A designer recently recounted how a client took offense when she phoned to tell her that she was "sending a dummy over with a printed paper sample." An innocent misunderstanding but one that happens all too frequently. Designers are as bad about using obtuse jargon as business people are. Sometimes even when the term is familiar, the purpose isn't. After one job was printed, the client called the designer to complain about the size and binding. "But you signed off on the paper dummy," the designer pointed out. The exasperated client exclaimed, "I didn't know that was why you showed it to me!" The first article in our jargon series is limited only to design production terms that demand some type of action on the part of the client.

The Brief:
This is a written description of what the project is all about its purpose, target audience, proposed content, format, schedule, etc. Typically the client provides a brief at the start of the project. But sometimes a design firm will prepare its own brief to confirm what it heard in the initial meeting, especially if it differs from what the client said in writing.

Things to consider:
Both designers and clients should prepare and read briefs very carefully. Designers are likely to find clues to the graphic tone and concept direction that the client seeks, and clients may discover that the designers construed information differently than intended. Be sure to clarify any points of confusion now. It will save everyone time and headaches later on.

Thumbnail:
For the first presentation of concepts, designers frequently provide a rough sketch of what a sample spread(s) may look like. Text may be indicated by squiggly lines and images by shaded boxes, outlined shapes or a sketch of what the image might be.

Things to consider:
A thumbnail is kept purposely loose so it will be treated as a talking point. Use it to discuss concept ideas, the size and placement of proposed images, the position of headlines and the space allotted for text.

Storyboard:
This is a structural diagram of the printed piece albeit a brochure or annual report with a rough sketch of what will appear on each spread.

Things to consider:
Think about the pacing of the book, the kinds of imagery and amount of text allotted for each page, how the layouts support and reinforce one another, the visual transition from one section to another. Does the design hold together? Is it monotonous or too choppy in its entirety?

Pagination:
Used in combination with or in place of a storyboard, the pagination is a written description of the contents for each spread. Sometimes the client will suggest an initial pagination e.g, the structure for an annual report may be indicated with descriptors like Financial Highlights, Letter to Shareholders, theme text, MD&A, financial statements, etc. To help printers estimate the project, designers often provide them with pagination specifying paper stock changes, number of ink colors and unusual process requirements.

Things to consider:
Make sure that the content follows the proper sequence and the appropriate number of pages have been allotted for each section.

"Comp" (comprehensive):
This is a full-scale color mock-up of representative spreads approximating as closely as possible how the finished piece will look. Although the text and images are often not actual, everything else is the suggested typeface and line leading, the style and mood of the imagery, the placement of headlines and length of text, the use of color and other graphic elements.

Things to consider:
Review every element because this is the result that the designer hopes to achieve. If of concern, take this opportunity to discuss design choices such as the use of screened-back initial caps, abstract graphics or the size of the pictures. If the text length seems too short or too long, mention it now. Remember these elements were placed together because the designer felt they made for a powerful and attractive whole. Few things are more demoralizing or destructive to the design than for the client to approve the comps and then change it one element at a time.

Paper Dummy:
This is an unprinted mock-up of the finished piece made up of the same paper stock(s) that will be used. It is prepared on request by the printer, paper merchant or paper company sales representative.

Things to consider:
Look at the overall size and thickness of the piece and how it is bound (saddle-stitched, perfect, spiral, etc.). Check the color, texture, weight and feel of the paper. If different colored or textured papers will be used, consider how they look together and where the stock changes occur. Check the positioning of gatefolds and short-sheets, if relevant. Also, use the dummy as a guide for ordering envelopes and determining postage costs.

Printed Paper Sample:
Upon request, your printer, paper merchant or paper sales representative will provide you with a printed sample of a particular paper stock so you can see how well it prints and folds or die cuts.

Things to consider:
To make a realistic comparison, look at printed paper samples that are similar in style and technique to the effect you are trying to achieve. For instance, if you are planning to run detailed photographs looking at loose illustrations may not show you what to expect. Be sure to check how well the paper accepts ink. In areas of solid coverage, does the ink look even or mottled? Are images crisp or soft? Does the sheet fold smoothly or crack? For textured or colored sheets, does the paper enhance or interfere with the image? If you are planning to die-cut, emboss, foil stamp or use any other special technique, ask if any samples on the paper are available. Also, keep in mind that your paper sales representative is always eager to answer any questions.

Layout:
Now that everything is done on the computer, text is immediately placed into page layouts where spacing, kerning and other corrections are made. Typically, the client is sent a black-and-white printout of the working layouts for proofreading. Color "fiery" proofs cost much more, so they are usually only provided when color issues are involved. (Keep in mind that the term "layout" is casually applied to many stages of the process, from roughs to finals. These will be covered in an upcoming issue.)

Things to consider:
The working layout is the stage where all the design and text changes and proofreading corrections should be made. Resolve awkward spacing and positioning problems. Correct content and visual errors. Express any last minute concerns that you may have.

Mechanicals (a.k.a., final layouts):
This term is a carryover from the days when typeset text and artwork were assembled and pasted down on artboards for release to the printer. Now it is all done right in the computer and delivered to the printer as an electronic file. Still, the final assembled pages are often referred to as mechanicals, especially by seasoned professionals.

Things to consider:
Keep in mind that this is a printout of what is actually being released to the printer. Hopefully all the corrections have already been made, but check the mechanicals thoroughly to make sure that is the case. This is your last chance to make corrections before the blueline (a printer's proof done in one color, usually blue), which is a much more expensive time to change even a single comma.