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 hep 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. We never print from PDFs supplied as we will go into your artwork and tweak it to make it as good as possible. Please package InDesign files and always send fonts and links.

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.

  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.

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.

  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

  Colour profiles   If you are working with photography, or any other medium where colour balance is key, please send us artwork that has been produced on a colour balanced screen. We will then convert it to the appropriate colour profile. If your screen is not colour balanced, it will not match ours.

Colour profiles

If you are working with photography, or any other medium where colour balance is key, please send us artwork that has been produced on a colour balanced screen. We will then convert it to the appropriate colour profile. If your screen is not colour balanced, it will not match ours.

  Spot colours   Please specify spot colours as Pantone references. Spot colours are only available using offset lithography, and are not cost-efficient using digital offset.

Spot colours

Please specify spot colours as Pantone references. Spot colours are only available using offset lithography, and are not cost-efficient using digital offset.

  Size   You can offset print much larger than Riso – up to B2 or even B1 size.

Size

You can offset print much larger than Riso – up to B2 or even B1 size.

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.

  Digital offset paper   Paper for digital offset requires a special coating. Please let us know what you require and we will offer suggestions.

Digital offset paper

Paper for digital offset requires a special coating. Please let us know what you require and we will offer suggestions.

  Offset litho paper   You can offset print onto uncoated (matt) or coated gloss (shiny) paper.

Offset litho paper

You can offset print onto uncoated (matt) or coated gloss (shiny) paper.

BINDING

  Saddle stitching   Saddle stitching is the technical term for stapling, except instead of pre-cut staples, saddle stitch machines use reels of wire. The wire is usually silver but other colours are available. Saddle stitch is suited to books between 8pp and 64pp. Over that is possible but there will be considerations to discuss.

Saddle stitching

Saddle stitching is the technical term for stapling, except instead of pre-cut staples, saddle stitch machines use reels of wire. The wire is usually silver but other colours are available. Saddle stitch is suited to books between 8pp and 64pp. Over that is possible but there will be considerations to discuss.

  PUR / perfect binding   Perfect binding is the process of glueing the spine of a stack of pages, then affixing a sheet to the spine to act as a cover. All paperback books are perfect bound. PUR is the same process but using much stronger glue. The majority of binders use PUR glue nowadays. Perfect binding is suitable for books over 24pp, with no upper limit.

PUR / perfect binding

Perfect binding is the process of glueing the spine of a stack of pages, then affixing a sheet to the spine to act as a cover. All paperback books are perfect bound. PUR is the same process but using much stronger glue. The majority of binders use PUR glue nowadays. Perfect binding is suitable for books over 24pp, with no upper limit.

  Section sewn & case binding   Section sewing is the process of gathering 16pp signatures, then sewing them together. This can then have a card cover stuck on, like a paperback, or go on to be case bound. This results in a hardback book. Case binding is the most expensive binding method.

Section sewn & case binding

Section sewing is the process of gathering 16pp signatures, then sewing them together. This can then have a card cover stuck on, like a paperback, or go on to be case bound. This results in a hardback book. Case binding is the most expensive binding method.