Need some advice related to printing gradient logos

just to add a bit about gradients.

A little bit of Dithering, or Noise can help with gradient banding if it becomes an issue.

Let me try to help...

1. How can I avoid banding when printing gradient logos and if this happens how can I fix it?

- Banding happens when output resolution is too low and, in conjunction with, low document raster resolution as explained by Mr. Talbot.  To solve banding you just have to make sure document and output res are sufficient.  This subject gets complicated quickly, you could benefit from reading Adobe's Print Publishing Guide > Levels of Gray.

2. What should I be aware of when sending these types of logos to a client or printer?

- Get in the habit of showing the customer and/or printer a contract proof of whatever it is you are designing.  Clients looking at a design on screen cannot see the actual flaws ( if any ).  A printed proof gives you the opportunity to fix whatever problem(s) before showing it to the client/printer.  If you do not have a proofer in-house, then send it out to a local print provider for a proof and have your customer signoff on the printed proof .  That is your protection.

3. What tips I can give to my clients when they require their logo to be printed on a business card for example?

- Keep it simple.  The more complex, the more problems that can arise during production.  Like JET says, only when it is appropriate do you use gradients and or other special effects.  Corporate identity is simple, easy to reproduce in any medium.  Typical stationery consists of 2-3 spot colors at 100%, sometimes in conjunction with tints.

4. What type of printer is the best for printing gradient logos?

- It's not the printer, it is the RIP ( raster image processor ).

The important thing is to focus on what JET wrote in his post.  Keep logo design simple and do read up on production in books like Adobe's Print Publishing Guide.  And, talk to the printer before you finalize your design.  Ask for feedback from other designers and post questions here along with samples.  When prepared correctly a gradient file should not band.  But, beware it could band on your monitor.  That is why you should proof any file using a print proofer.  Also look into PDF.  Many print providers ask for PDF files.

The principles involved are not specific to "logo" design. They are the same as generally applicable to any kind of artwork for commercial reproduction.

Do you understand the meanings of the repro graphics terms line art and contone (continuous-tone) and the difference between them?

A gradient is an example of contone art. Faithful commercial reproduction of contone artwork on offset printing presses requires screening; simulation of continuous tone by rendering it as arrays of tiny dots, be it AM (halftone; consistently spaced dots of varying size) or FM (stochastic; varying spacing of same-size dots).

Banding is a consequence of the resolution of the output device when rendering contone art as halftone screens. For any given halftone screen ruling (expressed as LPI; Lines Per Inch), the lower the hardware resolution of the output device, the fewer levels of gray it can produce. Each visible band is a change between two levels of gray.

So for any given output device, the likelihood of noticeable banding is affected by multiple factors, including:

• The resolution of the output device
• The screen ruling specified
• The distance the grad spans
• The number of separations (inks) involved
• The overall tonal range of each ink involved

Consequential considerations in the context of logo design:

• Although there are exceptions in narrowly-focused businesses, a strong logo needs to be recognized when rendered by many different reproduction methods. A logo is seldom just about commercial offset printing. It needs to be reproduced by engraving, embroidery, screen printing, foil stamping, fabrication, embossing, die cutting, and on and on. Line art is far more repro-versatile.
• A strong logo is an entity's signature message elegantly boiled down to its unencumbered essence. Gratuitous decoration just obfuscates that. If the "uniqueness" of the design is dependent upon contone effects like grads, you should probably go back to the drawing board.
• There are creative ways to suggest conceptual transition or action as line art, rather than resorting to contone effects. If the purpose of the gradient is merely decorative and not conceptual, it is probably superfluous and should be removed.

These are reasons why real logo design is more than just "making a little graphic."

JET