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7

I'm not sure an invoice is the right place to create an experience. Sure, brand it, make it unique, but remember what its primary function is: to tell the client how, when, and how much to pay you. Keep in mind the client might need to scan it, copy it, print it himself. So, to give more specific advice: Turquoise is cool, but keep it to an accent color ...


3

No, you're right, adjusting the turquoise to black simply changes which cartridge runs out quickly, and the difference in cost still wouldn't be great enough to persuade anyone to print the invoice. Reversing the colours of the front and back pages (assuming you need them at all) might. Leaving out anything that isn't actually required for the invoice, like, ...


-1

Here's what I would do. Create a new document in InDesign of the size of the final product you are going to have printed (3x4m). Place the image that you have in its original "RAW" format into InDesign and adjust it (add crop marks, adjust centering, text, anything else you might want...). When this is done, create a new A4-sized document and copy and ...


0

For artwork this simple you don't really need to do anything at all apart from crop the image so it fits a 4:3 ratio format, and then tell the printer what the finished size should be. The image data doesn't really have an intrinsic resolution. You say it's 500dpi, but all that means is that it's nominally set up to print at that output resolution - which ...


0

Normally, this can be achieved by using the WxHxResolution setting of the crop tool. If you use px/cm and 300cm/400cm it should automatically reassign the resolution, of course this can affect quality. Also, Photoshop will need quite some processing time for that action, so don't worry about a non-reactive window and as I tried it, it had huge problems ...


0

If the reason that you want to be able to explain your work is so you can win them as a client - the goal here is to persuade. The best way to persuade is to speak to the heart of why they are hiring you. Every client that comes to you isn't coming to you just because they want graphic design but because they require the result of what graphic design brings ...


0

A good "strategy" would be to search for a picture that has been taken in front of a solid colour background (maybe some websites with photographic resources like 123RF or fotolia offer search based on transparency or background colours). You would then be able to remove the background colour in Photoshop, save it as a .PSD file, and include it in your ...


0

As strokes are rendered it's always a good idea to remove them from artwork wherever possible to ensure 100% faithful reproduction. Set your design to the intended size and define a stroke width that you're happy with. Ensure that your design is one large composite path and duplicate it. In the duplicated version use Path -> Stroke to Path before moving it ...


1

This would be a question for the printer. Depending on how the document needs to be setup they may require a certain amount of bleed for the black stroke. This bleed is usually cut off when they trim to the final size. I would suggest asking your printer what they prefer and what their protocol is for strokes on the edges. After edit: If this is to be ...


32

Not only you need bleed, but you need to consider if you need to shift the image a bit away from the borders depending on the binding method you are using. Saddle stitching binding allows the book to lay flat when it is open. The content that is close to the inside edge of the book will be visible. This method of binding is usually expensive. Perfect ...


14

The purpose of bleed is to mitigate imprecision. The printer "may cut 1/16 inch off the pages" means that the printer will not guarantee that their cutter will be accurate within 1/16 plus or minus (a 1/8 inch range). So the question for you is not about cutting too much off, but whether you will be happy with a sliver of white paper showing when they don't ...


1

I have not seing Pagemaker in 15 years. I have no idea if you have spot colors paletes there. Doing the PDF export ot Photoshop has no sense becouse you will end with a cmyk or rgb file. A little introduction If you print in at least 2 colors, you have a multicolor print. As simple as that. A verey specific multi-color printing is using the cyan, ...


4

Things that help designers focus on what's important to a design: Identify the key message - this is what people viewing the design should intuitively grasp, this is the voice or message of the design. Everything in the design should help reinforce the message. This is a careful balancing act as being too blatant can be off-putting and not everything in a ...


0

Modern computer should be able to work with such large files (I'm working with 100Gb and bigger since 2009) - don't use apple computers they have not the necessary power anymore (since 2006 no server systems)... don't use too low resolution! it makes a real difference if you use high or low resolution... you should at least use 100ppi images (in Photoshop ...


1

Here's the thing - Sizes that big already need a printer that prints things that are larger than usual, which will usually mean that you need some kind of industrial printer that by default will cost more money than regular prints. The cheapest alternative I can think so will not necessarily be relevant for you but it is widely used for decorating walls and ...


0

The most usual approach is a 70-85% Y. If you use a blend mode other than (not recommended, a simple screen is best), be sure to place the highlight under the text, so it doesn't get rasterized if the file goes through a PostScript RIP the output is flattened. You should in any case set Black to overprint in Illustrator or InDesign when you're working with ...


3

In my experience, the best approach to have when explaining your work to clients (or other non-creative types) is to focus on what the job of the product is that you’re working on rather than focusing on what job you’re doing. If you’re focused on what the product is supposed to do then you can explain how your graphic decisions help the product do it's job. ...


2

You've kinda stated the answer in your question. If you are printing the invitation, "saving for web" is not what you want. To re-state the obvious, that command is for saving files for web use, not print. :) If you need a jpeg for printing purposes, use the File > Export command in Illustrator. After choosing where to save the file, you'll get a dialog box ...


4

I use 100%Y at 60% or 70% opacity and set the blend mode to Multiply. I can't say this is "right" or "correct", merely what I prefer. My goal is to provide the appearance of a basic highlighter. I've never been concerned with absolute color matching. Primarily because colors can and do vary by manufacturer. It may seem like I pulled those number out of a ...


9

To add on to Brendan's answer, the "Neon" quality of "Neon Yellow" can be achieved in CMYK, but that's not all a highlighter is. A physical highlighter doesn't contain the pure yellow we expect from printers and monitors, but a slightly more watered-down version, so step one would be to use, say, 75%-80% yellow to start with. Next, to achieve that ...


5

Highlighters tend to use fluorescent pigments/dyes to give you the bright colors (AKA, 'higlighted' colors). As such, there is no CMYK combination to emulate them as CMYK doesn't include any colors that would be considered part of the 'fluorescent' color space. If you want a true match, then you need to use a spot color. Pantone has a whole line of ...


11

I would contend that this is difficult to answer definitively. If you're talking a four-color process, a straight 100% 'Y' would probably be your best bet. However, highlighters tend to have a neon glow about them, which can't be achieved in CMYK. You'd need a special process color for that. Get your hands on the highlighter you want to emulate, draw on ...


3

I come late to the party so there is no much to add, but here are my humble additions: My art uses overprinting. Will you be able to do so? I have found that many printers get confused when art uses overprinting, because (apparently) it is not used very often. I always highlight this to them so they are aware that I will be using it. I often set the areas ...


0

When I first meet a prospective client, the first thing I do is listen to their story and learn about their experience. This helps me to choose the right level of conversation to use. I have found that most people are overwhelmed by the fact that the Internet has become an industry employing millions of people, doing tasks that didn't exist 30 years ago. ...


1

Hum. I am not answering the question you asked: when print designing what questions should I ask to make sure my designs are compatible and high quality for print? becouse as a designer it is my obligation to know how to send a proper file depending on my project. I am answering this: When I interview a new provider, what questions should I ask to ...


1

Point out, be visually objective and support your work with proven theories. When you say "non-creative" people I immediately recall Seniors and managers. So think abut it. These people have millions of things in their head day by day, so the best way to talk to them about what you do is being very objective. For real... Enumerate and think very well what ...


0

How a CMYK jpeg will display on a client's monitor is a wild variable. As Yorik notes, support for CMYK is spotty at best. Your system is much more sophisticated than your client's, and has color profiles installed that your client doesn't have. That's why the jpeg may look fine to you but awful to the client. There is also a wide variation in how colors ...


1

There may be non-artistic people, but I have very rarely met non-creative people. It's just that their creativity comes out in different areas besides design and art. I find it most effective when selling my concepts to people who are not designers to approach things from a results point of view: what is the purpose for this work in the first place (a ...


0

You are correct a monitor can not display all print colorspace colors. In fact things are much worse than that, you can not even know how RGB colors display on other monitor. Calibration is the only way to go even if it does not solve the problem. High end monitors can display wider range of colors but currently not wide enough. The opposite is also true ...


2

Inkscape‘s PDF+LaTeX option (when saving as PDF) may be exactly what you want. It saves all non-text aspects of the graphics as a PDF and then creates a LaTeX snippet that imports this PDF and overlays all the text using LaTeX. You load the LaTeX snippet using \input and thus the text has the same font and size as your regular LaTeX text. You can also do ...


2

For Scribus, you would set up a paragraph style (see: stylesheets) such as "figures - Header"; place a text box to overlap the image box, add the "A" and then mark up the "A" with the style. If you edit the style, it will update all instances of the style throughout the document. Using only stylesheets (within reason) is always the best way to proceed and ...


3

CMYK Jpeg, while valid, has limited support in software, especially in browsers and in-built OS preview handlers. It can also vary by software revision. It may be better for you to export an RGB Jpeg file for your clients preview use or provide a PDF or CMYK TIFF instead. OSX CMYK Jpeg color inversion Windows CMYK Jpeg thumbnails do not display (etc)


2

Alright, first I want to say nothing beats copy. A picture may be worth 1,000 words but you're leaving it up to each viewer to determine what those 1,000 words are. That said as this is a Graphic Design Q&A I'll focus on the Graphic Design aspects. This is somewhat a marketing question and there's no way around that. You have to understand the product ...


6

Here is my take as an outsider, that is I'm not a designer as you perceive it but rather a mechanical designer that designs machines. Though I have done graphic design work in the past. Most people indeed cannot understand the process. This is hardly surprising, not many people understand mechanical design, plumbing, ikebana or whatever. The thing is this ...


16

For me, it's always the why. I've run into many situations where a client is initially uneasy about my work. Not because they outright dislike it, but because they don't think it fits with "what they've seen." When clients are accustomed to seeing the same thing over and over from themselves as well as any competitors, it can be a challenge to get them to ...


7

The underlying challenge to your question is that of cross-level communication. 'Dumb down' your language about your work, but don't sounds condescending or pedantic at the same time. Rather than the existing, good answers, I'd like to give some general rules of thumb when talking about design with 'outsiders'. I've found that some of these help in making ...


7

Before I give a direct answer, I think it's helpful to give a general definition of what we, as designers, do. Namely we design, defined by Oxford's dictionary as The purpose, planning, or intention that exists or is thought to exist behind an action, fact, or material object. In other words, design is being intentional. We have a thought or desire ...


18

I will start by saying I have negative social skills with a seasoning of Aspie on them. So, taking that into account, here I go. Based on my Spock-like field work I have learnt that my non-creative clients (I have creative clients as well) tend to be problem solving oriented. They tend to focus on the problems they have and are very interested on how you ...



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