Which approval are you giving?
Content
Words, placement and page sequence
Colour
A defined reference and viewing condition
Material
Paper, surface and finishing effect
Production
The agreed finished combination
Image quality, DPI and the finished print size
A colour proof should also reveal whether photographic detail survives the chosen crop, export and paper. A pleasing colour match cannot compensate for a visibly soft source.
Artwork requests often say “DPI”. For photographs, check effective PPI (pixels per inch) at the size actually printed. Printer DPI measures ink or imaging dots and is a different number.
Close-viewed print
Use 300 PPI at finished size as the working target for photographs in leaflets, cards, booklets and similar material. Ask for a quality assessment if the source falls below the agreed specification.
Suitable large-format work
150 PPI at finished size can be a practical starting point for posters or banners viewed from farther away. Close-up detail may need more. Confirm the acceptable minimum for the material, process and viewing distance.
Check the minimum suitable image quality
- Use the best original and calculate effective PPI after cropping and scaling: pixels ÷ printed width in inches. Check both dimensions.
- Inspect for out-of-focus detail, pixelation, blocky JPEG compression and unwanted sharpening. A high resolution number alone cannot make a poor original sharp.
- Keep logos, type, QR codes and fine diagrams as vectors wherever possible. Photographic PPI targets do not define their vector quality.
- Inspect the exported PDF and an actual-size sample, including small text and the largest photograph. Check whether export has reduced image resolution.
Example: 2,400 pixels across 8 inches gives 300 PPI; across 16 inches it gives 150 PPI. Changing a metadata field to “300 DPI” does not restore lost detail. Artwork built at 1:10 scale is enlarged tenfold, so its image PPI is divided by ten at output.
Read the image-resolution guide → Technical references: Adobe resolution guidance · Effective PPI in InDesign
The screen is useful, but it is not the paper
A screen emits light. Printed colour is viewed through reflected light from ink or toner and the chosen material. Display brightness, room lighting and paper shade can all influence your judgement. A vibrant screen preview therefore cannot be treated as a contractual guarantee of a printed match.
For an everyday document, the important question may be whether diagrams remain distinguishable. For a brand launch, a particular corporate colour may need a more controlled comparison. State which colours matter and why. A logo on uncoated stationery can look different from the same design on a glossy leaflet even when both have been produced correctly.
Three approvals people often confuse
A content proof checks wording, placement and page order. A colour-managed proof can represent a specified printing condition when made and assessed appropriately. A production sample shows the real combination of process, material and finish for that job. Ask which one you are seeing and what approval is being requested.
A PDF viewed on an ordinary phone is suitable for checking a date or telephone number. It is a poor basis for a precise colour judgement. If the brand owner requires a defined tolerance, reference or physical sample, agree it before production. Do not introduce a new colour expectation after approving the order.
RGB and CMYK need a route, not a slogan
RGB artwork is not automatically unusable for printing, and selecting CMYK does not automatically make a file correct. The profiles, output intent, process and supplier's workflow determine the right conversion. Adobe's PDF export guidance describes how those settings are handled. Ask for the appropriate file requirements instead of converting everything to a random profile.
Photographs, vector logos and small black text can need different treatment. Avoid an unsupported blanket instruction to flatten every layer or rasterise all text. Retain useful vector detail where the workflow accepts it. Check transparency, spot colours, overprinting and image resolution with the production team if the artwork uses them.
Make the comparison repeatable
Keep an approved physical reference and identify the material it was printed on. Compare samples in consistent lighting; a warm restaurant interior and a cool office window can lead to different impressions. Finishes can also change perceived colour and contrast. A laminate or varnish should be part of the sample discussion.
For a Warrington organisation ordering stationery, a brochure and a sign, list the different outputs together. Decide where visual consistency is essential and where a practical match is acceptable. Record the agreed specification for repeat orders. “More blue than last time” is harder to act on than a labelled reference and a clear explanation of what changed.
Agree what happens when the reference cannot be matched
A colour reference may sit outside what a particular process and material can reproduce. The sensible response is to discuss an achievable target or a different route before approval. Do not request an absolute match to an unusually bright screen colour without a physical reference and an assessment of the available gamut.
Keep numerical measurements in context. A tolerance is meaningful only with a defined reference, measurement condition and acceptance method. A generic statement about colour accuracy does not establish those details. If the order has a formal brand requirement, involve the person authorised to interpret it and agree how a disagreement will be resolved.
For ordinary business documents, simpler checks can be appropriate. Important charts should remain distinguishable; photographs should serve the purpose; small black text should be clear. Avoid paying for a critical-brand proof when the actual requirement is merely readable internal information. Equally, do not substitute a casual screen approval for a colour-controlled packaging or identity requirement. The level of control should follow the consequence of a mismatch.
| What you see | What it can establish |
|---|---|
| An emailed PDF | Content and layout when opened correctly. |
| A controlled proof | Colour relative to its stated proof condition. |
| A finished production sample | The actual stock, process and finish together. |
Two questions before ordering
Must all print artwork be CMYK?
Follow the agreed workflow. Properly profiled RGB images may be handled by a managed PDF/X-4 route, while other jobs need a specified CMYK conversion.
Can I approve a brand colour on my phone?
Use a phone for content checks. A critical printed colour needs an agreed physical reference or suitable controlled proof.
Sources and what they establish
The linked publishers provide the source facts. The print-buying analysis and worked examples on this page are original. Manufacturer announcements describe industry developments, not equipment ownership at this site.
- HEIDELBERG: Jetfire 75 and hybrid workflows ↗21 January 2026
- Epson: textile, signage and UV developments at FESPA 2026 ↗12 March 2026
- Adobe: PDF export and PDF/X settings ↗Reference
Sources checked 2 October 2026. Source dates are distinct from this article’s publication date. Undated reference pages are identified as references.