ARTWORK FILE PREPARATION GUIDELINES

Transcription

1 ARTWORK FILE PREPARATION GUIDELINES THE FOLLOWING GUIDELINES ARE DESIGNED TO SAVE YOU TIME, EFFORT AND MONEY, AND TO PRODUCE THE BEST QUALITY PRINTS POSSIBLE. TABLE OF CONTENTS Designers Quick Tip Sheet page 2 A. Software Files pages 3 4 Preferred/Recommended File Formats Non-Preferred/Not Recommended File Formats Unacceptable File Formats B. Layout pages 4 5 Basic Layout Guidelines Fonts Linked vs. Embedded Images Flattened or Layered Files Single or Multiple Pages Additional Art Prep Tips D. Color-Matching pages 8 9 Costs Color-Matching Guidelines Color-Matching For Digital Print Jobs Color-Matching For Traditional Applied Vinyl Jobs Other Color Related Issues E. Proofs page 10 F. Submitting Artwork page 10 C. Resolution pages 5 7 DPI (PPI) and File Size Vector Graphics Raster/Bitmap Graphics Vector vs. Raster/Bitmap Graphics For any questions regarding these guidelines, please contact Impact Displays: (408) revised: 2012/08

2 DESIGNER S QUICK TIP SHEET A. Software Files We can support both PC and Macintosh-based files. PREFERRED/RECOMMENDED FILE FORMATS Adobe Illustrator (AI, EPS, Illustrator PDF) Adobe PDF (PDF) Adobe Photoshop (PSD, TIFF, EPS, JPEG) NON-PREFERRED/NOT RECOMMENDED FILE FORMATS Adobe InDesign UNACCEPTABLE FILE FORMATS Microsoft Word Microsoft Publisher Microsoft Powerpoint Microsoft Excel Adobe Pagemaker QuarkXPress CorelDRAW GIF WMF Any image file from a Website Scans of Logo, Letterhead or Business Card C. Resolution 1. Optimal results are achieved with images printed at a minimum of 100 DPI to a maximum of 150 DPI at the final size. (300ppi is overkill for large format prints.) 2. As you design, view all images at 100% zoom level to verify that they will be acceptable before including them in your layout. D. Color-Matching 1. If Color-Matching is required, there may be additional fees depending on print material and quantity of colors. Please contact your salesperson. 2. Please specify PMS Colors or provide physical proofs. 3. Layered/editable files must be provided. We cannot color-match using flattened files. E. Proofs 1. One set of digital proofs will be provided free of charge. 2. Hard copy printed proofs can be provided at additional cost. B. Layout 1. Verify final graphic dimensions and/or download template (if applicable). 2. Make sure to create layout at full/actual size. 3. Provide all fonts or all fonts outlined. 4. Provide any linked images or files. 2

3 A. SOFTWARE FILES We support both PC and Macintosh-based files. We use the most current Adobe Creative Suite available. Preferred/Recommended File Formats ADOBE ILLUSTRATOR (AI, EPS, PDF) This is the preferred application for supplying layouts and vector art with maximum compatibility and flexibility. Please supply all Illustrator files in CMYK mode. Text must be converted into outlines. The file should be full scale (100%). All raster images must be linked TIFF or high resolution JPEG files (not embedded) and created to Photoshop specifications. Provide all logos and text within the application whenever possible. Please include the file extension in the name. Also, include all font sets used in the artwork. ADOBE ILLUSTRATOR CHECKLIST 1. Artwork is created at 100% of final size. 2. Proper bleed added to layout (Different products have different bleed settings, please check product template or check with salesperson for proper bleed settings.) 3. Fonts have outlined in artwork (or font files provided if outlining isn t possible). 4. Linked images have been provided or embedded into file. 5. All colors used (fill or stroke) are not set to overprint. 6. All curved small type (smaller than 9 pts.) is not directly over a cut line. 7. Artwork and placed images are in all CMYK (not RGB). 8. Leave colors as PMS Coated (if applicable). ADOBE PHOTOSHOP (PSD, TIFF, EPS, JPEG) This is the preferred application for supplying highresolution raster images. All files submitted as a Photoshop file should be at 100% (full scale), in CMYK mode, minimum of 100 DPI (dots per inch), rasterized font layers, saved as a flattened TIFF file with LZW compression, high resolution JPEG or native Photoshop file and anti-alias turned on. Please include the file extension in the name. ADOBE PHOTOSHOP CHECKLIST 1. When importing Vector-based logos or type, create it at 100% in Illustrator before importing. When you scale up in Photoshop, Vector-based images will become blurry/pixilated. 2. File is in CMYK mode and at PPI of Proper bleed added to layout (Different products have different bleed settings, please check product template or check with salesperson for proper bleed settings.) 4. When file has been converted or rasterized, Antialiased and Constrained Proportions boxes were checked. 5. When doing a gradation, it is best to select the gradated area and add noise to avoid banding (stepped blocks of color or mapping). 6. All curved small type (smaller than 9 pts.) is not directly over a cut line. 7. Save As a TIFF file with the LZW compression on, high resolution JPEG or native Photoshop file. Non-Preferred/Not Recommended File Formats (The program listed below is not recommended for large format printing and may not reproduce correctly. Please export the files as an EPS or high resolution PDF suitable for large format printing.) ADOBE INDESIGN 1. Include all layers, paths, channels, links and fonts. 2. Convert text to outlines. 3. Include all images (do not embed images). 4. Include PDF Proof or JPEG Proof for verification. 5. In some instances, InDesign will not retain photo 3

4 cropping information when exporting file as an EPS to open in Illustrator; when linked files are updated, they may not re-link correctly. Documents are still requested for the print file. Unacceptable File Formats (The following programs cannot be used. Partial list.) Microsoft Word Microsoft Publisher Microsoft Powerpoint Microsoft Excel Adobe Pagemaker QuarkXPress CorelDRAW GIF WMF Any image file from a Website Scans of Logo, Letterhead or Business Card B. LAYOUT Basic Layout Guidelines 1. Verify the dimensions and orientation of the Graphics for which you are creating your artwork. These dimensions can be found in your Sales Order. You can download templates for many Displays directly from our Website. 2. Check to see if there are any safe viewable areas, focus areas, cut-outs, stitching and/or obstructions that must be considered in creating your layouts. 3. Make sure to create the layout at full (100%) scale. You can send the artwork at any size, as long as it scales up to the correct dimensions and acceptable resolution. 4. Include a ½ to 1 bleed. If your display is a fabric print, it should include 1 bleed. If you re not sure, make it Please create files in CMYK mode. 6. It should be noted that your graphics are to be printed on some type of large format printer. Images and colors that look acceptable on your computer monitor or prints from a small format desktop printer may print differently on a large format printer. If your project contains critical elements, we would suggest that you request Hard Copy Proofs (See Section E. PROOFS). FONTS 1. To avoid any problems with fonts, include all fonts all of the time. PC and MAC fonts are not compatible. Therefore, when working in a PC format, the Graphics Department requests that you convert all PC fonts to outlines or curves. 2. If you are PC-based and working in a program that does not allow you to convert the fonts to outlines, the Graphics Department may substitute fonts. Due to slight variations in fonts (kerning, baseline, etc.) substituting fonts may slightly change the layout. LINKED VS. EMBEDDED IMAGES 1. Linked images are files that are placed or imported into your document. Linked files are preferred because the information about the placed images is linked back to the program in which it was created. Linked files can be opened in their parent program and all information about the file such as resolution and color information is maintained and may be edited or adjusted during the printing process for optimal output. 2. Embedded images are files that are placed into your document and then locked or embedded into your document so that it is self contained and doesn t require additional files for output. The Graphics Department does not recommend using embedded files as they are unable to be edited, their resolution cannot be checked and color cannot be verified prior to printing. 4

5 FLATTENED OR LAYERED FILES 1. Flattened files are acceptable if all Artwork File Preparation Guidelines have been followed and Color- Matching is not required. Even minor changes to a flattened file may be impossible or a difficult task to accomplish. 2. Layered files are required if color-matching is specified. Layered files also allow for easier manipulation of the artwork should last minute changes be required. SINGLE OR MULTIPLE PAGES 1. For printing multiple panel systems with continuous images such as mural panels for pop-up displays, the Graphics Department requests that you create your artwork as one single file, not individual panels. This is to insure the best possible line-up of continuous images. Precision tiling of your image will take place in our production process. It is always a good idea to include the guides on all layouts to better communicate your expectations. In order to insure accurate line-up of all of your mural panels, it may be necessary to rebuild separate files into a single layout which will result in additional fees. ADDITIONAL ART PREP TIPS 1. Zoom in on line art to check all points and intersections. Too many points can make art look like straight lines make up the curves. Similar to laying down matchsticks to make a circle. 2. Avoid using auto trace options or making clipping paths using magic wand selections. These typically are not clean and smooth. Taking the time to draw your paths will produce the best outcome. C. RESOLUTION DPI (PPI) and File Size 1. The Graphics Department recommends that you work in full size when possible. 2. Since your graphics will be output on a large format printer, file resolution should be a minimum of 100 DPI to a maximum of 150 DPI at the final (100%) size. It is not necessary to prepare your file at 300 DPI as this is usually for smaller format printers and will not increase the quality of the output. 3. Never use low-resolution images (i.e. screen captures, low-resolution web images, etc.) Resolution Formula: dimension of original (inches), 72 DPI images look good on your monitor 125 DPI images look good on your monitor 72 DPI images look blurry when printed 125 DPI images look good when printed 5

6 Vector Graphics These images consist of lines and curves that are defined by mathematical objects called vectors. Vector art is created by combining various geometric shapes, such as circles, triangles and/ or squares. When viewing art in keyline mode you can see the points or vectors connecting your lines and curves. They can also be seen when using the pen tool or editing the points along a path. Vector images are resolution-independent. for type and other bold graphics, such as logos, which require clean lines that can be scaled to any size. 2. Vectors are very compact information files. This means that the file sizes are typically going to be very small which makes for easy and fast file transportation. A vector file for a four panel mural may average KiloBytes, whereas the same image created in a bitmap file can be MegaBytes an increase of over 80,000%. 3. Vector images can be manipulated very easily because each piece of the image is a separate/ individual entity. This makes moving or resizing a potion of the image or the entire image itself very easy. Adding to and deleting from a vector image is also fairly simple to do. DISADVANTAGES USES 1. Traditional applied vinyl graphics: Vector art is the ideal file format for traditional applied vinyl graphics. The process used to create applied vinyl graphics requires that every image be outlined so that the vinyl cutter can cut the various elements. With a vector art file this is extremely easy to do. 2. Digital graphics: Vector images also work great for digital graphics as long as the desired result is not a photo-realistic image. COLOR ISSUES 1. The colors in a vector file can be changed or adjusted relatively easily. Either the entire image or just a portion of the image can be manipulated. ADVANTAGES 1. Images can be enlarged to any size without sacrificing quality. Because the art is resolution-independent pixels are not used to create the image there is nothing to limit its enlargement capabilities. Images can be reproduced at any size while maintaining crisp outlines and details. This makes them the ideal choice 1. The biggest drawback to consider when working with vector graphics is that creating a complicated or photo-realistic image is very difficult and time consuming to do. 2. When a photo is placed into a vector program, it increases the size of the file. The Graphics Department recommends using F.P.O. (For Position Only) files within vector programs and send the large photos separately. PROGRAMS THAT CAN CREATE VECTOR ART Adobe Illustrator MacroMedia Freehand CorelDraw QuarkXPress Raster/Bitmap Graphics These images consist of colored squares, also called pixels. Raster (bitmap) images are created by combining a series of various colored pixels. Raster images are resolution-dependent (set at a fixed resolution). USES 1. Digital graphics: Raster images are great for digital printing. They have the ability to produce both very detailed and photo-realistic or very simple images 6

7 2. Traditional vinyl graphics: Raster images can only be used for traditional vinyl graphic production if they are converted into a vector art file. To do this, the file is sent through a program that attempts to trace the lines it sees in the raster file. This will only work with simple images and still often requires clean-up, especially when type is present. COLOR ISSUES 1. CMYK files are preferred. Files that are created in CMYK mode or converted to CMYK mode will more closely represent what the images will look like when printed. If RGB files are provided, the Graphics Department will convert the images to the correct color space for the specific output devices. Colors may shift when RGB files are converted. The recommended color space is CMYK U.S. Web Coated (SWOP) v Adjusting the color of a raster file can be very difficult to do. In most cases, the color of one object can not be adjusted without shifting the color of the entire image without extensive work to isolate areas. Information must be stored for every pixel in the image, which means that the larger the image is, the more information will be required from the scanner and the larger the file size will be. a. Image enlargement is limited by the original size at which the file was created. If a file is produced at a size that is larger than its resolution will allow, the quality will decrease. Printing a low resolution file will result in pixelation very coarse-looking outputs. As mentioned earlier, the eye eventually loses its ability to see the individual pixels if the resolution is high enough. Conversely, when a small raster image is enlarged, the pixels become more apparent to the eye. These low resolution images look choppy or built from blocks. ADVANTAGES 1. Accurate photo color management in Photoshop. 2. It is possible to create photo-realistic images with raster files. 3. Pre-existing artwork can be scanned (photos, slides, original artwork) to create a raster image. These can be produced either by themselves or combined to create a collage, depending upon the desired result. 4. Reliability What you see at 100% is what you get. DISADVANTAGES 1. Manipulating a raster image can be very difficult to do. Although there are potentially thousands of individual pixels in each inch of the graphic, they all combine to form one single image. Isolating an individual pixel from all of the others is virtually impossible to do. This makes changing the layout or removing from or adding to the image a very time consuming and potentially difficult task. The more detailed and intricate an image is, the harder it is to do any kind of manipulation. Any changes that are made may be obvious if they are not done correctly. 2. The file sizes of raster images can be very large, especially for mural panels and other large graphics. PROGRAMS THAT CAN CREATE RASTER IMAGES Adobe Photoshop Scanning pre-existing artwork and photos Vector vs. Raster/Bitmap Graphics Although vector and raster images are very different and have distinct advantages and disadvantages, neither format is better than the other. Which format you decide to use to create your graphics largely depends on the final result you are looking for. Many times you will use a combination of both file types. 7

8 D. COLOR-MATCHING Costs 1. If Color-Matching has not been specified and contracted for, we will print directly from the files provided. PLEASE NOTE: If Color-Matching is not requested, the Customer waives the right to dispute any color output discrepancies. 2. Please note that we print in CMYK only. Art submissions with specific PMS color call-outs will automatically be converted to CMYK without any additional costs. 3. If Color-Matching is required, our Color-Matching Fee is a minimum of $20.00 per color per substrate. Color-Matching Guidelines 1. It is important to list critical PMS Color-Matches in your files. You may also provide physical proofs or previously printed media such as a brochure, business card etc. to match. 2. If a PMS color is specified but coated or uncoated is not, our default is coated. 3. We can only Color-Match solid colors and PMS colors at 100% tint. No gradients, photos, etc. 4. Use CMYK U.S. Web Coated (SWOP) v.2 as your color space. 5. If saved as RGB, the artwork will be converted to CMYK. Please note that colors may shift during this conversion process. 6. We cannot Color-Match CMYK formulas. 7. Layered/editable files must be provided. We cannot Color-Match with flattened files. 8. Logos and type should be created in the same program since PMS colors can be different from one program to another. 9. If you have specific colors you would like matched, do not use a transparency or opacity feature to achieve a certain color. Instead, assign a color value or use a tint. Color-Matching For Digital Print Jobs 1. Digital outputs are printed in a four-color process, not spot. When the Graphics Department attempts to match a Pantone (PMS) spot color, it uses a fourcolor process interpretation of the PMS color. Please understand that we will do our best to match PMS colors, but because we print in CMYK, we cannot guarantee an exact PMS match. For reference, the Pantone Formula Guide lists colors which are achievable in CMYK. 2. Our digital inkjet process cannot replicate colors such as fluorescents, neons and metallics. Color-Matching For Applied Vinyl Jobs 1. Colors for traditional applied vinyl jobs are matched to the closest available vinyl color to the PMS Color or physical proof provided. The Graphics Department stocks a variety of the available Avery and Arlon vinyl colors. Other brand name vinyls can be ordered if required, subject to additional fees. Image in RGB mode Image in CMYK mode Other Color Related Issues 1. Gradients When creating a gradient, avoid using stepped blends because the maximum number of steps allowed in Illustrator may band on large format graphics. Using the linear and radial gradient options will produce the best output. It s also best to select the gradated area and add noise to avoid banding (stepped blocks of color or mapping). 8

9 2. Posterization of an image occurs when a region with a continuous gradation of tone is replaced with several regions of fewer tones, resulting in an abrupt change from one tone to another. This creates an effect somewhat similar to that of a simple graphic poster. The effect may be created deliberately, or happen accidentally. Unwanted posterization may occur when color depth, sometimes called bit depth, is insufficient to accurately sample a continuous gradation of color tone. See also Color Banding. Unwanted posterization is most evident in pictures of people; skin tones appear blotchy. 3. Color Banding is a problem of inaccurate color presentation in computer graphics. While in 24 bit color modes, 8 bits per channel should be enough to render images in the full visible spectrum, in some cases there is a risk of producing abrupt changes between shades of the same color. For instance, displaying natural gradients (like sunsets, dawns or clear blue skies) can show minor banding. Color banding is more present with relatively low bits per pixel (BPP) at colors (4 8 BPP), where not every shade can be shown because there aren t enough bits to represent them. Possible solutions include the introduction of dithering and increasing the number of bits per color channel. Top: Image in JPEG format (24-bit color or 16.7 million colors) before posterization. Bottom: The result of saving to GIF format (256 colors). Posterization occurs across the image, but is most obvious in areas of subtle variation in tone. 8-bit gradient 8-bit gradient, dithered 24-bit gradient 9

10 E. PROOFS 1. The first set of digital proofs via (in a JPEG document) are provided free of charge. Digital proofs are for checking layout and spelling only and are not for Color-Matching purposes. The colors may print differently than they appear on your monitor screen due to the limitations of the JPEG file format. 2. It is imperative that you respond to the ed proof as soon as possible so that your deadline/delivery date can be met. Failure to approve the proof in a timely manner may affect the delivery date of your graphics order and/or incur additional fees such as Rush and/or Upgraded Shipping Costs. We cannot produce any graphics without formal proof approvals. 3. Changes made to your artwork after the proofs have been ed will result in additional fees. Therefore, it is imperative that all responsible parties check the artwork before it is submitted to Impact Displays. 4. If your project contains critical color or you are printing across multiple types of media, it is recommended that you request Hard Copy (printed) Proofs. Hard Copy Proofs incur an additional fee per proof and are the only reliable method of evaluating color prior to final printing. Please note that requiring Hard Copy Proofs will add time to the production schedule. For a quote on hard copy pricing, please talk to your salesperson. F. SUBMITTING ARTWORK 1. All artwork must be uploaded to our FTP Site: 2. If you are uploading final artwork, it is important that you verify that the artwork is print-ready and the artwork submitted has been approved by all relevant parties. Any changes made to the artwork after it has been proofed by Impact Displays will result in additional fees and possible delays in your delivery schedule. 10