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.

Are you a sign shop that offers magnetic products to your customer? Sure, they're a simple and easy way to advertise someone's business, but are you really making that great of a profit for them? Most resellers normally offer magnetic signage for around $45-$65, and only make $10-$20 on average for the job. Maybe it's time you learn a few steps that can enhance your magnetic products and give you a way to make much more money off of them. Begin a new life of creating magnetic signs that retail at a life-changing $250-$350 price point. Of course, this signage is not for every client, but after being given our explanation (a.k.a. sales job) on what a custom-created mag graphic can do for them, they are usually convinced to pop for the full treatment.

Step 1 - White Ain’t Right - Change the magnet’s background, if possible, to a color that matches the vehicle, or create a contrasting gradient background, or a compatible but non-distracting pattern fill.

Step 2 - Shape It Up, Ship It Out - It’s not hip to be square, so whenever possible sculpt the magnetic piece into a custom shape by cutting around the logo or other elements, or using an oval background, for instance. If it has to be a rectangle, create a secondary smaller rectangle or creative cove for the client’s license number or other secondary copy.

Step 3 - Get Graphic - I know a picture really is worth a thousand words, because there’s a little magnet on my fridge that says so. Add some kind of an illustration or photo-realistic image of the client’s product or work. Truly fine clip art libraries - some offered in the pages of this fine publication - are often well worth the investment in time savings and graphic layout improvements.

Step 4 - Flaunt Yer Font - Limit your type styles to two at most, and since the surface area of magnetic vehicle graphics is usually small, make sure the fonts are bold and/or legible. Keep it simple with only the necessary copy.

Step 5 - Run for the Border - Many cheap magnetic signs look unfinished because they don’t have a border. Unless the graphics don’t lend themselves to it, add a compatible weight border to help give the graphics a more finished appearance.

Digitally printing magnetics make the above steps even easier to work with. MN Designs offers digitally printed magnets, which are printed on our flatbed, UV ink printer. More information can be found at mndesignsinc.com or by calling us toll free at 866.663.3746.

Vinyl banners are by far the most common banner type in use today. They are used everywhere from Albany to Zambia, from National Parks to car parks and from the poles to the equator. But rather than making them easier to understand, this ubiquitous nature has made them more complex and difficult. The variations of substrate, printer, inks, lamination and finishing techniques have become almost infinite.

Vinyl banner substrates have a variety of surface textures, but these are just cosmetics, and personal preference should apply. The important bits are in the composition of the banner material. Most vinyl banners are made of calendered PVC. Woven into some banners are polyester scrims. In these banners the PVC is coated over the scrims, providing a lot of extra strength. The weight of the banner also determines strength. Common weights range from 10 to 16 ounces. Backlit banners are translucent for even light transmission. Some banners allow small amounts of light to pass through, others have a block-out layer in the middle. Different situations require different choices here.

Choosing the right printing ink and substrate combination is also critical. Aqueous inks are only acceptable for short-term indoor use. The banner materials have to be coated to accept the inks and these coatings are not very durable or water resistant. UV inks do not bind very well to vinyl banners and scratch easily. Eco and mild solvents bond lightly to many banner types, but every substrate needs testing before any purchasing decisions are made. True solvent inks bite deeply into vinyl banner materials. The inks are resistant to abrasion and fading, making for excellent all-round banner choices. If a longer term product is desired, the banner can be coated with a liquid lamination. This can be applied with a special coating machine or the old-fashioned way with a spray gun or roller.

After printing, most banners will require some form of edge finishing. For simple, short-term indoor use, banner tape is quick and easy. This double-sided adhesive is formulated for use with vinyl banners and will provide a good light-duty product. For a stronger bond without using any equipment, chemicals are available that actually alter the chemistry at the join. They are much stronger than adhesives.

If you want to get some machinery to make the job easier, heat welding is a good entry-level product. The heat seams are attractive and relatively strong. Radio frequency welding requires more expensive equipment and training, but gives a stronger, more consistent and almost invisible edge finish. The strongest, but ugliest, edge finish is sewing. Thread cannot be beat for a tough, durable hem. This also allows for reinforcing material to be sewn in when heavy-duty use is expected.

Banners can be used almost everywhere. They are good looking enough for even the chichiest occasion. Vinyl banners are tough enough for the wildest outdoor locations and they are cheap enough for the lowest budgets. Stand and framing systems are available in sizes that range from the personal to the gigantic, but almost anything can be turned into a banner holding device. They can be fastened to surfaces or stretched between poles. They can be attached rigidly or left floating like flags. There’s not much that you can’t do with a banner. One artist is even recycling old banners by sewing them into shopping bags.

There are lots of reasons why vinyl banners are so popular today. Easy to print, easy to fabricate, inexpensive to stock and easy to handle are reasons why printers push them, but durability, attractiveness, versatility and cost effectiveness are reasons why clients keep coming back for more.

In this, and any, economy, a business has to keep a close eye on dollars going out. As a business owner, you do not want to spend money on things you can maybe skip or wait out. But, as with any automobile, skipping or waiting out the maintenance on an expensive UV-curing digital printer is asking for trouble and will most likely cost you a lot more than you expected.

When it comes to our UV-curing printers, a lot of redundant maintenance and automatic fail-safe procedures are built into most of the machines to ensure anything terrible does not happen. Some maintenance tasks are simple and some are complicated. Some, if not carried out in time, will simple cause the machine to turn itself off. The good news is that the more complicated the tasks are, the more the machines made these days do the maintenance automatically.

Something to remember: maintenance is not the same as repair! Instead, it just prevents a lot of very expensive repairs! Something else to remember: the first rule of printer maintenance is to always make sure the machine stays clean. Maintenance is not fun, and it's not exciting, but it is very necessary. UV-curing printers are exponentially more complicated than other printers. The water based printers are great workhorses that don't ever really break. Water based printer maintenance is simple: oil a couple of places, wipe off a couple of places and it runs forever. If something does need to be replaced, it's usually a matter of taking out the old part and plugging in the new one. With our UV machines, it's more complicated. There are moving parts, more electronics, UV-emitting light bulbs that must be monitored and in general, just more to keep up with. Maintenance is a critical part of performance and longevity, and the process is different for each individual model.

All things considered, the best strategy to ensure you get the most value from your UV-curing printer is to follow all manufacturer recommended maintenance procedures and schedules. The printer manual is a useful reference book. Most users will go through a period of training during which they learn the basics of how to operate a machine. The manual has recommended procedures and can be a digital printer owner's best friend. It may not be the most exciting reading, but it is filled with essential information you need to keep your printer in optimal working condition.

Here's a common scenario. You've installed some window perf with a laminate overlay. After a week or so your customer calls back because the edges are coming up. You end up calling your vendor and really end up not getting the help you need. So, what do you do?

Let's go through the process of prepping for the installation, and then we'll give you the tips on how to handle peeling. It's really important to make sure that all contaminants are off the window before installation. The common thought is to use Windex or something similar, but not only does Windex not touch silicone, but it actually contains it. Alcohol will not cut through silicone either.

It is actually highly recommended to clean the windows using Soft Scrub, or something similar. Don't waste you time on fancy smells or bleach, as you're just using this to remove silicone from the window. Spread it on a sponge; apply to the window and scrub. After doing this, wash it down with water, and you can finish with isopropyl alcohol to speed the drying process.

After installation, cut the perf back 3/8-inch from the edge of the window and seal it with optically clear tape. It is basically a roll of optically clear overlaminate slit down into thin rolls. It ensures that the edges are not exposed to the elements. You'll notice great success when using this method and the common failures when not.

When working with a customer's needs in a way that will make them remember you, and ultimately continue to use your services, one of the most important elements is that of design. When working with vehicle wraps, it is extremely easy to use a live picture, a company name, and company contact information, but what exactly stands out about that? I bet when you're driving around and notice vehicles with graphics on them pertaining to construction, they all look just about the same. There in lies the problem. They are not current. They are not creative.

The main key and focus when starting a new wrap design project is to attack it with its impact in mind. What you are going to want to do is appeal to your customer's needs. Make sure everything they require is completed, and done so in a way that makes what they were thinking of themselves seem one hundred times better. In order to do so you must first gain a thorough understanding of what your client is asking for. The best way to do this is through direct communication. Spend time with your client. This enables you to feed off of each other's ideas, come up with solutions, and build a relationship. With a final concept completed, always print a proof to show your client. Chances are there will be a few minor changes to be made, but once you get the go-ahead, you'll be ready to take everything on!

It's also very important to remember that with all the media that can be produced with digital printers, you and your company should morph with the times. Keep up to date with the services that can be provided to you through companies who have the ability to keep you current. When you're current, you will be able to offer intelligent designs that focus directly on the customer's product and needs.

In Part 1 of our two part text effect rundown we covered some nifty and simple effects, like multiple outlines and modifying fonts, and we even lightly touched on the difference between Photoshop and Illustrator. For Part 2 we will continue to look at simple, yet effective ways to make your text stand out!

We will first start off with yet another technique that is super easy to do in Illustrator. With a few simple and well planned out steps, Illustrator can create what appears to be interlocking characters. Start by generating two overlapping characters on two separate type paths. Convert them to outlines and use the multiple outlines technique that was described in Part 1 to create a colored outline around each of the characters. Select everything with the Selection tool. Now, here is the magic touch. Display the Pathfinder and click the Divide icon to divide all of the overlapping parts into separate paths. Individually select the overlapping areas with the Direct Selection tool. With the Color Sampler tool (the eyedropper), sample the color from the adjacent non-overlapping area to fill the region with similar color.

Illustrator is also the software to use for threading text when you want to flow text from one shape to another or for wrapping type around a shape. You can also use Illustrator to create multiple columns or rows of text, whereas Photoshop does not offer any of these features.

Photoshop has two system for generating type. It can generate type as a layer that produces fully editable, vector-based text. It can also produce type as a type mask that creates a selection marquee in the shape of a type character. Both have their uses, but to create type characters that contain an image, we'll use the Type Mask tool.

Open an image in Photoshop. Chose Select > Select All and then Edit > Copy. This, of course, copies the image onto the Clipboard. Choose the Type Mask tool. In the Options bar, select a typeface and a type size big enough to reveal a good portion of your image. Click on the image and you'll see a blinking insertion point on red translucent mask. Type the text.

To reposition the text press the Command (Mac) Ctrl (PC) key and drag the text into position. To resize the text drag one of the corner points. When the text is set to your liking, click the checkmark in the Options bar. The mask converts to a selection outline.

From the Edit Menu, choose Paste Into, and the image you copied to the clipboard will be pasted into the text. Do note however if the original layer is visible, you will not see any changes unless you click the visibility icon in the Layers panel. This technique produces a layer with a layer mask in the shape of the type that can be scaled and positioned with the move tool.

And there we have it! These are just a few effective tips to help your designs more personable and creative.

The way a word looks in print can have more of an impact to a viewer than the actual word itself. The features in Adobe Illustrator and Photoshop control almost every aspect of this generation of design and placement of type in a field, and with a few simple tricks, both programs can produce awesome typographical effects that communicate an idea that will have a great impact.

It is important to know a few things about the two programs before we begin. Photoshop is primarily a raster-based software program, meaning that its operations are designed to manipulate pixels. There are, however, a few tools in this program that generate and edit vector objects. These tools include the Pen tools, the Direct Selection and Path Selection tools, the Shape tools, and the Type tool. Illustrator depends on similar tools to create vector objects and has several components that generate and edit pixels. Some of these include a series of effects that modify Bezier curves by adding pixel effects and filters that can be directly applied to raster images.

When modifying fonts, you can achieve almost any type effect in Photoshop through a series of Layer techniques, but there are a few techniques in Illustrator that will produce a similar, and most of the time even better, outcome with less effort involved. One example is the ability to modify the shape of type characters. Since type in Illustrator can be converted to basic vector outlines the intrinsic shapes of characters can be easily changed and manipulated.

Start by generating some type in Illustrator. Next, choose Create Outlines from the Type menu. Make sure you proof your text because once the outline is created, the type can no longer be edited. The conversion changes the text characters into a group of Bezier curves that can be altered by dragging their anchor points, segments of direction handles with the Direct Selection tool or adding addition paths.

Illustrator also beats Photoshop when creating characters with multiple-colored outlines. First, choose the Horizontal Type tool and create one or more characters. Apply a colored fill to the characters. Next, convert the type to outlines. From the Object menu, select Path > Offset Path and type a value, in points, in the dialog box, then click OK. The width of the type will appear to increase, but what actually happens is the Offset Path command automatically duplicates and enlarges the selected characters by the specified value. The new path is positioned behind the original path. With the new offset path still selected, choose a color fill from the Swatches or Color Panel to color the new path's offset edge. Repeat the process for each new outline you want to create.

This concludes the cool type effects lesson in Part 1. Stay tuned for Part 2!