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Artwork & Colour Stock & Format Print Processes

Artwork: Stock: Processes:

Document Setup: P1 + 2 Substrates: Lithogrphic Printing:
Printers Marks: Paper types and uses: Gravure Printing:
Pre Flight: Selecting stock: Screen Printing:
Proofing: Types and samples: Flexography Printing:
Sign off: Inks: Pad Printing:
Hexachrome Printing:
Letterpress printing:

Colour: Format:
Terminology Standard sizes:
Descibing Colour Paper and Envelope sizes:
Basics ISO sizes:
Brightness, Hue and Saturation RA and SRA sizes:
Colour management Book and Poster sizes:
Panton and Spot colours International:
Colour in print American:
Preparing colour for print
Pages and Pannels
CMYK and RGB
Hexachrome
Pantone Matching System PMS
Con
ten
ts.
04 05
Finishes Costing

Finishing Techniques: Techniques and Quotes:

Binding:
Die cutting and Die stamping:
Embossing and De bossing:
Blind embossing:
Foil blocking:
Laminates and varnishes:
Thermography:
Folding and trimming:
Cutting and Creasing:
Substrates:
A substrate is any stock or material that
recieves a printed image, this can range from
a standard sheet of paper to much more
elaborate and tactile papers and boards. and
this can even extend to promotional items
sucha s coffee mugs, t shirts and even the
human body. this extends to any 3d objects.
The Substrate that is selected for a specific
job will be determined by its ability to take
a printed design and the overall aims and
intentions of the piece of work. For exmaple
- colour image reproduction requires a
different substrate that what is used for
newspapers for example, in which case low
cost is the priority, in addition to printability,
substrates are often selected for their other
qualities on offer
such as Tactile Stimulus.
Substrate selection is a vital consideration
at the start of a design process. The variety
of substrates to print upon is now greater
than ever before. giving much wider creative
possibilities. for designers and other
creatives: As colour weights and textures all
have a bearing on the effectiveness of a
piece. Identity design schemes, for example
can be strengthened through consistent use
of stock, which generates and element of
individuality.
Paper Types:
Paper types - this refares to any stock or Cast coated: Coated peper with a high gloss
substrate that can be printed with one of the finish obtained while the wet coated paper is
conventional printing processes: pressed, or cast against a polished hot metal
drum.: - High quality colour printing.
Paper type - Notes - Primary Uses
Chromo: A waterproof coating on a single
Newsprint : This is made primarily of me- side intended for great embossing, and var-
chanically ground wood pulp, shorter life nishing performance.
span than other papers - cheap to produce,
least expensive papers that can withstand Cartridge: A thick white paper that is used
normal print processes: Used for Newspa- for penciland ink drawings - To add texture
pers and Comics. to publications such as annual reports
Antique: Roughest Finish offered on offset Grey board: Lined or un lined made from
paper: This is used to add texture to a publi- paper waste: Packaging material.
cation such as anual reports
Uncoated Woodfree: Largest printing and
writing paper category by capacity that
includes almost all office and offset grades
used for general commercial printing. -
Office paper - printer and photocopy paper,
stationary.
Mechanical: Produced using wood pulp, con-
tains acidic linguins suitable for short term
uses as it will yellow and colours will fade
over time. - news papers and directories
Art board - Uncoated board: Cover stock
Art: A high quality paper with a clay filler to
give a great printing surface, especially for
halftones where definition and detail are very
important - has a very high brightness and
gloss. Colour printing magazines:
Sto
cks.

F C
Stock
When considering a print quotation for
a specific project, it is very important to
ensure that the stock that is selected suits
the project. the main consideration should
be the design and the objective of the
project, the client will always have an idea of
how much they would like to spend on the
design and print, the aim is to achieve the
highest quality of design that is as close to
the budget as possible. it is a great idea to co
ordinate a a wide range of print options
Paper affects the perception of a project ,
colour reproduction will be changed by the
choice of stock and finishes. an example of
this would be the final dry page colour will
differ from a coated or un coated stock.
when specifying a stock you must firstly
check examples that have previously been
printed on the particular stock or stocks
that are similar weight for example. If the
papers weight is too heavy it can effect the
way the stock folds and the mechanics of
the publication. make sure to discus the
weight of the stock with the client. take into
consideration weather a certain stock will
increase the postage of the final publication,
this therefore increases the cost for the
client once the design has been printed
and finished. All of these considerations can
affect the design and printing of the project.
Always discuss with your client the The designer must make conciderations
papers and stocks that you are personally to make sure the colour pallete you have
considering, show them previously printed selected is close as possible and is going
samples and some paper swatches. you and to be successful when printed over a range
the client have always got to be aware of of printed papers, surfaces and finishes.
the final outcome of the printed document, Make sure you work with the printer, to ask
to avoid any confusion regarding the paper for examples and advice but make sure you
weights and finishes. it is a great idea to ask do not accept that some colours just print
a range of printers for quotes and production that way. make sure to determine the final
advice. Make sure to use only printers that outcome of the colour selections, if the
have a large amount of experienced print colours need slightly adjusting for uncoated
and production that are similar to your stocks, make sure to amment them to
project. Always ask a printer that is ok to achieve an effective comparative colour
produce a dummy or a blank mock up, of the reproduction.
proposed paper to investigate the texture
finish and weight. involved he client as much
as possible in the big design choices.
Colour reproduction:
When looking into paper stock and weight,
you can also check colour reproduction
through pantone swatches this illustrates
accurate how a colour will be reproduced
onto a particular surface. coated or
uncoated for example it is crucial that
examples are displayed where colour
reproduction is different on surfaces, to
show the differences - when you specifically
choose uncoated paper stocks, show how
the colour selected will be reproduced on a
coated stock. There could be a requirement
within a project that calls for the designer to
produce a design on a smooth coated paper.
Sto
cks.
Stock Categories:

Coated paper: Wove: Weight of paper:

This paper has a clay coating applied to one
or both sides. These papers are avilable in
gloss, silk satin or matt finish, and are most
commonly used for projects that require a
fine finish, which is why coated paper is also
refared to as art paper. coated paper is
produces sharper brighter images and has
a better reflectivity than uncoated paper.
coated paper is used to print brochures
leaflets
and posters and a wide range of design for
print formats, especially high volume print
runs.
Uncoated paper:
Paper that does not have any kind of coating
applied is uncoated paper . although it does
not have any kind of coating this stock is not
as smooth as coated paper - it is available
in a range of different finishes, colours and
weights and is generally more absorbent than
coated paper. premium quality uncoated
paper is used for business stationary
and is commonly used in laser printers
uncoated stocks also used as alternate or in
conjunction to coated stocks in a wide range
of design and print disciplines.
Paper that is made on closely woven wire
roller or mold and having a faint mesh pat-
tern. wove is a popular choice for book pub-
lishing. wove is a premium quality paper with
a uniform surface, not ribbed or textured like
laid paper:
Laid:
Laid paper is premium quality paper with a
textured pattern of parallel lines similar to
handmade Paper: this is commonly used for
business stationary:
Bond:
An economic uncoated wove paper, often
used for copying or laser printers, it is a
higher quality bond stock and is used for
letterheads.
It is common practice to specify a weight of
paper in gm or GSM abbreviations of grams
per square meter this indicates the weight of
paper or other stock for example the a nor-
mal photocopier paper is 80gsm and good
quality letterhead paper is around 120gsm a
postcard is around 300gsm
As papers are graded by weight one manu-
facturers 150 gsm paper may seem slightly
bulkier that its competiters product a paper
GSM rating is a great guide to how thick or
stiff the paper will be and feel but you must
always ask for paper samples if you are un-
sure, card or board as it is commonly called
in the industry is some times measured in
microns a micron is 1000th of a millimetre:
Stock Categories:

Coated paper:
This paper has a clay coating applied to one
or both sides. These papers are avilable in
gloss, silk satin or matt finish, and are most
commonly used for projects that require a
fine finish, which is why coated paper is also
refared to as art paper. coated paper is
produces sharper brighter images and has
a better reflectivity than uncoated paper.
coated paper is used to print brochures
leaflets
and posters and a wide range of design for
print formats, especially high volume print
runs.
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Stock Categories:

Uncoated paper:
Paper that does not have any kind of coating
applied is uncoated paper . although it does
not have any kind of coating this stock is not
as smooth as coated paper - it is available
in a range of different finishes, colours and
weights and is generally more absorbent than
coated paper. premium quality uncoated
paper is used for business stationary
and is commonly used in laser printers
uncoated stocks also used as alternate or in
conjunction to coated stocks in a wide range
of design and print disciplines.
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Stock Categories:

Wove:
Paper that is made on closely woven wire
roller or mold and having a faint mesh pat-
tern. wove is a popular choice for book pub-
lishing. wove is a premium quality paper with
a uniform surface, not ribbed or textured like
laid paper:
Tae dolo ent re vit maximi, sum comnis Fuga. Nimi, videm eumque dolorum int Pudaerum eosto cuscium coriam, aut
esequi omnimil latquae et aut dolendi ut hillandamet molesed ut et rersperum repedit, sum es acepedis et quam re con nus.
pitaquis ipsandem veri aut duciae doluptas faccus, sumque que Ro officipsam rero blntios doles
dolorepudam,

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esequi omnimil latquae et aut dolendi hillandamet molesed ut et rersperum faccus, repedit, sum es acepedis et quam re con nus.
pitaquis ipsandem veri aut duciae doluptas sumque que Ro officipsam rero blntios doles
dolorepudam,
Stock Categories:

Laid:
Laid paper is premium quality paper with a
textured pattern of parallel lines similar to
handmade Paper: this is commonly used for
business stationary:
Tae dolo ent re vit maximi, sum comnis Fuga. Nimi, videm eumque dolorum int Pudaerum eosto cuscium coriam, aut
esequi omnimil latquae et aut dolendi ut hillandamet molesed ut et rersperum repedit, sum es acepedis et quam re con nus.
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dolorepudam,

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esequi omnimil latquae et aut dolendi hillandamet molesed ut et rersperum faccus, repedit, sum es acepedis et quam re con nus.
pitaquis ipsandem veri aut duciae doluptas sumque que Ro officipsam rero blntios doles
dolorepudam,
Stock Categories:

Bond:
An economic uncoated wove paper, often
used for copying or laser printers, it is a
higher quality bond stock and is used for
letterheads.
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esequi omnimil latquae et aut dolendi ut hillandamet molesed ut et rersperum repedit, sum es acepedis et quam re con nus.
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esequi omnimil latquae et aut dolendi hillandamet molesed ut et rersperum faccus, repedit, sum es acepedis et quam re con nus.
pitaquis ipsandem veri aut duciae doluptas sumque que Ro officipsam rero blntios doles
dolorepudam,
Stock Categories:

Weight of paper:
It is common practice to specify a weight of
paper in gm or GSM abbreviations of grams
per square meter this indicates the weight of
paper or other stock for example the a nor-
mal photocopier paper is 80gsm and good
quality letterhead paper is around 120gsm a
postcard is around 300gsm

As papers are graded by weight one manu-

facturers 150 gsm paper may seem slightly
bulkier that its competiters product a paper
GSM rating is a great guide to how thick or
stiff the paper will be and feel but you must
always ask for paper samples if you are un-
sure, card or board as it is commonly called
in the industry is some times measured in
microns a micron is 1000th of a millimetre:
Tae dolo ent re vit maximi, sum comnis Fuga. Nimi, videm eumque dolorum int Pudaerum eosto cuscium coriam, aut
esequi omnimil latquae et aut dolendi ut hillandamet molesed ut et rersperum repedit, sum es acepedis et quam re con nus.
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dolorepudam,

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dolorepudam,
Inks In Print:
Trapping:
in prepress, the compensation for
misregister of successive colors or images.
Trapping and trapping techniques ensure
that there are no unsightly gaps or overlaps
of successively-printed colors or images.
Trapping in this sense is referred to by many
different terms, ranging from spreads and
chokes, fatties and skinnies, lap register, and
making grips.
In conventional (i.e., non-digital) lithography,
trapping is accomplished using photographic
techniques called spreadsand chokes, also
known as fatties and skinnies, respectively.
A spread is a photographic overexposure
of an image to make it larger than it is on
the original. Thus, when it is overprinted
onto another image, it will spread into the
other image by a predetermined amount,
eliminating gaps between the two. Spreads
are more commonly used on foreground
images or objects; backgrounds are often
modified by chokes, which is a photographic
enlargement of the background color or
object, which chokes the subsequently
overprinted color or image with an overlap of
a set amount.
Aqueous Coating:
An aqueous coating is a fast-drying, water-
based, protective coating which is applied
in-line on press to attain a selection of
finishes more economical price than varnish.
This clear coating provides a high gloss
surface which protects the surface from dirt,
smudges, fingerprints and scratch. Aqueous
coating improves postcards durability as they
go through mail or inserted in pockets. It is
also applied on brochures, catalog covers,
flyers and other visual ads.
Top of Form
Aqueous coatings are applied to printed
sheet right after the inks. Directly after
the coating is applied, the sheets are sent
through a heated air system that quickly
dries the coating. The printed sheets can
progress to the finishing department in a
matter of minutes, as opposed to traditional
varnishes which may need hours or even days
to dry.
This type of coatings provide amazing rub
and scuff resistance. They give protection
that far exceeds standard varnishes. It
protects the product from harmful elements
from the shipment through to end use. They
are available in gloss and matte finishes.
Inks.
Stock Categories:
High gloss:
A variety of printing ink produced with an
additional quantity of varnish that allows the
ink to dry with a highly glossy finish, typically
by oxidation and polymerization. High gloss
inks achieve their best results when used on
paper (typically coated paper) that allows
a high degree of ink holdout, or does not
allow rapid penetration of the inkvehicle
into the paper surface. Rapid drainage of
the fluid vehicle hampers oxidation and
reduces printed gloss. The application of
heat to expedite ink drying also works to
reduce printed gloss. High-gloss inks are
manufactured for use in both letterpress and
offset lithographic printing processes.
Soy based:
this is a recent development in vegetable
oil-based printing inks obtaining its oil-
based vehicle from soybean oil. The use of
vegetable oil-based vehicles has improved
the printing characteristics of many inks,
and soy ink has achieved excellent results
when used in newsink, and helps eliminate
smudging. Other types of vegetable oils used
include rapeseed and linseed oils. this could
be used effectivley within a project that has
ethics around being ecofriendly.
Heat set:
A quick-drying type of ink that dries
by evaporation of its solvent in a high-
temperature drying oven followed by cooling
to set the ink. Heatset inks comprise the
pigment, a solvent, a litho varnish, and a
wax compound modifier. In heatset drying,
the printed web is passed through a high-
temperature dryer which evaporates the
solvent. A chilling procedure then cools
the ink down to about 75:90F. Chemical
reactions and absorption also set the ink.
Heatset inks are used in letterpress and
offset lithography, typically in web presses,
and have the advantage of quick drying,
which reduces the risk of excessive ink
spread and absorption. The process,
however, can cause problems incoated paper
which, if of insufficient porosity, can blister
during heatset drying.
Metalic inks:
Fine metal flakes that are mixed with a
varnish and used as a pigment in some types
of printing inks to impart silver, gold, or other
types of metallic luster to the printed image.
Metallic powders used in inks are produced
in different grades and with varying degrees
of fineness, depending on the desired end-
use characteristics. Despite such names
as Silver or Gold, less precious metals are
typically used. Silver is actually made from
aluminum, and Gold is made from brass,
copper or other metals, depending on the
shade desired (from Pale Gold to Rich Gold).
Specially-made vehicles are needed to carry
these pigments to ensure proper binding
to the substrate and to impart the desired
level of brightness. Metallic powder-based
inks, especially bronze powders used in
gold inks, need to be mixed just prior to
using, as they tarnish rapidly. The vehicle is
designed to dry rapidly, so as to prevent a
minimum of post-impression tarnishing. (See
Pigment.) Often, metallic powders are added
to the substrate following the printing of a
highly-tacky, non-drying ink, a process called
bronze dusting.
Pro
cess.
Lithography:
How does Lithographic print-
ing work?
How does this work you may be wondering.
Well the process is simple and it is based
on the elementary principle that oil and
water do not mix. There are a few steps in
converting your image/text into a printed
page so let us discuss the plates first.
In lithography the plates have a roughened
texture and are coated with a photosensitive
(light sensitive) emulsion. This emulsion is
a suspension of two chemicals that cannot
be mixed together, a common household
example of an emulsion is butter or
margarine.
Plates are made one of two ways: Exposure
from light source with film on top of the
plate, or using a machine that exposes
the plate, using lasers directly from the
computer. Either way creates a photographic
negative of the desired image, releases the
emulsion, and transfers a positive image
to the emulsion. The emulsion is then
chemically treated to remove the unexposed
portions of the emulsion. This final step is
similar to developing film at a photo lab.
When the printing plate is made, the printing
image is rendered grease receptive and
hydrophobic, or water repelling. The non-
printing areas are rendered hydrophilic,
or water attracting, and ink repelling. On
the press the plate is mounted on the
plate cylinder which as it rotates, comes
into contact first with the rollers wet by a
dampening solution or water, which adheres
to the rough, or negative portions of the
image. Then the plate comes in contact with
the roller coated with ink, which adheres
to the smooth, or positive portions of the
image.
If this image were directly transferred to
paper, it would create a positive image, but
the paper would be moistened. Instead,
a cylinder covered with a rubber surface,
called a blanket, is rolled over the plate.
The blanket squeezes away the water,
and picks up the ink. The cylinder is then
rolled over the paper, transferring the ink.
Because the image is first transferred to the
blanket cylinder, we call this process offset
lithography because the image is offset to
the drum before being applied to the paper.
The Advantages of
Lithographic Printing:
One major advantage of the lithography is
that the soft rubber surface of the blanket
creates a clear impression on a wide variety
of paper surfaces and materials. Lithography
printing is easily recognized by its smooth
print, as well as by the lack on any impression
or ring of ink or serrated edges that are
characteristic of letterpress or gravure
printing.
Lithography has equipment for short,
medium, and long press runs. Sheet-fed and
web presses are both used in lithography.
Sheet-fed lithography is used for printing
advertising, books, catalogs, greeting cards,
posters, packaging, direct mail inserts,
coupons, and art reproduction.
Many sheet-fed lithography presses can
perfect, print on both sides of the paper, in
one pass through the press. Web lithography
is used for newspapers, preprinted
newspaper inserts, advertising literature,
catalogs, books, and magazines.
Water rollers Ink Rollers

Water Plate Cylinder

Offset Cylinder

Paper

Impress Cylinder
Pro
cess.
Gravure:
The Gravure process is a type of intaglio
process in which the actual image is etched
into the surface of a plate or metal cylinder.
The image consists of tiny cells (or wells)
engraved into the cylinder; there may be as
many as 22,500 ink wells per square inch.
When the cylinder is rotated in a fountain
of ink, the excess ink in the non-image area
is removed by a thin piece of stainless steel
called a doctor blade. The size and depth
of each ink well determines how much ink
will be deposited on the substrate. When
paper is passed between the plate cylinder
and rubber impression roller, it acts like a
blotter and absorbs the remaining ink in the
microscopic wells..
In gravure printing there are sheetfed and
webfed (rotogravure) presses. Sheetfed
gravure is targeted at limited production
runs of fine art prints, high quality art,
photographic books, advertising leaflets,
and higher denomination postage stamps.
Rotogravure is targeted at larger runs of
300,000 copies or more and includes weekly
or monthly magazines, mail order catalogs,
specialized packaging, wallpaper, and some
decorative laminates. Both presses require
plate-making (or cylinder engraving) and
proofing, which is often very expensive.
Color corrections and last-minute changes
often require cylinder retouching, and this
can sometimes be slow and very time-
consuming.
The print quality of photographs using
gravure is often superior to other printing
processes. Both press configurations are
direct printing, so ink-and-water balance is
not a variable for controlling image density.
The inks are either petroleum-based or
water-based, and the use of electrostatic
assist allows for better ink transfer on
substrates with hard surfaces and poor ink
absorption. Gravure gives a true halftone
effect where photographs tend to have
greater contrast and detail due to heavy ink
films and use of finer screen rulings. Because
of the cell structure, fine details in type-
matter and line-work are of critical concern.
When using type styles containing serifs,
it is advised not to use type sizes smaller
than eight point. Overall, gravure is great for
long runs (300,000 or more) and capable
of maintaining color consistency on a wide
range of substrates.
Paper

Impression Roller

Doctor Blade Gravure Roller

Ink Fountain
Pro
cess.
Screen print:
Method in which ink is applied directly to
the surface to be printed (substrate). The
image to be printed is photographically
transferred to a very fine fabric (the screen)
such that the non-printing areas are blocked
off and the fabric serves as a stencil. The
ink is wiped across the screen to pass
through the unblocked pores and reach the
substrate. For each color to be printed a
separate screen is prepared and the process
is repeated.
Screen printing is a low volume printing
method where viscous ink is passed through
a screen this was origionally made with
silk, that holds a design onto a substrate.
Although a relatively slow low volume and
very expensive printing method. This method
allows the designer to apply images to a
range of different substrates. the effect of
screen print gives the design texture this
gives the design a handmade identity and this
allows the viewer to interact with the print
much more makes it feel personal.
 Design Exposed
onto screen.
Squeegy is pulled towards the
body on a 45 degree angle.

Fabric is tightly stretched

over frame.

Finished Screen
Ink is then pulled across the
screen, Printing the areas
that has been exposed.

Print is then transfared to

Substrate.
Pro
cess.
Flexography:

This technique is frequently used for printing Some typical applications for flexography
onto plastics, foils, acetate, brown papers are paper and plastic bags, milk cartons,
and basically any other materials that are disposable cups, sweet wrappers.
used within packaging, Flexography or Flexographic printing can also be used, to
Flexographic printing uses a method where print envelopes, labels and newspapers.
printing plates that are made of rubber
or plastic are inked with a slightly raised
image are rotated onto a cylinder which
then transfers the image to the substrate.
Flexography uses very fast drying inks, as it is
a very high speed print process, this process
is capable of printing on s range of absorbent
and non absorbent material. commonly used
for printing a continuous pattern such as
wrapping paper and gift wrap.
 Impress cylinder

Plate Cylinder

Anilox Cylinder

Fountain roll

Ink Fountain
Pro
cess.
Pad Printing:
The image that is being printed is etched into
a plate this is called the Cliche. the Cliche is
commonly made of a pollymer coating on a
metal backing of steel. Once this is placed
onto the printer, the Cliche is inked by an
open inkwell.
Ink in Pad Printing
Pad printing inks are just as versatile as
the other elements within the pad printing
process, they are not only s huge range of
colours available but they also come in a
range of series which are specific to the
type of substrate that is being printed onto.
Different materials react differently to some
elements in the inks. For example the inks
used for printing on certain plastics will not
be the same as the inks used for printing
on glass or aluminium. There are medical
grade inks that can be used for the medical
industry and even edable inks that can be
printed onto foods.
The Pad
After the Cliche is inked up, the silicon
pad then picks up the image and transfers
it to the product. the pads themself are
made of a silicon material that can vary
on hardness. The properties of the silicon
allow the inks to temporarily stick to the
pad, How ever they can be fully released
from the pad when it comes into contact
with the product that is to be printed. The
hardness of the pad dictates how the image
molds to the product - For example if you
where to print an image onto a basketball a
harder pad would transfer more of the print
into the textured surface. When printing
onto a relatively flat surface the pad can be
made of a softer material as less downward
pressure is needed.
Pad

Pad Pad

Ink

Substrate Print Applied

Pro
cess.
Hexachrome Printing

The Hexachrome system uses six colours
instead of the conventional four used in
traditional colour print.
By supplementing the Cyan, Magenta,
Yellow and Black with Orange and Green it
is possible to produce a greater range of
colours accurately. The results can be a
much more vibrant and high impact print.
If you are interested in printing using this
system later versions of Quark Express
and Coral Draw are Hexachrome enabled.
Pantone have also produced plugins for
use with Adobe InDesign, adobe Illustrator
and Adobe Photoshop.
Alternatively, we may be able to convert
the design you have supplied to include
Hexachrome colours or images.
Please note: The conversion work is
chargeable. We can supply Hexachrome
Colour Swatch Books from Pantone,
Solid Pantone or specific House Colours
that need to be matched to a Hexachrome
equivalents.
Pro
cess.
Letterpress Printing
This method was originally done with
moveable type. It is a form of relief printing
where the parts to be printed, both type
and illustrations, are raised up from the base
plate. It is commonly used for small printing
jobs such as business cards and stationery.
Illustrations for letterpress printing are
made by a photographic process. Types of
letterpress printing machines are:
Platen press The paper is pressed against the Letterpress printing is not often used now,
printing plate by a flat piece of metal called as it is time-consuming to set up the loose
a platen. The plate is inked by rollers as the type and make the plates, and there is only a
platen is opened. limited range of fonts and styles.
Sheet-fed rotary press These have a curved
printing surface and can print single sheets
at a high speed.
Flat sheets are fed between the plate and a
pressure roller.
Flat-cylinder press The printing plate is
flat and paper is passed over it by a rotary
pressure roller.
 Pivot

Platen Block

Paper Frame

Metal
Type

Bed
Format & Sizes:

Foramt [mm] Foramt [mm] H&W Foramt [mm] H&W

A0 814 x 1189 B0 1000 x 1414 C0 917 x 1297

A1 594 x841 B1 707 x 1000 C1 648 x 917
A2 420 x594 B2 500 x 707 C2 458 x 648
A3 297 x 420 B3 353 x 500 C3 324 x 458
A4 210 x 297 B4 250 x 353 C4 229 x 324
A5 148 x 210 B5 176 x 250 C5 162 x 229
A6 105 x 1498 B6 125 x 176 C6 114 x 162
A7 74 x 105 B7 88 x 123 C7/6 81 x 162
A8 52 x 74 B8 62 x 88 C7 81 x 114
A9 37 x 52 B9 44 x 62 C8 57 x 81
A10 26 x 37 B10 31 x 44 C9 40 x 57
C10 28 x 40
DL 110 x 220
For
mat.
Standards:
Standard Sizes:
Standards within paper sizes provide a
convenient and efficient way for designers
a printers to communicate product
specifications and control costs. this chapter
explores this.
Paper and envelope sizes
Sizes are standardised to provide a way
of selecting a products format that work
together effectivley for example an A4 paper
and C4 envelope these two work together
between their specifications.
ISO:
The benefits of standardising paper sizes
have been recognised for centuries and
its practice has a history that is traced all
the way back to 14th century Italy, The ISO
system is based around a height to width
ratio of the square room of 2. this means
that each paper size differs from the next or
previous by a factor of 2 or 0.5.
The ISO standard provides provides a range
of complimentary paper sizes in order to
cater for the most frequently used printing
needs
As shown in the tables above. Normally A
sizes are used for printing everything from
posters, technical drawings to magazines
newspapers, postcard whereas B sizes are
normally used for printing Books. And C sizes
are used for envelopes that will then hold
the A sizes
ANSI Paper Sizes: Foramt [mm]

Quarto 203 x 254

Foramt [mm] Foolscap 203 x 330
Monarch 184 x 267
ANSI or Letter 215.9 x 279.4 Govenment 203 x 267
Tabloid 279.4 x 431.8 Letter 215.9 x 279.4
ANSI C 538.8 x 431.8 Legal 215.9 x 356
ANSI D 538.8 x 863.6 Tabloid 279.4 x 431.8
ANSI E 863.6 x 1117.6 Post 394 x 489
Crown 381 x 508
ARCH A 304.8 x 228.6 Large Post 419 x 533
ARCH B 457.2 x 304.8 Demy 445 x 572
ARCH C 609.6 x 457.2 Medium 457 x 584
ARCH D 914.4 x 609.6 Royal 508 x 635
ARCH E 1219.2 x 914.4 Elephant 584 x 711
Double Demy 597 x 889
Quad Demy 889 x 1143
Statement 140 x 216
Index Card 01 127 x 76
Index Card 02 152 x 102
Index Card 03 203 x 125
Business card 85.60 x 53.98
US B Card 89 x 51

Common Book Sizes:

Book Sizes: [mm] H&W Book Size: [mm] H&W

Demy 16mo 143 x 111 Foolscap

Demy 18mo 146 x 95 Quatro 4to 216 x 171
Foolscap 8vo 171 x 108 Crown 4to 254 x 191
Crown 8vo 191 x 127 Demy 286 x 222
Large Crown Royal 381 x 279
8vo 203 x 133 Imperial 381 x 254
Demy 8vo 213 x 143 Crown Folio 445 x 286
Medium 8vo 241 x 152 Demy Folio 508 x 318
Royal 8vo 254 x 159 Royal Folio 365 x 260
Super royal Music
8vo 250 x 175
imperial 8vo 279 x 191
For
mat.
Standards
RA & SRA Series
These two series of paper sizes are also
based on the ISO standard and are sizes used
by printers that are slightly larger than the
A series, this is to provide for grip, trim and
bleed - Producing an A1 full bleed poster,
the design must be printed on an SRA1 sheet
which is bigger to allow for trimming to the
final size.
ANSI Paper Sizes
The American National Standards Institute
(ANSI) defined a regular series of paper sizes
based upon the standard 8.5 x 11 letter size they are related and represent a
size . This series also includes ledger or
tabloid paper size.
The most widely used size is ANSI A also
known as letter.
Book Poster
Standard Book Sizes:
Standard poster sizes:
Books can come in a wide range of standard
Posters also habe standard paper sizes that
sizes providing a range of different formats
help to simplify production, the A series
to handle different types of imagery and
poster system is based around a single sheet
typographic content. this is shown in the
of 762mmx508mm set in portrait orienta-
table below - A book format is determined by
tion it is multiples of this that are used to
the size of the original sheet of paper used
produce the other sizes in the system. Such
to form its pages and the number of times
as the Four sheet this is the most common
this is folded before trimming takes place.
widespread outdoor format - this is down to
Folio editions are formed from signatures
its compact size. Other standard multiples
folded once, Quarto from signatures folded
in this system are 12 sheet, 48 sheet - this
twice and Octavo Three times.
is the standard billboard size that gives you
200ft2 of presentation space in landscape
As these are based on standard paper
orientation. And 96 sheet.
mathematical portion of a sheet of paper
Two other common formats are European
modern book sizes vary massively but often
(3,048mmx3,048mm) This is a square format
have a relationship to these sizes.
that is popular in europe, but with the
same vertical dimension as the 48 and 96
sheet billboards. The Golden square, this is
typically illuminated at night - this attention
grabbing as it is breaking the boundries of
rectangular dimensions and through it scale.
Art
work.
Setting up work

Artwork: File Format

this chapter introduces the idea of artwork, There are two main image format types:
making sure that all type, photographs Bitmap images and Vector images. Vector
and illustrations are correctly detailed for images are are created using a mathemati-
printing: and some of the common pitfalls cal formula which enables them to not lose
made in the production of a colour print job. quality when pushed to any scale, vectors are
commonly used within graphic design in the
for of 2d imagery such as logo designs. Bitm-
Document Setup: ap on the other hand are raster based which
means that they are created by pixels that
When starting the digital design process it is have a specific resolution so when scaling
a necessity to have a document that us set the image, image quality is lost.
up in the correct way. this not only ensure
that the document saves properly but also
avoids any problems when the work is sent to
printers. You must ensure that all documents
should be set up in the correct sized art
board at a print resolution of 300dpi that
will be printed and ensure that the correct
colour modes are selected for example
CMYK or PMS and documents contain all the
marks that are needed by the printers for
example: Bleed and Slug and printer marks if
necessary.
Art
work.
Setting up work
Format:
Sending work to be printed when doing this
the printer will always ask for a specific file
format that they work with, commonly print-
ers will work will work with a PDF format,
PDFs are created using creative software
such as the adobe creative suit, The benefits
of sending a file as a pdf is that the Images,
Colour models, Fonts are all stored within a
document, this means that the document is
viewed the same no matter what software is
in use on the computer. This means the view
of the document is consistent and is as close
to the original as possible this uses a high
compression. Using PDF format makes sure
the printer who is working on the job can
open the file.
PSD files can be sent to the printers simply in If finishing techniques are being applied
PSD or just InDesign format, When the work these must also be specified however Adobe
is sent the printers you need to ensure that software doesnt allow for Effects such
you send everything with this such as Fonts as spot varnishes, and other effects to be
along with it. This is just incase the computer specified, this means a colour is needed to
that the printer has opened the work in may be selected to represent where a varnish
not have the specific fonts downloaded to should be applied this should also be brought
that specific computer. InDesign tools are up with the printer.
provided that ensure that all the files that are
needed are linked and are saved into a folder
that can simply be sent to the printer.
Colour Specification
When a document is sent to print if the
colours are picked from the CMYK colour
pallet such as colours From PMS, these
must be specified within the document and
the printer needs to be notified before the
file is saved and sent. Another element that
needs to be taken into consideration is that
pantone colours can be specified within
the Adobe Suite by using the colour picker.
Pantone colours that are used should be
specified within the document, like colours
are present with the swatch pallet as there is
a possibility of black plates being produced
which can this in turn means for a wasted
production cost.
Art
work.
Setting up work
Bleed, registration and trim
The responsibility for accurate reproduction
is the printers job. the designer contributes
to the reduction of errors and mistakes, by
being aware of some of the common mis-
takes that occur and by creating designs that
accommodate them.
Crop marks are small lines placed at the
corners of the document to indicate where
the page will be trimmed. They are required
because normally, paper cant be printed
to the edges. Slightly larger paper sizes are
used then cropped to a standard size. This is
where bleed is used.
Bleed is the area that overlaps the
documents borders. It gives the printers
room for unavoidable errors in the cropping
process. If bleed is not used, sometimes a
thin white border can be seen on the edges
of finished documents.
Printing a four colour job Registration Problems
When printing a simple four colour job the
One colour printing doesnt present colour
design needs to be printed with bleed this
registration problems as there is nothing for
allows the design to be trimmed and not
a printing plate to register with. Registration
have a boarder of unprinted stock around
problems sometimes occour as soon as more
the edge. this is generally a 3mm bleed
that once colour is sent to print.
however this can vary depending on the job
or printing method, it is always a great idea
to speak to the printer.
Registration black
Registration black is a black colour that is
obtained from 100% coverage of the four
process colours Cyan, Magenta, Yellow,
Black using registration colour for text and
greyscale graphics instead of black is a com-
mon error as is not desirable. as elements
are coloured appear on all colour separated
films and printing plates rather than just the
black film or plate, this means it will print in
every colour. Registration black does have
its uses, for instance when hand drawn crop
marks are used to register printing plates.
Type of proof:
Soft or screen proof:
a proof used for layout and colour
information control and to check screen
structures of a print
Advantages
This is intended to eliminate moire, rosette
and other effects that are undesireable.
Disadvantages
Screening must be performed before a scren
proof is printed as printing data contains no
screen information.
Blueline proof:
A contact print produced from film, this
shows the imposition, photos and text as it
will appear when printed together with trim
and binding edges
Advantages
Rapid as no processing is involved and pages
can be folded trimmed and stitched to ap-
proximate the finished job
Disadvantages
One colour and this does not reflect paper
stock or the true colour and the image prints
fade with time
Press or machine proofs:
A proof that is produced using the actual
plates ink and stock
Advantages
Realistic impression of the final print it can
be produced on actual print stock
Disadvantages
This process is costly as you have to set up
the press, particullaly if there is another
proof is required
Laser proof: Pre press proof:
A black and white digital print An analogue or digital proof that gives an
approximate of what the finished piece will
Advantages look like
Shows photos, text and position, this is a Advantages
cheaper alliterative to blue line
The production is in expensive, in particular
Disadvantages the digital proofs
Low resoloution and may not reproduce at Disadvantages
actual size
Colour is not as accurate as press proof as
does not use actual inks
Scatter proof: Composite integral colour
A proof of an individual photo of a group of
proof:
photos that are not included as part of the
page layout Very high quality proofs - such as match
print or chromatin. produced using four
Advantages sheers one for each colour laminated to-
gether in order
This is used for checking colour before the
final proof. many photos can be proofed at Advantages
once to save time and maeterials
This is a very accurate colour proof that is
produced from the coour speration film
Disadvantages used to make the printing plates
Images are not shown in situ in the layout
Disadvantage
This production is time consuming and
Contract proof:
A colour proof used to create a contract be-
tween the printer between the printer and
client the final proof before going to press
Advantages
The representation of the print job is very
accurate
No disadvabtages
Art
work.

Proofing:
This section brings together a range of
different methods that are used at different
stages through the print and production
process to ensure an accurate reproduction:
Co
lour.
Colour Models

Colour: Describing colour:

Colour is now a fixture in the field of visual
communication as magazine and editorial
designers have taken advantage of four
colour printing technology developments,
Companies and homes have this capability
now due to the emergence of printing
technologies
As colour is essentially different wave
lengths of light, design and colour
proffesionals use different. values of hue,
saturation and brightness to describe it.
Most importantly for designers there are two
main colour models, this is displayed below
RGB is used for screen and CMYK for print:

Colour attracts attention of the viewer and

perhaps generating an emotional response,
colour can also be used by a designer to
help organise the elements on a page and
lead the eye from one area to another
strengthening hierarchy.

Printing technologies continue to push

the boundaries of colour reproduction,
as developments such as six colour
hexachromatic printing push the colour
gamut to new dimensions
Basic Terminology:
A great amount of terminology is used to
describe colour and its many functions,
this explores those that are used to help
designers communicate colour ideas
and print.
Co
Colour Models
Description:
Brightness, Hue and Saturation
These terms aid a designer to specify and
communicate colour information and
help overcome the potentioal vagaries of
computer screens and printing presses
where a colour is not always what it seems
accurate colour description in terms of
the Hue, Saturation and brightness helps a
designer and printer match the expectations
of the client.
lour.
Hue: Colour Management:
hue or colour, re fares to the unique Colour management is a process that
characteristic of a colour that helps us governs how colour is translated from one
visually distinguish one colour from another, piece of equipment in the printing process
hues or colours are formed by different to another. Colour management is needed to
wavelengths or light. make sure accurate and predictable colour
reproduction because each device responds
to or produces colour differently.
Saturation:
Saturation or Chroma re fares the the purity
of a colour and saturation levels describe a
colours tendency to move towards or away
from grey.
Brightness:
Or value refers to how light or dark a colour
is, changes in the brightness value can be
achieved by mixing a colour with black or
white:
Saturation:
Saturation or Chroma re fares the the purity
of a colour and saturation levels describe a
colours tendency to move towards or away
from grey.

Hue:
hue or colour, re fares to the unique
characteristic of a colour that helps us
visually distinguish one colour from another,
hues or colours are formed by different
wavelengths or light.

Brightness/Valuew:
Or value refers to how light or dark a colour
is, changes in the brightness value can be
achieved by mixing a colour with black or
white:
Co
Colour Models
Pantone and spot colours
Designers can use spot colours to ensure
that a particular colour in a design will print
this may be necessary if the colour is outside
of the range of gamut possibilities of the four
colour CMYK printing process, or because
there is a pressing need for a specific colour,
for example a corporate logo. special colours
have greater intensity and are much more
vibrant as they print as a solid colour rather
than on that is created of half tone.
lour.
Experienced and well-rounded designers
know the importance of using Spot colors.
Spot colors are used to specify a certain
color, ink or coating for a design project. Try
to tell your favorite local printer that you
want the yellow in your design to be printed
in metallic gold and watch them laugh at
you. Spot colors open a whole new realm
of creativity and classy design. Spot colors
and separations tell your printer (whether
it be offset, screen print or otherwise) that
everything that is a particular spot color will
be a certain material/ink. The fun comes in
when deciding to use a spot UV coat (a glossy
area or image that covers only certain parts),
metallic ink, white ink (since there is no
white in CMYK, this gets tricky) or any special
coating.
Spot Colours
Spot colors are are most commonly used for
color matching. You have probably heard of
PMS colors before, but maybe you dont
know what it really entails. PMS is the most
common color matching system. It stands
for Pantone-color Matching System. When
a color needs to look the same, no matter
what its being printed on or who its being
printed by, use spot colors. Hopefully you
have seen the Pantone books around [insert
photo]. These are color sample books and
you should have a recent set if you are seri-
ous about what you do (or at least, the color
of what you do). Lets face it, youve sat in
your room or at the school lab tweaking
each of your colors till they look just the
way you want them for that big project.
But now its time to print them because the
client your working for just gave you the go
ahead. Youre not seriously going to print all
of them on your home printer are you? And
chances are, youre not going to have the
opportunity to hang over the presspersons
shoulder and ask him to add a bit more of
this color or lighten that upso lets learn
to use spot colors.
Another important thing to remember is to
use Spot colors to save money on printing.
Spot colors are actual inks that are put on
the press and laid on the paper. If youre
going to use a blue and black color, why
use full color printing, CMYK? Not only can
you specify the EXACT blue you want if you
specify PMSs, but you can print on a wider
range of papers and weights. And often
times at a much higher line rate (oh you ink-
jet people will know this as dpi or dots per
inch) at a much, much cheaper price. Know
those fancy paper swatch books youve seen
around, or some well-designed pamphlet
that really caught your eye, chances are the
designer took the time to strategically design
it with the final product in mind. By wrapping
your head around the use of Spots you can
turn heads and find ways that separate your
work from the masses
Another thing to consider is that some
printing processes require spot colors.
Screen printing on shirts is just one example.
There are ways to print directly on gar-
ments (called Direct-to-Garment printers
that work more like an inkjet printer). Most
lithographic, letterpress and flexographic
printers require plates as well. In an upcom-
ing article Ill dip into the world of printing
and explain the different processes that are
used to create certain effects and print on
difficult materials (like chip bags, plastic
bags, thick papers, plastic, raised inks)
Co
Colour Models
Colour in Print:
before sending the design to print, a design-
er can use a range of methods to ensure that
the colours used will appear as intended.
Getting the basics right:
when work is sent to print , it is very unlikely
that there will be further opportunities to
rectify mistakes for this reason, it is vital that
checks are carried out on some of the most
basic elements.
lour.
Preparing colour for print:
On completion, the desigher must make sure
to carry out a number of pre press checks
to make sure clear communication between
designer and client and then printer, this is a
vital element of the proces. if the client is to
end up with the work that they expect,
Printed pages and panels:
Printed pages referes the the actual number
of pages printed and not the number of
sheets printed on, for example a booklet
made from four sheets will print on every
side and will have 8 printed pages once
folded. the key thing is to remember that
one sheet printed double sided is equal to 2
printed pages.
Co
Colour Models: CMYK
CMYK:
The CMYK colour model is used for print,
to gain an understanding of this it is best
to look at RGB this is what is used for your
computer monitor, this is what all of your
designs will be in on screen. These colours
can only be viewed with natural or produced
light such as the lighting of the screen
of your computer monitor not however
printed onto a page. This is where CMYK is
introduced.
When two of the RGB colours are mixed
equally it then produces one of the CMYK
colour models these are know as subtractive
primaries. Green and blue create Cyan,
Red and Blue make Magenta and Red and
Green makes Yellow. Key black is added to
the model as it is impossible to create black
from 3 subtractive primaries.
lour.
CMYK in Print:
The four colour printing process uses four
colour plates Cyan Magenta Yellow and
Black, When these colours are combines the
colours are printed as tiny dots, these fine
dots are so small the image is printed crisply.
CYMK within Graphic Design:
As a Graphic Designer you have to accept
the fact that viewing your digital work on
screen will be in RGB colour model and the
final printed digital print will be produced in
CMYK. All files should be converted to CMYK
before sending the design to the printer, It
is important to use swatches when creating
your design if perfect colour matching is
vital. Swatches provide a designer and a
client with printed sample of how the colour
will reproduce once printed. Even though
the colour on screen will not match the
swatch, you will be sure of what the colour
will look like. you can also gain a PROOF
from the printer on the job which is an
example of the printed piece this is provided
for the designer before the print run.
Co
Colour Models: RGB
RGB:
There are a lot of models used to measure
and describe colour. The RGB colour model
is based on the theory that all visable colour
can be created using primary additive
colours RED, GREEN and Blue. These colours
are known as primary additives because
when they are combines
in equal amounts they produce White.When
two or three are combined other colours are
produced an example of this is combining
Red and green in equal amounts makes
yellow. Green and Blue creates Cyan and Red
and Blue creates Magenta.
lour.
As you change the amount of Red Green and
Blue you are presented with new colours.
Additionally, when one of these primary
additive colour is not presented you get
back.
RBG Colour in Graphic Design
The RGB colour model extremely important
to Graphic designers like us because it is
used in computer monitors. All design on
screen is made up by RGB it uses additive
colour to display image and text. This means
when designing for screen everything is
created using the RGB colour model.
Types of RGB colour Spaces
Within the RGB colour model there are two
main sRGB and AdobeRGB when working
within creative software you are able to
choose which colour model to work within.
Cost
ing.
Colour Models: RGB

Costing:
Get a quote very early on this is best before
you start the job
Identical specificationfor 3 print estimatiors
to work to
Learn roughly what things cost - Unit cost
Understand viable minimum quantities
Extras/Authours Corrections and Delivery?
Pricing a job:
As a designer you must make sure to collect
a minimum of 3 to 5 quotes from 3 to 5
different companies making sure that you
ask for the same job specifications at each.
By doing this you will make sure that you
are receiving the effective and reliable
service and to find the cheapest price.
Always remember that the more quotes you
produce the more likely you are to find the
best deal.

As a designer you must make sure that you

gather a range of quotes, from a range of
different companies gaining quotes on how
much the job will be to print, This then
allows you as a designer to then go back to
the client with an around about budget for
the job. From the side of a designer you will
always be designing within a clients budget.
However it is down to the designer to be
innovative and creative with the production
this is why it is so important to gather quotes
before designing because this could effect
the approach to design you choose.
Cost
ing.
Colour Models: RGB

Sourcing Quotes: Unexpected cost & Transport

Sourcing quotes can be very useful in The transport of a product has a huge effect
extending your knowledge on how much a of the cost and is commonly forgotten
standard prints cost for example, finding about, this is all down to the weight of paper,
out what the standard print costs on the it is incredibly dense and this means that
standard paper and a standard print rub delivery can be very expensive and a price
this ten allows you to give the client an must be agreed with the printer in the form
average idea of what is within their budget. of contract. This also avoids any charges that
Understanding minimal quantities can also be where unexpected at the end.
very helpful with quoting and understanding
what can and cannot be achieved with in a
budget. for example litho printing would not
be used for a short run of prints. this means
that having an understanding of minimum
quantities for specific print techniques is
essential.
Fin
ishes.
Techniques:

Laminates and varnishes:

Laminates and varnishes are print finishes
that are applied to the printed job to add a
finishing touch to a surface
Laminate types
a laminate is a layer of plastic that is used as
a coating - it is heat sealed onto the stock
to produce a smooth and impervious finish
and to provide a protective layer to cover the
stock. a varnish is a colourless coating that is
applied to a printed piece to protect it from
wear or smudging, and to enhance the visual
appearance of the design or elements within
it such as spot varnish:
Gloss Varnishing: Matt Varnishing Silk / Satin Varnishing

A gloss varnish is often used to enhance
the appearance of printed photographs in
brochures or flyers, as the coating reflects
back the light and makes colours appear
richer and more vivid. A gloss coating can
add impact to your print, especially in sales
or promotional material, where optimum
presentation of images is paramount.
A matt (or matt the spellings are Naturally enough, this coating represents
interchangeable) varnish gives the printed the middle ground between the two above,
surface a non-glossy, smooth look. This type being neither as glossy as a true gloss, nor as
of seal is sometimes considered to soften subtle as a matt.
the appearance of a printed image. Small
text in a leaflet or booklet is easier to read
on a surface coated with matt vanish as the
coating scatters the light, reducing glare.

Machine Sealing UV Varnishing All-over UV varnish

A machine seal is a basic, and virtually
invisible coating applied to a printed
item by the printer. It does not affect the
appearance of the job, but as it seals the
ink under a protective coat, the printer need
not wait so long for the job to be dry enough
to handle. It is often used when producing
fast turnaround printing such asleaflets on
matt and satin (silk) papers, as inks dry more
slowly on these materials.
Ultra Violet (UV) Varnishing is a process
for achieving an even more striking type of
coating on your printed material. Requiring
the use of special Ultraviolet drying
machinery, a UV coating is like a deluxe
version of the non-UV varnishes, with the
varnish appearing noticeably richer and more
luxurious.
A UV varnish can be applied as either an all-
over coating, or as a spot varnish:
Simply put, this is a UV seal applied all over
the printed surface. A gloss UV varnish seal
is the most common type of all-over UV
varnish, (perhaps because this finish really
does give a very high gloss effect, more so
than with a laminate in many cases) although
silk and matt are also available.

Spot UV Varnish Textured Spot UV Varnish

As the name suggests, a Spot Varnish is In four finishes: Sandpaper, Leather,

applied to chosen spots (areas), of a printed
piece. This has the affect of highlighting and
drawing attention to that part of the design,
but it also provides the additional visual
stimulus of having varied textures on a single
printed surface. This adds a lot of interest,
and can identify the printing as a premium
piece of literature in the perception of the
reader.
One very effective technique is to apply
a UV gloss spot varnish on top of matt
laminated printing. This achieves maximum
contrast between the highly reflective shiny
UV coating and the light-absorbing matt
laminate, and can, for instance, create a
striking first impression on presentation
folders or a brochure cover.
Crocodile Skin and Raised
A textured spot UV varnish allows the
creative designer not only to surprise the
recipient of the printing with a mix of
textures on the same printed surface, but
also to reinforce the tactile properties
of the product he or she is depicting. For
example, a manufacturer of ornamental
glassware could use a raised effect gloss
UV varnish to give a highly reflective,
3-dimensional portrayal of a featured
piece of glass work, or an interior design
company could use a combination of leather,
sandpaper or crocodile skin varnishes to
highlight some of the different textures the
company works with.
Fin
ishes.
Binding;

Deffinition:
Bookbinding is the process of physically
assembling a book from a number of folded
or unfolded sheets of paper or other
material. It usually involves attaching a book
cover to the resulting text-block.
Spiral Wire Bind:
The book is punched with a number of holes
along the left margin a coil binding is then
screwed through the holes from one end of
the book to the other. The binding may be
made of either plastic wire or and allow the
printed document to lie flat and to double
over. Spiral wire coils range from 1/4 of an
inch to 2 inch diameter and can bind books
of up to 24 inches in length.
Plastic Comb Bind:
This is one of the cheapest options when it
comes to binding, however they are usually
inserted by hand which can be very costly
when created in mass, They are made of light
weight plastic that can be used for books up
to 3 inches thick. The style allows the pages
to lie flat when open, and can be easily add
or subtract pages from the book however
over time this bind is known for breaking
from wear and tear.
Side Stitched Binding
The pages are trimmed to the same size and
stacked, the staple is then inserted down the
side of margin of the book 2 - 3 times this is
all dependent on the wight of the stock, the
result is a sturdy bind, the downside is the
book will not lie flat when opened. This bind
is generally much cheaper than most other
styles

Uses: Uses:
Uses:
Technical Manuals Notepads
Presentations Reports Tear off Calendars
Notebooks Reports
Presentations
Calendars
Formal Documents

Saddle Stitch Binding Case Bound (Section Sewing) Perfect Binding

This bind consists of pages that are folded
and inserted into a folded cover, this is then
stapled along the foldline in the centre of the
book, This is suitable for both self covered
books, In general cases, the maximum
number of pages is 96this is all dependent
of the weight and bulk of the stock used
numbers of pages may vary.
This binding style is typically used for books
that consist of more that 80 pages which
require a strong, high quality finish. The
pages of the book are collated, and then
sewn together with thread. the cover is then
glued to the spine of the page block. Case
bound is generally the most expensive style,
so are usually only used for books that must
withstand constant use.
This is the most common style used for
commercially produced books, this is
generally cheaper than case bound, with this
method the glue is applied to the left edges
of the pages, and the cover is then glued
to the page block. Perfect Binding is not
recommended for books that are in constant
use.

Uses
Uses: Uses Paperback Books
Large Magazines
Hardcover Books
Magazines User Manuals
Reference Books
Small soft
Text Books
Covered books
Novels
Brochures

Wire O Binding Post Binding

this style of binding holds the pages together
This style has a cover and back similar to
by a double look wire that is inserted through
a hardcover book, 2 to 3 screws are used
holes on the left edge, it does not spiral
along the left to bind the cover content and
through the book rather it creates a wire
spine together. A post binding method can
comb. the pages lay flat when opened and
be disassembled and pages can be added or
can rotate 360 degrees. Wire O bindings are
durable, but no not permit printing along the removed at any time.
books spine.

Uses Uses
Reference Boks
Photo Albums
Reports
Thesis Papers
Cook Books
Presentations
Proposals
Fin
ishes.
Techniques:

Die Stamping Drilling

A die cutter is the commonest cutting
machine. The die supports the material being
cut and has a hole or a recess into which a
punch made of cutting blades fits exactly.
The punch and die are fitted into a punching
machine, or sometimes a converted
letterpress machine. The work to be cut
is fitted into the machine and the punch
lowered down to cut. For creasing, the same
technique is used, but with blunt blades that
will crease the product. Cutting can also be
done with a CNC cutter.
Die stamping really works for multi-colour
crests, coats of arms, invitation cards,
letterheads and business cards where there
is fine detail in the design, the raised three-
dimensional aspects brings your work to life.
When die-stamping a design is engraved
steel dies and copperplates that are then
printed using traditional heavy die-stamping
presses.
Emboss with a second die for extra effect
Incomparable when used with multicolour
crests.
Matt die-stamping inks make for rich, vibrant
colours.
Laser compatible.
Die-stamping can be used in combination
with a combination of other fine print
processes.

Die Cutting can be used to produce different

shapes on most papers & boards (including
thicker display boards). Also most pockets
for folders and apertures are achieved using
this process

Large areas of dense solid colour can

be successfully die-stamped by using a
screened or sable die. Screen die permits
solids, fine lines and reversed out areas and
is a natural choice for logotypes, crests,
symbols and stationery.
Fin
ishes.
Techniques:
Embossing & De Bossing
Embossing is the process of creating a
three-dimensional image or design on paper
or other material. It is accomplished by
creating a die, which is then stamped onto
the paper, raising the embossed area above
the rest of the sheet.
Embossing refers to the process of creating
elegant patterns on a paper by using an
embossing machine that puts stresses on the
paper in order to create a raised or indented
affect. The embossing adds a timeless look
to prints and when you move your hand over
the surface you will be able to feel the fine
lines, bumps and patterns on your fingertips.
This type of decorative print finish is
commonly seen on wedding invitations,
business cards, folder covers and other
printed products. Both embossing and
foil stamping are done after the printing
process. When foil stamping is combined
with embossing, dramatic effects can be
achieved. Although this type of printing
is generally more expensive than normal
printing, some printing companies provide
the service at surprisingly affordable rates.
Embossing is often done a companys logo, Debossing uses the same process, except
names of publications, on product images, or instead of creating a raised effect, a
artistic elements. recessed effect is created.
The embossing can be done with a single-
level die, raising everything the same degree. Embossing/Debossing is done after the piece
Or a multi-level die can be used, creating a has been printed and requires a separate
variety of raised levels. press run.
You can emboss a printed image, which is
called registered embossing (meaning the
embossing is registered to a certain area).
Or you can emboss a non-printed area,
called blind embossing. Blind embossing is
usually done on the cover of a brochure or
catalog or on business cards and stationery.
Typically it will be an embossed logo,
company name or even a product.
Debossing uses the same process, except
instead of creating a raised effect, a
recessed effect is created.
Embossing/Debossing is done after the piece
has been printed and requires a separate
press run.
Fin
ishes.
Techniques:
Blind Embossing:
an embossed image is formed using male
and female moulds. Under extreme pressure,
these two mould the paper to their shape,
creating a multi-dimensional impression.
When embosssed, the Image is raised; when
debossed, the image is below the paper
surface.
Embossing dies come in several different
styles, each with its own unique appearance.
A flat die creates a three-dimensional image
that is raised above the paper surface; since
its edges are straight it produces the most
accurate reproduction of black and white
line art
A round die creates a curved image curving
out from the paper surface
Bevelled embossing gives an image with
sloping sides and allows for a deeper
impression
Sluptured dies create real dimension by
forming the paper to several layers
The best embossing style for an given job will
depend on the effect the designer wishes
to achieve. important considerations in
blind embossing projects include the size,
boldness and intricay of the design, as well
as the bulk of paper stock to be used. In
general , bolder type and larger designs
can be embossed more deeply, and heavier
papers can achieve greater depth and detail.
To achieve the best results
when designing for blind
embossing:
Blind embossing basically flattens the paper
in the embossed area so it is always more
effective on textured paper stocks or laid
sheets where it creates a contrast in the
paper surface.
Line art and typography for embossing
should be proofed at reproduction size, care
must be taken in spacing type so that letters
have room to form.
Because an embossed image is three-
dimensional, it may appear slightly smaller
than the same image produced by offset
or other two-dimensional means. To
compensate for this optical illusion, artwork
may be prepared slightly bolder or at a
slightly larger size.
The style of embossing, or the effect to be
achieved, should always be clearly specified
with the artwork. Providing a side view of the
desired image, or a sample of the type of
embossing desired is also useful to the die
maker.
Embossing can be successfully combined
with other fine print reproduction techniques
such as engraving, lithography and foil
stamping.
Fin
ishes.
Techniques:
Foil Blocking:
These finishes can provide the ultimate in
decorative appeal. They are not limited
to gold and silver foils, but extend to an
impressive range of pigmented,holographic
and security foils.
All of these can be combined with embossed
images to produce varying tactile effects
any one of which will enhance the printed
message and provide shelf appeal for
greetings cards, cartons, magazine covers,
brochures etc.
A technique where a metallic foil is applied
to a specific area of a printed sheet (such as
a logo) to create an eye catching shiny effect.
The method uses heat and pressure too
apply the foil and the result is a much shinier
finish than normal Metallic inks. However, it
is more expensive as it requires special tools
to be made
Traditionally, foil stamping was done mainly
in gold and silver, but technological advances
and innovative printing technologies has
enabled printing companies to incorporative
a myriad of colors into their foil stamping
services.
Offering a metallic finish over fine or larger
areas, foil blocking creates something
special. You can select matt or gloss foils in
gold, silver or other colours and, optionally,
make the foiled area stand out with blind
embossing.
Our foil blocking is normally laser compatible
and suitable for laminated and coated
surfaces as well as uncoated.
Its mechanical precision gives you an
uncannily accurate portrayal of the subject.
An extensive range of colours and finishes
are available from pastels to metallics.
Highly effective with matt or gloss foils.
Enhance the effects with blind embossing.
Most foils are laser compatible.
For opaque coverage and brilliant colour, foil
stamping is unparalleled. With its contrasting
surface textures and shimmering highlights,
foil stamping can spark excitement in a
business communciation and bring a static
design to life.
To create a foil blocked image an ultra thin
polyester film carrying a foil pigment is fed
into a press. There, a die of the desired
image is pressed against the paper, trapping
the film inbetween. As heat to the die and
pressure to the paper are applied, the foil
or pigment is released from the film carrier
and transferred to the paper, forming a foil
image.
Foils for stamping are available in a myriad
of styles; pearl, opalescent, marbled, wood
grained, pastel, full colour, clear, glossy,
matte or satin. Foil blocking offers the
designer a true metallic finish.
Fin
ishes.
Techniques:

Cutting and creasing

Some printed materials will need to be cut
after printing, and, if necessary, creased
so that they can be folded. This particularly
applies to packaging, but also to pop-up
cards and books, and press-out shapes for
model making.

A die cutter is the commonest cutting

machine. The die supports the material
being cut and has a hole or a recess into
which a punch made of cutting blades
fits exactly. The punch and die are fitted
into a punching machine, or sometimes a
converted letterpress machine. The work
to be cut is fitted into the machine and the
punch lowered down to cut. For creasing,
the same technique is used, but with blunt
blades that will crease the product. Cutting
can also be done with a CNC cutter.

Die Cutting can be used to produce different

shapes on most papers & boards (including
thicker display boards). Also most pockets
for folders and apertures are achieved using
this process