As with the previous items, I don’t have a production template despite going back and forth with the client several times to request one. The only information I have is that this is an L-shaped fabric media wall, with each side measuring 2935 mm W × 2418 mm H.
I’d like to ask about the production artwork.
In the absence of a production template, would you normally prepare:
one Illustrator file with two artboards (one panel per artboard),
two separate files (one panel each), or
one long artboard covering both panels (5870 mm + bleed)?
My current approach is one Illustrator file with two artboards, each with 50 mm bleed on all four sides.
My main concern is the inside corner where the two walls meet. Is there any common production practice for how that join is handled, and would that affect how the artwork should be supplied? For example, would you normally allow additional overlap, align the artwork in a particular way, or is it simply treated as two independent panels with standard bleed? Currently I’m just treating it as two independent panels with standard bleed
If you do not know how the walls go together, that question cannot be answered. Do you have a kit drawing of how the frame snaps together?
Does the wall curve the corner and go on like a pillowcase? Then it is one file for the front and one for the back. The amount of bleed could be up to 2”
Does the wall have two free-standing elements that are clamped together at the corner (or freestanding with a clamp top and bottom?) This could be two pillowcase frames or frames with face velcro. That is two files for the face and 2 files for the back. The amount of bleed needed could be 2 inches and the safety would depend on the attachment method. If Velcro, you want to avoid the stitching running through important content.
Are the walls SEG frames? Again those would be one file for each face, left, right, front and back. Bleed would be around 1” and the safeties are minimal as the stitching is not seen.
I wouldn’t proceed without the frame drawing at the very least.
Your project is a train wreck. The way you are being asked to do this is not how it’s supposed to be done in the professional world.
I know they said earlier they can’t say no at this point it’s mostly done.
At this stage, I’d complete the design as far as reasonably possible, package all of the design elements, and hand everything over. Without accurate technical specifications, you cannot prepare reliable production artwork or guarantee that the finished result will work as intended.
This should never have progressed this far without a confirmed template, dimensions, production requirements, and approval from whoever is manufacturing it. Continuing to make assumptions only increases the risk that you will be blamed for a production problem that was outside your control.
Send the files with a clear written qualification along the following lines:
“Please note that the supplied artwork has been prepared using the limited technical information currently available. As the final production specifications and an approved manufacturer’s template have not been provided, I cannot verify that the artwork is suitable for manufacture or accept responsibility for any fitting, alignment, positioning, finishing, or production issues. The client and appointed supplier must review the files, confirm the specifications, and make any production adjustments required before proceeding.”
Thanks, both of you. I really appreciate the advice.
Unfortunately, I agree this project should never have reached this stage without the manufacturer’s template or technical specifications. I’ve asked the client several times, but they simply don’t have them and want me to “do my best.”
I’ll finish the visual design, package all of the source files, and include a disclaimer making it clear that the artwork hasn’t been prepared against an approved production template and must be reviewed by the printer before manufacture.
Lesson learned: next time I’ll insist on receiving the production template before starting any large-format exhibition work. Thanks again for helping me avoid making assumptions that could become costly later.
The problems you’ve experienced with these projects point to a troubling trend in the industry that has crept in over the past two decades without much notice.
There used to be tight integration between designers and printers. It was a collaborative relationship where designers selected the most appropriate vendors, then worked with them to produce artwork that met their specifications. There were dozens of technical considerations that went into producing the best finished product.
Many clients today believe they can save money by lining up their own vendors. These clients have computers and office printers, and all that’s required is hitting the print button. They assume that commercial printers do the same, just on a larger scale and with better quality.
The problem is that these clients don’t know what they’re doing, and they won’t save time or money. I’ve typically charged around 10–15 percent more when clients insist on handling the print coordination themselves because it will almost always involve more work and hassle for me, in addition to losing whatever agency discount I might have gotten (if that’s even a thing anymore).
Concurrent with this is that new designers never develop the production skills that are a necessary part of the job. Instead, they assume handing over the artwork to the client so they can coordinate the printing is normal.
Thanks everyone! Just a quick update: I ended up preparing the final files based on my best assumptions, as the client wasn’t able to provide a proper print template.
The client mentioned that the printer would produce a print proof anyway, so if anything needed adjusting, they’d let me know. And they did—the printer requested that the L-shaped wall artwork be supplied as one continuous piece rather than separate panels, so I revised the file accordingly. I haven’t heard anything further regarding the plinths or flags, so I’m hoping everything else was fine.
Sorry for the late update; I’ve been tied up with several other projects. Thanks again to everyone who took the time to help—I really appreciate all the advice!
I think you handled the project well. You pushed the client enough to make it clear that you didn’t have the necessary production information, while still completing as much of the work as reasonably possible. Most importantly, you made sure responsibility for approving the final production files rested with the client and printer.
This situation probably happens more often than you might think. The trick is to make clients aware of the risk without appearing unhelpful or pushing them away. It likely created additional work for you, though, so it may be worth accounting for that in future estimates.
You could include a technical contingency fee where approved templates, specifications or direct access to the printer are unavailable. Make it clear that the fee will be waived if the necessary information is supplied before production artwork begins.
Something like
“This estimate includes a technical contingency of XX% where approved production templates or specifications are unavailable. This charge will be waived where complete specifications are supplied, or direct liaison with the appointed production supplier is available, before artwork preparation begins.”
That gives the client a financial incentive to obtain the correct information, while ensuring you’re compensated for the additional work and uncertainty if they don’t.
