FAQ

Almost all the major programs used in our industry, both Mac and PC.

Below is a list of programs we currently have installed and ready to use.

• All 3 main Adobe Creative Cloud applications for Mac and Windows.
• (InDesign, Illustrator, Photoshop)
• Adobe PageMaker 7 for Mac and Windows.
• Adobe Acrobat for Mac and Windows.
• QuarkXPress 5 or newer, for Mac and Windows.
• Macromedia Freehand MX for Mac.
• Corel Draw 12 for windows.
• Microsoft Publisher 2002 or newer.
• Microsoft Word for Mac and Windows.
• Microsoft Powerpoint for Mac and Windows.
• Microsoft Word Perfect for Windows.
• Microsoft Excel for Mac and Windows.
• Font Management software

Many new InDesign users have discovered “the hard way” that simply e-mailing their InDesign file to someone will not allow that person to properly use their file. Their InDesign file depends on fonts and linked graphics that must be sent along with it in order for it to work properly. Fortunately, InDesign has a built-in Package utility that creates a folder with a name of your choice, puts a copy of your document into the folder, and then copies all necessary fonts and images into the folder as well. Generally you will create a package, zip it up, and then send it to whoever needs it. Simple, right?

Here are detailed instructions:

1. Open your INDD file in InDesign.
2. If possible, resolve any errors concerning missing links or fonts.
3. Go to File: Package.
4. Click the Package button at the bottom of the Summary window (This window was called the preflight window in older versions).
5. Click continue on the “Printing Instructions” window (most people ignore these instructions).
6. Browse to where you’d like to create the package folder (desktop would be fine) and enter the name of the folder.
7. Make sure that the “Copy Fonts,” “Copy Linked Graphics,” “Update Graphic Links in Package,” and “Include Fonts and Links from Hidden....” are all checked. Other boxes should be unchecked.
8. Click the package button.
9. Find the new folder that InDesign created and verify that it contains copies of all required files.
10. Right-click the folder and choose “Compress” (Mac) or “Send to ZIP” (Windows, might be something different but similar depending on what software you have installed). This will zip it up into a nice neat single file package for transferring to your service provider.

If the file size is less than 10MB, you can probably safely e-mail it. If it’s more, then you should use some other method (DropBox, our FTP Server, YouSendIt, web server, etc.) to share the file.

If you'd like to watch a great video tutorial by Adobe on this subject you can watch it here.

You can gather the files you’ve used, including fonts and linked graphics, for easy handoff. When you package a file, you create a folder that contains the Illustrator document, any necessary fonts, linked graphics, and a package report. This report, which is saved as a text file, includes the information about the packaged files.

Here are detailed instructions:

1. Open your file in Adobe Illustrator.
2. If possible, resolve any errors concerning missing links or fonts.
3. Go to File: Package.
4. Specify the folder and location settings: Location - Specify the location to create the packaged folder. Folder Name - Specify a name for the package. By default, the name of the folder is derived from the name of the Illustrator document. 
5. Specify the following options: Copy Links - Copies linked graphics and files to the package folder location. Collect Links in a Separate Folder - Creates a Links folder and places all linked assets in that folder. If not selected, assets are copied to the same folder level as the .ai file. Relink Linked files to the Document - Changes links to the package folder location. If not selected, a packaged Illustrator document maintains links to assets in the original location, and assets are collected in the package anyway. Copy Fonts used in the Documents (Except CJK) - Copies all necessary font files, not the entire font family. Note:A warning displays when you package fonts. Check your license agreement to see if you’re permitted to copy fonts.
6. Create Report - Creates a summary report to accompany the packaged files. It includes a summary of spot color objects, all used and missing fonts, missing links, and details of all linked and embedded images.
7. Click Package.
8. Find the new folder that Illustrator created and verify that it contains copies of all required files.
9. Right-click the folder and choose “Compress” (Mac) or “Send to ZIP” (Windows, might be something different but similar depending on what software you have installed). This will zip it up into a nice neat single file package for transferring to your service provider (Cornerstone Graphic Tech, LLC).

If the file size is less than 10MB, you can probably safely e-mail it. If it’s more than 10mb, then you should use some other method (DropBox, our FTP Server, YouSendIt, web server, etc.) to share the file.

If you'd like to watch a great video tutorial by Adobe on this subject you can watch it here.

Before you proceed with the Collect for Output process, check that all necessary items are accessible to the layout. Display the Fonts tab of the Usage dialog box ( Utilities menu) to confirm that all fonts are available. Then check the Pictures tab of the Usage dialog box to confirm that all imported pictures are linked to the layout and display a status of OK.

1. Choose File > Save to save the project. Then choose File > Collect for Output.
2. Use the controls in the top half of the dialog box to specify a location for the collected files. You can also create a folder.
3. Enter the name of the Collect for Output report in the Report Name field (Mac OS) or the File name field (Windows).
4. To create the report without collecting any items, check Report Only.
5. Check the files you want to collect in the Collect area:

• The Document option copies the active layout to the specified target folder.
• The Linked Pictures option copies imported picture files that must remain linked to the layout for high-resolution output. These pictures will be placed in the “Pictures” subfolder within the target collection folder.
• The Embedded Pictures option copies pictures that are embedded in the layout upon import, such as PICT files (Mac OS) or BMP and WMF files (Windows). Including copies of embedded pictures in the collection will not affect output resolution of the pictures, but you may find it useful to keep copies of these pictures with the collected layout items. These pictures will be placed in the “Pictures” subfolder within the target folder.
• The Color Profiles option copies any International Color Consortium (ICC) profiles associated with the layout or imported pictures. These profiles will be placed in the “Color Profiles” subfolder within the target folder.
• Mac OS only: The Screen Fonts option copies any screen fonts required for displaying the layout. These font files will be placed in the “Fonts” subfolder within the target folder.
• Mac OS only: The Printer Fonts option copies any printer fonts required for printing the layout. These font files will be placed in the “Fonts” subfolder within the target folder.
• On Mac OS, TrueType fonts function as both screen fonts and printer fonts. If your layout uses only TrueType fonts, QuarkXPress will collect them either when you check Screen Fonts or when you check Printer Fonts. If your layout uses a combination of TrueType and Type 1 fonts, or uses only Type 1 fonts, check both Screen Fonts and Printer Fonts to be sure the Type 1 fonts are collected completely.
• Windows only: The Fonts option copies any fonts required for printing the layout. These fonts will be placed in the “Fonts” subfolder within the target folder.

6. Click Save.

If the Missing/Modified Pictures dialog box displays, and you want to include your picture files, update modified pictures and locate missing pictures. When you're finished, click Save.

Rather than linking to a file that you’ve placed in a document, you can embed (or store) the file within the document. When you embed a file, you break the link to the original. Without the link, the Links panel doesn’t alert you when the original has changed, and you cannot update the file automatically. This is a good feature when sending files off to a printer because this ensures that the image(s) link's are not needed by a service provider.

Keep in mind that embedding a file, rather than linking to the original, increases the document file size.

1. Select a file in the Links panel, and choose Embed Image from the panel menu.
2. Select the linked artwork in the illustration window. In the Control panel, click the Embed button.The file remains in the Links panel marked with the embedded-link icon.

The Definition: Giclee (zhee-klay) - The French word "giclée" is a noun that means a spray or a spurt of liquid. The word may have been derived from the French verb "gicler" meaning "to squirt".

The Term: The term "giclee print" connotes an elevation in printmaking technology. Images are generated from high resolution digital scans and printed with archival quality inks onto various substrates including canvas, fine art, and photo-base paper. The giclee printing process provides better color accuracy than other means of reproduction.

The Process: Giclee prints are created typically using professional 8-Color to 12-Color ink-jet printers. Among the manufacturers of these printers are vanguards such as Epson, MacDermid Colorspan, & Hewlett-Packard. These modern technology printers are capable of producing incredibly detailed prints for both the fine art and photographic markets. Giclee prints are sometimes mistakenly referred to as Iris prints, which are 4-Color ink-jet prints from a printer pioneered in the late 1970s by Iris Graphics. The Advantages : Giclee prints are advantageous to artists who do not find it feasible to mass produce their work, but want to reproduce their art as needed, or on-demand. Once an image is digitally archived, additional reproductions can be made with minimal effort and reasonable cost. The prohibitive up-front cost of mass production for an edition is eliminated. Archived files will not deteriorate in quality as negatives and film inherently do. Another tremendous advantage of giclee printing is that digital images can be reproduced to almost any size and onto various media, giving the artist the ability to customize prints for a specific client.

The Quality: The quality of the giclee print rivals traditional silver-halide and gelatin printing processes and is commonly found in museums, art galleries, and photographic galleries.

The Advantages: Giclee prints are advantageous to artists who do not find it feasible to mass produce their work, but want to reproduce their art as needed, or on-demand. Once an image is digitally archived, additional reproductions can be made with minimal effort and reasonable cost. The prohibitive up-front cost of mass production for an edition is eliminated. Archived files will not deteriorate in quality as negatives and film inherently do. Another tremendous advantage of giclee printing is that digital images can be reproduced to almost any size and onto various media, giving the artist the ability to customize prints for a specific client.

We will need vital information to process your files accordingly.

Here are a few ideas of information we need in the different services offered:

Film Output jobs:

Linescreen, negative or positive film, layout, any type of proof, due date.

Press Plates jobs:

Linescreen, layout, any type of proof before or with plates, plate specifications, due date.

Poster Output jobs:

Quantity desired of file(s), lamination type, mounting materials, due date.

Digital Printing jobs:

Quantity desired, stock, any type of proof, any variable data, due date.

Download our JOB INFORMATION SHEET for ease of communication about your job or future jobs you may send us to work on. Save it to your desktop, print it out whenever you may need it. Then fill it out and FAX it to us at:

(717) 721-3551

1.) The quickest way to send a large file is uploading them to our FTP site. Look for the LOGIN menu under RESOURCES in the menu area and follow the instructions to upload files.

1a.) You will need to request login credentials to access our FTP site.

2.) If your file is under a 10mb in size, just compress and email it to us at prep@corgratech.com.

3.) The other way to get large files to us is to burn them to a CD, DVD, or a USB stick from your computer. Drop it in the mail or call for a free pick up if you are in our delivey area.

The acronym "SWOP" stands for "Specifications for Web Offset Printing". In late 1974 a group of concerned industry experts met informally to explore the possibility of forming a committee to write specifications for material supplied to web offset publications. This is where the initial set of specifications that would become Specifications for Web Offset Publications - and its acronym, SWOP - were first envisioned. Several key dates stand out in the publication printing industry during the evolution of SWOP. In 1986 the SWOP Specifications booklet included guidelines for web printing of publications. In the 1993 edition of the booklet, SWOP addressed specifications for electronic file preparation and transfer of graphic arts data in a digital workflow. In 1997 and 1998 SWOP addressed the emergence of computer-to-plate as an important production method for publication printers across the country. This was addressed in the booklet's eighth edition and in a subsequent brochure, "Digital Specifications and Requirements." Here the issues of standardizing file formats and digital proofing were first introduced. Throughout its history, SWOP has played a key role in helping the printing industry adapt to new technologies while continuing to ensure quality.

The maximum film size we can produce is 33” high x 44.5” wide.

 We have multiple output devices and will utilize the best device for the output size needed.

Film line screens that are available to you are: 45, 55, 65, 85, 100, 120, 133, 150, 175, 200.

Right reading negatives or positives. Emulsion up or down.                   

The maximum poster print size we can output is 43.75" wide. The paper stock comes on 200ft rolls so the height is nearly unlimited. We would be happy to tile the job if that is needed to produce the job for you also.

Absolutely! We can handle all types of variable data for print. Whether it is a simple address change, or a full background image to swap out on the fly, or an entire color scheme change, YES WE CAN. Give us a call and let's talk about it.

Cornerstone offers imposition free of charge when outputting film or plates. We prefer single-page files so we can easily process them thru our workflow already in place. If you fax us a layout we will be happy to impose them for you.

Trapping digital files is the process of compensating for misregistration on the printing press by printing small areas of overlapping color where objects meet. Presses aren't perfect. They run at incredibly fast speeds. Sometimes the paper or the plates applying the ink may shift. It might be a tiny, tiny little shift -- but it can throw off your design enough to be noticeable. For example, a white gap may appear between a green letter that is supposed to be touching a blue box. When this happens your color is out of register -- things just don't align properly. We prefer to do the trapping for you. If there are any special trapping concerns your printer may have, please let us know about them when you send in your job.

Here is a listing of just some of the materials we can print posters on:

Photo Paper - offers the most detail and color. It is the least exprensive and most popular paper.

Fine Art Paper - are used most commonly for water colors. Some detail is lost, especially in shadows.**

P.O.P. display - is a polyurethane that views very bright and wet looking. POP is very durable.

Static Cling - can be clear or white. A laminate over the print protects and provides the static properties.

Backlit - material is used for light boxes.

Adhesive - materials are used for mounting to surfaces without hardware.

Canvas - is used to give that "Oil" look and feel. It can be placed on a stretch board after printing.

Banner - material is good for 5 years of outdoor use. Pockets and grommets are included in the price.

**Acid free papers and archival inks are used for all Fine Art reproductions.

We have in-house designers on staff here at Cornerstone Graphic Technologies, LLC. Whether you need a business card, letterhead, brochure, or Christmas card, we can help. Cornerstone's staff have already designed everything from business cards to a full product catalog. We'll work with you one-on-one until you are pleased with the outcome.

    Use the setting called "Overprint Preview": This setting specifies whether Overprint Preview mode is on only for PDF/X files, never on, always on, or set automatically. When set to Automatic, if a document contains overprints, then Overprint Preview mode is activated.

The Overprint Preview mode lets you see (onscreen) the effects of ink aliasing in the printed output. For example, a printer or service provider could create an ink alias if a document contains two similar spot colors and only one is required. The Overprint Preview mode also l simulates all the overprint of elements that may be happening in the file just like it would on press production.

     We suggest changing this setting to be "Always or Always On", so you will always see the elements that overprint for production environments.

    Another way is using the Output Preview tool. The great thing about this tool is the ability to view the actual separations in the PDF. This gives you the ability to turn separations on and off as needed to check the file.

The Output Preview window provides the tools and controls to help you simulate how your PDF looks in different conditions. The top part of the dialog box has several controls for previewing your document, including "Simulate Overprinting".

The Preview menu allows you to switch between previewing separations and previewing color warnings. When you select Separations, the bottom half of the dialog box lists information about the inks in the file, as well as total area coverage controls. When you select Color Warnings, a warnings section replaces the separations section and provides information about ink warning controls. The preview settings you specify in the Output Preview dialog box are reflected directly in the open document.

How does a PDF differ from a PDF X file?

The average PDF can have anything in it, including things that cause the PDF file to be usable from the view or prepress production. A PDF X file limits the scope of the PDF and what is in it and makes it something that can be used in prepress production without worrying whether the file was prepared correctly. It is simply a PDF file with restrictions.

It can get a little confusing because there are at least three different variations of PDF X. The variations are PDF X-1, PDF X-2 and PDF X-3. The PDF X-1 standard was originally published in 1999, and updated in 2001. This is the original exchange standard and is based on PDF 1.3.

The standard defines two specifications: PDF X-1 and PDF X-1A. PDF X-1 is the original standard. PDF X-1A is similar to PDF X-1 except that it prohibits OPI (image linking and replacement) and makes sure the images are included in the PDF file.

PDF X-3 is based on PDF X-1A, and is based on PDF 1.4. With PDF X-3, color-managed data may be included. (In PDF X-1A all colors are forced to CMYK, with spot colors being optional, and no color management is allowed.) In a PDF X-3 file, there may be data that is color-managed using embedded ICC profiles. PDF X-3 is expected to be approved this spring. RGB data is allowed as long as it is in a device-independent space. This may be helpful for certain workflows, but allows too many color "unknowns" for most commercial printing operations.

PDF X-2 is under development. PDF X-2 is based on PDF X-3 and allows color-managed data to be included, as well as OPI and non-embedded fonts, as well as tools to allow identifying these links to fonts and images.

What is the difference?

PDF X-1 and PDF X-1A pretty much lock down the file, making sure that all the fonts, images, and color space are restricted to a narrow set of choices that tend to work well in printing environments. PDF X-3 and especially PDF X-2 provide more flexibility with PDF X-3 locking the file but allowing more options with regard to color management, and PDF X-2 allowing more options with regard to color as well as image and fonts linking and other custom workflow specifications. PDF X-1 will be most common when you want to lock the file down and make it bulletproof. PDF X-3 and PDF X-2 will be used for customized workflows in which the PDF creator and the printer are working closely together and want to take advantage of some of the benefits offered by having a more flexible but complex workflow.

Generally, we ask that your files to be at least 150dpi at final trim size of the printed piece. (Or 300dpi at 1/2 the final trim size of the printed piece).

Yes we offer pick up and delivery of jobs free of charge within our delivery area. We have drivers on staff delivering work daily.  We also use UPS and FedEx for overnight deliveries. 

You can turn type into a set of compound paths, or outlines, this is a great fix for those who don't know how to find and send a font needed with in a job.

Font outline information comes from the actual font files installed on your system. When you create outlines from type, characters are converted in their current positions; they retain all graphics formatting such as their stroke and fill.

Note:

• You can't convert bitmap fonts or outline-protected fonts to outlines.
• When you convert type to outlines, the type loses its hints—instructions built into fonts to adjust their shape so that your system displays or prints them optimally at a wide range of sizes. If you plan to scale the type, adjust its point size before converting.
• You must convert all the type in a selection; you cannot convert a single letter within a string of type. To convert a single letter into an outline, create a separate type object containing only that letter.

1. Select the type object(s) with the solid arrow tool.

    (Most times it is best to convert all text to outlines, then do a "Select All" at this point)

2. Choose Type > Create Outlines.

3. Save the file as a separate file so you have a copy that can be text edited later if need be.

A: ALWAYS ALLOW FOR BLEEDS!

Avoid unintended white edges when printing to the edge of the paper.

1.  Create or open an existing design.

2.  From the menu bar, select File then View settings.

3.  Select Show print bleed. A border of dashed lines will appear close to the edges of your design. This bleed margin is fixed based on print production standards and cannot be adjusted.

4.  If you see white gaps around the design edges, resize or stretch your background or photos to cover them. Stretch elements, that you don’t mind being cut, around the edges as well. This is a critical step.

B: ADD CROP MARKS! 

Add crop marks when downloading your design to let us where to trim the paper. 

*Note that the size for crop marks is fixed.

1.  Add bleed to your design (see the previous section).

2.  On the menu bar, select Share.

3.  Select Download.

4.  On the File type dropdown, select PDF Print.

Tick the Crop marks and bleed checkbox.

5.  Select Download

6.  Uncheck "Flatten PDF" almost always.

Click on the link below for a video tutorial from the canva support website.