File Preparation FAQ

“Imposition” and “backup” refer to how the front of a printed piece is oriented to the back. In the case of a brochure, you normally turn it over right-to-left (like you turn the page of a book) in order to have the back side read correctly — not upside down. Seems simple, until you get to a postcard where one side is layed out in landscape (horizontal) orientation, and the other side in portrait (vertical) orientation. We use our best judgement when imposing a job, so that it backs up in the most natural or normal manner. Some designs, however, contain both portrait and landscape elements on both sides, making it difficult to make a clear call. When reviewing your proof online, we will always post the front and the back in the orientation that they will print in relation to each other. So, if page 2 appears upside down, that is how it will be printed on the back of page 1. (Some people want it that way, so that the recipient of the piece must turn it over top-to-bottom in order to read it correctly.) Be sure to print out a copy of your online proof, and attach the two sides to each other to create a “mockup” or “dummy.” This is especially important when a job will be folded.

While we can work with either type, we prefer to get the normal, uncompressed file. Please do not use Publisher’s “Pack and Go” feature. If you are sending Publisher files with linked graphics (generally NOT recommended in Publisher), please gather all the associated files into a single Zipped file, and send us that. Compressing files with Winzip or PK Zip (or StuffIt on the Mac) is also the preferred method for Quark, Pagemaker, Illustrator, InDesign or any file with linked graphics. If you are using a font that is not included with Publisher, please send it along with your Publisher file. You can either Zip them together, or upload the font as an additional file upload (or include it on cd or zip-disk if you are sending files via mail.)

At PrintingForLess.com, part of the way we offer fast turnaround and low pricing is by printing to a “pleasing color” standard, using standard ink densities. Therefore, there is no guarantee that your finished piece will approximate your printed sample. This is due in part to the widely varying results from different output devices including inkjet and laser printers, continuous tone proofing devices, high-resolution film-based proofs, and different than true offset lithography. Even from one commercial printing firm to another, there can be significant differences in results. In particular, inkjet and laser prints are known to look substantially different than true offset lithography.

If you require precise color match, please contact us to arrange for a digital color proof.

Once you approve the additional fees (starting at $40), we will produce and send you a hard proof via overnight delivery. When you approve and return the proof, we will strive to match the color of the proof when printing your final piece.

There are substantial additional charges for precise color match service. Also, if you request color correction or other changes after you see your proof, there will be a minimum of another $40+ charged for color correction time and a new proof.

Bottom line: the final product we produce for you is unlikely to match the output from your inkjet — it will look more professional!

To purchase a color guide with over 3,000 process colors with their CMYK screen percentages, please visit CreativePro.

GB refers to the primary colors of light, Red, Green and Blue, that are used in monitors, television screens, digital cameras and scanners. CMYK refers to the primary colors of pigment: Cyan, Magenta, Yellow, and Black. These are the inks used on the press in “4-color process printing”, commonly referred to as “full color printing”.

The combination of RGB light creates white, while the combination of CMYK inks creates black. Therefore, it is physically impossible for the printing press to exactly reproduce colors as we see them on our monitors.

Many programs have the capability to convert the layout/images from the RGB color space to the CMYK color space. We request that you convert your colors from RGB to CMYK if your tools allow you to. By doing it yourself, you have maximum control over the results.You may notice a shift in color when converting from RGB to CMYK. If you do not like the appearance in CMYK, we recommend that you make adjustments while working in CMYK (usually lightening). Generally, you should specify CMYK color builds that look a little lighter than you want, since the dots of ink “fatten up” on press, giving you more pigment on paper than you see on your monitor. Be especially careful to keep backgrounds light if there is black or dark colored text over it, so that the text remains readable. See our RGB and CMYK Information page for more details.

Most people are surprised at how well their job matches what they see. But because of wide differences in monitor calibration and the different technologies used, some printed colors may not exactly match the colors on a your specific monitor. We do our best to make your job look good. See our design hints page for a more technical description.