Printing FAQ

For Packaging Division Click Here

  • Offset Printing Basics
  • Common Print Terms
  • Paper Basics
  • General Rules for all Applications

You may be hearing about this all the time, especially if you are scouting for the right printing company to process your materials. Offset printing is a popular choice among business owners to be used for print ads. Offset printing or offset lithography uses the idea that oil and water do not mix. If you are curious how it all starts and end, here is an overview of the offset process.

  • The design of the material will, of course, come from you. Whether you are availing the service of a printing company for postcards, catalogs, folding cartons, posters and the likes, it should start from you. You can input each element like the design, the text and other details of your materials using software like Adobe Illustrator to create the overall look of your project. You then have to hand that over to your trusted printed company. They can check the material and tweak certain elements to suit your current project.
  • Films are being produced using imagesetter with high resolution. Films can be positives and negatives. This imagesetter is a computer output device that is large format. It can use a photographic paper or a bromide paper and expose the sheets to a laser light source. After the film or the paper is developed, an image that is of high quality and is in black and white appears. If you will be using more than one color for your material, a separate film will be needed for every ink to be used.
  • The films are then used to produce printing plates through a photochemical process. During this period, the plates are being exposed to light that has high intensity by using the films. After that, the materials are being treated chemically. You will then have water absorbent areas that contain no image. This part will repel the ink.
  • There are printing companies that have adapted a modern method when it comes to offset. Instead of an imagesetter, a platesetter is used. This way, from the computer, the image is transferred directly to the plates.
  • Flexible plates are then attached to the plate cylinder that remains moist throughout the process. This way, the ink will only be absorbed by the image areas. For each press process, the ink image is transferred to a rubber blanket cylinder and then to the paper. Such indirect technique is what defines offset. This rubber blanket balances everything. It preserves the fragile plate. And it adjusts to the texture of the surface of papers.
  • The printing process begins. You may be knowledgeable with digital printing wherein the process can be accomplished right away. But despite the hassle-free kind of method that the digital technology provides, many business people still choose offset lithography. Offset is known for its ability to come up with vibrant and closest to real colors. And the materials that have been processed through this will last longer. Your materials will never go wrong when you have them made through offset printing. Now your only concern is for your project to be handled by the right printing company
  • Author's Alterations:Change in copy or specifications, made after production has begun.
  • Bindery: Print shop department or separate business that does trimming, folding, binding and other finishing tasks.
  • Bitmap: A graphic image constructed out of dots, also known as a raster image; contrast with vector images, which are constructed out of lines.
  • Bleed:Type or artwork that prints off the edge of the page.
  • Blind Emboss: To emboss without adding ink or foil on the embossed image.
  • Blueline Proof: A proof from negatives, where all the colors to be printed appear as different shades of blue on white or pale yellow paper.
  • Burn: To expose a blueline proof or printing plate with light.
  • Butt: Colors that touch without overlapping or white space in between.
  • C1S: Paper coated on one side.
  • C2S: Paper coated on both sides.
  • Calibration: Matching of input, display, proof, and final production, especially with regard to color.
  • Caliper: Thickness of paper expressed in mils or thousandths of an inch, as point size (.001 = one point).
  • CMYK: Abbreviation for the four process colors -cyan, magenta, yellow, and black.
  • Coated Paper: Paper with a coating of clay that improves ink holdout. Commonly known as glossy, enamel, or slick; also comes in finishes such as matte and dull.
  • Color Separation: 1. The process of separating a full-color original into the four primary printing colors, producing a halftone negative for each color (cyan, magenta, yellow, black:, usually accomplished with a scanner and software.
    2. Laser proofs, digital files, films, or plates that have been prepared so that each color to be printed appears on its own separate output.
  • Combination Screen: Also known as color build. Overlapping two or more screen tints to create a new color. Used with process color printing to simulate spot colors such as navy blue or purple, and also used with individual Pantone® spot colors.
  • Contact Print: Photographic print made by exposing a negative in direct uniform contact with special photographic paper. Often used to proof halftone quality.
  • Continuous Tone: Also known as contone. An image that contains gradually changing shades of gray. A gradation or blend, and a photograph of a face are examples of contones. A contone is simulated in printing by the creation of a pattern of halftone dots.
  • CTP (Computer To Plate): Plates imaged directly from digital artwork files. No film positives are produced.
  • Densitometer: Instrument that measures and controls the density of color inks in printing and proofing.
  • Digital Proof: Any proof output from a digital artwork file directly to an electronic printing device (such as Xerox, Iris, etc.
  • Direct Imaging (DI): Plates imaged with lasers directly on the press. DI is a trademark of Presstek, Inc.
  • Dot Gain: Phenomenon of dots printing larger on paper than they are on negatives or plates.
  • DPI (Dots per inch): A linear measurement of resolution that refers to the number of image dots or spots that a printer can create per linear inch (for example, 600 dpi or 1200 dpi).
  • Drawdown: Method used by ink makers and pressroom staff to show roughly how a color will appear on a specific stock.
  • Dummy: Preliminary drawing or layout showing visual elements. Also a simulation of a printed piece using paper specified for a job.
  • Duotone: Photograph reproduced from two halftone negatives and printed in two ink colors.
  • Emboss: To press an image into paper so it lies above or below (deboss: the surface.
  • Emulsion: Coating of chemicals on papers, films, and printing plates.
  • EPS (Encapsulated Postscript): File format used to save graphics for a variety of PC and Mac applications.
  • Fake Duotone: Halftone in one ink color printed over screen tint of a second ink color.
  • Film Laminate: Thin sheet of plastic adhered to printed paper for protection.
  • Flat: An assembly of negatives taped to masking material; or digitally imposed film, ready for platemaking.
  • Flexography: Method of printing on a web press using rubber plates with raised images. Used commonly for labels and packaging.
  • Flop: To reproduce a photograph or illustration so that its image faces the opposite from the original.
  • Font: Typeface of a specific style.
  • F.P.O.: For Position Only
  • Gang: Two or more originals printed on the same sheet of paper are said to be ganged.
  • Grain: The direction in which fibers are aligned in paper.
  • Gripper: The leading edge of the paper as it passes through the press. No printing can take place on the gripper edge (usually 3/8" from the edge:. Gripper dimension is press-dependent.
  • Hairline: Very thin line or gap about the width of a hair: 1/100".
  • Halftone: A photograph converted for printing by producing variably sized or spaced printable dots, creating the illusion of shading as it appears in the original photo.
  • Hickey: Spot or imperfection in printing, most visible in areas of heavy ink coverage.
  • House Sheet: General-use paper ordered in large quantities and kept in stock by a printer.
  • Image Area: Portion of paper on which ink appears.
  • Imagesetter: High resolution (1200 dpi to 5000 dpi: laser based photographic output device. Imagesetters can often produce both film and paper.
  • Imposition: Arrangement of pages on a press sheet or in an electronic file, so they will appear in proper sequence after press sheets are folded and bound.
  • Imprint: To print additional copy on a previously printed sheet.
  • Ink Holdout: Characteristic of paper allowing ink to dry on its surface rather than by absorption.
  • JPEG (Joint Photographic Experts Group): File format used to save and compress photographs. Used frequently to display photos on web pages.
  • Jog: To straighten or align sheets of paper in a stack.
  • Kiss Cut: When the top layer of self-adhesive paper is cut, but not the backing.
  • Knock-out: Alternate term for silhouette and reverse.
 
  • Laminate Proof: Proofs created by exposing film separations in contact with CMYK proofing material and laminating the resulting color sheets onto a piece of paper. Also known as MatchprintTM or Chromalin®.
  • Line Art: Type, rules, clip art, and other black and white images that do not have any screens or shading.
  • Liquid Laminate: Plastic applied to paper as a liquid, then bonded and cured into a hard, glossy finish.
  • LPI (Lines per inch): Resolution term used in printing that designates the number of halftone dots per inch that are printed horizontally and vertically.
  • Makeready: 1. All activities required setting up a press before production begins.
    2. Stock used to set up and produce the first saleable press sheet.
  • Moiré: Undesirable pattern in halftones and screen tints made with misaligned screens.
  • Mottle: Spotty, uneven ink coverage especially noticeable in large solids.
  • Nameplate: The graphically attractive portion of the front page of a newsletter that contains the name of the publication, along with volume number, date, company, etc.
  • OCR (Optical Character Recognition: Input and conversion, through scanning, of text as editable characters rather than as graphics.
  • Offset Printing: Method of lithographic printing that transfer ink from a plate to a blanket, then from the blanket to paper.
  • Opacity: Characteristic of paper that helps prevent printing on one side from showing on the other.
  • Opaque: Not transparent. Also a verb meaning to cover flaws in negatives with paint or tape.
  • Overlay Proof: Color proof consisting of polyester sheets laid on top of each other with their images in register. Each sheet represents the image to be printed in one color, resulting in four sheets for CMYK proofs.
  • Overprint (surprint): Printing over an area that already has ink on it such as type over a photo, or color on color.
  • Parent Sheet: Paper distributor term for sheet 17 x 22" or larger.
  • PDF (Portable Document Format): Cross platform file format from Adobe Systems, Inc., that incorporates all elements of a document (fonts, graphics and page layout: for viewing and printing.
  • Picking: Undesirable phenomenon of bits of fiber or coating coming loose from paper during printing.
  • Plate-Ready Film: Alternate term for flat.
  • PMS Color: An acronym used to describe colors of the Pantone Matching System, the most widely used standard for ink color manufacture and reproduction in the United States. There are more than 1000 colors denoted by a number, such as Pantone 347, or by name, Pantone Purple.
  • Preflight: The checking and preparation of an electronic file for output on a printing device. Involves checking for the presence of all high resolution graphic files, fonts, and other required elements necessary to properly print a file.
  • Quotation: Printer’s offer to print a job for a specified price calculated from specifications and dummies provided by the customer.
  • Ream: 500 sheets of paper. Usually precut and wrapped (typical sizes 8 1/2 x 11", 8 1/2 x 14", or 11 x 17" inches).
  • Register: To position printing in proper relationship to edges of paper and other printing on the same sheet. Such printing is said to be in register.
  • Reverse: Type or other image reproduced by printing the background rather than the image itself, allowing the underlying color of paper to show in the shape of the image. Alternate term for knock-out.
  • RGB: Red, Green, Blue color space used for viewing color on monitors and capturing color on scanners.
  • Saddle Stitch: To bind by stapling sheets together where they fold at the spine.
  • Score: To compress paper along a line so it will fold more easily.
  • Screen Tint: To create a lighter version of a color, images are converted to very small dots so ink will print at less than 100% coverage. Specified percentages, such as 20% tint screen.
  • Self-cover: Publication made entirely from the same paper so that the cover is printed simultaneously with the inside pages.
  • Sheetfed Press: Press that prints sheets of paper rather than rolls of paper (web).
  • Shells: A master sheet printed in quantity with information that does not change, to be imprinted later with copy as needed, such as shells for newsletters and business cards.
  • Signature: The name given to a printed sheet after it has been folded.
  • Silhouette: Photograph in which the background has been removed (masked out: to isolate an image).
  • Solid: A printed area completely covered with ink. A solid area 3 x 3" or larger may require additional attention on small presses.
  • Stock: Alternate term for paper.
  • Thermography: Method of printing using colorless resin powder and heat applied to wet ink yielding raised images. Also known as raised printing.
  • TIFF (Tagged Image File Format): The most common and portable format for saving bitmap images for printing.
  • Trap: When two or more colors touch, trap is the overlap allowed preventing white space from appearing between colors in the event of a shift on press.
  • Typesetting: The entering of text into a computer, along with placement and formatting of type on a page.
  • Up: Printing two-up or three-up means positioning and printing the same original 2 or 3 times on one sheet of paper to create a shorter press run.
  • UV Coating: Liquid laminate bonded and cured with ultraviolet light. Can be done full (over the whole piece: or spot (over selected parts).
  • Varnish: Clear liquid applied like ink on press for beauty and protection. Can be done full or spot.
  • Vignette: An illustration where background fades gradually until it blends into unprinted paper.
  • Wash Up: To clean ink from rollers, fountains, and other components of a press.
  • Watermark: Distinctive design created in paper during manufacture.
  • Widow: A single word in a line by itself, ending a paragraph, or starting a page.
  • Work and Tumble: To print one side of a sheet of paper, then turn it over from left to right to print the second side.
  • Xerography: Alternate term for photocopy

Choosing paper is more complex than just picking the most expensive sheet and keeping your fingers crossed. In fact, you shouldn't think about choosing paper based on the highest quality available, or the highest quality you can afford. Rather, you should figure out the most appropriate quality paper for your needs because most appropriate equals best.

The point is -- no one sheet fits every project. Paper is complicated. It is three-dimensional and, in addition, no two print jobs are ever alike. The ink coverage, batch of paper, and moisture in the air -- all will affect the production of a printed piece. We've compiled our top ten tips to help you find the right paper for your projects:

  • Consider Paper Early On
    As soon as the preliminary design is done, choose your paper and get quotes from printers. Tell your printer you are open to suggestions, not substitutes, but suggestions. Depending on the sheet size your printer plans to use, small changes like 5 mm in the width of your piece can sometimes make a big difference to allow the job to fit better on the sheet. At this stage, you can still make small adjustments to the design, but not when the client has signed-off on the final proof.

    Getting your quotes early will also make you aware of any turn-around times you should consider in your deadline. Make adjustments if the paper you have chosen is readily available from the local merchant (1 day) or has to be shipped from the mill's warehouse (2-5 days).

    A lot of mills also offer custom sheet sizes to minimize paper waste and help save on overall paper cost. But you need to know early, which paper you want to print on, as these orders can take anywhere from 5-14 days.

  • Personality
    Consider the life span of your printed piece. Is it a direct marketing piece, that on a good day, 5% of the recipients will look at? Or does your piece have a longer life span like an annual report, a marketing brochure or folding carton?

    The personality of your piece, its life span, texture, color and coating determine the price range and quality of your paper, in addition to your budget. Ask yourself what impression the piece should make. A non-profit organization asking for financial support sends a mixed message when its mailer is printed on a premium stock. Premium paper suggests luxury and the recipient may think, "why bother, they seem to have enough money anyway."

    If you are printing a job that reflects environmental issues, choose papers with recycled content, visible fibers or a mixed composition with a lower brightness and a texture that conveys the environmental feel.

    For projects that suggest luxury, metallics, iridescents, suede, leather and other specialty papers create a stunning first impression.

  • Finish
    When designing a piece, designers have a fairly clear idea of what kind of finish will enhance the design. Some designs ask for gloss, some need a matte finish. If color and crisp image or photographic reproduction is your concern, a coated gloss, matte or silk sheet is always a great and safe choice. But, there is definitely a trend toward uncoated sheets.

    Large corporations are aiming to portrait a softer, more understated image. With fluorescent inks and knowledgeable prepress technology, the natural surface of uncoated papers is an ideal background for four-color process printing.

    The paper is not only there to give the ink a foundation, but to enhance the design of the image you want to portray. Create a special interest even with a one-color print job. Don't shy away from trying something new, like unusually textured or specialty papers that are now readily available in India.

  • Color and Brightness
    There is white, white and white. And let no one tell you anything different. Papers are available in blue-white, balanced white, natural white, soft white -- you name it. Blue-whites, which are very popular at the moment, have a higher-brightness and allow colors to stand out, while warmer whites, which have a lower-brightness, are more comfortable on the eyes for reading or extended viewing.

    As you can imagine, not every white fits every purpose. Don't print warmer tones, such as skin tones, on a blue white sheet. It can easily make healthy-looking people look grey. This is what warmer white papers are made for.

    Brightness:

    Yes, there is a definite hype going on when it comes to brightness. Don't get hung up on finding the brightest paper because even when two sheets are placed next to each other, you won't see a two-point difference in brightness.

    A good quality, bright sheet is usually a more expensive sheet to make. Fillers and chemicals, such as fluorescent dyes and optical brighteners, are needed to create the paper's bright appearance. While they help give the paper a blue-white shade, they also take a toll on the paper's stability and runnability on press.

    When it comes to a premium white sheet, you pay for great brightness and perfect runnability. But how do you know which sheet/grade is right for you? Once you are considering a sheet, ask your supplier for a printed sample of the best sheet and one grade below and compare.

    Color:

    As for colored paper, it can enhance a one-color job and serve as a background cover, but it can also affect the appearance of the printed text and images. Blue ink on an ochre-yellow sheet will look green.

    But there are other options than offset printing on a colored stock. Create an interesting cover with blind embossing, foil stamping and/or a die-cut window that reveals a full color image on the inside of the brochure.

  • Weight
    Now that we know which finish and color we want for our print job, lets look at weight. We have writing papers for letterheads, text sheets for text pages in a brochure and cover sheets. We all know that these guidelines don't really have a big impact on your paper choice anymore.

    Generally uncoated papers are available from 40gsm to 150gsm , coated and matt papers from 90 gsm to 350 gsm and packagainge boards from 250gsm to 600 gsm. If your project will be printed on both sides and especially, if heavy ink coverage is involved, the paper's opacity is crucial. Make sure the paper you choose does not allow any show-through. If in doubt, go one step heavier in weight.

    If you are working on a piece that will be mailed, the weight of the finished piece is a major consideration. Watch out for postage costs and make sure the finished piece is below the postal or courier companies requirements. Look at your dummy and don't forget there will be ink and embellishments added to the weight, as well.

    There is something else you should remember: if bulk and weight are important, an uncoated sheet will work better for you. Due to the clay coating, a coated paper will weigh more than its same-sized counterpart. Even though it weighs less, the same piece printed on an uncoated sheet will be thicker because uncoated paper naturally has a higher bulk.

    If your job requires stiffness, such as with a business reply card, make sure the paper is manufactured to caliper and guarantees a specific thickness and stiffness. Papers are manufactured to either caliper or weight. A paper manufactured to weight has a slightly fluctuating caliper, as the main concern during the production process is weight.

 
  • Recycled Content
    Some of you might be familiar with recycled papers. The fact is that government agencies and conservation groups continually advance the issue and put pressure on corporations to "think green." So be prepared.

    When it comes to recycled papers, there are still a few misconceptions among designers and print buyers. Some believe that all papers are recycled anyway, and others worry about having limited paper choices. There is also a perception that recycled papers have a potential for technical problems in the printing process. All these fears are unfounded. If you think looking for recycled papers will limit your creativity, think again.

    It is not only the post-consumer contents you should watch out for, but also the way the paper you choose is bleached. For years, chlorine gas has been used to bleach paper, which produced cancer-causing dioxins that infiltrate our surface waters. Now ITC in India uses ECF, an Elemental Chlorine Free process that reduces these toxins dramatically, but doesn't eliminate them completely.

    A more environmentally friendly option is to look for paper that has not been bleached at all, or substitutes oxygen-based compounds for chlorine compounds. These papers are marked Totally Chlorine Free (TCF) when talking about virgin fibers, or Processed Chlorine Free (PCF) for recycled papers. The distinction is made because the origin of the content in recycled paper and the way it was bleached is not known and can't claim to be TCF.

    Another option is to look for paper that is FSC-certified. This means that the fiber content in this paper, even though virgin, comes from plantations that are certified by the Forest Stewardship Council for sustainable forestry practices.

    But, let's not forget about the paper's on-press performance. Today's recycled papers have come a long way, from what you might have heard about years ago, and run as smoothly on press as any virgin sheet. In addition, they are even known to score, fold and emboss better because recycled fibers are softer and allow these processes to be performed with ease.

  • The Printing Process

    If your budget allows for specialty printing processes, such as embossing, foil stamping, letterpress and the like, make sure your paper is suitable for these techniques. Look at printed samples. They are available and you just have to ask for them.

    As digital printing becomes more and more popular, be aware not to speck a digital sheet for an offset press and vice versa. Digital printing papers are made specifically to perform under the high heat/low moisture conditions of a digital printer or press. Offset papers are manufactured to perform at low temperatures and with liquid inks. Using the right paper for the printing process, whether digital, offset or specialty, eliminates one variable in print production that can cause problems -- and you don't have time for problems.

  • End Usage and Distribution
    Will the piece be mailed, mass mailed or handed out personally to selected prospects?

    We discussed mail-outs earlier, so watch out for overall weight and when choosing reply or post cards, make sure the paper you speck is manufactured to the caliper required. For educational or reference pieces with a long life span, pick a paper that offers sturdiness and durability. Synthetic papers, for example, have proven to be a great alternative to index stock, when it comes to tabs.

    If a piece is handed out personally, you are home free -- no postal regulations, no weight constraints -- well, nearly none. Will the person handing out the piece or the recipient want to make notes on the piece? In that case, watch out for coated gloss papers or varnishes. Few pens write well on them and your prospects will be frustrated. In cases where a lot of handling occurs and you are worried about fingerprints, a coating or varnish is definitely the way to go.

  • Price
    It has happened to all of us. We have champagne taste on a beer budget. Paper averages 60 percent of the cost of a print project. That is not a small percentage and definitely one to take a closer look at, if you work on a tight budget.

    There are a lot of ways to "cut corners" and save on the general paper cost, but this would make for a whole article in itself.

  • Availability

    If you were told in the beginning stages of your project that the paper you have chosen will be shipped from Uttaranchal and you are based in Mumbai, allow for some lead time. You will be well prepared and this will not be an issue for you.

    We do hear of frustration when it comes to a paper's availability and the term "mill item" comes up a lot. Be aware that a mill item to one merchant might be readily available on the floor of the next merchant.

    Due to the economic situation, merchants and printers try to carry less stock to assume less financial responsibility. Mills have, in general, warehouses all over the country and make sure they are always are well stocked, so you can have your paper in days, not weeks.

    When it comes to specialty papers, especially those manufactured overseas, certain amounts are stocked in warehouses here in India, but if you need a larger amount, they will immediately tell you if they need any extra lead time. Mills like Gmund from Germany and the Fedrigoni from Italy are known to airfreight paper to India, if needed.

    If you are in a rush and flexible when it comes to your paper choice, consider your printer's house sheets. As printers buy those in bulk, they are readily available and you will usually get a good price. In most cases, your printer is your best friend and you should have a good working relationship.We hope we've clarified many of the features you need to consider when choosing the most appropriate paper for your projects. If you keep our tips in mind, selecting your next paper should be a breeze.

General Rules for all Applications
  • All images used must be al least 300dpi.
  • Files must be CMYK (unless specifically grayscale or created with Spot Colours). The printing process DOES NOT support RGB files and any images left in this format will print with a dull or gray appearance.
Various Software’s and How to submit files when using them
QuarkXPress

Ensure all files have 3mm bleed on all edges (if applicable)

  • Edit your colour palette to make sure that;
    - all Colours Not Used have been removed
    - all Spot Colours have been converted to CMYK (if applicable)
  • Collect all Images and Fonts for Output - they are not automatically embedded
Illustrator

Please make sure that your document is the actual size that you want printing; placing a small item in the centre of a large empty artboard may result in confusion between the order and the artwork.

  • Ensure all files have 3mm bleed on all edges (if applicable)
  • Edit your colour palette to make sure that;
    -all used Swatches are removed
    -all Spot Colours have been converted to CMYK (if applicable)
  • Ensure all Linked pictures are supplied (if not embedded)
  • Ensure all Fonts used are included with your artwork - they are not automatically embedded
  • Please Note: The use of Drop Shadows and Transparencies are not supported by Spot Colours and will therefore be converted to CMYK which may produce an undesirable effect.
Photoshop

Please make sure that your document is the actual size that you want printing with a resolution of atleast 300dpi

  • Please increase the image size by 3mm on each side to account for bleed (if applicable). Stretching the image later to add bleed on may result in an undesirable effect.
  • Make sure file is NOT RGB
  • Ensure all Fonts used are supplied with your artwork - they are not automatically embedded
  • You may wish to supply your artwork as a layered file (unflattened tif or psd file) incase there are any minor changes that need to be made before we proceed to print. We cannot access the individual components of a JPEG or other flattened file and so will need to ask you to supply new artwork.
InDesign

Ensure all files have 3mm bleed on all edges (if applicable)

  • Edit your colour palette to make sure that;
    -all unused Colours have been removed
    -all Spot Colours have been converted to CMYK (if applicable)
  • Collect all Images and Fonts for Output - they are not automatically embedded
CorelDraw

Please make sure that your document is the actual size that you want printing; placing a small item in the centre of a large empty artboard may result in confusion between the order and the artwork.

  • Ensure all files have 3mm bleed on all edges (if applicable)
  • Edit your colour palette to make sure that;
    -all Spot Colours have been converted to CMYK (if applicable)
    -any Spot Colours specifically used have been selected from the Pantone Matching System palette
  • Ensure all Fonts used are included with your artwork - they are not automatically embedded
Publisher

Please make sure that your document is the actual size that you want printing; placing a small item in the centre of a large empty artboard may result in confusion between the order and the artwork.

  • Ensure all files have 3mm bleed on all edges (if applicable)
  • Ensure all Fonts used are included with your artwork - they are not automatically embedded
  • Please Note: Publisher DOES NOT support Spot Colours. We can only produce grayscale or CMYK jobs using this application.
Word

Word, as it’s name suggests, is a word processing application and as such is not suitable for any high end printing. Although we are able to print simple text documents from Word we strongly recommend that you DO NOT place any images or complicated logos into your documents unless you can guarantee that these are CMYK and of 300dpi or more.

Alternatively you could create a high resolution PDF from the files which we would be happy to print from. (See the section below for details on high res PDF settings).

Please Note: Word DOES NOT support Spot Colours. We can only produce grayscale or CMYK jobs using this application.

Excel

These applications are not designed with the printing process in mind and we would strongly recommend that any content from such file be converted to one of the previous applications.

Alternatively you could create a high resolution PDF from the files which we would be happy to print from. (See the section below for details on high res PDF settings).

PDF

Before creating the PDF please make sure that your document meets ALL of the requirements as described under the relevant application section overleaf.

  • In your print settings please ensure that you’ve;
    -set the paper size to the document size
    -set the resolution to the highest available (minimum of 300dpi)
    -added 3mm bleed
    -embedded all fonts
    -set colour to CMYK or CMYK + Spot (whichever is applicable)
    -checked the full resolution TIFF output
  • Ensure that your supplied PDF has been created using Press Quality in Distiller.
  • If creating a PDF from a PC program i.e. WORD, EXCEL etc please select PDF Writer or PDF Distiller as your printer

Style Switcher
  • Blue Default
  • Golden
  • Purple