Sculptured Embossing Proof???

Has anyone ever done a “Press Proof”.
How is this achieved? Do I need to go through the complete set-up process as if I was running the whole job? The total run will be 3500, but customer wants to see the actual emboss for a proof. Are there any shortcuts that can achieve this? I will not be able to leave the job set-up on the press waiting for their O.K. and do not really want to go through the process of set up twice.

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A Press proof is a complete copy of the completed job.if it is as simple as a printed sheet, easy enough. If there is more involved, eg: I print on a Handpress and if a print is wanted in multiple colors from more than one Form and as often the case an included etching (different press of course), I charge for it, as it can take 1 -3 days just to make such a proof. But it should always be a complete representation of what the job is, other wise you show the client one thing and produce something else.

What if it involves photopolymer plates, or even more: copper or magnesium plates? How do you charge for such a proof? I imagine it is really expensive, since most costs are at the setup?
What’s the other option. Not proofing?

We struggle with this too.

I’m often asked for proofs, but I have to explain that much of the time and expense is in preparing the press to print. Most of the time people are understanding.

The simplest solution we found is offering a satisfaction guarantee / no refunds policy. If you are unsatisfied, we will reprint the job, but no refunds.

No one has taken us up on the offer yet. Cross your fingers.

Without Form you can’t print, doesn’t matter if it’s handset, Cast type, Polymer plate or etched plate -they all involve labor and money. You have to know and understand the business of printing. My jobs are intricate, multifaceted and labor intensive. Spell out the cost of material, the cost of printing. A proof can only be produced from Form after the Form has been made/purchased etc. There is no mystery to it. Not in my book. And yes, I may have to to makeready etc twice, once for proof and a more perfect one for edition.
In printmaking a proofing session can go for several days before a client sign off on the print.

This is what I tried to explain to my customer, the most expensive print is the first, then each one after that goes down in price per piece. I’m hoping that I can set-up for the proof this Friday afternoon and leave the press setup over the weekend and have our O.K. Monday AM. We will be charging “special” for the proof only if the O.K. is delayed and we need to break down the setup for another “RUSH” job (aren’t they all). Press proofs for letterpress are a whole different animal as they are only 1 color presses. This job is 2 colors of ink and a sculptured blind emboss. We will see what happens.

Most commonly accepted (and most practical) way to handle this is to have customer be there when the job is set up on the press. Actual proofreading, type, plates, paper, position, ink, makeready, etc., will be ok’d with a customer signature, while they are paying for the waiting time on the press. They’re less likely to nit-pick while “the meter is running.” Either they don’t know what they want or don’t trust you with the job, perhaps next time (or this time) it might be nice to refer them to one of your competitors!
By the way, for my own enlightenment, what in the world is a “Sculptured Embossing Proof?”

@Typenut, I understand that all forms involve time and money, it’s just that moveable type is reusable.
What if the client decides after the proof he doesn’t want it anymore, or wants to completely change the image.
If there are plates involved, you end up with waste plates, whereas with moveable type, you can just reuse it.
That’s what I mean… what happens in that case.
I understand that if the job is already paid 50% upfront, and there’s a commitment to do the job, then it’s not that problematic.
Anyways, just some thoughts.

enriquevw - using handset type - is your time of no value?
Sketch the layout, select the faces, set the matter, pull a proof, correct and adjust and than (!) you are ready to pull a proof for the client. Also, you have a capital investment in the type and a yearly amortization rate. You do file taxes?
Look at your trash can, how much space it occupies, now calculate the rental rate you pay to have a trash can on the floor. Everything in the shop has value.

They don’t like it -redistribute the type and start over.

@Typenut, no you are actually right, my time is usually more valuable than the supplies.
You are correct.
I’m sorry, I feel a bit scolded, I’m very new to this, and I’m trying to learn, that’s why I ask questions, it is not my intention to contradict you or anything. I’m actually grateful for your answers, you do make great points.

You are doing just fine. You have contributed to the discussion and prompted Typenut to make a good response. You learn as do others. There is no one absolutely right way to do things. We share our experience and we all grow.

Some companies that make dies will provide a proof, but you pay extra for it. Since you already have the die that is not an option for you. You will have to set it up on press and pull your own proof. It would be fair for you to charge your customer for the set up/makeready time.
FYI a sculptured embossing die is usually made of brass with more than one level of depth.

image: sculptured emboss 005.JPG

sculptured emboss 005.JPG