Print datas
Print data optimization
What is a bleed actually? How do I design the perfect motif? And what do I have to consider when exporting my data in order to achieve an optimal print result? As experts for backlit print motifs, we know our customers’ questions. – And we know the answer:
Print data optimization
Explained
briefly
In order to create optimal print data, it is advisable to know and understand some of the technical terms used in printing technology and optimization. We have summarized the most important terms for our customers here and explained them in detail.
Bleed
The bleed is the area outside the blank that is sewn to the rubber lip after printing. To avoid white flashes it should be 1% per page length. If the frame dimensions are less than 2000 mm, a 20 mm bleed is required. No matter if photo or graphic design: The background of the print file should fill the entire bleed area.
With a frame dimension of 1000 x 3000 mm, the print data dimension is 1040 x 3060 mm. The usual folding, cutting or register marks within the data format used in layout programs must not be activated.
Cut to size
The final size of the textile print is called the cut. This is the area of the motif that is later backlit in the frame and is identical with the ordered frame dimensions. 
Protected area
The protected area lies within the crop and describes the area within which text, important parts of a photo, logo or other design elements should be placed. The maximum area outside this zone is 20 mm. To ensure that all details remain visible in the final format, all important elements of the design should be within the protected area. The printed textiles have a high percentage of stretch, so that there is a risk that elements that fall off the edge will disappear in the frame together with the rubber lip. This applies especially to large motifs. Contours and borders of entire motifs are not recommended. Due to the flexibility of the textile, they can be slightly uneven or uncentered.
CMYK
A process color is created by printing certain colors at different screen angles. In the classic four-color printing that we use, these are the colors cyan, magenta, yellow and black. The supplied print data should therefore be created exclusively in pure CMYK. If Lab or RGB color spaces are used, color deviations may occur.
dpi
The dpi number indicates the dot density during image reproduction and is therefore one of the quality aspects in printing. The abbreviation stands for dots per inch. The finer the dot density, the better these dots mix for the human eye and the better the print result is perceived. Since we print on a textured background (fabric), we need a lower resolution (dot density) of 72 dpi than, for example, paper printing (300 dpi).
Textile printing
Printing methods
compared
We at PIXLIP offer our customers two different printing processes. In the following we show you which advantages and disadvantages the different processes involve and which of them is particularly suitable for which purposes.
UV print
UV printing is considered to be particularly environmentally friendly as it does not contain any volatile organic substances. The ink is hardened with ultraviolet (UV) light directly after application to the surface of the textile. In contrast to sublimation printing, the ink does not penetrate into the fabric but forms a satined surface on the textile. This process enables razor-sharp and brilliant textile prints. The UV-curing enables a high strength of the print and offers protection against yellowing and is therefore also suitable for outdoor use. The prints can only be stored and transported rolled up.
Sublimation printing (SUB)
Sublimation printing is one of the so-called transfer printing processes. The dyes of the prefabricated transfers become gaseous under the influence of heat and pressure and thus migrate into the open pores of the textile fiber. This process is called sublimation. As soon as temperature and pressure decrease, the pores close and the dye is firmly anchored in the fiber. This results in a very high durability. The prints can be stored folded and transported at low cost.
Design tips
Succesful
design
Nothing is more inspiring than a white sheet of paper. It provides the background where you can create something unique – or even have to. – After all, how does an idea actually become the convincing motif that the boss is constantly talking about? We show you how a diffuse thought becomes a concrete core message, and how a sketch becomes the perfect poster.
Decision
A decisive engineering principle applies to successful marketing: Keep it simple and short. Particularly at trade fairs and in shop windows, even at backlit advertising motifs people only look for an average of 1 - 3 seconds, during which the entire message has to be recorded and decoded. This forces the message to be precise and condensed. We therefore recommend a limitation to a maximum of 5 core elements: A short, concise headline in combination with a clear and high-contrast division of background, packshot and other visuals, as well as the company logo.
Build hierarchies
Good advertising is a balancing act. Despite its simplicity, it must convey sufficient information to convey the message of the advertiser. When constructing the illuminated motif, you should define a hierarchy in advance that regards the viewer's later viewing and reading direction. In order to speed up the decoding process, you should position all design elements in a way that separates them sharply from each other. Accordingly, you should avoid overlapping of pack shots and brand symbols by other image components.
Show who you are
The correct positioning, colouring and dimension of the brand logo is crucial, especially in the trade fair environment. As a visual representative of the sender, it is an important component of the corporate identity and is stored as such in the consumer's memory. Logos should therefore also be visible from a great distance and effectively placed according to the design hierarchy.
Do things in a big way
Each advertising motif is based on a so-called key visual on which the central statement of the design is based. This can be products, as well as people, slogans or logos. It is important, however, that they are highlighted as a central element and positioned clearly and visibly. In order to underline their importance, it is advisable to emphasize this prominence by a proportionally larger representation in comparison to subordinated elements. Ideally, the size should be at least 40% of the format height.
Create contrasts
Even backlit motifs don't always have it easy: especially in the trade fair industry, they have to assert themselves in a visually overloaded and stimulus-flooded environment. Colourless designs cannot meet these requirements. They get lost. The correct handling of colour accents and contrasts, on the other hand, creates exciting image compositions. The colour differentiation of the elements supports the striking effect.
Stay visible
Long-distance effect is a central aspect of design. In order to guarantee good readability of headlines, a font size of 12-15% of the format height is therefore ideal. For sublines, however, a font size of 7-10% of the height is recommended. In order to keep the reading flow of the recipients stable, not more than 3 font sizes should be mixed.
Less is more
A textual advertising message is successful if the viewer can grasp it within 2 seconds. Slogans or headlines should therefore contain a maximum of 5 words or two lines.
Stay positive
The backlighting of the advertising motifs encourages an overall positive perception of the message. In combination with a friendly design, this effect leads to increased attention and a better memory performance of the recipient. Above all, the depiction of faces support this effect.