Andrew Bailes-Collins is Senior Product Manager at Enfocus.
He graduated from what is now the London College of Communications and went on to serve an apprenticeship as a compositor. He has worked for a number of vendors in the printing and publishing sector, including Scangraphic, Apple and DuPont/Crosfield.
Andrew has been Prepress Manager for several high-quality printing companies in London, managing the change from conventional production techniques to digital. An early adopter of computer-to-plate and PDF workflow, Andrew then worked at OneVision Software for ten years. Initially based in the UK, before rising through the company to become Head of Product Management Europe at their head office near Munich in Germany.
Andrew joined Enfocus and moved to Belgium in 2011 and is the Senior Product Manager responsible for the PitStop family of products. He is also the Technical Officer for the Ghent Workgroup and Co-Chair of the GWG specifications sub-committee.
Choosing between serif vs sans serif is an age-old dilemma that still fazes many printers and graphic designers. Or, better said, it has been a dilemma ever since someone invented the first sans serif type, somewhere around 1925. Rumor has it, it had something to do with the Bauhaus Dessau designed by Herbert Bayer. Anyway, contrary to what many readers assume, the serif vs sans serif issue is not just a matter of taste. There is a strong case to be made for both types of font, depending on the context they’re used in.
Using black ink for offset printing can be a tricky business. We’ve all been there, scratching our heads when we see a supposedly jet black area turn out grayish, greenish or even bluish in print. Fortunately, graphic designers and printers have a few tricks up their sleeves to solve this common printing problem and create what is known in the printing industry as rich black or deep black.
There’s no denying it: color conversion is key when it comes to brand recognition. Graphic designers and marketeers use it all the time because getting that one particular shade that looks so awesome on screen looking exactly the same on logos and objects and textile and packaging and posters is challenging, to say the least – hence the need for proper color conversion! What does PitStop have to do with this, you ask? Playing it safe, that’s what!
Graphic Technology - Use of PDF to associate processing steps and content data – Part 1: Processing steps 2016.
Andrew explains why this will be a game changer
Not all files are suitable for large print, and even the smallest mistake can become a very expensive problem. More often than not, large format prints are printed on pricy materials such as vinyl or plastic and require special, costly ink that is able to withstand inclement weather.
Have you ever sent a perfect looking PDF file to your printer, only to receive the job back with unwanted white edges? Then you probably forgot to include a bleed area. PitStop product manager Andrew Bailes-Collins talks about this issue, and how you can avoid it.