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Large Format Output Fact Sheet

Welcome to the world of large format printing! CMW has put together this tip sheet to help create an awareness of the standard processes and recommended specifications for printing large format posters.

Recommended Guidelines:

• For best results, the layout and design of the poster should be created using a professional-level design tool, such as: Adobe Illustrator; Adobe InDesign; Adobe PhotoShop; or Quark Xpress. Some vendors (including CMW) will also accept native Microsoft PowerPoint or Microsoft Word files, while many other vendors require these files to be converted to a PDF file first.
• If one of the applications listed above is not available, the final layout of the poster should be converted to one of the following file formats before it is supplied to your poster printing vendor: High resolution PDF; TIF; or EPS.
• For optimal results, all color images should be created and designed using pantone solid or CMYK colors. All images should be at least 150 dpi for a full-size layout, and 300 dpi for a half-size layout. RGB layouts can be printed but the color will be converted to CYMK by the printer and will differ from your color selection.
• Before providing your poster vendor with the files, a collect or package should be done. This will ensure that your poster vendor has all of the necessary fonts and images that are included in the layout.
• A hardcopy output or PDF should be provided to your poster vendor for proofing purposes.
• If color matching is required, you should supply your poster vendor with a printed piece to color match or specify the PMS color.
• Before supplying the assets for your print job to your vendor, the information listed below should be provided to your vendor, which will ensure that the job is produced correctly the first time.
  • Your contact information
  • Due Date
  • PO, job number and/or reference for billing purposes
  • Final output size of the poster
  • Media to be printed on (PhotoSatin Paper, Polypropylene, 15 mil Vinyl, Brilliant Banner, Oxford Fabric, Polygloss Backlit, Tyvek)
  • Lamination/Encapsulation options
  • Mounting Substrate (Foamcore, Enduraplast, Gatorboard, Illustration Board, Corroplast, Sintra)
  • Finishing Extras: Grommets, Pole-pockets, Trim Frame, Velcro, etc.
  • Indicate if a proof is needed, and if so, what type you would like (PDF file or hard proof).
  • Delivery/shipping instructions.
  • Provide your FedEx number to your vendor if you would like them to use your FedEx number

Frequently Asked Questions:

• Why doesn’t my black look very black, its 100% black?

  This question is also often heard in the world of offset printing as well. While black is the darkest ink and once it is at in a color 100% it would lead you to believe it will produce a vibrant black, however, that is not always the case. Depending on the ink formulation, the printing process and the media being printing on, 100% black can appear as a dark gray or even brown in some cases. We often recommend adding some cyan, magenta and yellow to the black when a very rich black is desired. 40% of cyan, magenta, and yellow mixed with 100% black often yields very nice results. Use care though—more is not always better, and using too much C, M and/or Y with your black can lead to smearing, overprinting and drying issues.

• What type of board should I use for my sign?

  Foamcore is very lightweight and economical, but unfortunately it is prone to warping. It is generally used for very short-term signage, and is not recommended for sizes above 24" by 36".
  Gatorboard is considerably heavier and resistant to dents and dings. It is available in black and white and holds up very well over time.
  Enduraplast fills the gap between foamcore and gatorboard. It is lighter and cheaper than gator, but much sturdier and flatter than foamcore. It is the most popular substrate requested by CMW’s clients.
  Sintra is very durable since it is derived from PVC plastic. It is available is black and white and is slightly flexible.
  Corroplast is corrugated plastic. It is very lightweight, economical and weatherproof. The flutes can be run in a way that works with ground-stakes and holders.

• What lamination should I use?
  
  Matte provides protection and a mellow finish. It works great for scientific posters and directional signage because of its low glare and ease of readability. It is by far the most popular laminate requested by CMW’s clients.
  Satin/Luster falls in between Gloss and Matte. Most clients stick with the matte because satin/luster laminates still induce a degree of glare to the signage. Others will sacrifice a bit of readability for some added pop to pictures and images.
  Gloss provides protection and a vibrant finish that really makes colors pop. The downside is that it often has a great deal of glare from any local light source. Gloss is not recommended for signage that is designed to be read.

• How can I produce a gradient that prints well?

  Again, this issue not specific to large format printing. Banding and/or poor gradient reproduction can often be seen in small laser prints and traditional printing as well. If there is an issue with your artwork, you may notice it if your designer creates a PDF of your file, and you view it on screen. When putting ink on paper, a whole new league of issues can arise. Because of the huge number of variables involved there is not a simple solution that can be used in all scenarios, however, we can offer the following suggestions for producing smoother gradients.

  • Whenever feasible, use Adobe PhotoShop to create your gradient, and then import the gradient into your layout program of choice (e.g. Adobe InDesign or Quark X-Press). This flies against the general rule of large-format where vector based output is far more efficient, crisper, and easier to work with. Obviously a TIF file is not the best option for an overly large gradient, but PhotoShop generally provides the smoothest transition and also allows for adding a small amount of noise, which generally helps reduce banding.
  • Make sure your gradients stay within the same color space (e.g. do not go from a RGB to a CMYK, or a CMYK to Pantone, etc).
  • If at all possible, never take your gradient to white, for best results, keep the lowest value above a 5% tint. Taking any color to white will always leave an obvious line when the printer hits its point where it cannot go lower and jumps to white.
  • Do not attempt to transition too far in a small amount of space. Leave room for the color to transition smoothly.
  • Going from a light color to (almost) white generally produces nicer results than from a dark color to (almost) white.
  • Request a proof or a

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