It’s a common misconception to treat all printing the same, especially when it comes to resolution. Thinking that a universal resolution fits every print scenario is like mixing apples and oranges and calling them grapes – fundamentally incorrect. This is particularly true when discussing Large Format Prints.
For certain specialized outputs, such as fine art digital C prints using a Lambda or Lightjet printer, a high resolution of 255 ppi (pixels per inch) is indeed necessary. These technologies and applications demand extreme detail and are often viewed up close, hence the need for such high resolution files to capture every nuance.
However, in the realm of commercial printing, especially large format prints designed for advertising, signage, and displays, this high resolution requirement simply doesn’t hold true. The primary reason is viewing distance. Commercial large format prints are intended to be seen from a distance. The goal isn’t microscopic detail; it’s effective communication of a visual message. Resolution in this context is less about sharpness at close range and more about clarity and impact from afar.
This isn’t a new concept born in the digital age. Even in traditional print media, lower resolutions were standard for large format prints. Think back to newspapers. As someone with experience dating back to assisting at the New York Post, I recall newspaper images being printed at a mere 60 dpi (dots per inch). This resolution was perfectly adequate for newsprint because the viewing distance and medium were considered. It served its purpose effectively for mass communication.
The same principle applies to even larger formats. Working at an ad agency, we produced 24-sheet posters at resolutions as low as 20 dpi. These massive large format prints, pieced together across entire office floors for proofing, were designed for billboards and outdoor advertising. The low resolution was sufficient because viewers would be seeing them from cars or sidewalks, far enough away that high DPI would be imperceptible and unnecessary.
The key takeaway is the distinction between large format prints for fine art and those for commercial display. Resolution requirements are dictated by viewing distance and intended purpose, not just print size. Modern large format printing technology is arguably even more efficient today than in the past at delivering impactful visuals at appropriate resolutions.
Furthermore, it’s important to understand that scaling a file in software like Illustrator for large format prints doesn’t magically alter the inherent file information beyond dimensional changes. The software essentially outputs the same visual information at a different scale.
In conclusion, understanding resolution in large format prints requires context. For detailed fine art, high resolution is crucial. For impactful commercial displays viewed from a distance, lower resolutions are entirely appropriate and efficient. It’s about matching the resolution to the viewing conditions and communication goals, not blindly chasing high numbers.
