The color and appearance of ink can actually change depending on the color, texture, coating, and weight of the paper you're using. The absorbency, gloss and whiteness of a paper greatly affect the appearance of inks, especially special color match, metallic and fluorescent inks. Also, the same color ink printed on coated paper stock can appear significantly different when printed on uncoated stock.

A special corporate logo color, for instance, may require an ink formulation on the actual paper to be used for the job. A representative print can be produced by the ink manufacturer in their laboratory and will provide the best representation of that match color. Ask your printer if a sample is required. If so, it is advisable to send a sample of
the ink on the production paper to the customer for approval.

If you want metallic or fluorescent colors, remember such inks are specialty items and must be considered carefully. The final effect of these inks is highly dependent on the quality of the paper stock being used. Even the best papers may require a double hit of the ink for best results. Be sure to discuss this with your printer. Also, it is wise to order these special inks well ahead of the press date.See the Technical Supplement for more information on these and other inks

Color guides and color matching chip sets or swatches have a limited shelf life and will change color over time. It is important to keep your color guides current. Send your printer a chip or swatch of the color you want matched.

Be careful when trying to print a special color on one form as a CMYK color match on another form. See the Technical Supplement for more information on spot color.

To proof or not to proof should not be the question. When in doubt always proof a job and proof often. Problems detected early in the production process are the easiest and least expensive to correct. Waiting until a job is on the press to check for mistakes is an expensive way to proof a job, and often too late. The cost of a color proof is next to nothing compared to hearing, "Stop the press—something's wrong."

Along the prepress workflow path, there are key places where proofing needs to be considered, if not mandated. A proof not only guarantees that the design up to that point is correct, but also what needs to be done at the next step is representative and properly communicated. During the initial stages, a black and white copy may be an adequate proof. As the design begins to take shape on the computer monitor, one or more digital color proofs serve to ensure that the finer details are reproduced or modified properly to match the customer's expectations. For workflow that is entirely digital. a final contract proof may be all that is required to finish the job. As a communication and quality control tool, a color proof serves as a contract for the customer, who wants an accurate prediction of the final printed job. and as a visual color target for the press operator.

In a more traditional conventional workflow, a photomechanical analog color proof, either overlay or single sheet depending on the critical nature of the piece, may be appropriate and necessary for customer okay and pressroom guidance. For black and white work or two-color work, a blueline maybe adequate to confirm element accuracy and register of the film separations. The types of proofs you choose will differ in cost and quality, and the number of proofs will add to the overall turnaround time. Proofing a job, however, can be viewed as an insurance policy of sorts—a small price to pay up front to guard against trouble and expense down the road. See the Technical Supplement for more information on Proofing.

Binding and finishing encompasses a huge field of specialized processes and involve many steps. Most of those steps will affect how a piece is designed, some will affect how a piece is printed, some will affect how pieces are combined, and some will affect the schedule and cost of a project. Watch especially for finishing steps that occur after the piece is completed. For example, a 4 i/2-inch panel on a brochure may fit the printer's sheet, may cut and fold correctly. but if the brochure is to be placed in a rack with 4-inch slots, there is a problem. To avoid frustration and potential expense, consider finishing steps as you plan, then check them again each time you make a change in any of the project specifications. See the Binding/Finishing section for more information.

Press checks needs to be scheduled. so discuss this with your printer early, during the planning stage.

How is your printed piece going to be delivered?
Delivery considerations impose limitations that may affect each step of the production process. For example, if your final product will be inserted into a magazine or newspaper, the publisher may have size, trim. bleed, weight and product identification requirements. These requirements must be communicated to those who plan, design and print the product.

If you plan to mail your printed piece, this is the time to decide if a small change in size or basis weight of the paper would reduce your postal costs. Make a dummy of your project using paper with the same weight that you intend to use for production of the final piece, then weight the dummy and determine your inailing costs. To minimize postal costs, ask these questions:

Must you conform to weight and size limitations to stay within the amount budgeted for postage?

Can you take advantage of special labeling discounts, such as bar codes, business reply cards or mail permits. If so. make sure the designer understands these requirements. Are the plans for paper, ink, printing and binding suitable for your delivery requirements? Factors may include paper weight, requirements for sealing folded pieces, selecting scuff-proof inks and designing noncrushable products.