Paper dummy. A paper dummy using the paper that has been specified shows how the job will be assembled and is useful when the document has numerous pages, such as an annual report or catalog, or when a project will be assembled by hand, such as a pocket folder. While often produced earlier in the design stage, it’s a good idea to ask the printer for another dummy that represents any changes before going to press.
Ink drawdown. Provided by the ink supplier to the printer, this is a special ink formulation prepared on the paper upon which the job will be printed. Generally prepared in 12”x6” strips, ink drawdowns are the only way to see how ink and paper will interact before going on press. They are often used for uncoated papers to get a sense of absorption rates when matching critical colors such as corporate logos, or when attempting to match the same colors on different papers.
Loose color proof. If the job has color separations, a “loose color” proof is often produced by laying down the colors of the job on film to allow the printer and designer to compare the scanned color against the original transparency or image. The purpose of loose color proofs is to review the hue, values, and overall balance of color tone. Proofs like a Kodak Approval proof may be produced on the actual, coated paper for the job.
Digital color proof. Less expensive than a composed proof, this type of proof (also called a “digital dylux” or “spinjet”) is a good gauge for color breaks, but is not as accurate for checking actual color as a composed proof. A composed proof can sometimes be produced on the actual coated paper stock for the project which is especially important if using a cream paper. Digital color proofs are also good for proofing the placement of text and
Ink drawdown. Provided by the ink supplier to the printer, this is a special ink formulation prepared on the paper upon which the job will be printed. Generally prepared in 12”x6” strips, ink drawdowns are the only way to see how ink and paper will interact before going on press. They are often used for uncoated papers to get a sense of absorption rates when matching critical colors such as corporate logos, or when attempting to match the same colors on different papers.
Loose color proof. If the job has color separations, a “loose color” proof is often produced by laying down the colors of the job on film to allow the printer and designer to compare the scanned color against the original transparency or image. The purpose of loose color proofs is to review the hue, values, and overall balance of color tone. Proofs like a Kodak Approval proof may be produced on the actual, coated paper for the job.
Digital color proof. Less expensive than a composed proof, this type of proof (also called a “digital dylux” or “spinjet”) is a good gauge for color breaks, but is not as accurate for checking actual color as a composed proof. A composed proof can sometimes be produced on the actual coated paper stock for the project which is especially important if using a cream paper. Digital color proofs are also good for proofing the placement of text and
]]>Composed color proof. Helpful for checking color breaks once the loose color has been corrected. This proof will be used on press by client and printer to judge color and is considered by printers to set the expectations for color while on press.
Scoring sample. This dummy of the job made with the specified paper is used for checking the scoring, in advance, for possible cracking.
Press proof. Produced on an offset press, a press proof provides a reasonably close result to the final job when using the same paper and inks. It’s especially helpful when the reproduction of high quality artwork is paramount.
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