1.
Lecturer: Rachel Hawkins
VIRTU DESIGN INSTITUTE
WORKING IN DIGITAL DESIGN
VDIS10021
PREPARING FOR
COMPLEX DIGITAL PRINT

2.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 2
CONTENTS: What is digital printing?
The difference between Ink & Toner
What is offset printing?
Develop a relationship with your
printer!
File formats for print
File set up
Finishing: Folding/cutting/knife-
lines/substrates/papers/fabric/
lightbox
Converting RGB to CMYK
Pre-press & Preflight
Soft Proofing & Proofing

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VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 3
What is
Digital
Print?
Digital printing refers to
methods of printing from
a digital-based image
directly to a variety of
media. It usually refers
to professional printing
where small-run jobs from
desktop publishing and
other digital sources are
printed using large-format
and/or high-volume laser
or inkjet printers. Digital
printing has a higher
cost per page than more
traditional offset printing
methods, but this price is
usually offset by avoiding
the cost of all the technical
steps required to make
printing plates. It also allows
for on-demand printing,
short turnaround time, and
even a modification of the
image (variable data) used
for each impression. The
savings in labor and the
ever-increasing capability of
digital presses means that
digital printing is reaching
the point where it can match
or supersede offset printing
technology’s ability to
produce larger print runs of
several thousand sheets at a
low price.
The greatest difference
between digital printing and
traditional methods such
as lithography, flexography,
gravure, or letterpress is that
there is no need to replace
printing plates in digital
printing, whereas in analog
printing the plates are
repeatedly replaced. This
results in quicker turnaround
time and lower cost when
using digital printing, but
typically a loss of some
fine-image detail by most
commercial digital printing
processes. The most
popular methods include
inkjet or laser printers that
deposit pigment or toner
onto a wide variety of
substrates including paper,
photo paper, canvas, glass,
metal, marble, and other
substances.
In many of the processes,
the ink or toner does not
permeate the substrate,
as does conventional ink,
but forms a thin layer on
the surface that may be
additionally adhered to the
substrate by using a fuser
fluid with heat process
(toner) or UV curing process
(ink).
Sourced from: Wikipedia, Aug 14.
http://en.wikipedia.org/wiki/Digital_printing

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VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 4
The
difference
between
Ink &
Toner:
Ink Cartridges:
Ink Cartridges are used in inkjet
printers. The cartridge contains
liquid ink, usually absorbed
in a sponge. When creating a
document, the print head simply
deposits ink wherever it needs to
go on the page. Color cartridges
have three colors in addition to
black and if any of the colors run
out the others are essentially
useless. Most printers can create
black from combining the other
three colors, however.
Many inkjet cartridges do contain
some basic electronics, such as
a chip that communicates with
the printer. It is also possible to
refill ink cartridges using a kit
bought from printer supply stores.
Though the process can be tricky
and doesn’t always produce a
working cartridge, it can also be
significantly cheaper than buying a
completely new one.
Toner Cartridges:
Toner cartridges are used in laser
printers. Instead of liquid ink, they
are filled with a fine powder that
can be magnetically charged.
When printing documents, an
electrically charged drum picks up
the tiny particles and rolls them
onto the page according to the
pattern you printed. A laser then
fuses these particles to the page
with heat.
Some toner cartridges actually
include the drum as part of the
cartridge, meaning that the entire
until has to be replaced. Naturally,
cartridges for these designs are
much more costly. However,
most are simply containers for
the toner powder. While it is
usually more difficult to refill toner
cartridges than inkjets cartridges,
it can still be done with the
right kit. Most users have them
refilled professionally or buy a
replacement.
So what is the difference?
The biggest difference between
ink and toner cartridges is in how
long they last. The typical life of
an inkjet cartridge might be 500
pages, depending on heavily you
printed your pages. Ink cartridges
can also stop working early if the
heads dry out or become clogged.
For that reason, it is critical to use
the printer at least once every
week.
Toner cartridges, on the other
hand, typically last for at least 2,000
pages and cartridges for large laser
printers last even longer. You can
expect to pay for this long shelf
life, however. That points to the
second major difference between
the two types – cost. Some toner
cartridges for rare or older laserjet
printers can be so expensive that
it is nearly cheaper to replace the
printer outright than replace the
toner.
In summary, therefore, the
difference between ink and toner
cartridges is a matter of how you
use your printer. For high volume
printing, laser printers and toner
cartridges provide lower costs
per page and are typically more
reliable under heavy usage. For
home printing where low initial
cost is more important than
the ongoing cost per page, ink
cartridges are usually the best
option. No matter what your
printer, however, you can always
save money when you buy discount
eco friendly printer ink online for 50
to 70% less at Inkpal.
Sourced from: Inkpal, Aug 14.
http://www.inkpal.com/ink-news/what-are-the-
main-differences-between-ink-cartridges-and-
toner-cartridges/

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VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 5
What is
Offset
Print?
Offset printing or web offset printing is
a commonly used printing technique
in which the inked image is transferred
(or “offset”) from a plate to a rubber
blanket, then to the printing surface.
When used in combination with the
lithographic process, which is based
on the repulsion of oil and water,
the offset technique employs a flat
(planographic) image carrier on which
the image to be printed obtains ink
from ink rollers, while the non-printing
area attracts a water-based film (called
“fountain solution”), keeping the non-
printing areas ink-free. The modern
“web” process feeds a large reel of
paper through a large press machine
in several parts, typically for several
metres, which then prints continuously
as the paper is fed through.
History:
Lithography was initially created to be
an inexpensive method of reproducing
artwork. This printing process was
limited to use on flat, porous surfaces
because the printing plates were
produced from limestone. In fact, the
word ‘lithograph’ historically means
“An image from stone.” or “Print from
stone.”
The first rotary offset lithographic
printing press was created in England
and patented in 1875 by Robert
Barclay. This development combined
mid-19th century transfer printing
technologies and Richard March Hoe’s
1843 rotary printing press—a press that
used a metal cylinder instead of a flat
stone. The offset cylinder was covered
with specially treated cardboard that
transferred the printed image from
the stone to the surface of the metal.
Later, the cardboard covering of the
offset cylinder was changed to rubber,
which is still the most commonly used
material.
Offset printing today:
Offset lithography is one of the
most common ways of creating
printed matter. A few of its common
applications include: newspapers,
magazines, brochures, stationery, and
books. Compared to other printing
methods, offset printing is best
suited for economically producing
large volumes of high quality prints
in a manner that requires little
maintenance. Many modern offset
presses use computer to plate systems
as opposed to the older computer to
film work flows, which further increases
their quality.
Advantages of offset printing
compared to other printing methods
include:
• Consistent high image quality. Offset
printing produces sharp and clean
images and type more easily than, for
example, letterpress printing; this is
because the rubber blanket conforms
to the texture of the printing surface.
• Quick and easy production of
printing plates.
• Longer printing plate life than on
direct litho presses because there
is no direct contact between the
plate and the printing surface.
Properly developed plates used with
optimized inks and fountain solution
may achieve run lengths of more
than a million impressions.
• Cost. Offset printing is the cheapest
method for producing high quality
prints in commercial printing
quantities.
A further advantage of offset printing
is the possibility of adjusting the
amount of ink on the fountain roller
with screw keys. Most commonly, a
metal blade controls the amount of ink
transferred from the ink trough to the
fountain roller. By adjusting the screws,
the gap between the blade and the
fountain roller is altered, leading to the
amount of ink applied to the roller to
be increased or decreased in certain
areas. Consequently the density of the
colour in the respective area of the
image is modified. On older machines
the screws are adjusted manually,
but on modern machines the screw
keys are operated electronically by
the printer controlling the machine,
enabling a much more precise result.
Disadvantages of offset printing
compared to other printing methods
include:
• Slightly inferior image quality
compared to rotogravure or
photogravure printing.
• Propensity for anodized aluminum
printing plates to become sensitive
(due to chemical oxidation) and print
in non-image/background areas
when developed plates are not cared
for properly.
• Time and cost associated with
producing plates and printing press
setup. As a result, very small quantity
printing jobs may now use digital
offset machines.
Sourced from: Wikipedia, Aug 14.
http://en.wikipedia.org/wiki/Offset_printing

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VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 6
Develop a
relationship
with your
printer!
Any successful business person with tell
you that networking and good business
relationships are the key to success.
In the case of the Graphic Designer,
a good relationship with your print
providers will give you a competitive
edge as well as making your life a lot
more pleasant.
If you choose a good quality printer (not
the cheapest or online only) the print
specialists will be friendly and happy to
engage with you and your projects. Print
specialists are experts in their field and
have a wealth of knowledge that they
will be happy to share with you. They are
also interested to push the boundaries
and experiment with stock and finishes
so don’t be shy.
Use your printer as a resource for
information. Ask them your questions
and for advice. They will be more than
happy to help you out.
As a student, you have an excuse to not
know much and they will be sympathetic.
Now is the time to learn.
From personal experience I can tell you
that if you have a good relationship with
your printers they will call you if they see
something wrong with your job, they will
call you with more economical options
and they will pay more attention to your
job. They are also more likely to do
you a favor on a tight timeline or when
something does go wrong.
Printers want your experiences with
them to be successful, however every
relationship is double sided. You can
help guarantee a positive relationship
by working with them in deliberate
ways. Here are 8 tips:
1. Make it personal. Find yourself a
print provider you can relate to. Since
your goal is to develop a long-term
business relationship, ask yourself, “Do
I like talking to this person?” Respect
and trust are mandatory. And the less
you know about printing, the more
you need to depend on your printer to
educate you. Find out early on if your
printer can offer customized solutions to
your needs. A good print salesperson
is flexible and accommodating. Pick a
printer who’ll go the extra mile.
2. Keep your printer in the loop. The
earlier the better. The single biggest
mistake that consumers make with their
print jobs is failure to involve the printer
soon enough. Every print job is unique.
The success of your print jobs depends
in large part on your communicating
early and often with your printer. Think
of your printer as a creative partner, not
just a supplier. Communicate timelines
clearly and let them know when the file is
coming.
3. Play fair. Since every job is a custom
job, respect that it can take time to
print something well. Don’t cry wolf and
impose artificial deadlines when in reality
you could wait another day or two. If you
want to develop a good relationship
with your printers, be honest and
straightforward with them.
4. Be specific. Every detail about a print
job affects its price: the format, number
of pages, quantity, inks, paper, folds, and
so on. As a client, it’s your responsibility
to compile these details, called specs,
for the printer. Get the printer to help,
then use these specs to request an
estimate before you send a job to print.
5. Get desktop publishing advice.
How you prepare your files is very, very
important to a printer. The platform of
choice among printers is still the Mac
computer. They expect you to use
the appropriate software. Digital file
preparation is complex, and no two
designers “build” a job alike. Some
printers have their own digital prepress
specialists to clean up your files. This
stage, called preflighting, costs you time
and money.
6. Parlez-vous “printing?” If not, ask
lots of questions. Don’t be intimidated
by “printer-speak.” Printing is highly
technical. Unless you’re used to
dealing with printers, chances are
you’ll find it all a bit intimidating. If you
don’t understand something, ask for
clarification in English. Printers are used
to educating their consumers.
7. Be clear about responsibilities.
Clarify what your role is vs. the printer’s.
I have had a case where the printer did
me a favor and corrected a typo for me.
The proof was sent to me for approval
and I signed it off. I rushed the proof
reading process due to time constraints.
My team and I failed to notice the typo
that the printer had typeset, and we
gave the “OK to print.” When the job
was delivered, we noticed the typo. But
we were responsible -- not the printer.
My signature on the proof gave the
printer a green light to proceed. So, be
clear about who is responsible for what.
Proofreading ranks way up there among
a designers responsibilities.
8. Proof & Proof Again. When you are
proofing you need to look for typos,
alignment, and for anything that is
missing or shouldn’t be there. You are
also looking a image quality and colour
correctness. If you are concerned about
the colour reproduction of the job you
should ask your printer for a printed
colour proof or to be present for a press-
check. You can do this for both digital
and offset printing processes. It is a
good idea to use a proofing checklist.

7.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 7
File
formats
for
print
The best format to send a
finished print ready piece
of art is a flattened PDF.
.PDF (Preferred for most files)
PDF (short for Portable Document
Format) is a file format developed
by Adobe as a means of distributing
compact, platform-independent
documents. PDF captures formatting
information from a variety of desktop
publishing applications, making it
possible to send formatted documents
and have them appear on the recipient’s
monitor or printer as they were
intended.
If you are sending a logo or
special text treatment, an
EPS file is Ideal.
.EPS (Preferred for large signs and
banners)
EPS (short for Encapsulated PostScript)
is a vector format designed for printing
to PostScript printers and image
setters. It is considered the best choice
of graphics format for high resolution
printing of illustrations. EPS files are
created and edited in illustration
programs such as Adobe Illustrator.
Vector graphics are a scalable,
resolution-independent format
composed of individual objects or
shapes. Vector images can be resized
easily without loss of quality making
them an ideal format for initial logo
designs and illustrations to be used in
multiple sizes.
If you are sending artwork
that you need to have
manipulated by a pre-
press specialist before it is
printed, send the raw file.
.PSD, .AI, .INDD (best for files that need
editing by the pre-press specialist)
If you are providing artwork for a
complex job that involves a knifeline,
you may be required to provide the raw
file. This could be the case for product
packaging. In this instance you would
provide a layered Illustrator files with all
fonts outlined and images embedded.
In rare cases, a layered PSD may be
appropriate. The only drawback to a
PSD is the file size. Most likely the file
will need to be written to a disk and
mailed or uploaded to an FTP site.
Therefore if time is a factor you may
need to go with another format so
that it can be e-mailed. If you have an
option when saving your files to send to
a printer try to avoid the JPG format. If
you use the PDF, EPS or PSD formats
your Images will print better and you will
be happier with the results.

8.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 8
File
Setup
To ensure you setup your
file appropriately for print
you need to know what
the end product is going to
look like.
You will need to consider
the shape and size of the
finished print.
You will need to decide the
paper stock to determine
ink weights.
You will need to specify
finishes like spot gloss
varnishes through to
embossing and foiling
options.
InDesign Illustrator
Once you have determined these factors you will be able to determine which software is most applicable to the
layout/configuration of the file... either Indesign or Illustrator.
As a guide, if the file is a single or double sided sheet and has several complex finishes, it will be likely that
Illustrator is the better software. If the file has multiple pages, like a booklet or magazine, no matter how many
finishes, it is better setup in Indesign.
If the print is full bleed (images, types or blocks of colour extend over printed edge) you will need to include
bleed in the file setup.

9.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 9
Finishing is a general term
printers use for anything
that happens to a job after
it’s been printed. That
means things like cutting,
folding, binding, foiling,
embossing, varnishes
and so on are all finishing
processes. Many printers
can handle the most simple
finishing processes in
house. Other more complex
finishes might need to be
outsourced to specialist
print finishing companies.
There are endless types
of varnishes and effects
that can be achieved like
Machine Sealing, Varnishing
(Gloss or Matt), UV
Varnish, Spot UV, Textured
Varnishes, Sparkly varnishes
with metallic flakes, Tinted
varnishes as well as latex for
scratch panels.
All these above mentioned
finishes are required to be
included in specific ways in
your print file so they are
clear to the printer. This is
generally done by putting
the effect on a different
page or layer with nothing
else with it. Speak to
your printer about how to
include the finishing effect
in your file. They can give
you detailed instructions.
There are also endless
opportunities with paper
stocks and printing
substrates like lightbox,
canvas, textiles (Georgette,
vinyl, etc) and self adhesive
vinyls (stickers for cars and
windows. Each of these
requires specialised printing
knowledge and attention
to ink weights to avoid over
saturation.
Die-lines/Knife-lines
- varnishes - other
embellishments:
These are the fun part,
but they still need artwork
to be produced. They are
often not set up correctly,
often the knife line does
not overprint (ie. Leaves
white line underneath);
perforations are marked
as dotted lines on the art,
when there should really
only be indicators instead
of an actual printed line.
Some of these can get a
bit tricky, so the best thing
is to talk to your printer /
pre-press specialist and ask
them how these finishes
should be indicated on the
artwork. The worst thing to
do is to send that urgent file
away with no instructions or
unclear instructions as it will
be printed wrong or take
longer.
Variable data:
Items such as tickets,
scratchies & personalised
letters may have variable
data printed on them.
Wedding invites fit into this
category also. It can be
hard for printers to gather
all the required information
and documents. Be
organised and supply the
printers with an excel sheet
or the database, packaging
InDesign file or illustrator
file and pdf. Give them
example pdfs of what the
finished product should
look like.
Finishing/Folding/
Prototyping:
Prototypes are good,
sometimes absolutely
necessary. Once you have
tried out, how many ways
there are of folding an A4
to a DL you will know why.
For multi page publications
you should do a digital
printed prototype. For
other jobs, especially those
out of the ordinary, you
really need to have a folded
prototype to understand,
how you expect things to
look in the end. Otherwise,
someone will be guessing.
And if it’s that night shift
operator, who wants to get
the job done, chances are
that his idea of which one
should be the back panel
in a brochure might not be
the same as yours. It’s all
important to note that not
each panel will be equal
in size, they may vary by
1-2mm to allow the folded
document to lay flat.
Finishing:
Folding,
cutting,
knifelines,
substrates,
papers,
fabric &
lightbox

10.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 10
Photoshop
There are two ways to convert RGB to CMYK and
vice versa in Photoshop.
1.Open the image file in Photoshop, then go to Edit
> Convert to Profile.
Once there, select your target profile (a copy of
which should be in the [Your Computer] > Library
> ColorSync > Profiles folder, or else it will not
appear in the pulldown menu).
Then select a rendering intent appropriate for
your image (to simplify, Perceptual if the relevant
image colors are out of the target’s gamut,
otherwise Relative Colorimetric). If you select
Relative Colorimetric, it’s also a good idea to
check “Use Black Point Compensation”.
2. Go to Image > Mode > CMYK to convert your
image.
The disadvantage of converting this way is that it
does not offer the degree of control that you have
with Convert to Profile, and limits you instead to
the target space and conversion controls set in
the application’s Color Settings, which may not be
appropriate for your purposes.
Illustrator
Open the file in Illustrator, then go to Edit > Assign
Profile.
Indesign
Open the image file in Photoshop, then go to Edit
> Convert to Profile.
Converting
RGB to
CMYK
It’s best if you do colour
management of images in
Photoshop. All other files should be
colour managed in the software of
origin. For example;
A. Logos developed in Illustrator
should be colour managed in
Illustrator.
B. A multipage book layout
document should be colour
managed in Indesign while its links
are colour managed in the software
of origin (Photoshop & Illustrator).
Be aware that it is possible to see
colors in RGB that you can’t make
with CMYK due to RGB’s larger colour
gamut. For this reason your images
may appear dull after conversion.
Once you have converted the image
to CMYK, you will need to go back
and adjust the colour to the desired
appearance.

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VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 11
Colour:
CMYK vs
Pantone
Spot
Colours
(PMS)
Most printing is basic CMYK
however in some instances you may
choose to print with a spot Pantone
colour to ensure colour consistency
across several items of collateral.
Spot colours are premixed
flat colours and ensure colour
accuracy. CMYK may have slight
variations from print run to print run
depending on the machine and it’s
maintenance. Photos and images
are always printed in CMYK as they
have gradients and variations in the
colour.
InDesign
Illustrator
Spot colours have a
different icon to RGB
and CMYK colours as an
indicator in the swatches
tab. If you double click on
the swatch you can edit it
as above.
Spot colours
appear differently
to RGB and CMYK
colours as an
indicator in the
swatches tab. If
you double click
on the swatch you
can edit it.

12.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 12
When you design artwork
for print, standard
practice is to send a PDF
to your printer once it
has been approved by
your client. There are
several steps that lead to
this point and things you
need to do to ensure that
the end result is exactly
what you and your client
are after. Sending files
to your printer has lost
a lot of its complexity,
the universal adoption
of PDF, improved
software applications and
automated checks have
made life in pre-press a
whole lot easier. There are
still some errors, though,
that persist even in PDFs,
and that could ruin your
print job.
SOME QUESTIONS TO
ASK ARE:
Are you confident the
size is correct? Have the
colours been set to print
standards or client brand
guidelines? What about
font usage? Does the
printer have the font? Will
the printer know what to
do with my file?
So many things can go
wrong, costing you and
your client money. Below
are 12 Pre-press Tips that
cover the major aspects
for correction in your
artwork. Follow the steps
below to make sure your
file will be in excellent
shape for sending to print.
1. File names, filing of the
job and version tracking.
Every designer needs
a clear tracking system
for their files ensuring
information about the
client, job and document
version number are precise.
You should be systematic
with how you file work for
clients and always keep
back up of that work. It is
a good idea to include a
job description, document
dimensions, date and
version number in the file
name for easy identification.
For example; JAdams_
BusCard_90x55mm_Feb14_
v3.indd
2. You are responsible for
the design
Before you start designing,
make sure you have a clear
purposeful design brief.
What is the main purpose
of the design? How will
the finished product be
used. What are the clients
motivations? Who will
source the printer and
send the job to print?
Understanding all these
points will assist you in
setting up the design
file properly from the
beginning.
3. Proofread & have
artwork approved as final
The odd thing is that clients
can be calm about minor
errors in the design, like
lines not being of same
thickness or such. But errors
in text are fatal. Use a good
proofreader, it could be
a family member, partner
or colleague but you
need someone with fresh
eyes and good grammar.
Once proofread and the
artwork is signed off, get
approval in writing from
the client. An email is great
confirmation. Unfortunately,
even if artwork is signed
off and there is an error,
changes and re-print will
be made generally as a
shared cost. You must make
sure your client is happy
in the end for future and
referred business. Get in
writing (preferably email)
final client approval of the
artwork before the job is
sent to the printer. Verbal
communication cannot be
relied upon if something
goes wrong.
4. Make sure the artwork
is the correct size.
Does the design brief
specify the size? Have you
checked Document Setup
again? Or the outmost
frame in Illustrator? Double
check the orientation! Is it
210×297mm (DL) as Width
by Height? Is it portrait or
landscape? Did the client
say an A4 because it looks
like an A4 or is it 220×286?
For ads, contact the
publication by phone, email
or web. Check with the
printers which is the most
economical size and how
many fit to a print sheet.
Always double check if you
aren’t sure.
5. Define bleed and trim
marks in the file
Bleed is the distance the
artwork needs to extend
beyond the final size of
the artwork and it can vary.
3mm on each side is most
common. In some cases it
may not be needed at all,
nor the trim marks, usually if
there is no colour or image
over the edge. Clarify with
the printer before you
Good
Design
Practice
12Pre-press
tips

13.
VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 13
create your PDF, and open
the PDF afterward to check
inclusion.
6. Typefaces/Fonts
Ensure the typeface(s) used
correlates to the clients
corporate identity manual.
Are you using the correct
typeface for your client? Are
there any unnecessary fonts
that shouldn’t be included
the file? In Illustrator check
Document Info or Find Font…
and in InDesign Find Font…
under Type in the menu.
When delivering artwork as a
PDF for print there is normally
no reason to outline the fonts.
For advertising however best
practice is to outline the fonts.
7. Logo usage
Using client logos is
really important for brand
recognition so it is really
important the it prints
correctly. Make sure the logo
file is properly embedded or
linked for clarity. Ensure the
logo usage correlates to the
corporate identity guidelines
& style guide. Make sure it is
in perfect proportion. Keep
the colour of the logo in the
right format for the media
used. For print, use the logo
in vector format if possible
(ai. eps. pdf.). Logos sent to
you inside Word documents
are no good as they will be
low resolution. For print, the
format should be CMYK, not
Pantone unless the work is
going to be printed with spot
colours.
8. Colour - this is a big one
Keep the colour of the artwork
in accordance with the media
used.
There are two types of colour
used for print. CMYK and
Pantone Colours (PMS). For
most digital or offset printing
you will use CMYK printing.
Therefore all images should
be in CMYK. Photos will most
often be in CMYK while logos
may be printed in PMS. No
colour profiles should be
attached to the pictures.
Your pictures should be jpg,
tiff or psd format. Avoid
eps. The reason: If you are
using transparency in your
artwork, like drop shadows or
transparent type or colours,
your PDF will most likely have
torn the photos into strips.
This can be avoided by using
the pictures as native PSD.
If you are including Pantone
(PMS) colours, make sure only
those colours used are in the
file. In InDesign and Illustrator,
go to the Swatch panel and
in the fly-out menu choose:
Select all unused and delete
those colours. If in doubt,
contact your printer. They will
help you and will most likely
send you the correct settings
for programs that fit the jobs
going to his printer.
9. Pictures sizes are big
enough
Pay close attention to the
resolution of the pictures
used. Most common minimum
resolution for print is 300dpi.
You should try not to enlarge
pictures by more than 20%
of the original size. This is
just a thumb rule. When you
change the size inside your
document you will change
the output resolution too. A
300dpi picture will be 600ppi
if you minimise it by 50%.
Way too high a resolution.
Enlarging too much might get
the resolution down resulting
in pixelised/blurry images.
You can adjust images sizes
in photoshop to be exact.
Properly managed image sizes
will also keep your file size
down.
10. Preflight the artwork
Preflighting the artwork
before sending to the print
shop is a must. If you have
done all the things mentioned
above, you have manually
preflighted a great deal of
what is needed. InDesign has
a preflight feature. Window >
Output > Preflight. There you
can see an overview of the
document, check fonts, links
etc. Also, you can see the red
or green dots at the bottom
of the window that indicates
various errors you may have in
your file.
11. Ensure the final PDF is
high resolution
Did you send your client a
low resolution PDF earlier in
the day? Did you remember
to switch over to a high
resolution output? Are you
using the built in PDF settings
of InDesign or Illustrator?
Ask your printer for PDF job
settings. The built in settings
are usually not what is used
for professional PDF output.
Or at least know which of
the built in settings you
are supposed to use. High
Quality Print and Press Quality
settings are tempting to use if
you want quality (because of
the names), but in most cases
you will have to use PDF/X-
1a:2001. Consult your printer
here.
12. File size
It is really important that
your final file size is not
overwhelming otherwise it will
make file handling difficult
and time consuming. Files
that are too big without
reason can slow the printing
process with more time
needed for the technology
to read your file. It will also
make transporting your file
difficult via email, or ftp sites.
Generally speaking around
10MB is an acceptable file
size. If the artwork contains
several large images and is
a large file then it may be
bigger. It is just important
to not have images that are
really large for no reason.

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PREFLIGHT CHECK LIST: Check your file for the following
All artwork and images have been extended at least 3 mm
bleed beyond the finished page size.
Logos or graphics created in vector programs such as
Illustrator, have all type converted to paths or outlines.
The pasteboard surrounding all your design pages is empty.
No overflowing text boxes or images.
All images are correctly positioned and linked.
Live type and vital images are at least 5 mm within the trimmed
document edge.
All fonts are either included, embedded or outlined.
You have only used fonts that you intend to use for output.
Colours and images are converted from RGB to CMYK or
special and Pantone colours are specified as spot colours.
All PMS colour swatches that will be printed in CMYK have
been converted to CMYK values.
All issues with duplicate Pantone colour swatches are resolved
(eg. PMS 185C, 185U, 185CV) (Coated (C) vs Uncoated (U))
All unused PMS colour swatches should be deleted.
All black text is 100% Black, not CMYK Black (Registration).
Large black solids and backgrounds have been specified as a
Rich Black mix.
Varnishing and special treatment areas identified as SPOT
colours.
Total ink density is appropriate for the stock type: 300% coated,
280% uncoated, 250% newsprint
The document dimensions are the right size for printing,
folding and trimming.
Trim, fold and registration marks are included.
Overprint settings have been checked.
All pages are supplied as single pages – not spreads!
Finished artwork as a press-ready PDF with correct pagination.
All documents have been thoroughly proof-read and double-
checked before submission.

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Preflight - Check and double check your file
InDesign has a preflight capability to check your file for errors. When you send a file to print, the printers will run
an advanced preflight to check your file before print. They will either correct your file (and charge you for it) or they
will ask you to re-supply the artwork. Doing a preflight yourself can save you the back and forth. You can do this by
checking all aspects listed in the checklist at the beginning of this lecture.
InDesign

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Missing Fonts - Type > Find Font.
Frequently you may receive a file from someone else and not have the font they have used installed on your
computer. The software will alert you to this fact and you need to source and install the font to make sure the
appearance of the artwork is in tact. The software usually uses a default font in place of the missing font.
InDesign Illustrator

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Outline Fonts - Type > Create Outlines.
Select the type or type box and then go to ‘Type’ in the top menu bar and ‘Create Outlines’. Creating outlines
means that the text becomes a shape and holds its integrity should the font be separated from the file.
InDesign Illustrator

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Resolution- Image size and DPI (dots per inch)
Image sizes and DPI (dots per inch) can be edited in Photoshop. DPI is used to describe the resolution,
number of dots per inch in a digital print and the printing resolution of a hard copy print. Up to a point,
printers with higher DPI produce clearer and more detailed output. As a general guide: 72dpi = screen
resolution (low), 300dpi = high resolution print.
Photoshop

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VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 19
Links - Making sure image links are intact
Most printing is basic CMYK however in some instances you may choose to print with a spot Pantone colour to
ensure colour consistency across several items of collateral. Spot colours are premixed flat colours and ensure
colour accuracy. CMYK may have slight variations from print run to print run depending on the machine and it’s
maintenance. Photos and images are always printed in CMYK as they have gradients and variations in the colour.
InDesign Illustrator
Red question mark or yellow exclamation mark
indicate that the link is missing or the source file
has been edited. It needs to be relinked. The
link info gives great information on the file name
and where it was originally linked from to help
you find it. The link info also tells you what scale
the image is eg. 50% or 170% (enlarged). This
can help you to manage if the DPI of the image
has changed due to enlargement.
Red cross or yellow exclamation mark
indicate that the link is missing or the
source file has been edited. It needs to be
relinked.
In both InDesign and Illustrator their is the
option to ‘Embed’ links. This will save you
looking for the link if it gets lost. It is also often
required when providing illustrator files to print
if they have images, most often with product
packaging. It will however increase your file size
dramatically.

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Marks & Bleeds - Exporting your file for print
To export your file to print with the correct marks and bleeds is heavily dependent on your file setup being correct. If the
file setup is accurate then the software will do all the work for you. In InDesign you go File > Export. The Export window has
several basic options for Low Res, High Res and Press settings. Are common advanced setting used for press advertising and
printing is PDF/X-1A:2001. You can then manage your crop and trim marks on the ‘Marks and Bleed’ tab.
InDesign

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Marks & Bleeds - Exporting your file for print cont.
In Illustrator you go to File > Save As. In the ‘Save As’ window there is a drop down menu that allows you to choose the file
type, ai. pdf. etc.
Illustrator has the same Low Res, High Res and Press settings as well as PDF/X-1A:2001 for selection. You can then manage
your image compression, crop and trim marks in the same way as InDesign.
Illustrator

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Soft
Proofing
Soft proofing is the ability
to view a simulation of how
your image will look when
out-put to the printer on
your monitor, based on the
chosen profile.
Photoshop has a soft
proofing workflow built in to
the software. Please refer to
the Soft Proofing Guide in the
Lecture 5 Downloads.
What is soft proofing?
Soft proofing is a catch-all
phrase for proofing files on
your monitor rather than using
a good old-fashioned paper
proof.
There are broadly two types
of soft proofing: Content and
layout proofing & Contract
proofing.
Content and layout proofing
is used for a wide variety
of media, whereas contract
proofing tends to be for print
only.
Content and layout proofing:
Content and layout proofing
does what it says on the tin.
Is the content correct? Are
there any typos? How does
the layout look? Have the
correct images been used? Is
everything on-brand? And so
on.
Content proofing is (or should
be) used by agencies of all
types, marketing departments,
designers, web site
developers, in fact anyone who
produces a graphical image or
text for approval by someone
else.
Tools for this type of soft
proofing include:
• PDF files sent via e-mail
• FTP sites for upload and
download of larger files
• Desk based proofing
software
• Web based proofing
systems (ProofHQ falls in this
category and we think it’s the
only way to go, but that’s not
the point of this post!)
Content and layout proofing
takes place earlier in the design
and production cycle. It should
be highly collaborative, so that
the creator works closely with
reviewers to make sure that the
brief has been met.
Content and layout proofing
often requires a large amount
of project management to
make sure that reviewers
have received their proofs,
that they respond on time
and that their comments are
acted on.Version control also
becomes important to ensure
that changes are tracked
through the various iterations
of a piece of work.
Contract proofing
The second type of soft
proofing is contract proofing.
This uses more complex color-
management systems that try
and replicate the exactness
of hard-copy proofs on the
monitor. Contract proofs are
called that because from a
legal perspective, an approved
proof is a binding contract.
By signing a contract proof
printers and customers are
agreeing that they accept the
quality of the reproduction
on the specified paper using
the specified ink. They are
saying that a print run will be
acceptable if it matches the
quality of the contract proof.
Common features of both
types of soft proofing
include:
• Viewing a proof for content
and colour.
• Letting several people view
the proof simultaneously or
consecutively
• Marking up a proof to show
changes
• Viewing old versions and
new versions together
• Providing electronic sign-off
• Archiving the proof for later
viewing.
Proofing
A print proof is a hard copy
print of your design to
demonstrate both the quality
of the file and the accuracy
of the printing based on
following your directions or
matching a guide or original.
You may wish to print your own
proofs prior to sending the job
to the printer. Sometimes it is
easier to proof read on a hard
copy than on screen.
Proof prints are usually printed
“full-frame”, which means that
all of your image will show.
The “opposite” of full frame
is “cropped”, which means
that some of the image area
will be cut off to match the
proportions of the ordered
image.
Once approved, printers keep
a copy on file of all proof prints
sent to you as a reference.
Once you receive a print proof,
you should review it in detail
against your proofing checklist.
If changes are desired, you can
discuss those changes with the
printer.
Print proofs may be simple
digital prints or done as a
Epson or ISO print which
ensure closer colour accuracy.
If you make changes and
require additional printers
proofs you will most likely be
charge an additional fee.
For offset printing jobs, you
may want to do a press check
after approving yor hard copy
proofs.
Press-check
For large offset printing jobs
you may want to do a press
check. You need to discuss
this with your printer as they
will need to let you know
what time to be at the press.
A press check allows you to
do a final check on colour
before the whole print run is
done. The printers are able to
make subtle adjustments to
colour for you to make the job
perfect.

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Grab a cup of tea and find
somewhere quiet
You’ll need a print-out of your
final approved PDF for reference
as you check your printers proof.
It’s easy to check what’s on the
proof, but all too often, people
don’t spot when an element has
dropped off completely. Having
both in front of you will help
avoid this.
Get a fresh pair of eyes
After looking at the same job
time and again, it’s good to
get someone else to check,
particularly when it comes to
proofing text. When you know
what’s coming next, it’s easy
to skim over words or fill in the
blanks if something’s missing.
Reading the text out loud can
help. This way, expression and
punctuation errors become
more obvious. Calling telephone
numbers and typing lengthy URLs
into your browser are simple ways
of checking these details.
Don’t get too hung up on
colour
As proofs aren’t printed on the
specified stock, please bear in
mind that there are bound to be
some differences between the
proof and the completed job.
For example, using an uncoated
paper will make a huge difference
to the finished effect. If colour is
critical, you can include Pantone
colours or request a press-pass.
Colour
Offset: The printed proof for
your offset job will not be printed
on the same stock as your print
job, due to setup cost prices. So
therefore, please bear in mind
that there are bound to be some
differences between the proof
and the completed job. If colour
is critical, you should request a
press check or an ISO proof.
Digital: The colour in digital
proofs is made up from the 4
process colours (CMYK), so if
your job is spot colour (specified
from a Pantone), you should use
your Pantone swatch book as an
indication of the final colour. If
required, a printed proof on the
stock your job is set to be printed
on can be provided.
Take plenty of time
Checking is easier when you’ve
stepped away from the job for a
while. Usually, there’s a day or two
between sign-off and receiving
the printers proofs. It’s far better
to wait a while to check a proof
properly.
Graphic Design Print Proof Checklist
PROOF CHECKLIST: Before you sign off your proof, make sure that you and your colleague
have ticked all the relevant boxes below. Mark any final edits clearly on the proof.
Spelling and grammar.
Watch out for words the
spell check won’t catch,
such as it’s/its, their/there,
your/you’re, were/where,
then/than, and to/too.
Consistent and correct
spelling of specialised
words. Such as product
or brand names, and
terminology.
Duplication. Check for
two identical words or
numbers that are next to
each other.
Contact details. Check
that contact names,
telephone, and fax
numbers are correct. Also
check email and web
addresses.
Product codes and
reference numbers.
Overall consistency with
other materials.
Logo. Check it’s the
correct version, alongside
consistency of size and
positioning.
General layout and
colour/imagery. If it’s a
product shot, make sure
it’s the correct model
and most up-to-date
shot. Check any final
retouching meets with
your approval.
Pagination. Is the
document’s size, page
numbering and ordering
correct?
Small print. Have
you added this where
relevant and checked the
content to ensure legal
compliance?
Punctuation. Is it
correct and consistent
throughout?
Has someone else
read the proof and
completed the
checklist?
Have you and a
colleague signed the
proof?
Have you marked up
and final amends on
the proof and signed
it? If there are extensive
changes, you may need
to resupply artwork.
Proofed & Approved by: Proofed & Approved by: