PDF proofing
We’ve put some information together for curious clients to explain the difference between the type of PDF files we generate.
Here’s a typical “workflow” for the artwork we create:
- Artwork requested by client
- DMK produces first draft as a “pdf proof“
- Depending on client feedback, further “pdf proof” files are produced.
- Once approved, DMK provides a “press ready” pdf file of the approved artwork
In our workflow, we name our revisions with a “v1″, “v2″ etc at the end of the filename to indicate the version number. So, if you have three pdf files, the one with “v3″ at the end of the name (eg filename_v3.pdf) will be the latest version.
For Step 4, the type of press ready pdf file created depends on what the artwork is going to be used for. For example, if artwork is for a newspaper ad, then the pdf is produced to the specifications set by the relevant newspaper (which aren’t all the same). We have various settings here we apply to ensure the pdf file is suitable. If the artwork is for another purpose (eg commercial printing), then it is prepared at the final step to a high-resolution pdf for those needs.
Occasionally, the pdf is ready to use once it is approved — eg, for email use or maybe in-house laser printing or photocopying. That’s also true for some local newsletter publishers. But in the case of virtually all newspapers (suburban, regional, metro etc) and commercial printing, the “pdf proof” version is NEVER suitable for the needs of the publisher.
Why is only the final version of the PDF press ready?
As the press ready pdf takes extra time to produce, and is often a much larger file size, it is only produced after the artwork is approved. For example, some of the steps taken in creating a press ready proof:
- Converting all images from RGB to CMYK colour format
- Converting embedded fonts to outlined or curved graphics
- For commercial print, adding crop marks and bleed settings
- For newspapers, making the file size the exact size of the ad (not centred on an A4 page, for instance)
- Checking colours in the file, ensuring there are no extra spot colours
- Checking the “ink weight” in images to ensure the amount of ink used is within the limits of the publication
- Checking colours for newspapers in terms of possible print registration issues
- Making a judgement on the images used in relation to “dot gain” issues, especially for newspapers
- Either combining or separating pages into various impositions required by the printer
- Running “pre-flight” tests to ensure viability of the file for the publisher/printer
If we did this along the way, it would add a lot of unnecessary time (and client cost) to each job. Also, files would be larger and take longer to email, again wasting time and bandwidth.
So, while the files might look the same on the screen, the proof and press ready pdf files are very different in their settings and specifications, even though you can’t see any noticeable difference (after all, it is the same artwork).
Often, depending on the specific project, we submit the final file to the printer or newspaper publisher on your behalf anyway. The submission systems we use to do this also often have a way of verifying the file is correct — and if it isn’t, we get technical feedback so that we know how to quickly make any corrections.
Where possible of course, we use no cost or low cost systems, if they are available. For example, both the Leader and Fairfax community newspaper networks in Victoria use free online submission systems (which we use all the time), which saves cost against using commercial systems such as Web Send or Quick Cut. And whilst it might be “easy” to just email your ad rep the file, it’s often more convenient to upload the file directly to verify instantly that it is acceptable.
That’s why we ask you not to send on the proof pdf file to the printer or newspaper and instead wait until we send you a press ready pdf file!
Any feedback on this article is most welcome!