Nobody has a clearer vision of the finished piece than the designer. And nobody knows the press better than the printer. Blending your creative and technical knowledge can elevate a project from good to great.

"Over the years I've learned that more communication is better than less. By articulating the details of the project, I crystallize them in my mind and also give my print partner an opportunity to identify any potential pitfalls." 

The designer has a vision of how the finished piece will look, and you know the capabilities of your press. How effectively you combine your knowledge will dictate the success of the project.

"A conversation with the designer is an opportunity for me to understand what the designer needs the communications piece to accomplish and consider how the press can make it happen. Quality requirements, expectations and production considerations are just some of the areas we cover."

You know that setting up the document properly is essential when printing. With digital, first consider how it will be finished, as this will dictate the design. Your printer can help make sure the file is organized properly for finishing.

"I talk with the printer at the start of each job and spec out what I am envisioning. She gives me her recommendations for making sure it all gels when she receives the file. It takes just a couple minutes and has the potential to save me hours."

At the start of the project, engage the designer in a discussion about the finished piece. Are any special substrates needed? Will it be folded? Trimmed? Die cut? Determining these details at the start will help ensure success at the end.

"Design must meet press specs. Because designers work with different printers who have various equipment, you need to highlight what’s feasible and what’s not on your press. If you're on the same page at the start of the project, you'll be pleased with it at the end."

If your piece includes variable data fields, allow enough space to accommodate worst-case text length. Talk to your printer about their preferred format for personalization.

"I ask the client to supply me with possible worst-case scenarios for personalization. It is important to get the personalization right if you don't execute it correctly, you've missed the opportunity."

 You've seen what works and doesn't with personalizing. Provide your recommendations as early on as possible so the designer can maximize the benefit of one-to-one marketing.

"It's important to always ask before you start designing a personalized piece which software the printer supports. While you can print to a press from any page layout program, plug-ins for customization are very specific."

Ask your printer for samples of Wausau Paper® grades that run reliably in their press and identify with your printer the importance of paper properties and characteristics for your project.

"Paper is a key component to making a printed piece more persuasive and valuable. The character and quality of the paper are as important as the writing and the design."

A recent survey by the Printing Industry Center revealed that 46% of commercial digital printers collaborate with their customers to make paper decisions.2 Share your expertise on the ever-expanding selection of digitally optimized paper that works best with your press, and you'll both be happy with the outcome.

"Most of the designers I work with have an idea about the quality and type of paper they want used. I find out what they are envisioning, and then share our portfolio of digital paper."

Each digital press runs on a standard sheet size for some, it is 8.5" x 11", for others it is 12" x 18" or 12.5" x 18". These sizes include a printable area bounded by a nonprinting area around the edge. Running a paper larger than the standard size can lead to remnants appearing on the paper in the area where the roller typically holds the papers edge.

"My initial conversation with the printer includes a dialogue about the size of sheet I am designing to. I move forward from there."

Assuming the designer is aware of your press' standard sheet size can result in trouble on the back end of the project. Make this information available in your early conversations.

"Designers will sometimes assume that your press runs on a certain sheet size, not realizing that it fluctuates by press and printer."

You can incorporate environmentally responsible decisions into your design by considering the sustainability aspects of your papermaker and printer.

"I feel best about my projects that incorporate green components. I play a role in the health of the environment, and designing pieces that are printed on recycled papers is one way I can make a difference."

By following cleaner practices in your shop, you can influence the decisions designers and their clients make about what gets printed.

"My clients are much more environmentally aware than ever before. I feel good about the quality and look of recycled papers, and I make it a priority to specify and quote on them."

Avoid large areas of solid color by including photos, graphics and text from the start. At the same time, you'll be enriching the piece's appeal.

"One of the strengths of the digital press is its ability to reproduce images. So I infuse my work with photos and graphics, and I avoide flat areas of color."

The designer looks to you to help identify problem color areas. Speak up and share your knowledge if you see an opportunity to improve color reproduction and eliminate banding.

"If the client approves the design and then you run into banding issues, there's a good chance of missing a deadline because the artwork needs to be redone. Better to alert the designer on the front end."

The goal of digital printing is "pleasing color". A close-to-exact match is possible on the digital press, but an exact match is very difficult to achieve. Color-critical projects may be more appropriate for offset printing.

"I realize that with digital printing I don't have the same ability to push and pull that I have with a four-color press. As a result, I usually look for a CMYK equivalent. If I'm trying to get a close color match, I'll discuss it with the printer."

Advise the designer that the press is programmed to understand optimal color translation and how you are able to achieve the right color.

"I explain to my clients who are new to digital printing that the press is optimized to accomplish the best color conversion for their file. But if an exact color match is essential maybe for a logo then they need to consider offset printing."

While convenient and inexpensive, the proof displayed on the computer monitor is not an exact match to the final printed piece. It is, however, accurate enough for most projects. But designers and clients new to this format may desire a physical proof directly off the press, and a unique color job also may necessitate one.

"With digital printing, I can ask for a PDF proof and not worry about the expense. It allows me to see how the project is progressing."

You know that soft proofs are representative of the final color, but that only a printed proof provides an exact match. Make sure your designer knows this, too.

"The flexibility of digital allows me to provide a soft proof on demand, and for everyone involved to be certain at every step of the way that the project is meeting expectations. If a printed proof is needed, I can provide that as well."

Generally, original artwork and photographs should be scanned at 300 dpi for acceptable print quality. Text and line art commonly is produced at a minimum of 600 dpi. Digital photos should be saved uncompressed. Provide final image files in the format preferred by your printer (e.g., TIFF and EPS).

"My conversations with the printer always include one on image resolution. In moments, I am told proper settings that will result in quality images. Nothing is left to guesswork."

Scanning and imaging equipment have evolved over the years, resulting in a range of standards. Be clear with the designer about your imaging guidelines and any recommendations you have for realizing clear, crisp type and photos.

"It's not uncommon for a designer to be given standards that were accurate years ago for older equipment and now are outdated. In an early conversation, I make it a practice to always convey our resolution standards so we're on the same page from the start."

A common concern with digital printing is cracking, especially on folded areas. By designing your piece appropriately, you can avoid this common pitfall.

"I determine a paper's grain, and that, in turn, identifies the orientation and proper placement of folds to minimize cracking."

A piece that has followed some basic design principles is less likely to prove problematic when it is time for folding and finishing, trimming and binding. Discuss sequencing with the designer and the amount of gutter space needed for the chosen binding.

"Although the press automatically sequences the document, I still prefer to have a mock-up from the designer. We can also discuss at that time if coating is needed."

When asked what they value in a designer, printers repeatedly said organization, properly prepared files and clear communication.

"I know what I value in a printer: someone who gives me clear information and helps my project run successfully on the press. I want to know early on if a color, trim or paper will be problematic. Tell me what your equipment can or can't do."

Beyond price, quality and services, designers most value a printer's knowledge, honest turnaround times, an easy-to-navigate web site, paper options and environmental practices.

"We enjoy long-lasting relationships with many designers, and I believe that makes a real difference. There is a comfortable level of trust and respect that carries over from one project to the next."