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Successful press checks

06 Apr 2009

Press check – two words that can strike fear into the heart of an inexperienced designer or marketing manager. While it's really nothing to fear, the press check is a critical step of the process that shouldn't be taken lightly.

Designers and printers have always had a delicate relationship. The reason is mainly because we don’t think alike, we don’t speak the same language and sometimes we just don't understand each other’s perspectives. The complexities of the creative process battle the limitations of the printing process, yet we need each other to coexist. Having said that, printers are very helpful and they do understand you have a genuine desire to make their job easier.

More than half the cost of a printed piece comes from the production process. So given the amount of time and money that’s gone into the job up to this point, why would you leave the printing to chance?

Relationships and referrals
Creative work that translates perfectly in print reflects well on you and your clients. The ultimate goal is to make your client really happy and continue using your services.

The second goal is to enhance your relationship with the printer by showing you’re easy and profitable to work with.

Press checks that are efficient in time and materials will help you become a part of the team in the printer’s eyes. In return, they may also give your time sensitive jobs some leeway in the future.

In marketing, few things are better than a referral. Printing in itself is an advertisement for you, your skills and your talents. Every time someone compliments your work, either to your client or your printer, it is possible that you will get referrals from both of them.

With all that said, let's take a look at the basics of preparing, performing and concluding a press check.

Colour
Probably the biggest reason to go to a press check is to check colour. If the colour is off or not what you imagined, it will cast a shadow over the entire piece. The catch is that colour is somewhat subjective. What looks good to you may not look good to the person next to you.

First, you must have final approval in writing either via email or a signed off proof. If the project is a magazine, folded brochure or a custom shape, show your client a full size mock-up. Their signature or written approval will ultimately protect you financially, if the job has errors that were not initially identified by your client.

A well organised and professional printer will call the day before or earlier on the day of the press check. Make sure that they’re on schedule, confirm the time and leave a number where you can be reached if things change at the last minute. The objective is to spend as little time as possible with the printer. You’re a service industry and don’t make money unless you’re being creative or in front of a computer.

If you have any last minute questions or concerns, bring them up now! You don’t want to waste everyone’s time and money correcting mistakes on the project while it’s on the press. This will ultimately lead to extra costs, which of course the printer is completely entitled to charge. If it is you or your client’s mistake, the meter is running while decisions are made on how to correct them.

Speak with your Account Manager or Account Service person if you have a question about your files or any other last minute details. If your client has specific areas of your design that they consider critical, such as this red must match the red in our logo, be sure to communicate that.

Digital proofs
Prior to going to press, you'll have viewed or signed off on a high resolution Contract Proof. You should be happy with the colour on this final proof, but you should also be aware that what you saw on the proof may not be exactly what comes off the press. The reasons for this vary. Colour accuracy of proofs can vary from printer to printer, although there are moves to standardise this in Australia. Many printers can match the proof near perfectly to what comes off the press on a coated sheet, but using an uncoated or metallic stock can have a big effect on colour.

Another way to see what different CMYK colour combinations will look like on coated or uncoated sheets is the Pantone Matching Books or Finsbury Green Colour Guide.

What looks good to you may not look good to the person next to you.

Many printers have a separate room for their customers with phones and Internet connections, so bring your laptop and prepare to make the most of your time while you wait. If you are bringing your client, let them know the same and be prepared to take them to lunch if things take longer than expected. Your Account Manager may also be happy to give both of you a tour or introduce you to other key staff members.

Showtime
Be on time by arriving 15 minutes before your scheduled time. This puts everyone at ease and shows that you are considerate of the printer’s time. Be friendly and relaxed with everyone involved in your job, especially the Print Supervisor and Printer. They have a wealth of experience in getting the most out of the press, so defer to their recommendations and make it clear that their opinions are valued because they know the limitations of the equipment and materials.

When you are asked to inspect the first press sheet, you could approve it and the press check is over! But, there are a number of things to check off your list beforehand. Do not feel pressured to sign off or make a decision quickly. It should take you at least five to 10 minutes of inspection and questions before you make your decision.

Standards and limitations
Know what your colour standards are before the press check. Are you printing something that's colour critical like a corporate PMS colour? Importantly, be aware that there are limitations to what can be done on the press and you may have to make a judgment call.

For example, colour adjustments are made in zones on the press (approximately 25mm wide). Let's say you want to adjust the colour of a red jumper, so the printer bumps up the magenta. This affects the whole zone on the sheet, and a blue jumper that's within the same zone now looks different. You need to decide if this is a trade-off you want to make.

Also be aware of colour density limitations. Printers have density standards for coated and uncoated paper, and they can only push a colour so much before it causes problems such as set off. So, a printer may be able to make a PMS colour a little lighter or darker by laying down more or less ink, but if you're looking for something drastic, the printer will have to reformulate the ink.

If colour matching isn't critical and you're looking for ‘pleasing colour’, the first thing you should check are flesh tones. Make sure your people look alive and well and not pasty, sunburned or seasick. Again, there's a degree of subjectivity here.

If it feels good
Finally, if anything looks wrong to you, speak up. Once you sign off on the proof, the printer will run the job accordingly. As you move forward, be specific in what you want to achieve with the next press sheet and be clear about the corrections you need.

Do not leave the building without informing the Print Supervisor or Account Manager as you won’t score any points if you can’t be found.

When the next press sheet is ready, compare it with the previous one and the proof. If everything is acceptable, sign and date the final OK sticker and thank everyone for their time and effort. By all means take an OK sheet away with you.

The average number of press sheets it takes to get to final approval is two to three. If there are more than that, then there is a mechanical problem, a problem with the digital files or someone's expectations are unrealistic.

A press check should never be used by you or your client as a tool to throw your weight around. Petty or unattainable demands will reflect poorly on the person involved.

Conclusion
Press checks can be a great learning tool for any designer and the added experience creates a higher value for you, your clients and the printer. Use it to build lasting and profitable relationships with both of them.

Consider sending a short ‘thank you’ note to your printer if the job went well and communicate your client's satisfaction by adding a short quote from them. If you go into a press check prepared and communicate clearly and concisely, everybody wins.

Things to consider

Does the colour match that of the proof?
Compare the press sheet with the Contract Proof to make sure the colours are vibrant and true. If you want to further enhance or reduce a colour, ask if other areas on the sheet will suffer.

Are the colours in register?
Look at the crop marks on the corners of the sheet and the marks at the centre of the sheet. They should be aligned with no individual colour hanging outside it. The printer will have a magnifying glass to take a closer look.

Is the paper stock the one you requested?
Make sure the paper is what you specified. Is it exactly what you expected? Better to stop the job now than reprint later.

Is there any white space showing?
Check that colours are butting up next to each other without overlapping too much or having white space between them. This could happen even if the sheet is properly registered.

Are the colours in the colour bars consistent across the sheet?
Fold the press sheet from one end to the other to compare.Make sure colour is consistent up and down and side to side on the sheet.

Are the halftone dots sharp in both the highlights and shadows?
Look for detail in the photographs of the proof and compare them to the sheet. You should be able to see the same clarity and detail, especially in the highlight and shadow areas.

Is the type sharp?
Inspect the text to make sure it is crisp and that there are no broken characters.

Are the graphic elements all present and accounted for?
Check the press sheet against the Contract Proof.

Are there any mystery marks in the white areas or smudged colour areas?
Look over the entire sheet for anything that stands out such as hickies (spots or imperfections) or picking (sheet surface lifting). If so, circle them on the press sheet as an indication that they need to be eliminated.

Does colour or pictures match up across sections?
If colour or a picture runs across the gutter and onto different sections in a book,make sure you put the sections side by side, to check that the colour and position matches and joins correctly.

Is it in the correct position?
The printer can use a ruler and pen to connect trim marks as well as cut, trim and fold sheets to make sure that bleeds are pulled out, everything is printing inside the trim marks and that everything is backing up correctly.

If a spot varnish is used, is it in register?
Check very closely with the magnifying glass.

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