Okay, this is going to be a bit lengthy, but hear me out.

I need some help thinking this through, and I can think of no where else to get a wide diverse group such as you guys to help me.

So, screwing around on Facial Book, I start talking with an old friend of mine who I inform I am unemployed. He at first is absolutely furious with me for not telling him sooner, but after all the blah, blah, blah, we start talking.

I've known this guy for over 25 years, back when I was doing the Service Bureau gigs. Since then, he and I have crossed paths many times professionally, but have always remained really good friends. He knows my family, knows the wife and is just a cool bastard. He is one of the few that gets and can hang with my severely warped sense of humor. Needless to say, we have always gotten along really well.

Okay, so here's the skinny:

He left the radio business as their marketing manager several years ago, you may remember the KATT posters I did a while back where I won my weight in Famous Star hamburgers? Yeah, this is the guy that made that possible.

For the last 8 years or so, he has been running a business where he supplies photographers, video guys and web artists/graphic guys space to do their work on a temporary basis. He has a full studio with all the mics, cameras, computers, the green screen, I mean the works. Has a pretty good handle on marketing in general and has a lot of connections.

He just got finished remodeling a new building, but has a ton of space and really good visibility to I-35. He wants me to figure out a way to utilize the storefront space he has and maybe get into doing more than JUST supplying artists workspace.

After talking, especially with my background in Prepress, printing and POP, we come to the conclusion opening up a large format, multi-graphics store would be the most advantageous and profitable. We have some other ideas, but need a vehicle to get capital before we start branching off on some of our other hair-brained, crazy ideas. The location is the key, there are no other outfits doing this kind of work in the area that are worth a shit.

My thought was, at first, outsource a lot of the work, setting up a network of vendors to do most of the grunt work and uncharging the customers until we get the funds to invest in our own equipment. His contacts and mine, would definitely be worth the effort. Basically, we are open to anything. BUT, we walk it through, from start to finish and "handle" the job like if we were doing it. Think of a print-broker, but on a larger scale.

I'm talking signage, trade show booths, banners, posters, print, wraps, whatever... the key being, we follow the simple rule: Price, Quality, Turnaround Time - Pick 2.

What do you think? Does this sound feasible? What problems do you foresee and what opinions do you have about this? I am open to any and all criticisms, all opinions and all comments. I want to go into this feeling all my basis are covered and I think you guys are the best people to see this having a Prepress background.

Thank you in advance.

Anybody got these?

I need them.

Here...

Illustrator CS6, open the swatch palette. They are all the patterns set-up in black. You can change the color to whatever.

I dug forever to find something like this, finally got it from a vendor. Comes in handy for those of you who do envelopes.

I need to know from Fusion Pro users which platform is best; Mac or PC. I'd rather stay with Mac, but I am to understand from a little research, the Mac doesn't play nice with some features that the PC does.

Any comments or suggestions are welcome.

My digital guy has been having problems loading fonts in Fusion Pro. Usually he just picks from his default list and the customer just gets what they get with variable data. We have 2 jobs that are DEMANDING a certain font, so of course he comes to Prepress for the solution.

I have saved these fonts in every format I can think of, OTF, TTF, PS1... doesn't matter they don't show up. They do show up on the system, and also in Acrobat and Pitstop, but Fusion Pro will not recognize them.

When I go into the Advanced Settings, I can load fonts, but again, it just doesn't see them. I open the root folder where the fonts are residing and I notice, all the active fonts within Fusion all have various accompanying files with the active fonts.

Example, Arial.otf, also has a Arial.bfk, Arial.pfa and Arial.ufk. WTF are these and how do I get Fusion to recognize the fonts I load?

I have looked into this to the point I have to bring it up here, so no lack for research... according to everything I have researched, Fusion Pro is supposed to recognize any fonts the system recognizes, so I am at a loss to understand what is exactly happening.

Ran into an issue with layers in AI today, had me a little frustrated... got it figured out, so thought I would share. This happens in CS6 and CC.

I open a run of the mill box job in CS6 with 3 layers. One visible, and 2 other layers that say nothing. Matter of fact, it looks like this...



So, I restart, open again in CS6... same thing. Open in CC, again... same thing.

I find out, it's because 2 layers are set to NOT PRINT. Evidently a bug, because after I set them to print everything appears the way it should.

Hope that helps.

We are getting away from AGFA and going full Kodak workflow via Prinergy.

One of the biggest hurdles we faced was not being able to access archived jobs due to Apogee X's proprietary arching format.

I asked Kodak and Fuji both if they had any methods or utilities for getting these .arch files open. Both claimed their top engineers could not crack them open. This was a SERIOUS problem. If I can't access old jobs, I would have to keep Apogee X running JUST for unarchiving old files.

I cracked it.

Here is how to do it:

This is what they look like after a file has been archived through Apogee X:



As you can see, the runlist is contained within the .arch file. This is what you would access through Apogee X to bring a previously printed job back into production.



In the "gr_hotfolder_1_1" folder you will see a file called "Document" usually proceeded by a numerical value. This can be opened using the Mac's built in compression software, or Stuffit.



After the file decompresses, you have a series of additional folders that become available to browse. You want to keep opening each folder until you get to a folder called "wunKeyInput." Within you will see 2 files. Both named similarly, but one with an extension ".properties." Ignore this and open the other file with Acrobat.

BAM! Done. You now have the original PDF you used to create the job.

I recently discovered what my company actually charges for Prepress costs. I was floored to learn it was quite a bit lower than what I had been told. My questions for all of you are:

How much do you charge for Prepress time?
How much do you charge for plates? (Being specific on this one... we run 40" plates)
How much do you charge for imposition proofs? Do you charge for whole sheets, or by square foot, and how much per?

I have to totally redo our billing and I would like a general consensus to adjust accordingly.

I'm tired of giving this shit away and hearing how a raise is out of the question.

Thanks in advance.

Found this doing some research the other day. Excellent resource for the aspiring artist. A lot of really good tutorials.

http://www.drawspace.com/

If you like to draw, or would like to learn, check it out.

I'm working on a guide for Prepress. It's been in the works for some time, but I am getting back into it. We may or may not print it as a resource for customers. I'd like you all to read through and tell me if I am going in the right direction. All comments are welcome...


File Formats

With applications changing and become more intuitive, designers as of late have become somewhat confused. In the past applications like Quark and PageMaker made sure that if a file format was not printable, you could not import it. Now, with applications accommodating the print designer as well as the web designer, file formats such as native PSD, GIF and JPEGs have become commonplace. The mistake that is most made is the treatment of file formats as a preference and not a need. Listed below are a list of file formats. If your preferable file format is not listed, then most likely it is because it is not supported. Each file format has a specific purpose, your job is to choose the correct one based on intent.

TIFF: Tagged Image File Format. The most common file format for straight 4 color with no effects. TIFFs should be set up as followed: Flattened, no extra layers, no extra channels beyond the CMYK, no paths, no LZW compression and 8-bits per channel. When saved make sure you are not attaching a color profile, since most printers manage all color profiles internally.

EPS (Bitmap): Encapsulated Postscript File: This file format is very versatile, but also very complicated. There are several different ways an EPS file can be treated. If you are implementing a clipping path and are dealing with a RIP that cannot handle transparency, then this is the file format for you. If you are creating Monotones, Duotones, or Tritones, then you would choose EPS. EPS files should be set up like this: Flattened, no extra layers, no extra channels beyond the CMYK or spot colors, no  JPEG compression and 8-bits per channel, transfer function and halftone screens should always be disabled. When saved make sure you are not attaching a color profile, since most printers manage all color profiles internally.

JPEG: Joint Photographic Experts Group. JPEG is widely received by the designer as the savior of file formats, mainly because it uses a variable compression algorithm that can save a lot of time and hard disk space. What is a JPEG? In simple terms a JPEG is a file format much like the EPS or TIFF except it has built-in compression. This compression has a variable slider that can determine how much compression is applied. A numerical range value from 1 being the smallest to 10 being the largest. The compression works like this: each pixel in a bitmap is analyzed. The surrounding pixels are averaged and assigned a numerical value, then deleted. This value is written into an attached log that keeps track of this data and when the file is expanded, (when printed) the pixels are reinstated based on the numerical value written into the log. The more the compression, the more pixels are deleted. Here's the catch...this log cannot only be corrupted causing pixel degradation, but due to it's nature a JPEG can be compressed too much and the file becomes unusable. JPEG compression uses what is called "lossy" compression, meaning it is averaging pixels, so the original data is being changed. LZW is very similar, only using a different algorithm to compress. The only true data compression without data loss is the ZIP compression. Most printers frown on the use of JPEGs because of their instability in the printing process. Generally used in web development.

PSD: Native Photoshop Document. This file format only recently became printable and is supported in many of the newer versions of layout and vector applications. PSD files differ from other file formats because of it's versatility. It can have multiple layers, multiple channels and paths, and be a fraction of the size a TIFF or EPS (bitmap) flattened would be. It also can be manipulated in some instances in the application it is imported into. However beneficial the PSD file format seems, it also can be problematic. The common misconception of PSD files are that since Adobe created Photoshop, Illustrator and InDesign that all these files are 100% compatible, not true. A PSD file needs to be treated as any of the other file formats regardless of the software manufacturer. The best thing to do when setting up PSD files, is to save two different versions, one being a "working file" with all layers with layer effects, i.e.: drop shadows, embossing, etc., intact and one with all layers merged, deleting any unwanted data, i.e.: channels, paths, etc.. They can be unflattened with a transparent background, but as said before, merge all layers and delete all unused data before importation. If you plan on using this format, include all fonts...just in case.

GIF: Graphics Interchange Format. Popular file format for LZW compressed raster graphics data, developed by CompuServe. It should only be used in web development, and is not suited for high resolution printing.

PDF: Portable Document Format. The PDF is often the choice of designers because of it's independence and versatility. PDF is one of the only file formats that is stand alone. Meaning it can be created from any popular desktop application, and regardless if the native application is resident or not, can be printed. For example, you have built a file in Multi-Ad Creator and export the file as a PDF, your printer does not have to own Multi-Ad Creator to print this file in high resolution. The drawback to PDFs are; they are only as good as the designer creating them, and since PDFs are independent of any application, it often ties the hands of Prepress when changes come into play. If you have problems with your file in it's native format, your PDF will have the same problems. If you do not embed your fonts, meaning the font is resident in your PDF, type changes can be quite difficult, if not impossible. If your images are RGB and/or low resolution, they will be so in the PDF. Every click box, and set up routine in the PDF exportation dialog are very important. If one of them is not correct, the PDF can become problematic. The best thing to do when supplying PDFs to your printer, is to talk to your printer about how to set up a PDF, (they often have settings for customers based on their preferences.)

DCS 1.0: Desktop Color Separations. This file format reacts exactly the same as an EPS (bitmap), but with a one difference, it creates a preview file, or thumbnail for placement and four individual high resolution channels for the cyan, magenta, yellow and black. The high resolution individual channels only come into play when separations are created via postscript. The advantages to this file format are quick placement and maneuverability within the application. The disadvantage; it is not supported in a composite workflow, which most high resolution printing is done.

DCS 2.0: Desktop Color Separations. Very similar to the DCS 1.0 format, but supports spot color separations within Photoshop. The file in question is built with the traditional CMYK channels and/or any number of additional spot color channels. This format is definitely for the advanced user. Not many applications support this format, so be careful as to when you use it. If a composite workflow is being utilized, DCS 2.0 files need to saved as a composite, NO desktop color separations. This ensures your file is saved in a composite form with multi-channel capabilities. The usefulness of this format has been replaced by the PSD format, so it probably should not be used.

As always using any file format that you do not understand is not a good thing. Call your printer to make sure they support the file formats you prefer before sending files their way. Good communication will insure clean output and happy Prepress operators.

Extensions

Extensions are very important in Prepress. Not only does it give the operator an idea of what kind of file he/she is dealing with, but it also keeps everything conforming. All your files main or support should have an extension attached. Believe it or not saving files without an extension can cause problems. In Windows, if there is no extension attached, files become unknown or "generic." Macs are a little more forgiving, but can cause havoc on occasion. The best way to set up files - always save an extension to avoid confusion. As said many times, it is better to have too much information than not enough. Look at the example below, on the left is a file with pertaining support and to the right is the same file correctly named with extensions.

WRONG   CORRECT

Brochure   Brochure.indd
Art      Art.tif
Logo   Logo.eps

Most applications will attach an extension automatically, but programs like Photoshop offer the option to save without. When files are packaged, collected for output or saved for service provider and burned to CD or DVD, the link between the main file and the support files are often broken. When Prepress has to reestablish these broken links, it makes it far easier to accomplish this when there are extensions present.

Listed below are some of the more common extensions we in Prepress encounter. This is not by any means a comprehensive list, but it will give you a better understanding of the files we receive.

PS   Postscript
FH3   Freehand Version 3
FH4   Freehand Version 4
FH5   Freehand Version 5
FH7   Freehand Version 7
FH8   Freehand Version 8
FH9   Freehand Version 9
FH10   Freehand Version 10
FH11   Freehand Version MX
FHMX   Freehand Version MX
PM4   PageMaker Version 4
PM5   PageMaker Version 5
PM6   PageMaker Version 6
PM65   PageMaker Version 6.5
PMD   PageMaker Version 7
INDD   InDesign
PSD   Photoshop Document
CDR   CorelDraw
PUB   Microsoft Publisher
DOC   Microsoft Word
XLS   Microsoft Excel
PPT   Microsoft PowerPoint
ART   Adobe Illustrator 88
AI   Adobe Illustrator
AI3   Adobe Illustrator Version 3
AI6   Adobe Illustrator Version 6
AI8   Adobe Illustrator Version 8
AI9   Adobe Illustrator Version 9
QXD   Quark XPress
RTF   Rich Text Format
TXT   Text Document
PDF   Adobe Acrobat
 
Dos and Don'ts

Below are some general rule of thumb tips for proper file preparation.

1.   Set up all heavy areas of black in a rich black. Talk to your printer on their preference.
2.   The combination of all four colors should not exceed 300% total ink coverage. When files exceed this limit it takes longer to dry after printed and can destroy a deadline.
3.   Always include all fonts and support with a native file. Do not assume because you have built your file with the font Times that we have it also. Times can be different depending on the platform created, the year it was created and the company that manufactured it. Even the resolution of you monitor can cause Times to reflow, so ALWAYS include your fonts.
4.   Before creating any PDFs, get your printer's settings
5.   Never pull images off the Internet and expect good results. The web displays images at 72 DPI about 228 DPI below the minimum tolerance. If pixelization is the effect your looking for, then by all means go ahead.
6.   NEVER copy files from one application and paste into another. Aside from text, files created this way are almost worthless. Always use Place or Import files to maintain a good link to support.
7.   Rotate or crop bitmap images before importation.
8.   Place bitmaps at 100% size. Scaling a high resolution bitmap image at 200% makes it low resolution, this is called "upsizing." Scaling a 72 DPI file below 30% makes it high resolution. Example: A 350 DPI image placed in InDesign at 300% makes it 117 DPI. A 100 DPI file placed in InDesign at 10% makes it 1000 DPI.
9.   If converting fonts to paths or outlines, always include a file that is not. This insures Prepress can make type changes if they are needed.
10.   All files need .125 bleed for any image extending beyond the trim margins. This gives tolerance for files in our bindery. Cutting and folding causes images to shift due to paper thickness, humidity, temperature and substrate, with minimum bleed, these issues become more compliant.
11.   When setting up files, all type should be .125 inches inside the trim. As said above, this allows for certain leeway in the bindery.
12.   Always inspect every proof like it was the first. No matter the revision, every proof can have potential problems. Check for wrapping, size, color and pagination before signing off. You and you alone are responsible for problems    after sign off, so make sure you are sure.
13.   COMMUNICATION!!! Ask if you are not sure, ask if you are. Never assume your file is exempt from problems. Just because ACME Printing printed your file with no problems, doesn't mean your new printer will. Every printer does things a little different because of machinery, output devices and staff.
14.   When sending files for printing, only include on disk the files we need. Do not include scans of your dog, your MP3 collection or anything else that could potentially confuse the job.
15.   NEVER send the only copy of your files. Disks can be dropped, lost, damaged or corrupted. Your printer cannot be responsible for human or elemental error.
16.   Avoid using the color Registration or Auto for blacks. These colors are 100% of all four colors exceeding 300% ink coverage, and are very difficult to keep in exact registration. Small type can end up with a colored halo if not caught prior to output. Microsoft applications are notorious for this, especially when copy and pasting. Double check your color palette for these colors and fix if they are indeed present.
20.   Convert all your full color images to CMYK. RGB is not a color space used in printing. RGB, or Red, Green, Blue is how how we as humans perceive color in the visual light spectrum. As an example of how different RGB is to CMYK, 100% of Red, Green and Blue make white. The combination of 100% CMYK, makes mud. RGB uses light as the base for this color space. Paper has absolutely no illumination whatsoever obviously, so RGB will not work. If you set your files up in RGB, we will fix them, but you will pay for it.
21.   Take the time to double and triple check your files. Whatever you do not do, Prepress has to do, and you will be charged for it.

I have a lot more to do, but this is what I have so far. Thanks for the help.

[smg id=703 type=av]

Yep, you heard it. I have ONE, count them, ONE customer still using Freehand. Calendar job, built 99% in Photoshop with text set in FH. It took me 3 hours to get usable postscript. When I called the customer to ask her to stop using it, she said, "There are people out there, professionals that refuse to use anything BUT Freehand. I am one of them. If you want my work, you will have to keep an old machine."

Even though I am Pro-Freehand.... I don't want this stupid ass marring up my memories. I asked her if she's ever used InDesign. She replied, yes, but it's just too much like PageMaker.

I was thinking, you can't even use FH, what would be the difference? I said, "Then plan on your proofs being at least an extra day of production."

I feel dirty and ashamed.

For spot UV, and various coatings. I am using Sector-Coat materials specifically designed for my tractor-fed blanket cutter. We are FINALLY getting a new cutter-table and I need to know from Beck, The Tone and anyone else in packaging, where are you getting your materials... and furthermore, what would you recommend? 40" presses, if that helps.

Customer supplied native CS4 InDesign file. Pretty standard issue mess. Way too many colors, every file format known to man... just a mess. I get it all sorted out and send it on it's way. A couple days later I get it back for color correction. What I find is truly one of THE laziest things I have seen a desinger do. This particular instance reminds me of using white boxes to mask art in PageMaker.

Check this out... I go to the first image and click on it to edit it. "What? the image is not being selected?" Oh,  and this is good.... a transparent box of 20% yellow over the image. This desinger placed percentages of the different process colors OVER the images rather than color correct them in Photoshop. For example, one image had a process mix of 50% of C, M, and Y, placed OVER the image and set to 30% opacity. Most of these "color corrections" did not adhere to the shape of the image underneath and extended well into the already transparency laden BG.

So, I call the desinger and start my line of questioning...

DCS: "I noticed you want me to color correct your images, but I find all of the images have process color transparent boxes over them. Was there a particular reason you did this?"

Customer: "You mean you don't know how to color correct in InDesign?"

DCS: "Evidently not."

Customer: "Yeah, I learned this trick from the Art Director here, he does it all the time. Works pretty well, huh?"

DCS: "No, not really. Did your Art Director also approve all these overlaps where the transparency continues on into the background?"

Customer: "Yes, he said it won't show on press."

DCS: "Not only will it show, it needs to be fixed. Furthermore, every image has a 90% 2 point stroke that is also effecting the colors. They need to be tints so they don't overprint. Really, this file needs to really be torn apart and readjusted."

The customer, after some further discussion agreed to fix all the problems. Today, I get back her fixes. The borders were now 100% cyan, but none of the adjustments were made. Furthermore, she didn't do any of the 100 corrections she had marked in the book. 10 of them were type changes... the rest? You guessed it, adjustments.


 

I'm interested if things have picked up, remained stable or gotten worse in the Printing industry, specifically Prepress.

Rumor has it, the magazine industry is taking off again.

So, today I get this job, native InDesign. Approxiamately 600 support images... all JPGs. I hate JPGs, so much so, I refuse to output a job natively with any resident. So, I open all 600 and resave them as PSDs. Now I have to relink all 600 because the extension changed. So, I open the links palette, go to the flyout menu located in the upper right corner of the palette in CS4, (also in CS5) and go the the Relink Folder selection. A dialog box opens asking where to find the folder containing the images and below is an input tab to change the extension, but relinking to the same name. I change it to psd and hit enter. Works flawlessly.

Some of you may or may not know, I took on a second job a few months back handling the production of a local magazine. Since that time, it has been a real struggle to get it out on time because of the SalesPukes and their lack of honoring any kind of deadline. If I set a deadline for the 25th of the month, I get shit all the way till 1 day before print, sometimes after. When I try to address these issues, I get the typical bullshit responses that you would expect; customers are dragging their feet, I couldn't get this or that... whatever.

Now, the guy I work for is also the same guy I trained about a year ago on a Mac. It was a freelance/consulting/training gig and since, this guy and I have worked together in some capacity or another until I finally ultimately took over production. I have the usual battles concerning low rez images, or non-existent artwork, but lately the SalesPukes have been getting even lazier. I used to get 2 full weeks to get a 64 page mag done, now I get a week for the same pay.

Last night, I was called into a production meeting last minute. Beforehand I was told that this is my show and ANYTHING I decide goes. I told him some of my ideas about possible fining the Pukes when they exceed the deadline. This was based on the comment I made to him regarding the only way to get a Puke to do what you want is through his wallet. He agreed and furthermore will be subject to the same fine... 1 minute or 5 days past deadline... 50% of their commission goes in my pocket. I told them all, i would rather not have your money and NOT have to stay up for 3 consecutive days straight making up for lost time. Honor the deadline, honor your wallet.

After, my boss says to me, "earlier today, I told the entire Sales Staff, this is Jason's magazine. He has ultimate authority on what goes in and what does not. If you piss him off and he leaves, I am shutting the doors and working at McDonalds. If you work hard, you will be rewarded, if you don't, look for another job. I'm tired of your shit!"

I call this a victory, and 20 years of bent up frustration with Sales Pukes. Hahahahahahaha!

BTW, I am NOT a Desinger, I am a Prepress guy riding the line to the Dark Side. Scary, scary shit.

Yeah, I know DCS needs a font... well I do. HELP!

Inland Becker Medium. Actually I'll take any version.

That is all.

This is some truly disturbing shit. Wish I would have thought of it. :laugh:


http://larryfire.wordpress.com/2009/07/17/what-if-cartoons-were-real/

That is all.