Getting a job printed and working with printers may seem overwhelming, perhaps intimidating,
but it doesn't have to be.
In fact, when you know the basics of the procedure and when you understand them from the point
of view of the printer, you can handle production jobs quite efficiently.
This video is designed to give you those basics by focusing on the specifications and production
details of three typical printing jobs.
For each job, we'll take you through the step-by-step procedure that every print buyer
uses with his or her printer.
We'll show you how this process generally revolves around 12 basic questions that printers
ask about each job they undertake.
The jobs you'll experience on this video are authentic.
You'll see clients meeting with printers, and you'll meet experts who offer advice
on how to avoid problems when producing a project.
Throughout the presentations, you'll gain considerable insight into the underlying principles
of the lithographic process.
This video will show you how to develop a productive, working relationship with your
printer by communicating with him in his terms by speaking his language.
By doing so, you will avoid costly mistakes and much aggravation on both sides, and soon
the prospect of getting a job into print won't seem as intimidating anymore.
Now, let's look at the 12 basic questions that you can expect your printer to ask concerning
your job.
Each question will be dealt with over the course of this video.
Number one, what is the project?
Whether it's a brochure, calendar, poster, letterhead, or other project, your printer
needs to know if it's a job that he can produce economically on his own equipment, or if there
are any components that he will have to farm out.
Number two, is there a dummy or layout available?
A dummy or comprehensive layout may not be necessary for a simple, single sheet project,
but it is mandatory for a more complex project.
The dummy provides important data the printer needs such as the number of pages, number
and location of folds, scores, or perforations, number of photographs, and so on.
Number three, what size will the finished product be?
Size needs to be considered upfront because it determines the size of the press needed,
sheet size, amount of paper to be purchased, and ultimately whether or not the printer
has the equipment available to handle the job.
A full-size dummy should be provided, although a scaled-down version with actual dimensions
indicated could suffice.
From this information, the printer will determine if his equipment is appropriate and how the
job will be set up on the sheet.
Number four, what paper do you want it printed on?
This is often determined in advance by the designer, but it probably should be done in
consultation with the printer since he'll probably be buying the stock.
The printer can provide sample swatches and perhaps save you money by suggesting a less
expensive alternative.
You may have samples of jobs similar to yours already printed on stock you are considering.
Ask to see these samples because they might suggest possible alternatives for paper as
well as design.
Number five, how many ink colors are wanted?
Remember that each color represents a separate ink application and requires appropriate negatives
and plates, each adding to the ultimate cost.
Plus, color will determine which press the printer uses for your particular needs.
You may even have to select another printer.
Number six, what is the quantity?
This can be a tricky guess.
In the end, it's better to order more than you need because it's expensive to put the
job back on the press and run more because you underordered.
Look for prices at reasonable quantity increments though, remembering that estimates take time.
Look for price breaks or points where the cost per thousand changes significantly.
Remember, the more you buy, the cheaper the cost because the unit price decreases with
volume.
The pre-press fixed costs are spread over a larger base and after a certain point, the
major cost variables are paper and press time.
Buy small quantities of time sensitive items so that you're not stuck with the useless
outdated inventory.
Number seven, will there be any half tones?
Certain artwork needs to be screened like photos or artwork with continuous tones.
Make sure such material is prepared according to the printer's expectations with appropriate
crop marks, sizing indications, screen rulings and so on.
Number eight, will camera ready artwork be furnished or will the printer be expected
to do some of the preparation?
First of all, agree on a definition of camera ready since the degree of readiness will affect
price and completion time.
Decide who will prepare the camera ready artwork in the most effective and cost efficient manner.
Type is part of this consideration.
The printer will want to know if he is expected to furnish type or if it will be purchased
elsewhere.
And if the job is for color, he'll need to know if separations will be furnished or if
he is expected to obtain them.
Number nine, what are the requirements for special techniques, finishing and binding?
The primary printer you are working with may not be equipped to handle such special effects
as foil stamping, embossing, die cutting or even certain finishing operations like folding,
stitching and perforating.
If any of these operations are necessary, he needs to know whether he can handle them
himself or if he needs to subcontract the work.
Number ten, how will the job be distributed?
Your printer will need to know if the job is to be mailed and if so, what special considerations
exist.
Is it a self mailer or does it need an envelope or special packaging?
If self mailed, are there weight, postage, cost restrictions that affect the choice of
stock or even the design itself?
Will stock envelopes be used and if so, who will furnish them, an outside source or the
printer?
If they need to be custom made, extra time and cost must be allowed in the overall production
scheme.
Number eleven, when is the job needed?
Establishing schedules with your printer is crucial to the success of every job.
For complex jobs, allow enough time for everyone to pay attention to the details.
Rush jobs are expensive and stressful.
Involve your printer at the earliest possible point in the project to allow him time to
order paper and possibly subcontract specialized operations.
Look out a schedule that is agreeable to both of you.
Remember that your job isn't the only one in the shop, so if you don't hold to your
schedule, you may disrupt others and lose your place in the workflow.
Number twelve, how will the job be proofed?
If your job is simple, you'll see a blue line.
A more complex job will be proofed with a color key or chromalin.
Proper but reasonable corrections need to be made before the piece is printed.
Discuss with your printer what can be changed without major disruptions to the cost of the
project.
Now let's watch three actual printing jobs being taken through production.
What we're doing is a corporate brochure for Rockford Powertrain and they're using
it as an image piece as well as a handout with their sales people.
And they'd also like to use it at some trade shows and things of that nature.
I see.
It's a beautiful looking piece.
I see you've got a color comprehensive there.
Right, we do.
We can flip through it and give you an idea of what it was that we're doing here.
Okay.
I see you've got a lot of color work inside.
Uh huh.
Approximately how many pages is it going to end up being?
I believe it's twelve.
Twelve pages?
Okay.
And you said you're going to be using it at trade shows and as handouts, what kind
of a quantity would you like us to provide you for as far as quotation purposes?
Well, we're looking for two quantities if you could, one at 7,500 and the other at
10,000.
Alright, 10,000.
Have you selected the stock yet, Deb, as far as?
Well, actually that's what I'd like your recommendation on.
Okay.
We had several maybe that we would recommend probably in an animal stock, an LOE or something
like that, maybe a productive one.
I've brought several samples with us or we have and we'll leave them here and maybe
let you peruse them at your leisure to see what you think and then maybe we can talk
about it again.
Okay.
But any of these stocks here would be fine.
I'm thinking, Deb and Don, with a twelve-page, don't you think, Don, that kind of a medium
weight cover stock would be about the right feel for a corporate piece?
Right.
Okay.
I would vote on that type of a stock and give you some options down the road.
That sounds good.
I want to give you the prices.
Okay.
The finished size of the piece, it looks standard size, but do you know exactly what they look
like?
Right.
Well, exactly.
It's eight and three quarters by eleven and a quarter.
That's a little off size.
Right.
Eight and three quarters by eleven and a quarter.
Okay.
As far as the art materials that we're going to be working with, can you tell us at this
stage?
I see you've got the color comped up.
Right.
Will we be providing total camera-ready artwork?
Yes.
I will provide you with the boards and also camera-ready art, which our department has
previously completed.
Okay.
Okay.
The color transparencies, are you going to be providing those to us?
Yes.
I have them here.
I have eighteen transparencies on two slides, total of twenty.
I see.
So I understand then that you want us to create the color separations?
Yes, please.
From these transparencies.
Okay.
It looks to me like they're all pretty sized, so we'll be able to coordinate those.
Are there any of them that you have any difficulty with or are you comfortable with all of them?
Do you have any more?
Well, I thought you might ask that, so I decided to bring along a little problem.
This was a photograph which was taken, which you can read some type on here, which our
client does not want to have visible.
It was provided to us by them.
I see.
Unfortunately, we can't reshoot it because the actual product is in production right
now.
So I need your consultation on what might be the best thing to do to get rid of that.
It's not probably a large problem.
We can probably Cytex that and have that letter removed from that piece.
I would suggest probably, Dave, or maybe you can help me on this, we probably should quote
that separately.
Yeah.
I don't think so.
Because it'll probably go outside.
That way you can compare the cost of having a special effect done on this transparency
versus waiting and having a new shot taken when the final product is made.
Right.
Okay.
It's one of those things we can't do anything about.
I understand.
Well, this brings up another thought that I was wondering about as far as timing goes.
This would, of course, be a factor in the completion of the job.
When do you really need these brochures?
Well, we are having a trade show at the beginning of next month that we'd like to have it ready
for if at all possible.
If we can't have all of them ready, maybe some of them.
At least a partial delivery is possible.
Okay.
We'll have to work on our production schedule back to plan, look at what our press time
is going to be.
Okay.
Fair enough.
When we bring the quotation back then, we can have a production schedule at that time
to talk about it.
Okay.
What are the colors?
Have you decided on the colors and what process you're going to?
I know we're going to have five colors in a spot varnish.
One of the things that I brought along was this maroon-like color, which is Rockford's
corporate color, which we did want to incorporate into our current brochure.
We can match that, of course, with a PMS color for their company logo.
Good.
Now, are there going to be...
Did you tell me that there are going to be following pieces?
Are there going to be other pieces?
I think that there might be, although at this time, we don't know for sure.
That's one thing we're hoping for as well.
At least we can establish this color for future use.
Good.
Okay.
You're talking about five colors, four-color process in the photographs, and this fifth
color as a highlight.
I see the bar is marked in that special fifth color.
You said that you wanted a special treatment on varnishing.
Now, is this going to be just on the photos?
Yes, just on the photographs.
We want to make note down that that means we're going to have to create a special overlay
for those varnishes, because I don't see that the artwork's been overlaid.
Okay, good.
Okay, fine.
We'll prepare that.
Okay.
Now, we're going to do any special binding on this, Deb, or are we just going to saddle
stitch?
Well, saddle stitch, and I also like the brochure shrink-wrapped.
That's a good idea.
We have a corporate image piece like this to keep it protected.
And also in small cartons, if we can.
I know those boxes get pretty heavy.
Okay.
So, Deb, we'll suggest that we shrink-wrap them in maybe twenty-five or more.
That sounds good.
Yeah.
Okay, fine.
Now, we did say we were going to score this, and Deb, we're going to score that cover
anyway.
I think, you know, Don, with the cover weight that we're going to be dealing with here,
I think we might have to score that back cover so that it doesn't crack.
Okay.
And we really want this piece to look nice on a finished line.
Okay.
All right, we talked about the page count and everything else.
I think we'll come back, as I said, and talk about production schedules when we come back
with the quotation.
Okay.
I think that the job looks like it's going to be a beautiful piece.
Good.
I hope so.
We worked real hard on it.
Okay, great.
Well, I hope to hear back from you shortly, then.
We'll get back with you in just a couple of days with the quotation.
Okay.
Okay, Deb, thank you.
Thanks, Deb.
Thank you very much.
Sure.
Appreciate it.
Okay.
So we've got the job for this new Rockford powertrain piece, Tim.
I think Don and I need to go over it with you.
We're going to talk about some of the details.
We've got a full comprehensive dump here that will help us as we go through and prepare.
And transparencies, there are 20 color separations that have to be prepared as we go through.
We'll talk about those a little bit more in a second.
18 of them are from transparencies and 20, two of them are from color slides.
One of them has a real challenge on it that we need to work with.
Don, you want to cover that?
Yeah.
Okay.
Okay.
It's a piece of equipment that they shot about six months ago and they're going to use this
film.
However, since then, this piece of equipment has been lost.
There's writing on the top of the joint.
They don't want to take that off.
We discussed this with the client.
We think they probably have to do a Cytex operation.
You might look at this and make some type of determination yourself on what you want
to do.
But that's initially what we thought.
Okay.
So when we do the random proofs, we want to make sure that we have that individually
to show that we're doing the right thing.
Okay, so when we do the random proofs, we want to make sure that we have that individually
to show them before we go with complete proofs to make sure that they approve that as an
interim step.
Okay?
Dave, did we discuss it or would we be following pieces here and we're concerned about the
fifth color and the match of that color?
Good point.
They gave us this center here.
This is the fifth color.
Now, we checked with the client and it appears that this is a PMS 208 color match.
We want to make sure that on press we balance to this last piece to make sure it's a good
color match.
That's carried throughout this whole piece as a fifth color and then there's a spot varnish
on all the photos as you'll see marked on their legs.
Gloss varnishes?
Yes, a spot and gloss varnish.
That's right.
Okay.
Now, it's a 12-page book.
It's going to be saddle stitched.
What was the special packaging, maybe, question?
They wanted 25 shrink wrap and cartons that can be conveniently lifted by, I don't know,
any of your old names or whatever.
They're going to trade show usage and things like that sent out to their salespeople, so
let's put that special packaging in.
The stock, I think we checked the inventory and we needed to order some additional of
this stock.
That's LOE 80-pound cover.
80-pound cover.
It will be in, I think, in two days.
What I think we'd like to do now is go ahead with the random proofs and if you could help
us put together a production schedule.
We need to know when proofs will be ready.
They'll come in and look at those, Tim, and then the next thing will be full chromal and
proofs, then we need to put together a schedule for production and shipping.
Okay?
Okay.
All right.
If you have any questions about any of the other materials, let us know and we'll get
back with you.
Great.
Okay.
Debbie, the first thing I wanted to show you was the Cytex operation that we did on the
photo at the initial discussion.
As you see, the line copy that was in here.
Now, this is the finished product.
Oh, that's good.
They took that right out of there, so we think that the Cytex was the way to go with that,
and I think that will show well in the brochure.
We've already gone through and over the scatter chromums last week, which you saw and approved,
and now we came back with a full booked up chromes, and as you can see, they're in position,
so if you'd like to take a minute and look at them to make certain that you're satisfied
with the way the copy falls in the brochure and that we do have the pictures correctly
in the brochure.
All right.
As you can see, while you're looking through here, the fifth color is represented by this
pink.
This is a representation.
It's not the true color.
Okay.
Yeah, it wasn't quite what I expected.
No.
Sometimes people look at this and they say, oh my goodness, Mike, I don't want that color,
but that's not the color.
Okay.
How does it look?
Looks good.
It seems to have everything in the correct positions.
Yeah.
Okay.
I'll tell you what I'd like for you to look at also at this time is a blue line, what
we call a blue line proof, and this blue line proof is the mock-up of what the piece will
look like when it's finished, and as you can see, we've saddle stitched it, and once again,
this is just a representation of what the finished piece will look like.
Once we are on press, you will come back in, and at that time, you'll press approval.
We call it press check, and you'll get an opportunity to see this right on press and
approve color while we're doing that, so this is not the final check, okay?
This is just for positioning.
This is just for positioning and how it will look actually folded, okay?
Looks good.
Looks very nice.
Okay.
Well, then we're going to go ahead and go on to press, and that ought to be, I would
think, probably in the next two days, and we'll notify you and try to give you as much notice
as we possibly can.
Okay.
It'll probably be four or five hours.
That's fine.
So, you know, we'll call you and let you know and come in.
Sounds good.
Good.
Thanks.
Okay.
Debbie, I think the color looks real good.
We brought the red up, and it looks nice and even.
Why don't you look at it here?
Okay.
I think you got a sheet that you can sign.
I think so, too.
It looks really good.
It looks good?
Yeah.
Okay.
That's swell.
That's swell.
Hi, Dave.
Hi, Deborah.
How are you?
Nice to see you.
Good to see you again.
Say, we've got the finished brochure here to show you today.
I'm looking forward to seeing it.
I know you are.
There you go.
Oh.
Hope you like it.
It looks beautiful.
Great.
Great.
I'm going to have it ready on time for that trade show, so you'll make it.
This really turned out well.
Oh, yeah.
It did.
It came out really great, and the fifth color looks good, too.
It sure does.
I've got some samples here for you and your clients.
Okay.
Good.
Appreciate it very much.
Thank you.
Thank you.
We really appreciate it.
Okay.
Bye now.
Take care.
Now, some advice from people working in the printing business.
My advice to new prospects and clients would be to consider the importance of the artwork.
Wherever possible, they should try to contact the printer so that it's properly prepared,
because if it's not properly prepared, it could amount to a lot of extra time.
Well, the thing that I see most of is the packaging, how they want the material packaged
after it's finished, whether it be shrink-packed or just come right off to the stitcher straight
into the box.
A lot of times we get that, that they sometimes they'll want it boxed, and then when we get
it boxed up, they'll want to have it shrink-packed.
So then we have to unbox everything and then shrink-pack it.
That would save them money, because it takes us time to do one operation and then take
it all apart.
My advice to any new clients is to allow room in your budget for customer alterations and
changes, and to make sure that those are documented.
Okay, what I'm looking for here, Don and Gary, is we've got a two-color job that I've designed,
and we've got some very rich artwork that I'm concerned about punching on this calendar
that I've designed.
Here's your typical spread, and this is a typical illustration as far as density is concerned.
As far as the 12 months is concerned, this gives you a general idea of the quality of
all the artwork.
This is the board, obviously, and this is the artwork.
Now, my biggest concern at this point is making these illustrations as powerful as they are
in reality, and bring out that power and density in the actual reproduction.
Now, we're also reducing it 67%.
The art's been done up half up.
So, obviously, I want to, as much as possible, pick up all this fine detail that we see going
on in all of the areas of the illustration.
And yet, I don't want, for the sake of picking up all the fine detail, I don't want the black
to suffer because of it.
I don't want that to punch.
I think that we could do a black-on-black duotone to really enhance these dark shadow areas
and still remain with all of the detail of the knees highlight.
Fine details, like in the face here and in the hands that you talked about,
and then pick up your middle tones.
Good, because that's what I'm looking for.
I mean, obviously, we're highlighting the illustrations, but I don't want it to take
too much away from what my client is trying to accomplish with the history behind this project.
So, I want it to be powerful, and yet not totally overtaking the entire piece,
because it is an educational piece.
Well, definitely, that's what the duotone will do for you.
I think it will really reproduce the art the way we see it here.
A real halftone just won't do it justice.
That second shot is at a different angle, so that you don't have a moray in there.
I see.
When you have the two different angles of the forms of rosette.
And we won't have any problem with the registration.
So, basically, what we're talking is a difference between a two-color inside
and a three-color inside, because you've got two different black plates.
Precisely.
Okay.
What we could do on this, too, Gary, is we can give them a test shot of one black halftone
and make them a print on that, and then a Velox print or a quarter-lith print,
and then we'll make a duotone, a black and black duotone,
and show you a sample before you go through it all of them to make sure that's what you want.
That would be a good idea, because I definitely want this project
to get as much of the original as we've put into it.
Certainly, because you put a lot of hours into this artwork,
I'm sure that's what you want to do with it.
Definitely.
It looks very good. I like your boards.
Thank you.
Very clean.
Thank you.
Well, then I guess we've pretty much decided what we're going to do here.
I guess it's just a matter of putting numbers together now, right?
Okay.
Generally, when we're brought in on a project, our customer is looking for a price.
In this case, we bid a two-color cost as well as a three-color cost,
and we go in, we suggest a paper, and put together an estimate.
And then, at a later date, we get together with the customer
and really refine our pricing to a quotation.
Okay, here we have the artboard for the cover.
What I'm concerned with now is picking the colors, obviously.
I've got them marked here for my preliminary selections,
but I just want to make sure that the colors are going to match
and go with the paper stock that we pick out.
Okay, there's 227.
So, we've got Panto number 227, which is?
The dark one.
Which one here? This one here?
Okay.
Yeah.
155.
Nice, isn't that baby up there?
Yeah.
Okay, good.
That's good.
Oh, that blended for what you had in mind?
That looks perfect.
That's good.
That's a good contrast.
Yeah, this one looked like it'd be a little bit too heavy.
I don't want the background to be overpowered.
It might be more peachy looking.
Right.
Okay, that's good.
Yes.
That's good, but let's make sure now, leave those out,
and let's get the paper stock in and make sure that...
When we did your bid, we did it on a number two sheet,
a number one sheet, and a number one premium sheet.
Okay, we're going to flip these open to the gloss section.
You can get a comparison here.
Okay.
All right.
You can see that the number one gives you a very bright...
Brilliant.
...white.
Right.
It's coming down the line, the number two,
giving you the warmest tones.
It's more in a clay color.
All right, I'm leaning towards this bright white here,
but the artwork's been done.
The sheet that you illustrated this on
really comes closest to the number two.
Right.
This is really bright, which attracted me from the beginning,
but actually...
It would be too bright in the faces.
This looks like it would be good right here.
I'll carry through those warm tones, like in the 155.
I think that's very complimentary.
That's warm, but very clean.
That's fine.
That would be good.
We've made a regular halftone shot of your illustration
and then pulled the V-locks on it.
You can see that it just doesn't carry the weight.
You don't get that feeling of a really dense black.
But wait till you see, and we lay this second color down,
you really get to see the really dense blacks.
I see.
That really does make a difference.
It really makes it look like the original.
Almost makes it look 3D.
Are we going to have a problem though with this type now
that it's reversing out?
Not at all.
Okay.
No problem.
Not at all.
Okay, Jay.
Here are your proofs.
We have a proof of four-page spread.
We've got our first black on a V-locks for you
and then a color key overlay of your PMS.
This is just magenta, so don't be concerned about the color.
Right.
I was going to say the color doesn't quite match.
This is the proofing system being our second black.
Okay.
We want to make sure to check for broken type.
Look for any little spots.
Make sure all the type's on there, all the numbers are on there.
Make sure that everything that needs to be on there is on.
The purpose of this procedure is just to make sure
that we don't have any broken type.
Anything that's undesirable to it,
you don't want in there, you take that at this point.
This is your last look at this before it goes to press.
You see anything now is the time to circle it.
I see.
There's quite a bit of lint on here, but I imagine that's just...
Right.
No matter what you see, circle it and we'll check it out.
Now is the time to be picky.
Absolutely.
Right.
Okay.
Make sure it's in register, too.
If it looks out of register,
then we can double-check the registration on it.
Okay.
We've got some broken type up here.
Boy, there's a major one.
There's the smudge.
Boy, this is really looking great.
This is really looking great.
I'm really pleased with the color break
and the screen selection as well.
It's nice to see the buildup from the first stage
of seeing the sample do a tone,
then you go into the proof,
and then when you get your printed piece,
you'll see a nice stage buildup there.
Okay.
This looks good.
This looks good.
How many of these do we have now,
total that we need to go over?
We have a 32 and a 4.
We've got 8 in the one for the cover.
Okay.
Let's go for it.
Okay.
Okay.
Boy, these look real nice.
These look real nice.
Looks like the registration is real good.
Let's check the color here.
That's pretty close.
That's pretty close.
I'm pleased.
I can see where we've got a little lightness in here.
You can adjust that on the anchors, correct?
Right.
So it is good.
Okay.
It looks pretty nice.
My advice to prospective clients would be
just to make sure that we have enough time to produce the piece properly.
I think new print buyers should know and understand their artwork.
I deal with a lot of different artwork.
We see a lot of different varieties.
We talk about camera-ready copy,
and we get many things that aren't necessarily camera-ready.
We have to do a lot of work to them once we get them,
which adds extra cost to the job, extra time to the job.
A new print buyer should try to be in tune with what they want
and let us know specifically what we need to do to the job.
My advice to new buyers is to make sure that you get the designer involved,
the printer, and any other key people,
and make sure you let them know what you're trying to accomplish.
What do we have?
What are we looking at?
We've got a six-page brochure.
We did this two years ago, and we've run out.
We need some more printed.
Now, I understand from my predecessor that you guys did this the last time.
Right.
So that's the reason you're here this morning.
I figure if you've done this the last time, this looks fine.
Let's see what your price would be to do it again.
Okay.
Is it all new art?
Yes.
Okay, great.
How many pieces are we working with?
I mean the quantity.
Quantity?
25,000, I think.
Okay, and how many brochures?
There's four of them.
How many pages are involved?
Six pages.
Okay.
They're like this, just like this.
So I'm going to have 25,000 each of four brochures, six pages each.
Okay.
The number of colors, how will we be using them?
Well, I think it's going to be just like last time.
There were three different colors, I believe, on each of them.
You count black as a color, right?
Okay, black is considered a color.
And will that be common to all four pieces?
The black will.
The other two colors will be different on all four of them.
Okay.
I think what we'll be able to do is when we run this piece is incorporate all four pieces at the same time.
In other words, what we'll do is on one press sheet, we'll lay it out so that we can get all four up, run them at the same time.
On one press?
Exactly.
What we have is a six-color press.
We can incorporate the black as a common and then bring in the other PMS colors to satisfy that need.
And what you'll be able to do, it's much more economical doing it that way than it is to run one piece separately.
I thought you were going to have to do four different jobs here.
Not at all.
You'll do it all at once.
So what we'll do is we'll proof it that way.
And then when you're out for the press approval, you'll be able to see all four pieces at the same time.
Great.
Okay.
If I remember correctly, last time that we ran it, we used a 100-pound Vicksburg text.
Is that what this is?
Well, I just want to make sure that it's still going to be used the same way that it was last time as a direct mail piece and then also as a handout for your various hospitals.
And in that case, why don't we just keep it on Vicksburg?
What we did have last time is a business reply card.
Just like that.
Exactly.
And what you'd have people do is fill it out and then return it in the mail.
And this meets your mailing specifications.
Okay.
So that's what we'll keep that on Vicksburg.
What I do need to know is we will perforate.
We will score, and we're going to incorporate the same die-cutting.
Why do you have to score?
Is that what you call that line there?
What is that for?
It'll just help your folding process, okay, and keep your piece more consistent.
In a lot of cases, it helps prevent cracking on the binding edge.
Okay.
So when we're doing it, what we'll do is we'll do something just like this, is we'll die-cut the piece.
We'll score it, and then we'll also perf it at the same time.
And in fact, when we turn it over to our die-cutting, they'll do the full size sheet.
Okay.
They too will incorporate it all in one pass.
Okay.
Great.
I do need some more information.
Let's take a look at the artboards and see what we have involved.
Okay.
They're all right here.
Let's take a look at the color, and let's take it from there.
Okay.
I think you'll find that all the back pages are the same.
This back panel here is common to all of them.
Okay.
Back panel's common.
I'm pretty sure that's right.
Mm-hmm.
Mm-hmm.
Okay.
Mm-hmm.
And pretty much the layout's common to all four pieces.
The layout is the same.
The artwork in the middle is different, though, for each of them.
Okay.
Is that what these boards are for, then?
I think that's just what we have.
Mm-hmm.
Okay.
Does that look okay to you?
Was that prepared?
That looks fine, because everything seems to be marked properly.
What is this stuff called again?
That's an acetate.
Acetate.
Okay.
Acetate allows you to show sometimes cropping.
It'll show overlays.
Mm-hmm.
So I see.
And so you reduced this down to that size, and this becomes that tint?
Is that it, this red stuff here?
Exactly.
And then our film department will knock it out accordingly.
Knock it out accordingly.
It will differentiate this color from this color.
Oh, okay.
Okay.
So I don't need to worry about anything else besides just giving you this?
Correct.
Okay.
Let's get into some more specifics.
As far as we're assuming that we're using PMS 172 and 447.
Okay.
Very good.
How many halftones do you think we'll have?
You mean pictures?
Correct.
That one has one in the middle, and that one has one in the middle.
So they all have one in the middle, and one of them has one on the back.
Very good.
So what I'll have are a total of five halftones, all of which are what we call square cut.
There won't be any outlining involved.
Right.
Okay.
Okay, what I will be doing, I'll be perfing, scoring.
I'll be folding two times.
Mm-hmm.
Okay.
What size are we dealing with?
Are they still the same size?
Same size.
Should we, I'll tell you what, we can take this layout, match it up accordingly.
Mm-hmm.
Great.
Yeah.
And then top to bottom.
Now, do you have all the marks and stuff you need here?
I've got everything that's marked perfectly.
I've got my score mark and my perf, my indication for die cutting.
Okay.
So our agency did a pretty good job on this, huh?
Everything seems to be neat and clean and self-explanatory.
Good.
The, your screens are marked properly because that's important for us.
Your reverses are important for us to know.
And what we consider as far as knockouts or windows for our line art.
Mm-hmm.
Everything's to be incorporated properly.
Would it be of any savings to us if these, these tints here were all the same,
what do you call it?
Well, same value.
Yeah, the darkness and lightness, the same value.
Correct.
What we can do is make up a master flat and incorporate the same screen.
Mm-hmm.
And then we'll just use different colors when we're on press.
What it does is it does save time up in the stripping department.
Okay.
And everything's more coordinated.
Okay.
Should flow through smoothly.
Okay.
The, I do need to know how you would like this packaged.
What's the delivery schedule on this?
Turnaround time?
Let's see.
We need these to us on the 20th of the month.
Okay.
So we're looking to have some proofs for a meeting we've got coming up in two weeks.
Can you do that?
That should be fine.
So what we're looking for are proofs in two weeks.
Mm-hmm.
And then we'll say finished pieces in the third week on the 20th.
Mm-hmm.
And I'd like you to bring some samples to my office
before you ship the boxes of the finished pieces to the warehouse.
That would be fine.
Okay.
Samples 210.
Do you, is it important to have these shrink-wrapped?
Yeah.
Okay.
They have to be, they have a long shelf life.
Put it that way.
So I should.
They'll be around for two or three years, we hope.
I can figure convenient packages.
What's convenient?
Just something that can be handled properly.
Not too heavy.
For storage.
Yeah.
Okay.
20, 30 pounds maximum.
As far as your cartons go.
Mm-hmm.
Okay.
Are there, do you, would you like your cartons marked in any special?
Yeah, we, well, we would need each one to say what's inside it
in terms of the four different ones.
So.
Okay.
Refer to it by the title of the brochure.
Do you have a code number involved at all?
Like a part number or a publication number, something like that.
I think what we'll do is we'll just use the title of the piece.
Just use the title of the piece, yeah.
Okay.
Yeah.
Very good.
I'm just trying to think if there's any other thing,
anything that I haven't covered yet.
I think we're pretty well set.
I think the next thing to do is to take it back to our place,
review it with our foreman.
We'll have a discussion.
Mm-hmm.
And then we'll show you a proof in two weeks.
We'll show you a dialects.
Mm-hmm.
And a dialects would give you the folding aspect plus how it backs up.
Mm-hmm.
And then we'll also present a color key for each piece.
And that will show you your color breaks.
Mm-hmm.
And your screens.
Mm-hmm.
And your half tones.
Mm-hmm.
Sound okay?
That'd be fine.
When can you get me a price?
I'll get you a price tomorrow morning.
Okay.
Because once again, once I have this meeting,
I'll make sure that our estimator's involved with it.
Mm-hmm.
They know what's involved with the piece.
Mm-hmm.
And in these meetings, just to let you know,
what we have is we have our film department,
our foreman up there, our bindery department,
and our press informant.
And we incorporate this all with our production people, too.
What we try to do is game plan everything
and make sure that there aren't any problems that we haven't seen yet.
And we try to get it all up front.
If we find out that we have to do something just a little different,
we'll bring it back to you
and give you our suggestions to the solutions.
Bill, other than what we've talked about previously,
is there anything else that you have concerns about?
Well, the only thing that really stands out to me
is I notice that some of these colors,
like here and maybe that one over there,
are a little bit on the white side,
and we're going to be reversing that logo out of that background.
So maybe we could find out if that's going to be a problem.
Tim, what do you think?
Do you think you can carry enough?
Well, I think we can run enough ink on this particular job.
How many PMS colors are on it?
We'll be using a pill of six.
I don't see much problem with it.
And Bishop, perfing, squaring, die-cutting?
What I see you have here, I don't see any problems at all.
I think we'll do quite an honest job.
Tim, what we have here are the proofs for your four brochures.
We've got our dilux and we've got the color key.
The dilux will show us how the piece folds,
and then also it shows you how the inside will back up to the outside.
So you can see in case anything's crooked?
Exactly.
The color key will show us where the color breaks are.
We have acetate overlays to show you the positioning of the green,
positioning of the blue, and of course your black and your halftone.
What we'd like you to do is take a look at this
and see how it matches up with your tissue overlay.
So in other words, my color breaks that are indicated here
should also be visible on your color key.
Then what I'd like you to do is get all the key people involved in on this project,
have them review it, have them sign off on it,
and make sure that any changes that they would like to make are made now.
You will incur additional costs,
but it's much more economical to make the changes now
than if we were to be on press and then somebody notices a mistake.
So if we wanted to change this picture now, now's the time to do it.
Is that what you're saying?
Now's the time to do it, but you will incur additional costs.
More than if we had done it before.
Correct.
What we would have to do is reshoot a halftone, re-strip it in,
and then show you another proof for positioning also.
If we were to make that change while we're on press,
we would have to pull the job off, start all over again,
remake the plates, and then go back on press again.
So make sure everybody gets involved who wants to get involved,
have their final say, and then we'll take it from there.
This looks good, Mike. Looks great.
Thank you.
Okay, Tim, what we'll do is we'll take our PMS book,
see how our initial pull looks, and we'll check the PMS colors.
What we've got going from here to here, how do you think that looks?
I'd like to have this a little bit darker.
A little darker? Okay.
Okay, Tim, Eddie's got our second pull right now.
What we did is we brought this color up a little.
How do you think that looks?
That looks good.
Let me check this one over here.
Yeah, that looks fine.
How do you think we've come with this?
Yeah, the green's a little bit darker. Yep, it's fine.
Okay.
Tim, I'm returning the art boards to you.
I've got one of the four pieces that we printed for you.
This looks very good, Mike.
Everybody feels it ran very well.
Well, let's review what you've learned.
Your printer will ask you essentially these 12 questions
concerning every job you bring him.
Number one, what is the project?
Number two, is there a dummy or layout available?
Number three, what size will the finished product be?
Number four, what paper do you want it printed on?
Number five, how many ink colors are wanted?
Number six, what is the quantity?
Number seven, will there be any half tones?
Number eight, will camera-ready artwork be furnished
or will the printer be expected to do some of the preparation?
Number nine, what are the requirements for special techniques,
finishing and binding?
Number 10, how will the job be distributed?
Number 11, when is the job needed?
Number 12, how will the job be proofed?
Your printer will base his estimate and his plan of action
on the answers to these questions.
As you have seen, entering into a productive working relationship
with your printer requires a willingness to prepare,
to accept advice, to compromise, and to communicate.
Knowing what your printer will expect from you is a valuable first step.
Communicating with him in his language is essential.
With these basics in mind, you will be able to handle
any production job efficiently and cost effectively.
Thank you.
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