Preparing Digital Files

Preflight preparation is the process of collecting, updating and sending files or applications to a Sign-Tech Media Inc. for production. Preflight preparation uncovers missing data or fonts, misplaced illustrations, trapping errors, incorrect sizing and other important details. Check with us to ensure we have the current version of the software you're using. If there are compatibility problems, you may need to submit a PostScript file.

Be sure to include all fonts with the documents you submit. Our programs may not have a specified font, so include the printer fonts, in addition to bold, italic and other versions. Include additional font dingbats or end-marks as well. A good solution is to first convert all you text to paths or curves before sending us the file. Then sending us the fonts is unnecessary since our program will recognize these as only shapes and not fonts.

Vector files are not dependent on resolution. However any raster images whether imbedded into a postscript file or saved as its own raster file itself does depend on its resolution. Generally the further away you are viewing your completed image, the lower the "target" resolution can be for the same effect. While the file for a glossy magazine ad that is viewed from arms length should be approximately 300 dpi, the same image on a billboard you pass on the highway will give you the same effect at a resolution as low as 10 dpi. The worst mistake many designers make is sending their images with either too low or even too high resolution for specific applications. While many times an image with too high of a dpi can be modified for proper printing, one with too low is almost always impossible to convert. The general guideline of acceptable "target" resolutions is this: Tradeshow displays or SMALL banners and signs to be viewed within just a few feet - 100 to 150 dpi maximum. Small to medium size vehicles trailers and banners - 50 to 100 dpi. Large trailers, buses and large banners - 25 to 60 dpi. Following these guidelines when designing will help to avoid any problems with legibility of your sign or unnecessarily large file sizes rendering them useless.

TARGET RESOLUTION: the dpi of the raster images at the actual size intended to be printed at.

Include color hardcopies of the illustrations, images and photographs with the application file. Also be specific if it is important for us to match any Pantone colors in your file. All files whether raster or vector must be in CMYK. All raster graphics must be "flattened" and any special effects created in your program must be made uneditable.

CMYK: a four-color process using a percentage value of the colors cyan, magenta, yellow and black.

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Raster Images vs. Vector Graphics

Computer graphics can be created as either raster or vector images. Raster graphics are bitmaps. A bitmap is a grid of individual pixels that collectively compose an image. Raster graphics render images as a collection of countless tiny squares. Each square, or pixel, is coded in a specific hue or shade. Individually, these pixels are worthless. Together, they're worth a thousand words.

Raster graphics are best used for non-line art images; specifically digitized photographs, scanned artwork or detailed graphics. Non-line art images are best represented in raster form because these typically include subtle chromatic gradations, undefined lines and shapes, and complex composition.

However, because raster images are pixel-based, they suffer a malady called image degradation. Just like photographic images that get blurry and imprecise when blown up, a raster image gets jagged and rough. Why? Ultimately, when you look close enough, you can begin to see the individual pixels that comprise the image. Hence, your raster-based image of Elvis Presley, magnified to 1000%, becomes bitmapped before you can isolate that ravenous glint in his eye. Although raster images can be scaled down more easily, smaller versions often appear less crisp or "softer" than the original.

To maximize the quality of a raster image, you must keep in mind that the raster format is resolution-specific -- meaning that raster images are defined and displayed at one specific resolution. Resolution in raster graphics is measured in dpi, or dots per inch. The higher the dpi, the better the resolution. Remember also that the resolution you actually observe on any output device is not a function of the file's own internal specifications, but the output capacity of the device itself. Thus, high resolution images should only be used if your equipment has the capability to display them at high resolution.

Better resolution, however, comes at a price. Just as raster files are significantly larger than comparable vector files, high resolution raster files are significantly larger than low resolution raster files. Overall, as compared to vector graphics, raster graphics are less economical, slower to display and print, less versatile and more unwieldy to work with. Remember though that some images, like photographs, are still best displayed in raster format. Common raster formats include TIFF, JPEG, PSD, CPT and BMP files.

Unlike pixel-based raster images, vector graphics are based on mathematical formulas that define geometric primitives such as polygons, lines, curves, circles and rectangles. Because vector graphics are composed of true geometric primitives, they are best used to represent more structured images, like line art graphics with flat, uniform colors. Most created images (as opposed to natural images) meet these specifications, including logos, letterhead, and fonts.

Inherently, vector-based graphics are more malleable than raster images -- thus, they are much more versatile, flexible and easy to use. The most obvious advantage of vector images over raster graphics is that vector images are quickly and perfectly scalable. There is no upper or lower limit for sizing vector images. Just as the rules of mathematics apply identically to computations involving two-digit numbers or two-hundred-digit numbers, the formulas that govern the rendering of vector images apply identically to graphics of any size.

Further, unlike raster graphics, vector images are not resolution-dependent. Vector images have no fixed intrinsic resolution, rather they display at the resolution capability of whatever output device (monitor, printer) is rendering them. Also, because vector graphics need not memorize the contents of millions of tiny pixels, these files tend to be considerably smaller than their raster counterparts. Overall, vector graphics are more efficient and versatile. Common vector formats include AI, EPS and CDR.

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Fonts & Typesetting

The advent of desktop publishing has provided graphic artists with a seemingly endless collection of digital fonts to work with. Designers can also manipulate these fonts to create additional typographic forms. They can be layered, extended, overlapped or condensed, just to name a few. Although this is a dream for designers, these advanced typographic fonts can make it difficult to comprehend or even read the content of a printed document.

The word font originated from the word foundry, relating to the location that type was cast, and has since evolved to mean that which represents the characters in a font. Fonts or typefaces are collections of characters. Characters are the smallest forms of the written language, in other words, separate letterforms. Whereas a character represents the printed image, a glyph represents the shape of each character.

Fonts are measured in points. Designers can manipulate point spacing using either kerning or leading, or both. Kerning adjusts the spacing between the letterforms and leading adjusts the spacing between the lines. This allows a designer or printer to manipulate spacing or create different effects without changing the font. In addition to spacing, there are three main typesetting styles used when printing -- justified left, justified right and centered.

Wrapping the text around a visual is another typesetting option. Typestyles include two main categories: serif and san serif. Serif fonts have small hats on the letter edges and san serif fonts do not. For example, serif fonts include Garamond, Times New Roman, Palatino, Lucida Bright, and Courier. San serif fonts include Arial, Chicago, Geneva, and Monaco. In addition, both serif and san serif fonts can either use bold or italic styles. In conclusion, a font is a complete set of letters, numbers and punctuation marks. Size, spacing, and alignment provide additional arrangements for the font in a printed document.

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Developing Your Corporate Identity

A corporate identity will span the course of your entire business, from your logo to your business cards and letterhead. It's designed to create a brand identity for your company, product or service, and evoke an emotional response from your audience.

Whatever your size, whether you're a mom and pop or an international megacorporation, a solid business identity can set you on equal footing with the competition. A solid identity can make a small company seem as large as the industry giants.

A corporate identity usually includes a graphic symbol will serves as a reflection of your company, audience and future goals. If done right, your identity will exude confidence and automatically invoke an immediate and positive consumer response.

Although it may be tempting to save money on your corporate identity, there are some things you shouldn't try to do on your own. Unless you have a graphic designer on staff, leave your corporate identity to the pros. That's not to say that you shouldn't be involved in the process, but look for professional help to get you started. If all goes well, this will be a permanent identity for your company, lasting for many, many years. Don't be afraid to seek help and spend a little money on this all-important component.

Your job primarily will be to define what will be your focus. Where has your company been, what are doing now and where are you headed? Surprisingly, many try to develop an identity without thinking about the future, but that's a mistake if you want your identity to support company progress.

Many companies think of a business identity as merely a logo or catchy phrase, and while both of these can be essential aspects, the identity extends far beyond the primary symbols. Your business identity should embrace the best aspects of your company. If you have the best customer service, your identity should support that. If you claim to be the leader when it comes to technology, the design should reflect that. Identify your key strengths and make those a point of focus.

Clarity should be another goal of your corporate identity, and many times that equates to simplicity. Dominating the visual landscape and incorporating all possibilities into one identity can prove confusing to your customers, or just plain annoying. Anything potentially confusing to consumers should be avoided at all costs.

When you begin to research your corporate identity, start by examining the competition. Find out what they do, how well they do it and what works for them. What does their identity say about their company? Do you see their logo across town and hear people asking about their company? Once you define their approach, examine your own company and define the strengths that will drive your corporate identity.

In the business world, you often hear the phrase, "location, location, location?" Likewise, when you're developing a business identity, the name of the game is "consistency, consistency, consistency." Everything should be consistent, from business cards and fleet graphics to marketing brochures and Web site. Even the interior design of your office should support your corporate identity.

Once established, your identity should accomplish three missions for you. It should inform your current customers and prospective new customers about who you are and what you do. It should persuade your target audience to act in a positive way toward your business, allowing you to grow as a company. Lastly, it should influence perceptions of your company in a positive direction.

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Working With an Advertising Agency

Developing a solid relationship with an ad agency will greatly benefit your product or service in the marketplace. That statement might seem overly simple, but in fact, it's the first step to planning a successful campaign. When responsibilities are unclear on either the firm or client side, relationships break down and campaigns can suffer as a result.

Try to treat your advertising agency as a partner, not a vendor. Send them copies of your newsletter or sales bulletins. Include them in the product or service testing process and ask for their feedback. Testing is at the center of consumer behavior. It helps to narrow the focus of the message and how it will be delivered. Testing answers the questions about total sales, costs per sale, total responses, average orders and other consumer behaviors.

In addition to sharing insider information, invite the account executive and creative team to marketing and sales meetings, and to product training. Provide the account executive with an updated product and service list, in addition to distributor and competitor information. Include them in business operations and prepare organized presentations so the agency can move on to brainstorming and creative development.

In subsequent meeting with the agency, keep the meeting guidelines consistent and provide changes in writing after each meeting to ensure clear communication between both parties. Review and return the body copy and layout design in a timely manner, so the creative team can get back to work on making the necessary revisions. Try to be realistic about the resources and limitations of your agency before requesting monumental changes.

Deadlines exist on both sides, so work with your agency to ensure that deadlines are attainable. When campaigns go well, share the credit and praise. When things aren't so successful, share the blame and work on a solution together to avoid future mishaps. Positive results take time and building trust in the relationship between agency and client is the first step. When uncertain about the effectiveness of a campaign, ask to see other advertisements or campaigns as a point of reference. Campaign success depends on a building a strong relationship with your ad agency.

At Sign-Tech Media Inc. we will be more than happy to deal directly with your current advertising agency when it comes time for any graphic printing. We can discuss necessary file formats, resolutions, colors, etc. to make it easier on you and your company. Please feel free to have them give us a call.

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Rules for Legal Advertising

So what determines if an advertisement is unlawful? If it misleads or deceives consumers, it is considered unlawful. Both federal and state laws regulate advertising in conjunction with the Federal Trade Commission. Furthermore, the FTC doesn't have to prove that an ad deceived even one consumer, just that it has a deceptive characteristic or approach.

To ensure that an advertisement isn't deceptive or misleading, start with:

- Is the information in the advertisement accurate?
- Do I need written permission to print a photo or use an endorsement?
- Can I meet the demands of the advertised sale?

However, that's just the beginning. What can consumers expect from a product or service? For example, advertising that photo paper is fade-resistant is accurate if it never fades. But if it fades, it can be considered misleading. You have to be specific. There's a huge difference between paper being fade-resistant for five years as compared to ten. Exaggerating a product or service is a form of deceptive advertising.

Canadian copyright law protects copyright owners through the Fair Use Rule and provides advertisers with access to copyrighted works without fear of being sued. Fair use allows advertisers to use limited quotations from copyrighted works without the specific authorization of the copyright owner. Product or service reviews also provide quotes to advertisers, but, to be certain, check the copyright restrictions. You should request written permission to use the quote or information.

Misleading consumers about a competitor's products or services is an advertising violation. Inaccurate information that damages a competitor's reputation is unlawful according to FTC guidelines. You should carefully review all advertising to make sure that business-to-business comparisons are accurate.

Provincial law can require businesses to stock an advertised product, or to provide a service, in quantities prepared to meet the expected demand. For example, a business that advertises cameras on sale needs to have a reasonable amount in stock, or include a disclaimer such as while supplies last or limited stock. Each state has different demand laws, so check before advertising a product or service on sale.

Deceptive pricing is another FTC violation. Be honest about the sales and savings. For example, a business that advertises computers at $1000 and compares it to a doctored price of $1200 is practicing deceptive pricing. In addition, be specific about credit terms. Credit terms include the down payment, the terms of repayment, and the annual interest rate. Do not guarantee credit to consumers if there are hidden terms or restrictions.

Businesses advertising free products or services need to be upfront, and state the limits, terms or conditions. For example, a business offering a free pen to consumers who purchase a calculator for $10 is advertising a free pen. However, if $10 is more than the usual calculator price, the hidden cost means the pen isn't free.

Federal and provincial governments can investigate businesses violating the Federal Trade Commission's advertising laws. Often investigations are conducted by the Attorney General, Consumer Protection Agency or local District Attorney. The FTC trusts consumers and competitors to report unlawful advertising. Consumers and competitors can also proceed against the advertiser without the FTC. To avoid the cost and trouble associated with these actions, it's important to ensure that advertising does not mislead or deceive consumers.

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