Printing Advice
Printing Support and Guidance
Our printing support and guidance provides clear answers to common printing questions, helping you understand how printing works and what key terms mean. By gaining this knowledge, you can create high-quality printed products that stand out.
We explain essential print terms such as bleed, crop marks, dpi, and colour profiles, ensuring you prepare your artwork correctly. Choosing the right printing method—digital, lithographic, or large-format—is crucial, and our printing support and guidance helps you select the best option for your project and budget.
Additionally, paper stock, finishes, and binding choices greatly affect the final look and feel of your print. Our personalised printing support and guidance assists you in making informed decisions that enhance your materials’ impact.
Our expert support ensures your printing experience runs smoothly, resulting in professional, eye-catching printed products every time.
Printing Fabric Banners
How Do We Print on Fabric?
We use dye-sublimation (dye-sub) to permanently apply photo-quality images to fabric. Unlike traditional printing methods, dye-sub infuses the image into the fibres of the material rather than simply printing on the surface. As a result, the finish is vibrant, durable, and long-lasting.
To achieve this, we print all our fabric products using a 3.2m Dgen G5 Grande Dye-Sublimation Printer, which ensures exceptional quality. In addition, a Transomatic Fixation unit sets the ink into the fabric, securing the final result. This process delivers a high-resolution finish at 2400dpi, perfect for professional-grade fabric prints.
Generic Fabric Artwork Guidelines
Artwork should be supplied at 100% size and should adhere to the following guidelines:
- CMYK
- Ink levels up to 300%
- Images 50 – 150dpi
- All fonts converted to outlines
- Minimum 10% tints
- Do not try to colour match vector colours to rasterised colours. The rip treats these differently and there will be a visible difference in the final print. Place Vectors into Photoshop instead to create one bitmap image.
- No layered .psd files, transparency effects or vector gradients
- Save as a high-resolution PDF from InDesign – no template guides to be on final PDF. If they are on your final PDF they will be printed!
- Respect the quiet zones. Fabric stretches and shrinks (different amounts in different directions) during the production process so there is less accuracy compared to printing on paper. The templates may appear unusually large or proportioned. This is to allow for the stretch/shrinkage of the material. For best results, keep all important elements well within the quiet zone areas and do not try to match up designs from the front to the reverse.
- It’s not a leaflet. Big, bold designs are the most effective.
- The text should be as large as possible to ensure it is readable from a distance. For ‘small print’ you should not go below 24pt for dark text on a light background, and 48pt for reversed out text.
- Single-sided flags have 80-90% show through on the reverse.
- All PDF Page Boxes should be set to the correct page size (Finished Size + Bleed).
Books and Booklets
What Is Stitch, Fold, Trim?
Stitch, fold, trim refers to a professional booklet-binding process that creates clean, durable, and polished booklets.
To begin, instead of using individual staples, the process uses a continuous spool of wire. This wire is automatically cut to the correct length and inserted through the spine of the booklet—this is known as the stitch. Next, the stitched pages are folded in half to form the traditional booklet shape.
As the outer sheets must wrap around the inner ones, they travel a greater distance. Consequently, the edges of the pages may become uneven or stepped. To correct this and achieve a neat, uniform finish, the booklet undergoes trimming.
This three-step process—stitch, fold, and trim—results in a sturdy, professional-looking booklet ideal for presentations, brochures, and catalogues.
Spot U.V
We believe a business card should not only look impressive but also feel exceptional in the hand. To achieve this, applying spot UV can significantly elevate your printed product, adding both visual interest and tactile appeal.
Spot UV involves applying a thick, transparent layer of UV varnish, which is then cured using ultraviolet light. While it’s possible to coat the entire surface, the ‘spot’ technique focuses the varnish on specific areas of the design. This targeted application creates a striking contrast between the smooth, glossy finish of the spot UV and the soft, matte texture of the uncoated areas.
As a result, spot UV provides a bold and lasting impression, making your business card stand out with a sleek, professional finish.
Spot UV Setup: A Guide to Achieving a Stunning Finish
To begin, you’ll need to plan your artwork carefully with your print supplier. Clearly marking the areas where Spot UV should be applied is essential. This ensures the printer knows exactly where to add the UV varnish during production.
Once the artwork is approved, the process moves forward with printing the main design. Sheets of paper are fed through a series of machines, where rollers guide them smoothly while a die-cut template applies the Spot UV varnish precisely. This template targets only the highlighted design elements.
Following varnish application, sheets pass under an infrared lamp to begin drying. Immediately after, they move under a UV lamp, where the varnish is fully cured. When completely dry, the sheets can be trimmed or folded, depending on the product—whether it’s a business card, leaflet, or brochure.
In most cases, Spot UV is paired with a matt laminate. This combination amplifies the glossiness of the varnish, creating a powerful contrast between the matte surface and the vivid shine of the Spot UV. As a result, you get an eye-catching, premium finish ideal for high-end marketing materials.
Submitting Your Artwork for Spot UV
Most printers request two versions of your artwork in a single PDF: one showing the full design and the second highlighting the Spot UV areas. Using a contrasting colour to mark the varnished sections allows the printer to apply it with accuracy. This extra step guarantees your print finishes exactly as expected.
Design Tips for Spot UV
Allow for Tolerance in Registration
Because Spot UV is applied using a screen-printing method, slight shifts of up to ±2 mm can occur. To compensate, extend the Spot UV shape 2 mm beyond the edge of any printed area. Similarly, if shapes touch the edge of the page, treat them like background artwork and apply a full bleed.
Avoid Aligning with Fine Detail
Spot UV is not ideal for precise alignment with small type or fine lines. As a general rule:
Avoid positive lines thinner than 1 mm
Avoid reversed-out lines thinner than 2 mm
For best results, treat Spot UV as a separate design feature rather than trying to align it exactly with printed elements. Maintain a 2 mm gap between distinct Spot UV areas to prevent them from merging unintentionally.
Refrain from Bleeding Spot UV to the Edge
Avoid placing large, solid areas of Spot UV that extend to the edge of the page. These are prone to chipping or flaking during guillotining or die-cutting.
Use Only Vector Artwork
Ensure all Spot UV elements are created using vector graphics. Convert any text to outlines or paths to avoid issues during production.
Avoid Using Tints or Gradients
Spot UV must be applied as a solid fill—gradients or tints (e.g., fading from 100% to 0%) cannot be used in this process.
By following these best practices and working closely with your printer, you’ll achieve a bold, tactile finish that enhances the impact of your printed materials. Spot UV, when used correctly, is a powerful way to elevate your design and make a lasting impression.
What is Embossing
Embossing Explained
Embossing involves pressing a design into paper using two etched metal dies—typically made from copper, magnesium, or brass—combined with heat. These dies work together to raise the text or graphic above the paper’s surface, creating a striking three-dimensional effect.
To produce the embossing die, a reversed image of the artwork is used. When the design is pressed into the paper rather than raised, the process is known as debossing.
Chances are, you’ve come across embossing on items like notary seals, where the raised impression adds both texture and formality. Designs can be blind embossed, meaning the raised area has no additional ink or foil. However, applying foil or coloured ink to the embossed area introduces an eye-catching and distinctive touch, enhancing the visual appeal of the final printed piece.
Whether subtle or bold, embossing adds depth and professionalism to your printed materials—making your design truly stand out.
Books Perfect Binding, PUR Binding
Perfect Binding PUR
If you’ve ever purchased a paperback book, you’ve encountered perfect binding. This method involves applying glue to the book’s spine and attaching a wrap-around cover securely.
Typically, perfect binding uses Hot-melt EVA (Ethylene Vinyl Acetate) glue, which melts in a heated tank and solidifies once cooled, allowing it to be reused. However, PUR (Polyurethane Reactive) glue offers even greater durability.
Once cured, PUR creates a strong yet flexible bond that withstands extreme temperatures, making it the most robust adhesive choice for perfect binding.
What is CMYK Printing?
Understanding CMYK Colour Model
CMYK stands for cyan, magenta, yellow, and black, representing the four inks commonly used in colour printing. This model forms the basis for producing printed materials like brochures and business cards through lithographic printing.
In contrast, RGB (red, green, and blue) serves as the colour model for digital devices such as computer monitors and screens. These devices rely on natural or artificial light to display colours, so RGB cannot be used directly in lithographic printing. Instead, RGB colours must be converted to CMYK for print, but this process often results in some bright RGB colours being lost.
Conversely, CMYK conversions tend to dull certain colours, which explains why most designers create their artwork in CMYK from the start. By doing so, they avoid last-minute colour shifts and ensure the final printed product meets customer expectations.
RGB Colour Model
The RGB colour model creates colour by projecting light through an additive process. When red, green, and blue combine, they produce white light. This method is used by devices such as computer monitors and TV screens. Consequently, black in RGB represents the absence of all colour.
CMYK Colour Model
In contrast, the CMY colour model mixes cyan, magenta, and yellow inks to produce black, commonly used in printed materials like business cards, brochures, and posters. CMYK works better on paper because it relies on pigments instead of light. Under a magnifying glass, a printed page reveals tiny dots of these colours. Unlike RGB, white in CMYK is the absence of ink, showing the paper’s natural colour.
Designing for Print: CMYK Presets and Conversion
Design software like Adobe Photoshop, Illustrator, and InDesign include CMYK presets for press setups, simplifying the design process. You can also easily convert RGB files to CMYK online. Always design in CMYK to ensure your prints match the intended colours; otherwise, colours may appear dull or inaccurate.
What Does the ‘K’ in CMYK Mean?
The ‘K’ in CMYK stands for black and is often explained as ‘key’—referring to the alignment of the black plate with the cyan, magenta, and yellow plates to enhance contrast. Another explanation is that ‘K’ was chosen to avoid confusion with blue, though this remains uncertain.
Process Colours and Ink Coverage
Process colours result from mixing percentages of each CMYK channel. For example, 75% magenta plus 25% black equals 105% total ink coverage. Maximum ink coverage can reach 400% (100% of each colour).
Ink Coverage Limits by Material
Coated papers (silk, gloss) allow up to 300% ink coverage.
Uncoated papers (letterheads, recycled) allow 225%.
Scratch card and postcard backs generally allow 225%, with 150% recommended for large solid areas.
Digital printing supports up to 275%.
Large format printing typically limits coverage to 225%.
Conclusion
Understanding these ink limits helps produce sharp, professional prints that last longer and match your design expectations.
VAT on Print
VAT stands for value-added tax and applies to most goods and services supplied by businesses within the UK, as well as imported goods and services from outside the EU. Since 4th January 2011, the standard VAT rate has been 20%.
Certain items qualify for zero rating under ‘VAT Notice 701/10: zero-rating of books and other forms of printed matter’. These zero-rated goods do not require VAT to be charged.
Zero-Rated Items (No VAT)
The following items are generally exempt from VAT:
Books, Booklets, Brochures, Catalogues, Directories
Some Leaflets and Flyers
Journals, Magazines, Newsletters
Manuals (unless in a ring binder)
Maps, Sheet Music, Newspapers, Pamphlets
Price Lists (without an order form)
Timetables
Standard Rated Items (20% VAT)
VAT at 20% applies to items that are kept, publicly displayed, or used as business amenities. Check your quote to see if VAT is included or will be added; if so, 20% will be added to the price.
Common VATable items include:
Acceptance Cards, Business Cards, Calendars, Certificates
Compliment Slips, Coupons, Delivery Notes
Diaries, Envelopes, Folders, Forms, Invitations
Invoices, Labels, Letterheads, Postcards, Posters
Questionnaires, Stickers, Tickets
Leaflets and VAT: What You Need to Know
Leaflets can be zero-rated only if they meet specific criteria:
Designed to be read a few times and then discarded
Printed on limp paper, typically A4 or A2, double-sided and folded to A4 or smaller
Supplied in sufficient quantity (at least 50 copies)
Must convey information and be a standalone item
Note:
The term limp paper is not clearly defined by the tax authority. Paper 200gsm or heavier is generally considered VATable.
Leaflets included in mail packs or hole-punched and placed in binders/folders become VATable immediately, as they no longer qualify as leaflets.
Bleed and Crop Marks
What is Bleed?
Bleed ensures that an image prints right up to the edge of the finished page. It provides a margin for cutting, preventing any unwanted white edges from showing. Without bleed, the final artwork may appear flawed due to visible paper edges.
This extra area of the design will be trimmed off after printing. Since printing is a manufacturing process, some variation is inevitable. Therefore, we require 3mm of bleed on all four sides of the page. In other words, you should add 6mm to both the length and width of your document.
If you use Adobe InDesign or Illustrator, simply set the bleed values in the designated checkboxes before exporting your file.
Bleed in Photoshop and Microsoft Word
Photoshop and Microsoft Word do not offer a dedicated bleed feature; we cover page setup for these programs in other articles. For example, an A4 portrait document measures 210mm x 297mm without bleed. To add bleed, include 3mm on all sides: add 3mm to the top and bottom, and 3mm to the left and right. This increases the page size to 216mm x 303mm. Adding bleed ensures no unwanted white edges appear on your finished product, which is a common risk without bleed.
Crop Marks
Printers use paper larger than your design to print multiple items per sheet. Crop marks are small, thin lines placed at each corner of the document to indicate where trimming should occur. These marks are essential for print-ready artwork, especially when your design includes bleed. Avoid adding crop marks manually, as they often lack the precise alignment required and may cause issues. If your software cannot place crop marks automatically, simply set your page with a 3mm bleed all around and omit the crop marks.
Safe Zone
The safe zone lies 5mm inside the cut edge. This margin prevents important design elements from being trimmed off during finishing. Keep all critical text and images well within this zone.
Adding crops and bleed to Canva
How to Apply Crop Marks and Bleed in Canva
Extend any design elements that touch the page edge slightly beyond the canvas.
Click the Download button or the white down arrow (located between the Share and Publish buttons) in the editor’s menu bar.
Choose the PDF Print file type.
Tick the Crop marks and bleed checkbox.
Click Download. If your design contains premium elements, you will be prompted to pay before downloading.
Note: Canva’s crop marks and bleed are fixed at 5mm and cannot be adjusted. This setting ensures your file is ready for print.
Colour Profile in Canva
Canva exports designs using the RGB colour profile. Since printing requires CMYK, colour variations may occur, often causing colours to appear washed out.
Adding Crop Marks and Bleed in Microsoft Publisher
To create a bleed effect, set your publication to print on paper larger than your finished page size.
Steps to add bleed and crop marks:
On the Page Design tab, click Size, then select Page Setup.
In the Page Setup dialog box, under Page, choose your dimensions. For a custom size, enter the desired Width and Height, ensuring the paper is larger than your final page.
Position your objects or graphics so they extend beyond the page edges.
Click File > Print, select your printer, then click Advanced Output Settings.
On the Marks and Bleeds tab, tick the Crop marks checkbox under Printer’s marks.
Under Bleeds, select both Allow bleeds and Bleed marks.
Print your publication.
Creating Bleed to Send to a Printer
On the Page Design tab, click Size, then Page Setup.
Enter a slightly larger page size than your final document. For example, for an A4 document (210 x 297mm), use 216 x 303mm.
Extend your graphics to the page edges.
Reset the page size back to the original (e.g., A4). When professionally printed, the extended graphics will bleed off the page edges.
Notes on Microsoft Word and Publisher
Microsoft Word offers limited bleed support. You can set page size and margins to create a safe zone, but graphics can only be extended to the page edge for bleed effects during trimming.
While Microsoft Publisher is not ideal for printing with bleed, you can simulate bleed by adjusting paper size and repositioning graphics before sending your file to a professional printer.
Choosing paper for you Brochures
Paper Stocks for Print
When you order brochures from a printing company, they will ask which paper stock you prefer before producing your product. You might wonder: Is there a right paper stock? What exactly is paper stock or paper finish? Although it may seem confusing at first, don’t worry—I’ll explain everything clearly.
What is Paper Stock?
Paper stock refers to the thickness of a sheet of paper and is measured in gsm (grams per square metre). The higher the gsm, the thicker and heavier the paper feels. Conversely, a lower gsm means the paper is lighter and thinner.
Choosing thicker paper usually creates a more professional and premium feel for your campaigns. However, thick paper is not always suitable for every printing task, so it’s important to select the right weight depending on your needs.
Paper Stock Recommendations
To clarify further, here are some common paper stocks and their most suitable uses:
35 – 55 gsm: This thin paper is typically used for newspapers. Its low cost and lightweight nature make it ideal for large page counts that don’t require durability.
90 gsm: Commonly found in magazine inners and plans.
130 – 170 gsm: This standard weight works well for good-quality posters.
170 – 300 gsm: Thick paper within this range suits most corporate brochures. However, for large page counts, thinner stock may be better to keep the brochure flat and avoid bulkiness.
350 – 400 gsm: Thin card of this weight is commonly used for business cards. Lighter stocks tend to feel flimsy and can give the wrong impression of your business.
Finishes
Once you choose the paper stock, consider which finish best suits your brochure:
For a premium look, request coated paper. It can be finished with either a glossy or matte surface.
To stand out, opt for coating on one side only.
Untreated paper suits everyday printing with its non-reflective, natural feel.
For a sophisticated appearance, combine matte laminate with a touch of Spot UV varnish.
Standard Paper Sizes
Familiarise yourself with common paper sizes to plan your design effectively:
| Size | Dimensions (mm) |
|---|---|
| A0 | 1189 x 841 |
| A1 | 841 x 594 |
| A2 | 594 x 420 |
| A3 | 420 x 297 |
| A4 | 297 x 210 |
| A5 | 210 x 148 |
| A6 | 148 x 105 |
| A7 | 105 x 74 |
Print Ready Artwork
Using Fonts
To ensure your artwork prints exactly as expected, you must convert all text to curves. When you create a PDF, it references the fonts you selected but does not embed them within the file. Consequently, if we do not have the exact font, the print will differ from what you see on screen. Converting text to curves eliminates this issue by turning your fonts into vector shapes, ensuring that what you see is exactly what we print.
Colours
Your computer screen displays colours using RGB (Red, Green, Blue), whereas printing requires CMYK (Cyan, Magenta, Yellow, Black). Therefore, you need to set your colour space to CMYK before printing. If images remain in the RGB colour space, they will print dull and washed out, lacking vibrancy and depth. Using CMYK ensures your printed colours look rich and accurate.
Images
Always use high-quality images with a resolution of 300 dpi to avoid any loss of detail. Avoid stretching images out of proportion, as this not only looks unprofessional but also weakens your message. Additionally, all files must be flattened to prevent issues with transparencies during printing. Flattening ensures your artwork prints correctly without unexpected problems.
Bleed and Crops
When your images extend to the edge of the paper, you must include bleed. Bleed provides extra image area beyond the final trim size, allowing for precise cutting without white edges. Crop marks are small lines printed at the corners of your design to indicate where the paper should be trimmed. Both bleed and crop marks help us deliver a clean, professional finish.
Ink Coverage
Heavy ink coverage can cause drying delays, especially with quick-turnaround jobs. If the ink does not dry fully before trimming, it may transfer from one side to the other—a problem known as set-off. For coated papers such as gloss and silk, you may use a total ink coverage between 225% and 300%. However, for uncoated papers and most stationery (including recycled), you should keep ink coverage below 225% to ensure proper drying and finish.
Cracking and Chipping
Folding and Cracking
When you fold paper, its interlinked fibres compress on one side and stretch on the other. If the outer fibres lose their grip, the paper cracks, creating visible splits on the outside of the fold. This effect becomes especially noticeable when dark colours cross the fold line. To minimise cracking, consider upgrading to a laminated product. Laminated finishes help reduce cracking and improve durability. This issue commonly affects creased or folded items such as folded leaflets, creased or shaped flyers, and presentation folders.
Trimming and Chipping
Chipping happens when small chips or nicks appear along the trimmed edges of your print. Solid or dark colours that bleed to the edge make chipping more visible. To lessen this effect, upgrading to laminated products like laminated business cards, flyers, or presentation folders is advisable. Keep in mind that recycled and uncoated papers are more brittle and therefore more prone to cracking and chipping compared to coated stocks.
Print Design: Things to Avoid
Graphics Compatibility and Hairlines
Modern graphics applications are incredibly sophisticated. However, some features may not be compatible with the latest printing technology. Additionally, designs that look excellent on screen can sometimes fail when printed. Drawing from our experience, we have identified common issues that cause printing problems. Please follow the advice below to avoid them.
Hairlines
Hairlines depend on the device used to print, meaning their resolution can vary between machines. While they may print clearly on your 300dpi laser printer, they often disappear on our 2400dpi plate-setter. Therefore, use a minimum line weight of 0.25pt instead.
Texture and PostScript Fills
These tend to print erratically. Instead, save them as TIFF or JPG files to ensure consistent results.
Layer and Transparency Effects
When your artwork includes layer or transparency effects, supply your PDF as version 1.4 to preserve these effects. If saving as version 1.3, set the Transparency Flattener preset to high resolution in InDesign® or Illustrator® before creating your PDF. Additionally, in Illustrator®, adjust the Raster Effects Settings towards vector for optimal output.
Overprint
Exercise caution with overprint settings, especially in QuarkXPress. Overprinting objects do not ‘knock out’ the background, which may cause unexpected colour results differing from what you see on screen or proofs. Black text and 100% black swatches typically default to overprint, which is usually acceptable. Consult your application manual for detailed guidance.
Duotone and RGB Images
Duotone or RGB images might print in black and white or appear washed out. Always convert these images to CMYK before printing.
Borders
Avoid using borders, particularly on small items like business cards. Even a slight shift of half a millimetre during trimming can make borders appear uneven and unprofessional.
Gradients
Try to avoid vignettes or gradient fills as they are difficult to print accurately. These often show ‘banding’ and can detract from the quality of your print. For more information, consult the Adobe website’s Help section on gradients.
Watermarks
Use watermarks with care. Heavy watermarks can make text difficult to read. We recommend tints between 5% and 7% for the best results, as printing below 5% cannot be guaranteed.
Aligning Elements to Folds
Avoid aligning design elements precisely with folds or creases. There is a risk they may not line up perfectly, resulting in an unprofessional appearance.
Help with your brochure
Printed Brochures
Printed brochures come in many forms, ranging from simple folded leaflets with four pages to small pamphlets and multi-page booklets. Despite their differences, all brochures share the same purpose: to inform your customers and market about your products, services, and offerings. Combining text and images is essential, as visuals significantly boost engagement.
Marketing expert Krista Neher highlights that the human brain processes images up to 60,000 times faster than words. This phenomenon, known as the picture superiority effect, explains why images are more memorable than text alone. However, your images must suit your promotional goals. Ensure they are high resolution, sharp, uncluttered, and convey the intended message. Images should complement the text by visually reinforcing key points.
When creating stapled brochures, remember that the total page count must be a multiple of four to accommodate the binding process.
Folding and Binding Brochures
Folding a single sheet of paper in half creates a four-page spread. Adding a second sheet doubles this to an eight-page booklet, which can be secured with a stitch or staple. At home, a stapler pushes a preformed wire staple through the pages and bends it into place using an anvil. In contrast, a stitch performs the same function but is not preformed; the wire comes on a roll and is cut and shaped by a machine to fit the thickness of the brochure.
Paper Stock and Its Impact
The paper stock dramatically affects the look and feel of your brochure. Lightweight, flimsy paper can make your promotion appear cheap, causing potential customers to discard it without a second glance. Paper stock refers to the type, weight, and finish of the paper used. Standard office paper typically measures 80gsm uncoated, which is unsuitable for professional brochures.
Coatings such as matt, silk, and gloss alter the paper’s appearance. For example, digital printing with toner-based printers applies a glossy finish by heating and pressing toner onto the page. Matt coated papers resemble silk coated stocks, while gloss offers a shiny, reflective surface. Paperweight, measured in grams per square metre (gsm), indicates thickness—the higher the gsm, the heavier and sturdier the paper.
A popular choice includes a 350gsm cover with 170gsm for inner pages. If environmental responsibility is important, consider uncoated recycled stock. We use only FSC-certified paper, which guarantees materials come from responsibly managed forests or recycled sources.
Finishing Touches
Several finishing options can enhance your printed brochures. Spot UV applies a glossy coating selectively to highlight key design elements. It works best with strong colour contrasts; applying it to small shapes on a white background offers little impact and wastes money. Foiling uses heat and pressure to apply metallic finishes, making your brochure visually striking and conveying quality—an advantage in competitive markets.
To improve tactile appeal, laminating adds a thin plastic film to the cover. Although plastic raises environmental concerns, we offer biodegradable laminating films containing oxo-biodegradable additives. These break down naturally through exposure to oxygen, heat, and microorganisms, protecting both your brochure and the environment. Common laminating finishes include gloss, matt, and soft-touch (velvet).
Choosing Wisely
Careful consideration of your brochure’s look and feel ensures you select the appropriate paper stock and finishes. For example, using recycled paper combined with lamination, Spot UV, and foiling may contradict your environmental message. Instead, let high-quality stock speak for itself. Your paper, images, and text should complement one another to create a coherent, professional impression.