What do the printer or paper merchant mean when they ask if you would like a paper that is "Number 1 or Number 2?"

At times you might hear your production person talk about paper in terms of the particular sheet as being premium, number “one” or number “two.” Although they are describing general category of coated papers they no longer necessarily talk about the “brightness” of a sheet (how white the paper looks to the naked eye).

In general terms, when you can convince them to spend the money, you always want to stay with a number 1 (or premium) sheet, the brightness, quality and consistency of these papers, in most cases, will give you the best looking finished piece. In today’s world of papers, technology has improved to the point where at one time you would never consider a number 2 grade of paper for your project. Mills are now offering number 2 grades that should be given the chance to be reviewed.
This is why it’s important to handle and look at paper samples, and samples of the stock that has already been printed upon. Always compare your paper samples, on brightness, but also compare the whiteness, holdout, opacity, smoothness, finish, and paper content to select which paper is right for your job.

Check with your printer. Find out if they have a “house” stock. Sometimes a bigger printer can get some great buys when they buy in bulk… and it may actually cost less than if you picked some other lower grade paper! Lastly, your paper choice should be picked based on what is best suited to your design and budget.

Standard grade for all paper finishes:

Quality Brightness
Premium 87.9 and above
Number 1 85.0 to 87.9
Number 2 83.0 to 84.9
Number 3 79.0 to 82.9
Number 4 73.0 to 78.9
Number 5 72.9 and below

A Few Coated Paper Examples:

Premium Papers
Utopia Premium
Mead Prima
Sappi Astralux
McCoy Gloss
Strobe

Number 1
Utopia One
Centura
Mead Signature
Sappi Vintage Gloss
Sappi Lustro

Number 2
Utopia Two
Productolith
Mead Offset Enamel
Sappi Northwest Gloss
Sappi Opus
Sappi Aero

A Quick Reminder List

• Use bold or bright colored markers to indicate corrections, China markers or grease pencils work best when discussing and routing proofs internally.

• Read your proof, check the last round of changes as well.

• Check page sequence, orientation, and pagination.

• Check alignment of page numbers, borders, checking for spacing issues.

• Measure final, folded size of both the proofs and (digital) blues.

• Check headlines, addresses, phone numbers, and dates for typos, Are there any project specific codes or items to look for?

• Confirm colors if you get a blueline, a blueline should never be used for color signoff.

• Write clear and careful instructions, go over the changes with your vendor and see another proof!

• Double check for font mistakes, did any fonts change or default? On OS X watch out for swaps with common fonts and the system “D” fonts.

• Check line endings, do they match your proof?

• Have someone not familiar with the piece review it, in addition to your proof reader.

• Discuss cost of changes with printer or prepress supplier, put everyting in writing so there is no doubt at the end of a project.

A note about printer signoff labels or stamps on your proofs. Your signature is a contract, don’t physically signoff on something that is not correct, avoid hassles at the end of your project. Always request a revised proof. It’s also a good idea at this point of the project, before going on press, to review the details of the job and any changes )and avoid hidden costs) with the vendor.

Excerpt from Ed's "Hey Ed?" Book

Don’t be shy...
Bug your production guy

They may look a little stressed, but secretly, they actually kind of like being asked about stuff. If they give you a frown when they look at your piece and say that it’s too expensive and it’s budget busting – don’t let them kill your idea. Challenge them, ask them lots of questions. Believe me, they want to work on cool stuff just as much as you do, they may just need a little time to gather their thoughts and do a little research. Who knows... they may even come back with something that makes everyone smile.

Request Samples
Don’t feel the need to second guess

There is nothing wrong in this day and age to still ask for paper samples, paper dummies or draw downs for your project. While you may not always get the time, your vendor will be more than happy to work with you on getting these samples. If time is an issue and you need to see paper samples without interacting with your printer, you can contact your local paper merchant or the paper mill directly. Although they won’t cut the paper down to size, they will ship you full sized sheets. If your even more pressed for time, places like Xpedx or Hudson City even have local stores where you can walk in and purchase a ream or two of one of the papers they represent. While they may not have everything in stock, it’s great for picking up a box or two of envelopes or matching blank sheets of your stationary stock.

Website address for Paper Merchants:

Xpedx

Hudson City Paper

Fred Parsons

Lindenmeyr Monroe

Production Manager
Supervise assigned client's print production projects.

Responsibilities:
Coordinates production activity between project, account and creative groups during job development.
Maintains contact with various printing vendors (Sheet, Digital, Web, Form, In-Line, Promotional Material, Dimensional)
Maintains detailed project records, from spec sheets to estimates to purchase orders.
Supplies specifications for vendor estimates.
Reconcile all assigned project billing.
Reviews and supervises all production materials generated from their assigned projects.
Acts as advisor for the creative and account members of the team during creative development to meet the budgetary requirements of the production process.
Maintains ownership of all projects in their group.
Issues POs on a timely basis.
Checks all vendor invoices against both POs and estimates before signing off. Signs off on bills in a timely basis.
Maintains and keeps up-to-date on all aspects for printing, production and postal requirements.
Advise their team of the best formats and efficiencies.
Gives creative solutions.
Provides quotes to Account Staff/Clients.
Requesting quotes from suppliers.
Negotiating prices with suppliers.
Scheduling of print jobs between suppliers.
Order any production related materials.
Press approvals.
Help coordinate with the studio, traffic managers, and suppliers to ensure all deadlines are met.
Proofs incoming materials for conformance to specifications and monitors delivery schedules; maintains control of projects.
Maintains an adequate proofs and collateral file system.
Adheres to the agency's operational and financial policies and practices.
To develop a close working relationship with the Creative Department conferring with Art Directors so as to obtain artwork suitable for good reproduction, iron out any problems, and receive specific instructions.
To suggest to Art Directors revisions in finished art that might facilitate production or reduce its costs, or improve final reproduction in specific media.