Something has gone WRONG!

Something has gone wrong. Your order is complete but unsatisfactory because something is not what you expected. Let's freeze frame right here. Let's travel back in time to see where things go wrong, and what to discuss with the vendor (hopefully not me) to resolve the problem.

Here’s the scoop. This week we’ll look averting quality and proof related problems. Next week we'll look at problems with shortages and delivery and try to get a perspective on the issue as a whole.

QUALITY:

Problem: You'll know 'em when you see 'em. Color variation or mis-registration, uneven or incorrect trimming and folding, etc. Pull a few samples from various points in the run and see if the problem is persistent. (Sometimes a few "makeready" or set-up sheets get mixed into the run, and maybe it's not time to push the panic button.)

Solution: Call the vendor and ask for them to come see the samples, and if necessary go through the entire job to sort it out. DO NOT devote your own staff time to this task. DO NOT just suffer the problems in silence. Remedies can range from a sincere apology (minor problem) to a price adjustment (up to about 10%) to an out and out re-run if the product is truly unsatisfactory.

Hint: It's important to be up front about your expectations, and to speak up if you don't like what you receive. Printers work with a wide variety of customers, and some care a lot more about quality than others. You want to be sure they are aware of where you fall within that spectrum, and you will find out rather quickly if that vendor is a good match for your work.

PROOF RELATED PROBLEMS:

The key to understanding proofs is knowing who is supposed to do what:

Vendors are responsible for clarifying the limitations of their proofing system (none are perfect) and explaining what it is the customer is looking at. For instance, if a job prints in spot colors and the proof renders the colors badly, the vendor may need to provide a Pantone ink matching book. Another example is a proof is on white proofing paper, and the customer is unfamiliar with the actual stock...the vendor may need to provide a swatch along with the proof.

Customers are responsible for checking the proof IN DETAIL to be sure nothing goes wrong when the file moves from their system to the vendor's computer. Here are some things to watch out for in particular:

PROBLEMS:
· I can't tell you the number of times people have said to me "you can take this proof back with you right now" after merely glancing through the pages...this is a very dangerous thing to do. Just because nothing has ever gone wrong before doesn't mean this won't be the first time. The consequences of missing something can be dire and your remedies are virtually nil. If you don't understand what you're looking at, don't sign it...it's a contract.

· Beware the option on the proof slip which says "OK with changes" and you decline to see another proof. If there is a subsequent error, even if it's the printer's fault, you have waived your chance to object and the error becomes your responsibility. (Our proof slip doesn't even contain this option because it's so often misunderstood.)

· What about when an error does not show at the proof stage but later shows up in the work? Sometimes a subtle technical graphics problem will arise, and in retrospect the proof has provided only a muted warning. This is a tough one...it's the price we all pay for the convenience and economy of digital proofs. There may be an incompatibility with the vendor's system, or someone may have just screwed up. You may be back to "apologies, price adjustments, re-runs". Its not what the customer or the vendor would like... if you have ANY suspicion that something is wrong make sure you indicate it on the proof and bring it to the vendor's attention.

SOLUTION: Remember the critical importance of proofing because the customer has the ultimate responsibility for this function. If they delegate that role to the vendor they do so at their own risk. Never assume that a problem you see is "just a proofing issue" without the vendor's commitment to verify that's true, and to indicate so on the slip you sign. This will keep you on solid footing if something should go wrong.

HINT: No one knows why an error seems invisible on the proof, but is the first thing you see when you receive the job. A major way to improve your workflow is to stress the importance of your final "in-house" proof among your staff...(maybe even tell them it's the printer's proof to get them to focus). The more correct your file is on the way in, the more you can concentrate on the technical aspects of the printer's proof and not get bogged down on further rounds of editing.

Have a question, comment, or suggestion? Did something happen with a job you don't understand? Amusing (or not so amusing) story to share? Please comment online (can be done anonymously). Almost 100 people read this blog each week so there's a lot of untapped wisdom out there! You can also email me direct, and, as always,

Thanks for stopping by. See you online!

Hugh Butler
Your friend in the printing business

The envelope, please...

Or, more to the point: Which comes first, the envelope or what goes in it?

Answer: The envelope, definitely.

This is true first because if you design the envelope right away you won't forget it. (You would be AMAZED at the number of holiday cards that show up at our shop with no artwork for the envelope.)

Second, envelopes are only available in certain sizes, and you need to know the size to lay out what's going in it. If you don't you might lay out a card which really has no comfortable fit with envelopes that actually exist. Don't laugh, it happens! If the fit is too tight it's difficult to get the contents in or out, and if the envelope is too big it looks silly.

Here's your link: http://www.belightsoft.com/products/companion/paper/envelopes.php (Thanks to the folks at BeLight Software who publish this wonderful page.) The rule of thumb is that the final size of the contents should be 1/4" smaller in each dimension. For example: An A-7 envelope is 5.25 X 7.25 inches. The folded size of it's card would be 5 X 7. The unfolded size of the card (assuming it's folded and not just a flat card) would be 10 X 7. That's the whole deal.


Third, not every paper in the world is converted into matching envelopes, and even fewer of them are converted and actually stocked by distributors. This means you may fall in love with a paper, and convince your client to love it, only to find either the envelope unavailable, or to be had only in full carton quantities from the mill (1,000 or more). A quick message to your printer can confirm availability before you go ahead.


Most questions arise on the subject of holiday or note cards, so take a look at the link for Announcement or Baronial sizes because these are most commonly used. (One has straight flaps and the other are pointed.) The most popular sizes are A-6, A-8, and A-10 or their baronial counterparts. Square envelopes are also available though not listed in the link...they come in about 1" increments, just remember you will pay extra postage. Again, you can always call or email your printer to check availability.


Advice from 2007: Don't put off layout for your holiday card 'til the third week of December! Be a printing superstar and turn it in about a month in advance... you will stun your colleagues and vendors with your amazing skills. (At our shop you will also get special pricing.)


Keep the size and style link handy, or at least remember it's here. It'll save you revision costs and frustration and, most important, make you look like a hot shot.


Thanks for stopping by!


Hugh
Your friend in the print business

How many do you need?

"How many do you need?"

If you need to get a project produced quickly, it's best to know exactly how many to order BEFORE you contact the printer. An order with an indefinite quantity begins life with a loose end, and an opportunity for things to go wrong down the line. Here's the equation:

(Quantity for your current mail list) + (However many over the mailing service will need for set-ups and screw-ups) + (How many copies you want delivered to your office) = GRAND TOTAL

One piece of advice from 2008 so far...DO NOT CUT YOUR QUANTITY TOO LOW. Several projects this year have gone back to press for additional copies when the original quantity was chosen too low, or demand exceeded the customers' bare-bones guess. When you arrive at the Grand Total, ask the printer about rounding up a little and find out if the price increase might be negligible. The price of re-plating the job and going back to press will be many, many times that of adding a comparable quantity to the original order.

The place to plug this step into your time line is when you start the last round of type revisions...that's when you want to get your current list count (which often takes a day or so) and check with the mailer. By the time the artwork is approved, you're ready to go for real!

The bottom line is that an order placed with complete information stands a better chance of proceeding without nasty surprises. It cuts down on the possibility of error, and allows your vendor to get all pertinent information on the work right from the start. They will appreciate it!

There...what do you think? Watch for emails when new posts are published, and if you like it here be sure to tell your friends!

Thanks for stopping by,

Hugh
Your friend in the printing business