This section contains some general information about electronic files used in printing and reprographics
as well as useful recommendations.
Computer graphics fall into two main categories: vector graphics and bitmap images. Understanding the
difference between the two helps as you prepare artwork or layout for digital printing.
Paint and image-editing software, such as Adobe Photoshop, generate bitmap images, which are also called raster images.
The images use a grid (also known as a bitmap or raster) of small squares known as pixels, to represent graphics.
Each pixel in a bitmap image has a specific location and color value assigned to it. For example, a bicycle tire in a
bitmap image is made up of a collection of pixels in that location, with each pixel part of a mosaic that gives the
appearance of a tire. When working with bitmap images, the pixels are edited, which comprise the objects and shapes.
Bitmap bicycle
Bitmap images, such as photographs or images created in painting programs, are the most common electronic medium
for continuous-tone images because they can represent subtle gradations of shade and color. Bitmap images are
resolution dependent - that is, they represent a fixed number of pixels. As a result, the image can appear jagged
and will lose detail if they are rescaled larger or if they are printed at a higher resolution than they were created
for.
Drawing programs such as Adobe Illustrator,
Macromedia Freehand, and CorelDRAW,
create vector graphics made of
lines and curves that are defined by a geometric concept called a vector. Vectors describe graphics according to
their shape, or geometric characteristics. For example, a bicycle tire in a vector graphic is made up of a
mathematical definition of a circle drawn with a certain radius, set at a specific location, and filled with a
specific color. You can move, resize, or change the color of the tire without losing the quality of the graphic.
Vector bicycle
A vector graphic is resolution-independent - that is, it can be scaled to any size and printed on any output device
at any resolution without losing its detail or clarity. As a result, vector graphics are the best choice for text
(especially small text) and bold graphics that must retain crisp lines when scaled to various sizes - for example,
logos. Since computer monitors represent images by displaying them on a grid, both vector and bitmap images are
displayed as pixels on screen.
Resolution is the number of dots or pixels per linear unit used to reproduce artwork and images.
Output devices display images as groups of pixels. The resolution of vector graphics, such as those
made in Illustrator artwork, depends on the device used to display the artwork. The resolution of
bitmap images, such as digital photographs, depends on both the display device and the inherent
resolution of the bitmap image.
Pixel dimensions represent the number of pixels along the height and width of a bitmap image. The
display size of an image on screen is determined by the pixel dimensions of the image plus the size
and setting of the monitor. The file size of an image is proportional to its pixel dimensions. A typical
21-inch monitor displays 1152 pixels horizontally and 870 vertically. An image with pixel dimensions
of 1152 by 870 would fill this small screen.
Image resolution shows the number of pixels displayed per unit of printed length in an image, usually
measured in pixels per inch (ppi). An image with a high resolution contains more, and therefore smaller,
pixels than an image of the same printed dimensions with a low resolution. For example, a 1-inch-by-1-inch
image with a resolution of 72 ppi contains a total of 5184 pixels (72 pixels wide x 72 pixels high = 5184).
The same 1-inch-by-1-inch image with a resolution of 300 ppi would contain a total of 90,000 pixels.
Because they use more pixels to represent each unit of area, higher-resolution images usually reproduce
more detail and subtler color transitions than lower-resolution images when printed. However, increasing the
resolution of an image scanned or created at a lower resolution only spreads the original pixel information
across a greater number of pixels and rarely improves image quality.
To determine the image resolution to use, consider the medium of final distribution for the image. If
you're producing an image for online display, the image resolution only needs to match the typical monitor
resolution (72 or 96 ppi). However, using too low a resolution for a printed image results in pixelation -
an output with large, coarse-looking pixels. Using too high a resolution (pixels smaller than what the output
device can produce) increases the file size and slows the printing of the image.
Monitor resolution defines the number of pixels or dots
displayed per unit of length on the monitor, usually
measured in dots per inch (dpi). Monitor resolution depends on the size of the monitor plus its pixel setting.
A PC or Mac OS monitor can range from 60 to 133 dpi. Understanding monitor resolution helps explain why the
display size of an image on-screen often differs from its printed size.
Printer resolution defines the number of ink dots per inch (dpi) produced by a laser printer. For best results,
use an image resolution that is proportional to, but not the same as, the printer resolution. Our printers
have a resolution from 400 dpi to 600 dpi and produce the best results with images that are 150-200 ppi.
Screen frequency characterizes the number of printer dots or halftone cells per inch used to print images.
Also known as screen ruling or line screen, screen frequency is measured in lines per inch (lpi)-or lines of
cells per inch in a halftone screen. The relationship between image resolution and screen frequency determines
the quality of detail in the printed image. To produce a halftone image of the highest quality, you should
generally use an image resolution that is from 1.5 to at most 2 times the screen frequency. Read more about
screen frequency in the section Digital Printing.
Different types of graphics are suitable for specific tasks. If your artwork is composed of simple shapes and
color fills (like in logos), vector graphics is preferable. In all other cases use raster graphics. Always use
vector graphics or layout applications for typesetting. Fonts, especially at small sizes, should never be rasterized.
Keep in mind that it is easy to convert a layout or illustration to raster image but it is impossible to get it back
to vector without a huge amount of hand work!
Graphic Type. The logo on the top was taken from the company's web site and printed without enlargement or reduction. The same
logo recreated as a vector artwork is shown on the bottom.
Again, raster graphics is resolution dependent. The resolution of the images should be sufficient for quality
printing. For our equipment, a resolution of 150-200 ppi at print size gives the best results. The images on the
web pages have the screen resolution of 72 ppi, that is two times less than required for printing. This will
result in heavy pixelation on prints.
Image Resolution. The image on the left is taken from the web page. The image on the right is printed from a high
resolution original.
Keep in mind that besides resolution, raster images are characterized by physical size (measured in inches/cm/points). If you enlarge the image, its resolution decreases. This is
why an image printed successfully at letter size might look rough (pixelated) when enlarged to the size of a 2x3' poster.
Image Size. The image on the left is shown at its original size while the image on the right is
enlarged to three times the original size.
Think of resolution as a measure of graphical information contained in an image. Smaller resolution images contain less graphic information
(less detail). Most of the image manipulation programs are able to increase resolution of the images, while keeping the same physical dimensions.
Do not use this feature! Do not up-sample images to arrive at a required resolution. Even if you increase the resolution of small images,
the amount of graphical information will stay the same. This feature will result only in larger image size and will not affect the quality of
the print, but will only increase the time of printing. High-resolution images are the images which are scanned at high resolution!
Computers are able to handle only digital data. As such, colors need to be presented in a digital form. Color is
extremely difficult to express in mathematical terms because human eye perceives colors in a different way than a
scanner or camera. The perception of color is influenced by lighting conditions, surrounding colors, the shape of the
filled area, etc. Remember this point when checking prints.
The colors we observe fall into two main categories: backlit (additive) and printed (subtractive). They are treated
differently in computer graphics.
Additive colors are created by mixing spectral light in varying combinations. Color, when viewed on the monitor, reflects light from behind
and through to the eye. This backlit effect will tend to make the color brighter and more vibrant. The monitor uses a
color model based on the primary colors of red, green and blue (RGB). Monitor color is additive, meaning, when all
colors are blended together, they make white.
Additive colors mixing
Subtractive colors are seen when pigments in an object absorb certain wavelengths of white light while reflecting
the rest. We see examples of this all around us. Any colored object, whether natural or man-made, absorbs some
wavelengths of light and reflects or transmits others; the wavelengths left in the reflected/transmitted light make
up the color we see.
Formation of subtractive colors
Formation of subtractive colors
The above model displays the nature of color print production with cyan, magenta, and yellow, used in four-color
process printing. In printing, these colors are considered the subtractive primaries. The subtractive color model
in printing operates not only with CMY(K), but also with spot colors, that is, premixed inks.
Color model is a way to mathematically describe color. The most widely used color model for additive (backlit)
colors is RGB, while subtractive (printed) colors are described as CMYK.
RGB Color Model comprises three basic colors: Red, Green and Blue. All other colors are formulated as a mixture of these.
The images that come from a scanner or camera are usually RGB colors because these devices have the sensors sensitive to Red,
Green and Blue. The colors you see on the monitor or TV are also RGB because of the Red, Green and Blue colors emitted by the
ray tube phosphor.
CMYK Color Model utilizes Cyan, Magenta, Yellow and Black colors as the basis for all other colors. CMYK describes all
printing devices that have inks using these colors. CMYK is the "technological" model to a certain extent, since Black is not required for
a mathematical description of subtractive colors. It was introduced only because the composition of CMY does not give a nice black color
due to the imperfection of printing inks. When converting an RGB image to CMYK on your computer (this process is called color separation), the
software actually converts RGB to CMY. Then it replaces some of basic colors mixed in equal proportions with black, which "generates black".
You can set any amount of black generation, i.e. how much of the CMY is replaced by black. In general, the optimal amount of black generation
depends upon the type of printing device and specific image. This is why we recommend submitting the image files in RGB model unless you need
specific CMYK values.
| Black color in CMYK may be presented in two different ways, either as pure black ink or as a mixture of all inks
(composite black). These methods produce different results in the print coloration. Composite black looks "more
black", solid, and smooth. Because of this, it is often addressed as a "rich black". Rich black may have different
tints depending upon the amount of specific color inks added to black. We recommend using the following values:
20C20M20Y100K for regular rich black,
20C100K for cool rich black and 20M100K for
warm rich black. The letters C,
M, Y and K stand for basic ink colors and the numbers represent the percentage value of each ink. Do not exceed
the mentioned values. If you specify the black from the RGB color model, it will automatically be printed as rich
black on the printer. |
Each color model describes a certain range of colors which is called a gamut. Color gamuts for RGB, CMYK and
human eye are very different. Look at the picture below, which displays the gamut of the human eye. This gamut
is much wider than RGB and CMYK gamut. It means that both the monitor and printer are unable to reproduce exactly.
The range of CMYK colors is even smaller than the RGB colors. That is why some of the colors you see on the
monitor are impossible to print, such as bright green and blue.
Color gamuts
When you print an RGB image, the printer software shifts all the colors to make them fit into narrow CMYK gamut.
CMYK inks mix on the paper to give all other colors, which are called composite colors.
Spot colors are used on
commercial printing press and mixed before printing . In other words, if you want a certain color printed, you will
purchase the jar of ink with that specific color to print with. Spot colors are not limited to CMYK gamut and may
have virtually any color, even metallic or fluorescent. There are few vendors of spot color inks which provide
their own catalogs. The most popular are issued by PANTONE®. All colors in catalogs are presented by unique name
(not their CMYK values!).
Our equipment is capable of printing only composite colors, though emulation of some spot colors is possible.
Our laser color printer is calibrated to simulate colors from the PANTONE® Solid Colors Coated catalog. All of these
colors fit into the CMYK gamut and may be correctly reproduced only on high quality coated paper.
The elementary unit of information is called a bit. A bit can hold information about two states of the subject:
1 or 0, "on" or "off", black or white. Eight bits are called byte. A byte can hold 28 = 256 possible states of the
subject. Raster images stored in computer memory occupy certain amount bytes. The memory required to store one
pixel of an image is called the bit depth of an image.
Monochrome images require only one bit per pixel, which can have only two possible values: black or white, white
or blue, black or pink, etc. Bit depth of monochrome images is 1.
Grayscale images are composed of pixels that can have one of 256 tints of gray, like black and white photos.
One byte per pixel is required to store grayscale images, which is 8 times more than for monochrome. Bit depth of
a grayscale image is 8.
Indexed images are widely used on the web, but not suitable for quality printing. Each pixel of such images
can take one of the arbitrary 256 colors.
Color RGB images hold information about Red, Green and Blue values of each pixel. One byte is required to store
each Red, Green or Blue value. Hence each pixel of an RGB image takes 3 bytes and its bit depth is 24. It occupies
three times more computer memory than grayscale image.
Color CMYK images hold four basic color values for each pixel. They require four bytes which gives a bit value
of 32.
The set of software routines which is responsible for correct color reproduction on different devices (monitors,
scanners, and printers) is called a Color Management System (CMS). CMS is a part of a computer's operating system.
In order to function correctly, CMS needs to "know" how all these devices "show" or "see" color. It is usually
referred as a device color space. Device color space is a whole set of colors that a device can show or see.
Mathematical description of the device color space is called a color profile or ICC profile. Profiles are stored
in files (on Windows systems they have extension "ICM"). The procedure of color profile creation is called
calibration.
Each device has its own color space. When you browse an electronics store and look at the screens of different
TV sets you'll see the different colors though all of them receive the same aerial signal. There is the same
occurrence with images on different computer monitors and printers. When editing a picture on the screen of a
computer, you can see it in the color space of your monitor. Other monitors have a different color space and you
can see the same image colored differently (sometimes slightly, sometimes dramatically). CMS can compensate for
this difference if it "knows" the color space of both mentioned monitors. DTP programs are able to embed color
profiles in illustration and image files. This profile then carries the information about the color space in which
the image was created or edited. When the image file with embedded profile is opened on other computer, its CMS
converts the colors of the image from color space of the embedded profile to the colors of the monitor. The colors
of the image on your monitor will be exactly the same as on the original monitor of the created the image.
Embedding of the profiles also works with printers. When you print an image or illustration, CMS converts its
colors to the colors of the printer. If you print the same image on a different printer CMS does the same job and
ensures that the colors are printed correctly, though the color space of this printer differs from the first one.
In theory, color space conversion sounds like a feasible, simplistic idea; however, in a real world, CMS does a
good job but it is not perfect. The major reason for this imperfection is the problem of converting a larger color
spaces to smaller color space. For example, some colors you see on the monitor cannot be printed. CMS substitutes
those colors with the closest colors (they may look very different) that can print. Another reason for imperfections
of real word monitors and printers is the issue of a monitors color space changing constantly. The phosphor of
the monitor is ever degrading and aging. Also, the mechanics of the color printer does not ensure stable ink
coverage, the lamp of the scanner ages and changes the spectrum, etc. That is why you have to rebuild color profiles
for devices (i.e. calibrate them) very often. It is recommended to calibrate color copiers and Fiery RIPs once
every day.
Nowadays CMS is the only way to create the correct color on prints and on the monitor screen. CMS requires all
devices (scanners, printers, monitors) to be calibrated, and is considered to be a critical requirement.
Unfortunately, our store does not have necessary equipment to perform calibration. That is why WE DO NOT COLOR MATCH!!!
Accurate color reproduction is the most difficult portion of digital imaging, Since there are a wide variety
of physical and technological limitations. One cannot expect that colors you see on computer screen will be exactly
the same when printed. Different printers have different gamuts and ways in which they process colors. Because of
these differences, the colors on our prints may not match the colors of prints produced elsewhere. The largest
visible difference occurs between printers that use different technology, such as laser and ink-jet printers.
- We do not do color matching, but the printed colors will be close to those in a digital file.
- If color precision is critical to you, please tell us about it and bring a printed sample of the
colors you need.
- If you want to create a specific color (like your corporate identity color), please give us its
PANTONE® name.
- Use images with a bit-depth suitable for your type of original. For example, if you have scanned text
documents, drafts or line art, choose a monochrome format like 1-Bit TIFF. For black and white photos use
Grayscale 8-Bit. For color photos use RGB color images. Never save scanned pictures as an indexed
color like .GIF!
Format is the way in which information is stored in a file. Digital files come in a variety of formats, and are created for a wide array of media. Proper use of different
file formats can comes from an understanding of their advantages and limitations.
Certain file formats belong with into certain classes of software. We can divide all the software used in desktop
publishing into three main types:
- Raster graphics (imaging) software. It is used to process raster images like scanned
paper originals, and slides, or snapshots from digital cameras. Many raster images are created with this type
of programs: with most of the web graphics is done prepared in this way. The best program of for this type
of manipulation is certainly Adobe Photoshop, though some others software titles are also wide used for this
application: such as Adobe PhotoDeluxe,
Ulead PhotoImpact, Corel PHOTO-PAINT, along
with a few and others.
- Vector graphics (illustration) software. This software is used to process and create vector graphics
such as like drawings, charts, and logos. The most popular vector graphic programs are Adobe Illustrator,
Macromedia Freehand, and Corel DRAW. CAD (Computer Aided Design) software also falls into this class: with
software such as Autodesk AutoCAD, Microsoft Visio, etc. and others being available for vector graphic
manipulation.
- Layout software. This type of software is used to combine both types (vector and raster) of graphics with
text and lay out all of them on a paper onto the same page layout. The most well-known layout programs are Quark XPress,
Adobe PageMaker, and Adobe InDesign.
Though word processors (like Microsoft Word, Microsoft Publisher, or Corel WordPerfect) and presentation
software (like Microsoft PowerPoint) does not belong within the realm of to desktop publishing applications,
we often receive layouts made with those programs. It is safe to use them for printing if you follow our
recommendations listed in the "Application Issues" section.
Files created by raster graphics programs hold raster image files like TIFF, PSD, JPEG, PNG or GIF.
Vector graphics software is also widely used to make simple layouts. This software is also able to combine
vector graphics with raster images and type include text. Vector files may contain both types of graphics and
also include text. Vector file extensions include: AI, EPS, PDF, FHx, and CDR. The layout programs that usually
create files in proprietary formats not compatible with other software: QXD, INDD, and PMD.
Raster format files are created with raster graphics software or can be exported from other software types.
High resolution raster image files may have huge sizes. Special compression techniques are used to reduce the
file size. Though compression algorithms are numerous, they fall into two main categories: lossy and lossless.
The last means that an image stored in a file is identical to one you saved. Lossless compression rates
are usually between 30%-50% file size reduction. On the other hand, lossy compression discards some of the image
information to dramatically reduce file size by 50%-90%. Lossy compression exploits some known limitations of the
human eye; notably that small color changes that are perceived less accurately than small changes in brightness.
High compression can cause noticeable 'artifacting' and blocky-looking areas.
JPEG artifacts
Here are the most popular raster formats:
- TIFF. This is a PREFERRED format for raster images in printing. It uses lossless image compression.
- JPEG/JPEG2000. Use these formats carefully because they use lossy image compression. Although you
can set the compression rate while saving images as JPEG, remember that higher compression rate you set,
the lower quality image you will have. So make sure to use JPEG files only for high resolution images
(like the ones those used for oversized color printing) and in order to keep the compression rate low.
- PSD. Proprietary format of Adobe Photoshop and very much like TIFF. This type It is also good for
any printing needs.
- GIF. Indexed color format and not suitable for printing.
Vector formats may contain all discussed types of graphics and fonts, though they are not necessarily embedded
within them. Vector programs allow for the linking of files to illustration. This means that the raster image
placed in an illustration is not copied inside of this file. Instead of a copy, the file contains only the
reference to the location of the image file and a small, low-resolution copy of it. This low-resolution copy is
not meant for printing and is used only as a preview on the screen. During printing, the program follows the link
and substitutes a small copy with the actual high-resolution image.
Vector files may or may not have the intended fonts embedded. If the font is not encapsulated within the vector
file, it will be required for the printing of the file. Even if the fonts are embedded in the vector file of the
illustration, they will be needed separately in order to edit the illustration. If you do not want to supply the
fonts with the illustration file, you may convert the fonts into vector graphics. In Adobe Illustrator, use the
command Create Outlines from the Type menu.
Vector formats used most often are:
- EPS. Encapsulated PostScript files. This is the preferred vector file format for interchange between vector
programs.
- PDF. Portable Document Format. This is a preferred format for printing. PDF files may be opened in a free
version of Adobe Acrobat Reader without the application that actually created the file. PDF files are
self-containing, meaning that they need no additional files for printing.
- AI. Proprietary format of Adobe Illustrator. Until the creation of Adobe Illustrator 8.0, this extension
was a variant of EPS. Formats of the new version of Illustrator is close to PDF. In most cases, you can open
AI files (versions 9 and 10) with Adobe Acrobat Reader.
- FHx, where x is a digit. This extension demarcates files created by Macromedia Freehand. We dot accept
them for DTP or printing.
- CDR. This extension demarcates files created by Corel DRAW. We dot accept them for DTP or printing.
Layout programs are used to assemble the various publications from all sorts of graphic and text files. These
layout programs also use linking graphics and require source graphic files (both raster and vector) to be presented
when printing. Fonts are never embedded in layout files and have to be supplied by the customer. The most popular
layout program formats are:
- QXD, QXP . This extension shows a layout created in Quark XPress. We accept files created with any version of Quark XPress.
- PM5, PM6, P65, PMD. Layouts with this extension were created in Adobe PageMaker. We accept these
files from versions 6.0 and 6.5 (extension/types PM6 and P65).
- INDD. Files with this extension were created within Adobe InDesign. We accept files created in any version of InDesign.
There are few recommendations regarding the different file formats used for printing.
These recommendations summarize those given earlier in this section:
- Choose the best application that suits your needs. Do not make text layouts in Photoshop.
- Use TIFF file formats for raster images and EPS for vector.
- Use PDF for ready to print layouts. Conversion to PDF makes it possible to print files created in
applications we do not accept, such as CorelDRAW or AutoCAD.
- Do not forget all externally linked files and fonts used in your layouts, especially those in PageMaker
and Quark XPress.
To print your job accurately or to alter your files with the correct typefaces, the same fonts that
you created your job with must be used. Fonts come in a few different file formats and are described below.
This format is directly supported by all MacOS and Windows computers, though it differs for each platform.
The font is contained within a single file with the extension of TTF in Windows. On Macintosh, TrueType fonts
often come with raster preview files, but are not required. Very often all styles (regular, bold, italic, etc.)
of the same TrueType font are packaged in a "suitcase". The suitcase describes a special kind of folder for font
storage.
This is the most popular format in the desktop publishing world. Type 1 (PostScript) can be used on
MacOS X and Windows XP computers without any additional software. Previous versions of Windows and MacOS
require Adobe TypeManager to handle these fonts.
On Windows, Type 1 fonts may come in few different types of files:
- Files with extension PFB - contain font outlines (i.e. font itself).
- Files with extension PFM - contain font metrics and font family information.
- Files with extension AFM - contain font metrics.
- Files with extension INF - contain font family information.
Fonts will work if you have either a combination of PFB/PFM or PFB/AFM/INF files.
On MacOS, Type 1 fonts are composed of two files: the suitcase file with raster previews
and an outline file. Both of these are absolutely needed to install the font correctly.
This relatively new multiplatform and multilingual font standard is directly supported by Windows 2000/XP
and MacOS X. Earlier versions of this operating system need Adobe TypeManger to support them. OpenType font
is a single file with an OTF extension on the Windows platform. OpenType fonts are compatible with MacOS and
Windows; meaning that the same font file will work with both of them.
If you submit digital files for printing, it is usually necessary to supply all the fonts used to create them.
Some applications have a special tool for collecting fonts. There is more information on this topic in the section
titled "Application Issues". In all other cases, fonts need to
be collected manually.
To collect fonts with in the Windows operating system:
- Create a folder "FONTS" inside of the folder with your document.
- Open Control Panel: Start Menu --> Control Panel (Windows 2000/XP) or
Start Menu --> Settings --> Control Panel (Windows 95/98/ME).
- Click on the Fonts icon.
- Find all fonts used in the document needing to be printed.
- If the font does not have a shortcut arrow on its icon, then it is stored in this folder.
If this is the case, copy the font to the folder created in Step 1.
- If the font icon has a shortcut arrow, then it is stored elsewhere on your hard drive.
To find the location of the font, highlight it and press Alt-Enter. This will open the
Properties dialog box, where within the Location field the location of the font file can be found.
Then, go to this folder and copy the font to the folder created in Step 1.
Font location in Properties dialog box
Make sure that all files of Type 1 fonts are copied with PFM and PFB files keeping the same name.
Send us the contents of the "FONTS" folder you created together with your document files.
To collect fonts within the MacOS 8 and 9 operating systems:
- Create a folder "FONTS" inside the folder with your document.
- Open the Fonts folder inside the System
Folder on the hard drive.
- Find all fonts used in the document which needs to be printed.
- Copy them into the folder created in Step 1
To collect fonts within MacOS X operating system:
- Create a folder "FONTS" inside the folder with your document.
- While Finder is still active, press Shift+Command+H
to open the home folder.
- Go to the Fonts folder inside of the Library
folder.
- Find all fonts used in the publication and copy them to the folder created in Step 1.
- If you are unable to find the font in the location specified above, it means that the font is installed
in the system is made avaiable to all users. Look in the /Library/Fonts folder for it. Finally if your software runs under classic
environment, the fonts are located in /System Folder/Fonts folder.
Make sure that all files of Type 1 fonts are copied to the suitcase and outline files with the same name.
Send us the contents of the "FONTS" folder created together along with the document files.
There are few fonts that come with operating system and do not need to be sent to us. These fonts are:
| Arial, Times New Roman, Courier New, Helvetica, Tahoma, Verdana, Impact, Comic Sans MS, Georgia, Lucida Sans, Lucida Console, Lucida Fax, Lucida Calligraphy, Lucida Handwriting, Trebuchet MS, Symbol, Wingdings, Webdings |
| |
Geneva, Chicago, Charcoal, Monaco, Sand, Skia, Hoefler Text, Textlie |
Some applications are able to embed fonts within document files. This allows the user to open the document on
any other system and print without having fonts installed. This technique does not allow the user to edit these
documents without loosing font information, but it does mean that we would not be able to make even minor changes
to the customer's document if he did not supply the fonts separately.
There is only one recommendation, but a very important one concerning fonts. Bring the fonts together with
the documents that are to be printed. If the customer does not provide fonts, we will do our best to substitute
them with matching fonts from our library. If we cannot find matching fonts, we will need to stop the job until
we are provided with the fonts from the customer.
Be careful with the font embedding features inside of Microsoft applications. Very often, this feature does
not work correctly. It is much safer to supply all the fonts used in a document separately.
Adobe applications always embed fonts perfectly, though we might need the fonts if any alterations to the
original files are requested.
Be extremely careful when using linked EPS files in Quark XPress or PageMaker layouts. They may contain
text typed in a specific font, and because of the reference to this font coming from linked files, the program
won't know that it is missing a font and wwwillot warn you.
Finally, it is recommended to use fonts from well-known vendors such as in Type 1 or OpenType formats. Some
of the freeware fonts downloaded from the internet may look good on screen but look bad on the print.
