FAQs (Screenprinting)
What’s your minimum run?
Our minimum run for screen printing is 50 prints. This is dictated by the amount of setup time involved with the process.
What are the most common sizes? (18x24 and smaller)
Our most common screen print size is trimmed to 18x24 (untrimmed press sheets come in 19x25 or 20x26 formats, leaving us room for registration marks). Anything that is produceable within this sizing, from 16x20, to 11x17, all the way down to business cards, falls within our normal pricing structure.
Smaller sizes can often be tiled out onto a larger press sheet; for example, four 8x10s fit nicely inside of an 18x24, giving you 200 prints at our 50 press sheet minimum. This is a great way to get more bang for your buck, or to gang up a group of smaller prints that all share the same colors. We generally only recommend tiling out posters on 19x25 press sheets or smaller. For jobs that are divided up into multiple different sizes (a wedding suite, for example, may include 5x7 invites and 3x5 RSVP cards), feel free to email us your specifications and we will be happy to help determine the best setup for your project.
Anything larger than 18x24, in either direction, is considered an oversize job.
Can you print larger format posters? (24x36)
For sure! Our screen printing presses allow us to print up to 24x36”, full bleed. These projects come with their own set of challenges, as the scale is literally doubled compared to our normal poster format. The most important factor is that your design lends itself to this size of production. Oversized prints with hairline registration can be tricky for even the most experienced pressman. Any slight misregistration, paper expansion or screen deflection can scale exponentially. We don’t say this to scare you away, we can and do print large format prints on a regular basis with great success, but we ask that your expectations line up with the process.
CMYK? RGB? Huh?
Setting your file to CMYK mode will give you the closest simulation of how your colors will translate to the finished product. CMYK mode is meant to simulate spot color printing, ink on paper, whereas RGB is a color mode meant for computer screens. The saturation available in RGB mode is often unattainable in real life (unless you are using neon inks — see more about that below). This discrepancy is most noticeable in transparent layers, or colors that are created from two transparent colors multiplying together.
If you submit your file with unrealistic RGB colors, we may send it back over set as CMYK so we’re all on the same page.
How do I choose colors? (Color References and Pantone Books)
For screen printing, we primarily use matte TW Graphics inks. They are durable, water-based, dry with a great finish, and allow us to print and clean up without the use of harsh chemicals. It is also one of the most versatile ink systems available and allows us great control over our color mixing.
If desired, we are happy to match to supplied Solid Uncoated Pantone numbers. This book is the most representative of the screen printing process as we are printing on uncoated stock. We recommend against referencing Solid Coated references as we cannot achieve the saturation and “glossy” look of ink printed on coated paper. This approach of matching Pantone swatches is often used when we are working with specific brand or team colors that need to match across a multitude of projects.
We cannot stress this enough, DO NOT rely on color swatches found within Adobe programs, or found on the internet. These are rarely accurate. Even between Coated and Uncoated books, specific numbers can vary greatly (a 109U is not at all comparable to 109C, for example). Please ONLY reference Uncoated swatches if you have an Uncoated book in front of you.
If you do not feel comfortable choosing your own Pantones, we find the best success matching to your provided computer file by eye. To be completely honest, this is how we approach most projects. It allows us to tweak your colors slightly based off of paper color and value relationships to create the best looking poster possible.
Please remember that this is a hand made process that requires the craft, skill and experience of the pressman. Our pressmen have years of color mixing under their belt, but this is still a process that relies on human interaction. Even Pantone swatches can vary based on the age and use of the book as well as lighting conditions and the color of paper that you are printing on. We continually update our Pantone books and match all swatches under Pantone calibrated lighting, but be advised that these do not always match our clients’ viewing conditions. Colors are called “references” for a reason, and cannot be guaranteed to match 100%.
What papers can I print on? What does House Stock mean?
House stock are papers that we stock in-house. These are ready to go as soon as you place your order. Currently our house stocks are Cougar 100# Smooth White and Cougar 100# Smooth Natural. These are great, affordable papers with a smooth finish that lend themselves well to high ink-coverage posters.
We also print regularly on French Paper. French Papers have slightly more tooth and are available in a myriad of colors. French Black Licorice, for example, is our go-to black paper. They’re the best. French also offers sample packs if you would like to see any of their papers in person.
Regardless of paper choice, we recommend printing on at least 100# Cover stock for posters. Thinner papers do not always hold up as well under heavy ink coverage. 100# is an industry standard and still rolls up well into a tube without creasing.
What about holographic foil stock?
Yep! Please reach out with any questions as this setup has its own set of quirks and not every design translates perfectly to a holographic foil setup. A notice to all foil orders — if you’re going to roll them in a tube, the foil manufacturer recommends rolling them art-side-out. We usually recommend adding in a piece of kraft paper with your roll to protect the artwork. This direction is backwards of the way you would normally roll a poster. Rolling foil stock too tightly art-side-in can result in buckling and cause the foil to detach from its paper backing.
I can’t find the right color paper. Can you just print my “paper” color over a whole sheet of white?
We generally discourage laying down huge floods of color on your print. Not that it can’t be done, but it can be tricky to run on press, make your finished prints a little curly, and cause registration and expansion issues as the ink soaks into the paper. It’s usually our opinion that colored stock looks better, too, but it just depends on how picky you are with that exact color and what papers are available. Don’t be afraid to ask us for advice as we have access to quite a few different paper options and may be able to find something that is close to what you’re going for.
What kind of specialty inks can you print with?
In addition to our normal inks, we are capable of printing with a variety of specialty inks. Please note that most of these inks are what they are; pushing them slightly one way or another in color is sometimes possible but not always recommended.
Metallics — We stock several metallics in-house. See the images below for our standard inks (these swatches are printing on white, inks may vary when printed on black or colored papers). We can custom mix metallic inks with varying results. Please reach out to us for advice before using custom mixes in your print.
Nazdar Gold
SIlver
Speedball Gold
Glitter Overlay — Usually laid down at the very end, this is a clear base (sometimes gloss) with metallic fleck mixed in. This is sometimes used to simulate metallic colors on your print that would otherwise be difficult to mix with silver or gold as their base. It can be overlaid on multiple colors at one time.
Glow-in-the-Dark — Glow ink is created with phosphorescent powder mixed into our normal clear base. Because it relies on the color underneath it to reflect when the lights are turned off, it works the best printed on white paper, or on top of white ink on darker stock. This ink is mostly, but not completely, transparent and colorless. If placed on top of other printed colors, or alone on dark stock, it can leave a slightly milky and muted finish, and the value of the colors printed underneath can effect the strength of the glow.
Neons — TW offers a variety of neon, blacklight reflective Day-Glo inks, listed below. We typically stock Rocket Red, Aurora Pink, Arc Yellow, Saturn Yellow, Signal Green, and Horizon Blue in-house. Like glow, these inks are mostly transparent and work best when printed on white paper for maximum intensity. Keep this in mind when utilizing more than one neon on your poster, as you may see multiplication where your colors’ traps overlap. These colors can be tweaked, but know that adding in additional concentrates can deter the neon effect. (Note that these shots below are rough approximations, as a computer screen can not always match the intensity of a Day-Glo ink).
Day-Glo Rocket Red
Day-Glo Aurora Pink
Day-Glo Arc Yellow
Day-Glo Saturn Yellow
Day-Glo Signal Green
Day-Glo Horizon Blue
What about Split Fountains / Blend Rolls?
Ink blends can be a great way to add uniqueness to your design and to create smooth gradients without the use of halftones or dithers. During the blend process, we can not guarantee that it will hold completely consistent across the entire run. We do our absolute best, but this is part of the process and something that we ask you to embrace before choosing this direction.
We do not recommend utilizing blends on oversize, or very small, prints.
There is an additional charge for all blends.
How small is too small?
One of our most common questions! “How small can I make this typeface? Is this dither too small?”. A good rule of thumb — if you think it might be too small, it’s probably to small. While we have access to the best printing conditions possible, there can be a minimal loss between the computer screen and the finished product. In general, the larger the stroke, halftone, or dither, the easier to print. Single pixel dithers will not translate to press, for example. If you have areas in your print you are concerned about, feel free to reach out and we are happy to give you advice. If we reach out about specific problem areas after you send it through, don’t take offense. We only raise concerns because we’ve been down that road before and we want your prints to turn out as good as they can.
You’ve printed something me before, can you print it again?
Absolutely! We match to previously printed work all the time. We cannot guarantee that they will match 100%, as ink is mixed by hand for each print, but we can get pretty dang close. We typically hold on to job samples for about a year. If your print was not last produced within this time frame, we may ask you to ship us a sample to match to, if needed.
Reprints usually qualify for discounts as we already have separations and films to work with.
We do not supply separations produced in-house for your own personal use.
When do I need to send art by to hit my in-hand date?
Yesterday! Just kidding. But the sooner we have final artwork, the sooner we can start on your job. Our typical turnaround time is 10-15 business days, from the moment we have a deposit and approved art. Timelines are discussed during the quoting process. We cannot be held liable for missing a deadline due to delays in receiving artwork. We pride ourselves on completing projects in a timely and accurate manner, so please communicate any hard deadlines in your quote request.
I need my prints NOW!!!!
That’s not a question. But sure! If a job needs completed sooner than our normal turnaround time, appropriate rush fees (anywhere from 10-30%) may apply. Rush jobs are taken at our discretion, and must be paid in full before they leave our studio. We cannot be held liable for missed deadlines due to incomplete payment.
Can we see a printed proof before you run the whole job?
Due to the amount of setup involved, we do not offer printed proofs. If you have any questions regarding your print before it goes to press, feel free to reach out with any concerns. We often have samples we can send pictures of with techniques similar to what you are using in your own print.
Can I come by while my job is on press? Or just for a studio tour?
Sure! You’re always welcome to come by as long as you’re willing to work around our schedule. We schedule jobs sometimes weeks in advanced, so we can’t hold up printing once your job’s ready to go.
All other studio visits are by appointment only. Please reach out to info@vahallastudios.com with any appointment inquiries.
I don’t have final art yet. Can I still get a quote?
No problem! We are happy to give you a rough estimate based off of your specifications, but keep in mind that your estimate may change once we see final artwork. Even a rough draft or non-final mock can give us a good idea of what we are working with, and give us a head start on any areas of your print that raise concern us. Every job must go through our quote request form to receive an estimate.
Ok, I’m ready to send a job through, but not sure I set up my file right. Any tips?
Yep! Please read through these file prep tips below for setup advice. If you have any questions not addressed here, please reach out to us at info@vahallastudios.com.
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FAQs (Letterpress)
What’s your minimum run?
We have a minimum order of $350 for letterpress orders. Quantity can vary depending on specifics of the order.
Are there any limitations I should look out for?
Letterpress works best when printing an ink darker than the paper stock. Letterpress inks are transparent in nature, so limitations between certain ink and paper combinations exist. For instance, print yellow ink on black paper, and it virtually disappears. But printing black ink on yellow paper looks great. If you’re looking for a light ink on a dark stock, like white printing on black, you might explore foil.
Large floods or solids are also not recommended, as they are difficult to keep consistent and the ink will often break up or have a noisy “dusty” quality to it. If this is your desired effect, then go for it! We are always a fan of prints that embrace the letterpress look. If you are hoping that your ink comes out 100% solid and opaque, then you may consider screen printing instead.
Can you foil stamp?
Yes we can! This is a great way to achieve metallics and lighter printing on darker stock.
Foils come in both matte and shiny finishes, making your options and applications very versatile.
If you have questions about different types and colors, send us an email with your specifications and we are happy to make a recommendation that matches the look you are going for.
What are the most common sizes?
Letterpress is traditionally used for smaller format items such as invitations, greeting cards, business cards, and stationery. Below is a list of common sizes in these categories.
Business cards:
Standard Business cards are 3.5 x 2”
It is possible to print business cards in custom sizes. Please just let us know what size you are thinking about and we will advise to the best of our knowledge.
Invitations, Greeting Cards & Stationery Standards:
No. 10 - Envelopes are 4.12” x 9.5” and fit your typical 8.5 x 11” sheet of paper
A7 - Envelopes are 5.25” x 7.25” and fit your standard 5x7” invitation, art print, or greeting card.
A6 - Envelopes are 4.75” x 6.5” and fit a standard 4.5 x 6.25” greeting card.
A2 - Envelopes are 4.37” x 5.75” and fit a standard 4.25 x 5.5” greeting card.
A1 - Commonly called 4 Bar Envelopes, these are 3.62 x 5.12” and fit a standard 3.5 x 4.875” RSVP card.
Square - Envelopes are 6 x 6” and fit a standard square item 5.75 x 5.75”
Booklet - Envelopes are 6 x 9” and fit a standard 5.5 x 8.5 manual or booklet.
Catalog - Envelopes are 9 x 12” and fit a standard 8.5 x 11” sheet(s) of paper.
What papers can I print on? What does House Stock mean?
House stock are papers that we stock in-house. These are ready to go as soon as you place your order. Currently our house letterpress stocks are Crane’s Lettra in 220# Double Thick Cover and 110# Single Ply Cover, both in the Fluorescent White (a pure white) and Pearl White (a more natural white). Crane’s Lettra is a high quality, 100% cotton-based letterpress paper. It allows for great ink application as well as impression, and is our go-to for this reason.
We also print regularly on French Paper. French Papers have a slight tooth (although not as much as the Lettra) and are available in a myriad of colors. French offers sample packs if you would like to see any of their papers in person. This is your best bet if you are looking for colored stock.
Regardless of paper choice, we recommend printing on at least 100# Cover for letterpress pieces. Thinner papers limit the amount of impression that can be applied and can have detrimental effects on front to back printing. If you are looking for a good amount of impression, we may recommend duplexing paper together to achieve a thicker stock. Remember, the thicker the stock, the more impression it can take.
What does duplexing mean?
Duplexing is gluing two sheets of paper together to create a thicker stock. We might recommend, for example, duplexing two 100# Cover sheets of French stock and to create a 200# sheet. The thicker the paper, the more impression we can hold. This also works in scenarios where you are wanting black paper on one side and white paper on the other.
We generally recommend staying within the same brand and cover weight between the two sheets to minimize paper curling. This can happen when there is a discrepancy between weights or paper grains.
What finishing services do you offer?
We can perforate, score, and die cut on our letterpresses.
Perforate - Perf blade is used to punch tiny holes in paper to allow a section to be removed or detached.
Score - A scoring blade can be applied to any setup to crease the paper, making folding consistent and easy. The spine of a greeting card is scored.
Die Cut - Any shape can be cut out of a piece of paper, within limitations of the process. Coasters are circle die cut, for example.
Edge Painting - Painting the edge of a letterpress piece a custom color, most commonly used in business cards. See below for more info.
Can you edge paint? Anything I should watch out for?
Absolutely. This is a common request on business cards. It easily adds an extra oomph to your piece.
We mix all edge paints by hand, which allows us to match almost any custom color.
When choosing a project to edge paint, you’ll want to avoid any printing that goes completely to the edge of the card. This can cause inconsistencies in the final cut edge and could allow paint to seep in to the face of the card when it’s in a stack getting painted.
For projects requesting multiple different edge colors, each color is treated as its own setup.
What is the largest size you can letterpress?
Our shop is equipped with 10x15” Heidelberg Windmills for letterpress printing. That means the maximum sheet size it can feed is 10x15”. The maximum print area is 8.5 x 11”, working with a photopolymer base. Be cautious with letterpressing at this maximum size, as you are pushing the limitations of the machine.
CMYK? RGB? Huh?
Setting your file to CMYK mode will give you the closest simulation of how your colors will translate to the finished product. CMYK mode is meant to simulate spot color printing, ink on paper, whereas RGB is a color mode meant for computer screens. The saturation available in RGB mode is often unattainable in real life. This discrepancy is most noticeable in transparent layers, or colors that are created from two transparent colors multiplying together.
If you submit your file with unrealistic RGB colors, we may send it back over set as CMYK so we’re all on the same page.
How do I choose colors? (Color References and Pantone Books)
For Letterpress printing, we primarily use Pantone calibrated inks. They are durable, oil-based, dry with a great finish, and allow us to mix to industry specifications.
If desired, we are happy to match to supplied Solid Uncoated Pantone numbers. This book is the most representative of the letterpress process as we are printing on uncoated stock. We recommend against referencing Solid Coated references as we cannot achieve the saturation and “glossy” look of ink printed on coated paper.
We cannot stress this enough, DO NOT rely on color swatches found within Adobe programs, or found on the internet. These are rarely accurate. Even between Coated and Uncoated books, specific numbers can vary greatly (a 109U is not at all comparable to 109C, for example). Please ONLY reference Uncoated swatches if you have an Uncoated book in front of you.
If you do not feel comfortable choosing your own Pantones, we find the best success matching to your provided computer file by eye. To be completely honest, this is how we approach most projects. It allows us to tweak your colors slightly based off of paper color and value relationships to create the best looking piece possible.
Please remember that this is a hand made process that requires the craft, skill and experience of the pressman. Our pressmen have years of color mixing under their belt, but this is still a process that relies on human interaction. Even Pantone swatches can vary based on the age and use of the book as well as lighting conditions and the color of paper that you are printing on. We continually update our Pantone books and match all swatches under Pantone calibrated lighting, but be advised that these do not always match our clients’ viewing conditions. Colors are called “references” for a reason, and cannot be guaranteed to match 100%.
When do I need to send art by to hit my in-hand date?
Yesterday! Just kidding. But the sooner we have final artwork, the sooner we can start on your job. Our typical turnaround time is 15-20 business days for letterpress pieces, from the moment we have a deposit and approved art. Timelines are discussed during the quoting process, as there are many factors that work into the lettepress process (ordering specialty papers, dies, plates, etc.). We cannot be held liable for missing a deadline due to delays in receiving artwork. We pride ourselves on completing projects in a timely and accurate manner, so please communicate any hard deadlines in your quote request.
I need my prints NOW!!!!
That’s not a question. But sure! If a job needs completed sooner than our normal turnaround time, appropriate rush fees (anywhere from 10-30%) may apply. Rush jobs are taken at our discretion, and must be paid in full before they leave our studio. We cannot be held liable for missed deadlines due to incomplete payment.
Can we see a printed proof before you run the whole job?
Due to the amount of setup involved, we do not offer printed proofs. If you have any questions regarding your print before it goes to press, feel free to reach out with any concerns. We often have samples we can send pictures of with techniques similar to what you are using in your own print.
Can I come by while my job is on press? Or just for a studio tour?
Sure! You’re always welcome to come by as long as you’re willing to work around our schedule. We schedule jobs sometimes weeks in advanced, so we can’t hold up printing once your job’s ready to go.
All other studio visits are by appointment only. Please reach out to info@vahallastudios.com with any appointment inquiries.
I don’t have final art yet. Can I still get a quote?
Possibly! Letterpress quotes can be tricky, as there are so many different factors that can work into the printed piece. We are happy to give ballpark estimates for your project based on provided specifications, but please know that estimates are subject to change once we see finalized artwork.
Ok, I’m ready to send a job through, but not sure I set up my file right. Any tips?
Yep! Please read through these file prep tips below for setup advice. If you have any questions not addressed here, please reach out to us at info@vahallastudios.com.
Preparing Your File for Press
File Formats
Our preferred file types are Adobe Illustrator, Illustrator compatible PDF, or high resolution Photoshop file. Our entire studio uses the most up-to-date version of Adobe’s Creative Cloud, allowing us to work with your file no matter what version of Creative Suite it was created in.
For Photoshop files, we ask that your resolution be at least 300dpi. For type and hand-drawn elements, we have found that files in the range of 600dpi result in cleaner edges.
Preparing Your File for Press
As a general guideline, all type should be laid out in vector format, whether this is in Illustrator, or left as a smart object within a Photoshop file. This allows us a cleaner film output, resulting in a cleaner print. We ask that any typefaces or strokes used are outlined and expanded, ensuring that there is no change between how the file displays on your computer versus ours. Additionally, if your file contains any linked files or typefaces, please include those in your art submission.
For full bleed images, please allow at least 1/8” bleed on all sides. And always make sure that you are submitting your art scaled to the size that you are wanting printed.
If possible, separate each color onto its own layer before submission. This is a good simulation of how your project will print and makes setup easier on our end.
Failure to deliver within these guidelines can result in increased turnaround time.
Providing an Accurate File
We’ve found it best to receive files that looks like the way you want it printed. For example, if your print is on a nice kraft paper stock, don’t send it over with a white background. This helps us avoid any discrepancies and gives us a better idea of what you are hoping the final product looks like.
Spot Color Printing, Halftones, Gradients, and Photoshop Effects
Spot color printing is relatively simple in that the color is either printing or not. Because of this, gradients and Photoshop effects often times do not translate well.
There are ways to simulate gradients and multiple values with the screen printing process through halftones or bitmap textures. A similar technique applies to photographic images. We do not have a set standard of what halftone settings work best across the board; different designs may call for different techniques, so we ask that if this is part of your process, contact us and we will work with you to create the best translation of your design to the process.
Please note that if you are using dither effects to achieve value, we can not reproduce dithers that are so small that they are reduced down to single pixels. The bigger the dither, the better.
Bleed and Trapping
Bleed and trapping are a must with spot color printing. While we use the most advanced presses and film output machines available, these processes are not perfect, and they never will be. Our press registers very true, and our press operators have years of experience, but every one of them will tell you that a job that has been set up well is much easier to print than a job that contains too little trapping or too tight of bleeds. We suggest that designers embrace the fact that this is a hand made process and craft that takes years to perfect. Allow for bounce, paper expansion, and any other slight variations that may occur during the print process and your prints will come out fantastic.
With that being said, we ask that you do not set up any trapping on your own without discussing it with us first. While the concepts are the same for most forms of screen printing, many printers have their own tendencies or preferences when it comes to file setup. Nobody is right or wrong, often it comes down to the preferences of the pressman and the logistics of the project. We, like most printers, prefer to set up the files ourselves so that our team has a better understanding of how your print works. Our employees are very experienced in file preparations, and we will do our best to set up your art in a way that results in the most successful prints possible.
We do, on occasion, work with artists who have plenty of experience setting up their own files. You know who you are! If this is the case, we’ll still give your separations a good look-over before they make it to press, to ensure that everything is a-okay. Our typical printing estimate includes one to two hours of art preparations; anything longer is handled on a case by case basis and may result in additional art separation fees.
Additional Questions
Have questions about anything not covered here? Email us at info@vahallastudios.com for more information.
Terms & Conditions
Vahalla Studios strives to bring the highest quality screen printing & letterpress services to our customers. In order to do so we have established the following terms to give you the best results.
Production
All jobs must be initiated with a quote request. Our terms and conditions must be agreed to before we will send a price to you and that process is completed in the quote request section of either the screen printing or letterpress portions of our website.
Turnaround Time
Turnaround times can vary depending on our current workflow and will be communicated during the quoting process. Once an estimate is sent, we typically hold that schedule slot for two business days, after which we may release that schedule date to another client. Please understand that all turnaround times are subject to the many variables associated with the handmade process, however we pride ourselves on completing projects in a timely and accurate manner in regards to your requests and will communicate any delays that arise that are outside our control. Delay on receiving deposit, or change in color count, quantity, etc. that affects production time may affect your in-hand date.
International Shipping
Clients are responsible for generating and supplying shipping labels for any international print orders. Once your job is complete, we will provide you with weights and dimensions of the box(es) ready to ship, and you must generate labels for us to put on the boxes (we generally use DHL or FedEx for our own international orders). We are happy to help you navigate this process. The client must be responsible for paying any import/export fees and/or reporting taxes required by the country you are shipping to. We cannot be held liable for any additional charges or shipping delays for international orders.
Rush Fees
If a job is needed sooner than our normal turnaround time, rush fees may be charged according to how quickly the job needs be completed. This can range anywhere from 10-30%, and both pricing and press availability is at our discretion.
Payment
All projects must be paid in full prior to shipment of the final product. Jobs with a total invoice below $500.00 US must be paid in full to secure production position on our print schedule. Projects over $500.00 US will require a 50% deposit to secure the production time, and the remaining 50% is due to before the job leaves our facility. The deposit is non-refundable if the job is canceled but can remain as a credit with our studio for future orders. If a job falls into a rush scenario payment in full is required on all rush orders. We do operate on net terms with clients who qualify for such production. Please inquire to info@vahallastudios.com to discuss these details.
Color Matching
To make the process of color matching easier, we ask that our clients supply Solid Uncoated Pantone numbers for reference. Pantone books can vary from party to party due to age and use. This may cause some variation in color matching, but please remember that this is a hand made process and requires the craft, skill and experience of the pressman. We have years of experience mixing colors, but in the end this is still a process that relies on human interaction. Colors are “references” for a reason and cannot be guaranteed to match 100%. If a client is requesting color(s) be matched to previous runs, we will do our absolute best to do so. If a specific color is required to span multiple projects we ask that information be relayed to us as early as possible in the process. Please note that printing on colored paper can greatly effect the look and appearance of the ink. We will do our best to discuss any concerns we would have with such setups.
Artwork Ownership
By accepting these terms, you are agreeing that you have full ownership of and permission to produce any artwork that you submit for production, and that it is properly licensed when necessary. We cannot be held liable for any copyright violations, cease and desists, or any other legal issues stemming from unauthorized or unlicensed artwork.
Shipping
We use UPS as our default carrier. We package orders to a very high standard to avoid any damage during transit. It should be understood that accidents and delays do happen. We cannot control delivery peoples’ actions, nor can we control the weather or traveling conditions. If damage occurs, please inspect the package immediately upon arrival and contact us immediately so we can submit a damage claim. In the quote request section there is an option to add insurance to your delivery. If we do not add insurance a claim will likely be denied. If you select the add insurance box, shipping prices will be adjusted accordingly.
Clients will receive notifications through UPS. We will put your email address that is supplied in your quote request into the tracking option. Please make sure that the email notifications have not gone into your spam as this is commonly the case when people ask us for a tracking number.
Since we are located in the middle of the country, the longest ground shipment we experience is 3-4 business days. Your delivery time will be on the tracking information that you will receive in the emails from UPS.
Pricing
Vahalla Studios has the right to change pricing and price jobs accordingly at any time without notice.
Disclaimer
Vahalla Studios LLC has the right to refuse business to anyone. Not all quote requests submitted will turn in to jobs. We reserve the right to take on work or not. Our letterpress machines are over 60 years old so please have patience if we experience a plate breakage or equipment failure during production. We put forth our best effort to make sure your job is completed accurately and in a timely manner.
Online Store Orders
Items purchased from the Vahalla Store are shipped out within 2-3 business days via USPS First Class Mail. Please allow up to 5 days for any delays in the Postal Service.
Due to increased shipping times and costs, we are not currently offering international shipping.
All online store sales are final with exception to proof of items damaged in transit. No returns on international orders.