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images that are faint, with the silk-screen process (where it could have waves in it from the ink anyway), subtle images won t show up nearly as well as a large image with a lot of contrast Also, the plants generally say that their screen tonal range is 15 to 85% When you think of offset where the tonal range is 3 to 97%, that is a big constriction I don t know how many jobs I ve seen with pictures of clouds, where they ve got a range from 15 to 40% It looks OK in the proof When it goes to print, the contrast isn t enough, so it is hard to see the shape of the clouds Sometimes you don t even see the clouds unless you are holding the disc at the right angle High-contrast and solid colors work well Tonal shifts get lost in the lighter ranges Gradients are good to stay away from too With gradients, you ll get banding The same kind of thing, the tonal range is so short it can give you what appears to be a ring for a band The way the printing picks up the ink and picks up the dot, it puts almost a line Sometimes the customer will supply something that seems like it is going to be OK But, then when it gets to the plant and it prints a little light, all of a sudden it isn t OK You thought that 40% to 25% would be enough contrast to show something It ends up not being enough What percentage of discs do you seem to run into artwork problems with Well, with many of them there are no problems Because the customers are just doing type on a disc Then, once they get into doing a halftone on a disc or a gradient, it gets more complicated I m looking at two gradients here that just look beautiful, that worked out very well You know, you really can t tell when you are doing it what it is going to look like Some look very nice, but I ve seen some that print terribly If you have a halftone on a disc, this is one of those things, we run through and do a series of checks We check a whole bunch of different things, every element that is in the artwork for a whole range of potential problems A lot of disc art goes through with no changes There are other designs where we change everything That is one of the reasons that we always send out a proof we don t make design changes and then go to print We change the artwork and show you what we have done, or at least talk.

Ill 17-2

The quick way of applying any of the fill types in CorelDRAW X4 is by using the Interactive Fill Tool, shown here You ll find it at the bottom of the Toolbox; to quickly select it, press G You ll see a hint here that the Interactive Fill Tool is also a selection tool the cursor is an

to you A lot of times with the CD-ROM customers, they are in such a hurry they don t get a proof, but we do discuss it with them I would guess that there are some changes needed on 75% of the jobs Most of the stuff you can x just by tweaking the artwork a little bit Yes, I would have to say that there have maybe been two discs in the last 2 years where we asked a customer to do a redesign The overwhelming majority of what we do, we come up with a solution that is close enough that we are willing to present it to the customer

CHAPTER 17:

Set a schedule for people s initial commitment to the process for example,

arrow cursor with a paint bucket You don t have to have the object selected that you want to fill when choosing this tool You can click an unselected shape with the Interactive Fill Tool; it becomes selected, and then a second click-drag on the object modifies the fill type you ve chosen on the Property Bar The default fill mode is Fountain Fill

Ill 17-3