How to make the best film output of design works

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How to get the best film output for design works

do you want to get better output from the output center? Here are some things you can do to ensure the best output

skip Griswold, the boss of advanced computer imaging in Atlanta, has seen everything from TrueType development to page growth in his nine years of service in the output service center. But some things have not changed: the files the guest brought to Griswold are missing fonts, images with wrong resolution, and page settings with wrong order

most errors like this occur in the output center. The wrong font is used in the page, or the image disappears, or the file cannot be printed at all. But designers and their guests still have to pay in the end, although it will waste time and money

in the digital process, the designer must undertake the work done by the previous color separation personnel. Or at least they must know these things to prevent the creation of files that will cause problems in the next production process. If you know what to pay close attention to, it will be easier to prevent disasters. In order to make designers no longer make the same mistakes and find out how to avoid them, I visited seven export service centers in China

the harm of inexperience

Jon Pennington, the production manager of adage graphics, and some other people I spoke with pointed out that the new generation of publishers who have just taken advantage of imaging software for windows are usually inexperienced. Not surprisingly, Pennington has far more problems with Windows files than with MAC files when it comes to the size of the investment range. But designers and output centers still have to contend with these familiar problems. Griswold said, "like other industries, novices will experience mistakes that older employees have experienced."

another change that makes life difficult for output centers is the increasing application of color inkjet printers. Before inkjet printers, many designers mistakenly relied on black-and-white laser printer proofing to verify the final output; After the application of color printer, the confusion became more serious. Hugo Bonilla, the prepress manager at Chantilly printing graphics, said that some guests refused his matchprint proofing because the color could not match the print they brought

because inkjet printers can disguise a large number of sins, such as low resolution or RGB images. Furthermore, they can print a wider color gamut than four-color prints, so inkjet colors often look brighter or more saturated than the final print

similarly, the experience of page design has changed the expectations of many designers for their prints. Like inkjet printers, computer displays are less sensitive to differences in resolution and can display more colors than offset printing. Once designers see the various images on the page, they want to apply these images to the printed matter. The result is the input of GIF images that the guests want to reuse in their brochures, trouble with page image files, and other output nightmares

font: it's still the number one cause of error. Of course, I won't be surprised. The first word of every prepress operator's comment on the designer's error is font. Since the advent of electronic publishing, designers have forgotten to transmit the necessary fonts. But mistakes go far beyond missing fonts: designers often send wrong fonts, or modified fonts, or other fonts that cannot be used in versions

for example, some Bonilla advertising guests occasionally use Macromedia fontographer software to modify fonts. Although they sent new and modified fonts, Bonilla said that adobe type Manager Deluxe often failed to recognize them as valid font files. Then it needs to replace the font. Sometimes it can be replaced with the approximate corresponding font of the modified font, and sometimes it can only be replaced with the courier font. Because the modified font is usually used as the title, Bonilla advises its guests to set the title in the illustration software, then turn the font into a path, and then introduce it into the typesetting software. In this way, the font becomes a vector artifact, and the font file is no longer needed

this method also solves another common problem: the font is missing from the input EPS file. It is not difficult to remember the font used in your text, but it is easy to forget the font in the input image, especially when it comes to the operation of the experimental machine, there is no place more professional than us, especially when other people create the image. Turning fonts into paths ensures that text is printed correctly. Of course, turning to a path may slightly distort the shape of complex fonts or very good lines. At this point, your only option is to include fonts

even if designers don't forget to send fonts, they will make mistakes. Pennington says Mac users often transfer screen fonts instead of printer fonts. He said that when he opened the document, he was not warned of the missing font; He often fails to find errors until the document is printed, when the font is lattice rather than smooth

another widespread problem, which obviously often occurs among windows based designers, is that the designer uses the TrueType version of the font in the file, but the type 1 version is transmitted (or vice versa). The fonts look the same, but the text is reversed because TrueType and type 1 Fonts use different kerning and font width tables

griswold has found that most MAC designers use fonts from adobe or some other major vendors, and these font output centers are generally available. So even if the designer forgets to bring the font, the output center can still provide it. But there are many competitive font software packages in windows, and his company cannot buy all of them for backup

of course, sending too many fonts is prone to errors. Some people include all their fonts in the file, rather than only the fonts that will be used when the file is printed. Bonilla pointed out that when you install CorelDRAW, the program will install hundreds of fonts in your font directory. When the font menu is displayed, it becomes difficult to match the font on the disk with the font name

to avoid font problems, Lori Carlson, prepress director of capital printing, advised his guests to either use PageMaker's prepare for service bureau or QuarkXPress's collect for output software. PageMaker's widget will collect fonts and tell you whether they are TrueType or type 1. The small software of Xpress just creates a font table you use, but at least you will have reference when copying them

headache picture

after the font problem, the biggest trouble in the output center is the picture. Pennington estimates that the artifacts of 30%adapt graphics need to be modified. "It has become routine," he said. "We have to spend about 15 minutes revising the documents before we start asking the guests to pay."

as with fonts, the most obvious problem is that the guests do not include pictures. The guest placed the linked picture in the typesetting software, but forgot to transmit the picture. Therefore, when outputting, they either couldn't get the picture or got a low resolution picture. Or the guest doesn't have a linked picture at all. Danny Mau, prepress director of jalor color graphics, whose main role is to dry cable cores, riello Jr. said that many of his company's guests work for finance companies. They copy pictures from Microsoft PowerPoint or excel and paste them into files. The typesetting software file contains only one windows metafile (WMF) file. When the picture is processed in the Scitex BRISQUE rip of jalor, either the line width is wrong or the color is offset

mauriello advises his guests to recreate illustrations in Adobe Illustrator or other appropriate illustration software, either by capturing them or pasting them in illustrator. If necessary, tick the edges and output them as EPS files

wmf files are not the only file formats that fail postscript rip. According to Pennington, the worst thing is TIFF files compressed with LZW, especially when they are scaled in typesetting software. Because rip must decompress the image and redisplay the sample in a new size, the file will always be in the printing state or cannot be printed at all. Pennington advises designers to store files in uncompressed CMYK TIFF or EPS formats

the same problem occurs when a designer modifies an input picture with QuarkXPress. "Xpress can easily rotate, mirror, and invert images so that designers do not have to do these actions in Photoshop," Pennington warned. "This means that these actions must be handled in rip." A large toy company recently sent a 120MB, 22x30 inch TIFF file as the background. The designer places the pictures in two places in Xpress, flips the pictures, and rotates each picture slightly. Inverting and rotating an image is a heavy workload for rip. Pennington has to go back to the original TIFF file in Photoshop, rotate it there, and then re place it

pennington also advised guests to delete additional paths they created in Photoshop before storing them in the final version that also caused the sample to slip during the experiment. There are many reasons for designers to create paths: use them as selections, fill edges, or create clipping paths. However, if they are retained in the image, Rip is troublesome to process the paths. When using pictures, the simpler the better

The popularity of

pages once again makes it difficult for the output center to process pictures. Some output centers complain when GIF or JPEG files are received. For example, Griswold said that customers often give him indexed color RGB images in GIF format of 72dpi downloaded from the. The picture looks good on the screen. Inkjet printing is fine, but they cannot be separated. Griswold tried to convert it to a CMYK TIFF image, but there was no good way to increase the resolution without shrinking the image

however, even a reduced image is not necessarily acceptable. Mauriello said, "I've met many designers who download large images from the Internet and look good when they zoom them out. But that doesn't really work." Although reducing the picture can help improve the resolution, it affects the color and sharpness of the image

on the other hand, Rhett Robinson, the color technician of timeframe, said that guests sometimes improve the resolution in Photoshop to the value they need when they are told to output. However, due to the forced increase of pixels, which do not exist in the original image, the interpolated pixels are only the rough approximation of the missing picture information. The only way to ensure high-quality images is to scan or capture them in the size and resolution you ultimately need to output

too high resolution is also a trouble, said Doug dysert, who works in the image reproduction Department of art hardware. Art hardware is a large format output center. It relies on Hewlett Packard Designjet 3500 to produce shop front posters, posters, etc. The print resolution of Designjet is 600dpi, but the image does not need to have such a high resolution unless it contains very good lines. For general photo or picture design artifacts, dysert said that 150dpi images are sufficient. He said that because designers seldom understand this, they often send 90MB files, but in fact only 20MB is enough, which leads to excessive offline delivery and RI

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