Sending Work to the Printer | Dylan Mierzwinski | Skillshare
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16 Lessons (1h 34m)
    • 1. Class Introduction

    • 2. Class Project

    • 3. How this class works

    • 4. Why is printing confusing?

    • 5. Printers: An Overview

    • 6. Color: An Overview

    • 7. The Ideal Life of a Printed Piece

    • 8. The Artwork Guidelines Checklist

    • 9. Resolution & Dimension

    • 10. Color Modes & Profiles

    • 11. Bleeds, Trim, and Safe Areas

    • 12. Assessing and Applying Color

    • 13. Fonts & Transparencies

    • 14. Exporting

    • 15. After Submitting the Job

    • 16. Thank You!

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About This Class

If you’ve ever finished a beautiful piece of digital work only to hold a dimmer, duller, less awesome version in your hand after printing, this class may be for you! Although printing something can be as easy as hitting “Command + P” on your keyboard, the process of printing is very technical, highly specialized, and varies from print shop to print shop, so it makes sense there’d be some confusion! In this class I try to break down the mystery into manageable, applicable bits so that you can start sending your work to the printer and loving the results. Here’s what I cover:

  • What makes printing confusing
  • Types of printing services and print shops
  • Color gamuts, models, spaces and profiles, as well as the difference between spot and process colors, and how to apply them (yes, I talk about Pantone guides!)
  • The ideal life of a printed project
  • How to setup your files in both Photoshop and Illustrator for great results, and also how to review your files in Adobe Acrobat
  • How to facilitate design work between a client and a print shop, and how to handle expectations, mistakes, and challenges


1. Class Introduction: Hey, guys. My name's Dillon Mierzwinski and I'm an illustrator and sewing enthusiasts living in Phoenix, Arizona. In this class, we're going to be talking about sending a work to the printer. We're going to go over basics like types of printing in color terminology. I'll show you how to prepare your files and photo shop and illustrator. We'll also talk about some of the more elusive details to printing, like how toe work as the go between for your client, their project in the printer and what to do if something goes wrong, Let's get printing. 2. Class Project: for your class project. You're going to choose a print on demand service or print shop to get a design of yours printed. Follow along with the steps in the videos. To find the artwork guidelines for your printer. Prep your file for print and hit. Submit. With more confidence than you may have had in the past. I recommend starting with a print on demand service. Since the costs and volume are low on the project page, you'll not only find my project, which you can base yours off of but links to some products I recommend to get started with super excited to see what direction you're going. 3. How this class works: I know I give a lot of disclaimers before jumping into things of my classes, but this one is sort of warranted. My class is usually have a small to large ratio of lecture and demo ing, but this class is really heavy. On the lecture part. As I was researching, I realized that it isn't really enough to simply show you how to set up your bleeds and colors, faces and photo shop and illustrator though we will. But I wanted you to understand the reasoning behind the settings because that's what's going to make more making more comfortable in your workflow. The benefit of me doing it this way is you get all the information or the harder part up front, which means the execution videos theatrical. Here's how to apply these things. Parts of the class are super short and fast, and even better is if you need to reference how to set up your resolution or export your file, you can easily find the video you need without having to sort through the lecture. I hope you'll come with this information with an open mind and be gentle with yourself with taking it all in. I don't think you guys air stupid. On the contrary, you're trying to learn more to expand your discipline. I simply don't want you to get discouraged by the technical stuff we're going to be going through. And finally, as I got deeper and deeper into researching this class, it was clear the rabbit holes just weren't going to end. So while I feel proud of all that I've gathered to share with you, I'm by no means want you to think this is everything in the printing world. Let this be your confident first step. Okay, Let's do it. 4. Why is printing confusing?: For most of my life, the printer was annoying hunk of plastic that gather dust on her computer desk. It never really worked when you needed it to, and it was always running out of ink. And in fact, not much could turn my dad into angry dad quite like our printer. When I started learning design, I realized that there would come a time when I'd have to make nice with printing again, as I'd be dealing with a lot of projects that needed to end up on a physical piece of paper . Like some of you, I was told the definition of RG B and C M y Que told the colors on paper will never be a zvi vid, as those on screen told, Color Accuracy is a really important for clients, and then we just moved on to the next topic. Those three pieces of seemingly helpful information derailed my intention to print for a long time because those few pieces alone asked more questions than they answered, and I know it's pretty basic, but I just didn't really understand how we could look at C. M y que values on a screen at all and How do we ensure that my colors are accurate for my client and how what I do is a designer figures into the printing process at all. Like, what's my role? Eventually, client work came up that required printing, and so I had to do it. And slowly but surely that dropping of my stomach after submitting each job subsided and I realized that printing isn't so scary. It is a complicated subject matter, and I've made mistakes before. But for the most part it's a steep but forgiving learning curve. So let's first talk about why printing is so confusing. First, its technical and highly specialized, essentially digital data is traveling from our computer to an output device that needs to translate that data for a different medium. That data needs to work with actual machinery to execute the process. So not only is the theory of it difficult, but the actual mechanics of it is difficult to from my research. It seemed like people in the print industry specialize in one part of the process or type of printing overall, and they get really, really good at that. And so this means there are a few people who truly grasp the process in its entirety and can articulate how it works to people like us. Secondly, it varies. There isn't just one type of printing machinery or print process. Each shop offers different types of printing services with different printers, angst, stocks and specialties. And lastly, it's technology. So it's evolving things like printing an RGB edible thanks. Invisible ANC's fluorescent toners, etcetera are all just examples of ways the print world is evolving right now. So as soon as you have a rule down, like on Li u C M y que. For printing, it's usually broken by a sweet new technology that actually can print an RGB, so that makes things difficult. What does that mean for people like us? Well, you know what else is highly technical and varies from unit to unit cars? How many of you took drivers at and now drive a car regularly? How many of you fully understand how your car functions? My guess is very few. I know I don't and so don't lose hope over printing. It is technical, and you'll need to look under the hood just to get a rough feel for how things need to be, but you don't need to become a print expert to be an expert in your own part of the design process as it relates to printing. 5. Printers: An Overview: There are more or less six types of printing. Offset, digital, flexography, silkscreen, letterpress, and thermography. Offset and digital are the most common. That's where we're going to be focusing on the most. Offset printing is when the data for our print file is used to burn a plate that gets attached to the printer. Inked images go from the plate to a rubber blanket and are then applied to the paper, hence offset. Almost all commercial print shops offer offset printing. Offset printing can be broken into two categories, sheet fed and web. Sheet fed offset printing uses already cut sheets of paper to be fed through the press, and then once done, they can be put through various finishing processes for folding and binding, etc. Web offset printing uses a roll of paper to be fed through the precedent very high-speed, followed by the sheeting, gluing, folding and even fragrance adhesion that happens inline right on the press. All of that functionality and speed has its downsides though. Web offset presses are heavier, larger, more expensive to maintain, and sometimes so loud they need their own soundproof room. If something goes wrong in one part of the process, the whole presses down. In sheet fed printing, if something goes wrong in one part of the process, the whole press doesn't need to be suspended, but if it does, it's not outrageous for a print shop to have a second offset press. It's much more common for them to have that than a second web offset press. Sheet fed presses allow ink to dry naturally or to have a coating applied and then dried naturally. With web offset printing ink drying times have to be expedited because the whole presses so fast. Regular web offset presses are cold or only use uncoated stock because it drives faster. This is how newspapers are printed. There are heat set web offset presses which bake the ink on to either coated or uncoated stock to help the ink dry, but this can lead to fluting where too much moisture is drawn out of the paper ink, which can result in a ripple or a wavy effect. Both types of offset printing are high-quality. They work best for long runs and high volume. That's what the price point accommodates. They supports true spot colors, which we'll talk about a little later. They also offer a wide variety of stocks and sizes. Web offset printing does have less options than sheet fed though. As a real-world example of offset printing, it's common for magazines to print their covers on sheet fed presses which are higher quality to use as a wrapper for the interior pages, which are printed on a web offset press, which are lower-quality for their high-volume jobs. Unlike offset printing, digital printing uses no plates to apply the image. Instead, the file data is sent directly to the printer, which already results in lower costs in handling time. Digital printers and presses are either toner based, which think laser printers or pigment based, think classic ink-jet printers. Toner based printers are what you might find in an office, and these printers charge the paper with static electricity, which attracts toner, Which is like a powdered ink to the charged areas. They are not great for visual work because they have a limited CMYK gamut or range of colors, and the toners aren't guaranteed for light fastness, they're not as long lasting as pigment based printers. However, laser printers are really fast. Pigment and ink based printers have little nozzles that spray ink onto the page. They're excellent for photography and artwork as their extended color gamut or range of colors. It's very vivid and often can't be reproduced on offset process. There are a few reasons for this. Sometimes digital printers have additional inks beyond the basic four, which are cyan, magenta, yellow and black. Instead they have added ones like light cyan, and magenta, even orange and green. Even the ones that do only use the basic four. The pigments to use in the anchor finer and can add more power than an offset presses. Additionally, the internal look-up tables that printers use to convert colors from RGB to CMYK are getting really sophisticated and can sometimes just render color better than offset presses, will talk more about these color terms and the color section. They are just not as fast. Not old school inkjet slow, they're just not as fast as offset printing or even digital laser printing. Since there isn't a plate determining the oppression on the page like with offset printing, digital printing gives us a unique impression each time. This opens the door for variable data printing, meaning each piece can have something different on it within one print job. For example, If I printed an invitation design on an offset press, not a digital press an offset press. A plate would need to be made for that design, and that plate would be used to apply this same image to every invitation I ordered. But with digital printing, I can swap out the addresses on each invitation, making each one unique and saving time on addressing them. This also makes QR codes and bar-codes possible on marketing items. If you've ever printed with and seeing the promotion of their print affinity technology, then you're already familiar with variable data printing. Moos print fluidity allows you to order business or postcards where one side of the pack is all the same with varying opposite sides as many as you want. Digital printing doesn't have a lot of inline finishing, but your work can still be finished off press if needed. In fact, if you're interested, during my research, I found out that there's actually like a big heated debate in the printing world about doing everything all on the press versus keeping printing and finishing separate. Yeah, that's the thing. Digital printing is high-quality with a price point that accommodates low volume, which is less than 500, which is great. There's not a lot of support for true spot colors, but as I mentioned earlier, they still pack a punch with color. There's a wide variety of printable surfaces. Not just paper socks, but metals, glass, plastic, auto wraps, fabric and more. A real-world example of digital printing is spoon flower. Spoon flower can offer custom fabric because they were one of the first to use a wide format digital press to print on the fabric, which is essentially just a large inkjet printer. Instead of the traditional textile mill method of developing screens and plates for each color and design, or using some type of chemical sublimation, which is very expensive. That's digital printing. Flexography is a type of printing that supports photographic art texts and vector art and applies it to irregular surfaces and flexible packaging. Like snack bags, pet food bags, corrugated packaging and things like that. Silkscreen is typically for textiles. You might have a silk screen t-shirt and your closet right now, but can also be applied to irregular surfaces like bottles and jars and cans. Letterpress is a long-standing method of using pressure and ink to press an image or text into the sockets being applied to, its super fancy. It's very drool worthy, and it's also pretty expensive per piece, and finally, thermography is a different way to get texture on your piece, which is where heat is used to react an agent that's added to the paper similar to embossing. With all of that info, let's look at when it's best to use a print shop, print on demand service, or even print at home. Traditional print shops are going to have more capabilities with handling complex and customized print jobs, as well as better quality assurance for high volume work. If a client comes to you wanting 10,000 brochures, it's not going to make sense to place that large of an order with a print on demand service like this to print. In general, since larger print jobs are a bigger investment anyway, it makes sense to work with a specialist who can offer their expertise. Most traditional print shops list examples of what they can do, but it's by no means an exhaustive list. Whereas you can't call up this to print and ask them to print a custom folded booklet for your client. You're stuck with the products that they list as offerings. Print shops are also more apt to offer proofs before the job goes to print and additionally, if you're going to be working with true spot colors, which again we'll talk about soon. More than likely you'll need to work with a traditional print shop. Print on demand and on-line printers. With this I mean to print moo overnight prints. They're great for the middle people, which is most of us, for clients who aren't overly fanatical about the shade of red being used in their logo. Who need low to moderate volume and have someone usually you, the designer to comprehend artwork guidelines and execute the print job. The cost of these services is often much more competitive than print shops that have made ready and higher overhead costs. The downside is proofs are hard to come by, meaning you'll probably have to invest in a small order to ensure everything looks how you need, and there isn't a safety net of a print pro helping you out. Sure most of these services have like some QA that looks over your files to make sure there aren't glaring issues, but this isn't the same as a printing professional who's been doing this for decades. These services are also excellent just for testing out printing on your own. They offer a range of products that are both functional and enjoyable for your home and office. You can design a few items and have them printed to help your own printing education, all without breaking the bank. At-home-printing, usually with some type of digital inkjet printer is great for very low volume work. As discussed earlier, some inkjet printers have a wider color gamut than offset presses. If your work is illustrative or requires vivid use of color printing your own prints at home could be a really great option. Inks and papers can be expensive to buy. Like I said, any type of volume work is really best for print shops and print on demand services. In home laser printers are rarely viable options for acceptable printing quality. As we talked about, they're really great for crisp text and fast production, but they don't always offer great color reproduction or management. This is the big takeaway from the whole class when in doubt, just call and ask a printer. I used to think that I shouldn't do that because I should be able to figure it out on my own, but now that we all know that printers are all different, it's actually smart to call the printer and ask lots of questions. 6. Color: An Overview: Hi, it's me again, The disclaimer queen. I'll put a note in on this video where I start the actual color talk for those of you who haven't been scarred by color and would like to jump ahead, as I'm certainly not trying to waste your time. But if you've been confused by printing primarily because of color, I would like to try and give you a hug with my words to comfort you in this difficult time . Since starting my design journey and even since doing research for this class, I found myself many times thinking, This is so frustrating. Why do they make it so hard to understand? Like all caps? And then it dawned on me. There is no they, you know. Humans didn't just show up on the surgeon say, let there be color. It's just sort of this thing we have in our lives, and we don't have any control over it. It's dually scientific and subjective, and so doesn't it kind of makes sense that it's pretty difficult to take color and harness it, let alone standardize it for use across nationalities and technologies and applications. When you start to look at it, that way. It kind of makes sense why it's confusing. And so I'm just saying all of this so that you won't beat yourself up if you haven't understood it before and instead, except that it's just sort of one of those things. The good news, as I've said earlier in this video, is you don't have to have an exhaustive understanding of color as it applies to printing to have a success printing color and said you'll need to wrap your head around a few of the main terms in order to make better choices based on the printer you're using and the project you're working on. Going back to the car metaphor. You need to know that the brakes stopped the car and the engine makes it go. You don't have to understand it mechanically, but you need to be familiar. Okay, let's get to it. Ah, color gamut refers to the range of colors a certain device or object can produce. I'm going to link to a video that I think can support this and describe it much better than I can. But I will take an example from that video and adopted and share with you because I think it really demonstrates what gamut refers to So say I've got a box of 12 Kranz. I can color a broader range of colors that I can with a box of 12 colored pencils with the pencils. Even if I push down as hard as I can, I'm not going to get as saturated of colors as I can. The Crans and the Koreans can also color lighter values, so it offers me a bigger range or gamut and printers or the same way. They have a certain gamut a range of colors they're able to print, whereas a digital camera screen may have a broader gamut and be able to display brighter, darker and more saturated colors. Even paper has a gamut. Uncoated stock can't produce as vivid colors as coded stock, and so there's a difference in gamut between them. So it's really just a way to compare color models and spaces. Ah, color model is a way to represent colors as numbers. Within those models are recipes to create a certain color. For example, the recipe for white in the RGB model is 2 55 to 55 to 55. We have various models because they differ in their application models can be compared by Gammon. So, for example, RGB has a larger gamut of colors than C m y Que and the two best known color models for designers. R C M I k at heart GV. So RGB red, Green blue is an additive color model of red, green and blue light. An additive means that as you add the colors of light together, you get white. You should design an RGB when you're creating digital work that will be consumed on a screen or device that uses light to create its colors. C M y que scion magenta, yellow and key. Her black is this attractive model of science magenta, yellow and black ink. It's attractive means in theory, as you add the colors of ink together, you get black. If you actually make scion magenta and yellow together, you got sort of a money brown. So we have the black as the fourth color you should design and C M y que. When you're sending your work to be printed with pigments or inks, which is what Sam y que is. There are two exceptions or kind of special items that I want to mention here as a refresher from earlier. Some inkjet printers don't only use C M y que anc's. Some now come with additional cartridges like light scion and light magenta and orange and green. So these printers not only have a wider color gamut than an offset press, but they're expecting to receive RGB information for it to convert it correctly instead of C m y que information, which in some instances the printer will convert back to RGB. Then two c m y que again. And in those cases are conversion for our colors from RGB To see him like a might candy cap are potential gamut. But if we supply it an RGB, the printer is able to better convert the colors based on the available thanks. Sometimes they can even reproduce spot colors really well. But even those with only C M y que inks still may convert better due to sophisticated internal look up tables. Again, ask your printer if your job could benefit from the file being an RGB instead of C. M. I. K. And secondly, you probably won't run into this very often, at least not yet. But I thought it was cool and wanted to mention it that there are these laser or L E D printers being developed that exposed traditional photographic paper with RGB lasers before developing it with chemicals. And so those machines do use actual RGB data to do this so you wouldn't print that using and see him like a. There are other color models. Two examples. Air lab HSP, which is hue saturation value. Sometimes it's hue, saturation, brightness or hue. Saturation lightness. Ah, gray scale, which is a luminosity and indexed. Ah, color space or profile is a standard that defines a color model, and in English, you can think of a color space like a flavor of a color model, so some flavors of RGB are bigger and more robust than others. Examples of this again taken from that video that I linked Teoh R s RGB and Adobe RGB both are color spaces that use the color model of RGB to map the colors. The difference between the two are their gametes. S RGB is a more limited color space, but because of that, it's also like a lowest common denominator. There are virtually no devices that won't be able to display the full gamut of the S RGB color space. Adobe RGB, however, offers a much larger color gamut within the RGB color model. To give you a theoretical example. If I took a picture of a piece of grass and my camera in an oversimplified version of what it's doing to store data stores the color of that grass as 100% green that green could display differently. Based on the color space. I'm in 100% green and S RGB might be a slightly less saturated or break color than 100% green and the adobe RGB color space, which has a larger gamut and therefore has a more intense green. I know that the color value itself didn't change. In both instances, the oversimplified color data is 100% green. But because the gametes between the spaces differ, the color displays differently. The main take away here is that the space is simply a way to ensure that what you're seeing on your monitor, how the colors are being mapped is the same is how the printer will be using them. We'll be going over how to implement these things in a later video. Earlier, we talked about offset presses supporting both process and spot colors. But what does that mean? Process colors refer to the colors created, mixing C M y que inks and pigments together as your pieces printed, different screens of color are layered on top of one another to create a color spot or solid colors are premixed to the desired color and applied to the peace, as is so Pantone colors air all spot colors. You tell the printer the color number you want. They mix it and it's applied to your piece. After the process, colors have been applied. If applicable, the best way to remember if you have a hard time keeping them straight is processed. Quote colors require the process of separate colors being layered to create a single color where a spot or solid colors are already a solid color. They need to be in our applied as is. Some of what we went over should start making some more sense now. Offset presses, support process and spot colors, while digital presses don't have full spot support. But as we've talked about, digital presses haven't extended gamut that reinterpret spot colors really well in the world of printing. Specifically, there are set color systems to help standardize the use of color. The best known system in the US is called Pantone, which is a proprietor proprietary color space that uses 15 base colors to mix over 1600 spot colors. They also provide resource is for matching and reproducing process colors. Did you know that it isn't the only standard like it? And Papa is a spot color system with spot colors for newspaper printing. Toyota is a Japanese Spot Inc system that's gaining popularity in the states and similar to Pantone has a set number of specific spot colors. The difference is the color model that they're based off of true match. American Standard, I believe, uses the same color model is Toyo, but with a focus on accurately picking out process colors, not spot colors like Toyo and Pantone. All of this is to say there are many standards for color. Since Pantone is so prevalent in the US, though will focus on the guides for that. There are all types of guides for different disciplines, but for the most part, I can recommend to their process color guides for coated and uncoated stock and their color bridge for coated and uncoated stock process guides. Although from Pantone don't have anything to do with spot colors, this is sort of similar to the problem. True Match tries to tackle every page of the guide has two columns of delicious process colors to choose from. One book shows all of these conversions on coated paper, while the other shows all the conversions on uncoated paper. Beneath each swatch is the corresponding C M y que formula that you'll need to implement the color. One glance of the uncoated cm, like a guide instantly communicates the limitations of C M y que. If you have one, go to the orange section and you'll see what I mean. There's not a lot of bright and vibrant gorgeous to choose from color bridge guides. As the name suggests, try to bridge the gap between spot colors and process colors, so you kind of get to guides and one, in fact, if you can only afford to buy one set as they're pretty pricey, I would recommend the bridge guide. Every page of the guide has two columns of color. On the left is a Pantone spot. Color on the right is the best representation of that color using process ANC's along with the C M y que formula and hex value. Again, there are two books that show these values on coated and uncoated stock. These guides air helpful in more ways than one. The obvious is you have a way to approximate how your process or spot colors will look on a given stock, lessening the margin of error with color accuracy as well as consistency for branding. You're able to determine whether you can print it. Project with process colors or whether you'll have to spring for a spot color to produces color. C. M Y que Simply can't and their great tools for understanding the limits to the C M Y que color gamut. You can really develop an intuitive feel for where c. M y que might fall off and how things will look not on your screen, which can all steel you steer your choices as a designer. For example, maybe blue is a classic color that CME why can't produce very accurately. So if I know that my client doesn't have the budget or interests to afford spot colors on all their printed collateral. I probably won't brand them with a navy blue are a similarly difficult color, like a bright orange. They can also help you get a better understanding of how stocks offer different gametes. The colors on the coded stocks seem to leap off the page, whereas colors off on uncoated stocks seem less vibrant. And lastly, Lee noted, to help you educate your clients on color, if they want a certain color that you know could be troublesome, you can sit down with them with the guide and show them why they should or shouldn't produce the peace in a certain way. In a later video, I'll show you how to specify spot colors and Photoshopped and Illustrator Oh, so what is all of this mean? It means that in order to wrangle and all that we know about color and put it to use, we need to have a color management system now. Traditionally, these air super technical calibrations between devices, but I'm kind of stealing and adopting at the term to talk about a more casual workflow for how we can handle color and prints successfully. So the steps that you can add to your workflow could be understanding and implementing artwork guidelines prevented by provided by printers so setting color space and using the right color model, which you're learning in this class. So good job. You can get a device to calibrate your monitor to help ensure that what you're seeing on your screen as standard. Very few monitors are set up to handle color accurately by default. Note. I haven't done this yet, but after researching for this class, I'm probably gonna go for it soon. It seems like they're getting really accurate with making your screen look close to what you can expect. The printed page toe look like. Using color systems like Pantone and True Match to communicate color are great ways to strengthen your success rate with printing and managing expectations and looking at proofs . Proofs of your work obviously makes it easier to sleep at night, sending a job to the press. Also, you later how to proof or view your colors in a way that better resemble better resembles the printed page. You can use I C C profiles, which are sets of data that help tag your document with the correct color space and input and output information. For example, the book publishing company Blurb has its own I C C profile that you can download and use on adobe products to ensure the files and colors will translate correctly to their press. And the more you print, the more you'll naturally add to your color workflow. And lastly, this is a super advanced measure, but there are companies out there that can help with a technical color management system. 7. The Ideal Life of a Printed Piece: The first thing you can do to make your printing life easier, is to not fall into the trap that most designers do. I know I have, which is bringing the printer in too late. From all the information in the previous videos, you now know that printing as a technical discipline with many options and paths. As soon as you know you're working on a project with a print destination, you need to start asking a lot of questions and communicating with a printer. If you're working with a client, educating them on the nuances and complexity of printing, then agree on a direction. Bring the printer back in the loop with the direction you're moving in and collect any guidelines you'll need to keep in mind. Get your client and printer to sign off on stages along the way so you have something to fall back on if there's an issue down the line. The process of designing and checking in can have many iterations. Rely on proofs whenever feasible see, you can get approval on how the final product will look before sending it to press. From there it's prepping the final file and sending it off. Keep all this work in mind when pricing, you deserve to be compensated for putting in time on this crucial part of the project. You might have to call for printers, explain your project to them, ask them questions and play telephone between the printer and your client, and then do the actual work for the project. All of that is billable and the reason someone hires a designer. Of course, sometimes you have questions for your client or information for your printer. But in general, I try to stick to the model of going to the printer with lots of questions and going to my client with lots of information and options. 8. The Artwork Guidelines Checklist: There's a basic list we can use to make sure we have all the information we need for our project. Let's go over what these items are first then I'll show you how to handle them in both Photoshop and Illustrator. These aren't in any particular order. I just tried to group them in ways that might seem organized. Starting with resolution and dimension, resolution refers to how many dots or pixels there are per inch. If I could build a picture with 72 dots or 300 dots, the 300 dot image is going to be able to show more detail. This is why so many printers require your images to be 300 DPI, so fine detail is represented cleanly. The exception to this are printers that print on different materials like Spoonflower and Society6, who ask the resolution be 150 DPI for a quality print on their tapestries and fabric. Another exception is when you're printing large format like posters and billboards, in which case the viewing distance can change the resolution. We view billboards from many feet away, so having perfect crisp lines isn't as important as an invitation you're holding in your hand a foot away from your face. If you're working in large format, be sure to ask your printer what resolution your output should be. If they say 150 DPI for a large project, you could work on your project at 300 DPI at half the size, then export it at twice the size, and therefore half the resolution. Dimension refers to the actual physical size, for example, eight inches by 10 inches. As a side note, a file size is determined by both the resolution and dimension because the amount of pixels drives up the file size, and the amount of pixels is determined by how many are filling the inches on your product. So if I have a five inch by five inch image at 300 DPI, and a five inch by five inch image at 72 DPI, the 300 DPI file is going to be larger because it has more pixel data than the 72 DPI picture. The relationship between resolution and dimension is super important. There are lots of really great explanations out there of how they work if you need more detail than I've given here. I'll be sure to link to some helpful articles in the class resources. Moving onto color, space and models. As we talked about earlier, choosing a color model and space is simply assigning our document a tag, if you will, for which color collection should be used to view the colors as intended. You'll be working in RGB or CMYK, more than likely CMYK, with a color space that's determined by your printer. For example, Artifact Uprising, a company that does photographic prints and books, so probably digital press, request your files are in RGB and in the sRGB color space. Your printer will let you know what color space or profile you should be in, or even could provide you with the ICC profile that will automatically plug the correct info in for you. Trims, bleeds, and safe areas all have to do with document boundaries. The trim line is where your artwork will actually be cut, so if I'm working on a five by seven invitation, the trim line will represent the five by seven area. The safe area is a reasonable margin within your trim area where you should not extend important text and graphics past, to keep it clear of the trim line. Bleed is a way to extend your artwork past the trim line to ensure the color is printed from edge to edge, for example, if I have a postcard that has a yellow background, I want this area to extend larger than my postcard so that after it's trimmed, it goes all the way to the edges without a small white border. If your project has borders that touch the edges, the printer will probably give you a margin for how far the border should extend into the bleed, as well as how far it should go on the inside of the trim area. Here, we're reviewing the colors in our document, assessing final process and/or spot colors and applying them, and also assessing our black values. Let's talk about the darkest values in your artwork, which can be described as flat black or rich black. Flat or standard black has a CMYK value of 0-0-0-100, and produces a very dark gray that's flat. Rich black, however, brings in small amounts of the process colors to add dimension and weight to the black, so 30-30-30-100. Use flat black for fine lines to ensure crispness by preventing potential ghosting, which is when the screen for each color is slightly misaligned or misregistered, resulting in a blurry, strangely colored line. You'll find ghosting on newspapers sometimes. Use rich black in larger areas to create more dimensional dark value. Fonts and proofreading. Proofread your stuff. It's very common for designers to overlook misspellings and mistyped information. After all, we're converting color models, implementing design theory, communicating a message, solving problems, so it makes sense that you're looking so closely at the kerning between an I and an E that you don't realize that heist is spelled wrong. This happened in the Dark Knight series. Isn't that so dumb? I like to read my work over twice to myself out loud, not in my head because your motor skills will trip over issues better than your brain, well if you're reading just in your head, which is constantly correcting things for us. Then have someone else read it, then have five more people read it, then make sure your client reads it, and just really make sure they read it for sure, because printing is a long and expensive process, so don't let a misspelling ruin all that hard work. You can even throw the copy you're given into a Google Doc and it'll do a great spell check for you. It even has current football player names up-to-date, so that's cool. Photoshop and Illustrator do have built-in spell checkers, but I recently discovered Illustrator didn't know relatable was a word, so not cool. For most printing projects, you'll be submitting a PDF. In these instances when you aren't providing a working file and supporting assets, you need to outline your fonts. This way, it doesn't matter if the printer has the fonts you've used or not, everything will print correctly. You want to have all your text editing completed before this, or just keep a copy of the text on an invisible layer until you know for sure that it's final. Also use this chance to check that none of your font sizes are too small. I'll link to a resource on this. Transparencies and other effects, drop shadows and such, are being rendered by the graphic software you're using, so to ensure they'll print correctly, they should be flattened. Illustrator has a quick way to handle this that will take a translucent instance of a royal blue and change it to it's fully opaque hue of the same effect. This one's pretty simple. You just want to double-check your line weights just to ensure none are too thin for intended print quality. I have linked to a helpful guide that helps display common line weights as they look in real life. If your project calls for specialties like die cutting, and bossing, or gold foil, you'll need to supply artwork that lets the printer know where this will be happening. In most cases, you'll designate a color to represent the area that has this special treatment, and output that out artworks separately. For instance, offers foil on their business cards, which I've ordered before. I supplied them two files, one with the artwork to be printed, and the other was a black and white document where the black indicated the areas that needed to be foiled. Keep in mind that die cutting and bossing are big, intense jobs that will require a lot of communication with your printer upfront in order to run the course of the job successfully. Finally, we get into exporting. As I said earlier, when you get to exporting, you'll most likely be exploiting a PDF, or in the case of some PODs, a high res JPEG. Sometimes you'll instead send a working file, in which case you'll also need to bundle the assets that are in the document, for example, fonts and images used in a document will need to be supplied along with the working file if they haven't been imbedded. Both PODs and print shops usually have their file prep guidelines on their website. To find it, I usually scroll to the bottom of the site and look for something along the lines of FAQ or help. Something that will lead me to documentation. From there, you may find the words artwork guidelines or file prep or something, and this, my friends, holds the gold to printing successfully for that printer. It will state all the important ways you need to set up your files. If something isn't listed, you can either call them to double-check, or know that it might not be pertinent to their specific printing process. As always, if you're confused about these guidelines or even a little unsure, just reach out to the printer to clarify. Lastly, some PODs and other printers have working files you can download as templates. These will already have the correct settings and will usually have guides for bleed, trim and safe areas. 9. Resolution & Dimension: Let's take a look at how to set up your resolution and dimension and photo shop. If you're starting from scratch, then all you need to do is pay attention to right over here. You can see I have my width and hype. It's usually gonna be in pixels, but I like to switch it two inches for when I'm working in print. Because obviously, you know, that's the unit I'm used to. And right here is where you set your resolution so I can hit. Okay, If you're working from a document that has already been started, you can find out what the resolution and dimension is by going down here and clicking, and it will show me. The width is 3300 pixels, 11 inches by 5100 pixels or 17 inches at 3300 pixels per inch, which is what I want. If you're not seeing those numbers, just click on this arrow here and you can pick document sizes. If you need to alter your resolution from a working file, you can go up to image and image size, and you can see that I can change the resolution here now. The only thing is, is, um, you want to keep in mind that you can't just take a picture, an image that's at 72 d. P I and bump it up to 300 expected to be a sharp image because essentially photo shop is going to add pixels, but it's going to guess based on the pixels that are around it, and so it's not always going to be on ideal result. But if you need to change your resolution, that's where you do it. All right, let's take a look at how to set resolution in Dimension and Illustrator. So from the new Doc Dialog box, just like in photo shop, you'll see that I have my width and height, and I can also said it two inches. But you'll notice that I don't really have my resolution anywhere. If you hit this more settings than you can see my raster effects, I can set these 2 300 And the reason that it's not as out in the front as it is in photo shop is because illustrator is a vector program, and so you're really not setting a final resolution until you're exporting a graphic from illustrator because vectors inherently don't have resolution. So, um, I've got my raster effects settings to 300. I can set my width and height, and I can hit. Okay, Um, I had to art boards. So that's why they hurt, too. If you need to change your resolution from a working file, you can go up to effects and document raster effects settings and you'll find these here, So Okay. And, um, those settings are really only important. And illustrator, if you're bringing in external images that have, you know, 300 resolution, you want to make sure that you're able to size things correctly. So if you are way too big and you bring an image in or something, you know, it just makes sure that images and things that are raster zehr going to view correctly. If you need to change the dimension of a working file, you can just use your art board tool, which the keyboard shortcut is shift. Oh, or it's this I can over here that looks like a page with cross hairs on the top corner, and you can either click and drag or you can go up to the width and height up here and dial in what you want. So maybe I want this to be some 11 inches by 17. I can hit, enter in, zoom out. And when I'm done, just go back to my selection tool and I have changed the dimensions. Um, I can also set the resolution on export if I'm exporting a J peg so I could go to file export export as select a J peg. If I have more than one art board, I can determine which are boards I want to export and export. And then this is where I can set my color mode, the quality, the resolution and whether I want to embed the I C c profile or not. 10. Color Modes & Profiles: Let's talk about setting up your color model in your color space in photo shop. So we're actually going to take a look at the settings first. So if you go to edit and color settings, we can kind of set up some general rules that we want to happen all the time. And so the first thing we're going to look at our these working spaces and this is basically saying this is the space that I wanna work in when I'm in photo shop. If I'm in RGB, I want to be in the S RGB color space. If I'm in c m I k, I want to be in the U. S. Web coated swap 32 or whatever. Um, you can change these if you want Teoh and then down here, you can also tell it how you want to manage the color. So her instance if if you bring in something, do you want it to convert the image to the working space that you've designated up here? Do you want it to keep its embedded profile? Or do you not want it to color? Manage it all? And then down here we have these options where we can ask it. Teoh, ask us when it's opening, if there's a profile mismatch or when we're pacing something, if there's a profile mismatch or if there are missing profiles. So if you have these things set up to how you want them, then it's going to be easier to just switch back and forth between the color spaces if you need to while designing. So since we already have a document open, I'll show you how to change your model and profile in an already open document so I can go right to image mode and you can see that right now I'm in RGB. But I can switch over to see m y que. And since I had that check box, this is just letting me know. Hey, you're about to convert to see m y que. So it's telling me I'm converting my model to this profile. This US Web coated swap. Me too. This may not be what you intend. If you want to change it, go back to edit and go to convert to profile so I can hit OK, and now you can see in my file appear that I am in C m y que. It was also saying that we can go to edit and convert to profile, and so that's going to bring up. Some of the similar options were used to where we can set the destination space that we want to set it to. So that's going to be the working area that we set up in our settings, which for C m y que is the U. S Web coated. So if I want to switch that, I can, and then this is going to determine how it interprets and, um, and it switches over pixels. And so I just keep these as they are, because I don't understand them enough to change them. So, um, and that has always worked for me. So if you are starting in a new a new document hoping one up, then all you need to do to set your color mode is right here beneath resolution. You have all of these different color models, which they refer to his modes and photo shop, and then down here, European settings might be twirled up like this, but you can take that down and then you can go ahead and get in and change to whatever profile you want and create, just like in photo shop. If I go to edit and color settings, I can set up my working and my color management policies for which profiles I want to be associated with. Which working spaces. And so I wanted to show you that you can also set your color mode when yours starting a new document. You'll see my color mode is right here. And then, um, I believe you don't you only set your profile through those settings And so I've got RGB set or just like in photo shop, I can go ahead and go to edit a sign profile, and I can change it if I want, so I can set it to the working. Or I can pick one of these ones and hit OK, a tip that I found is helpful in Illustrator to if you're having a hard time. If you've already created artwork and your document isn't set up correctly, it's so easy to select everything you need. Copy it and open up a new document and set it up as you need, so don't be afraid to try that, too if you set everything up in RGB and you're having a hard time converting, just open a new document. Set it up is you need it to be copy and paste the artwork and a zoo, long as you have your setting set up. Illustrator will ask you, You know, do you want to convert this to the pro for the color motives and then he'll just say yes. 11. Bleeds, Trim, and Safe Areas: Photoshop doesn't have any really built-in bleed capabilities and what we're going to do is simply add on our bleed to our trim size and that's going to happen in this dimension area. Your printer will supply the guidelines for what your bleed should be. I think usually it's a quarter inch and so the width obviously is going to add on to both the left and the right. So if I have a quarter inch on each side, that's adding a half an inch. So I'm going to change my width to eleven and a half and the same for the top and bottom. If I want a quarter inch bleed on top and bottom, I need to add a half an inch. So 17.5, I have my resolution set and I can hit Create, and so now I have the bleed built right in and what you can do is you can use your guides. If you don't have your rulers over here, you can go up to it's under View and Rulers. I have the command R memorized, so that's what I use if I need to bring these up and you can drag your guides out, and I'm watching the little tick marks up here to determine about a quarter inch just so that I know where my trim line is. I'll drag these out. Great, and then so now that I, this is one is just not even close. So now that I have those setup, I know where my safe area is going to be, which I'll just give it another quarter inch within the trim just to keep it safe. Again, just way off, we go and bring these down and now I know where my trim and my safe area is. So if I want a full bleed color, remember even though my document is going to be trimmed at 11 by 17, I want to make sure that I extend all the way so that when this is trimmed off, it goes from edge to edge and doesn't have a white border around the trim line. If you already have a document open and you need to add some bleed, then you can go to image in Canvas size and you can just go ahead and change that. So let's say I hadn't done this already and I had to add another half an inch, it'll go to 12, and 18 and hit Okay and you can see that it's just going to grow from the center the little bit that I need. If I need to set up my document boundaries in Illustrator, then starting with a new document dialog box. You can see that bleed is something that is built right in, which is something that's nice over Photoshop. So it's really easy for me to just dial in my, that's an eighth of an inch. I can go a quarter inch, Bleeds and hit Okay and you can see that what I get are these red lines around and so you might be used to exporting things in Illustrator and having the art board be the document bounds. But in the case of a bleed, it will export this bleed information. So if I were to extend my artwork to the bleed and export this as a PDF. Even though the art board is right here, it's just really acting as my trim line and it will export this extended area. If I need to set up my safe area, then just like in Photoshop, I can use my guides. One thing that's cool here though, is once I have them set up, if I decide that I just don't want these cross hairs or if I just want my own shape, then what I can do is grab the rectangle tool grab, drag that shape out, and go up to view guides, make guides and so now if I get rid of, my guide's over here. You can see that there's this pink box leftover, and that is my guide that I made, which is nice so I can lock it like anything else and I've got that good to go. If you already have a document ready to go or setup and you need to add a bleed to it. You can always edit and add a bleed by going to file, documents, setup and then you can see that I have my bleed right here and if you don't need an even bleed on all sides, then uncheck this check box so that you can toggle these independently of the other ones. 12. Assessing and Applying Color: if you're working in RGB, but want to see how your colors might be converting to see m y K you can proof. Hm. Now this is it really is just a, ah slight indicator. It doesn't always get it all the way, But we're going to go up to view and you can see that I have this proof set up right here. And basically, this is saying when I'm proving my colors do it based on this and so I want mindset toe working C m y que and then you can see proof colors Has the command are the keyboard shortcut of command or control? Why? Which means it is toggle a bowl so I can turn it on and off. So watch up here where it says rgb um I mean hit command. Why? And you can see c m y que shows up and the heat keep hitting command. Why, it's gonna turn on and off so I can look at my document and try and zone in tow where things were changing. I am seeing a slight difference. I'm not sure if it's going to translate through my screen to the screen recorder to the compression of the Internet. But I can basically see, as I expected, that since all three of these air pretty break colors, they're dipping slightly when they're in Sam White K. So I just might want to keep that in mind that maybe these aren't going to print how I think they're going to additionally, and I'm not sure if the screen recorder will change this, but you can bring your brightness down on your computer, and that can give you a great indicator to, or at least like a general ballpark of how your colors might print. If I want to apply a process color to my document, then it's pretty easy. I have a yellow picked out for this process yellow, and what I can do is double click. And if I, if you don't have a guide than one of the things you can do, is select this when you have your color picked out like, let's say this yellow say I wanted a yellow like this, I could click color libraries and then select the one that I'm using, and it's going to find the closest color that it thinks I'm looking for eso. If you don't have a guy that can work pretty well. Uhm, I'm going to go up to Oh, this is there. Since I'm choosing a process color, I'm going to go ahead and oh, but I'm in my color bridge, So I want to go ahead and go to color bridge, uncoated. And, um, I know that I'm looking at the right colors because it says u p which is uncoated and process and which is what I want. I want process colors. Sorry about that. I have, Ah, an app that helps monitor my color temperatures from ice creams. And it's not supposed to turn on. Okay, so I know that I'm in the process colors. Um, and according to my color bridge, the color I was looking for was actually 107 And trying to use this color dropper and these arrows is kind of a nightmare. So the best way to do it is to just quickly type the number on your keyboard, some type 107 and that brings it up and I'm going to hit. Okay, so now that color is loaded into my foreground and I can just command click on my layer over here and hit option delete to fill that with my foreground color. Now it is true that c m y que prints a little darker than the page. But even when I turn this down, this isn't the type of yellow I'm really looking for. I can tell it's a little light and so I'm going to actually fill it with a different color . So another way to do it is to just style in the numbers yourself so I can see that, um, the 0 to 79 0 down here for Sam y que is the Pantone 107 that I picked out. I'm gonna go down one step and you zero for 95 and OK, and feel that and that looks much better to me. You want to try and split the difference if you can, you want it to be maybe a touch lighter than you want it to be in the print. But, um, not so light that you'll be upset if it's some to washed out or something to add a spot color to. This is a little bit more intricate, and luckily, illustrator handles this a lot better. But it is kind of a more a few more steps in photo shop. So bear with me. The first thing that I want to do is I want to make sure that I have my area set up where the spot color is going to be correctly. So for me, I chose a spot color for this blue. And, um, for one thing, you can see that my blue is all on one layer and, um, where things overlap. So where these black lines are, you can see that's knocked out from the blue beneath and also that there is nothing beneath the blue. So I have these the checkerboard, letting me know that there is no color back here. And that's because the way that this is going to work as it's going to print all the process colors first. So it's going to use C M y que to go ahead and print this on here. And if I have any of these background pixels or even this blue in here, that's going to first print with process colors, and then the spot color is going to be applied on top of it, and so that could give me some errors with how the color looks if it's going on top of other inks. And so I just want to make sure that it's easy for me to basically just use this layer as a guide for where the spot is going to go and make sure that everything beneath it is already knocked out and ready to go for me. Okay, so once you have that, you're going to save this as a selection. So I'm going to command click on this little icon, and that will select everything on the layer perfectly for me. And I'm going to go over to my channels here and down to this icon. It looks like the mask icon that's in the normal layers panel, and that's going to add this Alfa Channel for me. That basically saves that selection so you can see. Even if I were to delete that layer in this channel over here, I could command click and select that still, because it saved the selection for me. So I'm gonna undo that because I do still want that blue layer for reference. And now we need to add our spot channel. So first about these channels. We're not gonna go too deep into this. And actually, I need to change over to see him like a Before I do this, I should have changed over to see him like a before I was applying those values to the colors, actually, but I didn't. I forgot. So now you can see my channel say C m y que and I can check on this yellow to see that it come over. All the colors did shift a little bit. So zero for 95. Okay, back to these channels. So we're not gonna go too deep into channels. But basically, these little pictures you can see here are representing the masks for each screen of color . So if I turn everything off except for my yellow screen, wherever it's darker is where their arm or there's more yellow and where it's lighter, there is less yellow. So you can see that even though this is the yellow color, it uses gray scale to tell me the values of how concentrated the yellow is in different places. So all of these colors, as we know, we're going to get laid down, and then our spot color will get added on top of it. So we need a separate channel to designate that spot Ah, color to talk to the printer to say, Hey, there's this other this other ink that's supposed to come in. So all I did was click this little fly out and I'm gonna click new spot color And I can go ahead and click on this color and I have my books again and this time since I'm picking Okay, let me explain what's going on right now. I have my color bridge open and it is the uncoated one, and I have picked a spot color from it, not a process color. Remember, the bridge guide is supposed to help you find a good substitute for a spot color when you need to use process color. So that being said, I'm actually not going to pick the color bridge uncoated guide because that's going to give me the process values for the Thea other color. So I picked 3 10 instead of giving me the three ton Pantone spot color is going to give me the three ton process color, which is not what I want. So I'm gonna go to Pantone solid uncoated, which I'm already on. And of course, since I was testing this out before recorded, it's already there. But let's say I was in the wrong spot. I am just going to go ahead and type really quickly again. It's gonna bring my color up and I can hit OK and hit. OK, so why isn't there any blue? Well, if we look over here, we can see that this is a mask. And right now where the spot channel is, it's all white, which means none of the pixels of that spot channel are being revealed. And this is where our save selection is going to come in handy. Someone, a command click on that and then with my my spot channel selected and my foreground sets a black because remember, black is what's going to reveal this mask in the colors beneath. I'm just going to hit option delete to fill my area with that And looking at this, the color looks a little lighter than I want, so I might even go in here and choose 3 11 instead. Yeah, that looks closer to what I was looking for. So now you can see even though this artwork is turned off, the spot channel is making the color be there. So then, if I deleted that again, you can see the blue is still there because it's the spot channel that's telling it to be there and again. I made sure. Let me turn this off. I made sure that there were no process colors in the place where the spot color was gonna be so that it didn't get laid over top. So let me turn this back on. So now if I were to export this and we're gonna go over exporting in another video, so don't worry too much about this. I'm going to export it as a pdf. And I'm not worried about my Alfa channels, but I do want my spot colors, um, to be saved. I'll go ahead and save it. Yeah, yeah, yeah. I want to make sure. Yep. It's gonna be output a c m y que. And if I go to open it, you can see Whoa, Dylan, you lied. And it's white. And it's not blue. Well, that's because right now I'm viewing in preview in preview is for, you know, documents made for the computer, and we just made a file for print, and so it's just not really as sophisticated to show us what we need. So one thing I want to point out is you can see with these two windows open that this yellow is a little bit more washed out. So once you export, you can really see the full conversion to see M. I. K. And then you can tweak the colors of necessary. So if I notice that while this orange is a lot dingy here, I might go back in here and intensify the orange and then re exported and see how I like it . But I digress. What I want to do is I want to open up my pdf with Acrobat Acro bat instead and you can see that it's showing the blue in here. But, um, what's even better is one of the tools we can use. So if I goto tools and down to the bottom to print production, there's this output preview that we can pull up, and sure enough I can see that I have all of my process colors, and then I have my Pantone plate right here and what's nice is as I drag my cursor over. Um, it's going to give me if you look in the look over here as I drag the cursor over the spot color, you can see that. Sure enough, it's registering that there are no process colors underneath there and that it's a Pantone spot color 100% of the way. Taking up the space right there. If I had not knocked out those pixels, so I'm gonna go ahead and so you can see I'm gonna turn the spot channel off, and I'm going to fill these pixels back in with the tope color of the background. I'm gonna turn the spot channel back on and re export, so everything is the same except those back, Um, those pixels, the background pixels air back there and save it again in the exact same way. Make sure that my output is set, how I want it. And if I open this one up an acrobat, we get different results. Do you see how the turquoise is now? Kind of sad looking, And now the total coverage area is 126% because there are for those process colors showing up underneath. So if you look there versus the other one where this turquoise is nice and blue, it's because it is showing me that hey own it's only 100% covered by that spot channel. And if I turn off this over printing, it's going to take that away. So the same here. If I take the over printing away, I'll see my background color. One thing I want to show you that I almost forgot. I'm really happy I didn't is too. Make sure that you if you need to do a screen of a color so there. Sometimes when you're only limited to two spot colors for a design and you're thinking, well, that really limits me well, you're not only stuck with the 100% value of that spot channel, you have all the range of tones in between as well, and that still counts is one color. So since this is a mask, remember in areas that I want to use lighter values for this for the spot channel, I can just paint with something lighter than black. So ah, gray color is going to bring this up here. A great color is going to come through as I do this ring. Get this selection made. You can see that as I paint with Grey, it is making this a little bit lighter. And let me, um, interpret out to get rid of that background layer I made back there. And you can see that we can see the checkerboard through there. And, um, if I export this again and bring it into Acrobat, you're going to see that that the calculation is no longer at 100% spot channel there. Instead, just open it up and see. Is it this one was talking and not paying attention to what it was called. Um, so open this up. Let's see, just so you know, if you have a pdf open already in Acrobat and then you update it and open it, sometimes you have to close it and open it. So, um, let me just received this in pay attention to what I'm doing, so save as Okay, So now an over print preview, you can see that this color blue is lighter. And if you look at my total area coverage, it saying it's only 60%. So that's how you can set screens up in Photoshop. You can also use this tool to cover to see how much black is in an area. So if you look over my total area coverage, it's saying that my black is made up of 75% scion, 68 per cent magenta, 67% yellow and 90% black, which is really heavy. That's 300% coverage for this black. And so what I can do is I can go into photo shop. You go to my layers, find where I have my black lines, and I can knock out all of the process thanks behind them, because remember there being layered on top. And so if I'm able to remove all these process inks that are beneath the black, that's going to help reduce my black coverage. So I'm going to command click on my black areas and then go to each of these layers and just erase, and that's going to erase any of the pixels that are behind there, my background. And so now, sure enough, if I turn off my lines, you can see that there's nothing behind there, so we'll go ahead and export this again. I'm going. Teoh, open an acrobat. Now, when I go over these black areas, it is not anything different. Oh, uh, because it's not only the knockout, I also need to make sure that the value of the black on this layer is not too much. So I have some pretty thin lines in here, so I don't want to do Rich black. I'm gonna go with a flat black saw the U 000 100 gonna fill that layer with that. And now I should be able to go ahead and save it. There we go. So now you you can see that as I scroll over this. That's exactly what those numbers are. 000 100. So now I don't have to worry about any ghosting happening. Or sometimes if you get too much ink piled up on the paper than it can Pete, like, pick like it can. Things can catch on it and kind of tear it. So you want to just kind of keep an eye on that? So that is how you assess and apply all of your colors in photo shop. Okay. So you can see that I am in C m y que mode. I can see that up here. And if I want to apply a process color, just like in photo shop, I can go ahead and double click on this. And this is where I'll get my C M y que values and so I can just enter those in right there . If you want to do the trick where it tries to guess the closest one instead of doing it in the color picker, you're going to do it in the re color artwork tool. So we'll click on that, and we're going to click on this button that limits the color group to the colors in a certain Swatch library. If I go to color books, you can see I have access to all of my Pantone's here. So if I were picking a process color, I'd want one of my bridge so I could do this and you can see that color changed ever so slightly, and if I double click on it, you can see it opens up the Pantone's so I can keep that where it is. Or I can type one really quickly and pick one, and added that way, So that's 22 ways to bring it up. Or you could go to your swatches and click on this Fly out and I'm going to open Swatch library color books and those are all there to. And then so same thing I can open up my bridge uncoated, Um, this is nice because it just has a little search box where I can bring up, bring up my colors and then just select one. And so now I know it's the right process color that I want if I need to make a screen of a color just like I did in Photoshopped. Mom, it's actually a lot easier and illustrators, So I'm going to open up a color book of actual spot colors. Right now, I have processed colors so out to sea M y que uncoated open, not seem like a sorry Ah hum solid, uncoated, and I'll just pick a color. And so now this is a spot color, and if I double click on the swatch, you can see that it's a spot book color. And if I want a, um, a screen of this, so I want to use this color and use its multiple values. The way that I can access those is by going up to window and color. And that's going to bring up this tint rap tint ramp that shows all the tents of the color . And if I click on one of those, then you can see that I can go ahead and export this. Don't worry, we'll go over. These is going to say I already have one named that That's fine. Go over it. I have my settings, how I want them. Let's save and I'm going to go ahead and open an acrobat. I had one open, so I'm gonna close it. Go ahead and open with Acrobat and you can see that right here. It's saying this is 100% Pantone, and if I go down, it's 45% Pantone. So doing that color ramp is the way that I'm able to go ahead and add a screen in. And the nice thing about illustrator is it's also really great for Remember, we're talking about assessing blacks, so I'm going to set this Oops! 2000 100 as a flat black and then I'm going to copy this and change this 1 to 30 30 30. And do you remember how in our Photoshopped document in places where we had black laying on top of other colors, there was over print that was making the black really, really sick? Well, you'll see that even though this is a rich black rectangle on top of another color, the spot color. When we look at the output preview, it's not going to be. It's not going to calculate this is too high. And so assessing your blacks is literally as easy as checking with their levels are and then setting them what you want to be. You don't have to worry about knocking the stuff out beneath. So once again I'm going to go to save as well talk about these. I'm going to dio black test ai. Save it. Everything is fine, Save Pdf, hoping with Acrobat, and you can see that this is the 30 30 3100 even though it's laying over that area the same as this one that's on top of the white, and then this one, that's flat that Black retains its values at 000 100. So illustrator is super. I'd say it's a lot more streamlined with applying process and spot colors and assessing your blacks 13. Fonts & Transparencies: to convert creditable texts to a flattened layer or in Photoshopped, the term is to rast. Arise it. You can select the layer that has type on it and either go to type and rast arise. Type player. Or you can right click on the layer and go to rast. Arise type. So now you can see instead of having an edit herbal text layer. I now just have a layer of pixels that is shaped like the text. If you have, you can see I have a drop shadow on the circle. It's an effect that's being rendered by photo shop, so I just want to go ahead and right click and say, Rast arise, layer style And now that is flattened and good to go and should print without any issues. Luckily, illustrator makes it super easy for us to outline or text and to also flattened or transparencies. If you just need to outline some text, then you can just grab it and go to type. Create outlines and you can see that that it just changes it to shapes. I'm gonna hit Command Z and undo. You could also, if you wanted to go to object and expand because remember, what we're doing here is we're trying to take any effects that illustrator is generating, and we want to try and flatten them so that we can control them better so that however our printer is viewing it, you know, it doesn't misinterpret what we're doing, so I can have expand and you can see that I'm going to get a similar effect hit under undue again. And if you've got text in transparency is in your document, then you can knock everything out all at once. So you can see that I have two circles here that are showing up as a darker color than they are. And that's because I have the rapacity turned down. And if I wanted this exact look to stay the same but don't want these to be translucent objects, I can just grab everything, go to object flat and transparency, and I get this really awesome view that's going to help me convert all text outlines. I can convert all strokes outlines if I want, and I'm just going to make sure that everything else looks good. Sure does hit. OK, and now what I have is a group of shapes. I'm gonna un group them and you can see when I click on this, I actually get a lighter colored shape. It's no longer translucent, and this one is now this blue purple color where they were overlapping and this one's and even darker color and you can see my text is now outlined. So Illustrator makes it super easy to knock out in one fell swoop. 14. Exporting: All right, so now we get to save in photo shop and export our file that we worked so hard on. So first, what we're going to do is go to, um, save file and save as. And it might be a good idea to save a fresh PSD that is set up just for printing in case you need to make any changes. You just have something that's separate from the file that you did all the artwork manipulating in. And then we're going to save as again, and I'm going to go ahead and go to photo shop. PdF and you can see that there's some color choices down here. Um, it says use use proof set up, which is working C m y que and embed color profile thes are all going to be overridden by the save PdF dialog box anyway, so I'm not really worried about it. The one thing you do want to pay attention to is if you have spot colors. If you made a spot channel, not just if you filled it Ah, home filled one of your areas with a spot color. You have to do the spot channel this check box will be available and you'll want to make sure that that is checked. So I'm going to go ahead. And, um, I'm not worried about I don't need my layers to be creditable for my pdf and I will hit Save, and it's going to tell me that I'm about to override any settings I had in there. So here are the main things you want to see. Um, generally speaking, this standard dropped down. A lot of printers I see want you to give them a file. This pdf exe won a 2000 won, which already has some output information in it and converts it to this working cm. Wake a profile. Eso That's where you would find that dropped down. If that's one of the things you come across or you can set it up yourself, you can goto output and you can take a look and make sure that everything is set up. How you want it? Yes. So world good to go. I can go ahead and hit. Save pdf. It's going to do its thing. And now I can go to where I just saved it and take a look. And so I'm going to open mind with Adobe Acrobat and just take a look and everything looks how I wanted to This is the C M Y cave file and I brightened up my oranges and yellows and everything looks great. I think it's going to print really well, if I want to save a high rez J peg from Photoshop, I'm going to go to file save as and select J peg from the drop down. Um, this time, when I hit save, you can see that this is where I can decide how I want the quality to be so I can turn that up all the way. Um, I can set my baseline are my formatting options. But keep in mind that this J peg is going to create an image that's at the resolution that you were working at. So you want to make sure you're already in your good resolution and I can hit okay, and that's going to export and give me my J peg. If you are sending a working file, then you will want Teoh save this as a PSD and put it in a file with the fonts and any images that you have that need to be embedded and zip that all up and send it to the printer. And finally we're to the export settings in Illustrator, and they are pretty straightforward, considering everything else that we have done. So if I want to save as a pdf, I'm going to go ahead and go to file. Hopes are going to go to file and save as and, um, I have pdf chosen. And if you have more than one art board, you can just tell it whether too sick to our boards and whether you want all of them are just arrange. I'm gonna hit, save And just like in photo shop, I've got this really nice drop down. This is a super super common. In fact, I'd say every time I've had to give a PdF, it's but in this standard, so it's nice that that's right. There we have this marks and bleeds. Most printers actually asked that you do not supply these, but if you come across one that does want these than this is where you can find them. But if you've got to believe this is where you want to make sure that it's going to export the document bleed settings as well, so I can go to output and see that everything's all set and I'm going to hit. Save PdF. It will open in a new document. And if need be, I can go ahead and open this up in Acrobat just like with my other pdf's go into print production and output preview. And I can just check to make sure that everything is looking how I want it to and that's it . If you need Teoh Export A J peg than what you're going to do is go to file export and export as. And I should do this Earlier when I was showing you how to set the resolution So hit export . Um c m y que quality 10 high 300 peopie I and I can keep that I c c profile embedded in there. One thing that you should know is that J pegs can't hold on to spot colors. So and lastly, this is really cool. Something that illustrator has that Photoshopped doesn't is if you're sending a working file and this isn't just for a printer, if you're collaborating with someone on a piece and you need to send them the working file . If you have images that are not embedded or fonts that are in it, you can actually just go right up to file and package, and you can ask it to copy the links, collect links into a separate folder, copy fonts used in a document. Have it make a little report about what it's doing, and you can say what the location should be and what the folder name should be. And when I hit package, it is going to warn me This is pretty cool. It just says, Hey, you can't just share fonts like you each need a licence for the phone and I say, OK, and I hit, OK, and now the package has been created. So if I go here on my now very messy test up, um, here it is overlay test folder and everything is put in there, and it's all ready to go 15. After Submitting the Job: If you've brought the printer in early, asked questions, and educated your client, all that's left to do is wait. Printers are so accurately computerized that there are rarely issues during press, and if there are, the printer knows what responsibility is on them and will usually do what they can to right the situation. Even Vistaprint, which is probably the most consumer friendly printer out there, will reprint or credit your account if there's any type of issue. If you get a result back that you or your client is unhappy with, try to diagnose exactly what the issue is. If it's color disappointment, you'll probably have to work with the printer to figure out where the miscommunication happened. That is, if the color disappointment is justified, some clients will just need to understand that CMYK has a limited gamete compared to the screens were so accustomed to seeing now. Honestly guys, if you get your settings right, you'll be surprised that your work delights you in person just like it did on the screen. It can be helpful throughout the process to get sign offs from both your client and the printer that everything is cool at each stage. That way, if something does go wrong, you've got something to point to that shows you are on top of it. This is also again, why when working with a client, proofs are so valuable and I'll keep pushing them. Whether an actual proof from a print shop or just a small order from a POD showing them something and saying, this is what it's going to be and getting there okay, is a much better tactic than keeping them in the dark about how big the print world is. Not communicating the limitations of printing, ignoring the artwork guidelines because you're confused to move forward, and sending the project off to print anyway. Also, consider putting something in your contract about not being liable for issues with printing. I didn't research this tidbit before adding it to this class, but maybe it's an idea you can look into. The good news is there really just aren't many times it's going to be an issue. Clients think they care about a lot of things that they seem to actually ignore or not even notice in the final piece. Face the project with lots of questions and communication and you should be golden. If you do end up making a mistake, try to make it right with the client, apologize and own up to it and ask how you can right this situation. Call the print shop and tell them your mistake and see if they have solutions or advice for better avoiding it next time. Luckily, most of my printed work has turned out just fine, even if I've personally been unhappy with a color vividness or what have you. However, there was this one time where I wasted a lot of money and time. I worked for a solar power company in New Orleans as their main creative and one of the items they needed me to make was a door hanger to leave at homes describing their service. I was pumped as it was one of the first times I had really done something for print, and I designed a really eye-catching door hanger with complimentary colors and flashy shots of the solar panels. The job structure at the time was a little wonky, so the guy that was dealing with the printer A wasn't me and B wasn't interested in giving me any guidelines from the printer in his defense. I also was green enough to not have asked, and so I just let him drive the project. I proofread everything, I asked others in the office to proofread and away went a little project to the printer. The door hangers came back and they looked so good. The coded card stock made the colors pop and I was pleased that my guesstimating at the proper font sizes was pretty close to ideal all good. Until my boss came up to me in a fury asking why the phone number at the bottom of the hanger was incorrect. Oops! Boxes and boxes of door hangers with the wrong phone number. Should other people, especially the guy leading me on the project have thought to make sure I had the right number or that I put the right one? Possibly, but no, it's my job, so I didn't think to check if it was correct, I just copy and pasted. Since I knew it was my fault, I knew I had to make it right. We realized that the phone number was by itself on the design and on the backside, there is no pertinent information where the phone number was at the bottom of the thing. We gathered a bunch of the warehouse workers and we all started cutting off phone numbers. Our saving grace was that the website was set up to take new orders and the URL was safely and correctly listed at the top of the front of the hanger. Not the most ideal, but not bad for a pinch. It took eight of us about two hours, maybe three to cut through everything. At the end of it, feeling humbled and embarrassed, I apologized again and bought a bunch of pizza for the warehouse guys. The expensive good pizza with all the meats on it. I'm still a designer, I'm still alive. Issues happen, rise to the occasion and make it right as best you can. 16. Thank You!: This is the part of my class where I tell you, thank you for taking this class and encourage you to share your projects with all of us and both those things are true but this time I'm also thankful for you for asking for the class. I'm motivated by external deadlines and expectations. In the name of wanting to be able to teach you well, I had to finally tackle the depths of printing myself. I learned so much in the process and I hope you did too. I hope it encourages you to not be scared of what you don't know, intimate Google your friend, and to dig deeper and deeper and deeper. Of course, you can ask any questions to me too that you have lingering. I can't wait to see those projects of yours and if you are ready connect with me over on Instagram @Dylanmierzwinski.