Nashville Printing

How to Place an Order

(800) 256-4948 Toll-Free
(615) 391-3303 Phone
(615) 391-0466 Fax
printorder@beyerprinting.com

If you are a new customer call and ask for customer service. They can answer any question you may have about ordering and setting up an account with us.

For current customers, reorders can be made through customer service or your Sales Representative.

You can place most orders via fax at (615) 391-0466. Please include as much about the job as possible to make our job a little easier.

You can also use our Request-A-Quote/New Order page to send us information on a job. To place a re-order, click here.

Submitting Digital Art

Digital Technology has revolutionized the printing industry in the last five years. It has become the standard method of communication between design houses, bureaus and printers. Many customers also choose to do their own design work on the computer and give it to their printer "ready to print." Unfortunately, "ready to print" does not mean the same thing to everyone.

We have a policy at Beyer Printing, Inc. of "Pre-Flight Checking" each disk that comes into our shop to make sure it will generate art that we can use. A charge will be applied for this necessary procedure.

Your Pre-Flight Check Includes:

  • Missing Fonts: all postscript and printer fonts must be included on disk
  • Severe Type Problems: type must be formatted to print correctly
  • Missing Links: all imported graphics must be included on disk
  • Imported File Format: all imports must be in usable format
  • Graphic Resolution: resolution must be set above 225 DPI
  • Color Setup: all colors must be formatted to separate correctly (spot or CMYK)
  • Compression: we accept these compressed file formats: Disk Doubler, Stuffit Files, Zip Files

Any adjustments needed to make your disk press-worthy will be charged at prevailing rates. This includes trapping, knockouts/overprints, layout/alignment, and type changes.

It is recommended that you ask your designer or bureau to check the above items and sign a checklist before giving us digitally formatted jobs. All art submissions need to complete the digital prepress checklist.

You can send us your files by clicking here or by email at graphics@beyerprinting.com.

Understanding Pricing

In printing, since every job is different, pricing is extremely difficult. To the customer, it may appear somewhat arbitrary. At Beyer Printing, Inc. we incorporate a unique computer pricing program which simplifies this task, but we thought it might be helpful if we explained some of the elements that go into your final price.

PAPER: Paper price depends on availability, size, color, style, and countless other variables. If we can cut the paper in such a way that we can utilize more of each sheet, this will affect your price.

INK COLORS: There is no additional charge if we print with one color, as long as that color is black or one of our standard colors. Each additional color increases the cost of the job. Remember that black is a color just like any other!

CUSTOM INKS: Each custom color requires us to prepare a special ink according to the Pantone Matching System® (PMS). For most custom colors, as many as four inks may be needed to mix the right hue. This is where the "PMS mix charge" is applied.

SIDES PRINTED: Each side printed requires a separate pass on the printing press. This doubles the printing time, and therefore the labor cost.

BLEEDS: If the image runs to the very edge of the paper, this is known as a "bleed" (because we have to print past the edge and cut). This requires a larger piece of paper, and sometimes, more waste.

FOLDING: Special folds require special equipment. A folding charge will be applied if your job needs folding.

DIE: Operations such as foil stamping, blind embossing, or die cutting requires a custom "die" be made. This is a one-time charge (we can use a die over and over).

LETTERPRESS: Numbering, foil stamping, embossing, scoring, etc. require a special kind of press and more labor.

TYPESETTING/DESIGN: For more information, click on hyperlink.

PLATES: In order to print your job, a plate or plates must be processed to attach to the press. (This is what transfers the image to the roller, which in turn transfers the ink to the paper.) A plate charge reflects the cost of this process.

There are many more operations which may be necessary to complete your job. Please ask one of our printing professionals if you have any questions about what it will take to get your job done. We are here to help you.

Design Vs. Typesetting

Beyer Printing, Inc. has graphic artists extensively trained in both digital imaging and commercial art available. While most people have some experience with desktop publishing and are familiar with terms like page formatting, fonts, imagesetting, etc., there are many aspects of prepress with which the customer may not be familiar. Please feel free to ask any technical questions you may have while we are working on your job. You can be assured that your job will receive the utmost in our staff's creative and professional expertise.

Typesetting is what we call the process of converting written words into layouts which conform to industry printing standards and are attractive to the eye. At Beyer Printing, we lay out hundreds of business forms and other standard printed materials. We also will set jobs based on rough customer drafts. This is the kind of work we charge at basic Typesetting rates.

Design is the art of creating something extraordinary from the drawing board. In addition to arranging type, our artists choose spatial relationships, graphics, colors, and many other elements to make your job the best it can be. We may even create original drawings or perform detailed photographic editing. Because we want your printed materials to stand out, design demands much more from our graphic arts staff, and is therefore charged at a different rate than Typesetting.

Trade Customs

It is important to note that Trade Customs having to do with rates, payment terms, and warranties may be subject to modification.

1. QUOTATION: A quotation not accepted within 30 days may be changed.

2. ORDERS: Acceptance of orders is subject to credit approval and contingencies such as fire, water, strikes, theft, vandalism, acts of God, and other causes beyond the provider's control. Canceled orders require compensation for incurred costs and related obligations.

3. EXPERIMENTAL WORK: Experimental or preliminary work performed at customer's request will be charged to the customer at the provider's current rates. This work cannot be used without the provider's written consent.

4. CREATIVE WORK: Sketches, copy, dummies and all other creative work developed or furnished by the provider are the provider's exclusive property. The provider must give written approval for all use of this work and for any derivation of ideas from it.

5. ACCURACY OF SPECIFICATIONS: Quotations are based on the accuracy of the specifications provided. The provider can re-quote a job at time of submission if copy, film, tapes, disks, or other input materials don't conform to the information on which the original quotation was based.

6. PREPARATORY MATERIAL: Art work, type, plates, negatives, positives, tapes, disks, and all other items supplied by the provider remain the provider's exclusive property.

7. ELECTRONIC MANUSCRIPT OR IMAGE: It is the customer's responsibility to maintain a copy of the original file. The provider is not responsible for accidental damage to media supplied by the customer or for the accuracy of finished input or final output. Due to the varying levels of expertise encountered with customer-supplied digital jobs, no claims or promises are made about the provider's ability to work with jobs submitted in digital format, and no liability is assumed for problems that may arise. For this reason, provider may apply a "pre-flight check" charge to examine such jobs, and any additional translating, editing, or programming needed to utilize customer-supplied files will be charged at prevailing rates.

8. ALTERATIONS/CORRECTIONS: Customer alterations include all work performed in addition to the original specifications. All such work will be charged at the provider's current rates.

9. PREPRESS PROOFS: The provider will submit prepress proofs along with origin copy for the customer’s review and approval. Corrections will be returned to the provider on a “master set” marked “O.K.”, “O.K. with corrections”, or “Revised proof required” and signed by the customer. Until the master set is received, no additional work will be performed. The provider will not be responsible for undetected production errors if:

  • Proofs are not required by the customer;
  • The work is printed per the customer’s O.K.;
  • Request for changes are communicated orally.

10. PRESS PROOFS: Press proofs will not be furnished unless they have been required in writing in the provider's quotation. A press sheet can be submitted for the customer's approval as long as the customer is present at the press during make-ready. Any press time lost or alterations/corrections made because of the customer's delay or change of mind will be charged at the provider's current rates.

11. COLOR PROOFING: Because of differences in equipment, paper, inks, and other conditions between color proofing and production pressroom operations, a reasonable variation in color between color proofs and the completed job is to be expected. When variation of this kind occurs, it will be considered acceptable performance.

12. OVER-RUNS OR UNDER-RUNS: Over-runs or under-runs will not exceed 10 percent of the quantity ordered. The provider will bill for actual quantity delivered within this tolerance. If the customer requires guaranteed quantity, the percentage of tolerance must be stated at the time of quotation.

13. CUSTOMER'S PROPERTY: The provider will only maintain fire and extended coverage on property belonging to the customer while the property is in the provider's possession. The provider's liability for this property will not exceed the amount recoverable from the insurance. Additional insurance coverage may be obtained if it is requested in writing, and if the premium is paid to the provider.

14. DELIVERY: Unless otherwise specified, the price quoted is for a single shipment, without storage, F.O.B. provider's platform. Proposals are based on continuous and uninterrupted delivery of the complete order. If the specifications state otherwise, the provider will charge accordingly at current rates. Charges for delivery of materials and supplies from the customer to the provider, or from the customer's supplier to the provider, are not included in quotations unless specified. Title for finished work passes to the customer upon delivery to the carrier at shipping point; or upon mailing of invoices for the finished work or its segments, whichever occurs first.

15. PRODUCTION SCHEDULES: Production schedules will be established and followed by both the customer and the provider. In the event that production schedules are not adhered to by the customer, delivery dates will be subject to renegotiation. There will be no liability or penalty for delays due to state of war, riot, civil disorder, fire, strikes, accidents, action of government or civil authority, acts of God, or other causes beyond the control of the provider. In such cases, schedules will be extended by an amount of time equal to delay incurred.

16. CUSTOMER FURNISHED MATERIALS: Materials furnished by customers or their suppliers are verified by delivery tickets. The provider bears no responsibility for discrepancies between delivery tickets and actual counts. Customer-supplied paper must be delivered according to specifications furnished by the provider. These specifications will include correct weight, thickness, pick resistance, and other technical requirements. Artwork, film, color separations, special dies, tapes, disks, or other materials furnished by the customer must be usable by the provider without alteration or repair. Items not meeting this requirement will be repaired by the customer, or by the provider at the provider's current rates.

17. OUTSIDE PURCHASES: Unless otherwise agreed in writing, all outside purchases as requested or authorized by the customer, are chargeable.

18. TERMS/CLAIMS/LIENS: Payment is net cash 30 calendar days from date of invoice. Claims for defects, damages or shortages must be made by the customer in writing no later than 10 calendar days after delivery. If no such claim is made, the provider and the customer will understand that the job has been accepted. By accepting the job, the customer acknowledges that the provider's performance has fully satisfied all terms, conditions, and specifications.

The provider's liability will be limited to the quoted selling price of defective goods, without additional liability for special or consequential damages. As security for payment of any sum due under the terms of an agreement, the provider has the right to hold and place a lien on all customer property in the provider's possession. This right applies even if credit has been extended, notes have been accepted, trade acceptances have been made or payment has been guaranteed. If payment is not made, the customer is liable for all collection costs incurred.

19. LIABILITY:

  1. Disclaimer of Express Warranties: Provider warrants that the work is as described in the purchase order. The customer understands that all sketches, copy, dummies, and preparatory work shown to the customer are intended only to illustrate the general type and quality of the work. They are not intended to represent the actual work performed.
  2. Disclaimer of Implied Warranties: The provider warrants only that the work will conform to the description contained in the purchase order. The provider's maximum liability, whether by negligence, contract, or otherwise, will not exceed the return of the amount invoiced for the work in dispute. Under no circumstances will the provider be liable for specific, individual, or consequential damages.

20. INDEMNIFICATION: The customer agrees to protect the provider from economic loss and any other harmful consequences that could arise in connection with the work. This means that the customer will hold the provider harmless and save, indemnify, and otherwise defend him/her against claims, demands, actions, and proceedings on any and all grounds. This will apply regardless of responsibility for negligence.

1. Copyrights. The customer also warrants that the subject matter to be printed is not copyrighted by a third party. The customer also recognizes that because subject matter does not have to bear a copyright notice in order to be protected by copyright law, absence of such notice does not necessarily assure a right to reproduce. The customer further warrants that no copyright notice has been removed from any material used in preparing the subject matter for reproduction.

To support these warranties, the customer agrees to indemnify and hold the provider harmless for all liability, damages, and attorney fees that may be incurred in any legal action connected with copyright infringement involving the work produced or provided.

2. Personal or economic rights. The customer also warrants that the work does not contain anything that is libelous or scandalous, or anything that threatens anyone's right to privacy or other personal or economic rights. The customer will, at the customer's sole expense, promptly and thoroughly defend the provider in all legal actions on these grounds as long as the provider.
  • Promptly notifies the customer of the legal action
  • Gives the customer reasonable time to undertake and conduct a defense.

The provider reserves the right to use his or her sole discretion in refusing to print anything he or she deems illegal, libelous, scandalous, improper or infringing upon copyright law.

21. STORAGE: The provider will retain intermediate materials until the related end product has been accepted by the customer. If requested by the customer, intermediate material will be stored for an additional period at additional charge. The provider is not liable for any loss or damage or stored material beyond what is recoverable by the provider's fire and extended insurance coverage.

22. TAXES: All amounts due for taxes and assessments will be added to the customer's invoice and are the responsibility of the customer. No tax exemption will be granted unless the customer's "Exemption Certificate" (or other official proof of exemption) accompanies the purchase order. If, after the customer has paid the invoice, it is determined that more tax is due, then the customer must promptly remit the required taxes to the taxing authority, or immediately reimburse the provider for any additional taxes paid.

23. TELECOMMUNICATIONS: Unless otherwise agreed, the customer will pay for all transmission charges. The provider is to responsible for any errors, omissions, or extra costs resulting from faults in the transmission.

Understanding Color

Have you ever wondered why the color you believe you have created is not the color you get?

Light & Color

The primary colors are red, blue, and yellow; these colors refer to pigment and paint rather than the spectrum of light. In fact, the primary colors of the light spectrum are red, green and blue. Objects appear as a certain color because they absorb some primary colors and reflect others. A red object appears red because it is absorbing green and blue light, while reflecting red toward your eyes.

RGB

The RGB (Red, Green, and Blue) colors on a screen are created by adding light to change a black appearing screen. Four color process printing uses colored inks to partially obscure the paper's white surface and subtract reflection of certain colors until a desired color is visible. These two different systems are called additive color and subtractive color. The screen is additive color because light is added to create color. The press uses subtractive color because inks are used to partially block the reflection of light.

CMYK

CMYK (Cyan, Magenta, Yellow and Black) uses different percentages of cyan, magenta, yellow and black to create or "build" color. This technique is sometimes called screened color because screens of each color are used to create a new color. Because process colors are "built" from two to four inks, they sometimes look murkier than a spot color. Some spot colors are impossible to render through process color. Consequently, the color on the monitor can create a number of strong colors that cannot be reproduced in print. A conversion from RGB to CMYK is necessary for printing process color.

RGB vs. CMYK

Remember: NEVER judge color based on what it looks like on your monitor. One of the issues that affects color printing on a fundamental level is the incompatibility of screen color with printed color.

Converting RGB to CMYK

RGB - Red, Green, and Blue, are the colors of your monitor.

CMYK - Cyan, Magenta, Yellow, and Black are the four process colors used in printing.

RIP devices tend to prefer RGB - EPS images because they are usually better at reproducing CMYK values. Some digital devices will accept RGB images and convert them into CMYK, sometimes with good results. But this is a little like Russian Roulette with a paint gun, so beware. Results can be different from one job to the next!

If you need full color printing, your files must be converted to CMYK in order to get process color separated film.

When color is the most important issue, a color proof is a must. A digital press, such as the Xeikon or Indigo can provide a press proof. However, for traditional offset printing, a matchprint or a cromalin can be expensive but are precise in rendering process color.

Spot Color vs. Process Color

Spot Color - The use of a specific ink color on a designated area of the sheet.

Process Color - Using CMYK and 4 halftones the press can reproduce full color artwork beautifully.

You may combine spot color with full color photographs. In this case, it is recommended that all spot color be converted to process color in order to save money in the printing process.

Color Correction

Beyer Printing must convert your photographs or scanned images to CMYK before they RIP the file to an imagesetter to obtain film or print to a digital press. However, color correction should be done in RGB. Here's why:

Scanners are RGB devices and will scan your image as RGB color. It is recommended that all color correction and image manipulation be done in the RGB mode, as monitors are also RGB devices and will render more accurate color correction for viewing. Additionally, RGB has less color information, so the image is a smaller size making working with it easier and faster.

When the file is ready for printing and does not require any further prepress, only then will your printer convert the images to CMYK. Your printer will make a copy of the file and make the final changes to CMYK on the copy.

Understanding Fonts

When preparing your file for printing, your document should include the fonts used in the design. Let us know what font you are using, so we can make sure we own that particular font. This protects us both from copyright infringement. We can also substitute with a similar font. Fonts can be one of the prime suspects when having problems getting output from a file.

There are two types of fonts - PostScript (Type 1, Type 3 and Multiple Masters) and TrueType.

PostScript fonts have two parts -

  • A printer font - which tells the printer how to print the type on paper (or other media).
  • A screen font - which tells the computer how to draw it on the screen.

PostScript Type 1 fonts are considered the industry standard and are the most reliable when printing to high end digital devices such as imagesetters and digital presses. Type 3 fonts are the original non Adobe PostScript font description standard. This standard is dying and type foundries have all moved to the Type 1 standard. Multiple Masters were developed by Adobe to give users the ability to manipulate one or more design axes giving one tremendous flexibility and control over the type. Multiple Masters are also Type 1 fonts.

TrueType is most popular on the PC platform and is not PostScript. While TrueType can be used for day-to-day output, it is often the culprit of many printing problems. We don't suggest you use TrueType fonts because they may require additional processing time and sometimes cause unexpected font substitutions. If you must use TrueType fonts, be aware of these potential problems.

Do not use PostScript fonts and TrueType fonts in the same file!

Be aware that many companies produce fonts and often give them the same name. However, these fonts will usually print and format differently causing reflow of text and a different "look" to the document.

Providing the Fonts

Font software licenses are very specific and your printer can only use fonts they own. Once you know which fonts your printer can work with, include them on the disk. Fonts have many characteristics including line spacing and character spacing and as these type faces are improved, some of these characteristics will change. Therefore, it is acceptable for your printer to request that you provide them with a copy of the font to run your job as designed. Once the job is completed, the font file will be deleted. Using the font anywhere else is a violation of software licensing agreements. If you are a regular customer, it would be a good idea to ask for our font listing.

Are All the Fonts on Your Disk?

If only the screen font is available, your printer's digital output device will attempt to recreate the font from the information available. However, the result will be a low resolution or bitmapped image. If the digital output device cannot find the font, it will typically substitute "Courier" and will cause the document to reformat.

Bargain Fonts

A word to the wise: There are many companies who create fonts, and bargain fonts can be found everywhere. "1000 fonts for only $9.99." Remember, you get what you pay for and don't be surprised if these "bargain" fonts do not print well on a digital output device.

Embedded Fonts

Embedded fonts are fonts used within a graphic. There is a crossover issue (PC to Mac or Mac to PC) on fonts and graphics. EPS graphics sometimes include fonts. For the graphic to print properly, the font used in the graphic must also be provided. Another solution is for the font to be converted into "curves or outlines" in the drawing program in which it was created. Changing the font into a graphic element will prevent it from being modified or altered avoiding the font substitution issue.

If you have Freehand or Illustrator it is fairly simple to convert the font:

  1. Choose "Convert to Paths" (Freehand) or...
  2. "Create Outlines" (Illustrator)

If you don't have either software application your printer will need to convert the fonts for you.

Understanding File Formats

There are many types of file formats available. However, the file formats for optimum printing results are EPS and TIFF. Here are some typical file formats and their definitions.

EPS - This stands for Encapsulated PostScript. This is the most versatile and the preferred file format for composite film separations. As a vector file format, it offers smooth, clean lines. Saving files as an EPS is recommended when the file is being RIPed to a PostScript device such as an imagesetter or digital press.

TIFF - This stands for Tagged Image File Format and is typically used for paint-type (bitmapped) images. TIFFs can also be used for composite film separations, however, this file format does not offer as many options as an EPS file. These files take up less disk space but may not be recommended for process color work. TIFFs require more space as the color parameters of the job change, so watch your file size.

JPEG - This stands for Joint Photographers Experimental Group. This file format has built-in compression software that allows you to choose how much to compress the file. This is referred to as a "lossy" file and at low resolution is not acceptable for printing. Be aware that as the file compresses, it randomly throws out pixels resulting in a loss of information. Over time the image will degrade, eventually becoming unrecognizable.

GIF - This stands for Graphic Interchange Format. A graphic format compression scheme created for online service transfering of photographs. Because GIF images are limited to 256 colors, their file sizes are very small. With the popularity of the Web, this format has become the standard for online display images.

PICT - Pict (short for "pict"ure) files are useful for previewing high resolution art accurately in page layout programs and for creating templates used as guides in drawing programs. The quality, however, is not adequate for final output.

BMP - Bitmap format native to Windows Paint. It can accommodate a 24-bit image of various dimensions and resolutions. BMP is a low resolution image not suitable for printed output.

WMF - Windows Metafile is the standard for object oriented files under Windows. It is designed predominantly to print to non-PostScript printers and can only be edited in its native file.

Tips for Saving Your Graphics Files:

  1. All graphics files should be saved in an EPS or a TIFF format. This will provide optimum results for printing.
  2. In Photoshop, EPS files should be saved with DCS (Desktop Color Separation) turned off and an 8 bit preview.
  3. Fonts used in EPS graphic files should be converted to curves or outlines. Check your software manual for instructions.

Working with Graphics

Graphic elements can cause as many problems as fonts when an element is missing or not linked properly. Here's how to avoid these kinds of problems:

In order for a document to print properly, all the graphics and photographs used in the document must be included as separate graphic files on the disk. When a graphic or photographic image is placed into a document, the image is "linked" to the original and a low resolution image is placed into the document to be used for position only (FPO). When the document goes to a digital "RIP" for production on a digital device, the original image must be available within the file so that the high resolution image can be used for printing.

There is a crossover issue on graphics and fonts: EPS graphics sometimes include "embedded" fonts. In order for the graphic to print properly, the font used in the graphic must also be provided. Another solution is for the font to be converted into "curves or outlines" in the drawing program in which it was created. This is strongly recommended, however once converted, the type becomes a graphic and cannot be easily edited.

If you need four color process printing, be sure all spot colors are converted to CMYK process colors.

When saving files for output to digital devices, the file formats for optimum printing results are EPS and TIFF.