Re: Which image format-Clarification
1) I recommend a good working relationship with your
print vendor (not a job-by-job one like we have here).
Solid, Jackson. I've been doing this for a long time and know where the gremlins hang out. ;-)
2) I recommend a vendor with a decent RIP, PS level 3.
I recommend a vendor who knows how to control the behavior and mitigate the deficiencies of his RIP. Any idiot can buy one that looks good on paper, but if the prepress staff don't know how to get good output from it, what good is it?
3) Some knowledgeable Adobe folks also have
recommended letting the printer handle the RGB, so it
ain't just me (heck, I don't do color at this gig).
Depends on the printer's workflow. Bottom line, I give the printer what they ask for, to their specs.
4) You should never have surprises. Set the job up
right, establish a relationship, make it so.
Absolutely. When I get a job printed outside, I work with a printer I've already got a relationship with. The wrinkle comes when submitting something to a publication (ad, illustrations for a white paper, insert for a trade show brochure, whatever), in which case it is important to read the art specs carefully and, if they are ambiguous or unclear, make _direct_ contact with the printer who will be receiving your film or your files, rather than relying on some drudge at the publisher or show sponsor to get straight answers and convey them accurately to you.
--- Dick Margulis <margulis -at- fiam -dot- net> wrote:
Well, that's easy for you to say. But it may or may
not solve the problem Wade posed. It depends on how smart the RIP
is that the offset house uses to convert the submitted file to printing
plates. Myself, I'd rather control the RGB-to-CMYK conversion and
resolution issues on my end unless I already had a good working relationship
with the printer. I don't like surprises after the presses start to
Re: Which image format-Clarification: From: T. Word Smith
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