Prepress – Page 3

July 20, 2012

Retro Page Layout – InDesign’s Ancestor Aldus PageMaker, circa 1990

1990: East and West Germany reunited as the Cold War ended. The first Persian Gulf War began when Iraq invaded Kuwait. Two new shows on TV that fall were The Simpsons and Seinfeld. Driving Miss Daisy won the Academy Award for Best Picture.

And this is how state-of-the-art desktop publishing and page layout software arrived. Aldus released PageMaker 4.0, complete with hard copy instruction manuals and installation software on floppy disks. Only five years old, Aldus had introduced PageMaker for the Mac in 1985, and for the PC in 1987. By 1994, Adobe Systems had acquired the company.

It seems antiquated now, but the print and design business has seen a revolution over the past two decades in techonological advancement. Somehow a box full of floppy disks seems quaint and a little reassuring. It won’t be long until our iPads and mobile apps will seem equally dated and cause us to smile.

Rely on your printer for advice and direction in design, print and integrated marketing. They should be able to guide you through the latest changes and introduce new technology to help get your message out… if they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

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.

March 20, 2012

15 Years of Rapid Change for the World of Print

Today ImageSmith surprised me with a little celebration for my 15th anniversary with the company and a very generous gift of a brand new iPad. Our discussion at the gathering centered around the changes in our business over the past 15 years and the vast differences technology has created in that relatively brief span of time. Back in 1997, hardly anyone at work had a mobile phone; few used the internet or even had a home computer.

Oddly enough, I had been reading online this very morning about the new issue of Newsweek that highlights the return of the show “Mad Men” with a retro 60s issue and an amazing recreation of retro print advertising from that era. The rate of change in this industry from then to now has exponentially increased. Print quickly adapted to new computer technology in the ’80s, drastically altering the way graphics are created, business is done and ultimately the very heart of what the printing industry is today. From my own experience here at ImageSmith, I could see the major ways technology has created this rapid change:

THE INTERNET

In the 90s, the art department was completely a Mac platform (Mac certainly led the way with graphics software and innovation) and the only other computers were PCs used for the front office and accounting. Files were transferred on floppy disks or zip disks. Proofs were faxed or hand delivered. The idea of communication or doing business via the internet seemed fanciful.

TODAY: communication inside and beyond the company is via the internet. Computers network through a wifi connection and a central server. Orders are placed online, files transferred, deliveries scheduled and tracked… to do otherwise would seem painfully slow and unprofitable.

SOFTWARE

The change in graphics software is always rapid and amazing. In 1997, we were using Adobe PageMaker for our layout (it had only recently been acquired by Adobe from Aldus). PhotoShop and Illustrator were used for photo and graphics manipulation, but only minimally integrated with the actual desktop layout duties of PageMaker. Many clients created their jobs in QuarkXpress, Microsoft Word, Corel Draw – and the confusing task of the art department was to try to handle and image these files cross platform from PC to Mac without disastrous font conflicts and software glitches. The idea of a “portable document format” or pdf was on the horizon.

TODAY: Adobe Creative Suite provides virtually flawless integration of PhotoShop, Illustrator, Acrobat and InDesign. A totally pdf workflow moves client jobs seamlessly from desktop to press or web. Print design can be cross-purposed to web pages, mobile apps, e-books, etc.

PRINTING TECHNOLOGY

Many jobs were still created physically on paper and then photographed. “Paste-up” was the means of gluing into position different page elements. It all seems very primitive now. The process of making plates for offset printing also relied on photography. Negatives were imaged, stripped into position, manually color separated, and burned onto plates.

TODAY: Computer-to-plate and computer-to-press techonology completely removes the photographic element in printing. Digital layouts are rasterized and imaged onto plates for the press in exact position. Increasingly, digital presses are replacing the offset process to meet the growing demand for short run, full color print.

DATA STORAGE

In 1997, a typical print job would fit easily onto a standard 3.5 inch, 1.44MB floppy disk. Artwork and client jobs were archived onto floppies. These were replaced by SyQuests – able to hold 44 or 88 MB or data, and then Zip Disks from iOmega with the amazing capacity to hold 100 MB. In the late 90s, most all computers, PC and Mac, came with a built-in floppy and Zip drive. Over the years, the Zip yielded to the CD and then the DVD for removable storage options.

TODAY: File sizes for some print jobs today dwarf the capacity of all of these removable data storage devices. High capacity servers and cloud-based storage solutions manage files and the process of archiving data.

With all of these changes has come a core redefinition of what small and mid-sized print operations are about. Printers have expanded to become multi-media specialists, marketing consultants and e-commerce solution providers to meet the equally drastic changing needs of their clients. Integrated marketing techniques combine the realms of print with mobile, email, wide format printing, signage, printwear, branded merchandise and social media. Looking ahead to the landscape of the NEXT fifteen years is exciting and daunting. Mobile and cloud-based technology will continue to drive the marketing into the world of augmented reality, 3-D printing, conductive ink and other as-yet unknown innovations.

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.

February 28, 2012

Printing 101: What is Spot or Two-Color Printing?

Too often as printers, we assume everyone else understands the basics of print technology. Full color, spot color, process, digital, offset, thermography, letterpress, wide format… there are many paths to create a beautiful and effective printed product – decisions have to be made about which path is the best to take. The type of printing you need for your project should take into account many factors: budget, branding concerns, time constraints, intended use, and essentially the overall scope of your marketing plan. It becomes important that you have a printer you can communicate with freely and clearly. Your printer should be able to explain your options clearly. One basic topic in looking at the options for color printing is to understand what is meant by spot colors vs. full color.

Spot color refers to color generated in offset printing by a single ink. That ink could be a “pure” color or mixed according to a formula. Process, or 4-color printing, uses four spot colors to generate a full-color gamut: Cyan, Magenta, Yellow and Black (CMYK). Some more advanced processes use six spot colors, adding Orange and Green to provide an even larger gamut. This is called hexachromatic process printing, or CMYKOG. At times, however, you may want to print using just one or two colors – for example let’s say blue and black. This is a classic example of two color printing.

Pantone is clearly the authority on color – a provider of color systems and leading technology for accurate communication of color. The Pantone Matching System has long been the standard for defining “spot colors.” If you have a blue lion in your logo, you want that lion to always appear in the same shade of blue – not sky blue on your letterhead, royal blue on an employee’s shirt and some shade of purple on the website. The PMS system is a way to standardize that color for the printing process, and your printer can show you swatches to select the PMS number that you can then define as an integral part of your brand. Also keep in mind that with these two colors, you can enhance the design of your piece by using “screens” or tints of those colors. 50% of black gives gray; a percentage of the PMS blue will provide varying shades as well. With a good design, a two-color printed piece can have much depth and style. (Pantone is a rich resource for all topics on color. Check out which color they chose Color of the Year for 2012.)

Any PMS color, printed from a single ink, can also be translated into the closest CMYK match. Your blue lion can be printed by the 4-color process method when you choose to create a full color piece. There will be a slight variation in the shade or hue of the blue, however – no PMS to CMYK conversion is exact. In most cases, the difference is tolerable or even unoticeable, but with a few colors the shift is more dramatic. The CMYK gamut can not replicate all colors visible to the human eye. Again, your printer can show you side-by-side swatches of what the PMS color will look like once converted to CMYK. Some brands are so specific about their color that they budget for 5-color offset print jobs where full color printing is needed, but they are willing to pay for another pass to get the PMS color of that lion exactly right every time.

Have the discussion with your printer to learn the process they are using to produce your print materials. They can explain about color gamuts, PMS color matches, and even color psychology and selection. You will also want to translate these colors for other uses such as your website or online marketing. There you will need web-safe color matches that seek to maintain an accurate match for your blue lion on the web as well. You will be in good hands with a printer who can help you with both the artistic, creative process and the technical concerns of production.

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 26, 2012

Print & Proofing: Typos Make Way for the Photoshop FAIL

If you work in the print or design business for any length of time, you will acquire a few stories to tell about typos, mistakes, and gaffes that escaped undetected by the proofing process. We proof carefully, and we encourage clients to be diligent in proofing before signing off on even the simplest of jobs. But even the sharpest proofreader lets a mistake slip by occasionally, and we are powerless once the ink hits the paper and the paper leaves the building. It says something about the power of print that once these mistakes are out in the public domain, they seem to carry so much weight. Today, with Photoshop and the ease of photo editing, the problems that use to exist with typos and misspelled words have now moved into the realm of images. Careless photo editing can result in some really humorous and costly mistakes.

The New Typo: the Photoshop Fail — Glad I saw these legs hiding among the pool furniture before showing the client a proof.

My most recent flub involved the photograph above. This time, I caught it before it made it’s way to the client or, even worse, the press. In removing a person from the background of a larger photograph at the customer’s request, I neglected to remove the bottom part of her legs. There they stand amongst the deck furniture, smirking… an innocent, though sloppy, oversight.

Many times, however, edits are not the result of mistakes, and are viewed by the public in a much more negative manner. The fashion industry receives harsh criticism for their over-zealous use of the Photoshop edit in their print marketing. Many have taken already thin models and edited them down to impossibly thin results. Magazine covers routinely edit away the size and curves of women. The effect of these industry practices on the body image of young girls and women is troublesome to many. Companies like Ralph Lauren and Ann Taylor have suffered negative effects from public backlash by going too far with these edits. (Check out this video, Killing Us Softly 4: Advertising’s Image of Women.)

In an odd twist on the topic of “Photoshopping,” the New York Department of Health recently fell under fire for using a stock photo of an overweight man from Getty Images and digitally “removing” his leg to make him look like an amputee. The photo was used as part of a controversially graphic ad campaign that sought to link soda consumption to Diabetes. In this case, the photo edits were done well, but the fact that the photo was assumed to be non-edited drew the complaints of many who thought the ad campaign either inaccurate or too graphic.

We seem to want to trust that photographs are telling a story of fact – that they are evidence of a slice of reality. Yet we know photographs can be altered in perfectly convincing ways to tell whatever story we want them to. The result is we take some satisfaction in spotting the mistakes of a sloppy Photoshop guru – almost as if we uncovered someone trying to dupe us by the manipulation of the photo.

Check out these sites for some really entertaining photo gaffes: the “11 Biggest Photoshop Fails of All Time” and “The Funniest Photoshop FAILs of All Time,” courtesy of the Huffington Post. There’s even a website (of course) that keeps you up to date with the latest Photoshop disasters.

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 6, 2012

Easy Adobe PhotoShop Tips: Keyboard Shortcuts

The first steps in learning Adobe Creative Suite’s PhotoShop are always exploring the tool bar and scanning through the drop down menus. But if you use PhotoShop with any regularity, you soon discover common tasks you are performing over and over with each image, and the repetition of those ‘click patterns’ can quickly become tedious. By learning and using even a few keyboard shortcuts you will be amazed at the speed with which you can accomplish your edits.

Everyone develops their own signature style and knowledge base in using PhotoShop, and we all settle on our own set of keyboard shortcuts that become second nature. For anyone new to PhotoShop, experiment with some of the most common. Many simple tasks, such as switching tools, can be accessed just by hitting a letter. The shortcuts are often obvious, some a little less so. You can hover over the tool icon on the tool palette and PhotoShop will tell you both the name of the tool and its keyboard shortcut in parentheses:

M = Marquee
C = Crop
L = Lasso
B = Brush
E = Eraser
P = Pen
W = Magic Wand
V = Move
A = Direct Selection
I = Eyedropper
U = Rounded Rectangle
R = Rotate View

Common actions for editing that become very useful to know as a shortcut include:

Command-J (PC: Ctrl-J) duplicates the pixels you have selected to their own new layer.
Option-Delete (PC: Alt-Backspace) fill with foreground color
Command-Delete (PC: Ctrl-Backspace) fill with background color
Command-L brings up the Levels dialogue box
Command-M brings up the Curves dialogue box
Command-F5 brings up the Fill dialogue box

To move around quickly without changing tools on the toolbar, press and hold the Space Bar to temporarily activate the hand tool. To zoom in or out without the magnifying glass, try Command-+ or Command-– (PC: Crol-+ and Ctrl-–). To fit everything on screen, use Command-0.

Most shortcuts are listed under the drop down menus, or can be found in PhotoShop Help. To be honest, I stumble across most of them by accident – bumping the wrong key and wondering “Now how did that happen?” No harm done in fumbling around and finding out for yourself! Make friends with the shortcuts, and don’t feel pressure to learn them all (no one actually does that, do they?). Learn the ones that save you the most aggravation.

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.

August 10, 2011

How to Make a Print-Ready PDF/X1a File: Save Time and Money

PDF stands for Portable Document Format… a friend of mine says it really stand for “Pretty Darn Fast.” And they do travel with much lower file size than your root documents and images. However there are many different “flavors” of pdfs that can be created with different end-uses in mind. Think of a pdf as a suitcase – you will have to decide what and how much to “stuff” into that suitcase so that everything needed at its destination will be there… and nothing that is not needed (therefore saving on file size).

Creating a print-ready PDF/X-1a file from your desktop application will save you time, money, and is your best bet to ensure error-free printing from your digital files. Unless you want your printer to be able to alter or edit your documents, just follow these easy steps to “pdf” your files.

Choose File – Export. At the bottom of the dialog box, for Format choose Adobe PDF (Print). See Fig. A below.
In the Export Adobe PDF window, you will initially start on the General tab (they are listed at the left). On this tab, at the top under Adobe PDF Preset, choose [Adobe PDF/X1-a: 2001]. This will adjust ALMOST all of the settings you need to create your print-ready file. See Fig. B below.
Click on the Marks and Bleeds tab. Under the Marks section, check the box for crop marks, leaving the others unchecked. Notice that the Offset is set to 0.0833 in. by default. Under the Bleed and Slug area, enter 0.5 in. bleed for all four sides and leave other boxes unchecked. Whether or not your document has a bleed, we prefer all PDF/X-1a files to be submitted with crop marks and the 1/2 inch bleed area around the outside edges. See Fig. C below.

And that’s it!

File Export to PDF from InDesign — Figure A: File – Export

Step 2: the Export Adobe PDF window — Figure B: the Export Adobe PDF window

Marks and Bleed Area — Figure C: Crop Marks and 1/2 inch Bleed Area

These steps are specifically for Adobe’s Creative Suite and InDesign. You can create your pdf files directly out of PhotoShop and Illustrator as well. If you are using another desktop application, such as QuarkXpress or even Microsoft Word or Excel, all these controls will be there in different locations… you will still need to find where to select the PDF/X-1a preset and the accomodations for crop marks and bleed area.

We have many tools and tricks to adjust and control the output of properly made print-ready pdf files for offset printing. By using the pdf workflow, we bypass the problems of the past that included unwanted font substitutions, missing images, and accidental changes that could occur when reopening or editing root documents.

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.

July 1, 2011

Rich Blacks – 6 Ways to Define Black in Print

Just as colors vary from the natural world to your monitor to print (see Color Printing 101: the RBG & CMYK Gamuts), black is never JUST black. Rich Black, Cool Black, Warm Black, “Plain” Black, “Designer’s Black”…. each has their own reason for being. It is important to know them all, because on your computer monitor they all appear exactly alike!

Below are the standard compositions for some varieties of black used in the printing world.

Using these wisely will enrich your design and allow you a spectrum of black to use for different effects. While designers use rich black for visual effect, printers occasionally rely on rich black to solve trapping issues when text is printed over a colored background. It can hide slight misregistration of plates that would otherwise result in a small gap in color.

In the RGB world of your monitor’s display, black (um… ‘pure’ black?) is composed of R0, G0, B0 (no light is emitted from any of the three channels). Regardless of how you define black for printing purposes, it will be rendered this way on your monitor and thus appear the same – a fact that has caused many bad results over the years. Photoshop has contributed to this with the fact that the “Fill with Black” command defines black as C100, M100, Y100, K100. The image you are working with may have a black area that will match perfectly onscreen, but once printed you will see the difference in your black and the rich black Photoshop used in the fill areas.

Left: on your monitor, a .jpg logo may appear fine, but Right: once printed you see Plain vs. Rich Black

Many times we have seen, for example, a .jpg or .tif logo with a black background placed onto a larger black background in a page layout program – onscreen the result if fine, but once printed you immediately notice the marked difference between the logo area and the black box onto which it was placed.

The use of rich black or its variants can enrich printed graphics, but remember that too much ink coverage on certain papers can create other unintended problems, especially when used over large areas of coverage:

damage to lower quality papers
problems with ink drying times
ink offsetting onto the sheet above or below
increased costs of production.

Always consult your print provider for guidelines or concerns.

Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, high impact marketing solutions.

June 22, 2011November 13, 2019

Color Printing 101: the RGB & CMYK gamuts

The science behind color itself is at the heart of printing – and key to meeting the expectations you have for a beautifully printed project. The first step in understanding the boundaries of printable color is to know that the human eye can detect much more color than is possible for your computer monitor to display. In turn, your monitor can show more colors than it is possible to reproduce in offset printing.

The best illustration of this is a color gamut comparison chart where you can actually see the ‘real estate’ involved in each spectrum. (It’s always seemed odd to me that we use this illustration either on a printed page or a monitor… both of which are limiting the actual colors they are trying to represent!) In the figure below, the entire color shape represents all the visible spectrum of light.

Color spectrum - RGB & CMYK gamuts — Color Gamut Comparison

The RBG color area represents the specific wavelengths of light your monitor emits, and is clearly a much smaller area. Even smaller is the CMYK gamut showing colors that can be reproduced with printing inks. Cyan, Magenta and Yellow pigments (K or Black is added to create depth, definition and ensure a true black color) work as filters that subtract certain wavelengths of light and reflect others. They combine to create a spectrum of printable color.

Switching a file from RGB to CMYK in PhotoShop on your screen can visually show you the color shift that occurs when you switch to a more restrictive gamut. Try it on a random image and see if you notice a significant loss of color. Some printers prefer you leave your images in RBG mode with ICC profiles attached, while others prefer you go ahead and switch to CMYK mode, as that will inevitably happen before the printing process.

Most cameras and scanners capture color in RGB mode (or to get even more technical, the “sRGB” mode, or a standard definition of what colors can be shown on a computer monitor, as opposed to all the RGB colors that can be seen visually with reflective light). Some cameras have the aRGB (AdobeRGB) definition or a selection called “Raw” – it can capture more colors digitally than you will be able to see, but may be helpful when you edit and adjust your photographs in an editing program such as PhotoShop.

Printing methods are able to reproduce only a certain gamut of colors as well. When files contain colors that fall outside of that gamut, the RIP process must decide what to do with those colors – i.e., how to alter them in specific ways to make them become a color which is printable – and this is decided by the Rendering Intent options of the RIP software or printer driver. Rendering intents are mathematical formulas that alter out-of-gamut colors in predefined ways.

When an exact color match is needed on your print project, consider using a spot color ink in your design. Metallic inks also can give a great effect that isn’t possible with combinations of just the 4-color process inks. Paper or media choice will also affect and enhance the quality of printed colors.