Revisiting the 5 Lessons from a Print Sales Rep Blog
I remember years ago seeing a printed sample supplied by a well-known paper merchant that printed the same “green” image on 20 different stock options—producing such a variety of results. It confirmed to me that all white stocks do not have the same “whiteness.”
Changing the color (on the press) to match a proof—whether it be a background CMYK tint, person’s skin tone or, more importantly, that logo that needs to match the PMS book color—can be so difficult without prepress intervention. The additional knowledge of minor color changes of a printed image drying on uncoated vs. coated stocks and if the coated stock is a “warm” or “cold” white can be a valuable lesson to learn. Sometimes adding (and isolating) a PMS color to a CMYK process job can be an effective way to maintain the desired color result on multiple images.
4) The many production options.
I imagine the customer’s budget often leads to the choice of, if any, embellishments that can be afforded. It’s at the early stage of acquiring the printer’s estimates that a variety of options could be discussed.
I am currently spending more of my time estimating these days, and I do try and advise some additional “more economical” options to achieve similar results. An example would be to consider adding “clear foil” to an image rather than a spot gloss UV varnish, or saddle stitching rather than perfect binding. Just as printers keep many print samples for “show and tell,” designers should keep printer’s samples to “keep and remember.”
5) How to write a schedule that involves adequate production time.
I have gladly produced a “critical timeline” for my customer and discussed the need to justify the amount of time required for print production. I explain why most times the sheets need to cure and dry overnight before a celloglaze laminate is applied, and why the stitching machine can only gather and stitch the booklets after all the sections are folded, not just the first section.