Printing & Copying

Sale ends 10/7/09. Prices as marked on website. Shipping not included. No limit on quantity or size of banner. More sizes available at www.zestyprint.com.

Banners are the best way to advertise and promote your business to the public. Printed on 15oz premium Scrim Matte and Glossy vinyl. Banners are printed on digital printers using Eco-Solvent inks. The vinyl banners are sturdy and durable with up to 1 year outdoor and 2 years indoor use. Banners are sent out hemmed and grommeted with brass grommets.

custom designs available // affordable design time prices // email design@zestyprint.com for a quote

Every industry can use a Presentation Folder as a key marketing tool. It is a sure way to present your company in an organized and professional manner to create a strong image for your business. It is a tried-and-true method of presenting information. An attractive, impressive folder will just be ‘too good’ to toss. Keep these tips in mind when planning yours:

1. 9 x 12 is the standard folder size and perfectly accomodates typical sell sheets & letters. Decide first how much information will typically be placed in the folder to see if 9 x 12 is going to work for you. Decide if 1 or 2 pockets are needed, & if the folder will be able to hold all of your info without bulging or tearing. If you have a heap of information going in, you may need to consider a “Capacity” Pocketfolder with increased spine size to hold a larger amount of sheets.
Here are some Presentation Folder templates to help shorten your design time.

2. Paper Selection is a key ingredient to the success of your folder. A 12pt stock is sturdy – anything lighter is going to appear flimsy. Also, a coated stock is best and makes colors look richer. Ask for paper samples to be sure your folder is going to meet your expectations.

3. Use colors and design elements wisely to promote your brand. Be sure that color images are high quality and will reproduce well. Leave plenty of space around your logo for an uncluttered look. A professional graphic designer is a good investment when it comes to this important marketing tool.

4. Deciding on quantity to order can sometimes be a challenge. Knowing that the price per folder goes down the higher quantity you order shouldn’t be your only motivation for deciding on quantity. Keep in mind that if this is your first time producing a folder, you may notice after a few months of use, that there is something you wish to change. Also consider where you will store massive amounts of folders. You should keep your first order relatively small – a 6-12 month supply is usually a good idea.

5. Use a varnish to coat your folders to limit scuffing & smudging. This is especially important if your folder has heavy ink coverage.

All UniPrint products are available for free download. When you download any of these products, they are fully functional except that there is a banner / watermark printed diagonally across the printout. (The only exception is UniPrint client software, which is a complementary product to the core products.)

You can request a temporary license that expires in a predetermined date, usually within 30 or 60 days. With the temporary license, you can evaluate the UniPrint product of your interest, and it behaves exactly the same as the fully licensed version. When you are ready to order, you need to call a reseller or a distributor to get a license key.

Read more …

---

what a great card for anyone in the construction industry!

Construction Business card by denvercris

For anyone interested in film negatives on acetate ink jet printing it turns out I’ve discovered that black and white isn’t the only way to go. Instead of having negatives printed on a gray scale printing as a purple hues can add increased value to Van Dyke prints.

Last night I printed two negatives one grayscale and one purple and the difference was apparent even in the dark room. Depending on what type of printer and program your using the effect can vary maybe. At my college I use a Cannon Image Setter and do not change the image to gray scale under the special features menu.

I have not tested this effect on typical photo paper or a cyanotype process but I will update any finds with purple negatives.

“I need to convert an image from AdobeRGB to CMYK, but I’m concerned about color shifts and need to retain 100% of the Adobe RGB gamut (gamut = the entire range of color that can be reproduced within this color space). Is this possible?“

Unfortunately, it is not possible. Any time we convert from a wide gamut color space such as Adobe RGB or ProPhoto RGB to a smaller color space (such as any of the CMYK color spaces), we diminish the color gamut. Take a look at the graphic at left, which compares the Adobe RGB color space with the ProPhoto RGB color space. Here we can see that Adobe RGB (the solid color space) is considerably smaller in gamut compared to the massive ProPhoto RGB space (represented by the wire frame). Before I proceed any further, let me clarify something which you might already be thinking: “so, I can convert from Adobe RGB to ProPhoto to gain a wider color gamut?” No! We can only convert downward, from a larger color space to a smaller color space. Converting upward will not expand the gamut any further, as it has already been limited by the origin color space (compare this to pixel resolution, whereby interpolating [or "uprezzing"] does not gain us additional data beyond what was already provided by the sensor).

Let’s take a look at another comparison (at left), this time Adobe RGB to sRGB, the color space we all view on our monitors. Many of us edit our images in Adobe RGB, but then convert to sRGB for web display. As you can see in this comparison, Adobe RGB (represented by the solid color) is a larger color space than sRGB (represented by the wire frame). You’ve probably already intuited this, but what this means is that when we convert to sRGB for web display, we shrink the color and tonal palette of the image. You most certainly have been aware of this, and have probably wondered why your web JPEG’s don’t look a fraction as good as your original wide-gamut file.

Now that you’re starting to get the hang of this, let’s look at one last conversion/comparison, this time from Adobe RGB to Photoshop 5’s Default CMYK space. In this conversion, we can see that except for a very small amount of magenta/orange, the Adobe RGB color space is much larger than the CMYK color space. Again, this means that when we make the conversion, the entire color gamut BUT that magenta/orange area (represented by the wire frame) is diminished greatly.

Clear as mud? The take-away idea here is that one should always work with the widest available color space. For digital camera users this means RAW, not sRGB or JPEG, and for those who scan film, this means scanning it into the Adobe RGB or ProPhoto RGB color spaces. When we’re forced to convert to smaller color spaces for print or web display, we have to accept the losses.

If you have any questions or comments about this topic, or suggestions for future Printing Insights, I would love to hear them! Thanks for reading.

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.