Avoiding common print mistakes is one of the most valuable things you can do before sending any job to press. Even well-designed materials can end up costly to reprint or delay a campaign launch if the files are not prepared correctly from the start.
Whether you are printing brochures, flyers, direct mail or point of sale, the issues that cause problems are largely the same. This guide walks through the most frequent pitfalls and how to sidestep each one.
Getting the file setup right is the foundation of a successful print job. One of the most common mistakes is submitting artwork at the wrong size, using incorrect margins, or supplying a file type that does not support the required resolution or colour data.
PDF is the most widely accepted format for print, but not all PDFs are equal. Always export using a print-quality preset, such as PDF/X-1a or PDF/X-4, rather than a screen or web preset. These presets ensure that fonts are embedded and that colour profiles are correctly applied.
It is also worth checking that all linked images and graphics are embedded in the file before export, rather than linked to a location on your local machine.
Colour mode is one of the most overlooked aspects of print file preparation. Digital screens display colour using RGB (red, green, blue), while commercial printing uses CMYK (cyan, magenta, yellow, black). Submitting RGB artwork can result in a noticeable shift in colour when printed, particularly with rich blues, vibrant oranges, and certain greens.
Always convert your artwork to CMYK before supplying it for print, and do this within your design application rather than relying on an automatic conversion at the printer end. Automatic conversions do not always produce the best results, and colour accuracy matters when brand consistency is at stake.
If your brand uses a specific Pantone colour, discuss this with your print supplier early. Not all processes support spot colours, and knowing this in advance helps you plan accordingly.
Images that look sharp on screen can appear soft or pixelated when printed. This is because screens typically display at 72 to 96 dots per inch (DPI), while print requires a minimum of 300 DPI at the final output size.
A common mistake is resizing a low-resolution image to a smaller size in a layout, assuming this will improve its print quality. It does not. The underlying resolution remains the same. Always source images at 300 DPI at the size they will appear in the final printed piece.
If you are working with stock imagery, check the resolution and dimensions carefully before purchasing or downloading. Many stock sites offer different resolution tiers.
Bleed refers to the area of artwork that extends beyond the trim edge of a printed piece. It is essential whenever a design has colour, imagery or content that runs to the edge of the page. Without bleed, even a small variance in the cutting process can leave a thin white border around the edge of the finished piece.
The standard bleed allowance is 3mm on all sides in the UK, though some large format and packaging work may require more. Your print supplier will confirm the exact requirement. When setting up your artwork, extend all background colours and edge-to-edge images by at least 3mm beyond the trim line.
Keep important text and logos within the live area, which is typically 3mm inside the trim edge, to ensure nothing gets cut too close.
Paper choice has a significant impact on how a printed piece looks, feels and performs. Selecting the wrong stock can undermine an otherwise well-produced job.
A few things worth considering:
When in doubt, ask for a paper sample before committing to a large print run. Most suppliers are happy to provide them.
Skipping a proper proofing stage is one of the most costly common print mistakes a marketing team can make. Approving artwork on screen without a physical or soft proof means errors in colour, layout, copy or finishing can go unnoticed until the job has already been printed.
A soft proof (a high-quality PDF viewed on a calibrated screen) is a useful starting point, but a physical proof is invaluable for anything where colour accuracy, paper quality or finishing details are critical to the outcome. This is especially true for items such as brochures, packaging or any piece with strong brand colour requirements.
Build proofing into your production timeline as standard, not as an optional extra. The cost of reprinting far outweighs the time spent reviewing a proof carefully.
Most print mistakes are preventable with good preparation and clear communication between your team and your print supplier. File setup, colour, resolution, bleed, paper selection and proofing are the six areas that consistently cause problems, and addressing each of them before artwork is signed off saves time, budget and frustration.
If you would like to understand more about the production process and what to expect from a well-managed print job, take a look at Gemini’s Print and Finishing services.
