Reliable Output - what works for me
Either you control your files, or they control you.
A fan wrote:
The last time I had a problem with large format output? Never.
The reason: I'd come from the print industry where I'd used manually flattening techniques for many years with equally great success.
So much heartache, uncertainty, and wasted materials can be prevented with my approach. It's not a new idea, but it seems it's only held by the top 20% of users who really understand digital imagery from start to finish.
I learned the basic idea from Ron Richey in 1998. A good guy, and also a Multi-Winner of the Corel World Design Contests back in the day.
The concept allows you to run wild with all of the crazy things you can create with CorelDRAW and Photo-PAINT. Transparencies... effects... whatever.
We need to ensure that what you design will output as you expect. Doesn't it by default? Sometimes.
Sometimes is not good enough for me. Should Corel be blamed? Not really, since Adobe also recommends this workflow! I saw it in the Illustrator 10 help file!
So why do we need to jump through hoops to enjoy reliable output? Point your finger directly at Adobe for a fragmented, patched-together page description language called PostScript. It often struggles to handle the artwork that many digital artists create.
Until something better comes along, it's all we've got. Both Adobe and Corel engineers have both had to spend enormous time trying to shoe-horn artwork into the limitations of PostScript. They can only do so much.
Make a choice:
My approach is to render them myself, so that I can see surprises on my screen, instead of on the final substrate.
I also create single bitmaps from many whenever possible, leaving vectors on top.
Instead of a complicated file with numerous transparent bitmaps all over the place, the RIP will prefer to see a single bitmap instead with your vector shapes on top.
Ensure your files are simplified when possible so the RIP (or any printing device) can digest the data easier. Convert everything to a single bitmap (except for pure vector shapes or fonts/curves which already sit on top).
There is no reason to have numerous bitmaps and drop shadows etc and then to send as a very complicated multi-bitmap file. Shadows, transparencies etc. are always rendered as bitmaps when sending out of CorelDRAW.
In a new file (or a new page of working file), Select interactive transparencies, drop shadows, lenses, etc. and bitmaps. Convert all to single bitmap.
I choose the CMYK color model so that I have most control for what inks are being used.
This is artwork dependent... you'll need to think about what's in your files and how the RIP sees it later.
Below, I have numerous shadows and transparencies. All should be made into a new bitmap at for best and reliable results.
The resolution you choose should be reasonable for the circumstances. 200 DPI is plenty for most signs over 4 Sq ft.
Click for large version, compare Object Manager for both.
My fan asked about my EPS settings;
A fan wrote:
Hi Jeff,
I've been reading many of your great posts and thank-you for your teachings.
I'm using CorelDRAW X4 and VersaWorks for my Roland SP540-V. I've been using PDF's for 2 years now with great success, however we just started wraps and PDF's are not my friend anymore.
Would you mind telling me the settings you use for exporting to an EPS. I cannot see to get the CutContour to work when exporting as an EPS.
What follows is like a public service announcement, for those that prefer saving time and money in the sign industry. OK.. any industry that outputs to PostScript devices, which is nearly all of them.The last time I had a problem with large format output? Never.
The reason: I'd come from the print industry where I'd used manually flattening techniques for many years with equally great success.
So much heartache, uncertainty, and wasted materials can be prevented with my approach. It's not a new idea, but it seems it's only held by the top 20% of users who really understand digital imagery from start to finish.
I learned the basic idea from Ron Richey in 1998. A good guy, and also a Multi-Winner of the Corel World Design Contests back in the day.
The concept allows you to run wild with all of the crazy things you can create with CorelDRAW and Photo-PAINT. Transparencies... effects... whatever.
We need to ensure that what you design will output as you expect. Doesn't it by default? Sometimes.
Sometimes is not good enough for me. Should Corel be blamed? Not really, since Adobe also recommends this workflow! I saw it in the Illustrator 10 help file!
So why do we need to jump through hoops to enjoy reliable output? Point your finger directly at Adobe for a fragmented, patched-together page description language called PostScript. It often struggles to handle the artwork that many digital artists create.
Until something better comes along, it's all we've got. Both Adobe and Corel engineers have both had to spend enormous time trying to shoe-horn artwork into the limitations of PostScript. They can only do so much.
Make a choice:
- Live in denial and demand everything outputs perfectly every time without intervention.
- Learn sensible workarounds and apply them manually to erase job failures and anomalies on your ouput substrates/press sheets.
My approach is to render them myself, so that I can see surprises on my screen, instead of on the final substrate.
I also create single bitmaps from many whenever possible, leaving vectors on top.
Instead of a complicated file with numerous transparent bitmaps all over the place, the RIP will prefer to see a single bitmap instead with your vector shapes on top.
Ensure your files are simplified when possible so the RIP (or any printing device) can digest the data easier. Convert everything to a single bitmap (except for pure vector shapes or fonts/curves which already sit on top).
There is no reason to have numerous bitmaps and drop shadows etc and then to send as a very complicated multi-bitmap file. Shadows, transparencies etc. are always rendered as bitmaps when sending out of CorelDRAW.
In a new file (or a new page of working file), Select interactive transparencies, drop shadows, lenses, etc. and bitmaps. Convert all to single bitmap.
I choose the CMYK color model so that I have most control for what inks are being used.
This is artwork dependent... you'll need to think about what's in your files and how the RIP sees it later.
Below, I have numerous shadows and transparencies. All should be made into a new bitmap at for best and reliable results.
The resolution you choose should be reasonable for the circumstances. 200 DPI is plenty for most signs over 4 Sq ft.
Click for large version, compare Object Manager for both.
My fan asked about my EPS settings;
posted by Jeff Harrison at
10:51 PM
6 Comments:
Brilliant and concise! In fact I am going to create a document for people sending our print shop files that will incorporate your main ideas. It just astounds me how people who supposedly know what they are doing don't realize how important it is to flatten images.
Hi Sue,
yes... file sizes plummet also with flattening.
We've likely both seen business card files where they were saved as PSD with a zillion layers, and are 20 MB for a single card.
http://www.krasbit.com/en
has a novel macro for designating shapes to flatten.
It seems like a good idea, but I fear these problems:
1. It takes as much time to "tag" items to flatten as it does to flatten directly
2. if art changes dramatically, the tagging system can wreak havoc on the result.
I hope to have new macro someday that accomplishes this goal but in an intelligent, automatic way...
Hi Jeff,
Thanks for the post. I'm somewhat of a 'large print virgin' so i'm trying to get up to speed asap. I've been trying to export a graphic to PDF for print and due to large number of transparencies it's proving to be a nightmare! I've attempted your flattening advice i.e selecting my 8 transparencies and converting to 1 bitmap...however it gives me an estimated uncompressed file size of over 2gb! Am i missing something? A rookie error no doubt! The doc is approx 7.5m long by 1.5m high...can you think what i might be doing wrong?
Thanks in advance!
Simon
Hi Simon,
What resolution are you converting everything to?
for 7.5m long by 1.5m high... try 72 DPI, CMYK, without transparent background.
Thanks so much for replying.
After tweaking it to what you suggested the file is still going to be around 250mb. Basically what i'm doing is preparing a print that will go onto clear vinyl. The transparency will (in theory) fade to the color of the vehicle i'm applying the vinyl to. Maybe I should split the document and send it in sections? Thanks
Hi Simon,
Do a small test first. I have a feeling that a clear substrate isn't going to give you the "look" you want. But this depends on the color of the vehicle, and how dense you lay the ink down on the clear material.
Also, clear material may be difficult to conform to the vehicle surface without rippling unless exactly designed for this purpose. It should be laminated also to protect the surface for vehicle washings.
If doing a car wrap, there is no need to print the whole job in one single file. Better to send in sections IMO, since that's the way its going to be installed later anyway.
This way allows you to up the DPI for each section to perhaps 150 DPI for better detail.
Good luck
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