This page contains selections that you can cut and paste into your web site or use in newsletters or other printed pieces. It also contains an article with tips on preparing electronic files for print production.

With your new design software, your brochures should have looked fantastic. But they were printed with the wrong fonts. You stared at a computer screen for days to get that thing right--and now it's all wrong. How did this happen?

Avoid prepress problems like this by turning to (your company name). At ( your company name), we believe technology should move your projects quickly and efficiently. Rely on our staff of specialized experts to help you prepare files for print, including font conversion, formatting and image resolution. Design, save, send. Every print project should be this easy.

Tech Tip: Minimizing Prepress Problems
When supplying PostScript fonts with a job, be sure to supply the printer fonts (also called outline fonts) and screen fonts (bitmap fonts). Both must be available for proper output. If you forget one, your distributor will call to tell you, "I can't output this file because some fonts are missing." This is not necessary for TrueType fonts as the screen and printer descriptions are contained within a single file.

This article was originally published in FORM Magazine. FORM became Print Solutions in September, 2001. Click here for a printer-friendly version of this article.

50 Tips for Electronic Prepress
By Katherine House

Quiz for Distributors

1. True or False. My customers often prepare art files on disk, which I send to suppliers without reviewing the disk label, much less the file itself.
   
   
2. True or False. In the last two months, one of my manufacturers has held up a job, claiming their equipment could not output the file I sent.
   
   
3. True or False. I don't know the difference between an EPS file and a TIFF file.
   
   
4. True or False. My manufacturer or service bureau sent me information on preparing electronic files, but I never read it. Who has the time?

If you answered True to any of these questions, you or your customers may not be as experienced as you should be in preparing electronic files for print production.

As electronic art files become the norm, frustration levels are rising nearly as fast as the corresponding prepress delays. Sending an electronic file—a process designed to streamline production—often is the monkey wrench in the system. And unfortunately, the distributor often gets caught between a customer who claims to know all about file preparation and a manufacturer who swears he can't output the file.

Whether you prepare your own artwork or pass disks along from your customers, these tips can help. Keep in mind that these apply to electronic file preparation in general and not to the idiosyncrasies of specific software packages. If your project will be output on a digital printing device, you may need to adhere to the specifications of that equipment. Check with your manufacturer for details.

1. Never turn over a disk to your manufacturer or service bureau before learning their requirements. You should be well versed in such things as the computer platform your service bureau uses, the software used (and which versions), and acceptable media (SyQuest or 3-1/2-inch disks, for example).
   
   
2. Once you know these requirements, educate your customers. Don't accept a customer's disk without getting complete specifications. Be sure to fill out any spec sheets or order forms requested by your manufacturer.
   
   
3. Understand the differences in file formats. Some manufacturers accept only PostScript files. Once artwork has been saved in a PostScript format, also known as a .PRN (PC) or .ps (Mac) file, it is uneditable. If your manufacturer cannot output the file, or the output does not match the proof, the disk will be returned to you to be fixed. Application or working files require your manufacturer to own the same software and sometimes the same software version that the file was created in. The good news is that your manufacturer may be able to fix any problems associated with such a disk. The bad news is that it could take longer to fix some problems than it took to create the original file. Be sure you understand who is responsible for fixing such problems and any charges incurred for such labor.
   
   
4. Learn the difference between EPS and TIFF files. EPS is an Encapsulated PostScript file format used to transfer PostScript image information from one program to another, according to "A Guide to Color Separation" from Agfa. The file includes PostScript code plus a low-resolution (PICT) representation of the image. Logos, illustrations and graphics that will be color separated should be saved as EPS files. TIFF, or Tag Image File Format, is a widely used file format for exchanging bitmapped images (usually scans) between applications. Black and white line art or grayscale images should be saved as TIFF files.
   
   
5. Always provide a list of fonts used within a document to the service bureau. This allows output technicians to download the appropriate fonts to their imagesetter or output device. Remember to list all fonts used with imported illustrations. Otherwise, the output device may substitute a different font.
   
   
6. Learn your manufacturer's policy on supplying fonts. Licensing agreements from font manufacturers prohibit users from supplying copies of fonts unless the service bureau also has the font. However, in the graphic arts world, it has become common practice for customers to supply fonts to their manufacturers with jobs, with the understanding that the fonts will be used for the output of that job only. This is critical if the job requires an unusual font the service bureau does not own or fonts customized with special software such as Fontographer. If you stick with a standard font library, it should not be necessary. If your service bureau does not accept fonts from customers, find out who will bear the burden of purchasing the necessary font.
   
   
7. When supplying PostScript fonts with a job, be sure to supply the printer fonts (also called outline fonts) and screen fonts (bitmap fonts). Both must be available for proper output. If you forget one, your manufacturer will call to tell you, "I can't output this file because some fonts are missing." This is not necessary for TrueType fonts as the screen and printer descriptions are contained within a single file.
   
   
8. When supplying PostScript files, find out the output device to be used. This allows you to include the correct printer driver when saving your artwork as a .PRN or .ps file. You must also learn the preferred format, negative or positive, emulsion up or down. Different manufacturers set up the specifications of their output devices differently. If you aren't aware of the service bureau's specifications, you'll waste film and delay production by outputting the job incorrectly.
   
   
9. Communicate with your manufacturer before sending compressed files. This ensures you will use a compression program your vendor can decompress easily. Compressed files are critical to shorten transmission time when sending files via modem.
   
   
10. When supplying fonts, don't forget to supply those used in the creation of EPS files. (They won't show up in your page makeup application on the list of fonts used.) Better yet, be sure that type set within drawing programs is "converted-to-paths" or "converted-to- outlines" when the drawing is complete. Doing this can slightly change the font shape, warns Agfa's "Working with Prepress and Printing Suppliers" booklet, so don't attempt it on small, detailed type.
    
    
11. Don't intermix screen and printer fonts from different manufacturers. For example, don't link the screen fonts for Garamond from one font manufacturer to the Garamond printer font from a different manufacturer to the same PostScript file.
    
    
12. Don't mix TrueType and PostScript fonts in the same job. In fact, most service bureaus prefer if you stick with PostScript fonts.
    
    
13. Stick with a known font library, such as Adobe PostScript Type 1.
    
    
14. When sending application files, make sure your manufacturer owns the same fonts used in the design of the artwork and the same versions of those fonts. Discrepancies can result if the file creator uses a font from one manufacturer, while the output facility uses one made by a different manufacturer. In some cases, different versions of the same font from the same manufacturer will result in slight differences in appearance. This could result in bad line breaks on a proof.
    
    
15. Specify fonts and their style (bold or italic, for example) by using the long menus in your publishing program rather than selecting bold or italic by clicking on a style bar. The menu selection will give you a more accurate representation of the font and style desired. Plus, on the Mac platform, clicking on the style bars allows you to select styles for which fonts don't actually exist, creating output headaches. While the file may print fine on a dot matrix printer, a high-resolution device likely will substitute a standard font for the one specified.
    
    
16. Create drop shadows manually; don't use the shadow style choice on the menu.
    
    
17. When using a Macintosh computer, do not specify system fonts (these are the ones named after cities around the world). They do not have printer font equivalents and thus cannot be output on a high-resolution device. On the PC side, do not use screen fonts for typesetting.
    
    
18. Limit the number of fonts used in each job. Amateur designers often get carried away when they first discover the endless possibilities available with desktop publishing software. Employing numerous fonts will result in bad-looking products, although output time will not be lengthened appreciably.
    
    
19. Use standard software packages, including QuarkXPress, PageMaker, Illustrator and FreeHand. Some low-end self-publishing packages were not designed for creation of files to be output on a high-resolution machine. Do not create page layout files using word processing packages. If you doubt that your manufacturer will be able to output a file, call before sending it. Better yet, find out which software your client plans to use before a document is created.
    
    
20. Don't treat your computer keyboard like a typewriter. First time graphic designers often make common mistakes when designing graphics files. For example, typesetters never add two spaces after a period, and neither should you. Don't use the space bar when creating type in columns; always use tabs. Other common mistakes are outlined in the book The Mac is Not a Typewriter by Robin Williams. It might make a thoughtful and practical gift for some of your customers.
    
    
21. Always remove any unused colors from the color palette of a document before submitting the file for output. If you don't, it will take your manufacturer a long time to determine what inks to use for the job. Depending on the output device, you might also waste film by outputting blank pages. Also, delete miscellaneous items in the pasteboard area outside the page before sending a file, and delete any fonts that were changed during production and are no longer needed.
    
    
22. Proofread carefully, and always use your software's spell checker. Believe it or not, files are commonly re-output because of typographical errors. Recommend that clients proofread hard copy, not the computer screen. The person doing the proofreading should not be the same person inputting the text. Spell check the document each time revisions are made.
    
    
23. Beware of cross-platform capability concerns. Some software programs now have Mac and IBM versions. Your manufacturer may be able to convert files produced in such programs, but check first. Proofread carefully, however, because even though the fonts may look OK on screen, the PC and Mac versions of fonts aren't always identical. Bad line breaks and hyphens in the middle of words could occur.
    
    
24. When sending application files, include all linked graphics files with your page layout file. This includes EPS and TIFF files. Otherwise, the linked graphics will be of lower quality (bitmapped) when output, if they can be output at all. Designers sometimes forget to send images of linked files because they show up on screen, leaving beginners to assume the image files have been supplied. Use this analogy to explain the potential problem to customers: When supplying artboards in the past, photocopies may have been sufficient to show position only, but original photos were still required to create halftones. QuarkXPress has a nifty feature to help you include graphics files, a menu option called "Collect for Output." This feature, however, does not collect fonts. If you are sending fonts, you'll have to save them separately. Quark's Picture Usage utility allows the designer to verify that links have been maintained by identifying images as OK, Modified or Missing. Modified images should be updated, and Missing images must be found. PageMaker's Links feature serves the same purpose.
    
    
25. Don't rename graphics files after they've been placed in a page layout program. Otherwise, the links will not work and will have to be re-established by a production operator.
    
    
26. Avoid saving EPS files within EPS files.
    
    
27. Know your screen values. Just because a desktop publishing package may allow you to specify a screen value of 80 percent doesn't mean you'll be able to read the type on it once it is printed. As a reminder, create a master showing screens of different values, output at three or four different l.p.i. settings on the equipment owned by your manufacturer or service bureau. Give the master to customers and keep copies in your production area. When in doubt about how to specify screens, ask your manufacturer for recommendations.
    
    
28. Beware of the potential for banding, which varies by output device. Banding refers to ribbon-like bands appearing at regular increments of, for example, every 1/4-inch in a graduated screen instead of a smooth gradation. If creating a blend in a drawing program, use one step of gradation for every one point of distance (72 points equals one inch) to ensure smoothness.
    
    
29. Use style sheets when creating designs. Style sheets allow you to specify such things as the font, font size and color for graphic elements such as headlines and captions. If you need to make a change after a file is created, you or your service bureau can simply make one change to the style sheet. This is a great time saver and ensures consistency in the document.
    
    
30. Use the appropriate page size. If designing standard size letterhead, create a page that is 8-1/2 x 11 inches. Do not "float" a small image on a bigger page, such as letterhead on an 11 x 17-inch electronic page. Floating small images on a big page will waste film and make it nearly impossible for your manufacturer to step and repeat images digitally.
    
    
31. For commercial printing, check with your manufacturer on how to handle imposition. Requirements vary by pressroom and equipment configurations.
    
    
32. When designing forms, don't forget to leave room for lock-up. Generally, leave a minimum of 3/8-inch. Check with your manufacturer for precise specifications.
    
    
33. When creating multipart forms, do not use the layering feature in your page layout program. Instead, make each part a separate page. In fact, avoid layering in page layout programs altogether to simplify output.
    
    
34. Never click on the hairline rule option. Hairline rule weights vary by output device, and you may not achieve the desired effect. Define hairline widths as .25 point.
    
    
35. Check with your printer about how to handle scans. Since color corrections and editing often are required based on the manufacturer's equipment, some printers prefer to do color scanning themselves. If you scan your own color images, ask how to handle dot gain. Screen specifications often must be adjusted during the final prepress phase, depending on the printing technique, paper stock and equipment used. That's because a screen specified as 50 percent in a desktop publishing program could appear as 65 percent on paper as a result of dot gain on press.
    
    
36. Scan images at an appropriate resolution. A rule of thumb is to scan an image at twice the dots per inch of the specified line screen. If the project will be printed at 133 l.p.i., the final resolution of the scan needs to be 266 d.p.i.. But keep in mind that you lose resolution as you make scanned images larger. For example, if an image is scanned at 300 d.p.i. and enlarged to twice its size, the resolution drops to 150 d.p.i. Therefore, if an image will be resized, the input resolution should be twice the desired line screen multiplied by the enlargement factor. Never enlarge an image after it's scanned or reduce it beyond 20 percent of its original size. At the same time, some people make the mistake of scanning at too high a resolution, unnecessarily increasing the size of their files. Line art need not be scanned at 1200 d.p.i.
    
    
37. Beware of overcropping. For example, if you take a digitized group photo, import it into a page layout program and crop it to show one person only, remember that the entire image gets sent with the page layout program. If you did this multiple times, you would end up "choking the RIP," which means the output device would be unable to process your file. The preferred method is to crop a graphics file, save it as a new image and import that image into your page layout program.
    
    
38. Convert color scanned images from RGB to CMYK before placing them in the page layout program. If you forget to do this, the images will not separate when output.
    
    
39. Don't assume that printing an image at a higher resolution will improve its appearance dramatically. If the edges appear rough, or the image looks pixelated on your screen, chances are it will appear that way when output.
    
    
40. Find out how your service bureau wants to handle trapping. Trapping of electronic graphics files, especially 4-color files, can be complicated. Some service bureaus prefer to handle trapping themselves, so ask how this should be specified.
    
    
41. Avoid rotating images once they have been imported into the page layout program. Doing so adds to the output time on a high-resolution device. This can be especially problematic if your service bureau charges by output time. Instead, rotate the image before importing it into the page layout program.
    
    
42. Learn how to handle bleeds in your page layout program. For example, in CorelDRAW and FreeHand, you must click on an option to turn the bleed capability on or off. In general, prepare files so art extends at least 1/8-inch beyond the specified trim.
    
    
43. Use caution when creating a blend (also known as a vignette or degrade) that goes from one color to another. For example, you may want the front page of a brochure to change from dark red to light green, incorporating two of your client's corporate colors. To the software program, you have used two colors, causing many end users unfamiliar with printing to think they are paying for a 2-color job. Often, 4-color process is needed to create the desired effect. Such a misunderstanding can be avoided if a color separated proof is generated.
    
    
44. Be careful when specifying colors, especially between multiple software programs. It's common for one artist to prepare artwork using a process color palette or the default colors within one type of software. Then a second artist imports that artwork into a QuarkXPress document with a correctly designed palette of black plus two Pantone spot colors. When the file is output at the service bureau, everyone is surprised to see multiple pieces of film. Each imported graphic could have its own palette, potentially resulting in dozens of pieces of film per page. This problem can be caught before high-resolution output if the customer supplies a color separated proof with each job.
    
    
45. Select all Pantone colors as Pantone plus the specific number, such as Pantone 329. Do not rely on the color palettes shown on your computer monitor. Remember that most Pantone colors do not reproduce accurately as process builds.
    
    
46. Define CMYK colors as their build formulas, such as 80C/40Y/10K. Use appropriate references, such as the TRUMATCH color matching system to help designers specify the correct color build for the shade shown on their screens.
    
    
47. Always make sure the page layout program is set to "spot" for 1 or 2-color printing. Likewise, specify process separation for colors to be printed as process colors.
    
    
48. Add appropriate crop marks to illustrate size. Ask your manufacturers if they will add registration marks, which could vary by equipment. Always indicate if the artwork is not the actual size.
    
    
49. Don't use four rules to create boxes. If you do, corners rarely align perfectly, which will be noticeable when the file is output on a high-resolution device. Instead, rely on the page layout program's frame or box option.
    
    
50. Never send an electronic file to a manufacturer or service bureau without retaining a copy.

Special thanks to Mark Mollenauer, The CF Group in Deer Park, N.Y., formerly CompuForm; Charlie Owens, Integrated Graphics Data Systems in Aromas, Calif.; and Vicki Stone, Green Printing Co., Lexington, N.C. In addition, the following experts provided assistance for this article: Carol Edgar, Parrot Graphics, a service bureau affiliated with Pro Forms, Paso Robles, Calif.; Howie Fenton, consultant in digital technology for the Graphic Arts Technical Foundation, Pittsburgh; Kori Freece, Block Graphics Inc., Portland, Ore.; Steve Gallo of JK&L Imaging and Design, an Akron, Ohio, service bureau; Mike Kiefer, Universal Imaging, a service bureau affiliated with Microforms Inc., Sterling Heights, Mich.; Mike Pelger, Team Dispatch, Erie, Pa.; Wendell Sheffield, Datagraphic Inc., Roswell, Ga.; and Scott Tilden, Printing Industries of America Inc., Alexandria, Va.