The Kansas City Star edition. image is everything

Transcription

1 image is everything

2 PAGE 2 IMAGE IS EVERYTHING ADVERTISING MEASUREMENTS ROP BROADSHEET: COLUMN WIDTHS Column... Inches.... Picas p p p p p p 13 - DBL TRK p* TABLOID: COLUMN WIDTHS Column... Inches.... Picas p p p p p p 12 - DBL TRK p* CLASSIFIED BROADSHEET: COLUMN WIDTHS Column... Inches.... Picas p p p p p p p p p p 21 - DBL TRK p* CLASSIFIED TABLOID: COLUMN WIDTHS Column... Inches.... Picas p p p p p p p p p p 20 - DBL TRK p* *Note the difference in widths on double trucks between broadsheet and tab sizes. STAR SAVINGS BROADSHEET: COLUMN Widths COLUMN... Inches... Picas p p p p p p p p p p p p ROP: BROADSHEET - AD SIZES SIZE:... COLUMN....Inches FULL PAGE:...6 column x 20 3/4 PAGE: column x 15 2/3 PAGE:...4 column x 20 1/2 PAGE V: column x 20 1/2 PAGE H:...6 column x /3 PAGE V: column x 20 1/3 PAGE H:....4 column x /4 PAGE V: column x /4 PAGE H:....6 column x /6 PAGE V: column x /6 PAGE H:...4 column x /8 PAGE H:... 3 column x /12 PAGE V:... 2 column x /12 PAGE H:...4 column x DOUBLE TRUCK: column...21 X 20 TABLOID: AD SIZES (PREVIEW TUES BUS NEIGHBORHOOD NEWS 913 OLATHE NEWS) SIZE:... COLUMN...Inches 2/3 PAGE:...4 column x /2 PAGE H:...6 column x /2 PAGE V:... 3 column x /8 PAGE:... 3 column x /3 PAGE V:... 2 column x /3 PAGE H:...6 column...10 x 3 1/4 PAGE H:...6 column x /6 PAGE V:... 1 column x /6 PAGE: column x /8 PAGE H:... 3 column x /12 PAGE V:... 1 column x 4.75 DOUBLE TRUCK: column...20 x 9.75 DBL TRK STRIP: column x 3 STAR MAGAZINE: TABLOID - AD SIZES SIZE:.... COLUMN...Inches 2/3 PAGE:...4 column x /2 PAGE H:...6 column x /2 PAGE V:... 3 column x /8 PAGE:... 3 column x /4 PAGE H:...6 column x /6 PAGE: column x /8 PAGE H: column x 2.25 DOUBLE TRUCK: column...20 x 9.75 DBL TRK STRIP: column x 3 CLASSIFIED: BROADSHEET - AD SIZES SIZE:.... COLUMN.... Inches.. LINES FULL PAGE: column x /2 PAGE V:... 5 column x /2 PAGE H: column x /4 PAGE V:... 5 column x /4 PAGE H: column x FRONT BANNER.. 3 column x FRONT DOG EAR.. 2 column x DOUBLE TRUCK:. 21 column X CLASSIFIED: TABLOID - AD SIZES SIZE:.... COLUMN.... Inches.. LINES FULL PAGE: column x /2 PAGE H: column x /2 PAGE V:... 5 column x /4 PAGE: column x /4 PAGE H: column x /8 PAGE H: column x STAR SAVINGS: BROADSHEET - AD SIZES FULL (SFFN) col x x 20 3/4 PAGE (SF3Q).. 8 col x x LARGE (SLA) col x x 9.88 STRIP (STFL)....3 col x x 20 MEDIUM V (SMA V). 4 col x x 9.88 MEDIUM H (SMA H).8 col x x 4.88 SMALL (SSA) col x x 4.88 INK: TABLOID - AD SIZES SIZE:.... COLUMN....Inches PAGE STEELER:...4 column x /2 PAGE H:....6 column x /2 PAGE V: column x 9.75 LARGE VERTICAL: column x 9.75 STANDARD: column x 4.75 STRIP:... 1 column x /8 PAGE H: column x 2.25 BUDGET... 1 column x 4.75 DBL TRK STRIP: column x 3 THE DOT: TABLOID - AD SIZES SIZE:.... COLUMN....Inches 2/3 PAGE:...4 column x /2 PAGE H:....6 column x /2 PAGE V: column x /4 PAGE H:....6 column x /8 PAGE H: column x 2.25 CELEBRATIONS: STAR MAG - TABLOID - ANNOUNCEMENT SIZES: PACKAGE:.... COLUMN....Inches PACKAGE column x 9.75 PACKAGE column x 9.75 PACKAGE column x 9.75 PACKAGE column x 7.25 PACKAGE column x 9.75 PACKAGE column x 4.75 PACKAGE column x 7.25 PACKAGE column x 5 PACKAGE column x 3 PACKAGE column x 2 TABLOID: TRUE MODULAR - AD SIZES: SIZE:.... COLUMN....Inches 1/2 PAGE H:....6 column x /2 PAGE V: column x /8 PAGE:... 3 column x /4 PAGE H:....6 column x /8 PAGE H: column x 2.25 DOUBLE TRUCK: column...20 x 9.75 Printer s measurements 12 Points... 1 Pica 6 Picas (72 points)... 1 Inch 14 Agate Lines Inch Inch Picas Agates Font lingo TYPOGRAPHY Type Size Is Measured In Points. Font families have style. Leading is line spacing. Kerning is character s pacing. Tr a c k i n g is letter spacing. Type size is the letter height and is measured in points. Font families can have many varitions such as light, bold, black, italic, condensed, etc. Leading (pronounced Led-ing ) describes the amount of space between the baselines of text. Kerning affects the amount of space between two characters. Tracking (or letter-spacing) is the space between groups of characters. Types of Type Serif: Refers to the small lines that are attached to the main strokes of font characters. AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz Sans-serif: Lacks serif details on characters. Sometimes called blockletters. AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz Script: Based on handwriting and offers very fluid letterforms. Formal and casual are the two basic classifications. AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz Display or Novelty: Unique fonts that are commonly used for headlines and logos. AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz Knockout/Overprint Knockout: Eliminating portions of a background image or color. Overprint: When one element overlaps another and does not knockout during output. Overprint black type or a black object is beneficial on a light colored background. The darker the background color, the muddier the black type or object will print. Overprinting makes the file easier to hold in register during the printing process. Adobe Illustrator and Adobe InDesign both have a feature which allows you to manage what and how you overprint. InDesign>Preferences> Appearance of Black. Make sure the Overprint Black is NOT checked. If it is, all black on the document will overprint. type on background colors 100% Black with white (reversed) type Dark green background with yellow-green type 60% Black with white (reversed) type Light purple background with purple type 40% Black with white (reversed) type Red background with yellow type 20% Black with white (reversed) type Yellow background with red type

3 IMAGE IS EVERYTHING Page 3 Supported Apps and Formats Our preferred format is an Adobe Acrobat PDF, version 8.0 or below. We recommend using Adobe s High Quality Print PDF setting to create your file. All PDF files must have the fonts embedded. QuarkXPress 8.0 [XDOC or QXD] Adobe Illustrator Creative Suite [EPS] Adobe Photoshop Creative Suite [EPS or TIFF] Adobe InDesign Creative Suites 2-6. SUBMITTING AD MATERIAL Digital Requirements At The Kansas City Star, we accept electronic ads created on Macintoshcompatible software to be placed in our print pagination system. Digital files bypass the need for scanning an image; ensuring the final printed version is of original quality. Ads suffer no second- or third-generation reproduction loss in the digital transfer. Before submitting digital material, please use the information in this publication to ensure your design applications are compatible with those in use at The Kansas City Star. Each system and each ad is different. Applications with Limited Format Support We accept EPS file formats from the following limited-support applications. The Kansas City Star cannot edit these files. Therefore, if your file has changes after it has been submitted, you will need to provide a new EPS file. Macromedia Freehand [EPS] CorelDRAW [EPS] Adobe Pagemaker [EPS] No Support If the application you are working in cannot create a PostScript, EPS or PDF file, it is not supported. Native Files Supporting files include all artwork and fonts that are used in the file. If you are working on a PC platform, The Kansas City Star will not be able to use your fonts. It will be necessary to create a PDF, or send an EPS file with the type outlined. Preflight All digital files are processed through a special queue which tests the files for compatibility with our print production system. Preflighting the files ensures they will process correctly. If there is a problem with the submitted file, you will be contacted and asked to resend a corrected version. Preflight also converts RGB to CMYK colors, which can cause the colors to change. Graphics We recommend all images and illustrations to be imported into page layout programs at 100%. Downsizing larger files into a layout program increases copying, proofing and production times. Digital images (raster) must be saved using EPS or TIFF formats. Do not save EPS files as JPEG or with JPEG encoding. EPS files should be saved as 8-bit TIFF with binary encoding. Ad Deadlines Please contact your Kansas City Star advertising account executive or see the current rate card for our digital ad deadlines. Ads must be submitted on or before deadline in order for Ad Services to preflight test the digital file. We will not be accountable for production problems with ads submitted after the no-proof digital deadline. Color Modes Use bitmap for line art, grayscale for black and white images and CMYK for color images. Never save an image using RGB mode and avoid duotones if possible. Save images with TIFF or EPS format. Vector-based art must be saved as an EPS. Color Ads The Kansas City Star prints most custom or spot colors using fourcolor process. Color in electronic ads must be created in CMYK. The Kansas City Star recommends that separations be printed before submitting the file. This will help to ensure that the ad separates correctly. AVOID CREATING DUOTONE GRAPHICS. Please contact a member of Ad Services before submitting a duotone, as all duotone artwork will be converted to CMYK. Resolution and Line Screen The Kansas City Star outputs plates at 120 lpi and 1024 dpi. Before saving in Photoshop, make the resolution of all black and white, and color images 240 ppi (twice our linescreen). Scanned line art or bitmap illustrations may be saved as high as 1200 ppi. First-Time Digital Advertisers If you will be sending a digital ad for the first time, please contact Ad Services at before sending your file. Ad Services will work with you to make sure that your file will process through our system correctly. Media Ferry The Kansas City Star uses a web-based ad delivery portal called Media Ferry which can be accessed by visiting kcstarlive. On the home page (left image) are two upload options: The Job Material/Other Artwork Upload option can be used for uploading multiple digital ads or ad materials. The limit on the upload is 256MB. The Camera-ready Upload option is for submitting a single, complete ad. This option will only accept a PDF file for upload. The file size must be less than 127MB. If you have a completed ad in a.tiff format or multiple PDF files to upload, you will need to use the Job Material option. Upload artwork for use in ad: EPS, JPG, TIF, etc. Upload Camera Ready PDF files only. File must be a PDF. The required fields have an asterisk next to them. The ad will not submit without filling in the required fields. You will get a prompt on any required fields that you are missing. Some of the fields will only accept alpha characters. The phone number field will only accept numeric characters. There are prompts to indicate this when you fill it out. Under the job materials option: Select Attach More Files when you have more than five pieces of material to submit for your ad. Confirmation: You will receive a message that your job has been submitted with the confirmation number (left image). A confirmation will be sent to the customer and the Account Executive. If you encounter issues uploading to Media Ferry, please call our ad production team at

4 Page 4 IMAGE IS EVERYTHING PRESSES & PRINTING What is dot gain? Dot gain is an increase in the diameter of the halftone dot. When ink touches the paper it is absorbed slightly which causes the ink dot to spread and grow in size. Dot gain will always be present in offset printing. The Kansas City Star s Direct-to-Plate technology eliminates almost all pre-press dot gain. The Star s newer presses have a dot gain between 18%-22%. This is below the industry standard. When adjusting for dot gain it is important to understand not all dots grow at the same degree. The highest area of dot gain is in the mid-tone ranges (40%-50%-60%). 40% gain 18-20% gain 5% gain color profiles Color profiles help control color when an image travels from a computer monitor to the press and from an RGB color space to a CMYK color space. The RGB gamut, or possible range of colors, is larger than the CMYK gamut. All images that convert from RGB (digital photography) to CMYK (printing) need to reproduce successfully in a smaller color space. Color profiles ensure the most accurate color reproduction for a particular press. A properly calibrated monitor using The Star s recommended Color Settings will ensure your images print correctly. This profile can be downloaded by visiting www. KansasCity.com/display_advertising. Total Ink Limit The Kansas City Star s presses have a total ink limit of 220%. This means when all percentages of color are added up, it cannot exceed 220%. Also, the sum of the percentages of color in the darkest part of the image should be close to 220% so that it can be as rich as possible. The Star s color profile helps to adjust for this when converting to CMYK color mode. If you want to know how much the total ink limit is, go to Window > Info in Adobe Photoshop and use the eyedropper icon. You may have to go to the panel option to select Total Ink. This will show the total ink limit of the image at the spot where your cursor rests on the image. This image doesn t meet the total ink limit of 220%, so it seems faded. Color Gamuts A color gamut is the subset of colors that can be accurately reproduced by certain output devices. A digital camera can capture more colors than what our press can print. When an image is converted to the color space, or gamut, for our press, it will lose some of the color information. Converting an RGB image to CMYK directly will compress the gamuts from a larger gamut device, such as a digital camera, to a lower-gamut device, such as a offset printing. Visible Color Gamut RGB Color Gamut CMYK Color Gamut Load color settings The Kansas City Star uses a specific color setting profile to ensure quality images. This profile can be downloaded by visiting display_advertising. After downloading the color profile, launch your Adobe Photoshop program. In the top menu, go to Edit and select Color Settings. Click on Load and browse to where the color setting was saved on your computer. Select the color setting and click OK. This should be done before opening the image. If an image has a different profile already attached, the Embedded Profile Mismatch window may appear. Select Convert Document s Color in working space. This will apply the color profile to the image. If your image is RGB, the profile will be applied once you convert the file to CMYK. This image meets the total ink limit; it s as dark as it can be without being too dark. Resolution DIGITAL IMAGES & ARTWORK Vector Art vs Raster Art It is important to understand the difference between ppi (pixels per inch), dpi (dots per inch) and lpi (lines per inch or line screen). ppi is based on how many pixels per inch an image is made up of. This is only for working on a computer. dpi is similar and is referred to both on screen (identical to ppi) and when printed in a halftone pattern by how many dots per inch can be printed on the paper. lpi is different by the measurement of how many lines or rows of dots can be printed in an inch. The Kansas City Star prints at 120 lpi, and it is recommended that an image s resolution be at least twice the amount of the line screen. All images should be submitted with a resolution of 240 dpi. The images below illustrate the differences in the quality of the image based on its resolution. Note the 300dpi and the 240dpi are identical in quality. The press will not show a difference between the two resolutions because they both output at the same lpi. This allows you to send a 240dpi image which will save file size and decrease your time spent uploading files. However, anything below 150 dpi will print very poorly. 300 dpi Vector graphics are composed of mathematical curves connected by points. Vector art can be enlarged and reduced without losing any of its integrity. This provides the flexibility to resize a graphic as much as is desired without sacrificing quality. Adobe Illustrator is a vector application. Raster graphics are composed of pixels. When enlarging a raster graphic, the pixels get bigger and you lose the nice edges. When working with a raster application, such as Adobe Photoshop, it is best to make the graphic the size that it will be used. If you create your raster graphic too small, you limit its capability of being enlarged. 240 dpi Adobe Illustrator EPS scaled at 100% Adobe Photoshop EPS scaled at 100% 72 dpi Image Size Window in Adobe Photoshop CS TIP: To increase the resolution of an image, uncheck the Resample Image box. You have to decrease the image size in order to increase the resolution. Adobe Illustrator EPS scaled 150% Adobe Photoshop EPS scaled 150%

5 IMAGE IS EVERYTHING Page 5 ADJUSTING IMAGES Grayscale Images The Kansas City Star s state-of-the-art presses hold much better detail in the shadows and highlights of grayscale images. For good contrast in grayscales, we recommend adjusting the shadows (dark areas) to be 100% and the highlights (light areas) to be 0-1%. The midtones can then be adjusted to provide more detail. In this example, we used Levels in Adobe Photoshop to make our adjustments. In Example A, we adjusted the shadows first. Option-click the black slider and move it to the right until image details begin to appear. With this preview, we not only see when we hit the maximum black (Example A) percentage but also where those areas are. In Example B, we adjust the highlights by optionclick on the white slider and move it to the left. Everything here that is white will print at 0%. (Example B) Original grayscale Adjusted Grayscale Color Images Any adjustments or color corrections should be done after the color profile has been loaded. The Kansas City Star s Color Setting profile can be downloaded by visiting The Star recommends adjusting images on a calibrated monitor. This is the best way to get an accurate representation of how your image will reproduce in the newspaper. Use the Levels or Curves tools to adjust images in Adobe Photoshop. These are both located in the menu Image>Adjustments. It is not a good idea to use the auto versions of this tool because they may not adjust for the specific profile. In this example we took a digital photo and adjusted it for The Kansas City Star s press. When the profile was loaded, the image became lighter. This is normal. Color Profile not loaded. No adjustments. Color Profile loaded. No adjustments. Color Profile loaded. Adjusted on a calibrated monitor. Color Adjusting Example Original image with The Kansas City Star s profile loaded We added a curve to lift midtones to begin to add density. In levels, we made sure the darkest area of the image was between % Total Ink Limit and the lightest area was 0-1% Total Ink Limit. This created contrast by making the shadows darker and highlights lighter. Then we sharpened the image using 150 for the amount, 1.5 for the radius, and 0 for threshold. Sharpening Almost all images need to be sharpened before they are printed, especially pictures shot with a digital camera. It is also helpful for photos that have a soft focus. The Unsharp Mask is located under Filter>Sharpen in Adobe Photoshop. If you sharpen too much, a white halo effect will appear around the edges when the image is printed. Refer to the images at right for examples of no sharpening, good sharpening, and too much sharpening. TIP: Always sharpen with 100% view of the image within Adobe Photoshop. This will allow you to see exactly what effect the Unsharp Mask is having on the image.

6 Page 6 IMAGE IS EVERYTHING 1. Border How do we separate the ad from the surrounding type? With a border. Borders should complement the look of your ad and should never be the most prominent part of your ad. Straightforward and simple is best. 2. headline Ad legend David Ogilvy once stated The headline is a key part of the sales message; no matter how well the ad is presented, it can t succeed if it is not read. If your headline does not include a selling message, you may be wasting 80% of your dollars. 3. illustrations A highly effective way to draw the reader s attention to an ad is with the illustration. Studies have shown that an ad with an illustration that takes up to 50% or more of the ad space increases readership by as much as 37%. BURGER CAFE $ Gourmet Burgers starting at 4 99 Daily Lunch Specials Daily Drink Specials Outside Patio ADVERTISING 4. Price Price is an important (and often dominant) element in a layout. Many local advertisers build their ads around the price. You can accent price by: (1) making it part of the heading, (2) making it the core the ad is built around, (3) placing it before the copy and (4) putting it in the text space. 5. subheadlines Following the headline, you ll have subheads that either clarify or amplify the thought in the headline. Subheads should be handled in much the same way as headlines, but are visually weighted somewhere between the body copy and the headline. 6. body copy Body copy develops and expands on the product benefits offered in the headline. The power of wellwritten advertising copy is proven by the billions of dollars of sales directly generated by great newspaper advertising. Copy should be written as though you were making friendly, personal conversation. hair body skin nails a full service salon 7. Signature The signature is often a logotype. Though often used synonymously with a logo, signature means the name of the advertiser in any form and, unlike the logo, may change form from one ad to the next. Remember not to let the signature overpower other important aspects. 8. focal point You can establish this with a dominant headline, illustration or price. 9. concentration Another factor that affects eye appeal is concentration. This means grouping your selling points into display headings and text masses. 10. white space Use as much white space as you can afford to use. It minimizes distraction and draws attention to what matters most. 11. color Try to achieve contrast in layout by effective use of different-sized type, bold type and color. If you can, fit color into your advertising budget. Introducing color increases impact. 12. one-second test The one-second test is a way of determining whether a reader can tell at a glance what the advertiser is selling. It simply means that you should be able to look at a layout for a second, then close your eyes and recall its sales message. If you didn t get the message, you need to improve the layout. 13. creativity If your ad is developed with simplicity, focal point and sequence in mind, it will appeal to the eye. However, some ads are more visually appealing than others. The difference is in creativity. Remember, creativity rarely occurs as a stroke of genius; it usually comes through persistent attempts and hard work. POWER & LIGHT DISTRICT 14th & Grand Blvd Kansas City, MO BEYOND 20/20 CHIhairsalon Here are a few examples of ads that use all the elements. Through use of color to illustration, these ads will grab the attention of the reader. DESIGNEREYEWEAR.com Elliott Landscapin No job too BIG Leave the work to us. Hardscaping: landscaping with hard products such as rocks; sidewalks, patios, etc. Retaining wall: clear space for walkways or patios and can be made with any material (stone, brick, etc.) Softscaping: landscaping with soft products; this includes all the plants, flowers, shrubbery, etc. Your landscape style can be an expression of your personality. Garden spaces may be defined by one particular style, though you can also express multiple styles in a single landscape. Your landscape style often determines your plant selection process, since plant characteristics may favor one style over another. We can help you. 103 NW Pfl umm, Lenexa, KS

7 IMAGE IS EVERYTHING Page 7 By replacing antiquated presses with state-of-the-art, computer-controlled systems, The Kansas City Star leads the industry in high-quality newspaper publishing in North America. The same type of KBA presses in use by The Star also print 100% of all North American currency and 90% of the world s currency. Our sleek modern glass building stands equivalent to eight stories tall allowing passers-by to view the printing process. Building Size: 424,000 square feet, 3 story building with mezzanine Cost: Docks: Presses Approximately $200 million 11 distribution docks and truck aprons 5 receiving docks 5 recycling docks Mail Center level has three receiving and distribution docks and one recycling dock Vendor: KBA Equipment: 4 KBA Commander Presses in two lines Each press has nine towers and 10 reel stands Automatic reel loading Automatic blanket wash system Ferag gripper conveyor system Two online stitching units Web width: 44 Cut-off: 21.5 cut off Capacity: 80 pages straight with 40 process and six sections 72 pages with 48 process pages, six sections Process color section fronts and backs Far-forward process color in A-section, 3A, 5A, 7A, 9A, 11A and 13A Process color double truck pages in two sections 4-page process color pull out in A-section and at least 1 other section 24 pages of consecutive process color niche products Automatic Roll Storage and Retrieval System (AS/RS) Vendor: Equipment: HK Systems 4 aisles/2 deep, 12 rows high (approximately 80 feet high). Approximately 5,300 storage bays with capacity for days paper supply plus advertising inserts. Fully automated once a roll or pallet has been received, it will not be touched again by a human until the roll is prepared for the press, or for a pallet when ready to be sent to the inserter on the Packaging and Distribution Center floor. Two aisles intermediate roll storage with three rows high with 440 storage positions, enough storage for the largest volume press run plus a few spare rolls and balance rolls Packaging and Distribution Size: Vendor: 80,000 square feet GMA COMMERCIAL PRINTING Equipment: Four inserting machines, 30 into 2 SAM production planning software with all address specific options Automated Palletizing System Vendor: Schur Equipment: Four palletizing cells with two palletizing units each for bundle operation for bulk distribution on pallets to Distribution Centers Palletize tied and untied bundles PAPER CHOICES: 26.4# Newsprint (43.0 gsm) 30# Newsprint (48.8 gsm) 35# Alternative Offset 80 (High Brite 51.8 gm) 45# Alternative Offset 80 (High Brite 66.6 gm) Mechanical Requirements: PDF or EPS files to personalized FTP site 120 line screen 240 pixels per inch Maximum highlight 6-8 percent Maximum shadow 78 percent Total ink coverage 220 percent Dot gain 20 percent Services Provided: Address specific ink jet printing Address specific labeling Apply front page Post-it-Note advertising List preparation Mailing Inserting Trimming Stitching Printing (cold set) and stitching on numerous uncoated newsprint and specialty grade paper stocks Broadsheet sizes: IMAGE: 10 x FINISH: 11 x pages of consecutive color capability Tabloid sizes: IMAGE: 9.7 x 10 FINISH: x pages of consecutive color capability Palletize tied and untied bundles Stretch wrap skids Product shipping to anyone anywhere 100% PERFECTION The Kansas City Star has earned a perfect score (100%) from the Specifications for Newsprint Advertising Production (SNAP) and has been awarded The SNAP Certificate seven times. SNAP is the standard that coldset commercial printers and newspapers use to ensure reproduction quality. The SNAP Certificate represents a significant accomplishment. It is given only to organizations whose production processes have objectively demonstrated an ability to produce printed results that conform to SNAP specifications. broadsheet A publication format with a single page dimension of 10 wide by deep. CMYK The four process colors: cyan, magenta, yellow and black. COlor corrections Adjustments made to artwork to compensate for known deficiencies in the original materials and/or the printing process. Color separations Four plates representing cyan, magenta, yellow and black. Each plate carries halftone dots that, when printed, will reproduce the original color image. contrast The tonal difference between highlight and shadow on an image. density A measurement to describe the lightabsorbing ability of a material. detail highlight The lightest areas of a printed halftone that contain printing dots. These areas appear to be white, yet have gray tonal values. doubletruck An ad that spans two facing pages. Also known as an inside spread. dpi Dots per inch. The measure of resolution in a halftone or printed image. full color A printing term applied to the use of the process colors that are made using cyan, magenta, yellow and black. eps Encapsulated PostScript is a file format developed by Adobe Systems Inc. According to the GATF Encyclopedia of Graphic Communications, the EPS format provides an output device-dependent PostScript representation of a page, graphic element or other object. In addition to including a low-resolution bitmap file of the page or image to permit quick onscreen viewing, EPS files are able to image smooth lines and curves at the output resolution called for using the output device. Glossary gray balance The halftone dot percentage combination of cyan, magenta and yellow required to produce a neutral gray within a printing. Gray Bars are used to help calibrate the presses and to make sure that the color is correct during the press run. generation Each succeeding stage in reproduction from the original copy. graduated screen A shaded area that runs in a continuous pattern from 0% (white) to 100% (solid). gutter The vertical white space, fixed per product, between facing image areas. halftone A continuous tone image converted into various-sized dots per print reproduction. highlight The whitest or lightest tone in an image. hue A color, or the quality that distinguishes colors in the visible spectrum. image area The reproducable area of a page. Elements placed outside the image area will not print. knockout Eliminating portions of a background image or color. line art Art that consists of solid (black) lines and white but no intermediate tones. Suitable for reproduction without using a halftone screen. moiré An objectionable pattern that results when multiple screen patterns are incorporated into an image at uncomplimentary angles. midtone The middle tonal areas in a halftone or color separation film and reproduction. Midtones encompass halftone values ranging from 40% to 60%. PDF Adobe Systems Inc., the software company that created PostScript, created a page description software called Portable Document Format, or PDF. PDF lets you create electronic documents from a range of applications with no further dependency on the application (except all users need the Acrobat application). PDF embeds fonts and graphics while creating a smaller file than an EPS. press gain The spreading of ink (dots) in the press reproduction process. Unless proper adjustments are made in the prepress stage, images will reproduce darker than the original. process colors Colors made up of cyan, magenta, yellow and black. Reverse An image that has light and dark areas switched. For example, white type on a black box. SCReen angle An angle at which a halftone screen is positioned for color reproduction, which helps eliminate objectional moirè patterns. split doubletruck (facing pages) A doubletruck ad that prints on two facing pages but is not located on the center spread of a section. It must be vertically split and positioned butt to fold. Also known as false spread or crossover. spot color conversion Process where a spot color (e.g. Pantone colors) is converted to CMYK to accommodate output. TABLOID A publication format with a single page dimension of 10 wide by 10 deep. TIFF Tagged Image File Format. Another graphics standard that is accepted by The Kansas City Star. total area coverage (TAC) The sum of the tone values on all the color separations in the darkest area of an image. total print density (Total Ink Limits) The maximum saturation limit in the shadow area. For minimized ink set-off, four-color separations should not exceed a total of 220% total ink density. unsharp mask A filter in Photoshop that enhances an image s detail.

8 Page 8 IMAGE IS EVERYTHING color combinations C M Y K Color Percent Chart Cyan Magenta Yellow Black 1% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 1 30c 0m 60y 100c 80m 0y 2 0c 20m 100y 50c 0m 10y 3 0c 70m 100y 70c 70m 0y 4 0c 40m 100y 90c 40m 0y 5 70c 20m 0y 100c 0m 0y 10c 100m 100y 6 100c 80m 0y 0c 70m 100y 95c 0m 95y 2 7 0c 0m 100y 0c 70m 100y 50c 50m 0y 8 50c 0m 10y 0c 20m 100y 10c 100m 100y 9 0c 40m 100y 100c 0m 100y 100c 80m 0y c 70m 0y 0c 20m 100y 10c 100m 100y 11 30c 0m 60y 70c 20m 0y 10c 100m 100y 12 30c 0m 60y 70c 70m 0y 0c 0m 100y 13 0c 20m 100y 30c 100m 0y 14 30c 0m 100y 50c 100m 0y 15 30c 0m 100y 70c 10m 0y 16 70c 10m 0y 30c 100m 0y 17 0c 90m 100y 30c 100m 0y 30c 0m 100y 18 0c 0m 100y 70c 10m 0y 30c 100m 0y 19 0c 60m 100y 30c 100m 0y 30c 0m 100y c 50c 100m 0y 0c 60m 100y 70m 0y 21 0c 50m 100y 70c 0m 40y 22 0c 70m 10y 0c 30m 100y 23 0c 100m 100y 50c 0m 100y c 80c 100m 0y 0m 30y 25 0c 30m 100y 50c 0m 100y 0c 100m 100y 26 0c 50m 100y 0c 70m 100y 70c 0m 40y 27 0c 50m 100y 30c 100m 0y 30c 0m 100y 28 50c 0m 100y 100c 0m 30y 0c 30m 100y 29 10c 10m 50y 3 10c 80m 80y c 10m 50y 3 30c 10m 0y 31 10c 10m 20y 4 60c 60m 0y 32 0c 40m 70y 10c 10m 20y c 10m 30y 7 0c 40m 70y 0c 20m 50y 34 75c 45m 50y 4 0c 70m 100y 95c 0m 95y c 45m 50y 4 10c 10m 40y 1 0c 40m 70y 36 30c 10m 0y 10c 10m 50y 3 0c 10m 30y c 0m 50y 0c 30m 50y 38 0c 60m 100y 30c 100m 10y 39 20c 80m 100y 10c 20m 100y 30c 80m 90y c 60m 60y 60c 0m 60y c 0m 50y 0c 30m 50y 0c 80m 100y 42 30c 100m 10y 60c 0m 50y 9 70c 0m 50y 43 60c 0m 50y 9 10c 10m 10y 70c 0m 50y 44 30c 100m 10y 40c 0m 30y 40c 40m 0y c 90m 80y 1 0c 5m 40y 30c 30m 50y 46 10c 5m 30y 1 0c 100m 100y 30c 20m 40y c 0m 10y 2 0c 90m 100y 10c 10m 40y c 0m 60y 80c 50m 40y 4 60c 30m 30y c 20m 100y 0c 50m 10y 7 40c 50m 40y c 30m 100y 40c 40m 60y 1 40c 40m 60y c 30m 10y 3 0c 0m 60y 60c 30m 50y c 10m 40y 6 60c 70m 70y 1 0c 20m 100y 53 0c 60m 60y 0c 10m 20y 3 0c 10m 40y c 40m 0y 20c 40m 70y 0c 15m 50y c 50m 70y 40c 40m 60y 1 20c 10m 50y c 0m 40y 0c 10m 50y 10c 20m 50y 57 60c 0m 60y 2 10c 0m 80y 1 60c 20m 50y c 100m 30y 0c 10m 50y 1 30c 30m 40y c 0m 100y 10c 10m 40y 0c 20m 30y c 70m 0y 0c 20m 60y 2 10c 90m 30y c 30m 90y 1 80c 0m 10y c 80m 100y 60c 0m 90y 63 10c 60m 70y 60c 60m 0y 64 0c 60m 80y 3 80c 0m 40y 65 0c 0m 60y 0c 30m 90y 1 80c 0m 10y c 60m 80y 3 50c 70m 90y 1 60c 0m 90y 67 0c 80m 80y 3 0c 30m 90y 1 80c 0m 10y c 30m 90y 1 60c 60m 0y 60c 0m 90y 69 70c 10m 20y 1 70c 20m 30y c 20m 30y 4 40c 40m 0y c 60m 0y 1 50c 0m 10y 72 30c 60m 60y 4 50c 0m 10y 73 50c 10m 20y 1 70c 20m 30y 4 30c 10m 20y 74 70c 10m 40y 40c 0m 30y 60c 0m 40y 75 60c 50m 10y 30c 0m 0y 60c 30m 10y 76 60c 30m 10y 40c 0m 30y 40c 40m 0y c 40m 60y 1 70c 20m 30y c 50m 50y 2 40c 40m 60y c 30m 50y 60c 40m 50y c 80m 0y 5 30c 30m 50y 81 60c 40m 50y 1 60c 60m 70y 2 30c 30m 50y 82 50c 0m 10y 0c 20m 50y 2 30c 0m 0y 83 70c 40m 40y 4 0c 40m 50y 3 70c 30m 30y c 0m 40y 40c 0m 30y 60c 60m 70y 2