Important technical information

PLEASE READ THIS BEFORE SENDING YOUR JOB OVER

Printing can be a complex process. We aim to make your life as easy as possible. Below are some useful guides that will help you when sending us artwork. Please feel free to call us or email if you have any questions or are confused about any aspect of artwork preparation. 

Click to jump to the general, Risograph, offset, paper or binding sections.

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GENERAL

Formats

We are currently running Adobe CS6. Please supply all artwork in original Adobe format. If you have CS7 or later, please back-save to a compatible format. If you are working with other software, please discuss it with us first.

Artwork

We require original artwork for all print work. This allows us to go into your artwork and tweak it if needed. Please package InDesign files and always send fonts and links. For Offset printing, we can print from a high res pdf but cannot print from a pdf for Risograph printing. 

Proofs

We require proofs for all artwork as they act as a guide, showing us what we are required to produce for you. PDFs are usually sufficient for all print work. JPGs can be good for art prints. For complex book projects we may request hard copy dummies. We can't proceed with your job until we have a proof.

  Bleed   Bleed is a technical term for when an image goes to the very edge of a page. We need extra image area to provide you with a clean trim. At least 3mm bleed is required on anything that will need to be trimmed to size (e.g. business cards, flyers, books) to ensure everything looks neat.

Bleed

Bleed is a technical term for when an image goes to the very edge of a page. We need extra image area to provide you with a clean trim. At least 3mm bleed is required on anything that will need to be trimmed to size (e.g. business cards, flyers, books) to ensure everything looks neat.

  Type and vectors   Type always looks best when printed from vector artwork, and this is created in Illustrator or InDesign. Please don’t use Photoshop to create type. Fonts printed from rasterized images look rough around the edges and nobody wants that.

Type and vectors

Type always looks best when printed from vector artwork, and this is created in Illustrator or InDesign. Please don’t use Photoshop to create type. Fonts printed from rasterized images look rough around the edges and nobody wants that.

  Links   Images must be linked within the document, rather than embedded / copied and pasted. These are easy to see and package in InDesign. Illustrator files may require closer attention if you have dropped a JPG into the artwork. We recommend using InDesign for all compositions.

Links

Images must be linked within the document, rather than embedded / copied and pasted. These are easy to see and package in InDesign. Illustrator files may require closer attention if you have dropped a JPG into the artwork. We recommend using InDesign for all compositions.

Risograph

  Transparency   All transparency, overlays and multiply effects need to be flattened before the artwork comes to us. Basically Risographs don’t like them and they cause problems. Please speak to us if you need any help with this.

Transparency

All transparency, overlays and multiply effects need to be flattened before the artwork comes to us. Basically Risographs don’t like them and they cause problems. Please speak to us if you need any help with this.

  Flat colour   Please avoid large areas of flat colour. They cause the paper to stick to the drum and produce a tide mark when the paper is separated at an uneven rate. This looks unpleasant and we like pleasant looking prints. If you'd like to use a larger area of colour, you may want to consider a 75-85% tint instead.

Flat colour

Please avoid large areas of flat colour. They cause the paper to stick to the drum and produce a tide mark when the paper is separated at an uneven rate. This looks unpleasant and we like pleasant looking prints. If you'd like to use a larger area of colour, you may want to consider a 75-85% tint instead.

  Layers   The Riso artworking process is much like screen printing. Each colour needs to be on a separate layer, and will be made into its own plate. Please make a layer for each colour in each of your supplied files and label with the name of the colour you'd like us to use. 

Layers

The Riso artworking process is much like screen printing. Each colour needs to be on a separate layer, and will be made into its own plate. Please make a layer for each colour in each of your supplied files and label with the name of the colour you'd like us to use. 

  Colours   Riso make 20 colours. We keep them all in stock. Please specify, for each layer of colour, which Riso colour you would like us to print it in. You do not need to match the colours exactly in your document, just name them accordingly. Riso colours can be overlayed; switch on the ‘multiply’ effect to see how this will look. The more colours your print uses, the more times it will need to go through the machine. This increases the chance of the machine leaving marks. These can be very difficult to remove. We recommend no more than 4 passes, or 2 when using heavy coverage or darker colours. We would be happy to send you a colour swatch, as the colours can look quite different in real life.

Colours

Riso make 20 colours. We keep them all in stock. Please specify, for each layer of colour, which Riso colour you would like us to print it in. You do not need to match the colours exactly in your document, just name them accordingly. Riso colours can be overlayed; switch on the ‘multiply’ effect to see how this will look. The more colours your print uses, the more times it will need to go through the machine. This increases the chance of the machine leaving marks. These can be very difficult to remove. We recommend no more than 4 passes, or 2 when using heavy coverage or darker colours. We would be happy to send you a colour swatch, as the colours can look quite different in real life.

  Border   The maximum printable area for Riso is 400mm x 277mm, and the largest paper size we can print on is A3. If we are producing A3 prints, we need a 10mm clear border around the edge of the sheet. We can fold A2 paper and feed it through the machine but it is not suitable for larger print runs.

Border

The maximum printable area for Riso is 400mm x 277mm, and the largest paper size we can print on is A3. If we are producing A3 prints, we need a 10mm clear border around the edge of the sheet. We can fold A2 paper and feed it through the machine but it is not suitable for larger print runs.

  Full colour   Riso do not make cyan or magenta ink so we do not print in CMYK. Instead, we replace these channels with spot colours such as red or blue when printing photos. We charge for separating photos or other artwork that is to be produced in 4-colour process. We have invested a lot of time and expertise in this area and our Risograph photography is unrivalled.

Full colour

Riso do not make cyan or magenta ink so we do not print in CMYK. Instead, we replace these channels with spot colours such as red or blue when printing photos. We charge for separating photos or other artwork that is to be produced in 4-colour process. We have invested a lot of time and expertise in this area and our Risograph photography is unrivalled.

OFFSET LITHO, DIGITAL AND INKJET PRINTING

  Proofing   DRUK offers offset litho printing on our multi unit Heidelberg press, and digital printing on our KM presses, as well as 'large format' Kodak inkjet printing.  For offset litho, we provide a hard copy CMYK inkjet proof on standard uncoated or coated paper. This allows you to make a final check for content and accurate CMYK colour. Other methods of proofing for offset litho are:  •A PDF proof to check minor artwork content changes  •A 'wet' proof, printed with litho inks using metal litho plates on your chosen papers – appropriate for high value print when you need extra assurance.  •A 'scatter' proof – either inkjet or wet proof – of sample images or content on one layout. This allows you to test images or colour without the cost of proofing every page.  - for final peace of mind, a 'press pass', where you check the first sheets off the press on an actual production run.  For digital printing, we make the proof on a production press, using the paper you have specified.

Proofing

DRUK offers offset litho printing on our multi unit Heidelberg press, and digital printing on our KM presses, as well as 'large format' Kodak inkjet printing.

For offset litho, we provide a hard copy CMYK inkjet proof on standard uncoated or coated paper. This allows you to make a final check for content and accurate CMYK colour. Other methods of proofing for offset litho are:

•A PDF proof to check minor artwork content changes

•A 'wet' proof, printed with litho inks using metal litho plates on your chosen papers – appropriate for high value print when you need extra assurance.

•A 'scatter' proof – either inkjet or wet proof – of sample images or content on one layout. This allows you to test images or colour without the cost of proofing every page.

- for final peace of mind, a 'press pass', where you check the first sheets off the press on an actual production run.

For digital printing, we make the proof on a production press, using the paper you have specified.

  Colours   CMYK is the standard four-colour ink set for 'full colour' reproduction. Our digital and inkjet presses print in CMYK, and mimic other colours within the CMYK 'colour space'.   Offset litho printing allows you to use any combination of thousands of colours in the Pantone range, including metallics and fluorescents, as well as the standard CMYK colours. Litho inks are specially mixed, so we can even create bespoke colours for you.  Different printing processes and inks will reproduce your artwork in different ways. The same ink mix will also reproduce differently on different papers. Remember too that a colour on your computer screen uses another colour space, called RGB, so colours on your screen will not exactly match printing colours.   Luckily, colour printing isn't guesswork. We can show you previously printed examples from DRUK's huge print archive. We have the full range of Pantone colour matching swatches, and can advise on how to get precisely the print effects you're looking for.

Colours

CMYK is the standard four-colour ink set for 'full colour' reproduction. Our digital and inkjet presses print in CMYK, and mimic other colours within the CMYK 'colour space'. 

Offset litho printing allows you to use any combination of thousands of colours in the Pantone range, including metallics and fluorescents, as well as the standard CMYK colours. Litho inks are specially mixed, so we can even create bespoke colours for you.

Different printing processes and inks will reproduce your artwork in different ways. The same ink mix will also reproduce differently on different papers. Remember too that a colour on your computer screen uses another colour space, called RGB, so colours on your screen will not exactly match printing colours. 

Luckily, colour printing isn't guesswork. We can show you previously printed examples from DRUK's huge print archive. We have the full range of Pantone colour matching swatches, and can advise on how to get precisely the print effects you're looking for.

  Format   Our presses have different maximum sheet sizes and printing areas, as below - although we can handle larger sizes on request. Remember that the printed area may need to include 'gutters' between pages for folding and finishing, as well as 3mm of 'bleed' outside the trimmed page size.  Digital printing Max sheet size: 330mm x 483mm Max printing area: 316mm x 473mm Max paper weight: 300gsm-350gsm (depending on paper type)  Offset litho printing: Max sheet size: 720mm x 520mm Max printing area: 500mm x 700mm Max paper weight: 500gsm Max paper thickness: 600 microns  Inkjet printing: Maximum width 1000mm  In general, we prefer you to supply artwork in native file format (for instance, InDesign files packaged with your fonts and linked images), with a PDF for reference. Alternatively, you can supply a print-ready PDF - bearing in mind that this might not allow us to make any changes at proofing stage.  If you have a question about how to submit your artwork correctly, please contact us for advice or refer to our artworking guide. 

Format

Our presses have different maximum sheet sizes and printing areas, as below - although we can handle larger sizes on request. Remember that the printed area may need to include 'gutters' between pages for folding and finishing, as well as 3mm of 'bleed' outside the trimmed page size.

Digital printing
Max sheet size: 330mm x 483mm
Max printing area: 316mm x 473mm
Max paper weight: 300gsm-350gsm (depending on paper type)

Offset litho printing:
Max sheet size: 720mm x 520mm
Max printing area: 500mm x 700mm
Max paper weight: 500gsm
Max paper thickness: 600 microns

Inkjet printing:
Maximum width 1000mm

In general, we prefer you to supply artwork in native file format (for instance, InDesign files packaged with your fonts and linked images), with a PDF for reference. Alternatively, you can supply a print-ready PDF - bearing in mind that this might not allow us to make any changes at proofing stage.

If you have a question about how to submit your artwork correctly, please contact us for advice or refer to our artworking guide. 

PAPER

  Riso paper   Riso inks work on most uncoated papers. We use Munken papers as standard as they are versatile and reliable. We also use many other Fedrigoni, Paperback, GF Smith, Antalis and John Purcell papers. Riso inks do not work on any coated papers or tracing papers.

Riso paper

Riso inks work on most uncoated papers. We use Munken papers as standard as they are versatile and reliable. We also use many other Fedrigoni, Paperback, GF Smith, Antalis and John Purcell papers. Riso inks do not work on any coated papers or tracing papers.

  Papers for offset, Digital & Inkjet   DRUK has a huge range of creative papers suitable for offset litho, digital or inkjet printing. Weights range from 60gsm to 650gsm or above. We can provide coated or uncoated, textured, tinted, recycled and Forest Stewardship Council (FSC) papers, as well as a standard range of commodity grade white papers in shades from ice white to cream. You are welcome to request samples or to browse our paper library. We offer expert and free advice on paper options for your project.

Papers for offset, Digital & Inkjet

DRUK has a huge range of creative papers suitable for offset litho, digital or inkjet printing. Weights range from 60gsm to 650gsm or above. We can provide coated or uncoated, textured, tinted, recycled and Forest Stewardship Council (FSC) papers, as well as a standard range of commodity grade white papers in shades from ice white to cream. You are welcome to request samples or to browse our paper library. We offer expert and free advice on paper options for your project.

  Special Papers and materials   We offer translucent, pearlescent, embossed and synthetic papers for special projects, as well as exotics such as seed-impregnated papers and papers made from algae, sugar cane, animal dung and hemp. We can also source special materials for covers, folders, binders and book bindings. Let us know what you're after, and if it exists DRUK will source it.

Special Papers and materials

We offer translucent, pearlescent, embossed and synthetic papers for special projects, as well as exotics such as seed-impregnated papers and papers made from algae, sugar cane, animal dung and hemp. We can also source special materials for covers, folders, binders and book bindings. Let us know what you're after, and if it exists DRUK will source it.

BINDING

  Saddle stitching and sewing   Saddle stitching is what we call stapling, except instead of pre-cut staples, saddle stitch machines use reels of stronger wire. The wire is usually plain steel, but other colours are available. Saddle stitching is suitable for most books between 8 and 64 pages, either 'self cover' (all the pages the same paper weight), or with a heavier, creased cover.  Booklets with a folded or single-creased spine can also be bound with coloured thread, on an industrial strength Singer sewing machine. We can sew along the whole length, or '3-hole' sew.

Saddle stitching and sewing

Saddle stitching is what we call stapling, except instead of pre-cut staples, saddle stitch machines use reels of stronger wire. The wire is usually plain steel, but other colours are available. Saddle stitching is suitable for most books between 8 and 64 pages, either 'self cover' (all the pages the same paper weight), or with a heavier, creased cover.

Booklets with a folded or single-creased spine can also be bound with coloured thread, on an industrial strength Singer sewing machine. We can sew along the whole length, or '3-hole' sew.

  Flat spine bindings   A book with a flat spine can be bound in a number of ways, depending on strength, long life and other requirements. Perfect binding and PUR binding are processes of glueing the spine of a stack of pages or 'book block' into a soft cover. Covers can be simple, or have fold-out leaves.  A 'book block' can either be rough cut on the spine edge before glueing and drawing on a cover, or sewn in sections ('signatures'). This is a strong binding with lots of aesthetic appeal. Sometimes we simply sew up and glue a book, without even adding a cover, for an 'engineered' look.  OTA binding and Swiss binding allow books to be easily opened out flat. We can also bind with tape, and make special 'sketchbook' bindings.

Flat spine bindings

A book with a flat spine can be bound in a number of ways, depending on strength, long life and other requirements. Perfect binding and PUR binding are processes of glueing the spine of a stack of pages or 'book block' into a soft cover. Covers can be simple, or have fold-out leaves.

A 'book block' can either be rough cut on the spine edge before glueing and drawing on a cover, or sewn in sections ('signatures'). This is a strong binding with lots of aesthetic appeal. Sometimes we simply sew up and glue a book, without even adding a cover, for an 'engineered' look.

OTA binding and Swiss binding allow books to be easily opened out flat. We can also bind with tape, and make special 'sketchbook' bindings.

  Case binding and more   Case binding is our term for 'hardback'. The 'case' or cover is made from a 3-piece heavy board, joined and lined with printed cloth or paper. The book block is sewn or glue bound, then pasted into the case, sometimes with special end papers. We can add head and tail bands, bookmark ribbons and dust jackets.  These are just some of our bindings and finishes. DRUK also offers bespoke die cutting, embossing, debossing, foil blocking, die stamping and other special finishes and print effects. If you see something and don't know what it's called – just ask us.

Case binding and more

Case binding is our term for 'hardback'. The 'case' or cover is made from a 3-piece heavy board, joined and lined with printed cloth or paper. The book block is sewn or glue bound, then pasted into the case, sometimes with special end papers. We can add head and tail bands, bookmark ribbons and dust jackets.

These are just some of our bindings and finishes. DRUK also offers bespoke die cutting, embossing, debossing, foil blocking, die stamping and other special finishes and print effects. If you see something and don't know what it's called – just ask us.