File Setup.
Supplying a file that is optimised for production.
Our last blog detailed all that we have to say about file delivery. Now we’re going to take a step back and look at each component that needs to be considered, when preparing files for a physical installation.
What software should I use? What file format best suits this project? Where to annotate? How much bleed? How big can my file be? Each of these questions are on this blog’s checklist, along with a number of other common conversations we have with clients.
With so many ways to produce artwork there is no real one size fits all approach to this process. With a variety of software and processes, ranging in price and performance, we often find, most designers that we are able work with do have their own unique approach to this process. Our proposed process, which we will outline here, considers both the design AND production phase. This is most commonly how we direct clients when asked for guidance in this domain.
In this post I’m staying away from the actual design of the artwork – that’s not so much our expertise. We’re focusing on what’s happening around the artwork. What little things can be added to make the production and install process even smoother. Adding in these pieces can really begin to streamline the process that brings the graphic off the computer, into the world.
File Format
Deciding on a suitable format will mostly depend on the output and what’s required of the work. The main file types we recommend are PDF/EPS and TIFF. Beyond that, files that are adobe specific can also be good if your setup allows; PSD/PSB or AI or INDD. Choosing which file to use in which situation is quite straightforward, this is our breakdown;
PDF/EPS – More commonly PDF but both achieve the same result for us.
Definitely a general use file type. Can be used for images or vectors, or compositions of both.
Great for creating files that have editable pathways, any text files, for example, didactics, are most commonly in this format. Any file that includes image AND vector elements, may be a wallpaper with a text element over the top, as a title wall, PDF is the way to go. We often ask for this format if something is being cut or plotted.
Limitations start to present when we are working with larger files as detail can be lost with super high resolution images.
TIFF – This file type is reserved for high res image outputs. Larger files and greater detail. Any photography or compositions that are being blown up for a wall or require high levels of information within the graphic. Not recommended for Vector outputs and also not necessary for file outputs smaller than 1000mm. Below that PNG or JPG are both often suitable but do have flaws as you get to the larger outputs.
Avoid using this if Text or Vector elements are involved anywhere on the graphic.
PSD/PSB – When files become even bigger we’ve worked with clients who will simply supply the working photoshop file. So instead of exporting a 20G tiff file, saving a PSD with linked or zipped graphics can be a more storage efficient way to pass over this kind of work. This one is less common but definitely has a place.
AI – Behaves almost identically to a PDF without the flexibility of using the pdf in other programs so it often seems to me that this one is a bit unnecessary. Maybe there is quality or information preservation by keeping everything native to AI but I’ve not seen any physical differences in the final output. For our application at least, PDF and AI perform the same way…
To summarise; if it is a high res image and needs a lot of information saved – use TIFF. If the image is even larger and saving is becoming difficult without breaking down the graphic – Use PSD/PSB. And for everything else – Use PDF.
SLUG!
Implementing a slug is a great way to confirm the details of a job. A slug is the space outside of the graphic element on the page and often this space is a great spot to include all the relevant details for the output of the file.
This is what a slug might look like for a supplied artwork;
Some of the key things to include here are;
The date the file was created.
The size of the final output.
The scale of the artwork.
The application – Eg. Didactic, Wall Graphic, Lightbox Graphic.
The media type – Eg. Printed SAV, Mounted Photo paper, Wallpaper, Transparent window graphic.
The colour of the vinyl – if spot colours are used and that colour isn’t represented in the artwork.
The location of the graphic in the space / reference to a design or layout brief.
The number of outputs labelled as quantity.
Each of these things are checked before production to make sure that all the information lines up with what has been previously discussed, and ensures that the final output received is exactly what is expected. It’s a nice confirmation of details that adds another element of assurance; that the work being produced is the work that is expected.
If you would like a Slug template, contact us, we can send you a file with a set up slug for you to copy, paste and fill out on all your future projects.
Scale
Sometimes files are just too big to work at full size or the final product is at a size that extends beyond the workable area in a software. Scaling down the file can be a good way to manage both of these. Commonly we see files being scaled to either 50% or 10% of the final output size. Less than this can be risky especially if the file includes an image. Pixelation can occur if the original file isn’t a high enough resolution.
Vector only files can be scaled to any size with no quality loss or pixelation, so the scale will be more likely determined by the size of the output for these ones.
Generally best practice for any non vector artwork is to avoid scaling at all. However some cases do call for it. So try to sneak by with as little of this kind of manipulation as possible.
Our RIP software is optimised to scale images, and does a better job than most available softwares at the moment. Sending files at full res, unscaled (Up or Down) is usually best practice for most wallpapers or large format graphics.
We are aware though that this isn’t always a viable option. Perhaps the artwork needs to fit a specific layout, or certain components within the artwork need to be in specific places on a wall. Working at scale can make the design process much simpler when dimensions are involved. And so our recommendation here is to scale as minimally as possible and round to the nearest; 10%, 25% or 50%. So if the image component is 12% of the final output size, then scaling to 10% of the final output is your best option.
This is also where a SLUG becomes very handy. Whatever scale you decide to work at. Detailing this information in the SLUG helps to make sure that it is not missed or misinterpreted.
This might be represented as a percentage – “Artwork setup at 10%”, a ratio – “Artwork setup at 1:10”, or a final measurement – “Final output size: 3300mm x 2700mm”
Colour
Using block colours is common in artwork files for our application. Often Didactics and other CCV will be in black white or grey. Sometimes in more vibrant colours too. Representing those colours accurately is important. Especially in the absence of a slug.
This would mean simply that blacks are black, greens are green and blues are blue. I’ve noticed it’s not uncommon for a client to produce files using black only, even if the output colour is a different colour; white, blue or grey for example. And then detailing the output intention in an email or or a design brief or something similar. This has lead to errors on a couple of occasions, sometimes that information doesn’t stay with the artwork or isn’t passed on if the job changes hands internally. In this case we really emphasise the use of a SLUG and also suggest it’s always best to colour the artwork as accurately as possible.
Even if colours have been matched separately, itemising that in the slug is great for ensuring that that key point of information isn’t overlooked.
Colouring only becomes confusing when white is the only colour involved. We would simply suggest using Magenta in place and again listing that in a SLUG. If there are other colours to reference the white then it’s fine to just leave it as seen below.
Bleed
“How much bleed should I include?” is a common question that comes up in these conversations. For wallpapers, 50mm of bleed on all edges is the best rule to follow. Smaller stuff doesn’t require so much, labels and photo prints might only need 10 – 20mm of bleed. We’re able to add our own artificial bleed by mirroring the edges so it’s not the end of the world if bleed is unable to be supplied. But a little bit of cushion is always comfier than no cushion.
This can then be marked out using crop marks or cut lines. This graphic (above) is an example of of a file that is set up with bleed and crop marks that indicate where the wall starts and ends.
Creating templates is a good way to help to stay consistent with artwork production. If a single wall is being used repeatedly it’s great to get exact dimensions and then reflect that in the artwork, this way you know that the final product will always fit the space perfectly and will never be a guessing game.
Ultimately, there are many ways to produce artwork for our kind of application. These points are all little ways to make the transition from design to production just that little bit smoother. It isn’t the be all end all if these standards can’t be met but taking the time to implement them will only improve the standard of what you’re delivering (to any of your suppliers) and we will definitely appreciate you for it.
Thanks for taking the time to get through this slightly beefier blog post. Any feedback is welcome, I hope it offers some value.
Cheers. Will.
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