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What you can do with your printing project is largely determined by your willingness to invest in it. Maserati and Maruti both have great cars, but ultimately the brand and your budget determines on what drives you, and what you drive.

We will consider the size of the printed product, what quantities you need, the number of colours you plan to use in general, and what you expect from the end product. Also, do you plan to use accessories? These are some factors that will influence your total investment in the project and our turnaround time to deliver it .

We can start as low as 5,000 tags, depending on the size and complexity of the hangtag. A detailed discussion will give us, and you, better insight on how we proceed with each project.

It entirely depends on the nature of the project and the complexity involved. We have delivered overnight and within a couple of days when clients had rush jobs, albeit for a nominal additional charge. That aside, our estimated turnaround time is 7-8 working days once the artwork is approved. Printing of extra accessories could require an additional 3-5 days.

We prefer receiving all artwork in Adobe Illustrator, Adobe Photoshop or CorelDraw native files. EPS files are preferred to TIFF or JPEG files and should be at least 300 dpi. PDF files are fine as long as the artwork has not been “down sampled”. We favour files sent electronically.

Often, customers choose a paper stock without understanding its printing properties, only to be disappointed when the job doesn’t turn out as they’d expected. But don’t worry, we have your back. To avoid such problems, we explain the paper that is suitable for a client’s end product and also their budget. We guide them about colour, size, weight, grade, grain, opacity, and finish, though, of course, the client has the right to make any final call about paper quality. We usually print tags on local or imported Gloss Cover cards. We can also source any available paper stock, if required.

One colour? Two-colour (typically black and a second colour)? Four- colour? Six colours or more? Your colour choice affects how your product looks and what it costs. Here are some of the things you should consider and discuss with your as you make colour decisions

 The colour and appearance of ink can change depending on the colour, texture, coating, and weight of the paper you choose. A paper’s absorbency, gloss and whiteness greatly affect an ink’s appearance of inks, especially special colour match, metallic and fluorescent inks. Also, the same colour ink printed on coated paper stock can appear significantly different when printed on uncoated stock.
A special corporate logo colour, for instance, may require an ink formulation on the actual paper to be used for the job. A representative print can be produced by the ink manufacturer in their laboratory and will provide the best representation of that match colour. Ask us for a sample before proceeding with the final print job to avoid ambiguity.

Consider using specialty items like metallic or fluorescent colours carefully. The final effect of these inks is highly dependent on the quality of the paper stock being used. Even the best papers may require a double hit of the ink for best results. Be sure to discuss this with us.

Colour guides and colour matching chip sets or swatches have a limited shelf life and will change colour over time. It is important to keep your colour guides current. Send us a chip or swatch of the colour you want matched. Be careful when trying to print a special colour on one form as a CMYK colour match on another form.  

To proof or not to proof should not be the question. When in doubt always proof a job and proof often. Problems detected early in the production process are the easiest, and least expensive, to correct. Waiting until a job is on the press to check for mistakes is an expensive way to proof a job, and often too late. The cost of a colour proof is next to nothing compared to hearing, “Stop the press—we have changes.”

Yes and no. For printed items we provide digital proofs for your approval prior to printing. The proofs must be signed and returned before production begins for our file reference

Most of the artwork we receive is complete and ready for production. We are prepared for pre-flight of any issues that may arise and make any necessary suggestions. Moreover, we have a team of talented graphic designers in case you do not have a pre-graphic design.

Finishing encompasses a huge field of specialized processes and involves many labour-intensive steps. Most of those steps will affect how a piece is designed, some will affect how a piece is printed, some will affect how pieces are combined, and some will affect the schedule and cost of a product. We make sure that the relevant finishing steps are undertaken after the piece is completed. For example, lacquer quoting for colour fastness to give a semi-gloss finish, various types of lamination, various creative shapes and sizes, and finally before dispatching accessorizing your product. To avoid frustration and potential expense, consider finishing steps as you plan, then check them again each time you make a change in any of the product specifications

Delivery considerations impose limitations that may affect each step of the production process. These requirements must be communicated to those who plan, design and print the product.

Hard-copy mechanicals? Electronic files (“electronic mechanicals”)? Discuss the options with us.

When possible, convert type to a graphic (vector objects) in EPS files. Common problems for prepress service providers are font substitution or PostScript errors caused by type in imported EPS graphics.

Transparencies, Digital photography, Drawings, Line art – we can do it all.
Discuss all of these options with us. Let us know how you plan to supply your artwork: in hard copy, electronic files, or both. If you plan to provide electronic files (“electronic mechanicals”), ask about the file format that we prefer.

You are responsible for ensuring that all copyrights have been acquired for your work. You should either own the copyright on your text, graphics, photographs, stock photographs, drawings, computer art, and other content sources, or you should be able to clearly demonstrate that you have legally secured permission from copyright holders to reproduce their content for the purpose of the printed job.

Take some time to review your specifications, making sure that you’ve communicated them clearly and that you haven’t left out any important details—such as paper (or substrate) and colours requiring special inks—that might add to your cost or turnaround time.
To avoid communication errors, it is a good idea to go over your specifications with us, either in person or on the telephone. Make sure you underscore any specifications that may have changed since the original price estimate and schedule we gave you

If your job requires special finishing—such as packing, labelling and the like make sure you’ve given us detailed instructions.
Because the process of binding and finishing has become so specialized, your product may have gone through several pieces of equipment, even in several different plants. Planning is critical to the success of your product. If a job is not well planned, it may fail at several critical points along the production process resulting in lost time and money. Poor planning can jeopardize the entire job. Be sure to review your job carefully and always provide a dummy of your proposed product. Communicate every mechanical change you make with us.

All first-time orders require a 50% deposit with the balance paid COD. Subsequent orders are invoiced at 30 days credit.