2. Color slides 3. To match the style of the
3. Credit captions program
4. All of the above 4. Containing a variety of
background settings
IN ANSWERING QUESTIONS 3-47 THROUGH 3-50, 3-54. The most critical consideration in
SELECT FROM COLUMN B THE TYPE OF STUDIO assuring good television artwork
CARD DESCRIBED BY THE STATEMENT IN COLUMN reproduction is what factor?
A. RESPONSES IN COLUMN B MAY BE USED MORE
THAN ONCE. 1. Subject size
2. Simplicity
A. STATEMENTS B.STUDIO CARDS 3. Legibility
4. Contrast
3-47. Maximum resolution 1. Border area
or clarity 3-55. When a television receiver displays
color art in a black-and-white
3-48. Total picture area 2. Essential transmission, w h a t l e g i b i l i t y
area standard is most important?
3-49. Safe title area 3. Scanning 1. Image size

area 2. Color content
3. Tonal contrast
3-50. Protection from 4. Lettering style
damage
3-56 When color artwork for TV is
created, for what reason should you
limit your palette to about two
3-51. To present a great deal of textual shades and three tints of each
information in a TV graphic, you intense hue?
should use what type of equipment?
1. More than six values of a
1. Rub-on letters single hue is hard to
2. Phototypesetter distinguish when transmitted
3. Character generator 2. To emphasize center of interest
4. Electric typewriter items
3. To prevent greys from
transmitting
4. To set video levels
21
3-57. Which of the following techniques IN ANSWERING QUESTIONS 3-61 THROUGH 3-63,
does NOT improve legibility of MATCH THE STUDIO CARD IN COLUMN B WITH THE
television graphics? DESCRIPTION IN COLUMN A. RESPONSES MAY BE
USED MORE THAN ONCE.
1. Changing tonal contrast
2. Rearranging information A. DESCRIPTIONS B. STUDIO CARDS
3. Enlarging overall dimensions
4. Reducing information to 3-61. White l e t t e r s , 1. Standard
essential elements black background
2. Plain
3-58. Since the essential area of a TV 3-62. Text o n l y
screen limits the amount of text 3. Illustrated
you can transmit, you should limit 3-63. Text and images
the number of words on a graphic to 4. Super
what number?
1. 8 3-64. To present text and illustrations

2. 10 in sequence at a controlled rate of
3. 12 speed is known by what term?
4. 14
1. Scrolling
3-59. Simplicity in television graphics 2. Progression
is absolutely necessary for what 3. Storyboarding
reason? 4. Progressive disclosure
1. To maintain the aspect ratio 3-65. With what card does the camera tilt
2. To increase emphasis and up and down to cover the
strengthen impact information?
3. To standardize size and
resolution 1. Pan
4. To establish a camera-to- 2. Tilt
graphic distance 3. Plain
4. Drop-in
3-60. Which studio card contains only
illustrations? 3-66. When a camera pans a graphic, what
motion, if any, is the camera
1. Illustrated making?
2. Standard
3. Plain 1. Up-and-down
4. Super 2. Side-to-side
3. None
3-67. What disclosure technique makes

information scroll on and off the
screen?
1. Drop-in/out binder
2. Tilting
3. Panning
4. Crawl
22
3-68. Computer-generated graphics created 3-71. Which of the following spaces are
to influence your decisions or appropriate for a display?
thought and intended for TV
transmission are known by what 1. A small alcove in a back wing
term? of a building
2. Under a stairwell
1. Infographics 3. Near a deepsink
2. Infomercials 4. Coffee mess or lunch room
3. Teleconference
4. Animation 3-72 A large, transitory audience with
an interest in naval ships should
3-69. A display should have a central enjoy which of the following
theme or message. exhibits?
1. True 1. A loud colorful display on the

2. False evolution of man
2. A series of posters on dental
3-70. A display should target what type hygiene
of audience? 3. An exhibit on Army boot camp
4. An exhibit of naval ships
1. Large
2. General
3. Transitory
4. All of the above
23

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NONRESIDENT

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

1998 Edition Prepared by

NAVSUP Logistics Tracking Number

“I am a United States Sailor.

I will support and defend the

I represent the fighting spirit of the

I proudly serve my country’s Navy

I am committed to excellence and

Chapters 1. Copy Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

2. Audiovisual Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

3. Television Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

4. Displays and Exhibits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1

Appendices I. Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AI-1

II. References Used to Develop This TRAMAN. . . . . . . . . . . . . . . . . . . . AII-1

Index INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INDEX-1

DM, Vol. 1, Equipment. This is an overview of general shop administration, available

DM, Vol. 4, Presentations Graphics. Copy preparation, audiovisual presentations,

ASSIGNMENTS assignments. To submit your assignment

Read each question carefully, then select the COMMANDING OFFICER

• you may submit your answers as soon as COMPLETION TIME

If your overall course score is 3.2 or higher, you E-mail: [email protected]

STUDENT FEEDBACK QUESTIONS

We value your suggestions, questions, and

NAVEDTRA: 14065 Date:

We need some information about you:

Rate/Rank and Name: SSN: Command/Unit

Street Address: City: State/FPO: Zip

Your comments, suggestions, etc.:

NETPDTC 1550/41 (Rev 4-00

Objectives The material in this chapter enables you to do the following:

Evaluate paste-up mechanicals for reproducibility.

Identify and select suitable typefaces for headlines.

Select page sizes and formats.

Scale photographs and copyfit text.

Compare halftone, continuous tone, and combination copy for reproduction.

Eliminate or reduce backgrounds from photographs.

Define signature format and multipage spreads.

Recognize standard proofreaders marks.

Continued on next page

CAPS Capital Letters

LPI Lines Per Inch

PPM Pages Per Minute

RIFF Raster Image File Format

TIFF Tagged Image File Format

Continued on next page

In this chapter This chapter covers the following topics:

Topic See Page

Copy Types 1-8

Scaling Artwork 1-35

Letterpress Letterpress, the oldest form of printing, is a form of relief printing. A

Figure 1-1 illustrates the letterpress printing process.

Figure 1-1.—Letterpress printing.

Continued on next page

Figure 1-2 shows the gravure process.

Figure 1-2.—Gravure printing.

Continued on next page

Figure 1-3 shows the basic offset lithographic process.