COLOR SCHEME ( UNIT-1)

A designer tool for creating color combinations that work together well known as Color Scheme. A color scheme is the choice of colors used in design. Creating a colour scheme is essential for good design.

There are several  color schemes. Monochromatic colors,  analogous schemes (harmonies),  clash and Neutral Color Scheme

Difference between a color palette and a color scheme

A color palette contains all of the colors that are used in a project, while a scheme is a general plan for which colors to use.

an oil painting has a primary color scheme because it uses red, blue and yellow most. You can see more than just the three colors, the additional colors are added to the color scheme to make the color palette.

Basic color schemes

With colors you can set a mood, attract attention, or make a statement. You can use color to energize, or to cool down. By selecting the right color scheme, you can create an ambiance of elegance, warmth or tranquility, or you can convey an image of playful youthfulness. Color can be your most powerful design element if you learn to use it effectively.

The color wheel or color circle is the basic tool for combining colors. The first circular color diagram was designed by Sir Isaac Newton in 1666.

Monochromatic color schemes

monochromatic-rose- A painting by marsha-elliott

Monochromatic colour scheme is the colour scheme which uses different shades of the same colour.  In this scheme uses variations in lightness and saturation of a single color. This scheme gives feeling of simplicity, elegance, and cleanliness

 For example, using dark blue, sky blue, and blue at the same time. Monochromatic color schemes are derived from a single base hue, and extended using its shades.

All Monochromatic colors go well together, making this scheme easy to manage, and producing a soothing and calming effect.

The number one advantage of using monochromatic colors is that it always looks visually appealing and balanced.

Analogus Color Scheme

There are many analogous color schemes with three or four colors. Any color scheme where all of the colors are in the same space on a color wheel is analogous. These color schemes unify a room, outfit, or art piece because they are made of the same pigments. 

A simple way to make an analogous color scheme is to start with a primary color and a secondary color, and then choose two colors between them. For example: 

- Blue, Blue-green, Green-blue, Green.

- Red, Red-Orange, Orange-red, Orange.

- Yellow, Yellow-Green, Green-Yellow, Green. 

Advantages - One of the advantages this color scheme has over the monochromatic is that not only is easy to create, but it provides a richer, more colorful solution.

Clash Color Scheme

This color scheme has an energetic, raw, and brash quality.  It is used primarily in advertisement and graphic design, but modern artists use it to create uninhibited energy to their compositions. It is easy to create this scheme.  Combine a color with one hue on either side of its complementary.

Tetradic color scheme ( Four color two sets)

There are four colors in a tetradic color scheme. The beginning of the word, tetra-, is a Greek prefix meaning four. A tetradic color scheme is also called a double-complementary color scheme. The four colors are actually two sets of complementary colors. This means that you can find a tetradic color scheme by drawing a square or rectangle inside of the color wheel and choosing the colors on the corners.

Neutral Color Scheme

This beautiful sets of color schemes are the natural results of neutralizing colors by mixing them with their respective complementary.  Hence, to "tone down" a color, you must mix it with its complementary.  To obtain a wider palette of these colors, get tints (color + white) or shades (color + black.)  Many artists used this scheme to paint preliminary studies of paintings or to convey a soft, earthly atmosphere  to their compositions.

SOFTWARE FOR COLOR  SCHEME

Adobe Colour CC : It is a  favorite color app has a new name. Adobe Kuler is now renamed Adobe Color CC.  Adobe has popular app, which over the years has graduated from a simple web-based colour tool to a fully fledged theme generation and sharing resource, as Adobe Colour CC. Adobe InDesign CC 2014 gives you a great new tool for creating a beautiful matching color palette based on the images.

Color scheme for Website Design

As a designer, color management should be an integral part of your workflow. A website’s color scheme helps shape its identity and therefore should not be carelessly thrown together. Selecting a color scheme for a given website design project is not always easy. Sometimes the product or service will help to determine the base or main color, but where to go from there is usually a matter for the designer's imagination and inspiration. A designer tool for creating color combinations that work together well. Formerly known asColor Scheme Designer.

There are simply a ton of free color tools available on the web. However, a cursory search reveals that most are extremely basic and simply mimic everything else out there.

See more here http://paletton.com/ You can also go for online color scheme on this websites -  http://www.colorschemer.com/   also see http://colorbay.com/ 

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WHAT IS COLOR (unit 1)

Color, contrast and dimension play key roles in visual journalism. Each color imbues a unique mood or emotional overtone. When you learn what all these colors mean, you can pair them up with your copy for a dynamic presentation. Color in News Design will show you how the visual elements of color, contrast and dimension complement the written word.

Color is one of the most important design  techniques for a newspaper designer. It’s important for anyone working in in design to know which colors go well together and which colors are hard to read. There are colors that appear blinding to the eye, such as yellows, and easier colors for reading, such as browns, blues, grays and black. How you apply this to design can be sophisticated, but first you need to know the color groups.

Primary colors - red, blue and yellow
First, we have the primary colors. These are the red, blue and yellow. These are also the colors that can’t be created by any other color. Research has shown that these colors are most recognized by children, and that they also recognize babies more often. In addition, these are the colors composed of everything on a screen. This may be a television, iPhone or a computer. They’re beams of colors that are trapped inside and are first reaching the eye.
Next, we have the secondary colors. These are the greens, oranges and violets. If you mix equal amounts of red and blue, then you reach violet. Likewise, if you mix blue and yellow you’ll get green; yellow and red will give you orange.


Color in design is very subjective. What evokes one reaction in one person may evoke a very different reaction in someone else. Sometimes this is due to personal preference, and other times due to cultural background. Color theory is a science in itself. Studying how colors affect different people, either individually or as a group, is something some people build their careers on. And there’s a lot to it. Something as simple as changing the exact hue or saturation of a color can evoke a completely different feeling. Cultural differences mean that something that’s happy and uplifting in one country can be depressing in another.


WORKING WITH COLORS
Working from these 12 colors, designers often design brochures, newsletters and business cards. It’s not often that you’ll see a newspaper or magazine go outside the primary colors. In addition, there are several steps designers look for when using color.

1. Contrast.  Any designer wouldn’t put red text on a violet background. It’s too hard to read, and more than likely, it would not be read at all. Instead, try a light background with dark text. For example, newspapers are classic for using their white background and black text. They don’t need reds and yellows to strain the eyes of their subscribers.
You can also place your photos where you have a dominate ( large) one on top above the fold, and a smaller one on the bottom. Always place the subject of the photo looking inward towards the page. The subscriber’s eyes will follow the photo and you don’t want to lead them off the page.
In addition, contrast your text so dominate headlines are in bold. You want these to catch the reader’s eyes first, instead of a story that may not be on page one. You may consider putting photos in color if it’s a feature story or a prominent person in a regional area. Most of these photos will print in CMYK ( cyan/ magenta/ yellow/black ) because they’re coming off a printing press. These four colors can actually create thousands of colors, but it is cheaper to print black & white.

2. Variation in color - Newspaper designers, or printers, often use split complement colors to create a more effective look. This is where you first choose a color on the color wheel. Next, you look at it’s complement (the color directly across,) and you take the colors on both sides of it. For example, let’s choose red. First it’s complement is green. The tertiary colors on both sides of green (secondary color) are aqua and yellow-green. If used effectively, this can create excellant brochures, newsletters and more.

3. Create shades/tints - First, every basic color is called a hue. If you add white to this color, then you are creating a tint. In contrast, if you add black, you are creating a shade. Keep in mind white and black aren’t real colors. White is the absence of color and black is all the colors combined. This is a way for the designer to make colors lighter or darker, and InDesign allows you to save those colors. There are other programs that you can create these as well. You may use this feature to warm up a color or to cool it down to fit your project better. It’s a great way to help your color stand out.

Color on a page is often what draws the reader to read the document. If the colors match well together, then the reader is more likely to read it until the end. However, yellows and bright colors are often a big turn-off against a light back ground. I am still learning the techniques of color, but I am learning to become a newspaper designer. So far, it’s been so much fun.


Warm and Cool Colors
Warm colors are based on yellows, oranges, browns, yellow-greens, and orange-reds, colors commonly associated with fall or autumn. Generally, warm colors tend to be more exciting and aggressive. Many people prefer them in small doses. Purples and greens are intermediary colors, being either warm or cool, depending on how much red or yellow they contain in relation to blue. If the color contains less blue then it is more likely to be a warm hue.

Cool colors are based on blues, greens, pinks, purples, blue-greens, magentas, and blue-reds, colors more commonly associated with spring and summer. Cool colors are soothing, calming colors and tend to be more popular than warm colors.

Creating a site with a combination of warm and cool colors confuses the viewer. It will often make the site seem busy, dirty, and untrustworthy. Site designers do not always realize that their color combinations are warm and cool. The use of a color wheel can be helpful. It shows the Primary (red, yellow, and blue) and Secondary (orange, green, and purple) colors. Combining two primary colors creates secondary colors. All colors are made from some combination of white, black, and the primary colors.


The Psychology of Color

Color                                Associations

 Reds            Energy, Passion, Power, Excitement
 Oranges Happy, Confident, Creative, Adventurous
 Yellows Wisdom, Playful, Satisfying, Optimistic
 Greens Health, Regeneration, Contentment, Harmony
 Blues Honesty, Integrity, Trustworthiness
 Violets Regal, Mystic, Beauty, Inspiration
 Browns Easiness, Passivity
 Blacks Finality, Transitional Color

PROCESS COLORS  - CMYK

The CMYK color model ( process color, four color) is a subtractive color model, used in color printing, and is also used to describe the printing process itself.CMYK refers to the four inks used in some color printing: cyan, magenta, yellow, and key (black). Though it varies by print house, press operator, press manufacturer and press run, ink is typically applied in the order of the abbreviation.
The "K" in CMYK stands for key since in four-color printing cyan, magenta, and yellow printing plates are carefully keyed or aligned with the key of the black key plate. Some sources suggest that the "K" in CMYK comes from the last letter in "black" and was chosen because B already means blue. However, this explanation, though plausible and useful as a mnemonic, is incorrect.

The CMYK model works by partially or entirely masking colors on a lighter, usually white, background. The ink reduces the light that would otherwise be reflected. Such a model is called subtractive because inks "subtract" brightness from white.

Additive color models
In additive color models such as RGB ( Red, green, Blue ) white is the "additive" combination of all primary colored lights, while black is the absence of light. In the CMYK model, it is the opposite: white is the natural color of the paper or other background, while black results from a full combination of colored inks. To save money on ink, and to produce deeper black tones,unsaturated and dark colors are produced by using black ink instead of the combination of cyan, magenta and yellow.

RGB color model 

The RGB color model is an additive color model in which red, green, and blue light is added together in various ways to reproduce a broad array of colors. The name of the model comes from the initials of the three additive primary colors, red, green, and blue.

The main purpose of the RGB color model is for the sensing, representation, and display of images in electronic systems, such as televisions and computers, though it has also been used in conventional photography. Before the electronic age, the RGB

color model already had a solid theory behind it, based in human perception of colors.
RGB is a device-dependent color model: different devices detect or reproduce a given RGB value differently, since the color elements (such as phosphors or dyes) and their response to the individual R, G, and B levels vary from manufacturer to manufacturer, or even in the same device over time. Thus an RGB value does not define the same color across devices without some kind of color management.
Typical RGB input devices are color TV and video cameras, image scanners, and digital cameras. Typical RGB output devices are TV sets of various technologies (CRT, LCD, plasma, etc.), computer and mobile phone displays, video projectors, multicolor LED displays.




IMPACT OF COLOR on WEBSITE

Color affects how we feel, our perceptions, and our interactions. A visitor has already made a conscious choice to visit your site, now you have to keep his or her interest. You have between 8 to 10 seconds to visually appeal to the surfer. Through color you can make a surfer feel welcome, comfortable, relaxed, and trusting. If you take existing graphics on a site and change the color you change the way the site is perceived, thus changing a person’s reaction.

In a face-to-face meeting our bodies and faces portray unspoken meanings. We smile, gesture, laugh, and become nervous. It’s these little nuances that help us communicate. A website does exactly the same thing. The difference is: a website does it with color. Colors themselves contain a cornucopia of meaning. They can make us happy, sad, angry, comfortable, nervous, and even trusting. While it seems simple enough to choose a graphic and then design a site around that graphic, you may unintentionally be presenting a derogatory impression. The colors may contradict the content in unintended ways.
Colors and their meanings


Importance of Color Web in Design

There’s more to websites than just images and text. A website is a marketing tool, representing the company, owner, employees and products. Beyond that, it is a personality. A website is a personality? Yes. It portrays a positive or negative symbolism and/or emotion.


Green and white work well together, but in Japan a white carnation signifies death and a green hat in China means a man’s wife is cheating on him. A green hat with a white carnation in the brim wouldn’t be a good choice for a company logo. However, green is the easiest color on the eye; it has a calming effect which is why it is most used in hospitals. It relaxes the patients. Different shades of green have different meanings: yellow-greens are the least preferred colors by consumers.

Red has been shown to increase blood pressure and heart rate. People working in a red environment work faster, but they also make more mistakes. It increases appetite, restlessness and nervous tension. Creating a site with bright red and bright blue is a very poor idea! Bright red has the longest wavelength and bright blue has the shortest. When viewing these colors the human lens has to adjust to focus, and it tries to focus on both. This tires the eyes very quickly and will give the viewer a headache.

Websites that contain different shades of blue, or a blue and white combination tend to be more popular. Why? Blue represents calm, stability, hope, wisdom and generosity. People inherently trust blue websites faster. Add blue text and people will retain more information from your site. Combine blue, purple, and white and you have nobility.

Thankfully you do not see many yellow sites. While yellow can increase concentration, it is the hardest on the eyes. Paint a room yellow and you will make babies cry and adults lose their temper. Yellow is a very spiritual color and eye catching. Used in small amounts it is very inviting, cheerful and the number one attention getter. Forget blinking animations, just use a small, nicely designed yellow graphic.

Let’s talk orange for a minute. As a fruit, I love it. As a color, I don’t love it. It always reminds me of Jell-O and that reminds me that the EEG of Jell-O is the same as the human brain. Orange does have its pluses though. It tends to make more expensive products seem affordable and suitable for everyone, almost like a natural sales pitch. Brighter orange is hard on the eyes and is not recommended for text or background images. Small amounts of bright orange can help create a “fun and interesting” site.
Action and Reaction

Taking a water-based product and placing it on a purple or orange site decreases marketability. Purple and orange are not immediately associated with water or nature and will give the site and product a “false” impression. Placing that same product on a blue or green site will increase the desire for that product. While we naturally associate water with the colors blue and green, not all site designs adhere to this thought process. Sites that are nature related receive better responses when multiple colors of green are used then any other color or combination.

Multi-colored sites, or “rainbow sites,” have the lowest visitation time. This is not the case if the site is predominantly white, while displaying only small amounts of various colors. As the multiple colors decrease, the time of visitation increases. Sites aimed at children, such as toy sites, often use a wide range of color to “entertain” the visitor. While this is smart marketing, displaying large quantities of multiple colors decreases the “fun” aspect as the eye tries to focus and concentrate on the overly busy page. A smart rule of thumb when using multiple colors: do not use more than 5 colors, keep them either “warm” or “cool,” and make the background white. Fun is more fun when it is easy on the eyes.

What does all of this mean to site designers? If you want your site to be marketable, remember that there is more to it than just graphic placement and text. Every color tells a story and it may not always fit the one you are trying to portray. In informational design, distinguish functional color from decorative color. Decorative color enhances the layout by making it more aesthetically appealing, creating a mood, or establishing a style. Functional color conveys information explicitly.


A few rules of thumb

1. Make sure the choice of colors for a site fits the intended content, and the users’ expectations.

2. Never use more colors than are necessary.

3. Do not use colors that do not support or add to the information being displayed.

4. Remain consistent throughout the site with your color choices, and leave the rainbows for rainy days and for chasing pots of gold.

ALL ABOUT FONTS (unit 1)

A font is the combination of typeface and other qualities, such as size, pitch, and spacing. For example, Times Roman is a typeface that defines the shape of each character. Within Times Roman, however, there are many fonts to choose from -- different sizes, italic, bold, and so on.
A font is a set of printable or displayable text character s in a specific style and size. The type design for a set of fonts is the typeface and variations of this design form the typeface family . Thus, Helvetica is a typeface family, Helvetica italic is a typeface, and Helvetica italic 10-point is a font.

POINT SIZE 
The height of characters in a font is measured in points, each point being approximately 1/72 inch. The width is measured by pitch, which refers to how many characters can fit in an inch. Common pitch values are 10 and 12. A font is said to be fixed pitch if every character has the same width. If the widths vary depending on the shape of the character, it is called a proportional font.
Most applications that support text enable you to choose from among many fonts. Laser, ink-jet, and dot-matrix printers offer the widest selection of fonts. These printers support a certain set of resident fonts, but you can expand this set by loading different fonts from software (soft fonts) or from font cartridges.

COMPUTER FONT  

A computer font (or font) is an electronic data file containing a set of glyphs, characters, or symbols such as dingbats. Although the term font first referred to a set of metal type sorts in one style and size, since the 1990s most fonts are digital, used on computers.

TRUE TYPE FONTS
TrueType is an outline font standard developed by Apple and Microsoft in the late 1980s as a competitor to Adobe's Type 1 fonts used in  PostScript. It has become the most common format for fonts on both the Mac OS and Microsoft Windows operating systems.

The primary strength of TrueType was originally that it offered font developers a high degree of control over precisely how their fonts are displayed, right down to particular pixels, at various font sizes. With widely varying rendering technologies in use today, pixel-level control is no longer certain in a TrueType font.
The system was developed and eventually released as TrueType with the launch of Mac OS System 7 in May 1991. The initial Truetype outline fonts, four-weight families of Times Roman, Helvetica, Courier, and the Pi font replicated the original PostScript fonts of the Apple LaserWriter. Apple also replaced some of their bitmap fonts used by the graphical user-interface of previous Macintosh System versions (including Geneva, Monaco and New York) with scalable

 Truetype outline-fonts. For compatibility with older systems, Apple shipped these fonts, a TrueType Extension and a TrueType-aware version of Font/DA Mover for System Software 6. For compatibility with the Laserwriter II, Apple developed fonts like ITC Bookman and ITC Chancery in True type format.
All of these fonts could now scale to all sizes on screen and printer, making the Macintosh System 7 the first OS to work without any bitmap fonts. The early TrueType systems — being still part of Apple's QuickDraw graphics subsystem — did not render Type 1 fonts on-screen as they do today. At the time, many users had already invested considerable money in Adobe's still proprietary Type 1 fonts.
 As part of Apple's tactic of opening the font format versus Adobe's desire to keep it closed to all but Adobe licensees, Apple licensed TrueType to Microsoft. When TrueType and the license to Microsoft was announced, John Warnock of Adobe gave an impassioned speech in which he claimed Apple and Microsoft were selling snake oil, and then announced that the Type 1 format was open for anyone to use.
Meanwhile, in exchange for True type, Apple got a license for True Image, a PostScript-compatible page-description language owned by Microsoft that Apple could use in their laser printers. This was never actually included in any Apple products when a later deal was struck between Apple and Adobe, where Adobe promised to put a TrueType interpreter in their PostScript printer boards. Apple renewed its agreements with Adobe for the use of PostScript in its printers, resulting in lower royalty payments to Adobe, who was beginning to license printer controllers capable of competing directly with Apple's LaserWriter printers.

ATM FONTS 
Part of Adobe's response to learning that TrueType was being developed was to create the Adobe Type Manager software to scale Type 1 fonts for anti-aliased output on-screen. Although ATM initially cost money, rather than coming free with the operating system, it became a de facto standard for anyone involved in desktop publishing. Anti-aliased rendering, combined with Adobe applications' ability to zoom in to read small type, and further combined with the now open PostScript Type 1 font format, provided the impetus for an explosion in font design and in desktop publishing of newspapers and magazines.
Apple extended TrueType with the launch of TrueType GX in 1994, with additional tables in the sfnt which formed part of QuickDraw GX. This offered powerful extensions in two main areas. First was font axes (morphing), for example allowing fonts to be smoothly adjusted from light to bold or from narrow to extended — competition for Adobe's "multiple master" technology. Second was Line Layout Manager, where particular sequences of characters can be coded to flip to different designs in certain circumstances, useful for example to offer ligatures for "fi", "ffi", "ct", etc. while maintaining the backing store of characters necessary for spell-checkers and text searching. However, the lack of user-friendly tools for making TrueType GX fonts meant there were no more than a handful of GX fonts.
- To ensure its wide adoption, Apple licensed TrueType to Microsoft for free By 1991 Microsoft added TrueType into theWindows 3.1 operating system.
- TrueType has long been the most common format for fonts on both Mac OS and Windows,

Difference between TrueType, PostScript, and OpenType fonts?

TrueType fonts can be scaled to any size and are clear and readable in all sizes. They can be sent to any printer or other output device that is supported by Windows.
OpenType fonts are related to TrueType fonts, but they incorporate a greater extension of the basic character set, including small capitalization, old-style numerals, and more detailed shapes, such as glyphs and ligatures.
OpenType fonts can also be scaled to any size, are clear and readable in all sizes, and can be sent to any printer or other output device that is supported by Windows.
Post Script fonts are smooth, detailed, and of high quality. They are often used for printing, especially professional-quality printing, such as books or magazines.
Which font format will work best for me?
It depends. If you want a font that prints well and is easy to read on the screen, then consider using a TrueType font. If you need a large character set for language coverage and fine typography, then you might want to use an OpenType font. If you need to print professional-quality print publications, such as glossy magazines or commercial printing, PostScript is a good choice. For more information,


OPEN TYPE FONTS
Accommodates the Unicode character encoding (as well as others), so that it can support any writing script (or multiple scripts at once). accommodates up to 65,536 glyphs. Advanced typographic layout features which prescribe positioning and replacement of rendered glyphs. Replacement features include ligatures; positioning features include kerning, mark placement, and baseline specification. Cross-platform font files, which can be used without modification on Mac OS, Windows and Unix systems

History
Open Type origins date to Microsoft's attempt to license Apple's advanced typography technology GX Typography in the early 1990s. Those negotiations failed, motivating Microsoft to forge ahead with its own technology, dubbed "TrueType Open" in 1994. Adobe joined Microsoft in those efforts in 1996, adding support for the glyph outline technology used in its Type 1 fonts.
These efforts were intended by Microsoft and Adobe to supersede both Apple's TrueType and Adobe's Type 1 ("PostScript") font formats. Needing a more expressive font format to handle fine typography and the complex behavior of many of the world's writing systems, the two companies combined the underlying technologies of both formats and added new extensions intended to address those formats' limitations. The name Open Type was chosen for the combined technologies, and the technology was announced later that year.

OPEN TYPE FONTS 

Adobe and Microsoft  continued to develop and refine Open Type over the next decade. Then, in late 2005, OpenType began migrating to an open standard under the International Organization for Standardization (ISO) within the MPEG group, which had previously (in 2003) adopted OpenType 1.4 by reference for MPEG-4.Adoption of the new standard reached formal approval in March 2007 as ISO Standard ISO/IEC 14496-22 (MPEG-4 Part 22) called Open Font Format. It is also sometimes referred to as "Open Font Format Specification" (OFFS). The standard is technically equivalent to Open Type 1.4 specification, with appropriate language changes for ISO. The second edition of the Open Font Format was published in 2009  and it is declared as "technically equivalent" to the "Open Type font format specification". It is a free, publicly available standard.

By 2001 hundreds of Open Type fonts were on the market. Adobe finished converting their entire font library to Open Type toward the end of 2002. As of early 2005, around 10,000 Open Type fonts had become available, with the Adobe library comprising about a third of the total.
By 2006, every major font foundry and many minor ones were developing fonts in Open Type format.
Open Type uses the general structure of a TrueType font, but it adds several smart font options that enhance the font's typographic and language support capabilities.

Basic Roman support
Open Type support may be divided into several categories. Virtually all applications and most modern operating systems have basic Roman support and work with Open Type fonts just as well as other, older formats. What is of particular interest apart from basic Roman support is: extended language support through Unicode, support for complex writing scripts such as Arabic and the Indic languages, and advanced typographic support for Latin script languages such as English.
Amongst Microsoft's operating systems, Open Type TT fonts (.TTF) are backward compatible and therefore supported by all Windows versions starting with Windows 3.1. Open Type PS fonts (.OTF) are supported in all Windows versions starting with Windows 2000; Adobe Type Manager  is required to be installed on Windows 95/98/NT/Me for basic Roman support (only) of Open Type PS fonts.

Extended language support
Extended language support via Unicode for both Open Type and TrueType is present in most Windows applications (including Microsoft Office Publisher, most Adobe applications, and Microsoft Office 2003, though not Word 2002), Corel DRAW X3 and newer, and many Mac OS X applications, including Apple's own such as Text Edit, Pages and Keynote. It is also widely supported in free operating systems, such as GNU/Linux (e.g. in multiplatform applications like Abiword, Gnumeric, KOffice, Scribus, OpenOffice.org 3.2 and later versions  etc.).
Open Type support for complex written scripts has so far mainly appeared in Microsoft applications in Microsoft Office, such as Microsoft Word and Microsoft Publisher. Adobe InDesign provides extensive Open Type capability.

Advanced typographic Support 
Advanced typographic support for Latin script languages first appeared in Adobe applications such as Adobe InDesign, Adobe Photoshop and Adobe Illustrator. QuarkXPress 6.5 and below (Quark, Inc.) were not Unicode compliant. However, in QuarkXPress 7, Quark offered support similar to Adobe's. Corel's CorelDRAW does not support Open Type typographic features, either.

TYPOGRAPHY (Unit 1)

Typography (from the Greek words (typos) = form and (graphy = writing) is the art and technique of arranging type. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning). Type design is a closely related craft, which some consider distinct and others a part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers.

Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists, graffiti artists, clerical workers, and anyone else who arranges type for a product. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users. According to David Jury, "Typography is now something everybody does.

HISTORY OF TYPOGRAPHY- 
Typography traces its origins to the first punches and dies used to make  seals  and  currency in ancient times. The typographical principle, that is the creation of a complete text by reusing identical characters, was first realized in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC. It has been put forward that Roman lead pipe inscriptions were created by movable type printing, but this view has been recently dismissed by the German typographer Herbert Brekle.

The essential criterion of type identity was met by medieval print artifacts such as the Latin Pruefening Abbey inscription of 1119 that was created by the same technique as the Phaistos disc. In the northern Italian town of Cividale, there is a Venetian silver retable from ca. 1200, which was printed with individual letter punches. The same printing technique can apparently be found in 10th to 12th century Byzantine staurotheca and lipsanotheca. Individual letter tiles where the words are formed by assembling single letter tiles in the desired order were reasonably widespread in medieval Northern Europe.

Modern movable type, along with the mechanical printing press, was invented in mid-15th century Europe by the German goldsmith Johannes Gutenberg. His type pieces from a lead-based alloy suited printing purposes so well that the alloy is still used today. Gutenberg developed specialized techniques for casting and combining cheap copies of letter punches in the vast quantities required to print multiple copies of texts. This technical breakthrough was instrumental in starting the Printing Revolution.
Typography with movable type was separately invented in 11th-century China. Metal type was first invented in Korea during the Goryeo Dynasty around 1230. Both hand printing systems, however, were only sporadically used and discontinued after the introduction of Western lead type and the printing press.


Typesetting is the composition of text by means of types.  Typesetting requires the prior process of designing a font and storing it in some manner. Typesetting is the retrieval of the stored letters (called sorts in mechanical systems and glyphs in digital systems) and the ordering of them according to a language's orthography for visual display.

During the letter press era, moveable type was composed by hand for each page. Cast metal sortswere composited into words and lines of text and tightly bound together to make up a page image called a forme, with all letter faces exactly the same height to form an even surface of type. The forme was mounted in a press, inked, and an impression made on paper.
The diagram at right illustrates a cast metal sort: a face, b body or shank, c point size, 1 shoulder, 2nick, 3 groove, 4 foot. Wooden printing sorts were in use for centuries in combination with metal type.
Copies of formes were cast when anticipating subsequent printings of a text, freeing the costly type for other work. In this process, called stereotyping, the entire forme is pressed into a fine matrix such as plaster of Paris  called Flong to create a positive, from which the stereotype forme was cast of type metal.

Hot-metal typesetting
Hand composing was rendered commercially obsolete by continuous casting or hot-metal typesetting machines such as the Linotype machine and Monotype at the end of the 19th century. The Linotype, invented by Ottmar Mergenthaler, enabled one machine operator to do the work of ten hand compositors by automating the selection, use and replacement of sorts, with a keyboard as input. Later advances such as the typewriter and computer would push the state of the art even farther ahead. Still, hand composition and letter press printing did not fall completely out of use.


Photo typesetting
Photo typesetting or "cold type" systems first appeared in the early 1960s and rapidly displaced continuous casting machines. These devices consisted of glass disks (one per font) that spun in front of a light source which selectively exposed characters onto light-sensitive paper. Originally they were driven by pre-punched paper tapes. Later they were hooked up to computer front ends.
One of the earliest electronic photocomposition systems was introduced by Fairchild Semiconductor. The typesetter typed a line of text on a Fairchild keyboard that had no display. To verify correct content of the line it was typed a second time. If the two lines were identical a bell rang and the machine produced a punched paper tape corresponding to the text. With the completion of a block of lines the typesetter fed the corresponding paper tapes into a phototypesetting device which mechanically set type outlines printed on glass sheets into place for exposure onto a negative film. Photosensitive paper was exposed to light through the negative film, resulting in a column of black type on white paper, or a galley. The galley was then cut up and used to create a mechanical drawing or paste up of a whole page. A large film negative of the page is shot and used to make plates for offset printing.


DIGITAL TYPESETTING

The next generation of phototypesetting machines to emerge were those that generated characters on a Cathode ray tube. Typical of the type were the Alphanumeric APS2 (1963), IBM 2680 (1967), I.I.I. Video Comp (1973), Linotron 202 (1978), and Auto logic APS5 (1980). These machines were the mainstay of photo typesetting for much of the 1970s and 1980s. Such machines could be 'driven online' by a computer front-end system or take their data from magnetic tape. Type fonts were stored digitally on conventional magnetic disk drives.

Computers excel at automatically typesetting documents. Character-by-character computer-aided photo typesetting was in turn rapidly rendered obsolete in the 1980s by fully digital systems employing a raster image processor to render an entire page to a single high-resolution digital image, now known as image setting.


Typeface
A typeface is the artistic representation or interpretation of characters; it is the way the type looks. Each type is designed and there are thousands of different typefaces in existence, with new ones being developed constantly.

The art and craft of designing typefaces is called type design. Designers of typefaces are called type designers, and often typographers. In digital typography, type designers are also known as font developers or font designers. Refer to the list of typographers of notable typographers around the world.
Typeface is the design of glyphs which is the looks of characters. The same glyph may be used for characters from different scripts, e.g. Roman uppercase A usually looks the same as Greek uppercase alpha, and there are typefaces tailored for special applications, such as map-making or astrology and mathematics.

The term typeface is frequently confused with term font or used as a synonym. Before the advent of digital typography and desktop publishing the two terms had a more clearly understood meaning. See font for a complete definition of that term.

Type Foundry

A type foundry is a company that designs and/or distributes typefaces. Originally, type foundries manufactured and sold metal and wood typefaces and matrices for line-casting machines like the Linotype and Monotype machines designed to be printed on letterpress printers. Today's digital type foundries accumulate and distribute typefaces (typically as digitized fonts) created by type designers, who may either befreelancers operating their own independent foundry, or employed by another foundry. Type foundries may also provide custom type design services.

AESTHETIC OF DESIGN ( UNIT 01 )

The power of beauty in design - We enjoy looking and using aesthetically pleasing design, because it satisfies our senses, it gives us pleasure. Humans like pretty and shiny design; they desire it much more than functional one. According to Miuccia Prada aesthetics is an idea of beauty.

Designers tend to think of aesthetics as the visuals of the design. However, aesthetic design consists of more elements than just how it looks.

As humans, we are programmed to be attracted to what we find beautiful. Something shiny and something pretty will always catch your eye and sustain your interest. It’s just our way, we are drawn to things that satisfy our senses. The way we perceive beauty is a concept that designers spend their entire lives understanding. Nail down that understanding and a designer will always have people clamouring for more.

What is aesthetic design?

There is a whole branch of philosophy exploring aesthetics. Let’s scratch the surface of the Aesthetics field and learn how it relates to our design work.

There is a phenomenon that social psychologists call “the halo effect”. It means humans tend to assume that good-looking people have other positive qualities aside from their looks.

The same is valid for product design. Good looking products and user interface are perceived as more valuable and having more qualities.

“Beauty is in the eye of the beholder”. Aesthetics are in all our senses, not just the sight. Aesthetic design is a 4D experience. Product designers, who are doing actual physical products are aware of that.

Why aesthetic design matters?

Not long ago user were expecting only functional and usable products when they were buying. Today, users expectations have evolved together with the design field.

People expect usability by default and are seeking products that are more than functional and usable. We want to experience pleasure, to stimulate our senses. We want the products we use to evoke positive emotion in us. Aesthetic design is crucial to satisfy these needs.

We all judge the book by its cover. The better the book cover the more we believe the content is better. This is phenomenon called “Aesthetic-usability”. Beautiful products/objects are perceived as easier to use and more valuable than ugly ones. Even if it is not true!

UNDERSTANDING AESTHETIC

VISION  - The most dominant sense in majority of people is our sight. We can’t stop ourselves to look at what we find beautiful. It is as if the light that reflects from the beautiful design acts as a magnet for our eyes.

Visual aesthetics have these key elements: Color, Shape, Pattern, Line, Texture, Visual weight, Balance, Scale, Proximity and Movement. Using these element well will help us achieve good visual aesthetics.

HEARING  - Our ears are capable of perceiving a whole another level of aesthetic design. The ability to hear how your car engine works, how the digital product notifies you of new messages and etc. This is the power of sound aesthetics.

Sound aesthetics have these key elements: Loudness, Pitch, Beat, Repetition, Melody, Pattern and Noise. Using them well will create enjoyable “music” for our users.

TOUCH  - Skin is the largest organ in human body. It also helps us experience the aesthetics. Material aesthetics are especially important for physical products.

Just remember, the last time you were buying cloths and feeling their texture or when you were checking out the latest mobile phone and feeling the frame material. Sometimes people make there buying decisions only based on the material aesthetics. Powerful stuff are these material aesthetics.

Material aesthetics key elements are: Texture, Shape, Weight, Comfort, Temperature, Vibration and Sharpness. By mastering them we can make our customers adore our products.

TASTE AND SMELL

Taste and Smell are sense that help us experience aesthetics even more deeply. Especially in food industry and different environment designs, these senses play an important role in experiencing aesthetics.

Key elements  : Strength, Sweetness, Sourness and Texture (for taste). Use these elements when possible to enhance the full picture, so our users can feel the aesthetics even deeper.

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WHAT IS DESIGN ( UNIT-1)

Design is a way of life

Design is a way of seeing; a way of interacting with the world. It is a way of life.  It is the conceptualization and creation of new things: ideas, interactions, information, objects, typefaces, books, posters, products, places, signs, systems, services, furniture, websites, and more. 

Designers imagine and make. They also research and think. Skilled in one or more specialties of the discipline, designers use their abilities in collaboration with others. Designers want to make ideas real and to make a difference.  Design is applied in the development of goods, services, processes messages and environments.

Design is everywhere -  Design is everywhere. It's what drew you to the last piece of furniture you bought and it's what made online banking possible.Designer Richard Seymour says design is 'making things better for people'. It emphasizes that design activity is focused first and foremost on human behavior and quality of life, not factors.

Design informally refers to a plan or convention for the construction of an object or a system (as in architectural blue prints, engineering drawing, business process, circuit diagrams and sewing patterns) while “to design”  refers to making this plan.

No generally-accepted definition of “design” exists and the term has different connotations in different fields . However, one can also design by directly constructing an object

Designing often necessitates considering the aesthetic, functional, economic and sociopolitical dimensions of both the design object and design process. It may involve considerable research, thought, modeling, interactive adjustment, and re-design

Good newspaper design is more important today than ever. With shrinking newspaper page size and disappearing advertising revenues, the pressure is on for newspaper designers to become even more sophisticated in their use of the grid, typography, alternate story forms and layouts.

Good newspaper design doesn’t cost money. It can actually save money by making your presentation of news more efficient as well as attractive. So now days designers working to improve design as well as strategies and work flow.


WHAT IS GRAPHIC DESIGN
Graphic design is a creative process – most often involving a client and a designer and usually completed in conjunction with producers of form (i.e., printers, programmers, sign makers, etc.) – undertaken in order to convey a specific message to a targeted audience. The term "graphic design" can also refer to a number of artistic and professional disciplines that focus on visual communication and presentation. The field as a whole is also often referred to as Visual Communication or Communication Design. Various methods are used to create and combine words, symbols, and images to create a visual representation of ideas and messages. A graphic designer may use typography, visual arts and page layout techniques to produce the final result. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated.

The name "Graphic Design" first appeared in print in the 1922 essay "New Kind of Printing Calls for New Design" by William Addison Dwiggins, an American book designer in the early 20th century. Raffe's Graphic Design, published in 1927, is considered to be the first book to use "Graphic Design" in its title.

USE OF GRAPHIC DESIGN
Common uses of graphic design include identity ( logos and branding), websites, publications (magazines, newspapers, and books), advertisements and product packaging. For example, a product package might include a logo or other art work, organized text and pure design elements such as shapes and color which unify the piece. Composition is one of the most important features of graphic design, especially when using pre-existing materials or diverse elements.

Why design is important in news paper?

To make news paper attractive.
To show importance of news
To make news paper live
For good arrangement of news or matter
To make news paper competitive.

Some definitions

The skill of page make up lies in putting the greatest amount of information into the page of produce variety without confusion.
-          David Wainwright.
Makup is largely a matter of placement of headlines and art.
-          Bruce Weasteley
News paper makup consists of dividing and using space, the space of news paper page to accommodate type, illustrations and more often than not advertisement.
-          Born Hott


Elements of Design and principles

Design elements and principles describe fundamental ideas about the practice of good visual design that are assumed to be the basis of all intentional visual design strategies. The elements form the 'vocabulary' of the design, while the principles constitute the broader structural aspects of its composition. Awareness of the elements and principles in design is the first step in creating successful visual compositions. These principles, which may overlap, are used in all visual design fields, including graphic design, industrial design, architecture and fine art.

Design is the organized arrangement of one or more elements and principles (e.g. line color or texture) for a purpose. The principles of design are as varied as attitudes regarding modern design. They differ both between the schools of thought that influence design, and between individual practicing designers.


ELEMENTS OF DESIGN
Design elements are the basic units of a visual image. These elements include:
The 3 F's Form, follows and function is known as the 3 f's of Design. Form refers to what something looks like, and function refers to how it works.

1. Space - Space is the area provided for a particular purpose. It may have two dimensions (length and width), such as a floor, or it may have three dimensions (length, width, and height). Space includes the background, foreground and middle ground. Space refers to the distances or areas around, between or within components of a piece. There are two types of space: positive and negative space. Positive space refers to the space of a shape representing the subject matter. Negative space refers to the space around and between the subject matter.

2. Line - Line is the basic element that refers to the continuous movement of a point along a surface, such as by a pencil or brush. The edges of shapes and forms also create lines. It is the basic component of a shape drawn on paper. Lines and curves are the basic building blocks of two dimensional shapes like a house's plan. Every line has length, thickness, and direction. There are curved, horizontal, vertical, diagonal, zigzag, wavy, parallel, dash, and dotted lines.

3. Color - Color is seen either by the way light reflects off a surface, or in colored light sources. Color and particularly contrasting color is also used to draw the attention to a particular part of the image. There are primary colors, secondary colors, and tertiary colors. Complementary colors are colors that are opposite to each other on the color wheel. Complementary colors are used to create contrast. Analogous colors are colors that are found side by side on the color wheel. These can be used to create color harmony. Monochromatic colors are tints and shades of one color. Warm colors are a group of colors that consist of reds, yellows, and oranges. Cool colors are group of colors that consist of purples, greens, and blues.

4. Shape - A shape is defined as an area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. Shapes can also show perspective by overlapping. They can be geometric or organic. Shapes in house decor and interior design can be used to add interest, style, theme to a design like a door. Shape in interior design depends on the function of the object like a kitchen cabinet door. Natural shapes forming patterns on wood or stone may help increase visual appeal in interior design. In a landscape, natural shapes, such as trees contrast with geometric such as houses.

5. Texture - Texture is perceived surface quality. In art, there are two types of texture: tactile and implied. Tactile texture (real texture) is the way the surface of an object actually feels. Examples of this include sandpaper, cotton balls, tree bark, puppy fur, etc. Implied texture is the way the surface of an object looks like it feels. The texture may look rough, fizzy, gritty, but cannot actually be felt. This type of texture is used by artists when drawing or painting.

6. Form - Form is any three dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark. There are two types of form, geometric (man-made) and natural (organic form). Form may be created by the combining of two or more shapes. It may be enhanced by tone, texture and color. It can be illustrated or constructed.

7. Value - Value is an element of art that refers to the relationship between light and dark on a surface or object and also helps with Form. It gives objects depth and perception. Value is also referred to as tone.


Principles of Design
The principles of design help to determine how to use the design elements. There are four principles of design: balance, emphasis, rhythm, and unity. These principles of design help you to combine the various design elements into a good layout.

1. Balance
Balance is an equal distribution of weight. In terms of graphics, this applies to visual weight. Each element on a layout has visual weight that is determined by its size, darkness or lightness, and thickness of lines. There are two basic approaches to balance. The first is symmetrical balance which is an arrangement of elements so that they are evenly distributed to the left and to the right of center. The second is asymmetrical balance which is an arrangement of unlike objects of equal weight on each side of the page. Color, value, size, shape, and texture can be used as balancing elements.
Symmetrical balance can communicate strength and stability and is appropriate for traditional and conservative publications, presentations, and web sites. Asymmetrical balance can imply contrast, variety, movement, surprise, and informality. It is appropriate for modern and entertaining publications, presentations, and web sites.

To create balance:
Repeat a specific shape at regular intervals, either horizontally or vertically.
Center elements on a page.
Put several small visuals in one area to balance a single large image or block of text.
Use one or two odd shapes and make the rest regular shapes.
Lighten a text-heavy piece with a bright, colorful visual.
Leave plenty of white space around large blocks of text or dark photographs.
Offset a large, dark photograph or illustration with several small pieces of text, each surrounded by a lot of white space.

2. Rhythm
Rhythm is a pattern created by repeating elements that are varied. Repetition (repeating similar elements in a consistent manner) and variation (a change in the form, size, or position of the elements) are the keys to visual rhythm. Placing elements in a layout at regular intervals creates a smooth, even rhythm and a calm, relaxing mood. Sudden changes in the size and spacing of elements creates a fast, lively rhythm and an exciting mood.

To create rhythm:
Repeat a series of similarly shaped elements, with even white spaces between each, to create a regular rhythm.
Repeat a series of progressively larger elements with larger white spaces between each for a progressive rhythm.
Alternate dark, bold type and light, thin type.
Alternate dark pages (with lots of type or dark graphics) with light pages (with less type and light-colored graphics).
Repeat a similar shape in various areas of a layout.
Repeat the same element in the same position on every page of a printed publication such as a newsletter.

3. Emphasis/FOCUS POINT
Emphasis is what stands out or gets noticed first. Every layout needs a focal point to draw the readers eye to the important part of the layout. Too many focal points defeat the purpose. Generally, a focal point is created when one element is different from the rest.

To create emphasis:
Use a series of evenly spaced, square photographs next to an outlined photograph with an unusual shape.
Put an important piece of text on a curve or an angle while keeping all of the other type in straight columns.
Use bold, black type for headings and subheads and much lighter text for all other text. Place a large picture next to a small bit of text.
Reverse (use white type) a headline out of a black or colored box.
Use colored type or an unusual font for the most important information.
Put lists you want to highlight in a sidebar in a shaded box.

4. Unity
Unity helps all the elements look like they belong together. Readers need visual cues to let them know the piece is one unit-the text, headline, photographs, graphic images, and captions all go together.
Unify elements by grouping elements that are close together so that they look like they belong together. Repeat color, shape, and texture. Use a grid (the underlying structure of a page) to establish a framework for margins, columns, spacing, and proportions.

To create unity:
Use only one or two typestyles and vary size or weight for contrast throughout the publication, presentation, or web site.
Be consistent with the type font, sizes, and styles for headings, subheads, captions, headers, footers, etc. throughout the publication, presentation, or web site.
Use the same color palette throughout.
Repeat a color, shape, or texture in different areas throughout. Choose visuals that share a similar color, theme, or shape. Line up photographs and text with the same grid lines.