Category: General

File extensions: What app made that?

Every once in a while, you get a file from a client or vendor and have no idea what app it was created in. It doesn’t open in Photoshop, Graphic Converter, Quark or InDesign, so what could it be? Well, you can always check over at FileInfo.net. FileInfo.net contains a searchable database of file extensions with detailed explanations of each file type. Every file extension entry contains information about the file format, a description of the file, and how to open the file. Programs for opening the files are listed for both the Macintosh and Windows platforms. The information can be browsed by file type:

  • Text
  • Data
  • Image
  • Audio
  • Video
  • Web
  • Fonts
  • Plugin
  • System
  • Executable
  • Compressed
  • Developer
  • Backup
  • Disk
  • Game
  • Misc.

Moving from Web design to print

It used to be that all things design started out in print. TV commercials, radio spots, outdoor boards and even Web sites started out with a print ad and were modified to fit other mediums. That time has long-since passed. Many Web site designers nowadays are finding that the market for Web work is rough going and extremely competitive. Factor in ever-changing technology, and you have thousands of Web and multimedia designers scrambling to supplement their income—or slide over to print design completely. So, if you’re a Web designer looking to add print to your stable of talents, you may want to take a look at this article I recently wrote for MacWorld.com, titled Moving from Web design to print. I also encourage you to register at the MacWorld site so you can post comments on the articles. The more interaction, the better the resource becomes.

Preparing your files for commercial printing

For your average designer or production artist, preparing your files for printing is nothing more than selecting “collect for output” from a menu in your favorite layout application. But if you want to be more than average, you should get to know the pre-press & printing process and how you can make your jobs run more smoothly. Gregg Stalter at PhotoshopCafe has a lengthy article covering the entire printing process from terms used and selecting a printer, to prepress and finishing your job.

Photoshop file formats for print designers

Photoshop is primarily used by print designers for graphic imagery and generally isn’t the “final” format for any particular piece of work. Most designers with very little exception end up with the files in either InDesign, Illustrator or Quark XPress. But Photoshop has a lot of users in other industries including video, multi-media and photography. For this reason there are a lot of file format options available when you go to save your file. Below is a brief explanation of some of the formats you may use or come across as a print designer, along with some opinions about them that I’ve formed over the years: Photoshop (.psd) Photoshop’s native file format and can be read only by Photoshop, Preview and few select other applications. When saving your file in the .psd format, you retain all editability of fonts, layers and effects. If you wish to use the .psd format with other applications you can tick a preference to maximize file compatibility to save a “flattened” version of the layered file inside the file so it can be previewed by the other applications. With Quark XPress recently adding the ability to import layered Photoshop files, the .psd format is probably the only format you ever need to use for print design – since it includes spot channels, clipping paths, transparency, etc. It’s about the only format I use anymore when dealing with Photoshop images. Bitmap (.bmp) The Bitmap format is a Windows-based format and is generally restricted to flat black and white artwork, though it can contain color. Because of its limited use even on the Windows platform, I don’t recommend using it for any real work. EPS (.eps) EPS, which stands for Encapsulated PostScript, can contain both vector and bitmap information in the file, but is very different than Illustrator .eps formatted files. EPS format used to be the preferred format by designers when a clipping path was used to “cut out” the background of an image for use in Quark XPress. With the release of InDesign and the updates to Quark, this file format has really fallen by the wayside. If you are saving your files as EPS, I recommend you use 8-bit TIFF preview and Binary encoding for maximum compatibility with other platforms. JPEG (.jpg) This format probably needs little explanation. JPEG or JPG, which stands for Joint Photographic Experts Group, provides lossy compression to image files, thus making the image files much smaller than they actually were before compression. Most all standard applications (graphics and otherwise) can save or import the JPEG format, but it should be used with caution. Because JPEG is a lossy compression format, your images should be saved with the Image Options/Quality no less than 10 and the Format Options – left at Baseline (Standard) – anything less and you run the risk of image artifacts showing up. Large Document Format (.psb) Large document format is for saving huge files (300,000 pixels in any dimension) and can only be read by Photoshop CS and CS2. I can’t imagine the need for any print designer to use this format, but there probably is call to use it in the outdoor imaging markets. Photoshop PDF (.pdf) This is yet another way to save a PDF file which can include layers, alpha channels, spot colors and metadata, but gives you the flexibility of everything that the PDF format offers such as font embedding, flattening, etc. I really see no reason to use this format other than it allows you to set security options on an image file. Photoshop RAW This is NOT the same as digital camera RAW format, which is more of a digital negative. Photoshop RAW is really a bare-bones way of transferring the file between applications and platforms. I’ve never used this format or come across anyone else in the industry that uses it, and as a print designer I can’t see any reason start. PICT File and PICT Resource(.pct) The PICT format was used by older versions of the Mac operating system as the native way of displaying graphics in the OS. PICT images are rarely seen or used anymore. One way they may be used is when trying to pull graphics out of other applications that don’t offer a way to export the graphic to get it into Photoshop for further work. Scitex CT An old format used by early graphics technology in the pre-press industry. It has virtually no use anymore. TIFF (.tif) The TIFF file format has been around for a long time and is widely accepted as a “standard” format. TIFF, which stands for Tagged-Image File Format, can by saved as CMYK, RGB, LAB, Indexed Color, Grayscale and Bitmap mode and can include (as of recently) layers, alpha channels, paths, transparency and metadata – though only the flattened image is used by other applications like InDesign, Quark and Illustrator. TIFF used to be the preferred method of saving image files and is the most widely adopted format by the graphics industry, however with graphics applications accepting native Photoshop formatted files (.psd), TIFF’s days are probably numbered. Not only that, but the newer features such as the ability to save layered TIFFs appear to not work too well with other graphics apps like InDesign and Quark XPress and many print industry RIPs. If you do save your files as TIFF, you should make sure that the LZW Compression box is not ticked when saving to prevent any issues at print time. Photoshop DCS Desktop Color Separations (DCS) format is a version of the standard EPS format, and allows you save color separations of your images which includes spot-color channels. This used to be the only format you could use to place an image with spot color into a standard graphics application such as Quark XPress – but you can now simply save your file as .psd (layered Photoshop file). This format gives you the option of ticking check boxes to save the file as a composite file with a preview or separate files for each color used in the file which are joined later in the printing process. You may run across a few printers or applications that require the use of this format, but I highly doubt it. As you can see, the print industry has pretty much been limited to TIFF and PSD for the last few years, with even TIFF beginning to erode as the wide adoption of .psd compatible apps find there way into users hands. JPEG has a strong hold on the Web design field and as a means for backup of original images for most print designers, but I don’t recommend using it for much more than that. Overall the native Photoshop file format is all you should need for modern day applications and use.

Create better PDFs by understanding the formats

Adobe AcrobatAcrobat PDFs were created a long time ago with the idea of creating a file format that was universally readable by any operating system with a PDF reader, regardless of whether or not you had the original program and fonts that created the PDF file. The idea was fantastic. Over time though, different versions of the PDF file format started popping up in Adobe programs, allowing great control over the creation of the PDF, as well as the ability to edit the PDF files – something not originally intended for the format. Today we have no less than five main versions of the PDF format to choose from, and even more standards when creating PDF files. It’s just gotten too confusing, in my opinion. Nevertheless, PDF is here to stay, and you had better know how to work with them if you want a smooth workflow and less problems when sending PDF files of your ads and collateral to publications and printers. Below is a very brief breakdown of the various PDF formats and standards used in the design and printing industry.

Acrobat 8 (PDF 1.7) The baby of the bunch. Acrobat 8 just started shipping a short while ago, so not many applications can create an Acrobat 8 PDF, and even less can use them. Avoid this format for a while.

Acrobat 7 (PDF 1.6) Not much changed from version 6 in this release. Some techno-geekery and that’s about it. I would guess that most people completely skipped this release, and it’s probably best if you skip using this format as well.

Acrobat 6 (PDF 1.5) This is probably the version you should use for most screen resolution proofs, internal PDFs and for output with commercial printers. Lots of people have this version and it’s a proven winner. This version introduced layers to the PDF format and allows for JPEG2000 compression, a new JPEG format that uses better compression methods. This version also properly supports transparency in the PDF file.

Acrobat 5 (PDF 1.4) This was the first version of PDF to support transparency and metadata support. While this version is also the first version (that I’m aware of) that is not a “flattened” format. There’s not much reason to use this version when creating a PDF file, as most commercial printers have moved on to newer versions.

Acrobat 4 (PDF 1.3) This is the most widely accepted version of a PDF. Virtually everyone can open a PDF 1.3 file. It predates transparency and unflattened formats, but includes support for CMYK and Spot colors, so it’s probably the “safest” format to use when sending PDF files to smaller printers and publications for output since it offers the least amount of things to go wrong. Acrobat also offers pre-defined output settings called “standards” which aid you in creating better PDFs. These are not special formats, just ways of creating normal PDFs for specific uses.

PDF/X-1a This is the absolute best way to send a PDF for output, in my opinion. It is the standard used by the vast majority of the printing industry. By requiring the PDF to have all fonts embedded, any transparency flattened, and the colorspace to be either CMYK or Spot color, the PDF/X-1a format (which is a 1.3 version file) is all but guaranteed to output correctly.

PDF/X-2 Not a viable format except in special cases. This version of PDF was designed for specific workflows such as OPI. If you aren’t sure what that is, then you shouldn’t use this format.

PDF/X-3 PDF/X-3 is basically the same as PDF/X-1a except that it allows RGB data in the files. The advantage to this is that it gives you the ability to maintain the most amount of color in your images, and the printer the most control over the file when they convert it to CMYK – resulting in better color conversion. Unfortunately, most printers don’t want that responsibility or flat-out don’t support it. It’s probably best to avoid this format standard as well.

PDF/A The “A” probably short for “archive.” This standard was basically created to “future proof” your current PDFs. Files saved with this standard are more likely to work perfectly 10 years from now with any application that can read a PDF. This format is perfect for archiving old work when you know you aren’t going to change it or output it commercially. In closing, I’ll leave you with a bit of advice. To keep things simple, use PDF/X-1a for ads. This is the most universally accepted method and will yield the best results when you’re uncertain as to the capabilities and experience of the publication or printer who will be outputting the file. Use Acrobat 6 (PDF 1.5) when creating your PDFs when you’re confident that the printer knows what they’re doing and their RIP supports it properly. It allows for greater flexibility on their end. If you’re in doubt, fall back to the PDF/X-1a format.

Typography tips: Using Em, En and Hyphens

Most designers don’t know squat about typography these days. Heck, most people in general know very little about typography and grammar. While these things will most likely go unnoticed by 95% of people, it’s the 5% who do notice that may be the deciding factor in you getting that next job or assignment. Here are a few tips to make you look smarter. You should use an em dash, which is the width of an em space, as punctuation — usually as a pause in your text and a change of topic. You make an em dash by hitting Option+Shift+Hyphen. En dash is used to set the phrase one through ten like so: 1–10. You make an en dash by hitting Option+Hyphen. And of course the hyphen is the most common “dash” in typography. It’s used to separate words and note the break in syllables of words. They hypen is simply the Hyphen key by itself (generally with no space on either side of it).

Work in RGB, view in CMYK

One thing I believe helps me get the results I see on screen when a job is printed is to work in the CMYK color space to begin with when starting a design job that includes images. Before I start adding or changing color or adding elements, I’ll switch to CMYK Preview mode in Photoshop. This gives me the added bonus of being able to use all of Photoshop’s editing and filter features that are only available in RGB mode. By doing this, I know what my image is going to look like when it’s converted to CMYK before printing. If you forget to switch to CMYK, or at least use the CMYK Preview mode, you run the risk of falling in love with the beautiful vivid color in your image, only to see it washed out and flat when printed.

Working with a copywriter: an interview

One of the misconceptions many new designers have when they start out in an ad agency is that they will work alone in a plush office taking client supplied copy and photos and designing the next great ad. In reality, you’ll be working as a team with a copywriter tossing ideas back & forth about the text for the ad, as well as the overall design. That’s because any great ad has to speak to a viewer with words and pictures, at least most do. Some ads are pure text and can be quite successful and creative. Others offer only a word or two with a stunning visual to get the message across, such as Apple’s “Think Different” campaign. At first it can be difficult learning to “share” the design process for someone used to freelancing or working for a firm with an in-house design shop. Working with a copywriter doesn’t mean you won’t have to write copy, it also doesn’t mean you’ll have 100% control over the design. In order to shed some light on the subject, I asked former R&R Partners Senior Copywriter, Steve Yamamori, for some brief but helpful insight. Steve has worked with clients such as Cox Communications, YMCA, Blue Cross Blue Shield of Arizona, National Bank of Arizona, Anti-Tobacco, Las Vegas Convention & Visitors Authority, Valley Metro and several non-profit clients. He’s also an Emmy and Addy Award-winning copywriter, so he knows his stuff! CG: Steve, tell us how you got into the ad business?

Steve: I had worked in account management for over five years when I got a unique opportunity to work in the creative department. It’s been about four years and I’ve been writing ever since. Having worked on the account side previously has given me some fantastic insight into how my account reps and the client are thinking. I feel it’s important to “get into their head” before I begin writing, and knowing how and what to ask the client has helped a great deal.

CG. What is your role in the creative process?

Steve: In a creative department, regardless if it’s in a traditional agency or client side, sooner or later you’ll come face-to-face with a real life copywriter. My suggestion is not to make eye contact and hastily make it for the door. Actually, a copywriter can come in really handy. Having a creative-minded partner working with you on a project can help you bounce ideas off one another and come up with better ideas that are simple and smart. Two heads are almost always better than one. As for the process, the team (the art director/designer and the copywriter) usually meets with the client and/or the account team. A creative brief is then written and the team gets to work. There are a lot of ways teams concept together, some stay together the entire time, while others will separate, think on their own and then come together and hash out their concepts. Either way, ideas are shared, split, dissected, killed, dreamed-up, etc. It’s not always the copywriter with the headline and the art guy with the visual. It’s a partnership and anything can spark the next great idea. Even the worst shit makes excellent fertilizer. So ideas are dreamed up and the best get presented to the client. What happens next is heaven or hell depending on luck, or which way the wind blows.

CG: That’s a bit one-sided, don’t you think? Is working with a copywriter that important?

Steve: James J. Jordan Jr. a famous ad man described his concept of “Power Copy” this way, “The heart and power of advertising is copy…A very few words so skillfully targeted, so clear in their positioning, so vivid in their articulation and so memorable in their identification with a given brand, that they, all by themselves, become not only what people remember about the brand, but also the most important part of the brand’s identity and people’s principle reason for buying the brand.” I offer you the following: Think Different, Just Do It, Have a Coke and a Smile, True, Where’s the Beef?, Like a Rock, The Choice of the New Generation, What Happens in Vegas, Stays in Vegas – all ad slogans that really need no visual to get their message across. They’re embedded in consumers’ mind and have lasting appeal. Of course we add a visual to these famous slogans and it only serves to strengthen their position and meaning. None of those award-winning slogans were written by a copywriter or an art director, they were written by great creative teams of writers and art directors, and it’s important to not only understand that, but to embrace it and use it for all it’s worth!

CG: Any other profound statements for the readers, Steve?

Steve: That’s it, simpleton, we are good, and you, in the black with the goatee, are bad.

25 Words that can hurt your résumé

Resume tips I’ve been looking at a lot of résumés at the office lately, and I’m highly amused by the lack of common sense, communication skills or creativity at all. People actually believe all those “how to write a résumé” books that basically make your résumé look like 10 million other résumés – which are the brainchild of a typing instructor from 1952!!! Be creative!!! And for heaven’s sake, PLEASE read this brief article about some things that just kill your résumé!

About The Graphic Mac

The Graphic Mac
Connect with me on:
• Facebook
• Twitter
• Instagram
• Pinterest