Sign & Digital Graphics

November '17

Issue link:

Contents of this Issue


Page 46 of 88

40 • November 2017 • S I G N & D I G I T A L G R A P H I C S DIGITAL PRINTING AND FINISHING DIGITAL GRAPHICS client the better, and keeping him/her in the loop will avoid misunderstandings and conflict later on. Color Settings It is of critical importance is to choose the correct color settings for your printer and substrate. Whether your paper is glossy, matte, archival, watercolor, etc.—and you have a four-, five-, six- or eight-color printer—the correct color settings will determine the amount and configuration of colored ink that your printer's nozzles deposit to produce accurate color, (see Figure 6). Equally important is that the design is the correct size, resolution and orientation to fit on the substrate when it is printed. Figure 6: Of criti- cal importance is to choose the correct color settings for your printer and substrate. Figure 7: Get the client to sign off on the finished design. Proof It When the design is complete, print a proof on a lower quality inkjet or laser printer at a smaller size. Carefully proof the composition and if there is text, proofread it two or three times, then have a coworker proof it. Finally, get the client to sign off on it, (see Figure 7). RIPing and Printing If you're on a network where there are several printers, send the image file to the correct printer. If this seems obvi- ous, you'd be surprised how much paper and ink are wasted by operators assum- ing that their target printer is the default, especially in shops where there are sev- eral employees using multiple computers and printers. The print dialog box often displays the data from the last printer used, so it's quite common to make this mistake. The print dialog box is where Murphy's Law reigns supreme in this process because there are so many choices (see Figure 8). It can be quite easy to mistakenly choose the incorrect settings. Review the print dialog box to make sure that you have all the basses covered. This includes correct color settings, print size, print orientation, quantity of prints, specific pages, print quality, paper type and all of the numer- ous variables that the dialog box displays. If the image is going to be used as a transfer for a sublimation transfer print, the image needs to be reversed. There is a print menu option in Photoshop and Corel Draw that enables you to reverse the image, (see Figure 9). Paper Paper orientation (landscape or portrait) should be consistent with the design so as to waste as little paper as possible. The paper in the printer should be the same as the paper type chosen in the color settings and the print dialog box. If using roll paper be certain that the paper is placed on the spindle properly and according to manufacturer recom- mendations. Digital Eye C O N T I N U E D

Articles in this issue

view archives of Sign & Digital Graphics - November '17