Wrangle pesky “newer version” errors in Illustrator

From time to time I receive an AI or EPS file from a client that just won’t open – either at all, or not cleanly. The reason given is usually of the “newer version” nature. The error is typically…

There is an easy solution – given you are running a Mac. There is a neat little application that I use a lot – Preview – which most of us pass off as Apple’s free PDF reader. But it can do so much more.

The solution to this “newer version” issue is to open the AI or EPS file in Preview. To do this, right-click (or control-click) on the offending file and choose “Open With > Preview.” This will work for virtually all EPS files, and most AI files that were saved with PDF compatibility. The file is opened in a new untitled Preview window. Go to “File > Save As…” and save it as a PDF file and close the Preview window. Now, right-click (or control-click) on your new PDF file and choose “Open With > Illustrator.”

Your resulting file will typically be locked together in a clipping mask, but this can easily be released and then fully edited or manipulated.

While you are in Preview, look at its other cool features, such as…

  • Combining multiple PDFs into a single file
  • Saving PDF files in other graphics formats, such as JPG, TIF, etc.
  • Encrypting existing PDF files with password protection
  • Decreasing PDF file sizes by reducing image quality
  • And so much more…

This has been today’s Clarified Butter.

WTF: What the font?

I tend to think that I have a great photographic memory when it comes to font recognition. There has to be billions (if not trillions) of fonts from thousands of foundries and individual designers. Even with such a great pool to pull from, it always seems that a small set of fonts get all the love. Not so sure what that says about my memory now.

Serif fonts are a bit easier to match – given they have a bit more of a distinguishing appearance. Sans serif fonts can be much more difficult to match, especially if you have a small set to match from.

Additionally, designers take liberties when using fonts in logos, manipulating characters to match a certain style, or to provide uniqueness. This makes it difficult to match the fonts, but there are a few tricks.

Your first step is to try an online tool to find the font. You just might be lucky enough to find a free option. These tools allow you to provide an image (either by upload or URL), to which the server scans their database of fonts to match against. This works great for images that meet certain criteria (such as resolution, space between characters, orientation, etc). I prefer MyFonts’ WhatTheFont. Their results are impressive, and show both free and pay options (with direct options to download and/or purchase those fonts).

A recent project had me stumped. I had tried to match the font from the native logo artwork, but nothing was coming up. I then realized that the original designer must have modified certain letters.

Cassandra Font

Luckily the logo was provided to me in vector (Illustrator) format. I opened the file and modified the letters which appeared to be customized (those where a separation had been added at certain points). As soon as I did that, I had a perfect hit for Cassandra XBold – a free font.

This has been today’s Clarified Butter.

Who do you recommend?

Creating a unique and eye-catching design for your print work is only part of the overall project. We’re constantly asked who we recommend when it comes to offset printing. In this digital age, you would assume that the need for physical materials would be diminishing. Nothing could be further from the truth.

A typical “branding” piece that is created after the development of a business identity and logo design is business cards. A business card is an affordable way to get the word out about your business. The quality of this card should reflect the service or products you offer. If your card looks cheap, so does your company. It’s important to choose the right printer – this is not a time to skimp. That’s not to say that it’s going to break the bank… just don’t choose the first “good deal” or “free” offer you see. For just a little bit more you can have amazing business cards.

Business Cards

For business cards, and any other full color printing, I recommend PrintRunner. They are based out of California, and offer incredible prices for immaculate quality. Of special note is the 14pt UV Coated or 14pt Gloss (AQ) Coated stock. Either of these options will provide a shiny, glass like surface – which will really make your colors pop. Of course they offer the typical Matte or Recycled paper options, which are great when you are trying to promote an earthy, “go green” feel.

I’ve used PrintRunner for postcards, business cards, letterhead, catalogs, banners, trade show booths – pretty much everything. We are not affiliated with PrintRunner, and make no profit for referring them. They are just that good.

So, when you are ready to get some physical materials printed – let us help design… then let us help you get it on over to PrintRunner. You’ll be happy you did.

This has been today’s Clarified Butter.

Photograph vs Picture

iPhoto IconIt seems like I use the terms photograph and picture interchangeably, and with little thought. Today I was really pondering the difference between these words, and whether there is a simple explanation between the two, or if it’s much deeper… much like the difference between house and home.

Technically, a photograph is “an image created by light falling on a light-sensitive surface, usually photographic film or an electronic image such as a CCD or a CMOS chip.” We usually associate photograph creation with cameras, either analog film or digital files. But using the above Wiki definition extends beyond cameras. Can we not also take photos with our light-sensitive eyes (and minds)? What if a very skilled individual created an extremely realistic digital illustration? Would we call that a photo or a picture? I would assume we could only go off the information we were given. I would call that a picture – knowing that the original creator drew it. Consumers would likely interpret it as a photo.

Beyond that, does the quality or content of the image allow us more freedom in our use of photo or picture? To me, where actual photographs are involved, it seems like I tend to use photo for high-end images, or images where the content is extremely rich, and picture for images that are so-so, or don’t really deserve the term photo. That may seem strange, but it’s almost like I am putting photo on a higher level than picture. Am I crazy, or are others doing that as well?

And while we’re at it, let me touch on another (possibly sensitive) subject. A camera does not make a photographer – at least a good one. A really great photographer is capturing photographs, while everybody else is taking pictures. Maybe this is the root of my photo vs picture conundrum. I dunno. Don’t kill me.

This has been today’s Clarified Butter.

Paper or plastic?

Would you like paper or plastic? I haven’t heard that it years, although my wife swears that her grandmother asks for paper in plastic. I didn’t even know that grocery stores still offered paper. But to actually request both? Take that environment!

To be honest, I have nothing against the environment. I go paperless as often as I can. Well, except in one area.

The newspaper.

I receive the local paper, The Arizona Republic, daily. The so called “Monday to Sunday” subscription. For years I have paid roughly $10 per month to receive the paper, each morning. To their credit it has always been on-time, and for the most part damage free. A few months ago they decided to change their subscription model to an “all you can eat plan,” combining their daily print edition with full online access. In theory, this is great, but here is the problem: it costs over twice as much. Prior to this change, their website, AZCentral.com, was completely free. I never used their site. It was cluttered, jammed full of ads, and was incredibly slow. Their alternative is a $10 per month online-only plan, with all the same flaws I’ve already shared. Great you think, right? Mr. Techie here should love consuming and digesting his local news from the vast interwebs. Not so…

The reality is that I just don’t like getting my local news from an online source. I don’t know what it is, but I just like the feel of holding newsprint in my hands. I enjoy eating breakfast with the morning paper sprawled out across the table, carefully deciding what to read based on the headlines.

Every print addition makes special note to call attention to print readers enabling their online access, promising an “exact digital replica.” I’ve tried this so called replica, but it’s just not the same. Something about walking out barefoot on the cool driveway, picking up the slightly dewey paper, snapping off the rubber band, and griming up your fingers with soy ink just can’t be replicated digitally. Well, until there is an app for that.

What’s more strange is that I have changed magazine subscriptions to digital, and it feels no different to me. I subscribe to computer magazines, and I do enjoy consuming techie news and rumors online, so maybe that has something to do with it.

Overall, I don’t think it’s fair that I must now pay over twice as much to receive the same exact thing that I’ve always had. Especially seeing as how the newspaper is already 65% advertisements. I no longer subscribe to cable or satellite television service. Mostly because I can’t stand paying for 100’s of channels I don’t enjoy, but moreover, all of the advertisements that I am paying to watch. Something about that just isn’t right. Maybe I should use that same logic in my reading habits.

This has been today’s Clarified Butter.

PDF Compression: Use it wisely

Nothing aggravates me more than individuals or organization sending out (or making available) important information in a Word file. How difficult is it to create a small, widely supported, open-source PDF? Not difficult at all.

Just below that level of aggravation is another matter spawned from a similar lack of detail. File compression. You know, making files much smaller than they really need to be. We all consume compressed music, videos and photos. Why not add PDF to that list? ProGravix delivers artwork in compressed ZIP archives, and we always create media consumed by our client’s customers in a perfectly compressed format.

The best place to implement compression is within our PDF files. Certainly we want to create high resolution artwork (for those times that the printer prefers PDF). But when it comes to making brochures, sales sheets, manuals, et cetera available on our websites, what’s the point in posting that huge 250MB file? The chance that they are going to print it is very slim, so creating a low resolution file that’s great for online viewing is what we need.

There are several levels of PDF compression. By default, a high resolution PDF (preferred by printers) contains 300dpi images and uncompressed text and vector elements. These types of files are extremely bloated, resulting in very long load times – which is fine when you are sending art to a printer… it only needs to be uploaded and downloaded once.

Adobe has developed several compression presets. The two I most widely use are High Quality and Smallest File Size. High Quality is great for creating artwork or high res proofs. Smallest File Size is great when you need to make files available on a website for download. The downside to the Smallest File Size preset is very low image quality. All images are reduced to 72dpi, with a very high JPG compression. I think the best option is the sweet spot between these two presets.

When creating a web-ready PDF file, where images need to be slightly better than web quality, I choose the High Quality preset, and modify the compression settings. Set Color Bitmap Images and Grayscale Bitmap Images to 150ppi. Also make sure that Compress Text and Line Art is checked. You can also choose to lower the ppi for Monochrome Bitmap Images as well (if your document contains them).

I usually keep JPG Compression to Automatic, but you can test your results, and choose a compression that suits your needs.

Overall, we need to be mindful of our visitors time. We need to allow them easy access to our information, at a reasonable speed.

This has been today’s Clarified Butter.

Understanding and creating your own barcodes

We’re all familiar with them, but do we understand what information they hold, and how to create them? Probably not. We just know that when the cashier scans them, the register beeps and we’ve spent some money.

We create a lot of retail packaging, and a vital part of that packaging is having a valid UPC symbol. UPC symbols are generated from two bits of information, your company prefix, and the product number. The last number, the check digit, is automatically calculated based on the previous 11 numbers.

Above we can see an example of a UPC symbol with a 6-digit company prefix. The first six digits are assigned by GS1-US (a governing agency for the assignment of manufacturing codes). The next five digits are the product code, which is assigned by the manufacturer. And again, the last digit is a check digit based on a calculation of all of the other numbers (which I won’t go into here, since there are tools that do the math for us).

It’s important to note that you cannot simply create your own company prefix, and resulting UPC symbols, without first obtaining one from GS1-US. This is so you don’t accidentally use a number that already exists, which would really cause problems for retailers.

In a past post, I explained QR codes, which have quickly become popular. These QR codes can be generated by anybody, and do not require any assigning agency or government oversight. In addition to QR codes, there are hundreds of other barcodes that various businesses use internally to help streamline their processes. ITF-14 is a good example. I use ITF-14 as SKU numbers for pallets and multiple-unit cases. These ITF-14 numbers are also assigned by GS1, and are used to encode a Global Trade Item Number.

So, now that we know what these barcodes are, how do we create them? For years, I had been receiving physical artwork for UPC symbols from clients. Obviously this is a pain, requiring that I scan the barcode in, and if you have been reading this blog, that doesn’t provide me with a vector version I so desperately desire.

Recently, I’ve been using a neat little tool I found called the Online Barcode Generator. This no-frills generator is extremely powerful. It allows for the creation of hundreds of different types of barcodes, automatically calculating that check digit, if needed. It provides the resulting barcode in PNG, JPG, and yes, EPS format. I obviously opt for the EPS format. It quickly opens in Illustrator. The barcode lines are strokes, and numbers are actual text (Helvetica), so I quickly outline the strokes and fonts to alleviate any scaling issues.

So, there you have it. Barcodes and how to create them. Go barcode crazy!

This has been today’s Clarified Butter.

Press ready art: general guidelines

Over a decade ago we used to prepare files for film producers, to create negatives from which metal plates were made for the purposes of offset printing. Long gone are the days of right-reading, emulsion-up, negative specs (at least for us). I remember dropping off a ZIP disk (remember those?) to a service bureau, having the receiver tell me that my files were always perfect. She explained that I always provided the necessary fonts, embedded images, and such. This resulting in a much faster turnaround time.

Nowadays, practically everything is digital, from design to press. This helps smooth out pre-flight issues, but there are still some general rules that you must follow in order to meet a print shop’s requirements. A lot of press houses provide templates and specific guidelines for their purposes, but in general, these will help you avoid any hiccups.

Bleeds
A bleed is the extra artwork that extends past the trim mark. In general, a 1/8″ bleed is sufficient. Some printers request 1/4″, but that is typically reserved for larger booklets or manuals.

Trim marks
Trim marks (also referred to as crop marks or registration marks) are those guides at each corner of the printed piece that show the final cut size. In full color printing, these help with registration, showing that all colors are being printed perfectly in sync.

Resolution
In general, raster artwork should be developed at 300dpi. Some large scale items such as trade show booths and banners can be developed at 150dpi, but I recommend checking with the manufacturer of those items. Artwork developed in Illustrator in usually resolution independent. However, raster items, such as drop shadows, should be set at 300dpi.

Outline text or provide fonts
To resolve any font issues that may arise, convert all text to outlines. In applications that do not support this, make sure to provide all fonts used in the piece. In general, a PDF Press Ready file will include the fonts, but some fonts have licensing restrictions, and cannot be embedded in PDF files.

CMYK
Unless otherwise directed by the printer, your artwork should be in the CMYK color space. Most full color artwork is printed on a four color offset press. Make sure your artwork is in CMYK mode from the very beginning. Transitioning from RGB halfway through a project’s development can produce unwanted color issues.

File format
The industry standard artwork format is PDF Press Ready. Again, you should check with your printer, but the PDF format is widely supported across all platforms. For the most part, what you see is what they will see, but again, it’s not foolproof. If you have a very complex file, I recommend converting it to raster, providing the file in TIFF format.

This is just a few general guidelines. Again, check with your printer. In most cases, we don’t know who the printer is until we are asked to provide artwork. In can be difficult to go back and implement some of these tips, so keep them in mind.

This has been today’s Clarified Butter.

Create the perfect cover photo for Facebook’s new Timeline layout

Regardless of whether you like it or not, everybody will eventually have the new Timeline layout for their Facebook profile or page. I personally like it. I think the layout is cleaner, and provides more flexibility when it comes to customization.

A major part of the new layout is the Cover photo, which is the large image that encompasses the top 315 pixels of your profile/page (excluding the Facebook bar across the top). Choosing what to place here is much more than choosing a photo from your existing albums, or uploading a plain photo. The key is developing an image that better explains yourself or your business.

Choosing what to design can vary widely, but should be focused on what you want to emphasize or portray about yourself or business. For a Business Page, you might want to include a series of photos that relate to the products or services that you offer. Here at ProGravix, we chose to use an image that mimics the look and feel of our website, which currently emphasizes our mantra, Simplify Chaos.

To get started, fire up your favorite graphics application. We chose Photoshop CS5. Create a new document with a size of 850x315px.

What you do next is up to you. Be creative! Can’t? Well, that’s where we can help. If you need assistance in developing a cover photo, please contact us. You’ll be glad you did.

When designing, make sure not to place any important content, such as text, where the profile photo is, which is on the bottom left of the cover photo. Any content placed here in the cover photo will be covered up by the logo.

Whatever you design, make a statement with your cover photo. Just because it’s a static image doesn’t mean it should be plain. As always, keep it simple and clean!

This has been today’s Clarified Butter.

Plain Black vs Rich Black

Black is black, right? I mean, as a child, you undoubtedly had a crayon labeled black. Obviously based on the size of your crayon set, you likely had many very weird color names, but there was only one black.

In graphic design, and more precisely print, there are many definitions of black. Generally, designers define in terms of CMYK, RGB, HEX, PMS, etc. When it comes to black, you really need to choose the right one based on what you are designing.

In general you can break black down into two categories, either pure, solid colors (such as Pantone or single inks) or percentages of several different colors to achieve black (such as CMYK). I call the pure, single color plain black, whereas the mix of colors is referred to as rich black.

What’s the difference?
In applications such as Illustrator and InDesign, where most typesetting generally occurs, default black is defined as 100% Black. In Photoshop, default black is generally defined as Cyan: 76%, Magenta: 68%, Yellow: 67%, Black: 90%. Many times, this rich, Photoshop-defined black is desirable to achieve a very dark black appearance (especially in glossy offset printing). Plain black can appear more gray in print, and can ruin an entire design.

So, why not always use rich black? Well, say you designed a piece that contains large amount of text, and you choose to color that text using rich black. You are creating a nightmare for the printer, and a potential rerun at a loss. Having defined that text using four different colors requires that the printer overlay those colors precisely on top of each other to create the rich black, which is very difficult to do (especially on thin or small fonts).

It’s best to use a complimenting mix of plain and rich black in one piece. Keep text in plain black, and large graphic elements in rich black. Just be careful with your rich black mixtures. Don’t get it just right, and you end up with greens tints to your black. There is a general disagreement about what is the proper mixture of rich black, but if Photoshop defines it as 75/68/67/90, I’m happy to agree.

This has been today’s Clarified Butter.