We will email you artwork proofs for your approval before we engrave unless you decide to decline this service.
The first 2 proofs are free but if you require more proofs after this the cost is $30 per additional proof.


Yes. If you require your job in less than our standard production time of 5 business days (from proof approval), you will incur a surcharge of $30 to cover extra freight charges that we will incur.

Our preferred file formats for engraving images are the following three(vector) files:
CorelDraw (.cdr)
Encapsulated Post Script (.eps)
Portable Document Format (.pdf)

We also accept JPEG and Bitmap files however the image quality from these formats is usually of a lower quality (raster image) and we may have to redraw it at additional cost.
You won’t pay any extra for logos provided you supply them in the correct format as outlined below. You will have to pay extra is if the logo or artwork that you’ve provided is of poor quality to engrave and we have to make alterations. See artwork and Logos.

It is important to check your order thoroughly before you submit it. We will provide proofs for your order, any changes may delay your order and incur additional charges, however we understand that last minute needs arise.
Please contact us as soon as you can by phone or email and we will determine the best course of action.

Colour proofing remains the most contentious and poorly understood process in commercial printing. Proofing affects every aspect and every person involved in a print project. Designers can fuss and fret over choosing the “perfect” hues, shades, and contrasts in their creation. Professional preflight and pre press operators may make colour fidelity their number one priority. The most expensive and intricate proofing equipment available can be utilized. The press operators may sweat the slightest colour variances on the press, fiddling with every control to produce the perfect press run. Yet, even with all that, results that match expectations are anything but guaranteed.

Anyone who has ever sent even the simplest job to a desktop printer has at some point picked up a printed page and wondered how their job could have gone so terribly wrong. Involve more people, add complexity to your project, increase the financial stakes and you almost ensure that final output and initial concept will be laughably dissimilar. The problem, of course, isn’t funny if it is your project, your money, and your livelihood depending upon a successful printing.

The answer, of course, is proofing. Proofs are generally generated at various stages in the print process. In most cases, the type of print job, printing budget, time requirements, and of course, available equipment, determines which proofing steps should be used.

Simple spot-colour jobs are often proofed with nothing more than an inexpensive desktop inkjet or colour laser. A complex document with multicolor images being printed on a high-quality press may have proofs generated at nearly every step of the process.

In a typical colour job the proof steps would be as follows:

Layout proof – typically printed from the layout/creation program to an inexpensive inkjet or even a monochrome laser. Increasingly, Adobe Acrobat PDF files are used in this step. The PDF can be generated and sent in about the time required to print to most desktop printers. The resulting PDF file (moderately to heavily compressed) is easily transmitted by modem and virtually every client has access to the free Acrobat reader.

Colour layout proof – actually only a slight step beyond the layout proof. Typically, this proof is created with more accurate colours, usually utilizing a printer with some level of colour calibration. PDF files are very popular in this step, but because colour values vary so dramatically from monitor to monitor and then again to print, they aren’t suitable for most “contract” proofs.

Analog contract proof – traditional analog contract proofing uses the actual film output and often the print stock to be used. This results in highly accurate proofs, suitable for use by the press operators in final print control. However, with digital presses and CTP (computer-to-plate) technologies becoming increasingly popular, there is no film generated, thus no opportunity to create analog proofs.

Digital contract proof – in essence, a digital proof differs little from a colour layout proof except in what it attempts to match. The contract proof might be generated by the very same printer used in the earlier proof, but rather than calibrating output to match the designer’s monitor or submitted colour samples, the digital contract proof must accurately mimic the colour/output characteristics of the press.

Press check – although most printers cringe at the thought of clients considering a press check as a form of proofing, the reality is that exacting clients expect this service. As the name implies, this “proof” is actually produced on the press. Typically, only relatively minor colour adjustments can be made on the press. Content editing and major colour changes almost always require new printing plates to be created. If you need to pull a job from the press, your proofing system has failed.

Naturally, depending upon the client, each proofing stage may include multiple cycles of proofing, reviewing, revising, and re-proofing before client acceptance and moving on to the next stage.


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