Begin with work similar to yours
A supplier can be excellent at banners and still be the wrong fit for a foil-stamped gift box. Ask to see physical samples close to your format, paper, finish and quantity.
Use photography as an introduction, then inspect folds, corners, foil edges, small Arabic type, colour consistency and how the object behaves after handling.
- Comparable format and run size
- Comparable stock and finishing
- Clean Arabic and English typography
- A sample you can inspect in normal light
Ask how colour will be approved
A PDF on screen cannot predict every paper and press combination. Clarify whether approval uses a calibrated proof, printed machine proof, drawdown, physical swatch or press check.
For brand colours, provide a Pantone reference or approved physical sample and discuss how coated, uncoated, coloured and recycled stocks will shift the result.
Treat bilingual artwork as production work
Arabic and English layouts bring practical questions about reading direction, numerals, font embedding, panel sequence, imposition and small type. The printer should inspect the actual file alongside the information used for quotation.
For packaging and folded pieces, ask for a marked-up flat plan or dummy so every panel is understood before production.
Compare the complete scope, not one unit price
Check whether tooling, finishing, delivery, VAT, file correction and packing sit inside or outside the print price. Ask for a quote that identifies assumptions, proof stages, quantities and exclusions.
When comparing digital and offset production, include setup, versions, waste, finishing and realistic reorder needs.
Work backwards from the real deadline
The event date is not the delivery date. Allow time for distribution, packing, assembly, approval and one sensible contingency. Seasonal peaks in Riyadh and across KSA make early material decisions especially valuable.