InDesign

May 12, 2014

Use Layers to Keep Auto Page Numbers on Top in InDesign

A frequent InDesign question from designers for our prepress department concerns how to keep Master Page page numbering on top when design elements on individual pages cover that area. By default, the Master Page items will lie below any other page elements in the document. Our easy solution is achieved with the Layers palette. The InDesign Layers palette works just like it does in PhotoShop or Illustrator, and can easily solve the problem of disappearing page numbering.

Auto Page Numbering is set up on your master pages. Yet, by default, these numbers will be covered up by any page element in your document that crosses over that area. To work around this fact, create a new layer (while still on your Master Pages layout) and give it a name you will understand, such as “Top Master Items” or “Page Numbers.” With this layer highlighted, set up auto page numbering, and any other master items that you want to always be visible above any other elements. Just be sure to keep that layer on TOP, and to work on the OTHER lower layer(s) for all placement of text and graphics as you create your document.

This is a very simple set-up using Layers. However getting use to managing page numbers this way can help introduce you to the functions of the Layers palette and help you begin considering the more advanced ways it can assist your workflow. Layers can allow you to “version” your document – creating multiple, coexisting editions of your document using different languages, images or copy. For example, if you set up all your text on one layer separate from any other graphic elements, you could then create additional layers of text in Spanish and French. By toggling these layers on and off you have 3 separate language versions within the same document, all using the same imagery and design. When exporting to pdf, be sure to turn on and off the desired layers for that output.

As with most projects, having a clear plan in the beginning can sidestep a lot of annoying roadblocks later. A good idea for beginning a print project in InDesign is to plan out the scope of your design with a few answers first: the size and number of pages, margins and bleed area, facing or non-facing pages, section and page numbering and how you will use Layers to help organize your work. Of course, all of these can be altered or added after the design begins but often you will save time and work by being organized at the start.

Strive to buy your print locally! A community printer will understand communication and design, with a special emphasis on your local market. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmental responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

January 3, 2014

Bleeding Edge: How to Properly Create Bleed Area for Print

We’ve written at ImageBlog before about how to create proper bleed area for your print files. Missing or insufficient bleed area and crop marks rank in the top three of prepress problems along with color separations and font issues. Interestingly, thanks to improved pdf creation in desktop publishing applications and the more forgiving nature of a digital printing workflow, those latter two problems are increasingly a thing of the past. But not for the old missing bleed area problem!

Bleed is any printed area that extends off the edge of the page. Presses do not print to the very edge of a sheet, so files with bleeding elements must be larger than the desired finished size and printed on larger sizes of paper, then cut down. Knowing that ahead of time, you can easily create files and export pdfs that will trim out exactly as you expect.

You might be surprised, but many folks think their printer can add a workable bleed area to most any file. In reality, some printers will attempt to make a non-bleeding file “work” without telling you the customer, in an effort to save the extra time and hassle. A file can be printed slightly larger than 100%, which will allow a slight trim area. Also, some printers will cut a file slightly smaller than the finished size – a risky move if done without your consent, but one that also will create a finished bleed edge. If the bleed is a solid color, the file can be imposed on top of a bleed area of the same color. All of these work-arounds are less than ideal solutions, and you could be charged more in prepress costs for the fix. Here’s how to create the bleed you need in your layout program.

Remember, the bleed area you define upon originally opening your new document is only the bleed area that appears on your screen as you work on your file. It IS NOT (necessarily) the bleed area that automatically ends up in the pdf file you output for print.

InDesign makes this very simple. Set up your new document size, and at this step give yourself as much Bleed Area to work with as you want. Some folks put in 1/8″ because the actual pieces of artwork or color rarely need to extend any further off the page than that small amount. However, when you export your final pdf, go to the Marks and Bleeds Tab, choose only crop marks, then at this step add .5″ of Bleed Area to the pdf file on each of the four sides. Do NOT check the box “Use Document Bleed Settings”.

Marks and Bleed Area — Crop Marks and 1/2 inch Bleed Area

If you do, the final pdf will try to size itself to include the bleed area you put in at document setup. If that is insufficient to hold the crop marks, the pdf will auto-enlarge to accommodate the crop marks and the finished size will be something odd like 8.821 x 9.415 – not so easy to work with when imposition time comes. Keeping the math simple, if you put in .5″ at export as your bleed area, your 8.5″ x 11″ document will create a pdf that is 9.5″ x 12″ wide. Perfect for a bleed.

PhotoShop

If you design entirely in Photoshop, you need to initially create your document LARGER than the finished size. Again, keep the math simple by using .5″ extra on each side: a finished piece at 9″ x 5″ would be a PhotoShop document of 10″ x 6″. You can add the crop marks yourself, or simply tell your printer that the bleed area is there and let them add the correct crop marks for final cutting. The important part is to have the actual bleed area on there!

Illustrator

If you work in Illustrator to create your final print files or pdfs, simply choose File – Save As and then choose pdf/x-1A. Just like in InDesign, go to the Marks and Bleeds tab, turn on crop marks and allow a .5″ bleed on all four sides of the finished pdf file. If you submit a native Illustrator file or eps, you can also add crop marks around an object by choosing Object – Create Trim Marks. Just be sure your Artboard is large enough to accommodate those marks.

ImageSmith is proud to be a printer in an exciting era of digital communication. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmental responsible printing. They should also be able to work with you to solve any difficult prepress issues with your files. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

May 17, 2013

Gradient Banding in Wide Format Printing: Can You Prevent It?

A quick check online convinces me that a lot of folk – designers, artists and printers – are frustrated with gradients that print with banding, or clearly dileneated “steps” of color visible in both digital and offset printing and which can be even more dramatic in wide format output. The bottom line is that those sweet gradient tools in your design software do not come with warning labels to prepare you for the resulting output in print. Gradients will normally (but not always) look good onscreen, but the technology to print them with similar ease falls short. The current best solution is to apply PhotoShop effects to minimize or hide the banding. The drawback is just like a great medication with a not-so-great side effect, this can produce unwanted results: colors can shift and the image may print “grainier” than originally planned.

A radial gradient should ideally look smooth, like a sunburst. The sample below, however, shows how it generally prints like the Looney Tunes logo.

There is no fix for the banding problem when saving your Illustrator files. We’ve often searched for that magic button, with no luck. Below are a few photos from a recent experiment where a stubborn orange-to-yellow gradient in a client’s wide format pop-up display printed with visible, distracting banding regardless of file type, compression or other options used. Saving the file as eps, pdf, opening in PhotoShop, increasing resolution, optimizing with PitStop…. no luck. Each resulted in the same diagonal “steps” in color.

The reason these efforts fail lies in mathematics and the physics of print, and I will admit to having only a shady understanding of these technical causes. For the scope of this post, let’s just point out that there are only so many “shades” or steps between one color and the next that are renderable in print. Your goal is to make a smooth transition from one color to the next, and the CS software makes that very easy in the design phase. However, the factors at play when you try to print your creation are the size or amount of space over which that transition occurs on the printed piece, the colors you have chosen to blend, and the resolution of the printer. Mathematically, at some point the printer has to go from one “step” to the next – and often the result to the human eye are bands or lines at which those changes occur. If you have chosen colors that are close together, you have even fewer “steps” between them with which to work. While PhotoShop, Illustrator and InDesign generally render smooth gradients onscreen, the science behind image rasterization and both offset and digital printing is not so forgiving to the viewer.

The fix for our wide format print in this case was to take the gradient portion of the job into Photoshop (it was originally created in Illustrator, we think!) Step one: we applied a Gausian Blur. The amount? Well that completely depends on the image. I just decide visually, bearing in mind whether or not the image I am working on is viewed at full-size onscreen or will be enlarged when printed out. A small grain visible now will be twice as large if printed at 200%. Next we created a layer with the mode set to Overlay and checked the box “Fill with Overlay-neutral color (50% gray).” To this layer we added Noise. Again – I decide visually how much noise to use (that’s an odd statement if you think about it!). Unfortunately, it is a guessing game, but with experience you will know best how much “graininess” or added texture will be acceptable without being enough to distract or compromise the output image.

The result here was a minor shift in colors and a slight visible texture or graininess that wasn’t there before. But both served to hide the banding problem! Both were acceptable results as the overall appearance of the gradient was smooth and pleasing.

Tips to prevent or minimize banding in gradients are easy to find online, but often your individual design is built in such a way that many of the tips seem unworkable. Like ours, the most common banding-buster tips require you create (or recreate) your gradient in PhotoShop as we did above, and then add noise to the image. However, you might have other elements in your design such as type, vectors or other effects applied in either Illustrator or InDesign which prevent you from moving the entire file into PhotoShop. If the file has been received from another person or client, then you might not have access to the individual pieces of the file and would be stuck trying to put the entire document into PhotoShop as an image in order to play around with possible filters. Apparently there is no “one size fits all” fix for this frustrating problem. Designers should be aware that gradients present difficulties and often require cooperation with your printer ahead of time to avoid unpleasing results.

Printers understand communication and design. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmental responsible printing. They should also be able to work with you to solve any difficult prepress issues with your files. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

February 1, 2013

WARNING: When spot colors are used with transparency…

The above warning is an important one! If you have used a spot or PMS color in your InDesign, Quark or Illustrator layout and then applied some type of transparency effect — drop shadows, blending modes, feathering, etc — then this warning is telling you that your file will NOT print correctly. Ignoring it can derail your print project bound for offset or digital output. You can avoid this complication with a little understanding of color definitions and conversion.

With the release of InDesign 2.0 back in 2001, Adobe integrated transparency effects directly into its layout program. New tools allowed us to apply editable transparency effects to text, graphics, and images, the result being a greatly enhanced set of design tools. PDF 1.4 debuted in Acrobat 5 at this time as the first version of PDF that supported transparency. The only catch was that most printer’s RIPs at the time were not ready to handle the transparency effects. Havoc ensued. Times have changed since then and Postscript level 3 processors and pdf workflows effectively manage the flattening of transparent files at the correct time to produce accurate output. But the conflict between spot or PMS colors and transparency lives on.

If your InDesign or Illustrator color palette is using nothing but CMYK colors, you can use transparency with no problems. If you bring in, for example, your logo or a piece of art with a predefined PMS or spot color into your layout, then you have imported that color into your palette. In turn, if you apply that to color text or graphics and use a transparency effect on them, a high resolution output from offset or digital printing will result in the object printing as a blank or with an unintended color. To further confuse the matter, the job may print fine off a desktop printer or create a pdf file that appears fine on screen. However, if you ignore the warning (seen above) that Adobe gives you when you try to save the file, your print provider will most likely NOT be able to convert the spot color to process and retain the correct transparency effect. You must convert the spot color to process in your native file and re-export to pdf.

Before being “flattened”, transparency is considered “live” and exists as an optical effect onscreen and in video. It must be flattened in order to print. At this stage, the tranparent region is broken up into smaller non-transparent sections that can then be translated by the RIP (raster image processor) into a printable image. It is, however, a complex process and trouble spots arise from the use of spot colors as discussed above, where text or vector objects overlap pixel-based objects, and possibly with the overlapping of RGB and CMYK images. You can read Adobe’s Designers Guide for Transparency and Print at this link for further reference.

So How Do I Fix My Files?

We’ve updated this blogpost with some tips on best practices and how to avoid the cost, delay and disappointment of files that print in an unacceptable way. Read it here!

Rely on your printer for advice and direction with any questions you have when designing files that use transparency. They should be able to provide you with the time and money saving technical advice, and work with you on file preparation and submission. If they can’t, you have the wrong printer. The best advice, always, is to ASK YOUR PRINTER!

Shop our full ImageSmith catalog online here. We can work with you to find the best option to suit your needs. Please note, prices in online catalog do not include decoration, but call us for a quote at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

January 16, 2013

Creative Print Idea: Spot UV Coating

Coatings applied either in or off line to a finished print piece provide some very practical benefits – protection from scratches, water or moisture damage, abrasion, fading and yellowing, and handling damage. Aesthetically, they offer varying degrees of gloss and shine, improved readability, and more. But from a design perscpective, coatings can be used creatively to enhance the actual design. Check out the spot UV coating project below for one idea, then read on for further information about all the coatings available for print.

UV coating adds a high degree of gloss and shine to your printed piece, but using it only on certain elements can make your piece stand out even more. On the example above, we used spot UV on the zebras stripes, select parts of the organic design element, the logo – but left the background uncoated. When the paper catches the light, these elements shine and give the illusion of depth and dimension to the card. Notice how the swirls in the green design element stand out where some are coated and some have the dull finish of the paper.

To prepare for print, you will need to create a separate file to designate which elements you want UV coated. (In other words, you will need to provide a four page pdf for a two page job.) Any element to receive coating needs to be shown in its exact same position on the page but as 100% black. For linked artwork, this can take a little manipulation of the vector and image files in either Illustrator or PhotoShop, but it is a fairly simple process. Just be certain that when you link your new 100% black art files for the spot UV page that they remain in the EXACT same position as on the original CMYK layout. If you allow InDesign to update a file from the Links palette to your new black element but you selected only part of that element to be 100% black (which can potentially change the overall shape of the item) then your placement can shift slightly and the UV coating will not align exactly to the printed object.

Below are the four main print coatings used in commercial printing. Each of these can be done in matte, dull or satin, and gloss finishes.

Overprint Varnish

Whether spot or full coverage, varnish adds a more subtle gloss or shine to printed paper, as well as offering some protection from smearing, water and wear. Dull varnish is often used to reduce the glare and improve readability of a piece.

Aqueous Coating

Aqueous coating is a protective, water-based sealant that offers more protection than a varnish. It is fast-drying, environmentally friendly and the glossy version has a higher shine than standard varnishes.

UV Coating

UV coating is a liquid protectant applied to a printed piece and then cured with ultraviolet radiation. It can be formulated to a variety of high gloss finishes that enhance the clarity of print. These coatings can be applied with full or spot coverage, and even with special raised effects for more dimension. Liquid UV coatings are solvent free and emit no volatile organic compounds or VOCs.

Laminate

Laminates offer the most protection, providing a strong, water-resistant, non-scratching surface. Plastic film encapsulates the paper to protect it, and can be applied either as a clear sheet or as a liquid that is cured and dried.

Rely on your printer for advice and direction with any questions you have in fashioning your brand or designing your marketing materials. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for print, signage, apparel and integrated marketing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Shop our full ImageSmith catalog online here. We can work with you to find the best option to suit your needs. Please note, prices in online catalog do not include decoration, but call us for a quote at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.