Introduction

Although specifically written for the graphic designer and the design student, this book is equally intended for anyone connected with the production of printed matter, whether in editorial, promotion, or even production. It is also intended for those in specific areas of production-typographers, printers, etc.-who would like to learn more about how the other areas operate. So although the reader is addressed throughout as "the designer," it is hoped that non-designers, too, will find this book a helpful tool.

My purpose in writing Production for the Graphic Designer was to enable a person wishing to understand any area of production to locate the desired information, fast, within the covers of a single book. It was also my purpose to present the information in as simple and straightforward a manner as possible. To this end, the concepts have been kept basic enough to serve one purpose: to give the designer the facts he needs to be able to make the most informed decisions all along the way, from rough comp to finished printed piece. The designer should know enough about production to understand: (1) what the possibilities are in terms of typesetting, printing, paper, etc., (2) what factors to consider when choosing between systems, methods, processes, etc., and (3) how to communicate specifications to the people responsible for translating the designer's ideas into a printed piece.

For example, in typesetting, which is the fastest-changing area of production today, a knowledge of the basic systems is vital if the designer is to take full advantage of the vast range of options open to him. With the advent of phototypesetting, many designers, familiar with the older methods of setting type, have become confused by the number of different systems available. Gone are the days when all type was set by Linotype or Intertype and all typographers had the same equipment and used the same terminology.

Paper is another area that can be very confusing. Every paper manufacturer has his own trade names for the different papers, which means that the same grade of paper, manufactured by several different companies, will carry several different names. To clarify the situation, I have given a detailed description of how paper is made: the basic process, what ingredients are added and why, and how it is finished. In this way, the different kinds of paper can be broken down into their broad generic catagories (i.e., coated and uncoated, calendered), enabling the designer to choose paper in terms of characteristics rather than brand names.

In general, I have tried to keep the book simple and free from unnecessary or overly technical information. And I have tried to maintain the concept of the book as a working tool; that is, a book that contains useful information rather than information for information's sake. Because the book was written with the visually oriented graphic designer in mind, I have also included over 400 illustrations that actually show what is described in the text.

Finally, the glossary, which contains over 1,100 entries, brings together definitions and explanations from every area of production to offer an up-to-date, comprehensive, single reference source for students, teachers, and professionals.

I t is my hope that this book will help fill the gap between design and production, expanding the potential of the graphic designer, easing the transition from older methods to newer ones, and helping the designer plan ahead and work with production to get the results he wants in his work.