The Ultimate Guide to
DESIGN
A COLLECTION OF PREPRESS TUTORIALS & WORKSHEETS FOR EFFECTIVE DESIGN
CONTENTS 5
Your Best Guide for Creating Print-Ready Files
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Creating Color Swatches for Print
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How to Prepare Images for Print
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Arranging Printer Spreads for Saddle Stitch Booklets
10 An Overview of Iridesse Ink 13 How to Set Up a Design File for Digital Cutting 15 How to Set UP Print Files for Gold, Silver, or White Ink 17 Prepress Checklist
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Prepress 101: Your Best Guide for Creating Print-Ready Files Bleeds A bleed is when the ink goes to the edge of the printed area (far right). If designing with a bleed, you’ll need to set up a proper bleed in your document. A good guideline is 0.125” (or 1/8 of an inch). This setup will ensure that your finished product doesn’t end up with a tiny white border. If you are using InDesign, you can edit this by visiting File > Document Setup. You’ll find the bleed settings at the bottom of the dialogue box that appears.
Once the bleed has been set up, you’ll see a red box along the outer edges of your document. Make sure that your images all extend beyond the document to this red line. 5
Margins For designs without a bleed, it is good practice to leave at least a 0.5” - 1” margin between the border and your design space. Keeping your design properly spaced from the border is not only attractive, but ensures that important information will not be trimmed off during the finishing process. In InDesign, you can edit this by selecting Layout > Margins and Columns.
Image Resolution As a rule of thumb, all images should be at least 300 dpi or higher in CMYK.
Packaging Your Files When sending your files out for production, make sure you send “packaged files”. This type of bundle includes your document, any necessary fonts, linked graphics, and a package report. Creating a packaged file is easy! Just select File > Package. In the dialogue box that appears, click Package (no need to alter any of the settings). The resulting folder should look something like this:
Convert Text to Outlines If you don’t know how to export your font files, you can always save your text to “outlines”. Go to Edit > Select All (or click CTRL + A) to select everything on your art board. Then select Type > Create Outlines. This will convert your text to an object, ensuring that your fonts stay true to your design, even if the printer doesn’t have your font files.
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Prepress 101: Creating Color Swatches for Print Process Colors (CMYK)
Spot Colors (Pantones)
Process colors are regular CMYK swatches. CMYK stands for Cyan, Magenta, Yellow, and Key (black). This is the color mode you’ll want to use for print projects.
Spot colors are the best way to achieve color consistency across multiple print runs. The color is applied to the print job using a single run. To print with two spot colors, a job would need to be run twice.
When designing for print, always double check that your color swatches are CMYK rather than RGB.
Pantones are the most commonly used spot color printing system in the United States. You can select from an entire library of pantone colors to match your company’s branding.
RGB colors are for creating graphics for web – if you create a print document using these colors, they won’t match what you are seeing on the screen.
Make sure that you are using a color swatch from the Pantone color library. You’ll need to match the number from your chosen color to the number in the library.
Printing With Black When browsing your Color swatches, you’ll see “Registration” and “Black” as options. For print, you’ll want to choose Black instead of Registration. BLACK’S CMYK SETTINGS: Cyan - 0% Magenta - 0% Yellow - 0% Key (Black) - 100%.
REGISTRATION’S CMYK SETTINGS: Cyan - 100% Magenta - 100% Yellow - 100% Key (Black) - 100%.
Because registration prints with three additional colors, you’ll run into problems with over-inking when you use it for print.
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Prepress 101: How to Prepare Images for Print 1. Set Images to CMYK Your images should be set to CMYK, the standard color mode for print. To do this, open your image in Photoshop. Click on the Image menu and select Mode (top of menu). In the submenu, click, CMYK color mode. A dialogue box will appear. Click OK to continue. Save your image.
BONUS TIP: It’s a good practice to save your converted images under a separate name or in a folder that goes with your print projects
2. Use High-Resolution Images The best image resolution for print is between 250-300 dpi. To check the image resolution, go to the Image menu and select Image Size. In the box that appears, check the number next to Resolution. If it’s not 300, set it to 300. Be sure that the Resample box is NOT checked. Click OK. Print Output 4" x 6" 5" x 7" 8" x 10" 16" x 20"
Min. Dimensions 640 x 480 pixels 1024 x 768 pixels 1536 x 1024 pixels 1600 x 1200 pixels
3. Know the Difference Between Vector and Raster Images If you are printing something that is large format (such as a trade show sign or a billboard), your file is going to need to be pretty large in order to avoid pixilation. This is when vector images come in handy.
A raster image has a set size. This logo.png file is 112 x 58 pixels. When resized, the image will become pixelated. Raster file types include .jpg, .png, .gif, and . tif.
A vector image will automatically resize itself to fit a large space. This logo.eps file was created in Adobe Illustrator. Vector file types include .ai, .eps, .pdf, .svg.
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Tutorial: Conlin’s Guide to Arranging Printer Spreads for Saddle Stitch Booklets Saddle stitch booklets are a popular and cost effective binding method that gives your projects a professional finish. To set up your design document properly for saddle stitch, there are a few tricks you’ll need to know.
Divisible by 4 The total page count needs to be divisible by four—otherwise you will have blanks at the end of your book.
Page Order For the pages to be in the proper order when the booklet is assembled, your design document will need the pages set up in a different order. If your design program doesn’t do this automatically, you’ll need to figure this out manually. Fortunately, it’s not too hard with this simple trick.
How to Manually Order Pages 1. Draw the total number of spreads you’ll need.
2. Number the top right page “1”. Keep numbering in a zig zag pattern until you arrive at the last spread. 3. Work your way back up in the same pattern.
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Prepress 101: An Overview of Iridesse Ink PLEASE NOTE: This is only an overview to help you understand the basics of how Iridesse Ink works. To become proficient at designing with this specialty ink, download our Xerox Iridesse Resources, which include the Iridesse Design & Prep Guide, the Quick Start Guide, and the Iridesse Swatch Library. XEROX IRIDESSE RESOURCES: www.conlinsprint.com/new-metallic-inks/
Our Xerox® Iridesse Production Press gives you the opportunity to add luxurious iridescent effects to your digital printing. It does so by combining four-color CMYK imagery with up to two different specialty dry inks, including Silver, Gold, and Clear. The result is a shimmery and shiny finished product – all from a single digital print run!
What Goes Into a Metallic Color? Each iridescent color is created by printing a silver or gold metallic underlay with a tinted color overlay.
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Silver makes the best underlay because it lends the most sparkle and shine.
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For vibrant colors, set the underlay to 60%.
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A gold base under metallic colors creates warmer hues.
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10-20% tinted CMYK overlays allow the metallic color underneath to shine through. Multiply each CMYK object to allow it to blend with the metallic underlay on press. Pastel colors create the best metallic hues.
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Iridesse Swatch Book Some colors work better with Iridesse than others. Take away the guesswork by using the pre-mixed swatches in the Iridesse Swatch Library. This is available when you download our Xerox Iridesse Resources. The zipped files contain and InDesign document called Master Metallic Color Swatch File Silver and Metallic G19 Metallic G25an entire Metallic G31 of metallic Metallicswatches. G1 Metallic G37 Metallic G73 Metallic G109 Gold.indd, which has library
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Metallic G20
Metallic G26
Metallic G32
Metallic G2
Metallic G38
Metallic G74
Metallic G110
Me
Metallic G21
Metallic G27
Metallic G33
Metallic G3
Metallic G39
Metallic G75
Metallic G111
Me
Metallic G22
Metallic G28
Metallic G34
Metallic G4
Metallic G40
Metallic G76
Metallic G112
Me
Metallic G23
Metallic G29
Metallic G35
Metallic G5
Metallic G41
Metallic G77
Metallic G113
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Metallic G36 on the Metallic G6 Metallic G78 Before Metallic project files G30 look veryMetallic different computer than theyG42 do whenMetallic printed. you G114 start designing, we recommend that you request a printed version of the swatchbook. This is a great design aide that will help you visualize the end result. Email kingofprussia@conlinsprint.com to request the printed swatchbook.
Me
Metallic G24 Iridesse
NOTE ABOUT IRIDESSE COLORS: The swatches contained in the library are all CMY colors – meaning they don’t have black mixed in. Black tends to make the color turn out duller. It is possible to mix your own colors with black, so once you get the hang of it, you can definitely experiment with using black in your color mixes.
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Creating a Design with Iridesse Ink Now that you know a bit about creating the metallic colors, let’s take a look at a finished project: an Iridesse bird postcard. (Find this project in the Design & Prep Guide page 37)
CLEAR SPOT OVERLAY Let’s Review The third layer contains a few spots of clear ink. When printed over Iridesse ink, clear ink creates a “dull” effect • Set your silver or gold underlay to 60% for maximum vibrancy. that contrasts with the shine of the metallic colors. Clear objects must be set to Overprint. • In most cases, silver will make the best underlay CMYK TINTS The second layer contains CMYK tints, set to various • levels of opacity. On this design, the background is comprised of pastel, iridescent colors while the bird • is made of opaque, brightly saturated colors. Pairing a bright, non-metallic color with an iridescent one creates • a beautiful contrast. Be sure to multiply each CMYK object. SILVER UNDERLAY The first layer of this postcard is a silver underlay, set to 60%.
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PAPER SELECTION With Iridesse, your paper selection can affect your design. Coated paper is the best choice to make this • ink pop.
because it lends more sparkle.
Your CMYK overlays should be set to 10-20% tint to allow the silver to show through. Multiple your CMYK layers.
Some colors make better metallics than others – we recommend using the Iridesse Swatch Library to take away the guesswork. Printing clear ink over metallic colors will create a “dull” effect. Set your clear layers to Overprint.
A mix of metallic and non-metallic hues provides a contrast that shows off the metallic ink. Your design will look it’s best on coated paper.
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How to Set Up a Design File for Digital Cutting Common Types of Cut Lines First, you’ll need to understand the four most common types of lines that our Zund Cutter can read. They are: CREASE: Instructs the Zund Cutter to make a crease without cutting all the way through (on our cardboard box, this would translate to a fold line)
KISS CUT: Instructs the Zund to cut partially through (ie, stickers where only the top layer is cut)
THROUGH CUT: Instructs the Zund to make a cut all the way through the material
ROUTE: Used for projects made with acrylic or metal, instructs the Zund to use the drill head in order to cut through the heavier material
In the Adobe Illustrator box template (above), the outline of the box has been created using the Path tool. The Crease line is green and the Through Cut line is blue. Each line is placed on it’s own layer, which is named accordingly.
Our Digital Cutter decides which cut to make based on the name of the layer and swatch. Ex: The green swatch used for the Crease line is named, “Crease” and its layer is also named “Crease.” Follow the naming conventions used on the chart (next page). 13
Step-by-Step Instructions TYPE OF CUT
LAYER/SWATCH NAME
CMYK COLOR CODE
Crease
Crease
100-0-100-33
Through
Through-Cut
100-100-0-0
Kiss Cut
Kiss Cut
0-100-100-0
Route
Route
100-100-0-50
1. Create the layers for each type of cut that you will be using in your project. Make sure that they follow the proper naming conventions*.
* Use chart to determine layer and swatch names
3. Using the pen tool, draw the paths for each type of line that you wish to create. They should be .25 wide.
2. Create a swatch for each type of cut that you will be using in your project. Make sure that they follow the proper naming conventions*. 4. Assign the path to the correct swatch and layer.
5. Create a separate layer named “Art” and place your actual design on that layer.
6. TO CREATE THE PRINT FILE: Turn off the cut path layer and leave the Art layer turned on. Submit your file to the printer as a .ai file with fonts converted to outlines and all links included in the file package AND as a PDF (this helps us figure out if there are any problems with missing fonts or links).
7. TO CREATE THE CUT FILE: Turn off the Art layer and make sure the cut path layers are turned on. Save this as an .ai file.
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Tutorial: How to Set Up Print Files For Gold, Silver, or White Ink Important!
Silver & White Ink
Make sure that all of your metallic or white text is in a separate content box than text that is being printed in a regular color.
This tutorial explains how to set up a file with gold ink. If you are setting up for silver, follow these steps but replace “Gold” with “Silver”. For white ink, use “WHITE-INK”. Note that these are case-sensitive and must be spelled precisely so that our machine can recognize them.
1. Open the document that should be printed with gold ink. Display the Layers palette if it is not already open. (Window > Layers)
2. Click the New Layer button at the bottom of the palette to create a new layer. Call this layer, “Gold.”
3. Place all of the text that should be printed in gold ink on the “Gold” layer.
4. Open the Swatches palette (Window > Swatches). Click the New Swatch button at the bottom of the palette.
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5. Call this swatch, “Gold.” For color type, select, Spot Color. For color mode, select CMYK. The actual color of the swatch doesn’t matter – just the name. Click Ok.
6. Highlight your text from the “Gold” layer and double-click your new “Gold” swatch to color that text Once all of your gold text has been re-assigned to the “Gold” swatch, you’re finished!
7. Click File > Save As and select Adobe PDF. In the dialogue box that appears, select the Compression tab. Select None for each instance where it asks for the Compression type. Uncheck the box that says, “Compress Text and Line Art.” Click Save PDF.
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Prepress Checklist Images
300 DPI/PPI resolution Convert images to CMYK Images are large enough to avoid pixelation Vector files are best for logos, icons, and graphics Images/graphics packaged with file or embedded
Document
0.125 or 1/8" bleed 0.5 - 1" margins Document size is correct Settings are correct for any cuts & folds, or perforation
Fonts
ABC Proofread your work!
Package fonts with the file OR convert text to outlines Check font sizes, styles, & justification for readability Check your character thickness - thin fonts don't print well!
Print Files
Submit a high-res PDF or a document package FOR PDF: Don't forget to export the proper bleed & trim settings FOR PACKAGED FILE: All fonts & images included in the package!
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Colors
Color swatches are CMYK (not RGB) If Pantones are used, the color number is correct All blacks are set to Black (0, 0, 0, 100%) not Registration (100%, 100%, 100%, 100%)
Misc.
Settings are correct for any special inks (metallic gold, silver, or white) If you are printing a saddle stitch booklet, the spreads are set up properly
For more free resources (like design templates) simply visit:
ConlinsPress.com/Library
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King of Prussia 1011 West Eighth Avenue King of Prussia, PA 19406 kingofprussia@conlinsprint.com 610-337-4460