ART CHECKLIST

SOME TIPS FOR CREATING AND SUBMITING YOUR ARTWORK


FONTS

There are so many different fonts available these days it's mind boggling. It's impossible to pinpoint all of them. If you're creating your own design we ask that you either let us know which fonts you have used or, if you're using an application like Adobe Illustrator, expand the fonts into paths so that they are objects instead of text. 

TYPOS

Remember to double and triple check your spelling and dates. Names are especially vulnerable to misspellings. Our artists don't know if names are spelled correctly (because there are so many different ones!). Sadly, there is no way to go back and change it once our printers start production.

MAKING CORRECTIONS

Many times our artists are taking the instructions from you, which are words, and creating a visual representation of it. Sometimes things can get misinterpreted because we all have different ways of describing things or a committee is working on the apparel project. Either way, it's more efficient to request all adjustments at the same time. If changes are continually being made the window to production might close, causing a delay. Remember to be as descriptive and decisive as possible. Gather all of the feedback about the design and submit it at the same time.


COLOR SEPARATIONS

SPOT COLOR+SIMULATED PROCESS

Spot Color Separation is used with simple designs that have clear defined boundaries of where colors are and each color is unique. Something like these would use spot colors. For most designs vector images work best because that have nice clean edges, are easily edited, and and be scaled to any size without loosing resolution and becoming pixelated.

The separations between each color is clear. Each color needs it's own screen. Using the spot color technique can limit the amount of colors but that's fine for most designs.

Sometimes we are able to take things up a notch and get more bang for your buck. That's where our good friend half tone comes in. Lets say our design looks like one of the images to the right. using spot colors it would look like A and B. Each would have to use many colors. A would use 15 different grays and B would need a blue a yellow and a green. But if we use halftones, even though it looks like more colors it really isn't! The colors "mix" but not in the same way we would mix paint. The tiny dots are so close together our eyes don't see the individual colors. We see them as one. So A could be printed only using black and B would only use blue and yellow. 

For really complex designs we use something called simulated process. What that means is instead of regular "process" printing which only uses cyan, magenta, yellow, and black to create colors, we use up to six different colors that will combine and create an infinite palette. For an image like this one our separation software splits it up by each color which looks like.


VECTOR GRAPHICS

Vector graphics is the use of polygons to represent images in computer graphics. Vector graphics are based on vectors, which lead through locations called control points or nodes. Each of these points has a definite position on the x and y axes of the work plane and determines the direction of the path; further, each path may be assigned a stroke color, shape, curve, thickness, and fill.

RASTER GRAPHICS

In computer graphics, a raster graphics image is a dot matrix data structure representing a generally rectangular grid of pixels, or points of color, viewable via a monitor, paper, or other display medium. Raster images are stored in image files with varying formats.

A bitmap, a single-bit raster, corresponds bit-for-bit with an image displayed on a screen, generally in the same format used for storage in the display's video memory, or maybe as a device-independent bitmap. A raster is technically characterized by the width and height of the image in pixels and by the number of bits per pixel (a color depth, which determines the number of colors it can represent).