Here's
some timely advice for graphic communicators preparing files for print from both a
seasoned pro and a student's perspective.
Thanks to
Russell Peters and Erika Holley for their contributions to this month's issue.
Russ
Peters has been the owner of Mobile Print, Inc. for the past 18 years. The
Mount Prospect, Illinois firm is a full service commercial printer.
Use the right tools. Photoshop is a great program, but it's
not designed for creating a booklet using tons of layers.
You should always use a page layout application such as
InDesign, Quark or FrameMaker to build your final files.
Check all
panel margins (a trifold brochure has two different panel sizes that mirror
each other on opposite sides of the sheet).
Don't jam
your type 1/32" from the sheet edge.
Proof
everything, every time. There is simply no excuse for misspelling common
words.
Note: See the
May 2010 issue of
Overnight Lite or TechTopics No. 12 for
indepth information on the fine art of proofreading.
Design
backwards from the finished product. Determine the distribution method and any
special finishing that will be required, including binding, punching, die
cutting and folding.
Then, establish the printing specs
for the paper stock and finally, determine the correct file format.
These steps will help you avoid costly surprises in the
production process.
You may
think your file is "perfect," but if there are transparency problems,
resolution issues or other defects, the file needs to be reworked.
A little more effort on your part now will ensure that your
piece prints the way you want it.
Take the time to learn all about color technology. There's a world of information available about color models, color interactions, color ink versus color toner, color conversions, color management, etc.
Doublecheck everything. Make no assumptions. An extra five minutes now can save hours down the line.
Erika
Holley is working toward a bachelor's degree in graphic design and web design
at the Art Institute of Colorado and works at AlphaGraphics in the Denver
area.
Know all the potential uses for your piece
before creating it. This can have a significant impact on the way you approach
your design. colors, and on other digital presses, such as those used by
Copresco, digital may very well surpass offset.
Your computer screen does not reflect the color that will come out on a printer. Never ever hold a piece of printed paper up to a monitor and try to make color adjustments. I get this one from clients on a daily basis.
Before
designing any file, know how your printer likes to receive it.
For example, if you're going to run a digitally printed
two-sided job with bleeds, don't impose your file. Let your printer impose it.
For a multi-page book, send the file with consecutive pages so that signatures can be created with the binding style in mind.
Do send your file with the bleeds and crops. Seriously...how is it that most students were never taught about bleeds and crops?
Paper has a huge impact on a design. Know your paper and design for a specific paper, rather than choosing paper long after the layout is complete.
Learn basic program techniques, such as creating color tints, how to properly place files into InDesign and how to manage fonts and layers, etc.
Now that you've taken all the advice from Russ and Erika and have your file ready to print, you need a digital printer who will turn your job into a pièce de résistance. You need Copresco.
Are you
planning a trip to Chicago for the October 3 - 6 Graph Expo show at McCormick
Place?
Steve Johnson will be happy to meet with you for a
cup of coffee or lunch.
Just call or send Steve a note.
Copresco will be closed Monday, September 6 for Labor Day. Enjoy the last weekend of summer.
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