You see them at every convention and trade show. They hang from ceilings, flutter on banners, and adorn the walls. And instantaneously you can see which ones are effective and which ones are not. Some catch your eye better than others. Some compel you to take a closer look, to approach nearer,to linger on their message. While, for others, it’s easier to simply glance away.

They are large-format Graphics, and they have been a staple of expositions since the dawn of the convention for one basic reason: They are an extremely effective method for capturing an attendee’s attention.

Yet, as mentioned, some large-format graphics are more effective than others. Also, designing for large-format printing is not the same as designing for a magazine ad or a flyer. Fortunately, what works and what doesn’t is not a guessing game. There are some tried and true methods you can employ to ensure that, once they are printed and hung, your large-format graphics  grab the attention you deserve.

Negative Space Equals Positive Reception

First, before you even start designing, you need to have a solid grasp on the intent of these graphics. What are they trying to say? Are they selling a product, trying to direct traffic to a specific location, or something else entirely?

Subtlety is not a factor when it comes to large-format graphics. These images and text are meant to be seen from a distance,occasionally from a significant distance. So, often your message is best conveyed through images, space, and how you combine the two. It is not necessary to fill every inch with pictures, words, and text. In fact, typically it is best to use the fewest amount of words possible. Let a catchphrase and a bold image with some striking colors do the work.

It is natural to be worried about negative space, especially if you are new to designing large-format graphics. But when there is too much detail, it can actually muddy the message. Trade show large-format graphics are comparable to billboards. They are intended to catch the eye and convey a message in a limited amount of time (at least initially). That’s an impossible task to accomplish if too much detail is crammed onto the graphic.

“Font” of Knowledge

As for the minimal words you do use, make sure that the font you select is easily legible from a distance. You don’t want something that’s too ornate. Also, make sure that the colors you choose are distinct and complementary and that backgrounds are not too busy. When text is placed on top of a cluttered background, it becomes tricky to read.

If you’re concerned about your text being legible, there is a formula to ensure the font you’ve selected can be read from your specific distance.

Viewing distance (in feet) x 0.034 = Height of text (in inches)

Height of text (in inches) x 72 = Point size of text

However, the one flaw with the formula is that it assumes one inch of your specific font will equal 72 pt. While this is true of most fonts do, yours may not. Be sure to double check.

The Highest File Resolution is Not Always the Best Resolution

Interestingly, one aspect of large-format graphics is that your files may not need to be in the highest resolution. Unlike printed collateral, which should be printed at 300 dpi because the viewer is extremely close to the material, large-format graphics are intended to be viewed from a distance and often not even at eye level.

So, you may be able to print your graphic at 100 dpi. There are even instances where you could get away with 60 dpi, such as a large piece that is meant to be viewed from far away.

File Types: Bitmap vs. Vector

Two files types are generally used when creating large-format graphics. Which file you use is primarily determined by your design program (more on those below).

Vector Images – The significant benefit to using vector images is that they can be scaled up or down without any loss of quality. That’s because vector images are comprised of a series of points, each of which has a specific X and Y coordinate. This means that the mathematical relationships between the points creates paths, and it’s those paths that form shapes. So, your computer simply crunches some numbers when the image needs to be scaled.

Bitmap (or Raster) Images – Bitmap images are made up of thousands of little dots (you know them better as pixels). Each pixel is a specific shade of color, and when arranged in a particular pattern on a grid, they combine to create an image. Most designers encounter no issues when working with bitmap images. However, they can cause problems for large-format graphics. Unlike vector images, there are a finite amount of pixels in a bitmap image. Which means, when they are increased in size, your previously beautiful image can become a blocky, robotic-looking horror.

Photo Credit: Maijin The Artist

Use the Best Application for the Job

While there are many design programs available, when it comes to large-format graphics only two are generally used.

Illustrator creates vector images so these files can be resized without issue. The file’s size is also relatively small, so they aren’t complete hard drive (or cloud) space hogs.This also makes them easy to transfer to the printer.

Before delivering a file to a print shop, it is necessary to convert any fonts used into shapes. This is done for two reasons. One, you can’t be sure that the printer will have the fonts you used. By converting them,you won’t run into any font substitution problems. Two, if not converted, the font will become pixilated when increased in size. By turning them into shapes,they can be neatly scaled with the rest of the image.

Photoshop can only create and edit bitmap images. It is primarily used to alter photos and images (since all photos are bitmap images). For large-format graphics, bitmap images need to be really big, which means lots of pixels. This frequently equals a pretty big file size. Be sure to have the HD space available. Images created in Photoshop can be imported into other programs, like Illustrator.

Always Triple-Check Before Sending to the Printer

Printing a large-format graphic can be pricey since they require a significant amount of materials and effort. That’s why you need to be sure that your final file is indeed final.

But you can’t completely trust your computer screen, so you’ll need to print out some testers. Be sure to print it to scale, and since these are large, you’ll likely need to use legal (11×17) paper.

First, do a careful inspection of the graphic. Look for typos, weird issues with the image, and anything that looks off. Next, step back and try to position yourself – to scale – where the intended viewer will first see your graphic. Put yourself in their shoes. How does it look? Does it make the impact that you want? Could anything be different, better, more powerful?

Once you – and a couple of other people – and reviewed the printouts and given approval, it is time to send to the printers.

Ready to Roll

When it’s time to select a printer, keep The Trade Group  and our top-of-the-line printer department in mind.

One of our most versatile piece of equipment is the VUTEk GS Series 3250X Pro Grand Format UV Printer. The VUTEk can print on just about any type of material up to 126.5-feet-wideand two-feet-deep. So we can produce seamless, 10-foot high backdrops of virtually any length with images of the highest quality thanks to Ultradrop technology.

In addition, the VUTEk is environmentally friendly – using LED UV curing lamps that produce minimal heat and require low energy to operate.

We also have the EFI FabriVU 340, a 126” Grand Format Dye Sublimation Printer that can print directly onto fabric or via paper transfer.The FabriVU 340 uses dispersed, water-based ink, which provides a higher color gamut and more vibrant colors than were available in the past. Water-based inks are also very environmentally friendly.

Whether you print on paper or fabric, the material needs to be either heat set, or dye sublimated. This is a process that involves heat,pressure, and time, which is where the Klieverik GTC 3500 dye-sublimation heat transfer unit is used. When freshly printed fabric runs over the heat drum, the ink transforms into a gas, and ultimately, becomes part of the fabric.

The Klieverik machine has a 20-inch drum size, which is the largest available. The larger size enables The Trade Group to run an enormous volume of jobs through the machine every day without any compromise to quality.

Give us a call at 800-343-2005 and discover how our creative team and high-tech tools can help you when you’re ready to bring your big ideas to life.

The post 7 Essential Tips for Creating Eye-Catching Large-Format Graphics appeared first on The Trade Group.