What is your standard turnaround?
Our standard turnaround can be up to 48 hours (2 business days). This means that jobs will be completed within 48 hours of when they arrive. Some jobs may take longer, they include jobs requiring additional attention (due to errors, etc.), jobs that require proofing (ie. color or blueline proofing), or jobs that are large (usually more than 100 pages).

Does your sizing (letter, tabloid) include room for crop and registration marks?
Yes, we always consider crop and registration marks. When we say letter we mean a size of approximately 9.5"x12" and tabloid being approximately 12"x18". This similar arrangement applies to European/Metric sizing such as A3 (297 x 420 mm) and A4 (210 x 297 mm).

How do 4 color process or spot color files factor into the number of pages output?
Page count is based on total pieces of film not pagination, so multiply your pages by each color per page to determine your final "page count". For example, 2 4c CYMK pages would equal 8 pieces of film.

Is your handling/processing charge applied per job, file, order?
The handling and processing charge is applied per job. A job is considered any order that is of the same media, same handling (normal, rush, or super rush), and same destination, regardless of the number or type of files.

What native file formats do you accept?
Generally we accept all widely accepted formatted files. This would include Quark XPress, Adobe PageMaker, InDesign, etc. Check our instruction pages for greater detail. A native file surcharge will apply.

What is the native file surcharge?
We apply a surcharge to native files due to the additional handling required to service such jobs. You can avoid the surcharge by submitting properly formatted pdf or eps files that require no additional operator intervention.

Is there any difference in pricing or acceptance of Mac and Windows files?
No, however we recommend you check or instruction pages for greater detail.

What is "preflighting?"
Preflighting is the step just before imaging your job. We check to make sure the type, graphics, and other elements are working properly and are not corrupted or missing. This insures that the job will run out properly. We make every effort at this step, however we cannot guarantee that we'll catch every problem that might be introduced by improper preparation. This is why it is so important that you properly prepare your files.

Do you preflight PostScript print-to-disk or PDF files?
We do preflight these files too, however because of the nature of these files we cannot intervene if there are type or graphic problems. Usually if we do catch these kinds of problems the entire job (or at least the file in question) is unimageable.

What is the File Correction Charge and is it charged per job?
The File Correction Charge is charged only when we must work on your files to correct errors in preparation. This may include reimporting graphics, replacing or substituting missing type. In the case of native files this would be in addition to the Native File Surcharge. You will be notified when this charge applies. You always have the option of correcting the errors yourself and resubmitting the job for no additional charge (however this will delay your job).

What is the File Manipulation Charge? How is it different than the File Correction Charge and is it charged per job?
The File Manipulation Charge differs from the File Correction Charge in that it applies when you specifically request changes to be made to your submitted document, such as resizing graphics to fit, typographical corrections, movement of elements, etc. It is not automatically charged and is not a standard charge for output. We will tell you if this charge applies.

What are the different media types available? What is Film Negative and RRED?
You have a few choices here. Media can be ordered in a number of ways, here we try to summarize the types, however ALWAYS check with your printer/engraver.

Film types are usually based on the orientation of the type and images in relation to the emulsion (the actual imaged surface), see below for some general guidelines. All film is currently 4mil in thickness. Some of the most common combinations are listed below:

Film Negative RRED (Right Reading, Emulsion Down)
Also known as "Wrong Reading" (with no reference to emulsion). This is the most common film setup and is used primarily in USA offset printing, including Web and traditional. Plates are usually made from these films.

Film Negative RREU (Right Reading, Emulsion Up)
Also known as "Right Reading" (with no reference to emulsion). Rather unusual, certain processes require this format, such as copper engraving.

Film Positive RRED (Right Reading, Emulsion Down)
Positive film is usually used in screen printing processes. It also is used overseas (non-US, such as Asian printing plants). The RRED form of Film Positives are not common.

Film Positive RREU (Right Reading, Emulsion Up)
The most common of the Film Positive formats. Commonly used in screen printing (t-shirts and CDs for example). Also used in overseas printing.

General Media Guidelines
Positives are commonly used for reversing colors or making silk screens, unless using European methods and negatives are used for exposing plates. Generally emulsion up is commonly used for making duplicate negatives that do not lose resolution and emulsion Down is commonly used for exposing directly to a plate.

What are line screens (lpi)?
Line screen is usually measured as lines per inch (lpi). The higher the number the closer the image comes to continuous tone. A lower number means you'll most likely see more of the dot in any half tones (compare a newspaper with a coffee table book). The quality of line screen is directly related to the type of press and paper to be used. Typically the older the press and/or the coarser the paper the lower the line screen. A job that has no dot (or halftones) does not rely on line screen measurements.

Because we use Agfa Balanced Screening (specialized screen formulas that reduce moire patterns) you are limited to certain resolution/line screen combinations. We can set up our equipment to run almost any combination, however we usually do not recommend it. Our default resolution/screen combo is 1800 dpi/133 lpi. This is usually the most compatible combination.

Here are some line screen suggestions (always consult your printer):
• 85 - Newspaper, silk screening
• 100 - Older presses or desired effects
• 110 - Older presses
• 120 - Coarse paper
• 133 - Most compatible, coarse/uncoated paper
• 150 - Hard surface or coated stock
• 175 - Coated stock (always require 2400 dpi minimum resolution)
• 200 - High quality prints on hard surface (always require 2400 dpi minimum resolution)

What is your default line screen? What line screens are charged at higher rates?
Our default settings are 1,800 dpi at 133 lpi. You can go up to 150 lpi without any additional charges. We can go as high as 200 lpi. You should request specific line screens with your order.

Why is 133 lpi the default?
We choose this line screen setting because it is the one that is most requested and most compatible (many printers do not like to run print jobs at higher screens). However, if your printer can handle higher line screens (or conversely needs lower line screens) simply indicate that on your order.

Why are certain combinations of line screens and resolutions not available?
We utilize very specialized screening formulas that insure the best results possible. Certain combinations of screens and resolutions are simply not available. We will give you the closest approximation we can. It's best that you consult us if you have any specific questions in this area. In some specialized cases, such as running film for process color silk screening you will need to contact us with your particular screen angle requirements.

What is the difference between your analog (Agfa PressMatch) and digital proofing (Agfa DuoProof)?
Our PressMatch analog proofing is also known as contract proofing and is known by several other trade names (including MatchPrint). This type of proofing is made directly from your films and provides the best match for color since it is directly derived from the actual films which will be used to print your job. Match proofing requires films be made. Our Duo-Proof dye-sublimation digital proofing is created directly from your digital file and requires no film to be made. It is a cheaper process since it requires less labor to create. Although it does reproduce colors with excellent fidelity and accuracy, some do not prefer it since it isn't created from actual outputted film.

Do you markup the shipping costs?
No, the price we charge for shipping (usually via next day services) is our cost. However, if you have better rates you should choose to bill the shipping to your own account.

Do you charge extra for 3rd party shipping?
No, however if you want your materials sent back to you and not the 3rd party you will be charged for the cost of mailing your materials back to you.

How do I get free pickup and delivery service? What is your local area and am I in your local area?
To get free pickup and delivery of your jobs you must have a delivery address within our local delivery area. If you reside within this area you will be considered a local customer. If not you are considered a national customer (with delivery of jobs by express services such as Federal Express, Airborne, and US Mail).

Do you keep copies of my files onsite? What if I need revisions, corrections, etc?
Yes, most times copies of your files are maintained onsite for at least 15 days from ship date. We would be glad to rerun or revise any files you may have here, normal charges will apply (handling/processing, file manipulation, etc.).

Besides prepress, do you offer any other services?
Yes, Icons & Images offers a number of additional services from graphic design to web design and hosting. Contact us or go to our corporate web site (www.iconsandimages.com) for more detail.