Most problems are discovered at Dolphin Graphics and other Service Bureaus, when a page prints out with the wrong typeface, or a graphic disappears, or the file doesn’t print at all. Designers and their clients ultimately pay the price-through lost time and money.
In modern digital work flow, designers should be prepared to take on the kinds of tasks that were formally the exclusive domain of separators and strippers. They must at least be aware of those tasks, to avoid creating files that will cause disasters or even problems further down the production stream.

Service bureaus still encounter more problems with Windows files than with Mac files, mainly because a higher percentage of a newer generation of designers are now using Windows and are also then in an earlier stage of the learning curve.
Another development making life more difficult for service bureaus is the rising popularity of desktop color output devices, e.g. inkjet and color laser printers. Clients have been known to reject Chromalin & Matchprint proofs because the colors did not match the desktop color printout. This is because the aforementioned printers can mask a multitude of sins such as low-resolution or RGB graphics. Furthermore, they can also print a wider color spectrum than a four color press can, so colors often look more saturated than in the final printed piece.
Similarly, widespread experience with the Web has changed many designers’ expectations of what they can print since a monitor is also more forgiving of resolution discrepancies and can display more colors than a press can print. Once people see the variety of images available on the Web, they want to use them in their printed work. The result is files with placed GIF images, Web graphics that the client wants to reuse in a brochure, and other output problems.

sFonts Remain The Number One Problem

• Of course, it’s no surprise that the leading service bureau problem is fonts i.e. missing fonts, receiving the wrong fonts, or manipulated fonts, or some other unusable version. When a file is delivered to a service bureau that includes altered type, the relevant application or font manager used by the service bureau may substitute a font for the altered type since it does not always recognize the altered type as members of a valid font file. Usually type is altered if elements are intended for headlines and other display type. If this is the case, it is usually best to set the headline in a drawing program (e.g. Illustrator), convert the type to paths, and then import it into the layout. The type becomes a vector object, and the font file is no longer needed.
  The above approach solves another common problem: fonts missing from an imported EPS file. Converting the type to paths ensures that the text will be printed in the correct typeface. The conversion can distort the shape of an intricate typeface or one with very fine lines. In that case the only option is to include the font.
  Mac users often send screen fonts to service bureaus without printer fonts. Consequently, if the relevant application does not forewarn of missing fonts, the output type will usually be bitmapped rather than smooth.
  An even more widespread problem (apparently more prevalent among Windows-based users) is caused when files are created using the TrueType version of a font but the Type I version is delivered with the file (or vice-versa). In this case the text usually prints in the correct typeface, but the text reflows because TrueType and Type I fonts have different kerning and character-width tables. Most Mac designers tend to use fonts from Adobe or some other major vendors, fonts that service bureaus often already own, so even if the font is missing,, the bureau may be able to supply it. On the Windows side, many competing font packages exist and service bureaus can’t afford to keep all of them in stock.
  Finally, if excess font files are sent to the service bureau, it may be difficult to match the font name on disk to the font name as it appears in the font menu. There are utilities that avoid such problems ( PageMaker’s Prepare for Service Bureau or QuarkXPress’s Collect for Output). PageMaker’s utility gathers the fonts and indicates whether they’re TrueType or Type I. QuarkXpress’s utility generates a list of used fonts. Contents

• The most obvious graphic problem, as with fonts, occurs when graphics are not included i.e. there is no linked graphic or a linked graphic is placed into a page layout program but the graphic is not included on the disk. Consequently the service bureau output will include either no graphic or a low resolution version
  Additionally RIP’s may be overwhelmed so as to take excessively long to process or not output at all if a) certain compression schemes are used or b) graphic modifications, resizing and reorientations are done in page layout programs instead of the original program wherein the graphic was scanned or created or c) resolutions are set much beyond what is necessary for the specific final printout device or d) excessive paths are left e.g. in a final saved Photoshop file.
  Finally, problems arise when copies of embedded graphics (e.g. from word processing, presentation, spreadsheet or database programs) are placed in page layout programs. RIPed output may include one or all of the following: low resolution (e.g. 72 dpi), incorrect line weights, color shifting and difficult or no color separations. Contents

• A common problem is the mixing of Spot and CMYK with RGB colors in the same image or file. But even if a designer defines colors properly and consistently, problems may nevertheless arise if the same colors have different names. As an example different programs employ slightly different naming conventions for the Pantone system of spot colors. If then a graphic is created in one program using a specific Pantone color and placed into a file created via another program wherein a different element exists with the “same” Pantone color, that file could actually separate into two colors when output. Lastly, a problem could result if any program treats white as a spot color. The solution in the latter two cases is to rename or redefine the color. Contents

• A different set of problems arises when the page size in the document file fails to match the page size of the printed piece. One subset of problems involves the number of pieces that may be printed on each single sheet (the # “up”). Another subset of problems involves whether pages have to be imposed, or arranged, for printing (“signatures”). Other problems arise from the need for crop/folding/conversion/perforation marks. Significant additional charges may be a consequence.
  With trapping, consistency is crucial, it should be applied everywhere or nowhere. Often it is best to let Dolphin Graphics do the trapping, albeit with input from client and printer. Contents

• So the files are prepared properly, the fonts are included, the graphics are saved in appropriate formats. What’s left? A current, clearly marked, hard copy sample and written information of what’s being supplied and what’s expected. Removable storage devices (disks, zips, etc.) should contain only relevant files or a folder containing those relevant files which are identified. Dolphin Graphics will provide B/W Laser proofs for approval if not previously provided and additionally color proofs if required. Proofing is the final process before printing and is the mechanism by which Clients and Dolphin graphics communicate the essential and final specifications of a project. Contents

• Signing proofs is an essential part of the process. Furthermore, proof signatures include any further changes and put final responsibility (expense) onto the designer/client. It is critical, therefore, that proofs are carefully checked as soon as they are available. Even though Dolphin Graphics can usually remedy troublesome files, a well prepared file that sails through the RIP and the imagesetter saves Dolphin Graphics’ time and therefore time and money for the designer/client. Contents