Graphic design is concerned with controlling a viewer's eye by emphasizing the visual impact of specific elements in the design field and diminishing others. The designer is compelled to consider how the visual symbols are scaled, colored, and positioned for emphasis.

Tone and color relationships also create visual hierarchies. Brighter, more intense colors have a tendency to be emphasized over more subdued color values. Another important factor that effects the visual gestalt of a design field is the position of elements relative to each other on the page. A static composition rests the eye in a central location and prevents it from wandering. A dynamic composition forces the eye to move and to emphasize specific visual elements. This can have a profound effect on the viewer's perception.

Most designers work within a grid. A grid enables the designer to align the extremities of text and images to contain the content so that the viewer's eye does not wander aimlessly around the page or off into the margins. Grids can be very creative, employing sub-grids and diagonals to align the edges of elements on the page.

However, even the most creative grid structure is no substitute for the designer's sensitive eye for unity and balance. The grid provides a framework but the designer must still make decisions about the scale and location of the graphic elements and their relationship to each other. Adobe Photoshop and Illustrator both offer the ability to display non-printable grids that are used as a convenient layout tool. The grids can be configured with grid-lines and subdivided to any dimension, and are editable in the Preferences function.

Design is such and important aspect of production that it can make or break the message of a printed piece, especially where type and images are combined. With a strong, well-balanced design that contains texts and images that work in harmony, the concept will be enhanced for maximum effect. What follows are a couple nuts-and-bolts software techniques that combine words and pictures. These operations are relatively simple tricks that can be used under a variety of circumstances.

Stayed tuned for Part 2!!

Virtually all graphic elements, from the simplest letter-form to the most complex color image, have duel identities. They are optical phenomena with visual characteristics, and they are symbols that communicate a concept, whether it be a simple sound as with a text character, or a profound inner reality as in a surrealist painting.

Graphic design is concerned with controlling a viewer's eye by emphasizing the visual impact of specific elements in the design field and diminishing others. The designer is compelled to consider how the visual symbols are scaled, colored, and positioned for emphasis.

Tone and color relationships also create visual hierarchies. Brighter, more intense colors have a tendency to be emphasized over more subdued color values. Another important factor that effects the visual gestalt of a design field is the position of elements relative to each other on the page. A static composition rests the eye in a central location and prevents it from wandering. A dynamic composition forces the eye to move and to emphasize specific visual elements. This can have a profound effect on the viewer's perception.

Most designers work within a grid. A grid enables the designer to align the extremities of text and images to contain the content so that the viewer's eye does not wander aimlessly around the page or off into the margins. Grids can be very creative, employing sub-grids and diagonals to align the edges of elements on the page.

However, even the most creative grid structure is no substitute for the designer's sensitive eye for unity and balance. The grid provides a framework but the designer must still make decisions about the scale and location of the graphic elements and their relationship to each other. Adobe Photoshop and Illustrator both offer the ability to display non-printable grids that are used as a convenient layout tool. The grids can be configured with grid-lines and subdivided to any dimension, and are editable in the Preferences function.

Design is such and important aspect of production that it can make or break the message of a printed piece, especially where type and images are combined. With a strong, well-balanced design that contains texts and images that work in harmony, the concept will be enhanced for maximum effect. What follows are a couple nuts-and-bolts software techniques that combine words and pictures. These operations are relatively simple tricks that can be used under a variety of circumstances.

Stayed tuned for Part 2!!

What are vector graphics?

Anyone who works with digital printing must know not only how to operate digital devices but also how to prepare files for output. With so many graphics file formats, it’s helpful to know the purpose of different file formats and the applications that create them. In this article, we will explore vector graphics in Adobe Illustrator for Mac and Windows. CorelDRAW is a similar program for Windows only.

Vector graphics are based on mathematical descriptions of points, lines and curves. This means they are resolution-independent and can be scaled to any size without losing quality. Since they have no resolution until printed, the final valuei depends on the output device used. The first vector-graphics drawing program, Adobe Illustrator, was introduced in 1986. It was based on font development software and the PostScript file format. Originally designed for Macs, it is also available for Windows. CorelDRAW was originally developed by Microsoft Windows and was initially released in 1989. Both programs are used for drawings, diagrams, logos and type.

Vector graphic programs such as Adobe Illustrator and CorelDRAW allow you to create and edit vector graphics. A combination of points, lines and curves are used to create shapes and graphic illustrations that are based on a mathematical formula. These vector graphic programs are most ideal for logos and diagrams that do not require a lot of detail. Advantages of vector graphics include being scalable and having smaller file sizes compared to raster images, which makes it appropriate for sign printing.

Strokes and Fills

A stroke is a visible outline of an object or path. You can change both the width and the color of the stroke could be in Illustrator. In addition, dashed strokes can be created using Path Options while stylized strokes can be created using brushes.

A fill is a color, gradient or pattern inside of an object. Both strokes and fills can be configured right on the toolbar. The stroke color is set in blue and the fill color is set in red.

Color, Swatches, and Patterns

Colors in Illustrator are available in CMYK or RGBi modes. In a printing environment, the CMYK mode is usually used as opposed to the RGB mode. Select a specific color for your stroke or fill can be done using the Color Picker. The color can be chosen based on HSBi, RGB, CMYK, or Hexadecimal values.

Swatches are colors, tints, gradient and patterns that are named. Swatches can appear individually as well as in groups. Libraries of swatches from other documents can also be chosen in the Swatches panel.

There are two types of patterns that exist in Illustrator: fill patterns and brush patterns. Fill patterns are used for filling objects, while brush patterns are used to outline objects. Illustrator does come with a number of default patterns for you to use, but customized patterns can also be created.

Tracing

Use tracing when you want to make a new drawing from a photo. Tracing is used to convert raster images into vector graphics, gaining the vector’s resolution independence and small file size, and also artistic effects. There are two ways to trace images: automatically and manually.

Automatic tracing is the fastest way to turn bitmapped into vector artwork. First, open the source image that you want Illustrator to trace automatically. Once the image is opened, simply select Object > Live Trace > Make. The program will automatically produce a vector graphic based on the source image.

Manual tracing artwork is easy with Illustrator’s templatei layers. First, place the image you want to trace (File > Place, then select the Template option) in a new template layer. Then, trace it manually using the Pen Tool or Pencil Tool.

Spot Colors

Spot colors are color inks that are made from unique pigments or dyes, many of which are outside the gamut of four-color processi printing. In digital publishing applications, spot means that the color will be transmitted to the print file as a named color, such as “Pantone Orange 021 C.” When printed as separations, named colors will come out on separate printing plates.

The Pantone Matching System (see Figure 4) is one of the most widely recognized spot-color systems. The system includes several swatch books printed on coated, uncoated and matte paper, including solid, process, metallic and pastel colors. Pantone solid colors are based on 14 primary-color inks that are mixed to form over 1,400 colors specified in the swatch books.

A CMYK printing process has a much smaller gamut than Pantone. As spot colors are made from unique pigments and dyes, they cannot be matched exactly on press or proofer in CMYK.

Although it is sometimes difficult to simulate spot color on press and printer, an inkjet printeri has a larger gamut than a press. Therefore, when using an inkjet printer to proof for a printing press, the inkjet may be able to match more spot colors than the press.

The following is an application checklist that is essential for wrapping any vehicle, with any type of wrap media.

1: Know your surface and its limitations (gaskets, rust, channels)

2: Provide a controlled environment and a clean vehicle.

3: Always use a sharp knife for trimming (snap-off or replace blades frequently).

4: Use an air release tool, not a knife, to relieve air bubbles.

5: Heated media applied to cold metal will cool quickly. Apply enough heat to do the job correctly and work in small areas.

6: Use heat to soften the film prior to stretching.

7: Use heat to relax the film after it has been stretched into the channels. This also allows the adhesive to build to a high bond quickly.

8: Seams and edges are common failure points. Be sure that edges are clean and dry. Cut all seams and then heat and re-burnish all edges to insure a good bond.

9: All printed material MUST be given a minimum48hrs at 70°F (21°C) flat exposure to flash off any residual ink solvents before using the clear overlaminate. Failure to do so will trap residual solvents altering the performance of the product increasing the potential for premature film and adhesive degradation.

We have now set aside a new category on the MN Designs website that is dedicated solely to political corex yard signs! Making it easier for you to find what you need, and right here in the middle of the political season, our options are easy to navigate through, and turn around time is wondeful!

Our political yard signs are printed digitally with UV ink. They come with single sided and double sided options, and the price covers up to two colors!

To check out our political yard sign options, just click here.

The following is an application checklist that is essential for wrapping any vehicle, with any type of wrap media.

1: Application begins at the back of the vehicle for vertical panels and from the bottom up for horizontal panels. This allows for all overlaps to face the back or the bottom which prevents wind and rain from causing a premature failure. Seams should have a 1/4 to 1/2 inch (0.64 - 1.3 cm) overlap.

2: Use firm pressure on the squeegee to apply the media to the surface, starting at the high points in the middle and working out toward the edges.

3: For channels, wherever possible lay the media through the channel rather than bridging and stretching the media. Any vinyl film(cast or calendered) can exhibit shrinking or tenting when overstretched or overheated.

4: In some instances it is not possible to negotiate complex curves. In this case, you will need to bridge the vinyl. Be sure only to stretch the vinyl and over laminate combination until firm. Overstretching may result in memory failure. At this point, it is suggested to cut the film in this are to relieve tension.

5: In many difficult areas, a thin layer of an adhesion promoter or acrylic spray primer can enhance adhesion. Be sure to use the primer sparingly and allow it to cure completely according to the directions on the can, prior to graphic application.

6: To bridge a gap properly, apply the film to the flat areas first as indicated above. Use heat to soften the film, somewhere around 160° to 200°F (71° - 93°C). Immediately stretch the film into the groove, starting at the middle of the groove and working out to both sides. Sometimes using a cotton glove or soft cloth instead of a squeegee is the way to go. Since the film cools quickly, it is important to work in small areas and continue to heat the film as your work moves along. Finally, after the film has been applied, to eliminate the stretching stresses created in this application, you must heat the film to a higher temperature, somewhere between 220° and 250°F (104° and 126°C). Move the heat source slowly. Now that the film has been applied, you are also heating the body of the vehicle and it takes more heat to achieve the final temperature requirement. Using a no-touch heat gauge is strongly recommended to ensure this very important step is done correctly.

7: Edges, seams and trim should be cut and resqueegeed to ensure good adhesion. It is a very good idea to also use high heat along these areas to speed up the adhesive build (this is to overcome the repositionable adhesive we built into the film for ease of application) and ensure a good application. Do not wrap films around 180° turns, as this will most likely result in failure. Do not wrap films under the edges of the car or into areas that do not clean well.

8: For over rivets, digital media with an over laminate may tent and is not considered a reason for failure. To apply, use the same technique as the bridging described above, apply the film over the flat areas, bridging the rivet head. Using an air release tool or pin, (do NOT use a knife blade as this will result in a cut propagation issue), poke multiple holes around the rivet head to release the air, then using heat and a rivet brush work the film down. Finally apply high heat to release any tension stresses and to ensure a quick high strength bond. The only proven way to eliminate tenting around rivets with an overlaminated film is to cut completely around the rivet head after application.

9: Do not over-heat or over-stretch the graphic media. Channels that result in the filmbeing stretched too far must be cut.

10: After all the film has been applied, go back and apply heat to the graphic to a high temperature, 200 to 250°F (71° - 126°C), in the areas the vinyl has been stretched to relieve stresses created by stretching.

Stay tuned for some more tips and tricks for vehicle wrap installation!

The following is a pre-application checklist that is essential for getting ready to wrap any vehicle, with any type of wrap media.

1: The ideal location for an installation is indoors in a climate controlled environment. If this is not possible, do your best to protect the surface from changes in temperature, moisture, wind and dust as these will affect the integrity of the application.

2: Prior to application, remove all trimthat may interfere with the wrapping process. This would include: license fixtures, antennas, nameplates, lighting fixtures, etc.

3: Identify possible points of failure, which may include: poor paint jobs, clear coat chipping, rust, dents, nicks, scratches, seams, silicon seals, and rubber window gaskets. The adhesive is designed to adhere to the painted vehicle surface, it doesn’t stick to silicone, rubber etc…The material must be trimmed around these areas!

4: Ensure the vehicle has been kept indoors and surface has been cleaned with IPA (Isopropyl Alcohol, 70%concentration minimum) prior to application. Allow to air dry. The use of towels or rags may contaminate the cleaned surface. Pay special attention to edges, seams, around moldings and gaskets and where objects were removed. Use compressed air or a heat gun to ensure dryness.

5: The vehicle and environment temperature should be above 60°F (15°C) (prior to application.

6: Always ensure the finished graphic lines up with the vehicle before application.

Stay tuned for the next checklist for applying the vinyl to the vehicle!

The following insert was part of an article written about family owned companies that made their pets more than their companions... they made them work partners! The full article was written by Vince DiCecco

Today, dogs have been elevated to the status of pampered pets. And we, as a society, will do anything for our furry friends. Even at the depth of the ongoing tough economic times, the pet-supply and pet-care industries are still being touted as “recession-proof.” It seems that caring for a canine companion has become as emotional and as much a civic responsibility as raising a child or tending to the needs of the elderly.

Canine Inspiration

MN Designs of Lexington, S.C., is a wholesale sign, digital graphics and screen-printing supply company that sells inks, blank media, and other supplies to qualified resellers, along with sign and screen-print shops. Like many other supply houses, MN strives to offer the best selection of products and friendly, prompt service. But its unique marketing and management weapon is Hollister, a six-year old chocolate Lab, who has his own blog - blog.mndesignsinc.com - on the company website—www.mndesignsinc.com.

According to MN Designs owner, Marsha Newman: “Hollister looks forward to going to work every day. He greets the customers, both young and old. He loves all of our employees and they love him. Whenever he is really fond of someone, he sounds like he’s crying. As a retriever, he always has something in his mouth, even if it is just a piece of banner material. This makes everyone laugh because he is such a goof ball. Employee morale is pretty high because he is really everyone's dog!”

Hollister’s official caretaker is Kelly, Newman’s daughter. When opportunity arose to produce some marketing photos for the catalog and website, Kelly suggested Hollister be the spokes-model, and he came through in a big way, posing by the printers, by banner material, by a vinyl rack but, when asked to don a promotional T-shirt, clearly told the photographer he had gone too far, by pouting in every shot.

Hollister has a special relationship with the UPS driver. Precisely at 3:30 p.m., he is poised at the dock doors to jump into the brown delivery truck, and won’t return to work until he gets his treat. Says Newman, “This is a daily occurrence we think our UPS driver looks forward to.”

Hollister has also inspired a new product line for MN Designs. The company manufactures canvas prints of dogs—both traditional and pop art—and a percentage of the proceeds go to the Wescott Pet Rescue. “This is another morale boost for everyone in the company because we have a corporate purpose: to help homeless pets get the help they need. There is no measure of how much Hollister has given to our company. It would be a completely different business if we didn't have him as our mascot. He shows love to everyone and the return has been immeasurable.”

No matter what industry you were in, 2009 was one of the most difficult years in recent history. We saw record number of unemployment, the bottoming out of customer confidence, and cost-cutting measures within both businesses and families. But, despite the difficulties, some businesses survived and even thrived.

In the print and signage industry, much like last year, banners and signs make up the largest selling products. Retail and POP displays pulled in a very close second. The chart below shows what else made up a majority of the sells for the past year.

This blog post is the third of a series of three relating to successful color matching for screen printing. The author of this very informative article is Mike Ukena, and he is a part of the Union Ink Company.

COLOR MATCHING AS A PRODUCTIVITY TOOL

Color matching systems have become sophisticated enough to minimize the time necessary to simulate a specific Pantone color. Most systems include computer software or even proprietary computer scales that allow for precise control. The software stores all of the Pantone matches plus any customer matches used by the printer.

The time necessary to do most color matches utilizing matching systems is low enough that it usually increases productivity because it is much quicker than mixing from scratch. In practice, quart and gallon quantities of most colors can be formulated and mixed in as little as five minutes.

Larger matching systems, those utilized by large plants, are sophisticated enough to actually measure and meter out precise quantities of ink into the container without the operator having to touch a container. All that is required after that is mixing. But, even the smallest hand systems are relatively quick up to the gallon level.

COLOR MATCHING AS A PROFIT CENTER

While many printers may scoff at the idea of charging customers for color matching, many printers do just that. The most common method I have seen is to offer a standard color pallete and then charge anywhere from $5.00 to $20.00 per color to do custom matches. Even if you do not charge, the ability to exactly match customer colors provides an even more valuable tool for profitability. That is, the ability to reach more customers.

If you just tell potential customers that they can have any color in a particular set and that is it, you will not get all the business that is possible. Those that need custom matches will go elsewhere. By offering custom colors, you increase the pool of potential customers and therefore, the potential profit from having a larger customer base.

You can also use color-matching services as a marketing tool by setting a price on your price list but then waiving it for customers that you really want or need. It is always there if you need it but by showing flexibility, you might just pull in the customer you really want.

INK MATCHING AS A CONVERSATION TOOL

Most ink matching software will also help to calculate the amount of ink required. By entering the screen mesh, coverage area, and the number of prints the software can calculate the amount of ink required with enough margin to cover the mesh. In practice, these systems are quite accurate and do a great job of minimizing ink waste.

Another way to control waste with a matching system is to minimize batch sizes and mix additional ink only if needed. This approach does increase the time required, but with such a small amount of time needed combined with the accuracy of most systems, the tradeoff can be extremely small amounts of waste ink.

RECYCLING OR "WORK OFF"

Many companies now offer systems that can reuse the ink left over after a job. By creating a more sophisticated software database, the printer is able to enter the number of the color of ink mixed previously. The system will then be able to calculate the colors that are possible to mix with that remaining amount and the minimum amount that can be matched.

For example, if the printer completes a job and has 300 grams of Pantone #324 left over, he/she would be able to enter that data into the computer and be given a list of colors that can be mixed by incorporating the remaining #324. This one improvement in software had had a greater impact on reducing ink waste than the introduction of matching systems themselves.

MATCHING SYSTEMS ARE NOT FOR EVERYONE

The printer who is able to run his business by using the stock colors prepared by the ink companies has little use or need for an ink matching system. However, the number of printers who fir this situation is a small percentage of the total. Any printer who does work for outside design people or companies cannot get by without matching ink. If you do color matching, a matching system can pay for itself very quickly.

The initial reason to purchase is usually the time it saves. The added benefits are the reduction in the amount of waste ink that is generated, the increase in potential customers and the added profit potential that the additional customers create.