Branding is quite the complex procedure. It involves hours of brainstorming, designing, testing and proofing. One important aspect of this is color choice. Here is a little bit of info that might change the way you choose your colors.
A small annoyance that I’ve recently discovered when using Indesign is when you go to close a document and it asks to “save changes” … when in fact, you haven’t even touched any of the elements within that file. Here’s what I found out.
Since CS3, Adobe has implemented a feature that rates right up there as one of my favorite publishing techniques. You may already “place” tifs, pdfs, etc. into an Indesign file, but did you know you can also place an Indesign file into itself?
From time to time when printing a shadow over a solid color digitally, we will notice that it creates undesirable results. You can get anything from a thin line interrupting your art to a large white box placed exactly where your entire shadow is located. Many of the times these results are from top-of-the-line print production software. Here’s a quick trick on how to deal with this issue. Continue reading Shadows with Boxes in Digital Prints
No, it’s not a new car from Germany. Think of “vector” as a solid line/shape with no pixels or “bits”. Vector files are scalable, without loss of quality via use of a mathematical formula. One of the most common type of vector files is an .EPS (Electronic Post-Script). Vector files can be curved, straight, and any color and it is possible (although sometimes a challenge) to convert non-vector files to vector.
If you create a square in Photoshop and save it as an image file (.jpg, .tif etc.), it will be made up of dots per inch (dpi). Usually, if for print it is saved as 300 dpi. This means, that the edge of the square has little dots that the printer has to pick up. If a printer requests it to be vector, they are implying that their equipment can’t possibly pick up all those dots and need a solid shape instead. You can always think of it this way, imagine a razor blade cutting wood, vinyl, or plastic etc. via a computer. If the area it covers mimics what’s on the electronic file, and the file contains tiny little dots, the final output is going to be jagged, rough type of surface…which is bad for certain kinds of output devices.
Another great thing with vector art is file size. If you create a logo with a minimal amount of connected lines, the file size will be much less than if you created it as high resolution in Photoshop. I once had to redesign an entire 64 page magazine that consisted of over 5 CD’s worth of files. I went back over every page, re-saved logos, designs, and other parts of the ads and took the complete file size to down to 1 CD and my boss never noticed the difference. Most of the condensing, involved converting image files to vector.
Finally, vector files work superbly for different sized media. Think about it, if there aren’t any edges to your artwork, only solid lines connected to each other, then you could in theory produce any sized piece you want. A logo you designed has the potential to be blown up to the size of a football field and without the loss of quality.
An idea that I had (I have been using for awhile) for any marketing professionals out there, pertains to how you can stay up with the newest social media and not be falling behind on the “new” technology and latest fad. Continue reading Staying Up With Social Media
The following file naming techniques are from many years of experience dealing with art files. You might not be able to use this exactly, but it might help you in figuring out a system that works best for you.
Preparing files for output is a very important aspect of being a graphic artist. Our days aren’t always filled with playing with pretty images on pretty computers. We have to think ahead and plan out each design so there are no unexpected encounters that could lead to down-time or more expenses.
Continue reading Files need to bleed, but don’t worry … it’s painless