Our Myanmar DTP and typesetting services include:

• Myanmar Document Translations
• Myanmar Proofreading
• Myanmar Desktop publishing and typesetting using all major publishing software
• Desktop publishing into over 100 languages
• Quality assurance checking throughout the process
• Localisation of graphics in documents
• Dedicated project manager
• Fast turnaround
• Print-ready PDFs set to your specifications
• 100% work carried out in-house by our own DTP studio

We work for companies and organisations such as Disney, Vidal Sassoon, and Jaguar Land Rover, to list a few. Plus international aid agencies such as Amnesty International, Refugee Action, UNICEF and the Refugee Council as well as many translation agencies and publishing companies all over the world.

Why choose Adelphi

Clients often come to us with Myanmar translations produced by another agency or freelance linguist. However, in many cases, the translator will not have used a font that is compatible with any typesetting software, making the translation unusable. In cases where the wrong font is used, the entire translation has to be rewritten using a professional font, thus incurring additional costs for you.

Thanks to Adelphi’s typesetting expertise, we understand that Myanmar fonts are often incompatible with each other and cannot simply be swapped with other Myanmar fonts. When we produce the Myanmar translation, we make sure that it is translated using a professional font that works in typesetting software packages.

What is the difference between desktop publishing and typesetting

• Desktop publishing is also defined as: The production of printed matter by means of a printer linked to a desktop computer, with special software.

1. In some designs the pages are simply filled with text, leaving no room for text expansion. Most languages (with some notable exceptions) run longer than English and some of them run much longer. This causes the localised versions to have to make some sort of compromise: either text becomes smaller or a condensed font is used, or some material is completely cut out for brevity. Neither scenario is ideal, so it is much better to consider this aspect of the task at the design stage.
2. Overuse of text formatting features such as drop caps, CAPITALISED TEXT, coloured text, bold text and italic text etc. can slow down the localisation process, as the formatting needs to be applied to the precise word or phrase in translation that is equivalent to the English. Sometimes, this does not work at all if the target language has a dramatically different word order.
3. Embedded, non-editable text in images require extra attention and can slow things down dramatically, especially when over the main part of the image. Where possible, the text should be made available for editing in InDesign. If not, we will require all of the PSD files to work with.
4. Avoid designing paragraphs or “word clouds” with mixed font sizes that look good in English but have no chance of being replicated in the target language: quite often they do not have the same impact when localised and can often be “lost in translation”. Furthermore, due to word order difference, keywords in English at the beginning of a sentence might end up in the middle or at the end of the sentence when translated.
5. One of the most frequent issues we encounter is the incorrect and inconsistent usage of style sheets, in particular where one style has been used but in some instances, bold text, italics or even different fonts have been changed manually. This can cause significant delays in the localisation process.
6. Sending the artwork to be typeset BEFORE it is signed off by the client is never a good idea, and neither are new design changes after we have already started the work. We can do nothing in situations like these where significant changes are requested mid-project but start again and present new figures for the work, delaying work and incurring further costs for the client.