Summit Graphics

Summit Graphics PDX is a division of Classic Exhibits, North America’s premier private-label designer and builder of trade show exhibits. Summit Graphics supplies fabric and direct print graphics for most Classic Exhibits purchase and rental orders. In addition, Summit Graphics works directly with Classic Distributor Partners on reprint graphics and non-trade show projects along with working with agencies and select clients.

The Classic Exhibits and Summit Graphics relationship ensures clients benefit from the unique strengths and capabilities of each company, whether that’s building three-dimensional structures or printing branded solutions.

We accept files using Adobe Illustrator, InDesign, Photoshop & Acrobat with Macintosh OS platform.

• Native document layout is best when created in Illustrator or InDesign.
• Links for Illustrator documents are best when created in Photoshop.
• Links for InDesign documents are best when created in Illustrator or Photoshop.

Native files should be packaged to include all supporting links and fonts.

You may include an approved low resolution PDF proof file to help as a visual reference.

• Outlined fonts are not editable. Live fonts are recommended so text changes can be made.
• Files should be supplied as one continuous document. Please do not create panels or tiles.
• A contour cut should be included in all files that need to be trimmed in any way other than document trim size. Cut paths should be on a layer designated as ‘Cut’ and built as vector.
• Gradients are reproduced best when created in Photoshop and placed in the native file.
• If the file needs to be scaled, please use 10%, 25%, or 50% of actual size.
• Desired spot color can be defined as a PANTONE match and should be assigned to all applicable elements in all (If using PANTONE please specify whether Coated or Uncoated)
• Raster files should be 100 ppi at size with acceptable image quality.
• Fabric graphics require a minimum of 1” of bleed on all sides – for a total of 2”.
• All other graphics require a minimum of .5” of bleed on all sides – for a total of 1”.

For graphics greater than 5 ft., please discuss bleeds with your Summit Graphics PDX Project Manager.

• Pole pocket files have a top and bottom margin that will be as wide as pole diameter plus 1.5”.
• When White Ink and/or Varnish are being used, file(s) should have the desired area called out as
• “White” and/or “Varnish” on layers of the same names respectively.

Color can be one of the most challenging parts of print production—and one of the most important. A color that looks perfect on screen or on one material may look very different once it’s printed, installed, or backlit. This guide will help set expectations, explain why that happens, and show you how to get the best possible results without unnecessary cost or reprints.

Pantone, CMYK & Color Reality

Pantone (PMS) colors are defined using specific ink formulas and are typically intended for opaque, front-lit printing.

• We print using CMYK (4-color process).
• Many Pantone colors convert very well to CMYK.
• Some Pantone colors fall outside the CMYK color gamut, meaning they must be visually matched rather than perfectly replicated.
• For brand-critical colors, especially vibrant greens, the goal is often a visual match in the final environment, not a literal ink formula match.

Materials & Lighting Change Everything

Color doesn’t exist in a vacuum—it reacts to its environment. The same artwork can look different depending on:

• Material (vinyl, fabric, acrylic, backlit film, mesh, etc.)
• Surface finish (matte vs. gloss)
• Lighting (front-lit, showroom lighting, or backlit)
• Backlit graphics are especially sensitive. Light passing through the material can brighten, cool, or shift a color—even when the CMYK values are technically correct.
• For backlit or specialty materials, we often recommend building a custom color that looks right when lit, rather than strictly matching a Pantone number.

Transparency, Layers & Why Color Can Shift

Modern artwork often includes Transparency, Drop Shadows, Gradients, Blending Modes

These effects look great on screen, but they must be mathematically “flattened” by print RIP software before printing. During that process, subtle color shifts can occur—especially in overlapping or semi-transparent areas.

To keep color predictable:

• Flatten transparencies when possible
• Export using PDF/X-1a or PDF/X-4
• Avoid last-minute file changes when color is critical