On complex or cost sensitive projects, ask your sales rep to discuss options before the design is done to achieve cost and time savings.

When cost issues prevail, consider carefully the standard sizes of papers. Most papers are based on a multiple of 8 ½ x 11 or 9 x 12 inches. For mailing purposes, square pieces cost extra postage.

In general, the more ink colors you use, the more expensive the job. However, it may be less expensive to use the same colors on the front and back of a piece.

Ganging pieces together can save significant dollars. The secret here is to use the same inks (number & type) and paper (type & weight). Quantities need to be the same or proportional. Talk to your sales rep about what is most efficient.

Paper is responsible for about 20% of the cost of the average job. It can range from 10-60% or more. Allowing substitute paper can save money, but make sure that what you require from the paper is clear. For example, foreign papers are often cheaper than domestic papers and have similar brightness and whiteness but not the same opacity. If your printed material would suffer from show-through, a foreign substitute would be a problem.

Metallic inks are beautiful and popular, but some of their properties are problematic. Two important issues: (a) Metallic inks and other inks don’t trap well to each other. Where these inks touch, printers must use minimal trap or sometimes must print the metallic first and dry trap the other inks to it. This can add significant cost or production problems. (b) Metallic inks can rub off on facing pages in a brochure, especially where dull or matte coated sheets are used. Preventing this requires sealing the metallic with a coating, such as varnish or aqueous, that often minimizes the metallic effect.

With any piece that mails, make sure that you understand the standards that it requires for automated handling. The postage cost is often higher than the cost of printing.

You can use process colors to create PMS matching colors. This can save money, as each color added costs more. But not all PMS colors can be matched closely. Reference books are available to check. Also, where large image areas are to be inked, PMS colors often provide smoother, more consistent coverage.

In general, coated papers (especially gloss) dry faster than uncoated papers. If you require very quick turnaround on a job (less than 3 days) and you have moderate to heavy ink coverage, use a gloss coated sheet.

Dull and matte coated papers have a surface quality somewhat like sand paper. Where sheets touch each other and where solid ink coverage occurs (even in small areas), the potential for rub-off increases. Always consider covering solid inks with a coating when using these papers.

Aqueous coating is a good substitute for varnish where a flood coating is appropriate and quick drying is required. It is most effective on coated papers. To seal ink on an uncoated paper, use varnish.

To create a “shiny pop” on an uncoated sheet, consider using a clear foil stamp. Varnishes and other coatings give a subtle pop at best.

Efficiency in printing is often a matter of fractions of inches. Sometimes adjusting the size of a print piece by 1/8 inch can save hundreds or thousands of dollars. Ask your sales rep to check on this.

Avoid reverse type smaller than 6pt.

Using process match color for type can be problematic. Keep in mind that the same process colors are used to create color in your photos. Where drastically different color contrast appears in photos across pages, keeping type consistent and photos color correct can be a challenge.

It isn’t always possible to match the color proof and the press proof. Some factors to keep in mind when press-checking:

• The paper used for the proof is different from the actual paper. It may be a bluer white or a more yellow white. Or the proof is coated and the press sheet is uncoated.
• Where two or more photos or color images are placed on the sheet, the manipulation of one affects the others.
• Many modern day proofs are continuous tone (there are no halftone dots). Although color looks good, occasionally problems like moiré patterns occur that are not discernible on a proof.

Offset and digital printing can give different results using the same art files. Digital printing is often recommended when you need a short run, quick turnaround or variable printing. Offset is better for medium to long runs that are static. In general, if you have a lot of dark solid ink coverage, avoid digital printing.

Color monitors will not show a good color representation of a finished print piece unless they are carefully calibrated. Laser color copies also do not usually represent reproducible color. The contract color proof the printer gives you is the best representation of the color you will receive on the printed piece. Correcting the color before the plate is made is the least expensive, most effective way to get color that satisfies.

The human eye can see about two million different colors. Printing presses are able to reproduce about 10,000. Sometimes this explains why you can’t get an exact match to an original.

Special halftone effects such as duotones and tritones are often made from the combination of different PMS colors. Since most modern day proofing systems are based on process color proofs, only color approximations can be achieved. On large, expensive projects, arrange to have duotones or tritones ganged on a sheet together and run as a press proof. Adjustments made here can save big dollars and heartache later.

Varnishes will yellow a printed product over time. This is not a problem for most printed pieces because they have a short shelf life, though it can cause a problem on reprints. Trying to match color to a previously varnished piece can cause the printer to “chase” the more yellowed product.

Aqueous coating will cause certain PMS colors to change color. Film lamination can also cause certain colors to change drastically. Inquire in advance about potential shifts.

Different lighting affects color perception. Natural, fluorescent and incandescent lighting all vary from the print industry’s standard 5000 Kelvin lighting (which should be used to view color). Keep this in mind when you view the finished product. Even the clothes you wear can have an impact on your perception of color.

As ink color dries, shift in color can occur. Establishing a standard for color from the beginning of a press proof process (e.g., specific density ranges) will help prevent “chasing” color during the proofing process.

Certain PMS colors are difficult to reproduce using process colors. But those in the red/blue (running toward purple) range are especially difficult to hold. Consider using a PMS color with red/blue color range.