Print Artwork Checklist Before You Send Files
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A file can look perfect on screen and still produce a disappointing printed result. A missing bleed, a low-resolution logo or text placed too close to the edge can mean a delay just when your event, campaign or opening date is approaching. Use this print artwork checklist before sending files to production and you will avoid the most common, costly problems.
This is not about making artwork complicated. It is about giving the press, cutter and finishing equipment what they need to reproduce your design accurately, at the size and on the material you expect.
Start with the finished size
Set your document to the final trimmed size from the beginning. An A4 flyer is 210 x 297mm, for example, while an A1 poster is 594 x 841mm. Do not assume that choosing a similar page size in your design software is close enough. A few millimetres can matter when a job is cut, mounted or fitted into a frame.
The right size also depends on where the print will be used. A poster for a shop window may need a different format from one displayed on a noticeboard. A wedding table plan needs to suit the easel or board it will sit on. For roller banners, display boards and signs, use the product template or dimensions supplied for that item rather than adapting a standard poster file.
Large-format artwork deserves an extra check. It is often designed at a reduced scale to keep file sizes manageable. That is fine provided the scale is clearly correct and the resolution is adjusted accordingly. A 1:10 scale file is not simply a smaller poster - it needs to be built with the final output in mind.
Add bleed and keep vital content safe
Print is trimmed mechanically, and a small movement during cutting is normal. Bleed gives the cutter room to work without leaving a thin white line around artwork that runs to the edge.
As a general rule, add 3mm bleed on every edge for flyers, posters, leaflets and other trimmed paper products. If your background colour, photograph or pattern reaches the edge, extend it into this bleed area. A document intended to finish at A4 should therefore be supplied at 216 x 303mm including 3mm bleed.
Just as important is the safe area. Keep logos, contact details, QR codes, page numbers and small text at least 3mm inside the finished trim edge, and preferably more where the design allows. For folded work, banners, signage and products with eyelets or hardware, the safe area may need to be larger. Nothing is more frustrating than a key message sitting too close to a fold, crop or fixing point.
Check folds, panels and finishing
A folded leaflet is not always divided into equal panels. A roll fold usually needs one panel slightly narrower so it folds neatly inside the others. Saddle-stitched booklets need allowance around folds and can have page creep as page counts increase. Stickers, labels and shaped cuts also need sensible spacing between important design elements and the cut line.
If a job includes lamination, mounting, drilling, eyelets or contour cutting, plan for the finishing process before finalising the artwork. The visual result may be excellent on screen but impractical once it reaches the finishing bench.
Use images at a suitable resolution
For most close-viewed print, 300dpi at final size is the dependable benchmark. This applies to brochures, flyers, photographs, menus and presentation prints. It does not mean every image needs to start at an enormous resolution; it means it must have enough real pixel data at the size it will be printed.
Stretching a small web image to fill an A3 poster does not create detail. It creates larger pixels, soft edges and potentially visible artefacts. Check the original image dimensions rather than relying on what looks acceptable on a laptop screen.
Viewing distance changes the requirement. A large banner viewed from several metres away can often work well at a lower effective resolution, while a fine-art giclée print designed to be viewed close up needs far more care. The material matters too. Detail can appear differently on smooth photo paper, textured art paper, vinyl and display board.
Avoid screenshots for anything that needs to look polished. They are often low resolution, include unwanted interface elements and may use colours that are difficult to reproduce predictably. Use original image files, exported graphics or high-quality supplied logos wherever possible.
Set colour expectations before production
Screens use RGB light. Commercial print generally uses CMYK ink or toner, while specialist processes and materials can have their own colour behaviour. That difference is why a bright blue on a mobile phone or a vivid fluorescent-looking green on a monitor may print more muted than expected.
For standard commercial print, supply artwork in CMYK where possible. This gives you a more realistic starting point for how colours will reproduce. Keep in mind that converting an RGB image to CMYK can change certain blues, greens and intense pinks. Check the converted artwork rather than assuming the software has made the decision you wanted.
There are exceptions. Fine-art and photographic workflows may be better handled from high-quality RGB originals, depending on the paper and print process. If colour is critical for a brand, exhibition image or product launch, say so before production. A specific Pantone reference, a previous printed sample or a colour-managed proof provides a stronger target than a description such as “dark navy”.
Black text should normally be set as 100% K, especially at small sizes. A rich black made from several CMYK inks can look deeper on large solid backgrounds, but it is less suitable for fine type because any minor registration variation can soften the edges.
Make type, logos and lines print-ready
Use clear, properly licensed fonts and make sure they are embedded in the final PDF. Better still, where editing is no longer required, convert display text to outlines or provide a press-ready PDF with fonts embedded. This prevents unwanted font substitution when the file is opened elsewhere.
Check small text at 100% view, not at a zoomed-out page view. Fine reversed-out text, pale type on a coloured background and very thin lines can look sharp on screen but lose definition in print. If a customer needs to read it quickly from an arm’s length away, give it enough size, weight and contrast.
Use vector logos whenever possible. A vector PDF, AI, EPS or SVG can scale cleanly for a small label or a large shop sign. A low-quality JPEG logo may look jagged or blurred, particularly when enlarged. Also check that linked images are embedded or included in the final export. Missing links are a common reason an otherwise finished design arrives incomplete.
Export a print-ready PDF
PDF is usually the safest format for final artwork because it preserves layout, fonts, vector elements and image placement. Export at the correct finished size with bleed and crop marks only where they are requested. A flattened, press-ready PDF helps prevent last-minute surprises caused by editable layers, transparency effects or unsupported file features.
Before sending, open the exported PDF and inspect every page. Check page order, spelling, telephone numbers, web addresses, dates, prices and QR codes. Scan the edges for unwanted white borders and look closely at any transparency, drop shadow or overprint effect. It takes minutes and is far easier to correct before the job enters production.
For multi-page documents, confirm that facing pages have not been supplied as one spread unless requested. Most print workflows require single pages with the correct page size and bleed. Leave imposition and printer marks to the production process unless you have been given a specific template.
Match artwork to the material and location
A design for uncoated paper will not look identical on gloss stock. A large Foamex sign, Dibond panel, window graphic or floor graphic has different practical requirements from a poster. Consider lighting, viewing distance, expected handling and the surface behind the print before you commit to a finish.
For window graphics, think about which side will be viewed and whether the design needs white ink, reverse printing or a transparent effect. For outdoor signage, small type and low-contrast imagery can disappear at distance or in poor weather. For event graphics, strong hierarchy matters: people should understand the key message in seconds.
This is where practical print advice pays off. York Print Company can flag artwork concerns before production, but the earlier the conversation happens, the more options there are to protect your deadline and your result.
Final pre-flight check
Before you approve the file, confirm the essentials:
- The artwork is the correct product size and orientation.
- Bleed is included and important content sits within a safe area.
- Images are sharp enough at final output size.
- Colours are set appropriately and critical brand colours have been identified.
- Fonts, logos and linked assets are correctly embedded or converted.
- The final PDF has been checked page by page.
- The artwork suits the chosen material, finish and installation method.