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Printing
Reviewing ProofsBluelines, color proofs, and press checks give you and your Account Manager several checkpoints in the printing process to make sure that the project will print to your expectations. Each one of these checkpoints, however, involves slightly different things to watch for, as explained here. Blueline Proofs Film negatives are output from electronic files after page proofs are approved. The resulting film is then stripped into position and processed to make a blueline. A blueline is a one-color representation of what your final job will look like. It is the final stage at which to make any corrections; however, any content changes at this point will usually require changing the electronic file, re-outputting film, and making a revised blueline. These last-minute changes are costly and usually delay delivery dates. What to look for:
Although your coordinator will also review the blueline carefully, please remember that you have final responsibility for approving it. Changes made on a blueline are designated as either "PE" or "CA," for Printer's Error or Client Alteration. Client Alterations will be charged at regular hourly rates; PE corrections are made at no cost. When reviewing a multiple-page project, please list on the proof slip those page numbers where you have noted corrections. Once you have indicated any changes on the blueline proof slip and clearly marked them on the blueline, sign the proof slip. You will see a second blueline if you have extensive changes; again, please keep in mind that extensive changes could delay delivery. Please be aware that press schedules are based on getting final, approved bluelines back to your Account Manager within 48 hours. Any delays or customer changes may jeopardize your requested delivery date. Color Proofs With multiple-color printing projects you will receive a color proof in addition to the blueline. A number of different types are available. Color proofs do not indicate an exact representation of the final ink colors that will be used, but rather are used to make sure that the areas specified to be printed in different colors are correct. Cromalins A type of color proof often used for full-color photographs is a Cromalin, which you may see if your printing job contains multiple colors or separations from color transparencies. Your coordinator will help you evaluate the color quality indicated by this type of proof. What to look for: Check color proofs or Cromalins for color breaks (areas to be printed in different colors); remember that color proofs only approximate the color of the final piece. In particular, PMS colors must be mixed from process pigments for Cromalins; Cromalins should be used to check process color quality only. Circle any flaw, blemish, or spot with a marker. Press Checks After you have approved the blue-line and the color proof, printing plates are burned and the job moves on to the pressroom. Press makeready is the process of setting up the press for the final print run. This involves adjusting dozens of variables with the press machinery, inks, and dampening and drying solutions to achieve the specified results. Once the press run has actually begun, the press technicians will run a few initial sheets and then check these sheets for register, ink density, and color breaks. If you or your coordinator has requested a press check, the press operator will provide these initial sheets, called press sheets, for inspection before proceeding with the run. Please be aware that client press checks involve additional charges; check with your Account Manager for details. What to look for: Check the press sheet against the blueline to make sure any corrections or concerns have been addressed. Your coordinator can help you check color in a special viewing booth that has optimal lighting conditions. Double check color breaks, particularly if you did not see a color proof. Check color register by making sure boundaries of color areas are sharp and clean. Also check reverse type andwindows out of color areas to make sure they are crisp. Check large solids for even density of ink coverage. Check for any blotches, streaks, or hickeys (donut-shaped spots or imperfections in printing, most visible in areasof heavy ink coverage). The press check should be viewed as a final check on the overall appearance of the piece, not the content. Corrections at this point involve repeating most or all of the prepress process for the pages involved, in addition to rescheduling the press, at very high costs. The press operator can correct most register problems on press and alter color densities 15-20 percent without replating. If you have requested to attend a press check, your coordinator will work with the press operator to try to give you as much notice as possible (generally 24 hours). However, please keep in mind that the press is stopped until you appear for a press check, and that lost time is billed at regular press rates. Press checks may also occur at non-business hours, since presses are run on several shifts, or off campus. If the project involves many pages or signatures (groups of pages printed together on a single press sheet), the signatures will probably run at different times. Often a coordinator will approve a press sheet for one signature and ask the press operator to make sure that the rest of the run reasonably matches that sheet. Editing Proofs Using standard proofreading notation when marking up page proofs or bluelines can help ensure your changes are communicated accurately. Please take a moment to review the following marks. In addition, remember to use a contrasting color pen or pencil to mark changes, and to write extensive changes in the margins of the galleys to make sure they can be read. Any comments that are circled are treated as instructions, not as type to be set.
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