Custom printing for creative studios.

The one that suits the work rather than the most expensive one. Soft touch reads as considered and modern, and it favors a restrained layout because the surface is the effect. Cotton reads as craft and stationery, and it wants open layouts and legible type since fine detail softens. Standard 14pt in uncoated reads as plain and confident. Order the sample kit of 16 materials and judge them next to your own palette rather than from a photograph.

Two things move it, and neither is the printer. A soft touch coating sits above the fiber and mutes a saturated color, and kraft or natural textured papers start off brown or cream, so every ink you lay down is mixed with that base and nothing prints white underneath to stop it. That is why the same file looks like a different palette on three stocks. Proof your own colors on the exact stock before a run, and choose a smooth white paper for the jobs where fidelity matters more than feel.

Pick a standard frame size so the client can hang it without a custom frame, which is the difference between a poster on a wall and a poster in a tube. Sizes of 11 by 14, 18 by 24 and 24 by 36 inches all map to frames people can buy. Design inside a margin a mat will not eat into. Check the resolution of your artwork at final size, since 24 by 36 inches at 300 dpi is a much larger file than a screen export.

You are not required to. Your work is protected from the moment it is fixed, and notice has been optional in the United States for decades. It still earns its space, because under 17 USC 401 a proper notice on copies a defendant had access to removes any weight from a defense of innocent infringement when damages are assessed. Printed posters and leave behinds travel past the person you handed them to, so a line with the symbol, the year and your studio name is worth the few millimeters.