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Traditionally it would be too expensive to run off a proof copy on the press, so you'd order an expensive Cromalin or Matchprint proof to give a reasonable indication of what to expect, although not on the same paper stock. Today's inkjet proofers offer a cheaper and quicker alternative: litho printer Paragon, for example, uses Epson 7x00 and 9x00 series large-format inkjets calibrated to match its presses.

But a digital printer can easily make a proof on the press. Cypher's Paul Calland encourages all customers to order a proof, especially for their first job. 'We'll print it on press using the correct materials, and even laminate, fold and bind it if that's part of the job.' Wellington Press 'tends to proof a lot of stuff, sometimes even if they haven't asked for it,' says Nick Murray. Online service ClickClickPrint.com offers a free digital proof with every order. Printers recognise that it's worth a little bit of hassle to avoid a whole job being rejected later.

Once you approve a proof, whether on screen or on paper, the printer will go ahead with the job as seen. If you have any complaints about the end result, you won't really have a leg to stand on unless it's different from the proof. Failing to check proofs thoroughly, or doing without a hard proof due to lack of time, are among the causes of the fairly rare but inevitable disputes between clients and printers. Guerilla's Helen Johnson expresses the frustration often felt by customers: 'If your printer is going to do something

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wrong, it's never their fault.' She agrees with Calland about the solution: 'Always get a proof.' Nick Murray, production director at Wellington Press, notes wryly: 'We get designers who send us a PDF, then ask for a PDF proof back. What's that about? They're just trying to shift the onus onto us.' But Johnson insists it's better to be safe than sorry. 'Explain what you want, confirm what you agree in writing if possible, and don't assume.'

If things go wrong and it really is the printer's fault - for example, the press output is substantially different from the proof, or your brochure has the pages in the wrong order - then the printer will normally be willing to put it right. You can expect the job to be re-run correctly, and if you've been inconvenienced by the mistake, a credit against future work may be appropriate. Just try to complain calmly and clearly, and remember printers hate it as much as you when a job goes awry.

Now that you know the pitfalls, don't forget that most jobs do come out well first time. In just a few days, for a reasonable price, you should be opening a box of printed paper as gorgeous as any glossy magazine. It's worth the hassle for the smell alone.

Prepress checklist

Tick these items off before you send a job to print. I know how many copies I'm getting and on what paper stock.

I know what type of press is being used and I've confirmed that the print and paper are compatible with my purposes.

I've agreed any finishing, including varnish, folding and stitching.

I've agreed how quickly the job can be done. I've agreed any extra charges for setup, proofs and delivery.

I've requested a hard proof and nothing is proceeding until I've approved it OR:

The printer assures me a soft proof will accurately indicate press output.

The printer wants PDF and I've understood and applied the appropriate specs OR:

The printer wants native files and I've collected for output successfully.

I haven't used any TrueType fonts, Mac OS System fonts or any other wacky font action.