300 DPI again: how not to ruin a print with a pretty file

DPI vs pixels: math you can use

Width in cm × DPI

In “DPI vs pixels: math you can use,” the block on width in cm × dpi is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about width in cm × dpi, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Last week in class “Width in cm × DPI” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “Width in cm × DPI” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Width in cm × DPI” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Before bed after “Width in cm × DPI” I ask: what can I reproduce tomorrow without the article? If the answer is only “open the page,” there was too little practice. One repeated step on a fresh canvas beats three paragraphs read.

A4 in pixels

In “DPI vs pixels: math you can use,” the block on a4 in pixels is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about a4 in pixels, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Mistakes in “A4 in pixels” rarely show on a phone preview. Open the file on your main screen, step back, squint—the squint test from traditional painting works for dpi and gamma too. Use the phone to remind you to download a backup, not as final judge.

A common trap in “A4 in pixels” is comparing your setup to someone’s YouTube rig: different monitor, paper, software. Compare yesterday’s you to today’s you on the same file. I keep a “reference of the week”—one PNG I return to when I doubt myself.

Last week in class “A4 in pixels” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “A4 in pixels” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

3–5 mm bleed margin

In “DPI vs pixels: math you can use,” the block on 3–5 mm bleed margin is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about 3–5 mm bleed margin, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Last week in class “3–5 mm bleed margin” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “3–5 mm bleed margin” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “3–5 mm bleed margin” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Before bed after “3–5 mm bleed margin” I ask: what can I reproduce tomorrow without the article? If the answer is only “open the page,” there was too little practice. One repeated step on a fresh canvas beats three paragraphs read.

When 300 DPI is not required

Posters viewed from far away

In “When 300 DPI is not required,” the block on posters viewed from far away is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about posters viewed from far away, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Section “When 300 DPI is not required” can turn into a pile of unrelated tips. I keep one thread on a single study sheet: apply “Posters viewed from far away” to a simple still life—mug, book, lamp. A complex character can wait. On a mug you see line, tone, and export mistakes; on a dragon everything gets blamed on “not my style.”

Pair with monitor calibration: after “Posters viewed from far away,” open a short bit of the neighbor article and repeat one move on your canvas. That is how scattered topics stick—otherwise each guide lives alone and dies in a week.

I mention line stabilization and pressure not to tick a box but as a neighbor tool to “Posters viewed from far away.” Open both tabs only while you practice: read one paragraph, do one step on the canvas. Otherwise reading replaces drawing and everything feels clear until export.

Mistakes in “Posters viewed from far away” rarely show on a phone preview. Open the file on your main screen, step back, squint—the squint test from traditional painting works for dpi and gamma too. Use the phone to remind you to download a backup, not as final judge.

Web-only

In “When 300 DPI is not required,” the block on web-only is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about web-only, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

With a kid or teen, teach “Web-only” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Web-only” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Before bed after “Web-only” I ask: what can I reproduce tomorrow without the article? If the answer is only “open the page,” there was too little practice. One repeated step on a fresh canvas beats three paragraphs read.

Homework after “Web-only”: one before screenshot, one after, a three-word caption—what changed. Without captions a “final_v2” folder is meaningless in a month. That builds hand and eye memory, not just a list of internet tips.

Line art

In “When 300 DPI is not required,” the block on line art is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about line art, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

A common trap in “Line art” is comparing your setup to someone’s YouTube rig: different monitor, paper, software. Compare yesterday’s you to today’s you on the same file. I keep a “reference of the week”—one PNG I return to when I doubt myself.

Last week in class “Line art” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “Line art” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Line art” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Formats: PNG, TIFF, PDF

Send layers or not

In “Formats: PNG, TIFF, PDF,” the block on send layers or not is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about send layers or not, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

When a deadline hits, “Send layers or not” is the first cut. Then you pay for reprints or fix color overnight. I budget ten minutes for this on every commercial export—cheaper than one botched run. Beginners need fifteen on a study sheet, not commerce.

Section “Formats: PNG, TIFF, PDF” can turn into a pile of unrelated tips. I keep one thread on a single study sheet: apply “Send layers or not” to a simple still life—mug, book, lamp. A complex character can wait. On a mug you see line, tone, and export mistakes; on a dragon everything gets blamed on “not my style.”

Pair with online editor guide: after “Send layers or not,” open a short bit of the neighbor article and repeat one move on your canvas. That is how scattered topics stick—otherwise each guide lives alone and dies in a week.

I mention free drawing apps not to tick a box but as a neighbor tool to “Send layers or not.” Open both tabs only while you practice: read one paragraph, do one step on the canvas. Otherwise reading replaces drawing and everything feels clear until export.

Compression

In “Formats: PNG, TIFF, PDF,” the block on compression is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about compression, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Last week in class “Compression” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “Compression” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Compression” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Before bed after “Compression” I ask: what can I reproduce tomorrow without the article? If the answer is only “open the page,” there was too little practice. One repeated step on a fresh canvas beats three paragraphs read.

Transparency

In “Formats: PNG, TIFF, PDF,” the block on transparency is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about transparency, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Homework after “Transparency”: one before screenshot, one after, a three-word caption—what changed. Without captions a “final_v2” folder is meaningless in a month. That builds hand and eye memory, not just a list of internet tips.

When we work through “Transparency,” I ask you to write down one concrete symptom: what exactly “breaks” on screen or in the file. Without a symptom we fix the wrong thing—buy a pen when the issue is dpi, or tweak brightness when the profile is wrong. After you note it, pick one step for today, not five. Tomorrow take the next if the symptom is still there.

When a deadline hits, “Transparency” is the first cut. Then you pay for reprints or fix color overnight. I budget ten minutes for this on every commercial export—cheaper than one botched run. Beginners need fifteen on a study sheet, not commerce.

Section “Formats: PNG, TIFF, PDF” can turn into a pile of unrelated tips. I keep one thread on a single study sheet: apply “Transparency” to a simple still life—mug, book, lamp. A complex character can wait. On a mug you see line, tone, and export mistakes; on a dragon everything gets blamed on “not my style.”

CMYK and profiles

Why color “died”

In “CMYK and profiles,” the block on why color “died” is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about why color “died”, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

I mention resolution and DPI not to tick a box but as a neighbor tool to “Why color “died”.” Open both tabs only while you practice: read one paragraph, do one step on the canvas. Otherwise reading replaces drawing and everything feels clear until export.

Mistakes in “Why color “died”” rarely show on a phone preview. Open the file on your main screen, step back, squint—the squint test from traditional painting works for dpi and gamma too. Use the phone to remind you to download a backup, not as final judge.

A common trap in “Why color “died”” is comparing your setup to someone’s YouTube rig: different monitor, paper, software. Compare yesterday’s you to today’s you on the same file. I keep a “reference of the week”—one PNG I return to when I doubt myself.

Last week in class “Why color “died”” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

Soft proof

In “CMYK and profiles,” the block on soft proof is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about soft proof, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

With a kid or teen, teach “Soft proof” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Soft proof” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Before bed after “Soft proof” I ask: what can I reproduce tomorrow without the article? If the answer is only “open the page,” there was too little practice. One repeated step on a fresh canvas beats three paragraphs read.

Homework after “Soft proof”: one before screenshot, one after, a three-word caption—what changed. Without captions a “final_v2” folder is meaningless in a month. That builds hand and eye memory, not just a list of internet tips.

Talk to the print shop

In “CMYK and profiles,” the block on talk to the print shop is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about talk to the print shop, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Pair with cloud storage for art: after “Talk to the print shop,” open a short bit of the neighbor article and repeat one move on your canvas. That is how scattered topics stick—otherwise each guide lives alone and dies in a week.

I mention contrast and focus not to tick a box but as a neighbor tool to “Talk to the print shop.” Open both tabs only while you practice: read one paragraph, do one step on the canvas. Otherwise reading replaces drawing and everything feels clear until export.

Mistakes in “Talk to the print shop” rarely show on a phone preview. Open the file on your main screen, step back, squint—the squint test from traditional painting works for dpi and gamma too. Use the phone to remind you to download a backup, not as final judge.

A common trap in “Talk to the print shop” is comparing your setup to someone’s YouTube rig: different monitor, paper, software. Compare yesterday’s you to today’s you on the same file. I keep a “reference of the week”—one PNG I return to when I doubt myself.

Home printer vs commercial print

Printer profile

In “Home printer vs commercial print,” the block on printer profile is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about printer profile, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

When a deadline hits, “Printer profile” is the first cut. Then you pay for reprints or fix color overnight. I budget ten minutes for this on every commercial export—cheaper than one botched run. Beginners need fifteen on a study sheet, not commerce.

Section “Home printer vs commercial print” can turn into a pile of unrelated tips. I keep one thread on a single study sheet: apply “Printer profile” to a simple still life—mug, book, lamp. A complex character can wait. On a mug you see line, tone, and export mistakes; on a dragon everything gets blamed on “not my style.”

Pair with online editor guide: after “Printer profile,” open a short bit of the neighbor article and repeat one move on your canvas. That is how scattered topics stick—otherwise each guide lives alone and dies in a week.

I mention free drawing apps not to tick a box but as a neighbor tool to “Printer profile.” Open both tabs only while you practice: read one paragraph, do one step on the canvas. Otherwise reading replaces drawing and everything feels clear until export.

Paper

In “Home printer vs commercial print,” the block on paper is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about paper, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

When we work through “Paper,” I ask you to write down one concrete symptom: what exactly “breaks” on screen or in the file. Without a symptom we fix the wrong thing—buy a pen when the issue is dpi, or tweak brightness when the profile is wrong. After you note it, pick one step for today, not five. Tomorrow take the next if the symptom is still there.

When a deadline hits, “Paper” is the first cut. Then you pay for reprints or fix color overnight. I budget ten minutes for this on every commercial export—cheaper than one botched run. Beginners need fifteen on a study sheet, not commerce.

Section “Home printer vs commercial print” can turn into a pile of unrelated tips. I keep one thread on a single study sheet: apply “Paper” to a simple still life—mug, book, lamp. A complex character can wait. On a mug you see line, tone, and export mistakes; on a dragon everything gets blamed on “not my style.”

Pair with layers in the editor: after “Paper,” open a short bit of the neighbor article and repeat one move on your canvas. That is how scattered topics stick—otherwise each guide lives alone and dies in a week.

Test sheet

In “Home printer vs commercial print,” the block on test sheet is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about test sheet, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Last week in class “Test sheet” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “Test sheet” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Test sheet” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Before bed after “Test sheet” I ask: what can I reproduce tomorrow without the article? If the answer is only “open the page,” there was too little practice. One repeated step on a fresh canvas beats three paragraphs read.

Export from an online editor

Maximum size

In “Export from an online editor,” the block on maximum size is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about maximum size, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Pair with cloud storage for art: after “Maximum size,” open a short bit of the neighbor article and repeat one move on your canvas. That is how scattered topics stick—otherwise each guide lives alone and dies in a week.

I mention contrast and focus not to tick a box but as a neighbor tool to “Maximum size.” Open both tabs only while you practice: read one paragraph, do one step on the canvas. Otherwise reading replaces drawing and everything feels clear until export.

Mistakes in “Maximum size” rarely show on a phone preview. Open the file on your main screen, step back, squint—the squint test from traditional painting works for dpi and gamma too. Use the phone to remind you to download a backup, not as final judge.

A common trap in “Maximum size” is comparing your setup to someone’s YouTube rig: different monitor, paper, software. Compare yesterday’s you to today’s you on the same file. I keep a “reference of the week”—one PNG I return to when I doubt myself.

Upscale carefully

In “Export from an online editor,” the block on upscale carefully is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about upscale carefully, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

A common trap in “Upscale carefully” is comparing your setup to someone’s YouTube rig: different monitor, paper, software. Compare yesterday’s you to today’s you on the same file. I keep a “reference of the week”—one PNG I return to when I doubt myself.

Last week in class “Upscale carefully” came up again—and that is a normal learning loop, not failure. We ran a mini check: canvas size, sRGB profile, one test export, open the file on another device. Two people only needed step two; one needed the export. Practice works as short checks, not an hour lecture.

With a kid or teen, teach “Upscale carefully” as a game: spot three differences between two prints, guess which file has fewer pixels. With adults, be stricter: a notebook table “cm → px → dpi.” Same logic, different tone.

If “Upscale carefully” feels minor, compare two versions of one file: before and after the fix. I show students that export, color, and sheet size are linked. A 5% brightness shift or ten millimeters of bleed sometimes decides whether print accepts the job or sends questions back.

Archive the master

In “Export from an online editor,” the block on archive the master is where theory meets a real file—not a shopping cart. I ask students to name one symptom before changing tools: wobble, muddy gray, wrong export size, or a driver that dropped pressure. Fix that single item, save a dated PNG, and compare to yesterday on the same screen.

Last week this showed up again in class: two people had the same complaint about archive the master, but one needed a smaller canvas and the other needed a layer rename. Same heading, different fixes—that is normal. Write three words after the session about what changed; “prettier” is not a metric, “exported without crop” is.

Homework after “Archive the master”: one before screenshot, one after, a three-word caption—what changed. Without captions a “final_v2” folder is meaningless in a month. That builds hand and eye memory, not just a list of internet tips.

When we work through “Archive the master,” I ask you to write down one concrete symptom: what exactly “breaks” on screen or in the file. Without a symptom we fix the wrong thing—buy a pen when the issue is dpi, or tweak brightness when the profile is wrong. After you note it, pick one step for today, not five. Tomorrow take the next if the symptom is still there.

When a deadline hits, “Archive the master” is the first cut. Then you pay for reprints or fix color overnight. I budget ten minutes for this on every commercial export—cheaper than one botched run. Beginners need fifteen on a study sheet, not commerce.

Section “Export from an online editor” can turn into a pile of unrelated tips. I keep one thread on a single study sheet: apply “Archive the master” to a simple still life—mug, book, lamp. A complex character can wait. On a mug you see line, tone, and export mistakes; on a dragon everything gets blamed on “not my style.”

• Count pixels, not only “300 DPI” labels;
• A4 at 300 DPI ≈ 2480×3508 px;
• PNG/TIFF for illustration;
• CMYK shifts are normal;
• Confirm bleed with the print shop.

1. cm × DPI → pixels (divide by 2.54).
2. Draw or resize before sending.
3. Add a bleed layer if needed.
4. Soft-proof if the job is CMYK.
5. Print a small A6 test.

Paper sizes: ISO 216 (A4, A3).

Frequently asked questions

Time to draw, not just read

Theory fades in a couple of days if you never use it. Open the editor and spend 15 minutes on what you just read. That is enough for the skill to stick.

Topics in this guide

• print art dpi
• prepare drawing for print
• resolution for printing
• export for print shop
• a4 a3 format

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