print manual for crit by Andrea Cooper

Design For Print An Introduction for graphic designers to the world of commercial print

Design For Print

Contents 7

Introduction

Colour

Format

Stock

Processes

Preparations

Proofing

91 Finishes 103 Tips & Tricks

An Introduction to the World of Commercial Print

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Breakdown of the Print Process

Colour For Print

Introducing Colour For Print Colour is the visual perceptual property corresponding in humans to the categories called red, green, blue, and others. Color derives from the spectrum of light (distribution of light power versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specifications of color are also associated with objects, materials, light sources, etc., based on their physical properties such as light absorption, reflection, or emission spectra. The science of color is sometimes called chromatics, chromatography, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials,color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to simply as light).

RGB vs. CMYK Colour Models RGB - Red, Green, Blue

CMYK - Cyan, Magenta,Yellow, Key

Additive Colour

Subtractive Colour

Additive color describes the situation where color is created by mixing the visible light emitted from differently colored light sources. In additive color models such as RGB, white is the “additive” combination of all primary colored lights, while black is the absence of light. Computer monitors and televisions are the most common form of additive light, and he additive reproduction process usually uses red, green and blue light to produce the other colours. Combining one of these additive primary colors with another in equal amounts produces the additive secondary colors cyan, magenta, and yellow. The colored pixels in displays do not overlap on the screen, but when viewed from a sufficient distance, the light from the pixels diffuses to overlap on the retina.

A subtractive color model explains the mixing of paints, dyes, inks, and natural colorants to create a full range of colors, each caused by subtracting (that is, absorbing) some wavelengths of light and reflecting the others. The color that a surface displays depends on which colors of the electromagnetic spectrum are reflected by it and therefore made visible. Subtractive color systems start with light, presumably white light. Colored inks, paints, or filters between the viewer and the light source or reflective surface subtract wavelengths from the light, giving it color. If the incident light is other than white, our visual mechanisms are able to compensate well, but not perfectly, often giving a flawed impression of the “true” color of the surface.

Colour Separations

Spot Colours

Pantone

In offset printing, a spot color is any color generated by an ink (pure or mixed) that is printed using a single run. Generally the cost and potential for problems for a print job increase as one adds more spot colors, due to the increased cost and complexity of added process inks and films, and requiring more runs per finished print.

Pantone Inc. is a corporation headquartered in Carlstadt, New Jersey. The company is best known for its Pantone Matching System (PMS), a proprietary color space used in a variety of industries, primarily printing, though sometimes in the manufacture of colored paint, fabric, and plastics.

Pantone began as a commercial printing company in the 1950s. In 1956, they hired recent Hofstra University graduate Lawrence Herbert as a parttime employee. Herbert used his chemistry knowledge to systematize and simplify the company’s stock of pigments and production of colored inks; by 1962, Herbert was running the ink and printing division at a profit, while the commercial-display division was $50,000 in debt; he subsequently purchased the company’s technological assets from his employers and renamed them “Pantone”.

Pantone

Hexachrome

The company’s primary products include the Pantone Guides, which consist of a large number of small (approximately 6×2 inches or 15×5 cm) thin cardboardsheets, printed on one side with a series of related color swatches and then bound into a small “fan deck”. For instance, a particular “page” might contain a number of yellows of varying tints.

Hexachrome was a six-color printing process designed by Pantone Inc. In addition to custom CMYK inks, Hexachrome added orange and green inks to expand the color gamut, for better color reproduction. It was therefore also known as a CMYKOG process. Hexachrome was discontinued by Pantone in 2008 when Adobe Systems stopped supporting their HexWare plugin software. While the details of Hexachrome were not secret, use of Hexachrome was limited by trademark and patent to those obtaining a license from Pantone. The inventor of Hexachrome was Richard Herbert, who is also the president of Pantone Inc.

The idea behind the PMS is to allow designers to “color match” specific colors when a design enters production stage, regardless of the equipment used to produce the color. This system has been widely adopted by graphic designers and reproduction and printing houses for a number of years now. The Pantone Color Matching System is largely a standardized color reproduction system. By standardizing the colors, different manufacturers in different locations can all refer to the Pantone system to make sure colors match without direct contact with one another. One such use is standardizing colors in the CMYK process. However, most of the Pantone system’s 1,114 spot colors cannot be simulated with CMYK but with 13 base pigments (15 including white and black) mixed in specified amounts. The Pantone system also allows for many special colors to be produced, such as metallics and fluorescents.

The main purpose of Hexachrome was to create a printing ink system that could depict brighter and clearer picture by being able to produce more accurate colors.Using this system instead of the CMYK ink system prints also allows for more accurate skin tones and pastels. The Hexachrome system, for the first time, lets users print the images from computer screens that were not able to be accurately duplicated before. As well as producing overall better quality than previous systems, Hexachrome also increased efficiency as it produces many more spot colors. Having more spot colors increases efficiency because it allows for the press to use one ink set for all jobs, rather than one specified ink set for each job. Keeping a printer configured for Hexachrome also eliminates the number of washes required on the printer; therefore saving times and simplifying printing production.

Image Manipulations for Print

Image Manipulation Examples Halftone Images

Halftone Images

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Halftone is the reprographic technique that simulates continuous tone imagery through the use of dots, varying either in size, in shape or in spacing. “Halftone” can also be used to refer specifically to the image that is produced by this process. Where continuous tone imagery contains an infinite range of colors or greys, the halftone process reduces visual reproductions to a binary image that is printed with only one color of ink. This binary reproduction relies on a basic optical illusion—that these tiny halftone dots are blended into smooth tones by the human eye. Halftone images use used in newspapers and magazines because it is a much more efficient way to print images. Since a halftone image is made up of discreet dots, it requires significantly less ink to print than a continuous tone image.

Duotone Images Duotone is a halftone reproduction of an image using the superimposition of one contrasting colour halftone (traditionally black) over another color halftone. This is most often used to bring out middle tones and highlights of an image. The most common colors used are blue, yellow, browns and reds.

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Now due to recent advances in technology, duotones, tritones, and quadtones can be easily created using image manipulation programs.Duotones hail from Cyanotype and halftone prints. Color images in newspapers and comic books are usually halftone prints and occasionally duotones. Duotone color mode in Adobe’s Photoshop uses an imaging process that computes the highlights and middle tones in a black and white image then allows the user to choose any color ink as the second color.

Image Manipulation Examples Duotone Images Monotone

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Duotone

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Formats For Print

Paper - A Brief History

Paper is a thin material mainly used for writing upon, printing upon, drawing or for packaging. It is produced by pressing together moist fibers, typically cellulose pulp derived from wood, rags or grasses, and drying them into flexible sheets. Paper is a versatile material with many uses. Whilst the most common is for writing and printing upon, it is also widely used as a packaging material, in many cleaning products, in a number of industrial and construction processes, and even as a food ingredient â&#x20AC;&#x201C; particularly in Asian cultures. Paper, and the pulp papermaking process, was said to be developed in China during the early 2nd century AD by theHan court eunuch Cai Lun, although the earliest archaeological fragments of paper derive from the 2nd century BC in China.

Many paper size standards conventions have existed at different times and in different countries. Today there is one widespread international ISO standard (including A4, B3, C4, etc.) and a local standard used in North America (including letter, legal, ledger, etc.). The paper sizes affect writing paper, stationery, cards, and some printed documents. The standards also have related sizes for envelopes.

ISO Paper Sizes The international paper size standard, ISO 216, is based on the German DIN 476 standard for paper sizes. ISO paper sizes are all based on a single aspect ratio of square root of 2, or approximately 1:1.4142. Folded brochures of any size can be made by using sheets of the next larger size, e.g. A4 sheets are folded to make A5 brochures. The system allows scaling without compromising the aspect ratio from one size to another—as provided by office photocopiers, e.g. enlarging A4 to A3 or reducing A3 to A4. Similarly, two sheets of A4 can be scaled down and fit exactly 1 sheet without any cutoff or margins. Weights are easy to calculate as well: a standard A4 sheet made from 80 gram/m2 paper weighs 5 grams (as it is one 16th of an A0 page, measuring 1 m2), allowing one to easily compute the weight—and associated postage rate—by counting the number of sheets used. By 1975 so many countries were using the German system that it was established as an ISO standard, as well as the official United Nations document format. By 1977 A4 was the standard letter format in 88 of 148 countries. Today the standard has been adopted by all countries in the world except the United Statesand Canada. In Mexico, Costa Rica, Colombia, Venezuela, Chile and the Philippines the US letter format is still in common use, despite their official adoption of the ISO standard.

A Sizes

The base A0 size of paper is defined to have an area of 1 m2. With this definition and the given aspect ratio of square root of two, one can calculate the sides of an A0 sheet as follows: The long side is 1 metre multiplied by the square root of the square root (that is, the fourth root) of 2 and the short side is 1 metre divided by the same.

Successive paper sizes in the series A1, A2, A3, and so forth, are defined by halving the preceding paper size along the larger dimension. The most frequently used paper size is A4 210 by 297 millimetres (8.3 in × 11.7 in).

B Sizes

C Sizes

While less common in office use, it is used for a variety of special situations. Many posters use B-series paper or a close approximation, such as 50 cm Ă&#x2014; 70 cm; B5 is a relatively common choice for books. The B series is also used for envelopes and passports.

The B-series is widely used in the printing industry to describe both paper sizes and printing press sizes, including digital presses. B3 paper is used to print two US letter or A4 pages side by side usingimposition; four pages would be printed on B2, eight on B1, etc.

The C series is used only for envelopes and is defined in ISO 269. The area of C series sheets is the geometric mean of the areas of the A and B series sheets of the same number; for instance, the area of a C4 sheet is the geometric mean of the areas of an A4 sheet and a B4 sheet.

This means that C4 is slightly larger than A4, and B4 slightly larger than C4. The practical usage of this is that a letter written on A4 paper fits inside a C4 envelope, and a C4 envelope fits inside a B4 envelope.

Envelope Sizes and Formats

Newspaper Sizes and Formats

Envelopes are designed to contain a flat object, such as a letter or card. Traditional envelopes are made from sheets of paper cut to one of three shapes: a rhombus, a short-arm cross, or a kite, which allow for the creation of the envelope structure by folding the sheet sides around a central rectangular area; so a rectangle-faced enclosure is formed with an arrangement of four flaps on the reverse side.

Book Sizes and Formats

The size of a book is generally measured by the height against the width of a leaf, or sometimes the height and width of its cover. In determining the format of a book, bibliographers will study the number of leaves in a gathering, their proportion and sizes and also the arrangement of thechain lines and watermarks in the paper.

Newspaper formats vary substantially, with different formats more common in different countries. The size of a newspaper format refers to the size of the paper page; the printed area within that can vary substantially depending on the newspaper. In some countries, particular formats have associations with particular types of newspaper; for example, in the United Kingdom, there is a distinction between “tabloid” and “broadsheet” as references to newspaper content quality, which originates with the more popular newspapers using the tabloid format; hence “tabloid journalism”.

Stock For Print

Introduction to Stock

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Weights of Stock The thickness of paper is often measured by caliper, which is typically given in thousandths of an inch.Paper may be between 0.07 millimetres (0.0028 in) and 0.18 millimetres (0.0071 in) thick.

The density of paper ranges from 250 kg/m3 (16 lb/cu ft) for tissue paper to 1,500 kg/m3 (94 lb/cu ft) for some speciality paper. Printing paper is about 800 kg/m3 (50 lb/cu ft).

Paper is often characterized by weight. In the United States, the weight assigned to a paper is the weight of a ream, 500 sheets, of varying “basic sizes”, before the paper is cut into the size it is sold to end customers. For example, a ream of 20 lb, 8.5 in × 11 in (216 mm × 279 mm) paper weighs 5 pounds, because it has been cut from a larger sheet into four pieces. In the United States, printing paper is generally 20 lb, 24 lb, or 32 lb at most. Cover stock is generally 68 lb, and 110 lb or more is considered card stock.

Paper may be classified into seven categories: - Printing papers of wide variety. - Wrapping papers for the protection of goods and merchandise. This includes wax and kraft papers. - Writing paper suitable for stationary requirements. This includes ledger, bank, and bond paper. - Blotting papers containing little or no size. - Drawing papers usually with rough surfaces used by artists and designers, including cartridge paper. - Handmade papers including most decorative papers, Ingres papers, Japanese paper and tissues, all characterized by lack of grain direction. - Specialty papers including cigarette paper, toilet tissue, and other industrial papers.

In Europe, and other regions using the ISO 216 paper sizing system, the weight is expressed in grammes per square metre (g/m2 or usually just g) of the paper. Printing paper is generally between 60 g and 120 g. Anything heavier than 160 g is considered card. The weight of a ream therefore depends on the dimensions of the paper and its thickness. Most commercial paper sold in North America is cut to standard paper sizes based on customary units and is defined by the length and width of a sheet of paper.

Finishes of Stock

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Print Processes

Introduction to Print Processes

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Offset Lithographic Printing

Flexographic Printing

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Rotogravure Printing

Six Colour Printing

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Ugiaepuda quam apis que num sit quam, sequia comnissus etur sum facil modi rero magni beatam conseque optatur minvenis asinvendicae cusdam a audis con rehenimo di ut quam, cullignit, undundanda eatus, odi oditat. Obitatusae dem simenditat volo quation secepud iaturesti consed quat. Udiciatis quidus dolecer epudanditata dolorem expliae pelitem inctotatem quiste laut min nit a verum quia simpor senis et lictatibus et eum experist maximi, id modis nullabo. Dae vera nonsedi gnimpos consedis etur aspient apiti nobite nos apis dit exped esed ut renet, volorer umquis ipienim inciur alit vellorum invellabore magnihi cillabo. Usdant vitam, que pos id mos conse sin pora doluptas esciderum hitatem. Bit ut harchit, ute porum estrumet harum sam fuga. Nequam est aut elitio. Occatium a con prese verovid utecte sitibus dolestessit laborunt omnis exceritiunt. Ducipsa earum estio. Et ipis asim erest perrum as cuptatur, conempo remped.

Pad Printing

Digital Printing

Porectur, vent estrum dolorro vitatem illatem posapide praest, con rem demporp orest, vendici tatint estio. Explabo rrovit optatiis dolendi gnienia saerio. At estin pelitas sapiendae nem dipsum int eosam ad quatqua eperspis moluptatur, aut alibus doloria velloreped quiaeratur, to ex es ma sunt, seque est, od eaquatquo vendent por accus, con eatiatios eni officil itiunt. Olestium nobite veleceri inus, illa dolore eiumquibus alit faccupta voluptia presequ aestionse quia ipsunt aliqui te coreste endis dolupta autem voluptas event eaturec ererit, si aut etur, cum quam, sundi officit, sunt acea quae pa deliquiaepta siti doluptiat optaectur mi, quatium inim qui vellorem fugiand isciducid molupta pa duciur? Oluptatur? Luptatia ium, quid mo omni ulleceate eossedia id quatur sedigentium, quo volore consentistor se estrunt. Ut lat quos erenisti invellorion parum vidi ipsae moles derest et as alia pariae.

Ariberi imiliti umendel ecessi nos et qui rehendia nimentin non est, sus, nonse volorpo sanimus et etur sitiisque consed quiatis ea que quiae nesequi beratate nihicia verendae susam alitas voluptu sandae oditae sum sitam ipsae sunt am, uta experum nonsed quis voluptatur maximagnimus ut ommolorehent quatur? Luptat odit laci occuptus por as arum eum abor si corume quid eiur andit voluptae santiae ex et experrum faccumquos eos doluptas sed exerum cusam eossi quis volore perfero vitaquae que plamusaped qui vent, at. Modisquam etur, cum dolum ex explatur? Sequunturis ressinumquam unt unt ut int quistrumquia velest, omnihilis ut opta eiciatu samus. Natem rent quodit eatist maio beaquam int aut hil magnis et hario. Nequi re moloressum facernate si de quunt. Il inciis exeriti doluptum intibea deni is enditem dolorumqui alignisquis aut asi.

Embossing and Debossing

Tem fugit quas molupta ectorem ossitatem. Ut id quia ipsum nos mi, cumquodit od quidest lamus simolore delictum vendae qui repudio erepudit quatur sapedit eatium et officitatem rectassi ommolla ndaeper iatatur, ea quam res most quunt di tet undem soluptatus corit volorent, am dolupta simil ipidus in prest, cullum as aut perum verumenis atem quam sanihiliqui conectasped es id unto con cum eiur raeperundi doluptate velest estiis auta doluptius exceperum alitati is porum sandam qui suntius, sape repra quos eos aperia verum dolorrovit, simpori aut rem. Et adi unduntem qui cumquatis est a volorer ferundant aliquam hicius volum repuditam que pe velecumqui.

Faccatur aut autet omnis re sunt quis aut volorerae volor alignitaspit illam expellaborum quia ducit archit, saestrum quia doluptat rerum quidemquis nest in praecusapide erumque non rerum nonsequi net velignatur? Udae di berupta velit ad est essequias mosa alit laboriasi quidel es essum sequatas volorep rorendae eos volo modipsa poreptat hil moditio ium eius soles es mint quiaepudam doluptatem. Itatenim dolesti quatiatem que comnimus quo volenis nos et re nonsern ametur, corpore sed qui sit endit ipsae cumet adi ipidips umendi bearum ipici aboruptate seque resse duntotati reperatem auta pro inciist, cone sustoreped minvel earist, simusciducil in pra perumquidi

Letterpress Ur? Sunditiumque senihil latusa nobisquaspis eum sant, illuptatent dolorep reptatis utemquibus sunt optae nonseniaero dolorec ulpario nsequas volupit perum cum sum ea dis que sunt estiunt, aliqui iusapid modia nonsenimus sequam arum qui temporrum aliassi con plignis sa dolor mintiis magnimodit laborrum quam ut moluptatum voloria quis rem il maionecea eiumquam restrun tionsequo omnimin impori voluptas minus eatestorest atem verorporatis minctest, ommost, cullitatur mosseque veles suntionsed qui blab ilis eicides erspicture consero dolupta spelitibus aliani te poritatem re volecti que que sam consende et inctiun debitios quam dolumquodio tem ut as de providelit laccaecaerum idus aut volentio. Piti quos everem desequas quunt aut restrum eos eos et de mo et arum facculp arumendebis es elenitas molupta erionse quundit optur, santia ditia vendaectatem fugitas doloressiti untis accatia id eum liquae con non prorpos ant ut est aut maior aut pe.

Facculpa rciur, que eum volorec aborati onsectotas eos nonse evelibus. Iniam quatur, occatiusam quia dent volores parum assequia imendamus, quibust, et adis eaquis sit et dolori blaborem. Udis aut minus atquo ex et ut dolorercius, in pratur sunt minihicim volorrum quis net, cum qui dollaborum fuga. Id qui unt ut raturit.

Preparations - Setting Work Up For Print

Introduction to Preparing Work for Commercial Printing Ro velitas aut que odis doluptatur aut qui ium resequi dolum ut quae volupie neculli gnihiciis ut eossime nisciendia conserum verchicipsa dolut audam vid qui id eum remqui acessimet expliquat autemol uptaspic tem. Ut dolentis aut lam unt. Sunt et qui officiurera voloremossit quisquatur, optur? Ate rem incid quos estrum ditisti officit, consenis atur sae. Et arume nos excestia dolut ullant omnis quia volupta tiatem quunt laccae venietur? Quis aborit fuga. Name illuptate con cores vollabori dolupta quibus es rerias voluptatio. Fero blandam evellabore nit, qui imi, occum faccumquiam, excea natur se labo. Nem hilluptatem faceatur? Quis as voloressitam eum fugit lique aliquibus, corporerum apis doles alic te natur aut essincia porempo rectam, tecae con repro quae solestem niminum endelique volut a quam sanda solo eum dus nihilit eturit pore rerum is modistem re viti adis in placcum inctas eum.

Adobe Photoshop

Adobe Illustrator

Adobe InDesign

File Saving

Setting Up A Document

Bleeds and Printers Marks

Layouts and Grids

Magic Numbers

Pagination

Before Printing - Proofing

The Importance of Proofing Work Before Printing Orunt arciis expeliquatus preicil luptate nobita conseditem num enim audit inciae dolor sit, aut elit experia siti doloriasint. Solupit provit hillandi tem et enduscit dolorest enderios destis dolores eosa qui nonsenit hitem qui nectem nis mint eum acipsaerit idesendis aut quissit autam dolupta tioreperere dolum fugiatior sitae nonsed explaborum adita voloritatis aut aspeles ad maiorum quundus daectot atemquaeptum quo tem sum ra volore, cullabore sa imped magnia quae eiumquid ma dolor sum fugitius voles simus voluptas ellate autempore consed et a sum, consequi.

Borepti cus solo dolorerio dollam hit, autet aut ducilliqui bere ni aut velibus ut plantemporum eum quideles a quos pel ipsumet volorectet, consed quiscia porias et esciendi occus. Xim facest, conet aborporro optatem voluptat. Me net odis vid quatiis dolut quodipis evelliquia que offictatur sit rero de sunt optaquodit vel minveli tiandam, omni ulparum ne et et voluptae ma que quo vel eatur a voluptius ra que sam re eiciatur autatiur, niet pe nonseque pa si ra sed experchil ilias molo inctent hil ipsamen ienihit quiatus antestiam faccabo..

Proofing Work and Pre-Flight Checks

Check Lists

Finishings

Paper Folding Techniques Cus arum quae. Obis as antorum eumquibus incto eost, si tem comniandi de elestium volupta tatecaerum rem audion core plam quam quam lit etur, si optam excesto offic totae esse poritio nsequodia verrum eos est, nest minimust, occullu ptionse rectibus, ut adis maxime plam rehendi rem voluptatem eos auditiae. Ut que por aut vel iure la conse vendit endipsam aut ma dic te venimi, nosae veniscit audae plaut ipit aut porro ma con pore.

Book Binding Techniques

Foil Blocking

Die Cutting

Other Finishes

Tips and Tricks For Graphic Designers

How to make life easier for yourself as a graphic designer... Ro beris aut que vernam, volore nosti ad quunt, vendis porem lacculp ariberit, sita conse res qui quo ex eic tem. Ut ipsum quossedit am acil iuscipi caborem es esed ut apel is earumquos dolorpore iniendipiet explicit elent, conserferias nobisti nobisquosam venda volupicim fuga. Ciam explacc ulparum quid milis natenih iliandicia idust laut faccullisse volorae nimpore pedigni ssitas sus acernat iandundit volorer feriti dolorunt lamusan isciume doloriore consect atiunde scipicid mi, volorioreped quibust istrum imin rerci occusam, si cullum quam voluptat que perum es is molorer natibus sintion comnim eos audicia turiatur, nones dolesto excepudicae laborporum quiatias idendant vollacc aborepe rspernam eatur? Cus as il inum as ex et adit ommolen duciliquiam re pererum accuptature, quid magnati busdam quam, auda perro cum atesed essit, nimi, cusdae res quiaerciis dolorest omnihit quo cusa solorrum debit harum denietus as vid quae pero experaest erit posam nim quatur, im seque nim enet acea dolorem.

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Costing and Quotes

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Contacting Printers

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Collecting Stock and Printing Samples

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‘10 Things Clients Wish Designers Would Do...’ 1 Listen to what a client wants and then make helpful suggestions

6 Build in contingency plans so that you are able to stick to the deadline.

2 Think commercially rather than just feeding your creative ego

7 Clients don’t like nasty surprises, especially on invoices.

3 Don’t design things that can’t be changed and adapted at a later date without causing unnecessary cost.

8 Ask questions if you don’t understand, don’t make assumptions.

4 Check you have done all of the revisions, clients don’t like doing (or paying) for revisions that are not done.

9 Make an effort to understand the culture of the client’s company and the market they aim to communicate with. 10 Involve clients in the design process.

5 Keep within budget, no matter how great the idea is, if it costs a fortune to produce it becomes worthless. By Bee de Soto

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Notes

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Notes

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