Tips & Tricks
How-To-Articles
These articles are provided
to
give
you
a
better
understanding
of
the
processes
we
use
to
complete
your
projects.
You’ll
also
find
helpful
articles
to
better
use
our
products
and
services.
We
even
provide
some
suggestions
on
how
to
do
things
on
your
own
to
save
you
time.
We’ve
covered
a
lot
of
information
in
this
section
but
if
you
think
of
anything
we’ve
missed,
just
let
us
know.
Quick
Guide
to
File
Compression
How
To
Use
Fonts
(And
Why
You
Should
Care)
Know
Your
PDF
Tips
on
Paper
Selection
Developing
an
Effective
Brochure
Raster
Images
vs.
Vector
Graphics
Scanning
for
Different
Media
Quick
Guide
to
File
Compression
If
you
have
owned
your
computer
for
a
year
or
more,
you
have
probably
run
into
the
problem
of
large
files,
and
hard-drive
space.
The
salesman’s
promise,
“You’ll
never
use
all
the
space
on
this
computer!”,
sounds
more
and
more
like
so
much
advertising.
Once
you
actually
start
to
use
the
computer
for
more
than
just
the
occasional
game
of
solitaire,
all
of
the
programs,
video
games,
and
assorted
emails
begin
to
stack
up.
Before
you
know
it
you
may
start
getting
warning
messages
like,
“Hard-drive
space
is
running
low.
Do
you
want
to
clean
up
some
files
on
your
computer?”
Or
perhaps
you’ve
run
into
a
situation
where
you’ve
spent
hours
working
on
a
report
containing
lots
of
graphics,
and
charts,
and
some
spreadsheets.
You
go
to
copy
the
report
to
a
disk
or
send
it
as
an
email
attachment,
only
to
find
that
it
has
morphed
into
a
15
meg
monster
of
a
file.
The
best
way
to
combat
these
kinds
of
file
space
problems
is
to
utilize
a
simple
compression
program.
The
function
of
a
compression
program
is
to
take
large
files
and
make
them
smaller
without
changing,
or
losing
any
information
in
the
file.
It
does
this
by
using
a
complex
set
of
algorithms
and
equations
that
take
the
bits
of
information
in
the
file,
reduce
the
size,
and
then
remember
how
to
put
the
files
back
together.
Since
a
file
is
made
up
of
1000’s
of
bits
of
information
it
can
be
reduced
from
1000’s
down
to
100’s
without
losing
information
because
an
algorithm
can
predict
where
those
other
bits
WILL
go
when
the
file
is
uncompressed
later.
Now
of
course,
like
everything
in
the
computer
world,
there
are
many
different
compression
programs
out
there
to
choose
from.
Even
though
each
program
uses
different
algorithms
for
their
compression,
they
all
compress
files
about
the
same.
A
typical
compression
rate
for
a
100k
Word
document
containing
all
text
is
about
60%-90%
of
the
original
file
size.
With
this
in
mind,
choosing
your
own
favorite
compression
utility
is
usually
a
matter
of
personal
taste,
and
ease
of
use.
One
of
the
most
common,
and
user-friendly
programs
is
called
PKZIP.
This
program
is
freely
available
from
www.PKware.com.
It’s
user
interface
combines
functionality,
with
ease
of
use
by
putting
the
compression
terminology
into
easy
to
understand
terms.
Another
highly
used
compression
utility
is
called
RAR.
The
RAR
compression
format
is
an
extremely
good
one
for
packing
together
large
programs
into
one
very
small
file.
One
of
the
best
features
about
this
particular
program
is
it’s
ability
to
take
extremely
large
files,
and
spread
them
out
over
several
smaller
files
which
can
be
stored
on
individual
floppy
disks.
This
program
is
also
free
to
the
public
at
www.RARsoft.com.
A
third
extremely
popular
shareware
compressing
agent
is
called
ARJ,
and
can
be
found
at
www.ARJsoft.com.
This
program
has
all
the
same
abilities
as
RAR,
and
PKZIP,
but
just
in
a
different
format,
and
file
extension.
With
the
various
compression
utilities
out
there,
it’s
nice
to
have
more
than
one
around
so
that
you
can
open
other
people’s
files.
You
can
only
unzip
a
file
with
a
.zip
extension
using
PKZIP.
A
file
with
the
.arj
extension
can
only
be
opened
with
ARJ,
and
the
.rar
extension
consequently
can
only
be
opened
with
the
RAR
program.
Most
files
on
the
internet
come
compressed
in
one
of
these
three
above
formats,
and
some
sites
even
have
3
differently
compressed
copies
for
you
to
choose
from
all
in
the
place.
The
world
of
compression
is
an
important
one,
simply
for
the
fact
that
it
allows
us
a
little
bit
of
control
over
the
size
of
our
computers,
and
the
time
which
we
spend
downloading
one
another’s
files.
So
when
those
files
come
up
that
just
seem
bigger
than
you
can
handle,
pull
out
your
favorite
compression
program,
and
cut
it
down
to
size.
Back to top How
To
Use
Fonts
(And
Why
You
Should
Care)
Communication,
both
face-to-face
and
in
writing,
occurs
on
two
levels:
verbal
and
non-verbal.
To
achieve
maximum
impact,
it
is
essential
that
this
dual
communication
consistently
corresponds.
Think
about
it.
Would
you
find
a
snickering
salesperson
persuasive?
Would
you
find
a
monotone
motivational
speaker
inspiring?
No.
Not
any
more
than
you
find
your
state
Congressperson
sincere.
Why?
Because
communication
is
more
than
just
words.
Because,
quite
simply,
presentation
matters.
In
writing,
size
does
matter.
And
spacing.
And
color.
And
everything
else.
Presentation
is
crucial
to
all
forms
of
communication—most
of
all
when
dealing
with
written
communication.
Unlike
information
conveyed
personally,
a
written
message
is
static.
It
must
speak
for
itself.
Expert
communicators
know
that
superb
content
is
not
enough.
They
know
that
to
achieve
truly
effective
communication
one
must
pay
equal
attention
to
how
the
content
is
presented.
Contrarily,
untrained
communicators
don’t
realize
that
style
can,
and
often
does,
override
substance—and
corporate
trash-cans
nationwide
brim
with
the
ridiculed
remains
of
their
ransom-note-like
resumes.
So
how
can
you
enhance
the
quality
of
your
presentation?
Well,
just
like
Coach
used
to
tell
you—put
in
your
mouthpiece
and
start
with
the
basics.
And
basically,
the
fundamental
element
of
written
communication
is
font.
But
what
exactly,
you
might
ask,
is
font?
Put
technically,
font
is
the
interface
between
your
ideas
and
your
readers.
Put
simply,
font
is
the
style
of
your
typeface.
Is
it
big,
bold,
crisp,
underlined,
or
colored?
Is
it
spaced
well?
Is
it
even
legible?
These
are
all
important
questions—questions
that
any
conscientious
document
creator
must
answer
and
act
on.
But
why
are
font
decisions
so
critical?
When
utilized
well,
a
font
or
font
mix
accomplishes
four
things:
1)
focuses
attention,
2)
enhances
readability,
3)
sets
a
tone,
and
4)
projects
an
image.
Font
is
your
first
line
of
defense
against
reader
apathy—and
your
first
chance
to
really
capture
an
audience,
create
a
positive
and
lasting
impression,
and
encourage
continued
interest.
Remember,
though,
while
font
can
(and
should)
be
used
for
good,
it
can
also
be
used
for
bad…impressions
that
is.
Every
day,
writers
discover
that
font
choice
is
an
excellent
opportunity
to
make
a
mockery
of
their
work.
This
in
mind,
effective
font
should
be
chosen
both
carefully
and
strategically.
To
assist,
presented
here
is
a
brief
digest
of
useful
font
guidelines.
1.
WATCH
YOUR
CASE
As
per
tradition,
for
typical
documents
you
should
use
upper
and
lower
case
text
for
the
body
of
your
work.
Avoid
using
all
upper
or
lower
case
text
anywhere
in
your
document,
as
both
can
be
difficult
to
read.
As
for
headings
and
titles,
use
upper
case
lettering
whenever
prescribed
or
necessary.
2.
SIZE
DOES
MATTER
Generally
accepted
writing
guidelines
for
typical
documents
prescribe
the
use
of
10-12
point
font
for
the
body,
14-48
point
font
for
primary
headings,
and
one-half
of
the
primary
heading
point
size
for
secondary
headings.
A
warning
though:
font
on
your
computer
screen
may
appear
larger
than
it
actually
is.
If
you
err,
err
on
the
large
side.
Remember,
if
your
text
is
too
small
to
read,
it
simply
won’t
get
read.
3.
KEEP
IT
SIMPLE
Simplicity
is
a
virtue
in
writing.
Keep
this
in
mind
when
choosing
a
font
or
font
mix.
Remember,
your
font
is
supposed
to
enhance
your
message,
not
sabotage
it.
Unless
it
is
truly
warranted,
tend
toward
simple,
inconspicuous
fonts
like
Times
New
Roman
or
Arial.
Also,
these
fonts,
among
others,
are
TrueType—this
means
that
what
you
see
on
the
screen
is
exactly
what
you
will
see
on
the
page.
4.
BE
CONSISTENT
Font
is
a
privilege,
not
a
right.
So
don’t
abuse
it
by
using
three
or
four
different
styles
in
the
same
document.
As
a
rule,
never
use
more
than
two
fonts
in
the
same
piece.
Like
the
saying
goes:
three
fonts
is
a
crowd—on
your
reader’s
attention.
So
once
you
choose
a
font,
be
committed
and
use
it
throughout.
Your
readers
will
thank
you.
5.
YET
USE
VARIETY
WHEN
NEEDED
Although,
in
general,
font
use
should
be
consistent
throughout
a
project,
variety
is
sometimes
needed
to
break
the
monotony.
One
good
way
to
infuse
diversity
into
a
document
is
via
the
use
of
italicized,
bold,
or
underlined
text.
These
highlighting
tools,
as
well
as
many
others,
are
properly
used
to
signal
importance,
emphasis,
even
inflection
(see
paragraph
one).
But
remember,
use
them
sparingly
or
don’t
use
them
at
all.
6.
ABOVE
ALL
ELSE:
MATCH
YOUR
MEDIUM
The
goal
of
every
project
is
different;
as
is
the
intended
audience,
the
resources
available,
and
so
on.
Accordingly,
there
isn’t
one
best
font.
Rather,
it
is
the
characteristics
of
your
project
that
determine
which
font
is
superior.
Remember,
these
are
just
guidelines,
not
gospel.
If
you
need
uppercase
text,
use
it.
A
multicolored
paragraph?
Do
it.
Ultimately,
the
bottom
line
is:
Does
your
presentation
match
your
medium?
If
it
does,
bravo.
If
it
doesn’t,
it
better.
Back to top Know
Your
PDF
A
great,
yet
cryptic,
philosopher
king
once
said:
"To
know
PDF
is
to
know
the
universe."
Is
this
true,
you
expectantly
ask?
Is
this
really
true?
Well
no,
sadly
it
is
not.
But
don’t
be
disheartened,
for
the
truth
about
PDF
is
of
far
more
practical
value
(albeit
far
less
philosophical
value).
In
truth,
to
know
PDF
is
to
know
a
dynamic
and
versatile
file
format
that
can
dramatically
simplify
and
expedite
document
viewing,
integration,
and
printing.
So
while
it
might
not
bring
epiphany,
PDF
can
most
certainly
bring
efficiency.
And
now
we
get
to
the
"knowing"
part.
First
off,
the
letters
P,
D,
and
F
compose
a
file
extension—one
of
those
three-letter
codes
that
appear
at
the
end
of
file
names
(like
know_pdf_story.pdf).
This
extension
is
like
a
little
file
recipe;
it
describes
the
file
ingredients
and
tells
your
operating
system
how
to
prepare
it
for
(electronic)
consumption.
Like
most
file
extensions,
PDF
is
also
an
acronym:
short
for
Adobe
Portable
Document
Format.
Adobe
PDF
is
widely
used
by
publishers,
web
writers,
graphic
designers,
and
everyday
laypersons;
and
is
generally
accepted
as
the
preeminent
format
for
universal
document
exchange.
But
why
is
PDF
so
popular?
PDF’s
popularity
and
power
originate
from
its
five
key
attributes:
Compatible:
PDF
is
a
cross-platform
file
format.
This
means
that
PDF
can
be
used
to
recreate
documents
irrespective
of
where
they
were
originally
created.
Also,
PDF
will
preserve
the
document’s
original
style
and
formatting
(including
color,
font,
and
imagery)
exactly
as
they
were
intended
to
be
seen.
With
Adobe
Acrobat
Reader,
virtually
anyone,
on
any
computer,
with
any
platform,
running
any
application
version,
can
recognize,
read,
and
print
identical
PDF
files.
Anyone.
You
included.
Active:
PDF
files
are
highly
navigable—this
means
you
can
sail
around
documents
like
a
mini-Magellan.
PDF
files
contain
highly
useful
navigation
tools
like:
internal
and
external
links,
structured
bookmarks,
search
capabilities,
thumbnail
page
views,
multi-directional
buttons,
magnification
options,
and
more.
Accurate:
PDF
files
are
both
ultra-printable
and
ultra-viewable.
PDF
utilizes
the
PostScript
language-imaging
model—you
know
about
the
PostScript
imaging
model,
right?
No?
Good.
It
would
scare
me
if
you
did.
Just
remember
that
PDF
ensures
true,
faithful,
and
crisp
printing—the
kind
of
printing
you
like.
Also,
PDF
files
viewed
on-screen
retain
precise
color
regardless
of
software
or
hardware
variation,
and
also
retain
precise
clarity
in
magnifications
upward
of
500%.
Convenient:
PDF
files
are
both
smaller
in
size
than
original
source
files
(e.g.
potentially
20%
as
large
as
HTML
files)
and
easier
to
download
and
view.
PDF
documents
also
offer
page-at-a-time
downloading;
allowing
you
to
read
and
revise
the
early
pages
of
a
document
before
the
entirety
has
been
received.
Further,
because
of
their
economical
size,
you’ll
download
the
whole
document
quicker
than
you
would
a
source
file
anyway.
Because
of
these
convenient
characteristics,
PDF
files
are
often
referred
to
as
7-11
files.
Not
really,
though.
Someone
might
laugh
at
you
if
you
called
them
7-11
files.
Secure:
PDF
offers
extensive
security
protections.
Users
can
assign
security
passwords
to
PDF
documents
before
sending
them
to
maintain
strict
control
over
sensitive
information.
Further,
PDF
files
can
be
authenticated
and
secured
with
digital
signature
technology.
A
PDF
feature
known
as
SelfSign
enables
creators
and
users
to
restrict
and
track
access
to
critical
documents
through
the
use
of
an
encoded
digital
signature.
This
feature
also
enables
users
to
say
cool
things
like,
"Sorry,
Glen.
It
seems
you’re
not
authorized
to
view
this
material."
Enough
already,
you
say,
I
accept
that
PDF
is
divinely
inspired.
Clearly,
the
multiple
benefits
of
PDF
have
now
been
sufficiently
revealed.
But
we’ve
been
talking
about
PDF
files
in
the
prime
of
their
lives—where,
you
might
ask,
do
new
PDF
files
come
from?
Well,
Timmy,
it’s
complicated.
When
two
computer
applications
love
each
other
very
much….oops,
different
question.
Actually,
there
are
five
primary
methods
for
creating
PDF
files.
1.
Adobe
Acrobat:
main
Adobe
software
for
the
creation
and
modification
of
PDF
files.
Allows
users
to
create
a
PDF
file
by
simply
dropping-and-dragging
a
document
into
Acrobat,
choosing
the
format
directly
from
Microsoft
Office,
or
converting
scanned
or
web
documents
directly,
among
other
methods.
2.
Adobe
PDF
Writer:
software
that
mimics
a
printer
driver
to
create
PDF
documents
from
nearly
any
Windows
application.
3.
Adobe
Acrobat
Distiller:
software
for
workgroup-oriented,
automated
high-volume
conversion
of
PostScript
files
to
PDF.
4.
Adobe
Acrobat
Capture:
software
designed
specifically
for
the
conversion
of
scanned
image
files
to
PDF—optimized
for
character
recognition
and
clean-up.
5.
Other
software:
other
Adobe
graphical
and
publishing
software
such
as
FrameMaker,
PageMaker,
and
Illustrator
can
be
used
to
automatically
create
PDF
files.
Also,
a
surplus
of
third
party
software
like
EZ-PDF,
ActivePDF
Printer,
and
even
QuarkXPress
offer
PDF
creation
capability.
Back to top Tips
on
Paper
Selection
Choosing
the
right
paper
for
a
printing
job
can
be
a
daunting
task.
It
doesn’t
have
to
be
though.
When
selecting
the
best
paper
type
for
a
particular
job,
you’re
often
faced
with
an
overwhelming
number
of
options.
Asking
your
printer
for
“white”
is
like
asking
your
waiter
for
“food”
—
you’ll
have
to
be
more
specific
than
that.
To
the
educated
consumer,
the
choices
don’t
seem
nearly
as
intimidating.
Before
you
order
though,
you’ve
got
to
know
the
menu.
Paper
has
ten
characteristics
that
affect
its
cost
and
appropriateness
for
a
given
job.
Surface
The
surface
of
paper
affects
its
look,
feel
and
printability.
When
paper
is
pressed
at
the
mill,
it
passes
through
a
series
of
rollers
in
a
process
called
calendaring.
Calendaring
affects
paper
in
numerous
ways.
As
the
extent
of
this
process
increases,
paper
is
made
smoother,
glossier,
more
capable
of
retaining
ink,
thinner,
less
opaque
and
less
bright.
Why
does
surface
matter?
Because
people
do
judge
books
by
their
cover.
Color
The
color
of
paper
is
perhaps
the
most
salient
of
all
characteristics.
White
is
by
far
the
most
popular
color
and
is
generally
optimal
for
conventional
usage.
Not
all
white
is
the
same,
however
—
it
runs
the
gamut
from
ultra-severe
hues
to
softer,
more
antique
shades.
Photo
white
paper
is
best
for
accentuating
the
contrast
between
light
and
dark
hues.
Off-white
sheets
produce
less
glare,
and
are
best
used
for
publications
such
as
novels
or
technical
manuals
that
demand
long
and
uninterrupted
attention
from
readers.
When
comparing
color,
always
examine
paper
under
standard
viewing
conditions
and
with
minimal
atmospheric
distractions.
Brightness
The
brightness
of
paper
measures
the
percentage
of
light
that
it
reflects.
Most
papers
reflect
approximately
60
to
90%
of
incoming
light.
Remember:
brightness
and
color
are
not
the
same
thing.
Unlike
the
color
characteristic
(which
is
highly
subjective
and
imprecise),
brightness
is
a
strictly
quantitative,
or
measurable,
attribute.
Brightness
is
important
because
it
affects
readability
—
high
brightness
can
cause
eye
strain,
while
low
brightness
can
produce
a
blurring
effect.
Opacity
The
opacity
of
paper
is
the
degree
to
which
other
printing
is
visible
through
the
page.
High
opacity,
or
density,
minimizes
the
visibility
of
printing
on
subsequent
pages,
thus
enhancing
readability.
Opacity
increases
with
the
bulk
and
weight
of
paper,
and
is
influenced
by
numerous
other
factors,
including
paper
color,
ink
color,
coatings,
chemicals
and
coverage.
Grain
The
grain
of
paper
describes
the
direction,
or
alignment,
of
its
component
fibers.
Paper
grain
is
either
grain
long
or
grain
short.
When
fibers
are
patterned
parallel
to
the
length
of
a
sheet,
the
paper
is
grain
long.
When
fibers
run
parallel
to
the
width
of
a
sheet,
the
paper
is
grain
short.
Grain
direction
is
a
critical
factor
for
print
jobs
because
it
directly
affects
usage
—
for
example,
paper
strength,
flexibility,
tack
and
versatility
are
all
impacted
by
grain
direction.
Weight
The
basis
weight
of
paper
is
calculated
as
the
weight
in
pounds
of
one
ream,
or
five
hundred
sheets.
Each
main
grade
of
paper
has
a
basic
size
that
is
used
to
determine
its
basis
weight.
Remember
that
paper
of
equivalent
basis
weight
is
not
necessarily
of
equivalent
basic
size.
Smaller
sized
paper
that
is
thicker
can
possess
a
basis
weight
identical
to
that
of
larger,
thinner
paper.
Since
paper
is
sold
by
the
pound,
understanding
paper
weight
is
imperative
to
successful
cost
control
programs.
Caliper
The
caliper
of
paper
is
its
thickness.
Caliper
is
measured
in
thousandths
of
an
inch
and
referred
to
as
point
size.
In
this
system,
.001
inch
equals
one
point
—
and
eight-point
paper
would
have
a
thickness
of
.008
inch.
Do
not
confuse
type
point
with
caliper
point.
Type
point
describes
the
height
of
a
particular
font;
caliper
point
describes
paper
thickness.
Bulk
The
bulk
of
paper
denotes
its
thickness
relative
to
its
basis
weight.
For
example,
uncalendared
paper
would
have
a
higher
bulk
than
gloss
coated
paper.
Remember
though
that
paper
may
be
bulkier
or
thicker
than
another
grade,
yet
still
have
the
same
basis
weight.
Size
The
size
of
paper
describes
its
physical
dimensions.
An
8.5
x
11
sheet
is
8.5
inches
wide
and
11
inches
long.
Access
to
specific
information
concerning
the
range
of
paper
sizes
available
for
any
given
printing
job
is
essential
to
containing
costs
and
ensuring
efficient
usage.
Quantity
The
quantity
of
paper
refers
to
the
number
of
sheets
bought,
sold
or
used.
A
ream
is
a
standard
unit
of
numerical
paper
quantity.
Paper
that
is
“ream-wrapped”
is
packaged
in
a
bundle
of
500
sheets.
Cartons
of
paper
are
not
defined
by
exact
numerical
specifications,
but
approximate
weight.
Cartons
typically
weigh
around
150
pounds
and
are
used
in
practice
as
a
standard
unit
of
sales.
Back to top Developing
an
Effective
Brochure
Keeping
Control
There
was
once
a
television
anchor
that
kept
a
typewriter
on
his
desk
at
all
times.
The
computer
age
had
taken
most
newsrooms
by
storm,
including
his,
but
he
was
looking
for
security;
a
little
bit
of
control
in
case
the
computers
crashed
just
before
he
had
to
go
on
the
air.
We’ve
all
felt
that
way
before.
If
you’ve
ever
had
the
desire
to
control
the
external
communications
of
your
company,
developing
an
effective
brochure
should
be
the
first
thing
you
do.
Though
the
age
of
technology
is
booming
around
us,
a
printed
brochure
will
never
go
out
of
style.
The
content
should
be
focused
on
the
direct
message,
the
look
should
grab
the
attention
of
the
reader
and
special
consideration
should
be
given
to
the
placement
of
the
finished
product.
By
choosing
the
avenue
to
display
or
distribute
your
brochure
you
can
virtually
guarantee
your
customers
ease
in
coming
to
you.
Brochures
allow
for
the
convenience
of
brief,
targeted
messages
directly
in
the
hands
of
prospective
customers.
They
ensure
the
portability
that
means
your
message
can
follow
them
to
their
work
place,
until
they
have
a
spare
minute
between
appointments
or
after
lunch.
Brochures
can
be
printed
in
a
variety
of
ways,
allowing
you
to
determine
your
own
cost
basis.
They
can
be
as
simple
as
black
and
white
copy
on
a
tri-fold
sheet
or
as
complex
as
text
combined
with
full-color
graphic
images
and
photographs
on
several
pages
of
glossy
paper.
A
built-in
benefit
of
the
brochure
format
is
that
it
also
allows
customers
to
easily
pass
on
your
information
to
others.
Crafting
the
Message
The
beauty
of
a
blank
page
is
that
you
can
fill
it
with
whatever
you
choose.
There
are
generally
two
types
of
brochures
to
consider
when
deciding
what
will
work
best
for
you.
A
call-to-action
brochure
is
usually
meant
for
the
general
public
or
a
wide
range
of
people
where
an
informative
brochure
is
usually
targeted
at
a
specific
audience.
If
a
call-to-action
brochure
is
what
you
need,
you
will
want
to
give
a
brief
history
of
the
organization
or
business
you’re
highlighting.
This
type
of
brochure
generally
is
broad
in
scope.
Your
goal
is
to
inspire
a
group
to
either
join
your
organization
or
bring
their
business
needs
to
you.
An
informative
brochure
is
what
you
need
if
educating
your
audience
about
a
specific
function
or
product
is
the
goal.
Often
a
customer
will
ask
for
more
specifics
about
your
company
and,
in
this
case,
an
informative
brochure
including
some
history
as
well
as
current
operations
will
be
welcomed.
Both
formats
are
effective
if
done
right.
It’s
important
to
keep
the
following
rules
in
mind.
Keeping
information
general
will
extend
the
shelf
life
of
your
finished
product.
Never
include
specific
dates
or
names
if
your
goal
is
to
use
this
for
a
number
of
years.
Consider
printing
a
separate
insert
with
service
or
product
pricing
if
it’s
likely
to
change
in
the
near
future.
This
will
allow
you
to
reprint
one
page
instead
of
the
entire
brochure
each
time
something
is
changed.
Keep
your
copy
brief
and
eye-catching.
Bold-faced
fonts
and
headlines
will
catch
the
attention
of
your
reader
and
draw
their
attention
to
your
message.
If
given
the
choice
between
a
great
deal
of
information
and
a
color
picture
that
evokes
emotion,
reduce
your
text
and
include
the
picture.
Emotion
is
what
we
base
our
purchasing
decisions
on.
A
well-placed
photo
is
more
likely
to
capture
the
attention
of
your
audience
and
evoke
some
emotion
than
a
paragraph
of
text.
The
Glass
is
Half
Full
Optimism
sells!
When
you’re
writing
your
copy,
always
look
for
a
positive
way
to
deliver
the
message.
Always
assume
a
sale,
new
customer
or
financial
contribution.
Focus
on
the
benefits
to
the
audience;
everyone
likes
to
think
they’re
getting
something
out
of
the
decisions
they
make.
Tell
them
what
great
service
they
can
expect
if
they
come
to
you
to
service
their
car,
or
what
a
great
feeling
they
will
get
from
helping
someone
else
in
need.
This
is
the
time
to
sell
yourself!
Always
stress
a
benefit
over
a
feature.
Features
are
great
for
information.
“This
is
what
my
product
can
do.”
Instead,
try
telling
your
audience
what
that
feature
will
mean
to
them.
“This
feature
will
save
you
time
when
you
come
to
us
for
service.”
People
always
like
to
know
that
they’re
getting
the
most
for
their
time
and
money.
Print
enough
brochures
so
that
you
can
cover
all
the
bases.
Place
them
on
your
countertop
and
make
sure
to
restock
regularly.
Ask
if
you
can
distribute
them
at
the
offices
of
organizations
or
companies
in
related
fields
to
help
spread
the
word.
Remember
the
brochure
will
do
your
speaking
for
you.
Always
include
your
address,
phone
number,
Web
site
and
e-mail
address
so
readers
can
easily
seek
out
more
information.
Always
carry
copies
of
your
brochure
with
you.
They
make
a
very
professional
first
impression
for
your
group
or
business
and
provide
much
more
information
than
a
business
card.
Better
yet,
attach
a
business
card
to
your
brochure
so
you
can
be
prepared
to
promote
your
organization
wherever
you
go.
The
purpose
of
a
brochure
is
to
gain
something
directly
from
the
use
of
the
brochure
(i.e.,
recruit
volunteers,
gain
financial
support,
educate
prospective
customers,
etc.).
Be
sure
that
all
elements
of
your
brochure
support
its
purpose.
The
copy,
visual
elements,
and
distribution
plan
should
all
be
in
line
with
your
final
objective.
Back to top Raster
Images
vs.
Vector
Graphics
Computer
graphics
can
be
created
as
either
raster
or
vector
images.
Raster
graphics
are
bitmaps.
A
bitmap
is
a
grid
of
individual
pixels
that
collectively
compose
an
image.
Raster
graphics
render
images
as
a
collection
of
countless
tiny
squares.
Each
square,
or
pixel,
is
coded
in
a
specific
hue
or
shade.
Individually,
these
pixels
are
worthless.
Together,
they’re
worth
a
thousand
words.
Raster
graphics
are
best
used
for
non-line
art
images;
specifically
digitized
photographs,
scanned
artwork
or
detailed
graphics.
Non-line
art
images
are
best
represented
in
raster
form
because
these
typically
include
subtle
chromatic
gradations,
undefined
lines
and
shapes,
and
complex
composition.
However,
because
raster
images
are
pixel-based,
they
suffer
a
malady
called
image
degradation.
Just
like
photographic
images
that
get
blurry
and
imprecise
when
blown
up,
a
raster
image
gets
jagged
and
rough.
Why?
Ultimately,
when
you
look
close
enough,
you
can
begin
to
see
the
individual
pixels
that
comprise
the
image.
Hence,
your
raster-based
image
of
Wayne
Newton,
magnified
to
1000%,
becomes
bitmapped
before
you
can
isolate
that
ravenous
glint
in
his
eye.
Although
raster
images
can
be
scaled
down
more
easily,
smaller
versions
often
appear
less
crisp
or
“softer”
than
the
original.
To
maximize
the
quality
of
a
raster
image,
you
must
keep
in
mind
that
the
raster
format
is
resolution-specific
—
meaning
that
raster
images
are
defined
and
displayed
at
one
specific
resolution.
Resolution
in
raster
graphics
is
measured
in
dpi,
or
dots
per
inch.
The
higher
the
dpi,
the
better
the
resolution.
Remember
also
that
the
resolution
you
actually
observe
on
any
output
device
is
not
a
function
of
the
file’s
own
internal
specifications,
but
the
output
capacity
of
the
device
itself.
Thus,
high
resolution
images
should
only
be
used
if
your
equipment
has
the
capability
to
display
them
at
high
resolution.
Better
resolution,
however,
comes
at
a
price.
Just
as
raster
files
are
significantly
larger
than
comparable
vector
files,
high
resolution
raster
files
are
significantly
larger
than
low
resolution
raster
files.
Overall,
as
compared
to
vector
graphics,
raster
graphics
are
less
economical,
slower
to
display
and
print,
less
versatile
and
more
unwieldy
to
work
with.
Remember
though
that
some
images,
like
photographs,
are
still
best
displayed
in
raster
format.
Common
raster
formats
include
TIFF,
JPEG,
GIF,
PCX
and
BMP
files.
Despite
its
shortcomings,
raster
format
is
still
the
Web
standard
—
within
a
few
years,
however,
vector
graphics
will
likely
surpass
raster
graphics
in
both
prevalence
and
popularity.
Unlike
pixel-based
raster
images,
vector
graphics
are
based
on
mathematical
formulas
that
define
geometric
primitives
such
as
polygons,
lines,
curves,
circles
and
rectangles.
Because
vector
graphics
are
composed
of
true
geometric
primitives,
they
are
best
used
to
represent
more
structured
images,
like
line
art
graphics
with
flat,
uniform
colors.
Most
created
images
(as
opposed
to
natural
images)
meet
these
specifications,
including
logos,
letterhead,
and
fonts.
Inherently,
vector-based
graphics
are
more
malleable
than
raster
images
—
thus,
they
are
much
more
versatile,
flexible
and
easy
to
use.
The
most
obvious
advantage
of
vector
images
over
raster
graphics
is
that
vector
images
are
quickly
and
perfectly
scalable.
There
is
no
upper
or
lower
limit
for
sizing
vector
images.
Just
as
the
rules
of
mathematics
apply
identically
to
computations
involving
two-digit
numbers
or
two-hundred-digit
numbers,
the
formulas
that
govern
the
rendering
of
vector
images
apply
identically
to
graphics
of
any
size.
Further,
unlike
raster
graphics,
vector
images
are
not
resolution-dependent.
Vector
images
have
no
fixed
intrinsic
resolution,
rather
they
display
at
the
resolution
capability
of
whatever
output
device
(monitor,
printer)
is
rendering
them.
Also,
because
vector
graphics
need
not
memorize
the
contents
of
millions
of
tiny
pixels,
these
files
tend
to
be
considerably
smaller
than
their
raster
counterparts.
Overall,
vector
graphics
are
more
efficient
and
versatile.
Common
vector
formats
include
AI,
EPS,
CGM,
WMF
and
PICT
(Mac).
Back to top Scanning
for
Different
Media
The
process
and
applications
of
a
scanner
are
relatively
simplistic.
It
acts
and
functions
much
like
a
copier.
It
has
the
same
little
scanning
bar
that
blinds
you
if
you
look
into
it,
and
instead
of
feeding
paper
(though
a
rare
few
do)
it
transmits
the
scanned
object
into
your
computer
and
allows
you
to
alter
it
digitally.
In
that
respect,
a
scanner
can
far
surpass
the
average
office
copier.
Color
Scanning
Scanning
color
pictures
can
be
fun,
but
it’s
also
very
challenging.
You
may
expect
to
get
the
same
quality
and
detail
as
the
original,
but
that’s
not
always
the
case.
A
critical
part
of
any
scan
is
determining
the
proper
resolution,
or
dpi
(dots
per
inch)
setting.
Most
scanning
software
allows
you
to
select
from
a
range
of
settings,
usually
between
75-6000
dpi.
Of
course,
individual
settings
depend
on
the
quality
of
the
scanner
you’re
using,
and
technological
possibilities
are
expanding
all
the
time.
Generally
speaking,
the
greater
the
dpi
(or
higher
the
resolution),
means
a
better
quality
scan.
It
also
means
that
you’ve
created
a
larger
file.
A
typical
400
dpi
color
scan
can
be
as
large
as
two
megabytes,
whereas
a
100
dpi
black
and
white
scan
is
somewhere
between
50-100
kilobytes.
There
is
also
a
major
difference
in
the
smoothness
of
color
shading.
The
edges
of
the
scanned
picture
become
more
jagged
and
irregular
when
using
a
lower
resolution
setting.
The
advantage
to
scanning
in
pictures
at
a
lower
resolution
is
that
the
files
are
not
as
large,
and
can
be
easily
attached
to
an
e-mail
or
saved
to
a
floppy
disk.
A
400
dpi
file
takes
a
long
time
to
transfer
on
a
slower
machine,
and
is
too
large
to
fit
on
only
a
single
disk.
The
disadvantage,
however,
is
that
the
lower
resolution
creates
a
lower
quality
picture.
Photo
images
found
on
the
Web
are
usually
scanned
at
72
dpi.
While
they
look
great
on
your
screen,
these
photos
will
not
print
on
a
color
printer
very
clearly.
Black
&
White
Scanning
In
scanning
black
and
white
text
or
photocopies,
the
concern
over
resolution
is
not
as
great.
Whether
it’s
photos
or
text,
contrast
is
just
as
important
as
resolution.
Sometimes
you’ll
need
to
darken
the
black
or
grays
to
add
contrast
against
a
white
background.
Adjusting
contrast
can
cause
otherwise
unnoticeable
scratches
or
particles
to
appear.
Using
Photoshop,
you
can
easily
increase
or
decrease
contrast
once
a
scan
is
completed.
Another
thing
to
be
aware
of
is
the
quality
of
the
original
you
are
scanning.
The
scanned
picture
can
never
be
better
than
it’s
original,
and
you
must
keep
in
mind
that
there
are
always
minor
deficiencies,
scratches,
or
other
imperfections
that
will
be
enhanced
by
the
scan.
Keeping
the
glass
on
your
scanner
clean,
and
double-checking
for
wrinkles,
smears
and
other
debris
on
the
original
will
usually
lead
to
a
high-quality
scan.
In
scanning
different
kinds
of
media,
the
best
thing
to
do
is
experiment.
Once
you
have
some
of
the
basic
principles
down,
you’ll
start
to
see
more
and
more
ways
to
apply
them,
and
even
begin
to
think
of
new
things
you
might
want
to
try.
Play
around
with
scanning
objects
other
than
pictures
or
documents.
Most
mid-range
scanners
can
capture
almost
anything
that
will
fit
on
the
glass.
Just
keep
trying
different
things
and
don’t
get
discouraged
if
success
is
slow
to
come.
Proper
scanning
techniques
can
take
years
to
refine.
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