Frequently Asked Questions
Q. Who can I
contact for custom print jobs?
A. You can contact any of our Sales
Reps for help in getting started on a custom print job. We also
have an online Estimate
Request Form available for your convenience.
Q. How do I send electronic files?
A. FTP (file transfer protocol) is a
way to get access to files that anyone can download from a server
on the internet. When our clients need information fast, we recommend
using our FTP server to transfer files from the client to us, or vice
versa.
Q. Can I email files to you?
A. Yes, you can. However, traditional e-mail is not a reliable method
of transferring files as they may become corrupt and often never reach
their destination due to file size limits set by servers. FTP is the
recommended way to transfer files. DO NOT USE TRADITIONAL E-MAIL FOR
ANY FILE OVER 2MB
Q. Can you print from my computer files?
A. Usually, however this answer is largely dependent on the application
being used. We can generally accept files created in any of the prominent
graphics applications (Adobe, Macromedia and Quark). Many programs
are ill suited to a digital workflow and don't always work for high-end
film imaging. Many Microsoft products (like Word) don't have or don't
support functions that are needed for print. Please contact
us before starting a new project and find out if we can support
your chosen application.
Q. How can I produce a professional product while getting the most
for my dollar?
A. Consulting with your print rep early in the planning stage
will prove invaluable. By understanding what you want from the
start, your rep can help you get as close as possible to your
original idea.
Your print rep is your most valuable resource. They can advise
you on equipment capabilities and limitations, and offer the
best choices of paper weight and catalog size to minimize mailing
costs.
Variables such as size, number of illustrations, photos, colors,
page counts and binding all affect the work to be done and the
time it requires. By providing as many details on the catalog's
composition as you can, your print rep can explain all the possibilities.
Know your budget constraints and communicate them to your print
rep early on. If you want to add special effects, but lack the
funds, your print rep can suggest alternatives that provide
the savings you need to afford those finishing touches.
Review your proofs carefully. Certain corrections, such as brightening
whites, can be fixed on the original scan to avoid costly color
corrections.
Q. How can I accomplish an effective mailing?
A. Design a test piece that can be economically produced in
rollout quantities.
Take advantage of postal discounts. Ask
us about suggestions.
Decide whether the piece will be inserted into an envelope,
pocket folder or recipient's file folder.
Consider the number of pages required. Eight or sixteen page
increments are most economical, and a self-cover is less expensive
than separate cover and text.
Make the most of your paper. Choose standard sizes that efficiently
maximize press image area. Substitutions of equivalent grades
can also save money, without affecting quality.
Q. How do I know which paper is right for my printed piece?
A. Consult with your printing rep early in the process of choosing
paper for your printed pieces. Ask about the economies of using
house stocks. It's also good to have an understanding of how
paper and its characteristics affect your finished product.
Here is a list of paper terms you should know:
Grain refers to the position of the fibers in paper. This is
most important in printing and binding. Paper folds smoothly
with the grain and is stiffer. When folded across the grain,
it can crack or become rough. For example, grain direction in
books and catalogs should be parallel with the binding edge
to reduce curl and make the pages lie flat and turn easier.
Basis Weight is a way of identifying paper. In the U.S., it
refers to the weight in pounds of a ream (500 sheets) in the
basic size for that grade. The basis size in the U.S. is not
the same for all grades of paper. Book paper, cover paper, bond
paper, newsprint, etc. all differ.
Color affects the color reproduction of lighter tints. Paper
colors vary with advertising fads from cool to warm shades.
Type is more easily read against a soft or yellowish white,
while process colors reproduce most accurately on neutral white
paper.
Gloss affects the appearance of the ink film.
It's wise to ask for printed samples of paper, not just mill
samples or swatch books.
Smoothness is a very important property for letterpress and
gravure, but has little effect on offset. Smooth surfaces have
irregularities that cannot be seen by the naked eye, but can
be detected by a magnifying glass. As smoothness decreases,
solids and halftones become grainy in appearance. Type is not
affected to that degree.
Certain papers meet the 7 pt. minimum of postal requirements.
These include 80 lb. coated cover, 65 lb. uncoated cover, 7
pt. hi-bulk matte or uncoated, double thickness of 70 lb. coated
text and double thickness of 60 lb. uncoated text.
Refractiveness relates to light absorption in the surface of
the paper, causing halftones to appear darker than they should.
Dummies are for smart people. Ask us, or your paper merchant,
to supply a paper dummy (mock up) of the exact size and weight
of paper you are considering. The paper dummy should be shown
to your designer, client/marketing people, printer, and mail
house/fulfillment center so that everyone involved has a clear
sense of what's involved.
Strength of paper is more dependent on the nature of its fiber
content than its thickness. Papers that are subjected to considerable
tension in use, such as those printed on web presses, should
have high tensile strength as well as high tear strength.
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