Print Buying Direct

12647 and all that – Colour Management in Printing - Part 3 – 12th May 2009
Commercial certification
Certification to ISO 12647 is not news. Fogra, the research arm of the German printing trade association BVDM, offers its FograCert service for certifying a proofing system’s compliance with 12647-7. It’s a snip at £6000. It also has certification for compliance to its Process Standard Offset (PSO) which is based on ISO 12647-2.

According to Fogra: ‘externally, this certificate provides proof of the quality a printing or media company is capable of an internally it ensures smooth production that helps to avoid complaints.’ In other words, you can wave your certificate at print buyers to prove you can hit the appropriate colour standard.

The Swiss organisation UGRA also certifies to Fogra’s PSO and both organisations train consultants to audit companies for certification. The problem with this is that these organisations provide consulting services and both also sell testing and measuring devices for colour print. It’s hardy an arm’s length accreditation service.

Instead of taking this route the BPIF’s technical committee has been working with a UK government recognised expert committee, led by Mr Sherfield. The committee has come up with a certification procedure intended to provide the guarantee print buyers need, without involving conflicts of interest. This model follows ISO 12647 and borrows heavily from ISO 9001, the standard that defines quality management for a business. Although this standard is not specific to the printing industry, many printers are ISO 90001 accredited already.

This one is defiantly relevant for digital printers, as Mr Sherfield explains: ‘Regarding validation and even formed certification for digital, this has to be based on the technology used. An HP Indigo can be process controlled in a similar way to an offset press in order to match ISO 12647-2. Other devices need to be treated as proofing systems, so ISO 12647-7 methods will work in this case. Using the maximum gamut is in effect a ‘house’ standard, but still needs validation. Most of the validation software for printing and proofs can use imported custom CMYK profiles as the validation standard’.

Much of the work that’s been done so far for the UK echoes work already completed in Sweden by the Swedish Printers’ Federation. This organisation began its accreditation efforts some 18 months before the BPIF and has been extremely active in funding and resourcing the development and promotion of its certification procedure. Their investment is already paying off, with an increasing number of printers requesting certification at the behest of customers keen to simplify print buying processes.

Paul Lindstrom, special consultant to the Swedish Printers’ Federation says that: ‘Besides offering customers a product specific quality guarantee, the printers often find that they reduce waste and errors, as well as shorten make ready times’.

In the UK, the expert committee has completed its work and is awaiting approval for its documentation from UKSA, the internationally recognised UK Accreditation Service. ISO has a standard (ISO 17021) for checking the certifiers themselves, which is what UKAS does.

In the UK there is only one company authorised to accredit printing companies for compliance to 12647 in addition to other international standards. Print and Media Certification (PMC). This works exclusively in the world wide paper, printing and publishing industries, providing assessment and certification services in the UK and elsewhere.

To be continued…

See Part one of – The magic circle – print, paper and recycling

Also part one of in Flight, preflight and post flight –

& Part one of this blog -

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We’re still running our very popular Lettterheads Campaign. 2000 letterheads for only £125 in full colour, printed onto a quality 100gsm laser guaranteed paper. see our letterheads webpage for more info.

At The Printing House (Print Buying Direct) we are experts at helping you with the production of your newsletter, whether it be for your employees, customers or fellow club members. See our Newsletters web page for help and advice.

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Banners & Letterheads (Headed Paper) – 10th Februray 2009

Hi, just a quick reminder that our offers are still running for Banners (Pull Up/Banner Stands) and also our letterheads sale.

Visit our Print Buying Direct Website for more information.

Also, don’t forget to use our new reference tool – our printing glossary/A to Z. Giving definitions from Achromatic Printing to Bioenergy, from Chalking to CMYK, from Colour Management to Variable Data Printing. Visit the page for full details – if you think we’ve missed something just let us know and we’ll try and remedy it.

For more information please see our websites

The Printing House

Print Buying Direct (Print Buying Direct is a brand of The Printing House Ltd, Crewe, Cheshire, UK)

For all the rationalisation, mergers and acquisitions that have taken place, the demand for print has largely remained in line with GDP (Gross Domestic Product). As GDP has risen, so has the volume of print but how the printing pie has been cut up and the number of mouths getting what could be considered a fair share has perhaps dropped.

The next couple of years many economists are suggesting we may see some of the toughest trading conditions seen since the late 1970s, but economists are invariably wrong and it is fair bet that they will be wrong for attributing tough trading conditions in the printing industry on the economy. Trading conditions are certain to become turbulent; how can there be stability when several manufacturers introduce presses, including long perfectors, into the marketplace capable of changing all their plates in a little over a couple of minutes, carrying out make-readies in 10 minutes or less? And to boot, web-fed digital presses producing 1800 A4s per minute.

There is another element that is certain to bring instability to our industry that has little to do with economic forces. Customer expectations are changing in a rather profound way. One of the most significant effects of the digital age is the influence on customer expectations. No, not the speed at which they expect to get the job, though that is given, it is their quality expectations; printing from the Internet has meant a huge change in perceptions of quality, strength of design and overall appearance.

Much of today’s print is related to supplying information; brochures, reports, products leaflets, general information and this is delivered usually via an office printer using 11 and 12 point sans serif type printed on white 90gsm laser type paper. The result is more than adequate, with colour where appropriate printed at 600 and 1200dpi. What we are seeing is a fundamental change in our expectations of what is appropriate. Just as wearing a tie in important meetings can seem outmoded and stuffy- print is facing a similar change, with what is ‘fit for purpose’ the new driving force. Certainly collar and tie printing will always have its place, but the situation will arise more often where a superbly produced 16 page brochure in six colours with multiple matt and spot UV overprints will look aggressive and inappropriate. You have been warned.

For more information on Press Technology or printing in general please don’t hesitate to contact us at The Printing House (Print Buying Direct)

Although many designers still work manually, most illustrations, photographs and graphics are created and edited using digital tools. Software such as Photoshop or Illustrator, digital capture with a scanner or digital camera, all allow us to create and manipulate graphics digitally. However, there are many ways of publishing graphics so digital images need to be prepared in different ways. The requirements for resolution and overall image quality can differ quite substantially, and images are processed again when plates are made, or when screening is applied to data for output on a digital press. Depending on the image content, operators have to consider what dot shape to use for the screen dots, and whether to use stochastic screening in order to avoid moiré.

Density

For reproduction in a digital workflow, photographic originals, colour negatives and transparencies, have to be digitised using a high end scanner, either drum or flatbed. Desktop flatbed scanners are really only suitable for scanning reflective photos, where the results are not likely to suffer the rigours of subsequent for print. When screening transparencies, it’s important to use a scanner with sufficient resolution to achieve fine detailed and sharp images. Transparencies have a higher density than reflective images.

Digital images

Scanners used to be important for digital image processing, but they are now largely redundant because of the increase use of digital cameras. High-end digital cameras now have enough resolution and image quality to capture images that can be used in a professional prepress workflow. With resolutions of 10MP (mega pixels) or more in the image sensor, even midrange digital cameras produce good enough images for many publishing scenarios. High-end professional’s digital cameras offer even higher image quality, and even surpass what can be achieved when scanning transparencies on a drum scanner. When processing digital photos the challenge is to maintain both shadow details and highlights when processing the raw data from the camera. This ensures that the colour and grey balance are correct and although the camera’s built in software does a decent job for most situations; advanced image processing is often needed to achieve high and consistent image quality. This is especially true for print output. One of the most popular image editing software packages is, of course, Adobe Photoshop, but it takes a long time to learn and master the more advanced functions.

Five major considerations

If every single image has to be analysed and processed manually there are five main areas to consider.

1. decide if the original image has enough resolution for the publishing process to be used, so that all details will appear sharp and correctly rendered.
2. it’s important that the image is rendered with smooth tone transitions, both in the shadow details, in the midtones, and in the highlights.
3. There should be no tendency to banding or loss of fine details.
4. Good overall contrast is key to ensuring that the image has depth, and the colours should be accurate and as bright as possible, rendered with the correct hue.
5. Last but not least; the grey balance needs to be checked. If an image has a colour cast in what should be neutral grey areas (or light and near white areas), the whole image will look strange.

RGB to CMYK

Digital cameras and scanners capture images in RGB, so before converting images into the CMYK colour space for printing, they need to be optimised. On a calibrated monitor a balance in the RGB values, for example a setting of 127 red, 127 green and 127 blue, should produce a mid-grey neutral tone on the monitor, and so in the image.

Compression

Image processing involves many variables. One of the trickiest for many operators is knowing when and how to apply compression: too much compromises image quality, too little means unnecessarily fat files that can slow down production. A popular technology for reducing image file size is JPEG, but although it’s popular, JPEG is actually a lossy compression technology, so JPEG compressed images will always lose some data, and therefore, quality. Advanced digital photographers prefer to use TIFF on their original photos, because it also can compress images but it is not as lossy as JPEG.

For more information on image processing or printing in general please don’t hesitate to contact us at The Printing House (Print Buying Direct)

Ever since we started to handle colour images on mainstream computers, colour management of some sort has been a necessary evil. Although one would think it ought to be getting easier by now, there is still room for improvement. The rising number of digital devices in the workflow means that we are dealing with devices such as digital cameras, scanners and monitors that work with emitted light, describing colours in RGB (red, green and blue), but printing them by manipulating reflected light using cyan, magenta and yellow inks. To these primary colours we add black, the key which together with CMY creates the illusion of the other colours we can see.

ICC

Modern colour management largely depends on technologies developed by the ICC (International Colour Consortium), which bridge the worlds of RGB and CMYK using a larger colour space to describe colours, in combination with device profiles. Every device, whatever it is, represents colours uniquely. Different monitor brands and models have slightly different colour fitters and in practice this means that a given colour expressed in RGB values, creates slightly different colours. Black described in RGB has values of zero for each channel because no light is emitted for red, green or blue filtered phosphor guns. Conversely white is created with full signal strength on all channels, encoded as 255, 255, 255 when using 8 bit data per channel for 256 level of grey per colour channel.

Calibration and characterisation with ICC profiles

In order ensure that two different monitors display colours in as similar was way as possible, they need first to be calibrated and then characterised using a colorimeter or spectrophotometer. The second stage, characterisation, refers to the creation of a unique ICC profile for an individual monitor, describing the colours it produces for different RGB-values. The ICC profile comprises a table of RGB values and the colours expressed as a corresponding series of CIElab values. CIElab is the universal colour language, used not only within the graphic arts, but in the most situations where exact colours need to be described.

Calibrating monitors

When calibrating a monitor it’s important to set brightness and white point. Images should then look the same when displayed on a monitor, as when the reproduced image is viewed in a viewing booth. In print publishing, the reference white point is 5000 K (Kelvin), a warm white light which is a compromise between even warmer looking indoor light from bulbs or fluorescent tubes, and slightly colder (bluish) outdoor daylight. The white point of average outdoor daylight is around 6500 K. this is often the reference white in photography, but not in print. The viewing booth at an offset press is set to 5000 K, so if we want to preview an image as it will appear in print, this is the white point we need to use. The brightness level also needs to be matched and in a viewing booth this is between 1500-2500 lux, which is quite an intense light. For a monitor this is equivalent to a brightness setting of around 120 Candela per square meter (cd/m2). Obviously there are challenges when trying to preview images on a monitor, and match the appearance of the printed version, but it can be done. Perhaps not on any cheap monitor, but at least on high end CRT and LCD monitor rs.

Calibrating printers and presses

Colour printers and printing presses are slightly more cumbersome to calibrate than monitors or scanners. The first step is to linearise the printer or printing press. This is basically to make sure that for example 40% cyan really comes out as 40% when printed on paper. On a colour printer this is fairly straightforward to accomplish, assuming you have a function for linearisation in the RIP software.

For conventional printing presses, matters are slightly more complicated, since we have to factor in different dot gain levels for different types of paper stock. Another thing to bear in mind is the ink that will be used. Even thought the ink manufacturer should comply with the ISO standard for ink, in reality individual batches may need to be checked with a spectrophotometer. When correct dot gain values are compensated for in the platesetter, a reference test chart can be printed, and the ICC profile for this press and paper calculated.

Once all devices in the digital imaging process are calibrated and characterised and ICC profiles have been created, colours can be converted back and forth depending on the need and the publishing scenario. This could mean creating a softproof on the monitor, or hardcopy proof on a colour printer. Using this methodology also simplifies the automatic conversions from one print method to another using the advanced functions in modern RIP systems.

When to convert RGB to CMYK

The decision to use a particular paper stock or printing press is often made very late, so is it wise not to perform colour conversions until in the very last minute, since paper and print obviously influence colour. The unconstrained workflow is generally referred to as an RGB workflow. Images are placed as RGB in layout software, and PDF files are created with an assumed output profile embedded, but the actual images remain described using RGB values. By applying the correct output profile in the RIP at the output stage, we minimise the number of colour conversions in the workflow, and ensure that the correct ICC profile is used, taking into account the paper stock and print method used. The layout software, be it InDesign or Xpress, can preview the images even if they are in RGB, by temporarily applying a specific ICC output profile. Adobe Acrobat can also do this for previewing PDF files on screen prior to output.

Spectrophotometer

If properly controlled, a modern, ICC colour managed workflow offers predictability and good image quality, as well as workflow flexibility and tools for production automation. The key is to have the right measuring tools in order to both calibrate and characterise the devices involved. In order to measure total ink density and dot gain you can use a densitometer, but a modern spectrophotometer has this function and does more besides. To calibrate a monitor you need at least a colorimeter, or better, a spectrophotometer and in order to check CTP plates, and linearise the platesetter, you need a spotmeter, because a densitometer can’t accurately read plates.

All modern press control systems use spectrophotometers at the press in order to check that prints really do match the required quality level. The shorthand used to describe colour accuracy is Delta E (∆E), a value that indicates the colour difference from a certain target, expressed in CIElab, and what you actually achieve. A value of ∆E 1 is impossible for humans to differentiate, so we cannot perceive any colour difference and value of ∆E 2 means that the colour difference is just barely noticeable. Depending on the paper stock used the printing method, for most printers an average ∆E value of 4 is considered an acceptable match for quality offset production. For good quality control throughout the print run, the ∆E variation should be monitored and the data saved for later analysis

No-one should claim that colour management is easy to implement, nor to maintain. However, with proper training and using the correct hardware and software it can be done successfully.

For more information on colour management or printing in general please don’t hesitate to contact us at The Printing House (Print Buying Direct)

PREPARING TO PRINT

Once the layout and design of a job is complete, you’ll need to decide how to hand over your files. At The Printing House (Print Buying Direct) we usually prefer a single PDF but can work with all of the source files.

Either way, you’ll want to run though a preflight checklist. For more information see our artwork guidlines webpage.
PREFLIGHT CHECKLIST… ARE YOU READY?

• Ensure that all graphics and images are in their final size and correct resolution, 100% at 300 dpi.
• Rotate, scale and edit images and graphics prior to placing them in page layout applications.
• Image file formats should be EPS or TIFF (not JPEG) and verify that all source files are linked properly.
• All spot colours should be designated as spot colors and not as CMYK recipes.
• Spell check your document.
• Remove any trapping (allow the printer to apply trapping).
• Check for transparency and either flatten or notify the printer so they can flatten the file. All bleeds should generally be set to 3 mm.
• Gather all source files: fonts, graphics, images and layout documents, if requested. Use the [Package] feature in InDesign or the [Collect for Output] in QuarkXPress.
• Perform a visual preflight using overprint preview, colour separations preview and transparency flattener preview.
• Prepare a mock-up to give the printer as a finished sample.

TRAPPING

• For best results, trapping should be applied by The Printing House and not the yourself. Trapping settings made in the application are not included in the PostScript when printing with the Composite mode.
• Avoid instances where trapping to gradients or images is required (the change in color may not reproduce well).

BLEEDS

Include 3 mm bleed for all areas that extend off the page when trimming is required.

IMPOSITION

If you plan to use binding, leave ample room for the gutter. Aside from that, we will do all imposition work.

INDESIGN CS2 PREPARE TO PRINT

PREFLIGHTING

• Use the [Preflight] feature under the File menu to make sure all fonts, graphics and image links are present.

PACKAGING

• Use the [Package] feature under the File menu to collect all fonts, graphics and images used in the job. This will ensure that all elements are collected when the job is delivered to The Printing House. Instructions and contact information can also be included by the designer for us.

QUARKXPRESS 6.5 PREPARE TO PRINT
USAGE…

• Use the [Usage...] feature in the Utilities menu of QuarkXPress to review that all fonts, graphics and images are linked correctly in the file.

COLLECT FOR OUTPUT

Use the [Collect for Output] feature in QuarkXPress to gather all fonts, graphics and images used in the job. This will ensure that all elements are collected when the job is delivered to the print provider. Note, however, that you will need to gather fonts from imported EPS or PDF pictures manually unless they are already imbedded into the EPS or PDF file.

ACROBAT DISTILLER 7 SETTINGS

• Create PostScript from the source application using the Acrobat Distiller PPD.
• Be sure to use the Binary data format and include all fonts.
• Use the Smooth Shading feature in Acrobat Distiller.
• The Save As features in PDF Writer/Maker or the Mac OS X Save As PDF feature should be used with caution.

The following recommended settings have been optimized for high image quality printing. In some instances, productivity may take priority over image quality and, therefore, require different settings (such as adjustments in compression).

Open Acrobat Distiller and go to the Settings menu. Select [Edit: Adobe PDF Settings...]. Create a custom set choosing the following recommended settings and select [Save As...] using a new fi le name (e.g.,“ artwork for The Printing House”).

Distiller will save the file in the right place so it can be accessed as a new Job Option set.

• Select Acrobat 6.0 ( PDF 1.5) for the best compatibility. Note that since you are working with a PostScript file there is no need to select Acrobat 4.0 compatibility for transparency concerns (writing files to PostScript always flattens any transparency effects).
• To ensure that the orientation of the pages prints correctly, do not select the Auto-Rotate Pages feature.
• Embed Thumbnails is optional. Versions of Acrobat 5 and higher are able to dynamically create thumbnails on the fly.

IMAGES

To preserve the best image quality, compression is generally not recommended.

Distiller 7 contains a new Policy button. You will need to decide the threshold of what level of resolution is appropriate for the quality of the job and if the job should pass, fail or warn the user. Try setting the minimum as 200dpi and the max as 400dpi.

FONTS

• If jobs fail while distilling, check the job for missing fonts. The following settings recommend cancelling the job when fonts are missing to ensure the document prints correctly.
• To guarantee the font information is successfully included in the Adobe PDF file and will view properly on the monitor, the required fonts should reside either in the system folder of the computer or in the PostScript file.
• A higher percentage value is generally recommended for [Subset embedded fonts . . .].

COLOUR

• The Settings File selection under Adobe Colour Settings should usually be set to [None], [Leave Colour Unchanged].

ADVANCED

• The Convert Gradients to Smooth Shades feature can help smooth vignettes/ sweeps/ gradients with Vector-based programs such as Adobe Illustrator or QuarkXPress. Using this feature with Microsoft Office jobs may or may not improve the job due to the way sweeps are generated in those applications.
• As a precautionary measure, use the Save Adobe PDF Settings Inside PDF File feature. The recipient of the PDF may be able to troubleshoot problem files more easily if the settings are included with the job.

EXPORTING PDF FILES

When exporting files from InDesign or QuarkXPress, you can apply many of the same Acrobat Distiller recommendations discussed previously.

INDESIGN CS2—EXPORT PDF

The PDF options for InDesign are fairly similar to those in Acrobat Distiller. If there is a custom set saved from Distiller, it will be selectable from the PDF Export dialog box. Follow the settings previously discussed.

There is one additional group of settings, [Marks and Bleeds], that can be set to your preference.

QUARKXPRESS 6.5—EXPORT PDF

In QuarkXPress be sure to click on the [Options...] button to access all of the available controls over PDF settings.

You will want to check the options under the Job Options and the Output tab. Take special care to ensure the Color [Output Type] is set to [Composite] and that [Print Colors] is set to [As Is].

Note that blends made with PANTONE® colors in Quark 6, will print as RGB when the [Print Colors] selection is set to [As Is]. To preserve PANTONE Blends (gradients), set Print Colors to [Device N]. Using [Device N] will, however, convert any RGB text, objects and images to CMYK.

PREFLIGHTING PDF FILES

In Adobe Acrobat 6 or higher you can use the Preflight tool to create your own custom preflight profile or use one of the default profiles. If you are not familiar with this tool you may want to talk with your print provider first. They may be able to provide you with a customized profile or walk you through the process.
Also refer to the Adobe documentation provided with Acrobat.

For more information or help please call The Printing House (Print Buying Direct) on 0870 950 8444

The Printing House Ltd – Marshfield bank, Crewe, Cheshire, UK

For those of you who are looking to design their leaflets, brochures, flyers, or appointment cards in Microsoft Word ready for printing, please read on. We have compiled a few items for you to consider before you start the design process.

IMAGES
Microsoft Office applications will send RGB data to the printer, unlike page layout applications that send CMYK data. Images can be in TIFF, EPS or JPEG file formats ( JPEG compression is not recommended). CMYK images, however, will be converted to RGB unless they are in the EPS file format.

BLACK TEXT AND GRAPHICS
Microsoft uses an RGB color model (unlike other graphics applications that use CMYK) and creates black text using equal amounts of red, green and blue. This can be problematic as the saturation of dry ink in a small area can produce a halo. One option is to export the file to PDF and all instances of black will be converted to gray. Make sure the Adobe PDF PostScript printer driver is properly confi gured to use PostScript Gray for text and vector graphics for R=G=B. Consult with us to ensure the best black text and graphics
rendering.

APPROXIMATING PANTONE AND CMYK COLORS
To create a close match to a PANTONE color within Microsoft Office applications:

• go to www.PANTONE.com and select [Support: Color Library Updates] for a close approximation. Download the PDF Color Chart and Value List for your system to obtain the latest 1,089 PANTONE equivalent values.
• Using Photoshop, create a new color with the corresponding CMYK PANTONE values to determine the RGB equivalents. Make sure the Color Setting in Photoshop is set to [sRGB] for the RGB working space and [SWOP CMYK] for the CMYK working space, unless otherwise directed by your print provider.
• Use RGB values from Photoshop to create new color equivalents in MS Office.

GRADIENTS
When printing a Microsoft Office file that contains a gradient fill within non- EPS graphics or vector objects, banding may occur in the printed output. Office does not render gradient fills into PostScript gradients. Instead, Office uses the Microsoft Windows Graphical Device Interface (GDI) to generate halftone steps
that are then sent to the press.

The banding effect may appear more obvious with larger gradients and depend on the percentage of colors used. For the smoothest gradients, you may want to create them in Illustrator CS2 and in the [File] menu select [Save for Microsoft Office]. This gradient.png file can then be placed into the Microsoft Office
document. Also, processing an Office file into a PDF with [Convert Gradients to Smooth Shades] selected in Acrobat Distiller may improve smoothness or reduce banding. Experimentation is recommended.

We hope you find this blog of some use – The Printing House Ltd – (Print Buying Direct)

Call us for more information on 0870 950 8444.

Welcome to part two of our ‘How to design for print blog’ click here for part one- covering some more areas that graphics designers should be aware of. Please be aware that this blog is directed at design for digital printing, and whilst litho (offset) print has similar requirements there are some fundamental differences, so please talk to us first.

SAVING GRAPHICS FILES
While you are working on files, you’ll want to save them in the application’s native file format (i.e., Adobe Illustrator Document). When you are ready to place them in the page layout application, however, you might want to consider the PDF format for the best portability.

SAVING ILLUSTRATOR CS2 FILES

• Use the Save As feature to save files as PDF.
• Consult your print provider to determine if your work should be submitted flattened or with live transparency. By selecting [Acrobat 4 (PDF 1.3)] you will automatically flatten any transparency effects present in the file. Acrobat PDF 1.4 or higher formats will preserve live transparency attributes.
• PDF files can be edited later if the [Preserve Illustrator Editing Capabilities] option is selected.
• The PDF format can often provide better previews (than EPS) when placed in page layout applications.

SAVING FREEHAND MX FILES
Use the Export feature, not Save As, to export files as PDF from Freehand.

• Click the [Setup] button and use those recommendations shown in fi gure 3-13.
• In the [Convert Colors To:] pull down menu, be sure to select [CMYK and RGB]. Freehand will not modify CMYK images or RGB & CMYK native elements (note that it will, however, convert any RGB placed images to CMYK). Choosing [CMYK] will convert all RGB content to CMYK.
• Consult your print provider to determine if your work should be submitted flattened or with live transparency. By selecting [Acrobat 4 (PDF 1.3)] you will automatically flatten any transparency effects present in the file. Acrobat PDF 1.4 or higher formats will preserve live transparency attributes.
• Using a PDF format can provide better previews (than EPS) when placed in page layout applications.

SAVING GRAPHICS OR PAGE LAYOUTS AS EPS FILES
Though the PDF format is preferred, occasionally you may need to save files from Illustrator, Freehand, InDesign or QuarkXPress in the EPS fi le format. When saving graphics or page layouts, the following are recommended:

• Use TIFF 8-bit color preview.
• Do not assign a color space when possible and select [Leave Unchanged] or [As Is].
• Use [Transparency: High Resolution] when fl attening graphics with transparency.
• Embed all or complete fonts.
• Send all image data.
• Include CMYK PostScript in RGB fi les.
• Only use OPI if the printer requests it.
• Use Binary format.
• Use Adobe PostScript Language Level 3

IMAGE CONSIDERATIONS
OPENING IMAGE FILES
Though most images are either acquired through a digital camera or scanner, Photoshop is generally the first step in assigning the color space of an image.
If the Color Settings in Photoshop are set to [Ask When Opening] for Missing Profiles, you may encounter a window asking how to handle the color of an image being opened.

If no embedded profile is detected when the fi le is opened, you may choose one
of the following options:

• Leave as is—will not embed a color profile into the image. However, for operations that require a color space definition, Photoshop will use the RGB or CMYK Working Space defined in the Color Settings preferences (for example, when performing a Mode change between RGB and CMYK).
• Assign Working Space—assign the profile of the Working Space defined in the Color Settings preferences. Select this option when you want to consistently use one working space or if the working space matches the source space of the received file.
• Assign Profile—assign a specific profile if the source color space is known when the image fi le is opened.

Talk to us about which workflow to use. Assigning the right color space from the start will give you a better idea of how the file will look in print. Remember to implement monitor calibration and characterization as guided by your printer (hopefully us).

Things to consider in choosing a source profile:

• If the RGB or CMYK source space of the image is known, you can assign the profile that matches that color space or you can convert to the assigned working space.
• RGB images without the source color space information may require guesswork to determine the most appropriate source color space. sRGB has a smaller gamut but is a universal working space ideal for images coming from digital cameras and the internet (or destined for the internet). Adobe RGB has a wider color gamut and may work best for images that contain vivid colors.
• For unknown CMYK images, SWOP (v2) is recommended for US markets and Fogra or Euroscale for European markets.
• When working with documents that contain images from a variety of sources, discuss with us if one working space should be assigned to all the images or if the original source color spaces should be assigned individually.

If an ICC profile is detected you can either:

• Use the embedded profile. Photoshop will automatically use the embedded profi le when the Color Settings are set to [Preserve] under the Color Management Policies.

• Discard the embedded profile. If the embedded profile is believed to be
• inaccurate, convert to either an assigned profile or to the working space.

SIZE AND SCALE

• All images should be edited, rotated, cropped and sized in an imaging software application such as Adobe Photoshop. Do not re-size, crop, rotate or adjust images in page layout applications, if possible. Place images into the page layout at 100%.

• In order to obtain high-quality output, the recommended image resolution should be 300 dpi at the actual finished size. Scale images with bicubic sampling and crop all images in Photoshop. Do not use page layout applications such as QuarkXPress to make image size adjustments.
• Also note that submitting images with higher than needed resolution adds unnecessary processing time, creates larger files and may degrade image quality.
• For the best print quality, do not include transfer functions or screen angles unless directed to do so by the print provider. If the job requires specific screen angles or transfer functions, make sure to consult with us first.

SAVING IMAGE FILES
EMBEDDING COLOR SPACES
All images have a source color space. Whenever possible discuss with your print provider if you should embed that source color space (such as the camera or scanner profile). This can allow the RIP to perform the color conversion from the assigned color space to the printer’s color space. This workflow
can provide good color matches.

• Embed the correct source color space with each image saved in either TIFF or PS file format. Note that some printers may request images in JPEG format for jobs that are Variable or require faster productivity.

• ICC profi les in TIFF files generally cannot be embedded into the PostScript code on print. They are mainly used for output previews and to convert from one color space to another within applications such as Photoshop and QuarkXPress. The EPS format, however, can embed the color information (CSA) into the PostScript code and then be picked up by the RIP at the printer.

• Some printers opt not to utilize the embedded profi les and may end up stripping them from files. Be sure to talk over the color management settings and strategies with your printer.

SAVING PHOTOSHOP CS2 FILES— PHOTOSHOP EPS FORMAT

• If you want to embed the source color space of an image, use the EPS format.
• Embed both the ICC Color Profile and PostScript Color Management (PSCM) Color Space Array ( CSA) (see figures 3-18 and 3-19).
• Using the EPS format can also preserve colors that may otherwise be converted by an application such as Microsoft PowerPoint. When images are saved as TIFF or JPEG, the color may be converted prematurely in the page layout application. Colors in EPS format are generally preserved.

The CSA remains with the image when the EPS file is placed in the page layout application (or even with applications that are not color managed, such as Microsoft Word). The RIP can then be set to recognize the embedded CSA in the PostScript stream and perform the conversion from that embedded color space to the printer’s final destination color space.

Note:

• Always make your print provider aware that you have embedded color profiles in your files.
• When saving images as TIFF files, embed the ICC Color Profi le, if possible.
• Save the file in TIFF format without LZW compression.
• Check [Embed Color Profile] in the Save As window.

IMAGE COMPRESSION

• It is recommended that you do not use JPEG compression as it may cause unpredictable results.
• If upsampling is required, although this is not recommended, use bicubic.
• Images higher than 450 dpi should be downsampled using bicubic sampling.

Information supplied by The Printing House Ltd & Print Buying Direct, Crewe, Cheshire, UK

More to follow…

Transparency features in graphics applications allow users to create elements with drop shadows, overlays, blends and feathering. Because transparency effects can be complex, be sure to consult us for best results. But the following notes should point you in the right direction for getting your artwork ready for print.

TRANSPARENCY IN ADOBE ILLUSTRATOR

• Select [File: Document Color Mode] and choose [CMYK Color].

• Set the [Effect: Document Raster Effects Settings] Color Model to [CMYK] and the Resolution to [High (300 ppi)]. Any effects that require rasterization will use the value specified here.
• Use the Transparency palette and [Effect] stylize menu to control transparency effects. Note that [Filters] can produce unpredictable results.
• The [File: Document Setup: Transparency: Preset] should also be set to [High Resolution].
• The Flattener Preview palette [Window: Flattener Preview] can identify areas that have transparency applied or are effected by other objects.
• Be sure to enable [View: Overprint Preview] for the most accurate display of what the fi nal design will look like.

TRANSPARENCY IN INDESIGN

• Select the [Edit: Transparency Blend Space] to [Document CMYK].
• Use the Transparency palette to control transparency effects.
• The Flattener Preview palette [Window: Output: Flattener Preview] can identify areas that have transparency applied or are effected by other objects.
• Be sure to enable [View: Overprint Preview] for the most accurate display of what the fi nal design will look like.

PRINTING WITH TRANSPARENCY

• In the printing or exporting windows always select [High Resolution] for the Transparency Flattener.
• Printers often define flattening settings or flatten artwork themselves. Consult your us to determine if your work should be submitted flattened or with live transparency. Note that transparency effects will always flatten when printing to PostScript or EPS, or if they are exported using the Acrobat 4 (PDF 1.3) format. Transparency effects will remain “live” only if exported using the Acrobat PDF 1.4, 1.5 or 1.6 formats.

CAUTIONS

• Use spot colors in transparency effects with discretion. When spot colors contact CMYK objects with transparency, the best practice is to make sure they are on the top of the stacking order.
• Avoid transparency designs that contain both RGB and CMYK content.
• QuarkXPress 6.5 does not have built-in support for transparency.

If in any doubt call us on 0870 950 8444 or contact us through either of our websites – Print Buying Direct or The Printing House Ltd, Crewe, Cheshire, UK

Designing For Print

Information supplied courtesy of Print Buying Direct at The Printing House Ltd

We get asked all the time about how to design for print. This blog focuses digital print as we find many designers haven’t ever been advised of the advantages or limitations of digital print. Obviously many things are still relevant to litho printing (this still remains our core business) so whatever kind of print you design for hopefully you can draw something useful from the information below.

TEXT CONSIDERATIONS
GENERAL

• Include all fonts in both page layout and vector graphics files.
• Supported font types include PostScript Type 1, 3, OpenType, TrueType, Multiple Master
• When possible, select fonts from the Font menu and use caution when working with stylized fonts from the Style menu.
• Preserve text as a font; do not rasterize text in the application.

TYPE COLOR

• Create solid black text with 100% K only for the most dense black.
• As with any digital or offset printing system, saturated text presents the best appearance. When a tint is used, the halftone screen may be visible on the edge and cause a jagged appearance. Text containing at least one ink of 100% C or M or K presents the best appearance with solid, rich colors
• RGB solid text, such as 100% red, may reproduce as a tint. Define solid color text in CMYK if possible.

TYPE SIZE

• For positive solid text use a minimum of 4 point and 6 point for reverse.
• For positive tinted text use a minimum of 6 point and 8 point for reverse.
• With smaller text, sans serif fonts are recommended.

GRAPHICS CONSIDERATIONS
COLOR IN GRAPHICS

• Colors for fine rules or small graphics, such as bullets and icons, print best when at least one color separation (other than yellow) is set to a solid or near solid color (e.g., 90-100%).

SPOT COLORS (PANTONE)

• Select PANTONE colors by choosing them from the PANTONE color library.
• Do not change the name of PANTONE colors (e.g., PANTONE 106C to Sunshine Yellow or to PANTONE 106C copy).
• When PANTONE colors are desired, it’s always safest to ask us how the colours you want are best printed.
• Be sure to specify the color as a [Spot] color. This will allow the digital press to provide the best spot color accuracy within the limitations of the printer. (THIS IS THE EXACT OPPOSITE OF DESIGNING FOR OFFSET/LITHO PRINTING – PLEASE ASK IF UNSURE)

GREYS

• Grey text, graphics, and gradients will be best produced if they are created with K only in a CMYK working space.
• Grey balance is dependant upon selections made at the printer. If you are creating grey colors with RGB or CMYK combinations, consult us for the appropriate values needed to achieve good neutrals.

BLACK

• When printing black on uncoated substrates, add a small amount of C, M or Y to improve uniformity and minimize paper texture.

TINT UNIFORMITY
Digital printing systems, in general, may show slight variations in color within large areas of mid-density tints. Color variation may be emphasized with coated stock due to smoothness of the paper.

• Design with smaller areas when using tints and/or design with colors that are less than 40% or greater than 70% in value.
• Sensitivity to color variations may be reduced by introducing a texture or by adding text or graphic objects.

GRAPHIC EDGES

• Edges of tinted areas may also have a jagged appearance, dependent on line frequency and the angle of the halftone screen with respect to the angle of the edge. When selecting the color for fine rules or elements, better results will be achieved by choosing saturated colors or setting at least one separation (other than yellow) to 100%.

GRADIENTS
The best produced gradients will be produced when using vector gradient tools in programs such as Illustrator that take advantage of PostScript Language Level 3 and PDF 1.3 Smooth shading operations.

Following are suggestions for achieving the smoothest gradients:

• To ensure enough gray levels, gradients length should be greater than 2cm.
• Use a color change of 100% for at least one colour separation for gradients less than 2 cm long and a change of 50% for gradients less than 4 cm long.
• Adding Noise or a Gaussian blur can improve gradients in Photoshop.
• Saturated colors generally produce the smoothest blends.
• Avoid creating gradients that blend from a very dark color (e.g., navy blue) to white. They have a tendency to have more banding.
• For gradients blending to white, set the same color to 0%. Do not use white. Example: first color PANTONE 032C: 100%, second color PANTONE 032C: 0%.

I hope you’ve found this useful. More useful hints to follow in the next few days.