Sunday, 1 July 2012

Tutorial 3


1. Discuss the difference between bitmap and vector graphics. Describe five different graphic elements you might use in a project, for example, the background, buttons, icons, or text. Would you use a vector tool or a bitmap tool for each element? Why?
The difference between vector and raster graphics is that raster graphics are composed of pixels, while vector graphics are composed of paths. A raster graphic, such as a gif or jpeg, is an array of pixels of various colours, which together form an image. A vector graphic, such as an .esp. file or Adobe Illustrator, File, is composed of paths, or lines, that are either straight or curved. The data file for a vector image contains the points where the paths start and end, how much the paths curve, and the colours that either border or fill the paths. Because vector graphics are not made of pixels, the images can be scaled to be very large without losing quality. Raster graphics, on the other hand, become "blocky," since each pixel increases in size as the image is made larger. This is why logos and other designs are typically created in vector format -- the quality will look the same on a business card as it will on a billboard.

Bitmap versus vector graphics

Digital images can usually be divided into two distinct categories. They are either bitmap files or vector graphics. If you work in prepress, you need a good understanding on the advantages and disadvantages of both types of data. These pages try to explain the differences.
  • As a general rule digital pictures and scanned images are bitmap files. These are sometime also called raster images.
  • Drawings made in applications like Adobe Illustrator or Corel Draw are saved as vector graphics.
Technically both data formats are completely different. The end result however can look virtually identical in either format. As a general rule bitmaps are typically used to depict lifelike images whereas vector graphics are more often used for abstract images such as logos. There are however numerous exceptions to this rule. It is often impossible to determine whether an image is a bitmap or a vector file just by looking at it.
  • Vexel art, for instance, are bitmap images that have been manipulated to look as if they are vector data.  The technique is used to create attention-grabbing realistic images that have an artificial and sharpened look to them.
  • Talented artists like Yukio Miyamoto can draw photorealistic images using vectors.

Photorealistic vector art from Yukio Miyamoto
You can convert a bitmap image into a vector file. A vector image can be transformed into a bitmap. There are even file formats that can combine both types of data into a single file.

Bitmap images

Bitmap images are exactly what their name says they are: a collection of bits that form an image. The image consists of a matrix of individual dots (or pixels) that all have their own colour (described using bits, the smallest possible units of information for a computer).
Let’s take a look at a typical bitmap image to demonstrate the principle:

Example of a bitmap image
To the left you see an image and to the right a 250 percent enlargement of the top of one of the mountains. As you can see the image consists of hundreds of rows and columns of small elements that all have their own color. One such element is called a pixel – short for picture element. The human eye is not capable of seeing each individual pixel so we perceive a picture with smooth gradations.
The number of pixels you need to get a realistic looking image depends on the way the image will be used. One of the next pages goes into more detail on this.

Types of bitmap images

Bitmap images can contain any number of colours but there are four main categories:
  1. Line-art. These are images that only contain two colours, usually black and white. Sometimes these images are referred to as bitmaps because a computer has to use only 1 bit (on=black, off=white) to define each pixel.

Example of a linear image
  1. Greyscale images, which contain various shades of gray as well as pure black and white. Typically 256 shades of gray (8-bit) are used even though the human visual system needs only 100 tints to perceive an image as life-like.

Example of a grayscale image
  1. Multitones: such images contain shades of two or more colours. The most popular multitone images are duotones, which usually consist of black and a second spot colour (often a Pantone colour). The example below contains black and Pantone Warm Red.

Example of a duotone image
  1. Full color images. The color information can be described using a number of color spaces: RGB, CMYK or Lab for instance.

Example of a colour image

Characteristics of bitmap data

Bitmap data can take up a lot of room. A CMYK A4-size picture that is optimized for medium quality printing (150 lpi) takes up 40 MB. Compression can reduce the size of the file.
The image with the enlargement showed one of the main disadvantages of bitmap images: once they are enlarged too much, they look unnatural and blocky. Reducing their sizes also has an impact on image quality as images lose a bit of sharpness.
Bitmaps are fairly simple to output, as long as you’re RIP or printer has sufficient memory.

Applications that can handle bitmap data

There are hundreds of applications on the market that can be used to create or modify bitmap data. In prepress, one application – Adobe Photoshop – completely dominates the market. This doesn’t mean that cheaper alternatives like Corel Photo-Paint should be disregarded.

File formats that are used for bitmap data

Bitmap data can be saved in a wide variety of file formats. Among these are:
  • BMP: an outdated and limited file format that is not suitable for use in prepress.
  • EPS: a flexible file format that can contain both bitmap and vector data. It is gradually being replaced by PDF.
  • GIF: mainly used for internet graphics
  • JPEG: or rather the JFIF file format, which is mainly used for internet graphics
  • PDF: versatile file format that can contain just about any type of data including complete pages, it is not yet widely used to exchange just images
  • PICT: file format that can contain both bitmap and vector data but that is mainly used on Macintosh computers and is not very suitable for prepress.
  • PSD: the native file format of Adobe Photoshop (which can also contain vector data such as clipping paths)
  • TIFF: a popular and versatile bitmap file format

Vector graphics

Vector graphics are images that are completely described using mathematical definitions. The image below shows the principle. To the left you see the image itself and to the right you see the actual lines that make up the drawing.

Example of a vector image
Each individual line is made up of either a vast collection of points with lines interconnecting all of them or just a few control points that are connected using so called Bézier curves. It is this latter method that generates the best results and that is used by most drawing programs.

“To the right is an example of using Bézier curves”
This drawing demonstrates the two principles. To the left a circle is formed by connecting a number of points using straight lines. To the right, you see the same circle that is now drawn using 4 points (nodes) only.

Characteristics of vector drawings

Vector drawings are usually pretty small files because they only contain data about the Bézier curves that form the drawing. The EPS file format that is often used to store vector drawings includes a bitmap preview image along the Bézier data. The file size of this preview image is usually larger than the actual Bézier data themselves.
Vector drawings can usually be scaled without any loss in quality. This makes them ideal for company logos, maps or other objects that have to be resized frequently. Please note that not all vector drawings can be scaled as much as you like:
  • Drawings containing trapping information can only be scaled up to 20 percent larger or smaller.
  • Thin lines may disappear if a vector drawing is reduced too much.
  • Small errors in a drawing may become visible as soon as it is enlarged too much.
It is fairly easy to create a vector based drawing that is very difficult to output. Especially the use of tiles (small objects that are repeated dozens or hundreds of times) and Corel Draw lens effects can lead to very complex files.

Applications that can handle vector data

There are hundreds of applications on the market that can be used to create or modify vector data. In prepress, Adobe Illustrator and Corel Draw are the most popular programs.

File formats that are used for vector data

Bitmap data can be saved in a wide variety of file formats. Oddly enought the most relevant formats for the printing industry are also capable of storing bitmap information:
  • EPS: the most popular file format to exchange vector drawings even though PDF is quickly gaining ground.
  • PDF: versatile file format that can contain just about any type of data including complete pages.
  • PSD: the native file format of Adobe Photoshop.
  • AI: the native file format of Adobe Illustrator.

How to convert bitmap data to vector data and back

It is sometimes necessary to transform images from bitmap data to vector data or back. Some possible uses include:
  • If you scan or photograph a logo, it is a bitmap image. If it is going to be used often in a layout it is more practical to have that logo as a vector drawing. That reduces its file size and you can change the image size without worrying about any loss in quality.
  • Vector drawings often have to be converted to bitmaps if they will be used on a web page.
  • Vector drawings are sometimes too complicated for a RIP to be output on film or plate. Converting them to a bitmap simplifies the file.
Luckily it is fairly easy to convert images from one mode to the other:
  • From bitmap data to vector graphics: the process to convert a bitmap image to vector data is called outlining or vectorizing. Some drawing applications such as Adobe Illustrator and Corel Draw have this option built in. There are also separate programs available to vectorize bitmap images. For simple jobs the easiest solution is to put the bitmap image on the background of the canvas of a drawing application and manually draw over it.
  • From vector graphics to bitmap data:
    • Many drawing applications can store vector data as bitmap files as well (usually this option is hidden in the Export menu option).
    • You can always view a vector file on screen, then take a screen capture and save this screen capture as a bitmap image.
    • Photoshop can open some vector file formats and rasterize the file so that it becomes a bitmap file. A pop-up menu allows you to define the resolution and colour mode of the bitmap data.

Comparison of bitmap and vector graphics
Bitmap graphics
Vector graphics
What are they made up of?
Pixels of different colours
Objects
What can be edited?
Individual pixels
Individual objects
What is the file size?
Large, as the computer stores details of every pixel
Small, as the computer stores details of objects, which do not require much memory
What happens when they are resized?
They lose quality
They do not lose quality
How real do they look?
Real
Not real (many of them look like cartoon images)
Native formats that the software can read
.bmp
.svg
Common file formats
.bmp, .dib, jpeg, gif, tiff, .png
.cgm, .svg, .odg, .eps, .xml

Bitmap or vector graphic?
When deciding whether an image should be a bitmap or vector graphic, you should ask yourself the following questions:
·         Does the image need to be resized?
·         Does the image need to be drawn to scale?
·         Do you need the image to look real?
·         Do you have any restrictions on the file size?
Note that it is possible for an image to use a combination of vector and bitmap elements.
Bitmap formats are used to store bitmap data. Files of this type are particularly well-suited for the storage of real-world images such as photographs and video images.
Vector format files are particularly useful for storing line-based elements, such as lines and polygons, or those that can be decomposed into simple geometric objects, such as text. Vector files contain mathematical descriptions of image elements, rather than pixel values. A rendering application uses these mathematical descriptions of graphical shapes (e.g., lines, curves, and splines) to construct a final image.
In general, vector files are structurally simpler than most bitmap files and are typically organized as data streams.
AutoCAD DXF and Microsoft SYLK are examples of commonly used vector formats.  Describes the construction of vector files in some detail


2. You are a designer given the task of creating a web site for a new division of your company. Start by defining the characteristics of the customers of the company and the kind of image the company wishes to present to its customers. Then specify a colour palette to be used for the design of the site. Defend your colour choices by discussing the associations people have with the colours and how they relate to your customers and the company’s image.
the company which I should design a website for that is a fast food company .It has a broad range of customer from children teenagers  to adults .In our research we find out some general points which can attract people from any parts of  this spectrum .1thpoint is that the website should be enough energetic  and excitement to draw visitors and increase their passion to discover menu’s items and other information they need to know and make them inpatient to try the dishes .Beside when people feel exiting and impatient their eating speed will goes up and they may to try more dishes .2th point is that we should select the colour which make the customer feel enjoyment and good time .Therefore , our restaurant or our web site will be a place that customer like to hang out with .Besides this colour should distract customer to think about the bad aspects of fast food and make them optimistic to our meals to feel enjoyment when having them .3th point  is organic products which make most of customers concerns about  .we should select the colours which convey this message that the ingredients that make our meals are selected from the best , organic, and healthy ones .4th point  is about how we can show to customers that our company is very environmental friendly and responsible about community society and nature .Moreover ,it can makes more positive atmosphere for our website and restaurant .

1thpoint: Red if you want to attract someone’s attention, you should use this colour. Red is energetic colour. It associates with movement and excitement. People, surrounded by this colour have their heart beating a little faster. It excites people. Red clothes give more attention from other people. This colour symbolizes life. Also red colour is associated with passion, sex, speed and danger.

2th point: Yellow this is a happy colour which associates with laugh, joy and good times. People surrounded by this colour feel optimistic, because brains release more serotonin which makes feel better. It accelerates metabolism and triggers creative thoughts.

3th point: Orange This colour associates with good times, happy and active days, warm and organic products. Also it is associated with ambitions. It is very good colour to use on websites about food, extreme activities and websites for children.

4th point: Green it associates with growing, nature and money. This colour is very calming and provides positive emotions. Also it associates with jealousy, luck, generosity and fertility. Traditionally it symbolizes peace, harmony, support and balanced energy.

Colour
Associations
Warm Colours
fire, warmth, passion, energy, impulsiveness, happiness, coziness, comfort, attention getting, inviting, harmonious
Cool Colours
water, calm, trust, professionalism, sadness, melancholy, professional, harmonious, detached
Red
fire, blood, intense, energy, war, danger, strength, power, determination, action, confidence, courage, vitality, passion, desire, love, increases metabolism, respiration, and blood pressure, high visibility
Yellow
sun, joy, happiness, wisdom, intellectual energy, stimulates mental activity, generates muscle energy, warming, cheerful, pleasant, can become dingy
Blue
sky, sea, slows metabolism, breathing, and heart rate, masculine, trust, loyalty, wisdom, intelligence, expertise, confidence, stability, depth, calming, suppresses appetite
Orange
energy, happiness, healthy food (citrus), joy, sunshine, the tropics, enthusiasm, happiness, fascination, creativity, determination, attraction, success, encouragement, stimulation, strength, increases appetite, fall, harvest
Green
growth, hope, freshness, fertility, financial wealth, healing, stability, endurance, harmony, safety, life, well being, lack of experience
Purple
stability, energy, wealth, extravagance, royalty, power, nobility, luxury, ambition, wisdom, dignity, independence, creativity, mystery, magic, feminine, artificial
White
light, goodness, innocence, purity, virginity, positive connotations, clean, safe
Black
power, elegance, formality, death, evil, mystery, strength, authority, elegant, fear, unknown
Gray
sorrow, detachment, isolation, responsibility, conservative, non-invasive, security, maturity, dependability, willingness to comply
Brown
earth, material things, order, convention, stability, solid, wholesome

Tutorial 2


Discussion Question
1. Discuss the differences among multimedia, interactive multimedia, hypertext, and hypermedia.
Multimedia—the combination of text, graphic, and audio elements into a single collection or presentation—becomes interactive multimedia when you give the user some control over what information is viewed and when it is viewed. Interactive multimedia becomes hypermedia when its designer provides a structure of linked elements through which a user can navigate and interact.
When a hypermedia project includes large amounts of text or symbolic content, this content can be indexed and its elements then linked together to afford rapid electronic retrieval of the associated information. When words are keyed or indexed to other words, you have a hypertext system; the “text” part of this term represents the project’s content and meaning, rather than the graphical presentation of the text. Hypertext is what the World Wide Web is all about.
When text is stored in a computer instead of on printed pages, the
Computer’s powerful processing capabilities can be applied to make the text more accessible and meaningful. The text can then be called hypertext; because the words, sections, and thoughts are linked, the user can navigate through text in a nonlinear way, quickly and intuitively. Using hypertext systems, you can electronically search through all the text of a computer-resident book, locate references to a certain word, and then immediately view the page where the word was found. A word can be made hot, as can a button, thus leading the user from one reference to another. Click on the word “Elwood,” and you may find yourself reading a biography or resume; click on “mortgage” and a calculator pops up. Some authoring systems incorporate a hypertext facility that allows you to identify words in a text field using a bold or cooled style, then link them to other words, pages, or activities, such as playing a sound or video clip related to that hot word.


2. Your boss wants you to create a hypermedia system for Web visitors to find technical support information about your company. What are some of the implications in creating this system? Should you hand-build the links or use an automatic indexing system? Why?
Hypermedia: The art of hypermedia design lies in the visualization of these nodes and their links so that they make sense, not nonsense, and can form the backbone of a knowledge access system.
The simplest way to navigate hypermedia structures are via buttons that let visitors access linked information (text, graphics, and sounds) that is contained at the nodes. When you’ve finished examining the information, you return to your starting location.
Hypermedia can take advantage of powerful capabilities that are becoming clearer as the new multimedia medium matures, giving us a greater choice in exploration, if not in outright plot definition, for example. However hypermedia restricts the speed of website so it takes more time to open the web site.
Lessons Learned from Open Hypermedia Systems Research:
Almost every single OHS (Open Hypermedia System) project has reported on experiences, results and services that they find useful and important enough that they should be part of the WWW for everyone to use (e.g., [9,10,24,25,26]). This section accumulates these community experiences and groups them into five general OHS lessons learned: open set of integrated applications; flexible data model and user interface; multiple document views; advanced authoring support; and, document and structure access control.
Implications of hypermedia application design:
The first attempts at applying a new technology are often modeled on the strategies used in the one that is being replaced. Indeed many hypermedia applications use the computer as an emulation of a piece of paper. It is wrong to begin design of hypermedia applications with the focus on the traditional book, with extras added on. It is worth being open minded and considering using graphics as the base medium and linking in the various other media to provide background information where required. Before the base media is selected there should be analysis of the target audience and the material that has to be presented. Next comes the creation of a storyboard, which is essentially a general outline of the production. Details of linking should be added to see how each step is interrelated On the face of it, it sounds easy except that there are a unique set of authoring problems associated with linking media such as video and sound. These problems include navigation in hypermedia, pacing of the application, linking to and from a moving image or sound, empowering the user and production quality.
Navigation in Hypermedia: Users can get lost in hypermedia applications very easily. Links can lead off at a tangent to other aspects of the application and these to others until the way back is lost or no longer available. It is one of the largest problems to provide users with suitable maps depicting the various ways through the combinations of sound, video and text.
Pacing the application: A movie director controls the pacing of a film by determining the length of each sequence within it and by using transitional effects to join each one together. Transitions can be used to great effect in providing suspense, thoughtful passages and shock horror. In hypermedia the author cannot control the user without loss of interactivity. So if a user is allowed to control his own pacing then the author must decide in advance how long each sequence will be, whether the information can be conveyed in a few seconds or whether several minutes are required. The author must then provide the links to allow the user to branch to another aspect when the author feels it is acceptable. It is not suitable to force a user to watch the entire video from start to finish particularly if it will last for several minutes.
However, where control is granted then care must be taken over the flow of the application. If one branch from a video leads directly to another then some kind of transition effect is going to be needed in order to maintain continuity. A user can (and probably will) branch between scenes in a totally unpredictable order making suitable transitions very difficult to implement.
The element of time is possibly the biggest problem in linking into moving streams of sound or video. In most cases it will be straight forward enough to start at the beginning and proceed in a linear fashion to the end. This is acceptable when the sequences are short or the author intends for the entire sequence to be uninterrupted. But at other times it may be necessary to allow entry or exit at any time. For example a famous speech would be expected to start at the beginning but may need to be skipped through to find a particular passage. If a user is allowed to jump into a video sequence at any point then difficulties occur due to the compression of the data. For example, the 2000th frame on disk may not contain the whole picture merely a reduced version that is meaningless on its own. To enable video entry at any point then absolute (anchor) frames must be placed in the compressed sequence at the appropriate position. The entry point intervals are at the author's discretion and of course incur costs regarding storage media and accessing time. It is recommended that discrete calls to video are kept to a minimum.
Another problem of linking to moving sequence is how to inform the user that a link is available. Overlaying text on the video screen to provide a 'button' can be one effective way and others include using moving icons that can be selected as the sequence is playing. Moving icons must not move too rapidly or they become difficult to select. Icons can be made active at different times during the sequence and provide links to different areas. As a sequence progresses a previous branch may become irrelevant to the current topic and be replaced by one more appropriate. Audio sequences present a different problem since sound is not visual unless it is represented in some manner on screen while it is playing.
Reference: 
Indexing system :In  many  hypermedia  applications  (particularly  those  involving  spatial  or  time structures) we need to provide the reader with a way to understand where he is and help him decide where to go next. The usual solution would include an index (or other access structure) to the elements we intend the user to navigate. However,  this  solution  will  require  the  user  to backtrack from the current node to the index to see where he is or to move to another node, while ensuring  that  its  current  position  is  highlighted  in  the  index.  These navigational operations: moving backward to the index and forward to the target may disorient the user.
A good solution is to maintain an active and perceivable navigational object acting as an index for other navigational objects (either nodes or sub-indexes). This object remains perceivable together with target objects, letting the user either explore those objects or select another related target. In this way we will be able to interact with both the index and the target nodes.
Reference: