Print Buying Direct

Design for Digital Print – 12th February 2009

The new generation of designers is learning its craft in a world where everything happens in real time, driving new relationships with technology – and the printing industry. Examples can be found in every growth area of the print industry. For example, print-on-demand services require designers and printers to share a commitment to frequent, rapid turnarounds. Personalised, variable information printing can improve response rates when creative teams closely coordinate targeting and production with database managers and print providers. And streamlined work processes can save incredible amounts of time and still deliver high-quality output – provided the designer and printer have the knowhow to integrate their digital systems. A new book developed by students in the Communications Design Department of the renowned Parsons School of Design in New York, in collaboration with Xerox Corporation, captures the fresh eye this new generation of designers casts on their new, 21st-century relationships. The Art and Science of Digital Printing: The Parson’s Guide to Getting it Right, is a 70-page primer on digital color printing.
Excerpts and summaries follow:

Proof early and often.
Proofing on digital presses has two significant differences from proofing for offset. First, the digital proof is not a simulation, as it is in the offset process. Rather, digital proofs are printed on the actual production device, permitting the designer to see exactly how the piece will turn out. Second, digital proofs cost far less than high quality on-press proofs. Consequently, the digital workflow process is based upon designers submitting files, reviewing press proofs, making any adjustments they desire and repeating the process until they are satisfied. Such aggressive proofing gives the designer unprecedented control, and is critical to digital printing success.

Avoid image compression.
Image compression enables files to be downloaded more quickly and easily on the Internet but can cause the loss of valuable image information that cannot be restored. Parsons recommends working with uncompressed TIFF or EPS files whenever possible, avoiding use of compressed file types, such as JPEG.
When files are received as JPEGs, Parsons recommends opening them in an image editing application, such as Adobe Photoshop CS, and saving them as uncompressed TIFF or EPS files.

Revisiting type sizes.
Just as offset type reproduction differs from letterpress, digital type reproduction differs from offset. And the only way to know the difference is to see it. Parsons students demonstrated this by developing a concept for a digital type specimen book that shows a range of typefaces in different sizes and colours, on white paper and as knockout black. Generally, smaller type is more challenging on digital presses than on offset, but knockout type on black can work well on digital presses. Proof reading early and often helps ensure that typeface selections are readable and effective.

Be resolute on resolution.
Parsons recommends different resolution settings for text and images. Scans should be produced at 600 to 1,200 dots per inch (dpi) at reproduction size for text and line art and at 300 dpi for continuous tone images. Increasing the resolution has minimal impact on continuous tone images. To determine resolution of existing images when scaled to planned reproduction size, Adobe Photoshop has an image size tool in its pull-down menu that can automatically calculate resolution at various sizes.

Optimizing large areas of flat tints.
While digital color presses are excellent at reproducing color, they perform less well in reproducing large areas of some colors evenly – especially mid-tone tints and long blends. Often they come out fine, but sometimes they show unevenness. Reproduction can be improved by choosing a lighter or darker percentage or using an imaging software, such as Adobe Photoshop, to add noise, or texture, or to create a tight pattern. Thorough proofing helps ensure that the approach is working.

Using RGB images.
Because RGB images have a larger color gamut than the CMYK images traditionally used in printing, maintaining an RGB color space for images ensures optimal color reproduction and greater flexibility. The computer, or RIP, that controls the press is programmed to understand the optimal colour translation for the digital press gamut – work with it and it will work for you.

Make contact with your printer.
Your printer operates its digital press every day and should be able to help you optimize your design to best meet the press’s spec – and your expectations. Before committing to a job with a new printer, speak with the printer to understand the firm’s experience and skill set. Once a job is under way, seek your printer’s advice on improving your proofs. Digital printing technology is new and still evolving rapidly. Applying your printer’s experience to your job can be the difference between good enough and excellent.

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)

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

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…