Why does print look different from my screen?
Screens mix light in RGB; presses lay ink in CMYK, a smaller color space, on paper that reflects rather than glows. Saturated blues, greens and oranges shift the most. Convert to CMYK from 300dpi sources, judge color on a calibrated proof rather than a monitor, and the surprises largely disappear.
How does proofing work for an image-heavy book?
Digital proofs settle layout and content first. Then a physical proof — 3–5 days — puts your images on the actual paper, and for color-critical work we pull press proofs of key spreads. You approve against something you can hold, and production is matched to it.
Can an image run across the gutter?
Yes, with planning. Smyth sewn books open well, but a few millimetres still curve into the spine, so we advise keeping faces and critical detail off the fold or duplicating a sliver of image either side. For panoramas that must read perfectly flat, layflat binding removes the gutter altogether.
Matt or gloss art paper?
Gloss gives deeper blacks and more saturated color, and suits high-contrast photography. Matt reads quieter and more contemporary, kinder to text and fingerprints, at a small cost in punch. Many books mix finishes by section; we send samples of both printed with real imagery so you decide by eye.
What is a sensible quantity to print?
Runs typically start from a few hundred copies. Offset make-ready is a fixed cost, so unit price falls steeply as quantity climbs and then flattens — 1,000 copies rarely cost twice what 500 do. We quote several quantities side by side so you can see where the curve rewards you.
How do heavy books survive shipping?
Each book is wrapped or shrink-filmed, cornered where finishes demand it, and packed in double-wall export cartons at weights a person can lift. Cartons are palletized and strapped for sea freight, with carton marks matched to your warehouse's receiving requirements.