Support Guides

Artwork Supply Guide

To ensure a smooth production process and outstanding print quality, please follow the guidance below when submitting your artwork to Vegaprint. Correctly prepared files help prevent delays and ensure your finished product looks exactly as intended.

Accepted File Formats

Whatever software you use to create your artwork, your final file must be exported in a print-ready format, set to the correct size, colour mode and resolution, and include adequate bleed.

We recommend supplying artwork as:

• High-resolution PDF (preferred)
• AI / PSD (if edits may be required)
• EPS, TIFF or JPEG (print-ready only)

All artwork must be supplied at 300dpi resolution.

File Size Requirements

• Maximum upload size via our website: 100MB
• This is suitable for most products when saved correctly at 300dpi.

If you experience upload issues, contact our Design Team on 02920342291and we’ll arrange an alternative submission method.

Please also ensure your artwork is not too low resolution. Designs that look sharp on screen may appear pixelated when printed at full size. See our Resolution Guide for more information.

PDF Setup for Commercial Printing

When exporting a PDF for print, please ensure:

• Resolution: High Resolution (300dpi)
• Compression: Down sample colour & greyscale to 300dpi (Auto Compression: High)
• Fonts: Embed all fonts
• Colour Mode: CMYK (not RGB)
• Colour Profile: FOGRA39

RGB files will be converted to CMYK, which may result in slight colour shifts.

Software-Specific Guidelines

Adobe Illustrator

• Embed all images
• Convert all text to outlines (curves)
• Save as EPS

Adobe Photoshop

• Set resolution to 300dpi at document setup
• Save as TIFF or JPEG

Adobe InDesign

• Use the Package function to supply fonts and images
• Compress files before sending
• Include a PDF for reference

Please note: additional proof checks may occasionally extend turnaround times.

Editing Restrictions

If you supply flattened artwork (JPEG, EPS, TIFF) and request amendments, you will need to re-submit the file in an editable format such as PDF,AI or PSD. We cannot modify flattened files.

Microsoft Documents

We do not accept:

• Word
• Excel
• PowerPoint
• Publisher
• Works

These programmes are not designed for professional print production.

If you must use Microsoft software, convert your document to a print-ready PDF, then carefully check:

• Colour accuracy
• Image resolution
• Missing fonts or layout shifts

Colour Setup

All artwork must be supplied in CMYK, not RGB.

CMYK reflects how commercial printers apply ink to paper. RGB files will be converted and may not match screen colours exactly.

• Pantone colours will be converted to CMYK unless specifically quoted for spot colour printing.

For detailed guidance, refer to our Colour Guide.

Bleed & Trimming

Bleed Requirements

Aminimum3mm bleed must be added to all artwork.

Example:

• A6 finished size: 148 x 105mm
• Artwork size including bleed: 154 x 111mm

All backgrounds and images must extend fully into the bleed area.

Crop Marks

Crop marks are optional.
If your artwork is supplied at the correct size with 3mm bleed, we can set it up without them.

Multi-Page Products

For brochures and booklets:

• Submit a single PDF
• Pages supplied in reading order
• Front cover = Page 1
• Back cover = Final page

If submitting separate files, number them clearly:

01_Filename
02_Filename
03_Filename

Do not supply “printers’ pairs.” We handle pagination internally.

Wiro bound Brochures

Allow10mm clearance on the binding edge to prevent artwork being obscured by the wire.

Spot UV & Foiling

For Spot UV or Foil finishes, you must supply:

1. Standard CMYK artwork
2. A separate layer/page indicating where the finish is to be applied

Even single-sided products require this additional file.

Refer to our dedicated Spot UV and Foil Artwork Guides for full instructions.

Need Help?

If you’re unsure about any aspect of your artwork, our team is here to help. Submitting correctly prepared files ensures:

Faster production
Accurate colour reproduction
Professional, high-quality results

At Vegaprint, we’re committed to making your print experience seamless from artwork to delivery.

Avoid Delays

A Guide to Seamless Printing: Avoiding the “Showstoppers”

Nobody enjoys delays, especially when it comes to print. At Vegaprint, we process thousands of orders every week, but sometimes artwork issues can pause production. We call these obstacles “Showstoppers”— problems that halt your order until resolved.

The good news? Most Showstoppers are easy to avoid. Familiarising yourself with these common pitfalls upfront ensures your artwork flows smoothly into production. For detailed support, check our Proof Checking Guide and How to Supply Artwork guides.

Unlock Your Artwork: Avoid Password Protection Issues

Problem: Password-protected files prevent our team from accessing your artwork, stalling production.

Solution: Before uploading, ensure your files are free from passwords or permission locks. This allows our team to start printing without delay.

Avoiding Corrupted Artwork

Problem: Corrupted or damaged files often occur during file transfers or storage failures.

Solution: Always double-check your files before submission. Ensuring your artwork is intact saves time and avoids unnecessary hold-ups.

Page Count Consistency

Problem: Mismatched page counts between your uploaded artwork and order specifications can cause delays.

Solution:

• Check your order: Confirm that the number of pages in your artwork matches your order.
• Over-submission: Deselect extra pages using the “DESELECT THIS ARTWORK” option.
• Under-submission: Re-upload missing pages to match your order.

Accurate page counts speed up printing and prevent errors.

Consistent Page Orientation

Problem: Inconsistent orientation (portrait vs. landscape) in multi-page job scan disrupt layout and printing.

Solution:

• Verify orientation for each page before finalising your design.
• Use a single template throughout your project.
• Ensure all pages have identical dimensions.
• Review the file thoroughly, preferably with a second set of eyes.

Maintaining consistent orientation ensures a professional finish and prevents production delays.

Optimal Artwork Resolution

Problem: Low-resolution artwork can result in blurry or pixelated prints.

Solution:

• Use 300ppi for all print artwork.
• Start with high-resolution images and avoid enlarging small files.
• Use vector graphics (e.g., logos, illustrations) where possible.
• Check resolution in your design software before exporting.
• Export without excessive compression and review proofs at 100% zoom.

High-resolution artwork guarantees sharp, professional results.

Colour Mode: CMYK vs RGB

Problem: RGB files may print with dull or incorrect colours because printers use CMYK.

Solution:

• Design in CMYK from the start, or convert RGB files to CMYK before submission.
• Verify colour matching, especially for brand colours.
• Always request a proof before full production to check colour accuracy.

Supplying artwork in CMYK ensures the final print matches your design vision.

Fonts and Text Clarity

Problem: Missing fonts or text provided as images can affect clarity and legibility.

Solution:

• Supply all fonts used in your design.
• If fonts cannot be supplied, convert text to outlines or images (but remember, text in images cannot be edited).
• Refer to our Fonts Guide for detailed instructions.

Correct font handling ensures your text prints clearly and consistently.

Perfecting Trim for Impeccable Prints

Problem: Incorrect trim, bleed, or special finishes can affect the final look.

Solution:

• Bleed: Extend backgrounds or edge elements by at least 3mm beyond the trim line.
• Special finishes: Spot UV or foiling areas should be free from folds, edges, or perforations. Follow our Foil and Spot UV Artwork Guides for guidance.

Proper trim setup guarantees polished, professional-looking prints every time.

Summary

By avoiding these common Showstoppers:

Ensure artwork is accessible and unlocked
Check file integrity and resolution
Maintain consistent page counts and orientation
Use CMYK colour mode and supply fonts
Include proper bleed and trim

You can enjoy a smooth, stress-free print experience with Vegaprint.

When in doubt, our design team is always ready to provide guidance and support — ensuring your print projects are delivered perfectly and on time.

Bleed

VegaprintBleed Guide: Ensuring Perfectly Trimmed Prints

Whendesigning artwork that extends to the edge of a page, understandingbleed,trim, and safe areasis essential. Incorrect setup can result in unwanted white edges,misaligned borders, or cropped text. This guide explains theseconcepts, shows how to apply them correctly, and highlights commonmistakes with practical solutions.

Whatis Bleed and Why Is It Needed?

Bleedis the extra area around your design that extends beyond the finalcut line of your document. Commercial printing presses print multipleitems on large sheets or rolls, which are then trimmed down toindividual pieces.

Becauseno cutter can trim perfectly to the millimetre, astandard bleed of 3mmaround each edge is required to avoid unprinted white strips.

Understandingthe following terms is key to accurate artwork preparation:

• Bleed Area: Extends beyond the trim line. Background colours, patterns, or images should cover this area completely to prevent white edges.
• Trim Line: The final cut line of your product, typically indicated on proofs with crop marks. (Your artwork doesn’t need to include crop marks; we add them for you.)
• Safe Area: Located 3mm inside the trim line. All essential content — text, logos, or key graphics — should remain within this area to ensure nothing is accidentally cut off.

Example:For a finished A4 sheet (210 x 297mm), your artwork file should be216x 303mm,including the 3mm bleed on all sides.

HowMuch Bleed Do You Need?

• Industry standard: 3mm bleed on all sides.
• Safe area: 3mm inside the trim line.
• Total extra space: 6mm added to both width and height of the document.

Thisensures your artwork remains intact and professional after trimming.For additional guidance, see our Howto Supply Artworkand ResolutionGuide.

TheSafe Area

Thesafe area protects your essential content from being cut. Anythingwithin 3mm of the trim line is at risk, so ensure all text, logos,and important visuals stay insidethe safe area.

8Common Bleed Mistakes (and How to Fix Them)

1. No bleed area
   • Issue: Background doesn’t extend beyond the trim line.
   • Solution: Expand your background artwork 3mm beyond all edges.
2. Text inside the bleed area
   • Issue: Text strays into the bleed and may be cut off.
   • Solution: Keep all text and essential content inside the safe area.
3. Text outside the safe area
   • Issue: Critical details are too close to the trim line.
   • Solution: Adjust content so it stays within the safe area.
4. Bleed area colour differs from background
   • Issue: A slight miscut leaves a sliver of contrasting colour.
   • Solution: Extend background colour or pattern fully into the bleed.
5. Objects not extending to bleed
   • Issue: Objects stop at the trim line, leaving gaps if the cut is slightly off.
   • Solution: Extend all design elements fully into the bleed area.
6. Objects positioned between trim and safe area
   • Issue: Results in inconsistent edges across multiple prints.
   • Solution: Either extend objects fully to bleed or keep them entirely within the safe area.
7. Insufficient bleed
   • Issue: Less than 3mm bleed can lead to white lines at the edge.
   • Solution: Ensure a full 3mm bleed on every side.
8. Borders too close to the edge
   • Issue: Edge borders risk being cropped.
   • Solution: Keep borders inside the safe area to ensure consistent framing on all sides.

Can’tFix Your Document?

Ifyou’re unable to amend your artwork, you have two options:

1. Print with a white border: Add a 6mm white border around the design to prevent unwanted trims.
2. Professional design support: Our in-house design team can review and correct your artwork to ensure it meets print standards.

Tableof Sizes and Resolutions

Atthe end of this guide, you’ll find a table with standarddocument sizesand minimumartwork dimensions including bleed.For guidance on image clarity and resolution, see our ResolutionGuide.

Colour

UnderstandingColour Modes for Print: RGB vs CMYK

Whenpreparing artwork for print, colour accuracy is critical. Two primarycolour models — RGBand CMYK— are used across digital and print media. Understanding thedifferences ensures your printed materials match your designintentions.

RGBColour Mode (Red, Green, Blue)

• Primary Colours: Red, Green, Blue
• Additive Model: Colours are created by adding light. Combining all three at full intensity produces white.
• Used For: Electronic displays such as monitors, TVs, projectors, and digital cameras.

KeyConsideration:RGB has a wider colour gamut than CMYK, meaning some vibrant coloursvisible on screen cannot be exactly replicated in print. This is whyartwork designed for print should notremain in RGB.

CMYKColour Mode (Cyan, Magenta, Yellow, Key/Black)

• Primary Colours: Cyan, Magenta, Yellow, Black (Key)
• Subtractive Model: Colours are produced by subtracting light using inks. Full combination results in black.
• Used For: Commercial printing. All print presses rely on CMYK inks to reproduce colours accurately.

KeyBenefit:Designing in CMYK ensures your print output closely matches yourartwork. Using RGB for print can cause unpredictable colour shifts,particularly for vivid oranges, greens, and blues.

WhyCMYK is Essential for Printing

1. Ink-Based Colour Mixing: Commercial presses use inks that absorb light (subtractive), unlike screens which emit light (additive RGB).
2. Alignment with Printing Process: CMYK files provide printers with the exact instructions needed for ink-based reproduction.
3. Avoid Colour Discrepancies: Converting RGB to CMYK after designing can result in colour changes. Starting in CMYK minimizes unexpected shifts.

Tip:Always prepare artwork in CMYK from the outset to reduce correctionsand ensure consistent, predictable results.

ConvertingRGB to CMYK: Best Practices

Ifyour artwork starts in RGB, conversion to CMYK is necessary. Softwarelike AdobePhotoshopoffers tools to help maintain colour accuracy:

1. Convert to CMYK: In Photoshop, go to Image > Mode > CMYK Color.
2. View Channels: Check individual CMYK channels in the Channels panel to identify potential colour issues.
3. Use Adjustment Layers: Tools like Hue/Saturation, Color Balance, and Selective Color allow precise tweaks to match original colours.
4. Soft Proofing: Simulate print output via View > Proof Setup > Custom, then enable Proof Colors to preview how colours will look in print.
5. Custom Swatches: Use saved CMYK swatches for consistent brand colours.
6. Monitor Calibration: Ensure your monitor is properly calibrated for accurate colour representation.

PreservingColour Accuracy in Adobe InDesign

Whenexporting layouts for print in InDesign:

1. Document Setup: Ensure the document uses CMYK colour mode (File > Document Setup).
2. Export Settings: Go to File > Export and select Adobe PDF (Print).
3. PDF Preset: Choose PDF/X-1a:2001, which is specifically designed for print and maintains colour integrity.
4. Output and Compression: Use “High Quality Print” to retain image resolution.
5. Marks and Bleeds: Include crop marks and bleeds if your design extends to the edge.

PreservingColour Accuracy in Adobe Illustrator

1. Create New Document in CMYK: Always select CMYK when starting your file.
2. Export to PDF/X-1a:2001: Go to File > Export > Adobe PDF, choose the preset PDF/X-1a:2001 for print-accurate colours.
3. Check Imported Artwork: Ensure any imported files are in CMYK or use process colours.

Summary:Ensuring Print Colour Accuracy

Toachieve consistent, high-quality results in print:

• Always work in CMYK for print projects.
• Use PDF/X-1a:2001 preset when exporting for print.
• Check your artwork on a calibrated monitor to anticipate colour shifts.
• Request a printed proof for critical colours before the full print run.
• Consider printing surface effects, e.g., Kraft paper may affect how colours appear.

Byfollowing these guidelines, you can ensure that your printedmaterials match your vision and maintain professional-quality colourfidelity.

Document Size

DocumentSize Guide

Understandingstandard paper sizes is essential when preparing artwork forprofessional print. This guide explains the most commonly useddimensions and how they relate to each other under internationalstandards.

Whendesigning your artwork, please remember that your file must besupplied slightly larger than the finished size to include therequired 3mmbleed areaaround all edges. This allows for precise trimming and preventsunwanted white edges.

Ifyou are unsure how to set this up, please refer to our Bleed Guidefor step-by-step instructions.

Forlarger format products, maintaining correct resolution is equallyimportant. Insufficient resolution can result in blurred or pixelatedprints when scaled up. Please review our Resolution Guide to ensureyour artwork meets print-quality standards.

ISO216 Standard Overview

ISO216 is the internationally recognised standard that defines papersizes across most of the world, including the UK and Europe. Thissystem ensures consistency in design, printing and reproductionacross different platforms, printers and countries.

ISO216 is divided into three primary paper size series:

• A Series
• B Series
• C Series

Eachseries follows a consistent mathematical ratio, allowing designs toscale proportionally without distortion.

Fordesigners, businesses and print buyers, understanding this systemhelps ensure accuracy, compatibility and professional results.

ASeries Paper Sizes

TheAseriesis the most widely recognised and commonly used set of paper sizes incommercial printing.

A4– The Benchmark Size

A4is the standard office and print size used across the UK. It servesas the reference point for the rest of the A series.

Fromthis base size, all other A sizes are calculated proportionally.

Howthe A Series Scales

TheA series follows a precise scaling principle:

• A5 is exactly half the size of A4
• A6 is half the size of A5
• A3 is double the size of A4
• A2 is double the size of A3
• A1 continues the upward progression
• A0 is the largest size in the series, measuring 841 x 1189mm

Eachtime a sheet is halved along its longest side, you move down one sizein the series. This logical structure allows artwork to be resizedeasily while retaining its proportions.

Thismakes the A series ideal for:

• Flyers
• Leaflets
• Brochures
• Posters
• Business stationery
• Marketing collateral

Theproportional consistency of the A series ensures reliablereproduction across various applications.

ASeries “Strip” Sizes

Inaddition to the standard ISO dimensions, there are widely used foldedvariations known as stripsizes.

Theseare created by folding standard A series sheets into three equalhorizontal sections.

Example:

A4Strip Size
Whenan A4 sheet is divided horizontally into three equal parts, eachpanel measures:

420x 148mm

Stripsizes are particularly popular for:

• Tri-fold brochures
• Promotional leaflets
• Menus
• Event guides
• Information handouts

Theyoffer a format that is distinctive yet familiar, making themeffective for marketing materials that need to stand out whileremaining practical.

Althoughnot officially defined within ISO 216, these sizes are commonlyaccepted throughout commercial printing.

BSeries Paper Sizes

TheBseriesmaintains the same aspect ratio as the A series, meaning it sharesthe same proportional relationship between width and height.

However,the key difference lies in scale.

StartingPoint

TheB series begins with:

B0,defined with a width of exactly 1 metre.

Becauseof this starting dimension, each B series size is slightly largerthan its equivalent A series size.

Forexample:

• B4 is larger than A4
• Each B size sits between two A sizes

Thismakes the B series particularly useful when:

• A design requires slightly more space than a standard A size allows
• You need a size that sits between two A series dimensions
• Visual impact and additional layout flexibility are required

Atfirst glance, A and B sheets appear very similar due to theiridentical aspect ratios, but the subtle difference in size providesgreater versatility in certain print applications.

CSeries Paper Sizes

TheCserieswas primarily developed to produce envelope sizes designed toaccommodate A series documents.

Forexample:

• A4 paper would fit comfortably inside a corresponding C4 envelope.

Whileonce commonly used, the C series gradually became less relevant forstandardised printing and was formally withdrawn from ISO standardsin 2009.

Dueto its limited use in modern commercial print production, it is notcovered in detail within this guide.

Ifyou require specific envelope sizing advice, our team will be happyto assist.

PreparingYour Artwork Correctly

Regardlessof the size you choose:

? Ensureartwork includes a minimum 3mm bleed
?Supply files at correct final dimensions plus bleed
?Use appropriate resolution for larger prints
?Check scaling when resizing between A series formats

Properfile setup ensures:

• Clean trimming
• Accurate scaling
• Professional presentation
• No production delays

AtVegaprint, we’re committed to helping UK businesses producehigh-quality print with confidence. If you are unsure which papersize best suits your project, our team is always available to provideexpert guidance.

Folding

FoldingGuide

Foldingis an efficient and cost-effective method to transform a singleprinted sheet into a multi-page, engaging document. Different foldtypes allow you to control how content is revealed to the reader,creating a structured and visually appealing flow across the pages.

Thisguide provides an overview of the most commonly used folds for FoldedFlyersand Leafletsat Vegaprint.

KeyConsiderations for Folding:

• Content Layout: Plan your design carefully so that each panel communicates its intended message in the correct order. Remember, folds create multiple panels, so your content should be aligned with the flow of the fold.
• Spot UV and Foiling: If your design includes Spot UV or Foiling, it is crucial that varnished or metallic areas do not extend across fold lines. Applying finishes across folds can result in cracking or uneven effects during the folding process.
• Consistency: Ensure panel dimensions are uniform and that text or images do not cross unintended areas, which could be obscured or misaligned when folded.
• Bleed and Safe Margins: As with any print design, remember to maintain a 3mm bleed around the edges and keep critical text or graphics within the safe area to avoid trimming issues.

Bytaking these considerations into account, your folded flyers andleaflets will not only look professional but also guide the readersmoothly through your content, enhancing readability and visualimpact.

Fonts

FontsGuide: Ensuring Your Text Prints Perfectly

Ingraphic design, combining images and text is common—whether foralbum covers, advertisements, or marketing materials. While mostdesign software allows you to merge visuals with text, this does notguarantee your fonts will appear correctly when submitted for print.This guide explains how to avoid common font issues and preserve thetypography you intended.

WhyFonts Can Go Wrong

Textin a design relies on the fonts installed on the computer used tocreate it. If your file is opened on another computer without thesame fonts, the software may replace the missing fonts with defaulttypefaces. This can drastically alter your layout, spacing, andoverall design, leading to a final print that looks very differentfrom your original.

Toprevent this, it’s crucial to verify that all fonts in your artworkwill appear correctly before sending your files to print.

Howto Avoid Font Problems

Thereare three widely used methods to ensure your fonts print exactly asintended:

1.Save Text as an Image

Onestraightforward approach is to flatten your artwork into a singleimage file, such as a JPEGor PNG.By doing this, the text becomes part of the image and cannot bealtered or substituted on other computers.

Tips:

• Keep the original layered file: If you need to make edits later, you must adjust the text in the original layers and then re-export.
• Ideal for designs that won’t require frequent text updates.

2.Convert Text to Curves (Outlines)

Convertingtext to curves—or outlines—turns your letters into vector shapes.Once converted, the text behaves like any other graphic element,meaning the font is preserved exactly as designed, regardless of thesystem opening the file.

Howto do it:

• In Illustrator: Select the text ? Type ? Create Outlines
• In Photoshop: Select the text layer ? Layer ? Convert to Shape
• In CorelDraw: Select the text ? Arrange ? Convert to Curves

Cautions:

• Once converted, the text is no longer editable as a font. Any changes require working with the original file before conversion.
• Best suited for custom or licensed fonts that may not be installed on other computers.

3.Embed Your Fonts

Embeddingfonts in a PDF allows your text to remain editable while ensuring itappears correctly on other systems and in print. This method combinesflexibility with accuracy—but only works for fonts that permitembedding, such as standard fonts, purchased commercial fonts, orfonts free for commercial use.

Howto embed fonts in a PDF:

1. Open your document and go to File ? Document Properties.
2. Select the Fonts tab.
3. Choose the fonts you want to embed in the PDF.

Tips:

• Always check the font’s licensing before embedding to avoid legal issues.
• Embedded fonts preserve both appearance and editability, ideal for templates or documents you plan to update later.

Summary

• Flatten text as an image – guaranteed appearance, but not editable.
• Convert text to curves/outlines – preserves appearance, but text is no longer editable.
• Embed fonts in a PDF – maintains both appearance and editability (requires appropriate font licensing).

Byfollowing these practices, you can ensure that your printed materialsmatch your design vision, with no unexpected font substitutions orlayout issues.

Fordetailed instructions on submitting print-ready files, see ourSupplyingArtwork Guide.

Paper

Paperand Finishes Guide: Choosing the Right Stock for Your Print

Whenordering print, the paper you choose has a huge impact on the look,feel, and longevity of your finished product. There are three mainfactors to consider:

1. Paper Weight (Thickness)
2. Standard and Specialist Paper Types
3. Finishes

PaperWeight

Paperthickness and density are expressed as weight,measured in gsm(grams per square metre).This number represents the weight of one square metre of the paper.

Understandinggsm helps you select the right stock for your print:

• 80–100gsm – Light, flexible paper, commonly used for photocopier paper or basic stationery.
• 110–170gsm – Medium-weight paper, ideal for letterheads, compliments slips, flyers, and leaflets. A good starting point for flyers is 130gsm.
• 200gsm+ – Considered “board” or card. Suitable for heavier products that need to stand on their own.
• 300gsm+ – Perfect for wedding invitations, greetings cards, and freestanding table talkers.
• 400gsm+ – Thick, rigid card. Often used for business cards, loyalty cards, and sturdy postcards.
• 810gsm – Used for Triple Layer products like premium business cards, swing tags, bookmarks, and postcards.
• Measured in microns – Heavier and rigid materials, like beer mats (1.4mm / 1400 microns) or strut cards (2000 microns).

StandardPaper Types

Ourcore selection of paper stocks includes Bond,Silk, Gloss, Pulp, and Recycled.Each offers a white, opaque base but has unique qualities that makethem suitable for different applications.

Bond

Appearance:

• Uncoated, matte finish with a subtle texture.
• Smooth to the eye, absorbent surface for inks and pen writing.

Uses:

• Letterheads, office stationery, and personal or commercial applications.

Pros:

• Vivid print on a matte surface
• Easy to write on
• Excellent for overprinting

Cons:

• Uncoated, may show wear with repeated handling

Gloss

Appearance:

• High-sheen finish without lamination.
• Brings bright colours to life and creates a luxurious look.

Uses:

• Brochures, magazines, and any product needing visual impact.

Pros:

• Striking shine and definition
• Durable and moisture-resistant

Cons:

• Reflective surface can glare
• Not ideal for overprinting or handwriting

Silk

Appearance:

• Smooth, satin finish that’s softer than Gloss.
• Balanced sheen between gloss and matte.

Uses:

• Flyers, business cards, posters, and calendars.

Pros:

• Subtle shine without glare
• Durable, cost-effective, and writable

Cons:

• Less suited for overprinting

Pulp

Appearance:

• Uncoated, matte, slightly textured surface.
• Rustic, tactile feel while maintaining brightness.

Uses:

• Products requiring a natural texture that can be written on.

Pros:

• Overprinting-friendly
• Writable

Cons:

• Uneven surface, less durable over time

Recycled

Appearance:

• Comparable opacity, smoothness, and whiteness to virgin paper.
• Produced sustainably, meeting EU Ecolabel, ISO 14001, and ISO 9001 standards.

Pros:

• Made from 100% post-consumer waste
• Carbon-neutral production

Cons:

• Slightly different texture compared with non-recycled papers

SpecialistPaper Types

Wealso offer specialiststocksfor distinctive looks and tactile experiences:

• Triple Layer: 810gsm with optional coloured core for stylish pinstripe edges.
• Textured Dot: Raised dot pattern for a unique tactile effect.
• Textured Tweed: Woven textile feel, ideal for creative industries.
• Metallic: Shimmering stocks in gold, rose gold, damask blue, and petal pink.
• Day-Glo: Fluorescent posters for attention-grabbing outdoor displays.
• Brown Kraft: Rustic, eco-friendly matt finish; 100% recycled and recyclable.
• Synaps: Waterproof, tearproof, recyclable polyester; perfect for reusable menus, placemats, and posters.

Note:Some colours may appear differently on brown Kraft or texturedpapers.

Finishes

Manypaper types can be enhanced with finishesto protect and highlight your print:

GlossLamination

• Adds shine and durability, making colours pop.

MatteLamination

• Provides protection without glare, perfect for darker designs.

VelvetLamination

• Soft touch finish, adding both durability and a premium feel.

SpotUV

• High-gloss varnish applied to selected areas for contrast and emphasis.
• Ideal for logos, brand names, or key visuals.

Foiling

• Metallic accents in gold, rose gold, or silver for a striking highlight.
• Perfect for business cards, invitations, or seasonal designs.

Byunderstanding weight,paper type, and finish,you can select the ideal stock to enhance the impact, feel, andquality of your printed materials.

Resolution

ResolutionGuide: Ensuring Your Print Looks Sharp

Animage that appears crisp on your screen might not always translatewell to print. If your once-sharp digital image looks pixelated orblurry when printed, the culprit is usually resolution.This guide explains resolution requirements for print and how toprepare your artwork so it looks just as good in hand as it does onyour monitor.

WhatIs Resolution?

Resolutiondescribes the level of detail and clarity in an image.

• High-resolution images appear sharp and detailed.
• Low-resolution images can look blurry or pixelated.

Resolutionis measured in:

• PPI (Pixels per Inch) – for digital screens.
• DPI (Dots per Inch) – for printed materials.

Essentially,the more pixels or dots per inch, the finer the detail in your image.

WhatResolution Do You Need?

Forprint, the industry standard is 300ppi.This ensures your digital file contains enough detail to printclearly at 300dpi,producing smooth, continuous images without blocky or pixelatedeffects.

Thisstandard is based on typical viewing distances: at arm’s length,your eyes perceive the image as crisp and professional.

CreatingHigh-Resolution Artwork

Ifyou’re designing your artwork in software like Photoshop orIllustrator, it’s important to set the resolution correctly fromthe start:

1. Set X and Y Resolution:
   • X resolution controls horizontal pixel density.
   • Y resolution controls vertical pixel density.
   • Lock these values together to maintain consistent image quality.
2. Choose Pixels/Inch (PPI):
   • For print, set your resolution to 300ppi.
3. Check Source Images:
   • Ensure all images you use meet the resolution requirements. Low-res images will appear pixelated in print.

CheckingImage Resolution

Filesize alone isn’t always reliable. A better approach is:

• Zoom in on your artwork to 3–4 times the final print size.
• This allows you to preview potential pixelation, as screens display images at 72ppi, while print requires 300dpi.

Dealingwith Low-Resolution Images

• Minor Issues: Slightly below-standard images can sometimes be sharpened in design software.
• Major Issues: If an image lacks sufficient detail, the only solution is to replace it with a high-resolution version.
  • Options include recreating it with a designer or sourcing high-res stock images.
• Last Resort: Printing low-res images “as-is” may work for large items viewed from a distance, but results are rarely crisp or professional.

Vectorvs. Low-Resolution Elements

Sometimesdocuments contain both vector elements (which scale without loss) andraster images (which can pixelate). This usually occurs due toincorrect export or save settings:

• From InDesign: Ensure export settings are set to minimum 300ppi with compression minimized.
• From Word: Avoid using Word for print artwork; it often reduces image quality during export.

Summary

• Set artwork to 300ppi from the start.
• Check all images before submission to ensure they meet print standards.
• Replace or recreate low-resolution images rather than trying to “fix” them digitally.
• Use vector elements where possible to maintain sharpness at any size.

Fordetailed instructions on file formats and submission, see ourSupplyingArtwork Guide.

VAT

VATGuide: Understanding VAT on Printed Materials

Thisguide provides an overview of VAT obligations when purchasing printedmaterials and points you toward resources to ensure compliance.

Whilewe can offer general guidance on transactions, we cannotmake decisions about whether VAT should be applied—fordefinitive advice, consult HMRevenue & Customs (HMRC).Their official guidance is available on gov.uk: VAT – generalenquiries.

IsVAT Applicable to Printed Materials?

VATapplies to some printed items but not all.

• Official guidance: HMRC’s rules detail which items are VAT-chargeable.
• Simplified guidance: User-friendly websites like isitvatable.com provide clear lists of print products that are liable for VAT.

Belowis a generaloverview of our product categoriesand how VAT may apply. Laws and regulations can change, so if indoubt, always check with HMRC or a VAT specialist.

WhenAre Flyers and Leaflets Zero-Rated?

AFlyer or Leaflet may qualify for VATzero-ratingif it meets all of the following conditions:

1. Primarily informational: It must mainly convey written information, with substantial text. Items designed mainly for display do not qualify.
2. Not a voucher, ticket, or invitation: The item should not function as a discount voucher, event ticket, or invitation.
3. Size limit: Folded or collapsed, the document must be A4 or smaller.
4. Writable area: Any space for writing must occupy no more than 25% of the total printed area.

Ifyou’re uncertain whether your item qualifies, consult HMRC or a VATexpert.

HowVAT Applies to Different Printed Items

TheVAT rate depends on the item’s purpose and functionality:

Zero-RatedItems

Primarilyintended to convey written information:

• Books
• Booklets
• Leaflets
• Brochures
• Catalogues

Standard-RatedItems

Primarilydesigned for display:

• Posters
• Calendars
• Certificates

Business-RelatedItems

Toolsor aids for business use:

• Presentation folders
• Business cards

Stationery& Writable Products

Productsdesigned to be written on:

• Letterheads
• Compliment slips
• Postcards
• Greetings cards
• Invitations

SpecialCases

• Informational guides or books are zero-rated.
• Items with blank spaces for user input (e.g., diaries, notebooks, notepads) are standard-rated and VATable.

Important:The final authority on VAT matters is HMRC.When in doubt, always seek guidance directly from them.

VATfor Charities

Charitiesoften benefit from VATexemptionsfor certain printed items, especially those used for advertising.

Accordingto VATNotice 701/1, paragraph 6:

“Thesupply of advertising to a charity is zero-rated. This includesadvertisements on any topic, including staff recruitment.”

Examplesof zero-rated items for charities include:

• Printed collection boxes
• Envelopes
• Appeal letters
• Stickers
• Emblems and badges

Note:Charities should confirm with a VAT specialist or HMRC to ensuretheir specific printed materials qualify for exemptions.

Vector Artwork

VectorArtwork Guide

Thisguide explains the difference between vector and raster images, andwhy using vector graphics is often preferable for print.

ArtworkDifferences

VectorGraphics

• Scalable without loss of quality: Vector images can be resized infinitely while retaining sharpness and detail.
• Smaller file sizes: Compared to raster files, vectors are usually lighter.
• Fully editable: Vector artwork remains completely editable throughout its use.
• How they work: Vectors use mathematical formulas to define shapes via points, lines, and curves.
• Common uses: Logos, icons, geometric patterns. Adobe Illustrator is ideal for creating vector artwork.

RasterImages

• Quality loss when scaled: Enlarging a raster image causes pixelation and blurring.
• Larger file sizes: Raster files like JPEGs, PNGs, or GIFs are generally bigger than vector files.
• Limited editability: Once compressed, editing becomes difficult.
• How they work: Raster images are made of pixels, small squares of colour information.
• Common uses: Photographs, usually edited in Adobe Photoshop.

FrequentlyAsked Questions

Whyprint with vectors?

Ifyour design is made up of shapes and text (like logos or icons)rather than photographs, using vectors ensures sharp, crisp edgeswhen printed.

• Scalable for multiple products: The same artwork can be used at different sizes—for example, a logo on a Business Card versus a Roller Banner—without losing quality.

Whichproducts require vector artwork?

Productssuch as Pens,Bags, and Water Bottlesrequire vector artwork, as these have precise specificationrequirements:

• Artwork must be fully vectorised.
• Colours must be Spot Pantone colours.

Whilevector artwork is preferred for all products, we understand that itisn’t always possible.

Howto check if your artwork is a vector file

• Zoom in on your graphic at 300–400% on screen.
  • If edges appear blurry or contain multiple shades, it’s a raster image.
  • If edges are crisp and colours solid, it’s likely a vector graphic.

Whatto do if your artwork isn’t vectorised

• Ask your designer for the vector version of your logo.
• In larger companies, contact your marketing or design department for the files.

Whyyour vector file might not work

• Raster images embedded in a vector file do not count as vector artwork and cannot be printed as such.
• A common mistake is placing raster images into Illustrator or other vector software—these remain raster images unless recreated as vectors.

Summary

• Vector graphics: Fully controllable, editable, and scalable to any size. Perfect for print and products that require precise specifications.
• Raster images: Cannot be enlarged without losing quality, making them less suitable for print, particularly for items that require vector artwork.

Usingvector graphics ensures your designs stay sharp, flexible, andadaptable across a wide range of products.