vdis10021 working in digital design - lecture 5 - preparing complex digital print

Lecturer: Rachel Hawkins

VIRTU DESIGN INSTITUTE

WORKING IN DIGITAL DESIGN VDIS10021

PREPARING FOR COMPLEX DIGITAL PRINT

VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 2

CONTENTS: What is digital printing?

The difference between Ink & Toner

What is offset printing?

Develop a relationship with your printer!

File formats for print

File set up

Finishing: Folding/cutting/knife-lines/substrates/papers/fabric/lightbox

Converting RGB to CMYK

Pre-press & Preflight

Soft Proofing & Proofing


What is Digital Print?

Digital printing refers to methods of printing from a digital-based image directly to a variety of media. It usually refers to professional printing where small-run jobs from desktop publishing and other digital sources are printed using large-format and/or high-volume laser or inkjet printers. Digital printing has a higher cost per page than more traditional offset printing methods, but this price is usually offset by avoiding the cost of all the technical steps required to make printing plates. It also allows for on-demand printing, short turnaround time, and even a modification of the image (variable data) used for each impression. The savings in labor and the ever-increasing capability of

digital presses means that digital printing is reaching the point where it can match or supersede offset printing technology’s ability to produce larger print runs of several thousand sheets at a low price.

The greatest difference between digital printing and traditional methods such as lithography, flexography, gravure, or letterpress is that there is no need to replace printing plates in digital printing, whereas in analog printing the plates are repeatedly replaced. This results in quicker turnaround time and lower cost when using digital printing, but typically a loss of some fine-image detail by most commercial digital printing processes. The most popular methods include

inkjet or laser printers that deposit pigment or toner onto a wide variety of substrates including paper, photo paper, canvas, glass, metal, marble, and other substances.

In many of the processes, the ink or toner does not permeate the substrate, as does conventional ink, but forms a thin layer on the surface that may be additionally adhered to the substrate by using a fuser fluid with heat process (toner) or UV curing process (ink).

Sourced from: Wikipedia, Aug 14.http://en.wikipedia.org/wiki/Digital_printing


The difference between

Ink & Toner:

Ink Cartridges:Ink Cartridges are used in inkjet printers. The cartridge contains liquid ink, usually absorbed in a sponge. When creating a document, the print head simply deposits ink wherever it needs to go on the page. Color cartridges have three colors in addition to black and if any of the colors run out the others are essentially useless. Most printers can create black from combining the other three colors, however.

Many inkjet cartridges do contain some basic electronics, such as a chip that communicates with the printer. It is also possible to refill ink cartridges using a kit bought from printer supply stores. Though the process can be tricky and doesn’t always produce a working cartridge, it can also be significantly cheaper than buying a completely new one.

Toner Cartridges:Toner cartridges are used in laser printers. Instead of liquid ink, they are filled with a fine powder that can be magnetically charged. When printing documents, an electrically charged drum picks up the tiny particles and rolls them

onto the page according to the pattern you printed. A laser then fuses these particles to the page with heat.

Some toner cartridges actually include the drum as part of the cartridge, meaning that the entire until has to be replaced. Naturally, cartridges for these designs are much more costly. However, most are simply containers for the toner powder. While it is usually more difficult to refill toner cartridges than inkjets cartridges, it can still be done with the right kit. Most users have them refilled professionally or buy a replacement.

So what is the difference?The biggest difference between ink and toner cartridges is in how long they last. The typical life of an inkjet cartridge might be 500 pages, depending on heavily you printed your pages. Ink cartridges can also stop working early if the heads dry out or become clogged. For that reason, it is critical to use the printer at least once every week.

Toner cartridges, on the other hand, typically last for at least 2,000

pages and cartridges for large laser printers last even longer. You can expect to pay for this long shelf life, however. That points to the second major difference between the two types – cost. Some toner cartridges for rare or older laserjet printers can be so expensive that it is nearly cheaper to replace the printer outright than replace the toner.

In summary, therefore, the difference between ink and toner cartridges is a matter of how you use your printer. For high volume printing, laser printers and toner cartridges provide lower costs per page and are typically more reliable under heavy usage. For home printing where low initial cost is more important than the ongoing cost per page, ink cartridges are usually the best option. No matter what your printer, however, you can always save money when you buy discount eco friendly printer ink online for 50 to 70% less at Inkpal.

Sourced from: Inkpal, Aug 14. http://www.inkpal.com/ink-news/what-are-the-main-differences-between-ink-cartridges-and-toner-cartridges/


What is OffsetPrint?Offset printing or web offset printing is a commonly used printing technique in which the inked image is transferred (or “offset”) from a plate to a rubber blanket, then to the printing surface. When used in combination with the lithographic process, which is based on the repulsion of oil and water, the offset technique employs a flat (planographic) image carrier on which the image to be printed obtains ink from ink rollers, while the non-printing area attracts a water-based film (called “fountain solution”), keeping the non-printing areas ink-free. The modern “web” process feeds a large reel of paper through a large press machine in several parts, typically for several metres, which then prints continuously as the paper is fed through.

History:Lithography was initially created to be an inexpensive method of reproducing artwork. This printing process was limited to use on flat, porous surfaces because the printing plates were produced from limestone. In fact, the word ‘lithograph’ historically means “An image from stone.” or “Print from stone.”

The first rotary offset lithographic printing press was created in England and patented in 1875 by Robert Barclay. This development combined mid-19th century transfer printing technologies and Richard March Hoe’s 1843 rotary printing press—a press that used a metal cylinder instead of a flat stone. The offset cylinder was covered with specially treated cardboard that transferred the printed image from the stone to the surface of the metal. Later, the cardboard covering of the offset cylinder was changed to rubber, which is still the most commonly used material.Offset printing today:Offset lithography is one of the most common ways of creating printed matter. A few of its common applications include: newspapers, magazines, brochures, stationery, and books. Compared to other printing methods, offset printing is best suited for economically producing large volumes of high quality prints

in a manner that requires little maintenance. Many modern offset presses use computer to plate systems as opposed to the older computer to film work flows, which further increases their quality.

Advantages of offset printing compared to other printing methods include:• Consistent high image quality. Offset

printing produces sharp and clean images and type more easily than, for example, letterpress printing; this is because the rubber blanket conforms to the texture of the printing surface.

• Quick and easy production of printing plates.

• Longer printing plate life than on direct litho presses because there is no direct contact between the plate and the printing surface. Properly developed plates used with optimized inks and fountain solution may achieve run lengths of more than a million impressions.

• Cost. Offset printing is the cheapest method for producing high quality prints in commercial printing quantities.

A further advantage of offset printing is the possibility of adjusting the amount of ink on the fountain roller with screw keys. Most commonly, a metal blade controls the amount of ink transferred from the ink trough to the

fountain roller. By adjusting the screws, the gap between the blade and the fountain roller is altered, leading to the amount of ink applied to the roller to be increased or decreased in certain areas. Consequently the density of the colour in the respective area of the image is modified. On older machines the screws are adjusted manually, but on modern machines the screw keys are operated electronically by the printer controlling the machine, enabling a much more precise result.

Disadvantages of offset printing compared to other printing methods include:• Slightly inferior image quality

compared to rotogravure or photogravure printing.

• Propensity for anodized aluminum printing plates to become sensitive (due to chemical oxidation) and print in non-image/background areas when developed plates are not cared for properly.

• Time and cost associated with producing plates and printing press setup. As a result, very small quantity printing jobs may now use digital offset machines.

Sourced from: Wikipedia, Aug 14.http://en.wikipedia.org/wiki/Offset_printing


Develop a relationship with your printer!Any successful business person with tell you that networking and good business relationships are the key to success.

In the case of the Graphic Designer, a good relationship with your print providers will give you a competitive edge as well as making your life a lot more pleasant.

If you choose a good quality printer (not the cheapest or online only) the print specialists will be friendly and happy to engage with you and your projects. Print specialists are experts in their field and have a wealth of knowledge that they will be happy to share with you. They are also interested to push the boundaries and experiment with stock and finishes so don’t be shy.

Use your printer as a resource for information. Ask them your questions and for advice. They will be more than happy to help you out.

As a student, you have an excuse to not

know much and they will be sympathetic. Now is the time to learn.

From personal experience I can tell you that if you have a good relationship with your printers they will call you if they see something wrong with your job, they will call you with more economical options and they will pay more attention to your job. They are also more likely to do you a favor on a tight timeline or when something does go wrong.

Printers want your experiences with them to be successful, however every relationship is double sided. You can help guarantee a positive relationship by working with them in deliberate ways. Here are 8 tips:

1. Make it personal. Find yourself a print provider you can relate to. Since your goal is to develop a long-term business relationship, ask yourself, “Do I like talking to this person?” Respect and trust are mandatory. And the less you know about printing, the more you need to depend on your printer to educate you. Find out early on if your printer can offer customized solutions to your needs. A good print salesperson is flexible and accommodating. Pick a printer who’ll go the extra mile.

2. Keep your printer in the loop. The earlier the better. The single biggest mistake that consumers make with their print jobs is failure to involve the printer soon enough. Every print job is unique. The success of your print jobs depends

in large part on your communicating early and often with your printer. Think of your printer as a creative partner, not just a supplier. Communicate timelines clearly and let them know when the file is coming.

3. Play fair. Since every job is a custom job, respect that it can take time to print something well. Don’t cry wolf and impose artificial deadlines when in reality you could wait another day or two. If you want to develop a good relationship with your printers, be honest and straightforward with them.

4. Be specific. Every detail about a print job affects its price: the format, number of pages, quantity, inks, paper, folds, and so on. As a client, it’s your responsibility to compile these details, called specs, for the printer. Get the printer to help, then use these specs to request an estimate before you send a job to print.

5. Get desktop publishing advice. How you prepare your files is very, very important to a printer. The platform of choice among printers is still the Mac computer. They expect you to use the appropriate software. Digital file preparation is complex, and no two designers “build” a job alike. Some printers have their own digital prepress specialists to clean up your files. This stage, called preflighting, costs you time and money.

6. Parlez-vous “printing?” If not, ask lots of questions. Don’t be intimidated

by “printer-speak.” Printing is highly technical. Unless you’re used to dealing with printers, chances are you’ll find it all a bit intimidating. If you don’t understand something, ask for clarification in English. Printers are used to educating their consumers.

7. Be clear about responsibilities. Clarify what your role is vs. the printer’s. I have had a case where the printer did me a favor and corrected a typo for me. The proof was sent to me for approval and I signed it off. I rushed the proof reading process due to time constraints. My team and I failed to notice the typo that the printer had typeset, and we gave the “OK to print.” When the job was delivered, we noticed the typo. But we were responsible -- not the printer. My signature on the proof gave the printer a green light to proceed. So, be clear about who is responsible for what. Proofreading ranks way up there among a designers responsibilities.

8. Proof & Proof Again. When you are proofing you need to look for typos, alignment, and for anything that is missing or shouldn’t be there. You are also looking a image quality and colour correctness. If you are concerned about the colour reproduction of the job you should ask your printer for a printed colour proof or to be present for a press-check. You can do this for both digital and offset printing processes. It is a good idea to use a proofing checklist.


File formats for print

The best format to send a finished print ready piece of art is a flattened PDF..PDF (Preferred for most files)PDF (short for Portable Document Format) is a file format developed by Adobe as a means of distributing compact, platform-independent documents. PDF captures formatting information from a variety of desktop publishing applications, making it possible to send formatted documents and have them appear on the recipient’s monitor or printer as they were intended.

If you are sending a logo or special text treatment, an EPS file is Ideal. .EPS (Preferred for large signs and banners)EPS (short for Encapsulated PostScript) is a vector format designed for printing to PostScript printers and image setters. It is considered the best choice of graphics format for high resolution printing of illustrations. EPS files are created and edited in illustration programs such as Adobe Illustrator.

Vector graphics are a scalable, resolution-independent format composed of individual objects or shapes. Vector images can be resized easily without loss of quality making them an ideal format for initial logo designs and illustrations to be used in multiple sizes.

If you are sending artwork that you need to have manipulated by a pre-press specialist before it is printed, send the raw file..PSD, .AI, .INDD (best for files that need editing by the pre-press specialist)If you are providing artwork for a complex job that involves a knifeline, you may be required to provide the raw file. This could be the case for product packaging. In this instance you would provide a layered Illustrator files with all fonts outlined and images embedded. In rare cases, a layered PSD may be appropriate. The only drawback to a PSD is the file size. Most likely the file will need to be written to a disk and mailed or uploaded to an FTP site. Therefore if time is a factor you may need to go with another format so that it can be e-mailed. If you have an option when saving your files to send to a printer try to avoid the JPG format. If you use the PDF, EPS or PSD formats your Images will print better and you will be happier with the results.


File SetupTo ensure you setup your file appropriately for print you need to know what the end product is going to look like.

You will need to consider the shape and size of the finished print.

You will need to decide the paper stock to determine ink weights.

You will need to specify finishes like spot gloss varnishes through to embossing and foiling options.

InDesign Illustrator

Once you have determined these factors you will be able to determine which software is most applicable to the layout/configuration of the file... either Indesign or Illustrator.

As a guide, if the file is a single or double sided sheet and has several complex finishes, it will be likely that Illustrator is the better software. If the file has multiple pages, like a booklet or magazine, no matter how many finishes, it is better setup in Indesign.

If the print is full bleed (images, types or blocks of colour extend over printed edge) you will need to include bleed in the file setup.


Finishing is a general term printers use for anything that happens to a job after it’s been printed. That means things like cutting, folding, binding, foiling, embossing, varnishes and so on are all finishing processes. Many printers can handle the most simple finishing processes in house. Other more complex finishes might need to be outsourced to specialist print finishing companies. There are endless types of varnishes and effects that can be achieved like Machine Sealing, Varnishing (Gloss or Matt), UV Varnish, Spot UV, Textured Varnishes, Sparkly varnishes with metallic flakes, Tinted varnishes as well as latex for scratch panels.

All these above mentioned finishes are required to be included in specific ways in your print file so they are clear to the printer. This is generally done by putting the effect on a different page or layer with nothing else with it. Speak to your printer about how to include the finishing effect in your file. They can give you detailed instructions.

There are also endless opportunities with paper stocks and printing substrates like lightbox, canvas, textiles (Georgette, vinyl, etc) and self adhesive vinyls (stickers for cars and windows. Each of these requires specialised printing knowledge and attention to ink weights to avoid over saturation.

Die-lines/Knife-lines - varnishes - other embellishments: These are the fun part, but they still need artwork to be produced. They are often not set up correctly, often the knife line does not overprint (ie. Leaves white line underneath); perforations are marked as dotted lines on the art, when there should really only be indicators instead of an actual printed line.

Some of these can get a bit tricky, so the best thing is to talk to your printer /pre-press specialist and ask them how these finishes should be indicated on the artwork. The worst thing to do is to send that urgent file away with no instructions or unclear instructions as it will be printed wrong or take longer.

Variable data:Items such as tickets, scratchies & personalised letters may have variable data printed on them. Wedding invites fit into this category also. It can be hard for printers to gather all the required information and documents. Be organised and supply the printers with an excel sheet or the database, packaging InDesign file or illustrator

file and pdf. Give them example pdfs of what the finished product should look like.

Finishing/Folding/Prototyping:Prototypes are good, sometimes absolutely necessary. Once you have tried out, how many ways there are of folding an A4 to a DL you will know why. For multi page publications you should do a digital printed prototype. For other jobs, especially those out of the ordinary, you really need to have a folded prototype to understand, how you expect things to look in the end. Otherwise, someone will be guessing. And if it’s that night shift operator, who wants to get the job done, chances are that his idea of which one should be the back panel in a brochure might not be the same as yours. It’s all important to note that not each panel will be equal in size, they may vary by 1-2mm to allow the folded document to lay flat.

Finishing: Folding, cutting, knifelines, substrates, papers, fabric & lightbox


PhotoshopThere are two ways to convert RGB to CMYK and vice versa in Photoshop.

1.Open the image file in Photoshop, then go to Edit > Convert to Profile. Once there, select your target profile (a copy of which should be in the [Your Computer] > Library > ColorSync > Profiles folder, or else it will not appear in the pulldown menu).

Then select a rendering intent appropriate for your image (to simplify, Perceptual if the relevant image colors are out of the target’s gamut, otherwise Relative Colorimetric). If you select Relative Colorimetric, it’s also a good idea to check “Use Black Point Compensation”.

2. Go to Image > Mode > CMYK to convert your image.

The disadvantage of converting this way is that it does not offer the degree of control that you have with Convert to Profile, and limits you instead to the target space and conversion controls set in the application’s Color Settings, which may not be appropriate for your purposes.

IllustratorOpen the file in Illustrator, then go to Edit > Assign Profile.

IndesignOpen the image file in Photoshop, then go to Edit > Convert to Profile.

Converting

RGB to CMYKIt’s best if you do colour management of images in Photoshop. All other files should be colour managed in the software of origin. For example; A. Logos developed in Illustrator

should be colour managed in Illustrator.

B. A multipage book layout document should be colour managed in Indesign while its links are colour managed in the software of origin (Photoshop & Illustrator).

Be aware that it is possible to see colors in RGB that you can’t make with CMYK due to RGB’s larger colour gamut. For this reason your images may appear dull after conversion. Once you have converted the image to CMYK, you will need to go back and adjust the colour to the desired appearance.


Colour:CMYK vs Pantone Spot Colours (PMS) Most printing is basic CMYK however in some instances you may choose to print with a spot Pantone colour to ensure colour consistency across several items of collateral. Spot colours are premixed flat colours and ensure colour accuracy. CMYK may have slight variations from print run to print run depending on the machine and it’s maintenance. Photos and images are always printed in CMYK as they have gradients and variations in the colour.

InDesign

Illustrator

Spot colours have a different icon to RGB and CMYK colours as an indicator in the swatches tab. If you double click on the swatch you can edit it as above.

Spot colours appear differently to RGB and CMYK colours as an indicator in the swatches tab. If you double click on the swatch you can edit it.


When you design artwork for print, standard practice is to send a PDF to your printer once it has been approved by your client. There are several steps that lead to this point and things you need to do to ensure that the end result is exactly what you and your client are after. Sending files to your printer has lost a lot of its complexity, the universal adoption of PDF, improved software applications and automated checks have made life in pre-press a whole lot easier. There are still some errors, though, that persist even in PDFs, and that could ruin your print job.

SOME QUESTIONS TO ASK ARE: Are you confident the size is correct? Have the colours been set to print standards or client brand guidelines? What about font usage? Does the printer have the font? Will the printer know what to do with my file?

So many things can go wrong, costing you and

your client money. Below are 12 Pre-press Tips that cover the major aspects for correction in your artwork. Follow the steps below to make sure your file will be in excellent shape for sending to print.

1. File names, filing of the job and version tracking.Every designer needs a clear tracking system for their files ensuring information about the client, job and document version number are precise. You should be systematic with how you file work for clients and always keep back up of that work. It is a good idea to include a job description, document dimensions, date and version number in the file name for easy identification. For example; JAdams_BusCard_90x55mm_Feb14_v3.indd

2. You are responsible for the designBefore you start designing, make sure you have a clear purposeful design brief. What is the main purpose of the design? How will the finished product be used. What are the clients

motivations? Who will source the printer and send the job to print? Understanding all these points will assist you in setting up the design file properly from the beginning.

3. Proofread & have artwork approved as finalThe odd thing is that clients can be calm about minor errors in the design, like lines not being of same thickness or such. But errors in text are fatal. Use a good proofreader, it could be a family member, partner or colleague but you need someone with fresh eyes and good grammar. Once proofread and the artwork is signed off, get approval in writing from the client. An email is great confirmation. Unfortunately, even if artwork is signed off and there is an error, changes and re-print will be made generally as a shared cost. You must make sure your client is happy in the end for future and referred business. Get in writing (preferably email) final client approval of the artwork before the job is sent to the printer. Verbal

communication cannot be relied upon if something goes wrong.

4. Make sure the artwork is the correct size.Does the design brief specify the size? Have you checked Document Setup again? Or the outmost frame in Illustrator? Double check the orientation! Is it 210×297mm (DL) as Width by Height? Is it portrait or landscape? Did the client say an A4 because it looks like an A4 or is it 220×286? For ads, contact the publication by phone, email or web. Check with the printers which is the most economical size and how many fit to a print sheet. Always double check if you aren’t sure.

5. Define bleed and trim marks in the fileBleed is the distance the artwork needs to extend beyond the final size of the artwork and it can vary. 3mm on each side is most common. In some cases it may not be needed at all, nor the trim marks, usually if there is no colour or image over the edge. Clarify with the printer before you

Good Design Practice

12 Pre-press tips


create your PDF, and open the PDF afterward to check inclusion.

6. Typefaces/FontsEnsure the typeface(s) used correlates to the clients corporate identity manual. Are you using the correct typeface for your client? Are there any unnecessary fonts that shouldn’t be included the file? In Illustrator check Document Info or Find Font… and in InDesign Find Font… under Type in the menu. When delivering artwork as a PDF for print there is normally no reason to outline the fonts. For advertising however best practice is to outline the fonts.

7. Logo usageUsing client logos is really important for brand recognition so it is really important the it prints correctly. Make sure the logo file is properly embedded or linked for clarity. Ensure the logo usage correlates to the corporate identity guidelines & style guide. Make sure it is in perfect proportion. Keep the colour of the logo in the right format for the media used. For print, use the logo

in vector format if possible (ai. eps. pdf.). Logos sent to you inside Word documents are no good as they will be low resolution. For print, the format should be CMYK, not Pantone unless the work is going to be printed with spot colours.

8. Colour - this is a big oneKeep the colour of the artwork in accordance with the media used.

There are two types of colour used for print. CMYK and Pantone Colours (PMS). For most digital or offset printing you will use CMYK printing. Therefore all images should be in CMYK. Photos will most often be in CMYK while logos may be printed in PMS. No colour profiles should be attached to the pictures. Your pictures should be jpg, tiff or psd format. Avoid eps. The reason: If you are using transparency in your artwork, like drop shadows or transparent type or colours, your PDF will most likely have torn the photos into strips. This can be avoided by using the pictures as native PSD.

If you are including Pantone

(PMS) colours, make sure only those colours used are in the file. In InDesign and Illustrator, go to the Swatch panel and in the fly-out menu choose: Select all unused and delete those colours. If in doubt, contact your printer. They will help you and will most likely send you the correct settings for programs that fit the jobs going to his printer.

9. Pictures sizes are big enoughPay close attention to the resolution of the pictures used. Most common minimum resolution for print is 300dpi. You should try not to enlarge pictures by more than 20% of the original size. This is just a thumb rule. When you change the size inside your document you will change the output resolution too. A 300dpi picture will be 600ppi if you minimise it by 50%. Way too high a resolution. Enlarging too much might get the resolution down resulting in pixelised/blurry images. You can adjust images sizes in photoshop to be exact. Properly managed image sizes will also keep your file size down.

10. Preflight the artworkPreflighting the artwork before sending to the print shop is a must. If you have done all the things mentioned above, you have manually preflighted a great deal of what is needed. InDesign has a preflight feature. Window > Output > Preflight. There you can see an overview of the document, check fonts, links etc. Also, you can see the red or green dots at the bottom of the window that indicates various errors you may have in your file.

11. Ensure the final PDF is high resolutionDid you send your client a low resolution PDF earlier in the day? Did you remember to switch over to a high resolution output? Are you using the built in PDF settings of InDesign or Illustrator? Ask your printer for PDF job settings. The built in settings are usually not what is used for professional PDF output. Or at least know which of the built in settings you are supposed to use. High Quality Print and Press Quality settings are tempting to use if you want quality (because of

the names), but in most cases you will have to use PDF/X-1a:2001. Consult your printer here.

12. File sizeIt is really important that your final file size is not overwhelming otherwise it will make file handling difficult and time consuming. Files that are too big without reason can slow the printing process with more time needed for the technology to read your file. It will also make transporting your file difficult via email, or ftp sites. Generally speaking around 10MB is an acceptable file size. If the artwork contains several large images and is a large file then it may be bigger. It is just important to not have images that are really large for no reason.


PREFLIGHT CHECK LIST: Check your file for the following

All artwork and images have been extended at least 3 mm bleed beyond the finished page size.

Logos or graphics created in vector programs such as Illustrator, have all type converted to paths or outlines.

The pasteboard surrounding all your design pages is empty. No overflowing text boxes or images.

All images are correctly positioned and linked.

Live type and vital images are at least 5 mm within the trimmed document edge.

All fonts are either included, embedded or outlined.

You have only used fonts that you intend to use for output.

Colours and images are converted from RGB to CMYK or special and Pantone colours are specified as spot colours.

All PMS colour swatches that will be printed in CMYK have been converted to CMYK values.

All issues with duplicate Pantone colour swatches are resolved (eg. PMS 185C, 185U, 185CV) (Coated (C) vs Uncoated (U))

All unused PMS colour swatches should be deleted.

All black text is 100% Black, not CMYK Black (Registration).

Large black solids and backgrounds have been specified as a Rich Black mix.

Varnishing and special treatment areas identified as SPOT colours.

Total ink density is appropriate for the stock type: 300% coated, 280% uncoated, 250% newsprint

The document dimensions are the right size for printing, folding and trimming.

Trim, fold and registration marks are included.

Overprint settings have been checked.

All pages are supplied as single pages – not spreads!

Finished artwork as a press-ready PDF with correct pagination.

All documents have been thoroughly proof-read and double-checked before submission.


Preflight - Check and double check your file InDesign has a preflight capability to check your file for errors. When you send a file to print, the printers will run an advanced preflight to check your file before print. They will either correct your file (and charge you for it) or they will ask you to re-supply the artwork. Doing a preflight yourself can save you the back and forth. You can do this by checking all aspects listed in the checklist at the beginning of this lecture.

InDesign


Missing Fonts - Type > Find Font. Frequently you may receive a file from someone else and not have the font they have used installed on your computer. The software will alert you to this fact and you need to source and install the font to make sure the appearance of the artwork is in tact. The software usually uses a default font in place of the missing font.



Outline Fonts - Type > Create Outlines. Select the type or type box and then go to ‘Type’ in the top menu bar and ‘Create Outlines’. Creating outlines means that the text becomes a shape and holds its integrity should the font be separated from the file.



Resolution- Image size and DPI (dots per inch) Image sizes and DPI (dots per inch) can be edited in Photoshop. DPI is used to describe the resolution, number of dots per inch in a digital print and the printing resolution of a hard copy print. Up to a point, printers with higher DPI produce clearer and more detailed output. As a general guide: 72dpi = screen resolution (low), 300dpi = high resolution print.Photoshop


Links - Making sure image links are intact Most printing is basic CMYK however in some instances you may choose to print with a spot Pantone colour to ensure colour consistency across several items of collateral. Spot colours are premixed flat colours and ensure colour accuracy. CMYK may have slight variations from print run to print run depending on the machine and it’s maintenance. Photos and images are always printed in CMYK as they have gradients and variations in the colour.


Red question mark or yellow exclamation mark indicate that the link is missing or the source file has been edited. It needs to be relinked. The link info gives great information on the file name and where it was originally linked from to help you find it. The link info also tells you what scale the image is eg. 50% or 170% (enlarged). This can help you to manage if the DPI of the image has changed due to enlargement.

Red cross or yellow exclamation mark indicate that the link is missing or the source file has been edited. It needs to be relinked.

In both InDesign and Illustrator their is the option to ‘Embed’ links. This will save you looking for the link if it gets lost. It is also often required when providing illustrator files to print if they have images, most often with product packaging. It will however increase your file size dramatically.


Marks & Bleeds - Exporting your file for print To export your file to print with the correct marks and bleeds is heavily dependent on your file setup being correct. If the file setup is accurate then the software will do all the work for you. In InDesign you go File > Export. The Export window has several basic options for Low Res, High Res and Press settings. Are common advanced setting used for press advertising and printing is PDF/X-1A:2001. You can then manage your crop and trim marks on the ‘Marks and Bleed’ tab.

InDesign


Marks & Bleeds - Exporting your file for print cont. In Illustrator you go to File > Save As. In the ‘Save As’ window there is a drop down menu that allows you to choose the file type, ai. pdf. etc. Illustrator has the same Low Res, High Res and Press settings as well as PDF/X-1A:2001 for selection. You can then manage your image compression, crop and trim marks in the same way as InDesign.

Illustrator


Soft ProofingSoft proofing is the ability to view a simulation of how your image will look when out-put to the printer on your monitor, based on the chosen profile.

Photoshop has a soft proofing workflow built in to the software. Please refer to the Soft Proofing Guide in the Lecture 5 Downloads.

What is soft proofing?Soft proofing is a catch-all phrase for proofing files on your monitor rather than using a good old-fashioned paper proof.

There are broadly two types of soft proofing: Content and layout proofing & Contract proofing.

Content and layout proofing is used for a wide variety of media, whereas contract proofing tends to be for print only.

Content and layout proofing: Content and layout proofing does what it says on the tin.Is the content correct? Are there any typos? How does the layout look? Have the correct images been used? Is everything on-brand? And so on.

Content proofing is (or should be) used by agencies of all types, marketing departments, designers, web site developers, in fact anyone who produces a graphical image or text for approval by someone else.

Tools for this type of soft proofing include:• PDF files sent via e-mail• FTP sites for upload and

download of larger files• Desk based proofing

software• Web based proofing

systems (ProofHQ falls in this category and we think it’s the only way to go, but that’s not the point of this post!)

Content and layout proofing takes place earlier in the design and production cycle. It should be highly collaborative, so that the creator works closely with reviewers to make sure that the brief has been met.

Content and layout proofing often requires a large amount of project management to make sure that reviewers have received their proofs, that they respond on time and that their comments are acted on.Version control also becomes important to ensure that changes are tracked through the various iterations of a piece of work.

Contract proofingThe second type of soft proofing is contract proofing. This uses more complex color-management systems that try and replicate the exactness of hard-copy proofs on the monitor. Contract proofs are called that because from a legal perspective, an approved proof is a binding contract. By signing a contract proof printers and customers are agreeing that they accept the quality of the reproduction on the specified paper using the specified ink. They are saying that a print run will be acceptable if it matches the quality of the contract proof.Common features of both types of soft proofing include: • Viewing a proof for content

and colour. • Letting several people view

the proof simultaneously or consecutively

• Marking up a proof to show changes

• Viewing old versions and new versions together

• Providing electronic sign-off• Archiving the proof for later

viewing.

ProofingA print proof is a hard copy print of your design to demonstrate both the quality of the file and the accuracy of the printing based on following your directions or matching a guide or original.

You may wish to print your own proofs prior to sending the job to the printer. Sometimes it is easier to proof read on a hard copy than on screen.

Proof prints are usually printed “full-frame”, which means that all of your image will show. The “opposite” of full frame is “cropped”, which means that some of the image area will be cut off to match the proportions of the ordered image.

Once approved, printers keep

a copy on file of all proof prints sent to you as a reference.

Once you receive a print proof, you should review it in detail against your proofing checklist. If changes are desired, you can discuss those changes with the printer.

Print proofs may be simple digital prints or done as a Epson or ISO print which ensure closer colour accuracy.

If you make changes and require additional printers proofs you will most likely be charge an additional fee.

For offset printing jobs, you may want to do a press check after approving yor hard copy proofs.

Press-checkFor large offset printing jobs you may want to do a press check. You need to discuss this with your printer as they will need to let you know what time to be at the press. A press check allows you to do a final check on colour before the whole print run is done. The printers are able to make subtle adjustments to colour for you to make the job perfect.


Grab a cup of tea and find somewhere quietYou’ll need a print-out of your final approved PDF for reference as you check your printers proof. It’s easy to check what’s on the proof, but all too often, people don’t spot when an element has dropped off completely. Having both in front of you will help avoid this.

Get a fresh pair of eyesAfter looking at the same job time and again, it’s good to get someone else to check, particularly when it comes to proofing text. When you know what’s coming next, it’s easy to skim over words or fill in the blanks if something’s missing. Reading the text out loud can help. This way, expression and punctuation errors become more obvious. Calling telephone numbers and typing lengthy URLs into your browser are simple ways of checking these details.

Don’t get too hung up on colourAs proofs aren’t printed on the specified stock, please bear in mind that there are bound to be some differences between the proof and the completed job.

For example, using an uncoated paper will make a huge difference to the finished effect. If colour is critical, you can include Pantone colours or request a press-pass.

ColourOffset: The printed proof for your offset job will not be printed on the same stock as your print job, due to setup cost prices. So therefore, please bear in mind that there are bound to be some differences between the proof and the completed job. If colour is critical, you should request a press check or an ISO proof.Digital: The colour in digital proofs is made up from the 4 process colours (CMYK), so if your job is spot colour (specified from a Pantone), you should use your Pantone swatch book as an indication of the final colour. If required, a printed proof on the stock your job is set to be printed on can be provided.

Take plenty of timeChecking is easier when you’ve stepped away from the job for a while. Usually, there’s a day or two between sign-off and receiving the printers proofs. It’s far better to wait a while to check a proof properly.

Graphic Design Print Proof ChecklistPROOF CHECKLIST: Before you sign off your proof, make sure that you and your colleague have ticked all the relevant boxes below. Mark any final edits clearly on the proof.

Spelling and grammar. Watch out for words the spell check won’t catch, such as it’s/its, their/there, your/you’re, were/where, then/than, and to/too.

Consistent and correct spelling of specialised words. Such as product or brand names, and terminology.

Duplication. Check for two identical words or numbers that are next to each other.

Contact details. Check that contact names, telephone, and fax numbers are correct. Also check email and web addresses.

Product codes and reference numbers.

Overall consistency with other materials.

Logo. Check it’s the correct version, alongside consistency of size and positioning.

General layout and colour/imagery. If it’s a product shot, make sure it’s the correct model and most up-to-date shot. Check any final retouching meets with your approval.

Pagination. Is the document’s size, page numbering and ordering correct?

Small print. Have you added this where relevant and checked the content to ensure legal compliance?

Punctuation. Is it correct and consistent throughout?

Has someone else read the proof and completed the checklist?

Have you and a colleague signed the proof?

Have you marked up and final amends on the proof and signed it? If there are extensive changes, you may need to resupply artwork.

Proofed & Approved by: Proofed & Approved by:

vdis10021 working in digital design - lecture 5 - preparing complex digital print

Education

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virtu design

premixed flat

soft proofing

offset printing

printing methods

spot pantone

print run