Now you can FastTrak your files for Priority Proofs!

From The Art Director — Bobby Lee

Introducing FastTrak Priority Proofing

Today we’re introducing an exciting new program called FastTrak Priority Proofing.  It’s part of our continuing effort to provide upgraded customer service to our loyal client base and new customers alike.  The new advancement gives our customers a tighter, more controlled personal interface between their files and our proofing system.  We’re especially excited to introduce it during our 25^th Anniversary year.

Now you can actually FastTrak your files to take quicker advantage of our HD digital proofing system.  It’s fast, it’s easy and everything you need to know about it is available online or by PDF instruction.

FastTrak is designed to quickly convert your files into HI-Definition press-ready files.  With FastTrak Priority Proofing you receive priority processing and get faster turnaround on digital proofs to speed up your order.  If you or your graphic artists are fluent with Adobe or Quark software then you’re more than halfway there already.

Get on the FastTrak in 3 Easy Steps

1.  Run through the FastTrak Checklist to see if your files qualify.

2.  Download our Custom Adobe Acrobat Preset File to create your FastTrak file.

3.  Send in your FastTrak file for a Priority Proof.

When we receive your FastTrak file, your salesperson will write up the order to your specifications and route it through our FastTrak system for checklist verification.  (Should your FastTrak file fail to match our checklist criteria for any reason we will email you specific instructions for repairing the file so you can send us a new workable version.)

Once verified, your file will be composed for output to one of our HD Waterless Offset or Digital presses and a hi-resolution digital proof will be generated for your approval.  You will receive an email with a secure link to the hi-res, press-ready digital proof posted on our website.

Upon your approval we will process the files for printing.

Should you need to make changes, simply upload a revised FastTrak file and we will expedite another proof for your final approval.  If you prefer hard proofs, then you will find FastTrak to be an even bigger time saver.  Simply request one when you place your order.

Growth also inspired us to develop FastTrak

As the economy revives we are preparing for growth in ways that will provide the same outstanding quality service and innovation our customers have grown to expect from us.  FastTrak Priority Proofing fits the bill perfectly.

To make FastTrak work we knew we would have to face several challenges.  The first challenge was to identify the programs being used by our customers that could render reliable direct PDF output for our HD Prepress System and our Direct-to-plate Systems as well as our Waterless HD Presses, Digital Presses and Specialty Spot Color Presses.

We determined that we could accept direct PDF output from a certain number of leading graphics programs on both Macintosh and PC platforms.  These applications include InDesign, Illustrator and Photoshop from Adobe’s Creative Suite, as well as QuarkXPress from Quark.  The remaining programs on the market do not qualify for FastTrak since they require some degree of professional prepress manipulation in order to optimize files for PDF output.  And then there are some common desktop programs, which although not designed for commercial printing, can be converted or reformatted for printing by our design department.

Our second challenge was to identify typical problems that could be solved with the approved software.  We came up with a list of 32 common problems that fit the criteria.  Those problems were then distilled into categories and eventually applied to either single-sheet or multiple-sheet documents.

We then developed a set of checklists based on document type and married those with easy-to-apply solutions.  In the end we developed a custom Adobe Acrobat Preset file our clients could use to optimize their files for output on our HD equipment and voila, FastTrack became feasible.

The third challenge was to present FastTrak Priority Proofing in a way our customers would welcome and use.  Education is the key thing here, so we started with the blog series on prepress file preparation and then put together a comprehensive, interactive set of instructions including two basic checklists and two sets of solutions to resolve any gaps in basic prepress knowledge our clients might experience along the way.  The result is a PDF file you can download and use yourself or pass along to any designers who might prepare your files for printing.

The last challenge was to take the same information and develop an interactive set of web pages on our website that would accomplish the same result in a matter of minutes.  The result is a very intuitive, interactive version of our checklist instruction file with pop-up solutions as you go.  In just a few minutes you can determine if your files qualify for FastTrak, download our custom Acrobat PDF preset file, install the file and then generate your own FastTrak PDf for a Priority Proof.

So, this is my invitation for you to try out our new program.  The benefits are faster turnarounds on proofs for you and an opportunity for us to continue to grow and provide even more innovative printing solutions for you, our valued customers.

The Prepress Series is Still Online

The previous Five-Part Series Blog on HD Prepress File Preparation was presented as a prelude to the launch of FastTrack Priority Proofing.  There’s plenty of information to go around in the series, and of course, not every print job you design will include everything presented there.  To be sure though, each of the 32 problems we identified to develop this program were covered in the blog series, so help yourself.

I hope the tips and techniques presented in the series will be beneficial to you and your associates.  Again, feel free to send a link to whomever you think would benefit from the referral.  We look forward to serving you and hope the new FastTrak Priority Proofing program will be even more beneficial to you, your organization or anyone else who prepares prepress files for you.

Our goal is to continually inform our clients of improvements in our system so you can experience quicker turnarounds and more accurate printing.  As always, your comments are appreciated.  Please feel free to call if you have any questions:  1.800.794.5594.

Visit Copy Craft Printers today and get on the FastTrak.

A New Series on HD Prepress File Preparation

From The Art Director — Bobby Lee

Before reading please read part 1, part 2, part 3, part 4

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Part V – Tips & Techniques – Final Entry

This is the final entry in the weekly series offered as a prelude to the launch of our exciting new FastTrak File Processing program coming this March.  The items covered in the series provide solutions to the most common problems we encounter with client submitted files.  Our goal is to educate our clients on techniques to minimize, and even eliminate, delays on proofing and printing alike.

For those who are new to preparing files for printing, or for those more experienced designers wishing to brush up on technique, we hope this prelude will be a valuable learning experience whatever your level of expertise.  At the very least, the basic tips presented in this series will make the design process go more smoothly, and at most they will help eliminate the likelihood of someday hearing those dreaded words…“we ran into a problem with your files.”

15.  Missing Links and Fonts

Files with missing links cannot be processed for commercial printing because lo-res preview images are all that remain to print in their absence.  Depending on the program you use, these preview images will either fail to print at all or print out highly pixelated.  Obviously, linked images show up on the file you’re working on because they reside on your computer, but if we don’t receive them along with your main file, there is nothing we can do short of delaying your job until we receive them.

Over the years we have built an extensive library of fonts, but there is no guarantee we have all the fonts used in your document, especially if it’s full of newly downloaded fonts from the web.  The following techniques offer a few quick ways to get past these problems.  Please compress your files with Zip or Stuffit when you’re done to reduce the overall size and to protect the data during internet transfers.

InDesign: Select “Package” from the File Menu to gather all the files and fonts used to create your job. This will create a folder with all the files needed to print your job.  Compress and send this new folder.

QuarkXPress: Select “Collect for Output” from the File Menu to gather all the files and fonts used to create your job and place them in a new folder.  Compress and send this new folder.

Illustrator: Since there is no “Package” feature in Illustrator, we recommend that you convert all fonts to outlines so you don’t have to send them separately.  Then select “Save As” under the File Menu, rename your file to indicate it’s in outlines, choose Format “Adobe Illustrator” or “Illustrator EPS” and check the “Include Linked Files” option in the Illustrator Options window before saving if any of your images were placed as linked files.  We can accept either Adobe Illustrator .ai or .eps files.

Most other programs automatically embed images and vector art.  Make sure any images placed into these programs are both CMYK and at least 300 ppi at 100%.  To be safe, gather all the files involved with your print job, put them in a single folder and compress that folder into a single file.  That way we can edit any of your files if problems occur without delaying the job to wait for missing images or fonts.   If you’re not in the habit already, it’s a great idea to store a copy of each image, scan, logo or other digital artwork in a “Links” folder within the same folder as your main document file as you work on your project.  That way you have easy access to them during the design process, and they’re already gathered when you’re ready to go to press.

Regarding missing fonts: Most font problems can be avoided either by converting text to outlines, using one of the “Package” or “Collect” methods listed above, or by including any fonts used along with your files.  We do not recommend converting text to outlines or curves in QuarkXPress as type tends to shift position without warning.

16.  Damaged Links & Fonts

Occasionally, files are damaged when transferred over the internet, but sometimes they do come damaged from the source.  You can avoid unnecessary delays by opening your final file as a test before sending it.  If there are no problems, compress all the files (main files, images, fonts, logos, etc.) with Zip or Stuffit to protect them during the transfer…even as an email attachment.  It’s a good idea to test the compressed file as well.  Sometime errors or electronic glitches occur during the compression process.  (This is an excellent example of how a minute or two spent on checking files can save a day or two of high anxiety on a tight deadline.)

If you discover a damaged font on your computer, please don’t use it in the files you send us…even if it looks good on screen.  There is no guarantee it will work on our system unless you can successfully convert the type to outlines or rasterize your final artwork.  If you’re working in Photoshop, simply flatten the image to rasterize any fonts.  If a font looks bitmapped or severely stair-stepped on screen…don’t use it.

17.  Booklets:  Page Counts

The total number of pages in any stitched booklet must be divisible by 4, including the cover signature.  For example: an 8.5 x 11 booklet is—for all practical purposes—several 11 x 17 sheets folded in half and stapled together.  Each 11 x 17 represents 4 pages total, so that two sheets equal 8 pages, three sheets equal 12 pages, etc.  Files for loose-leaf binding, such as coil-binding, are divisible by 2 since they are composed of single sheets with fronts and backs only.

18.  Booklets:  Include Blank Pages

Position blank pages within your document as needed so the total number of pages in your file equals the total number of pages in the finished, printed booklet.  This applies to both stitched and loose-leaf booklets.  If, however, you have a loose-leaf booklet that is printed only on the front of each sheet you can avoid blank pages for the backsides, but please be sure to specify this option when placing your order.

19.  Booklet Spreads

We cannot accept files in “Printer Spreads.”  It’s perfectly acceptable to work in “Facing Pages” or “Reader Spreads” when creating your booklet so you can extend photos and other elements across the fold as needed for the design, however, it is critical that your document Page Size equals the Folded Size of the booklet, not the spread size.  The pages in your file must appear in the same order as they appear in your booklet, including blank pages and covers, even if your cover signature is printed on a different stock or a different weight than the rest of the book.  That way, your digital proof will be in order and there will be no confusion as to which pages represent the covers when the booklet is composed on larger sheets for printing by our prepress department.

20.  Spot Color Tips

Avoid Duplicate Pantone PMS Names: On spot color jobs, multiple Pantone names with the same color number can result in the output of extra plates and additional charges.  Example: a PANTONE 300 C duotone image from Photoshop placed in an InDesign file with PANTONE 300 U already in the color palette could generate two plates if you use both colors from the palette in the same file.  Use one or the other, not both

One method to avoid this problem is to place any monotones or duotones into your main document from the very beginning, even if you simply place it outside the document area as you work.  That way, the PMS colors from your images are automatically added to the color palette in your new file and you can use those colors in your design without having to access additional PMS swatches.  Another good habit is to clear your palette of anything other than the PMS colors you’ve chosen to use on your job.  This will help you avoid using one PMS swatch for fills and yet another for strokes without noticing it.

When you’re done, try printing separations to your desktop printer and then check for duplicates.  If you are working on a 2-color spot job and three prints emerge from the printer…you’ve got a duplicate color element somewhere.  If six sheets print out you may have inadvertently used a CMYK color swatch from the palette in addition to PMS colors.

CMYK or RGB Colors in Spot Color Jobs: You cannot use CMYK or RGB colors for images, elements or type in spot color jobs.  They simply don’t work because they eventually separate into CMYK in prepress and we end up with plates that have nothing to do with the PMS inks you intended to run on the press.  Again, clear your palette of anything except your chosen Pantone colors and black, if that’s one of the colors you’re using.  For placed images, use only monotones, duotones or tritones composed of PMS colors and black.

Use Only Pantone Colors for Spot Color Jobs: Avoid using or creating spot color names like “Red”, or “Color 1” and “Color 2.”  Use only Pantone PMS colors from your program’s swatch library to specify the ink color you wish to use, plus black if needed.  For example, using PANTONE 485 C tells us you want us to use Pantone’s PMS 485 ink to print on coated paper.

Spot Color with Adobe Effects: Some Adobe special effects, such as drop shadows and transparencies, do not work in combination with spot colors.  If your job is printing in full color anyway, you can convert any spot colors in the palette to CMYK and avoid these problems.  The “Warning” you sometimes get regarding spot colors when saving files applies here.

Next month we will launch our new FastTrak File Processing program.  We invite you to check out this exciting new program so you can FastTrak Your Files for Priority Proofs. It’s worth the time and effort.

I hope the tips presented in this series have been beneficial to you and your associates.  Feel free to send a link to whomever you think would benefit from the referral.  We look forward to serving you and hope this information will be beneficial to you, your organization or anyone else who prepares prepress files for you.

Our goal is to continually inform our clients of improvements in our system so you can experience quicker turnarounds and more accurate printing.  You can find additional setup tips on our Support Center at copycraft.com.  As always, your comments are appreciated.  Please feel free to call if you have any questions beyond the items listed in this series:  1.800.794.5594.

Watch for the launch of our exclusive FastTrak File Processing program coming to Copy Craft Printers next month.

A New Series on HD Prepress File Preperation

From The Art Director — Bobby Lee

Before reading please read part 1, part 2, part 3

–

Part IV – Tips & Techniques

This weekly series is offered as a prelude to the launch of our exciting new FastTrak File Processing program coming this March.  The items covered in the series provide solutions to the most common problems we encounter with client submitted files.  Our goal is to educate our clients on techniques to minimize and even eliminate delays on proofing and printing alike.

For those who are new to preparing files for printing, or for those more experienced designers wishing to brush up on technique, we hope this prelude will be a valuable learning experience whatever your level of expertise.  At the very least, the basic tips presented in this series will make the design process go more smoothly, and at most they will help eliminate the likelihood of someday hearing those dreaded words…“we ran into a problem with your files.”

8.  Avoid “Marginal” Margins

Text or graphics placed too close to outside margins run the risk of being trimmed off during bulk trimming.  Outside margins measuring less than the recommended 1/8” minimum—as shown on our templates—run the risk of appearing uneven when trimmed in bulk.  Templates are available for almost any item you can print at Copy Craft, and each one shows the recommended minimum margin and bleed in relation to trim or die lines.  With six different file types to choose from, it’s very easy to download a template to build your document correctly from the beginning or double-check a file that’s already finished.  Just remember to remove the template before sending in your final file.

Smaller Documents: Outside margins on small documents, such as business cards, tickets, etc., should be a minimum of 1/8“.  Increase margins to 1/4” for slightly larger items such as postcards and invitations.  Documents such as door hangers and similar die-cut items benefit from margins of 1/4″ to 3/8”.

Larger Documents: Outside margins on larger documents should be increased in proportion to their size.  Brochures and rack cards benefit visually from margins of 1/4” or more.  Increase the margins for posters and banners accordingly.

Envelopes & Small Spot Color Documents: Full Color or Process Color envelopes require a 3/8“ clear margin at the top of the envelope for the press to grip the envelope and pull it through the press.  Most spot color documents, such as forms, invitations, letterhead, etc., require a 3/8” clear border at the top for the press to grip the paper.  Spot color envelopes require a 3/8” border at the top or at the right, as an option.  Envelopes requiring full bleed on all sides must be printed on larger flat sheets that are then die-cut and converted into envelopes afterwards, so in this case please specify “full bleed” when placing your order as both prices and turnarounds are greater.

9.   Thin Borders on Trim Lines

A thin rule border along the trim of the document is impossible to print and trim consistently so we do not guarantee the outcome of such a design.  If your document requires a continuous color border, please supply a minimum 1/8” border inside the trim plus 1/8” bleed outside the trim.  (If you are in the habit of creating a 1 point ruled box to mimic the size of your document on a larger page, try setting your Page Size for the document to match the trim size instead, as suggested in the first tip on Part II of this blog.)

10.  Folds & Templates

Folding is affected by a variety of things including paper weight, the folding equipment being used, and the number of times it goes through the equipment.  Panel sizes on a brochure can vary from piece to piece depending on the fold.  For example: panel sizes are different on a standard trifold brochure than a comparably sized Z-fold brochure.  Copy Craft has built an extensive library of well-tested templates to assist you in laying out files for accurate folds.  Please visit copycraft.com/templates and select the template that matches your job to avoid any folding problems.  Our templates are available in six different file formats.  Some are best suited for initial layout design and others for double-checking a layout before submitting the file to be printed.  Most brochures have separate templates for each side.  Some brochure templates make a distinction between paper weights, so if you are not sure which paper weight applies to your order, check with your sales representative.  He or she will be happy to direct you to the proper template to successfully build or double-check your files.  Always remove any templates before submitting your files.

11.  Rich Blacks & Small RGB Black Type

Rich blacks are most commonly used to create rich, deep black backgrounds, large black accent areas and large headline type.  Our recommended mix for rich black is 40% Cyan, 30% Magenta, 20% Yellow and 100% Black (40,30,20,100).  Avoid using rich black for small type.  The same is true for RGB Black as it becomes multi-color type when converted to CMYK.  Small, multi-color type can be difficult to register across a large sheet on the press, and may even present a color halo effect.  We recommend setting small black type in 100% Black only.  Be aware that programs limited to RGB color palettes, such as Word and most versions of Publisher can cause problems in this regard and may even require reformatting at an extra charge.

12.  Overprinting

The use of selective overprinting is an art, but accidental overprinting can lead to disappointment on the press.  Here are a few things to watch for, and a few tips you can use to preview final output before sending in your files.

The most common problem we encounter with overprinting is white type set to overprint on a color background.  It basically just disappears.  The effect is similar to applying the Multiply effect to white type.  Check your Attributes window in most programs to see if either the Fill or Stroke is set to overprint.  Programs like InDesign and Illustrator will let you preview overprinting.  When in doubt, check it out.

Other overprinting errors tend to occur in complex vector logos and complicated illustrations done in Adobe Illustrator, Corel Draw or other vector programs. If you are developing this type of artwork in Illustrator, select “Overprint Preview” from the View menu to check your progress.  If you have an earlier version of Illustrator, you can always either rasterize the art in Illustrator or drop the file in Photoshop to preview the artwork as it will appear after being rasterized by high-end commercial RIPs (Raster Image Processors).

13.  Gradients

The most common problem with gradients is banding.  Banding typically occurs when a gradient is spread across a large area and the difference between the starting color and the ending color of the gradient is minimal.  For example: if you have a color shift in a single color gradient of 4% across an 8” area, the computer is basically asked to make four 2” steps.  Sometimes those steps are visible as bands.  It’s possible to minimize this problem by using a broader CMYK color mix on each end of the gradient.  For example, try a 3-color green rather than cyan and yellow only green.  But for all practical purposes, to eliminate banding you will most likely have to increase the number of steps in your gradient by going from a lighter color to a much darker color, or vice versa.

Color-to-Black gradients sometimes develop a grayish blend in the middle.  This type of gradient works better if you add the same color values you start with on one end of the gradient to the process black on the other end.  Example:  on a Green to Black gradient, rather than going from a C 100, Y 100 green to K 100 only black, start with C-100, Y-100 at one end and go to K 100 + the C 100, Y 100 on the other.  Try it.

Spot-to-Spot gradients sometimes look richer if you create two separate Spot-to-White gradients going in opposite directions and then position one to overprint on top of the other.  Try it the next time you work with spot gradients.

14.  Spelling and Grammar Errors

Please spell check your documents before submitting them for printing.  Our proofing system gives you one last chance to check for errors, so please don’t pass up the chance to catch them.  We are not responsible for any spelling or grammar errors.

Next Week and beyond…

Next week the series will cover even more tips and techniques for proper prepress file preparation.  By the time our new FastTrak File Processing program is launched around 20 topics will be covered, so please bookmark this page or make a copy of these tips for future reference.  Also, feel free to send a link to whomever you think would benefit from the referral.  We look forward to serving you and hope this information will be beneficial to you, your organization or anyone else who prepares prepress files for you.

Our goal is to continually inform our clients of improvements in our system so you can experience quicker turnarounds and more accurate printing.  You can find additional setup tips on our Support Center at copycraft.com.  Please feel free to call if you have any questions beyond the items listed here:  1.800.794.5594.

Watch for the launch of our exclusive FastTrak File Processing program coming to Copy Craft Printers in March.

A New Series on HD Prepress File Preperation

From The Art Director — Bobby Lee

Before reading please read part 1 & part 2

–

Part III – Tips & Techniques

This weekly series is offered as a prelude to the launch of our exciting new FastTrak File Processing program coming this March.  The items covered in the series provide solutions to the most common problems we encounter with client submitted files.  Our goal is to educate our clients on techniques to minimize and even eliminate delays on proofing and printing alike.

For those who are new to preparing files for printing, or for those more experienced designers wishing to brush up on technique, we hope this prelude will be a valuable learning experience whatever your level of expertise.  At the very least, the basic tips presented in this series will make the design process go more smoothly, and at most they will help eliminate the likelihood of someday hearing those dreaded words…“we ran into a problem with your files.”

5.  Color Palettes

For Full Color or Process Color printing, use CMYK palettes only.  This applies to all photos, vector images, imported images, fills, strokes and text.  We print in process colors on all of our HD Waterless and Digital Presses.  When setting up Illustrator files, choose CMYK as the color mode and work in CMYK/Preview.  For InDesign and QuarkXPress use CMYK color palettes and CMYK colors.  Should your document have any spot colors, please convert them to CMYK to avoid problems with drop shadows and other special effects.  The only exception would be a Spot Color job which is specifically designed to use Pantone PMS colors.

Never submit files with RGB or Index colors as those colors are blind converted to CMYK by our RIP software, sometimes with unpredictable results and color shifts.

6. Images: Types, Resolution and Color Modes

Creating Photoshop Documents:

When creating files in Photoshop, set the width and height to the trim size plus .25” to each dimension for bleed, if required (that allows .125” for each side). Set the Resolution to 300 ppi and the Color Mode to CMYK color.  For B&W or Spot Color files choose Grayscale. Please note that PDF files created in Photoshop do not generate trim marks, so it is critical that the file is sized properly to include bleed as needed, or to the trim size if not.

For Photoshop documents with bleed, we suggest placing guidelines at 1/8 inch from all sides so you can visualize where the file will trim.  (See the illustration with the fireworks photo in Part II of this series.)  The same technique can be used for Photoshop documents of any size whenever bleed is required.

Acquired or Existing Images:

When working with acquired or existing images in Photoshop, make sure they are in CMYK mode and at least 300 ppi resolution at 100% (the final printed size).  When purchasing photos from internet photo banks, select a size and resolution equal to or greater than the size needed in your document. 72 ppi images at 100%, such as those appearing on or copied from websites, are not acceptable as they will appear severely pixelated on your final printed document.

Digital Camera Images:

Photos taken with digital cameras may be 72 ppi, but since they may also be up to 54” wide they can still be perfectly acceptable when reduced.  For example: consider the “Image Size” readings as shown in this screen capture from a typical digital camera photo and discover how it can be changed to fit a 4 x 6 Postcard in two easy steps.

Spot Color Images:

Monotones, Duotones and Tritones created for Spot Color jobs should include Pantone PMS colors.  When placing these images in other programs, review your color palette in that program to make sure you don’t have more than one version of each Pantone color, such as PMS 300 CVC plus PMS 300 C, as plates are made for each color in your file…an addition, unnecessary expense.

Color Shifts:

Never submit RGB or Index images as they will be automatically blind converted to CMYK by our RIP software.  Unpredictable color shifts may result.  We require that you convert RGB images to CMYK so you can make color adjustments if you are unhappy with any color shifts resulting from the conversion.

7.  Fonts

If you send InDesign files, select “Package” from the File Menu to gather all of the files and fonts used to create your job.  This will create a folder with all the files needed to print your job.  Compress and send this new folder.

If you send QuarkXPress files, select “Collect for Output” from the File Menu to gather all of the files and fonts used to create your job and place them in a new folder.  Compress and send this new folder.

If you intend to generate PDF files for us, we prefer that you use our “CCP.joboptions” (click to download) Preset file, which you can downloaded and used at any time with compatible software.  Complete instructions and how-to videos for downloading and installing our custom preset file are available at copycraft.com.  When exporting PDF files with our preset file you will simply choose “CCP” as the new preset option rather than the usual standard “Press Quality” option.

There are times when the PDF distiller will not allow you to include fonts for various reasons.  If you encounter this issue, convert the offending type to outlines and try again.  Depending on the size of your document, it may be easier to Select All and convert all of the type to outlines.  As a general reminder, please spell check your documents, especially if you intend to convert type to outlines.  Also, please open and review each PDF file you create to make sure all of the type is correct and that no font substitutions or type shifting occurred during the translation.

Tips for converting type to outlines in Copy Craft PDF approved programs:*

Photoshop: To convert fonts in Photoshop simply flatten the image in the layers menu.  This will also reduce the file size.  The same applies for any Photoshop file, including those placed as images other programs.

Illustrator: Select all type then choose Create Outlines from the Type menu.

InDesign: Select All, or select the type blocks in question, and then choose Create Outlines from the Type menu for each page.

QuarkXPress: *Not recommended.  Converting text to outlines (or curves) is problematic in QuarkXPress as type can easily shift position.  If you use a font that is unregistered or that fails to embed in your PDF file, it may be better to choose another similar font.  Another option is to save your document as an EPS file then rasterize individual pages in Photoshop.  We can provide this service for an additional charge.

Next Week and beyond…

Next week the series will cover even more tips and techniques for proper prepress file preparation.  By the time our new FastTrak File Processing program is launched around 20 topics will be covered, so please bookmark this page or make a copy of these tips for future reference.  Also, feel free to send a link to whomever you think would benefit from the referral.  We look forward to serving you and hope this information will be beneficial to you, your organization or anyone else who prepares prepress files for you.

Our goal is to continually inform our clients of improvements in our system so you can experience quicker turnarounds and more accurate printing.  You can find additional setup tips on our Support Center at copycraft.com.  Please feel free to call if you have any questions beyond the items listed here:  1.800.794.5594.

Watch for the launch of our exclusive FastTrak File Processing program coming to Copy Craft Printers in March.

February Specials

10% off presentation folder and pocket folder printing.

15% off booklet printing, catalog printing and magazine printing.