David M Gaskell by David Gaskell

E T T E

CIG·A·RETTE A THIN CYLINDER OF FINELY CUT TOBACCO ROLLED IN PAPER FOR SMOKING.

C I G A R E CT IT G E A R E T T E

A LIT CIGARETTE IS LIKE A CHEMICAL FACTORY, RELEASING POISONOUS FUMES INTO YOUR LUNGS AND AIR. ONLY THE TOBACCO COMPANIES KNOW EXACTLY WHAT GOES INTO EACH CIGARETTE, AND ONLY SOME OF THIS INFORMATION IS AVAILABLE.

T ION

WHAT IS A CIGARETTE?

E T T E

AND

INGREDIENTS

NA T ION

BEFORE AND AFTER 1971

CIGARETTE ADVERTISING

C I G A R E CT TI G E A R E T T E HOLLA

AND

N A TAI NODN N A T I O N

TORCHES OF FREEDOM

BEFORE AND AFTER 1971

CIGARETTE ADVERTISING

C I G A R ECT IT G E A R E T T E

SOCIABILITY

HELLO

SMOKING CIGARETTES HAS BEEN LINKED TO THE SEXUAL ACT, BE IT AN INVITATION TO, A REPLACEMENT OF, OR A CASUAL POST-COITAL SMOKE. THIS LINK WAS TAKEN ADVANTAGE OF BY ADVERTISERS PROMOTING CIGARETTE BRANDS TO TEENAGE BOYS. VARIOUS METHODS WERE USED TO ENFORCE THE LINK BETWEEN SMOKING AND MASCULINITY. ASSOCIATING BRANDS WITH MOVIE STARS, SYMBOLIC FIGURES IN THE HISTORY OF AMERICA (COWBOYS) AND SPORTS STARS OF THE DAY.

N 1928 HILL HIRED BERNAYS TO EXPAND THE SALES OF HIS LUCKY STRIKE CIGARETTES. RECOGNISING THAT WOMEN WERE STILL RIDING HIGH ON THE SUFFRAGE MOVEMENT, BERNAYS USED THIS AS THE BASIS FOR HIS NEW CAMPAIGN. HE CONSULTED DR. A.A. BRILL, A PSYCHOANALYST, TO FIND THE PSYCHOLOGICAL BASIS FOR WOMENS SMOKING. DR. BRILL DETERMINED THAT CIGARETTES WHICH WERE USUALLY EQUATED WITH MEN, REPRESENTED TORCHES OF FREEDOM FOR WOMEN. THE EVENT CAUSED A NATIONAL STIR AND STORIES APPEARED IN NEWSPAPERS THROUGHOUT THE COUNTRY. THOUGH NOT DOING AWAY WITH THE TABOO COMPLETELY, BERNAYS’S EFFORTS HAD A LASTING EFFECT ON WOMEN SMOKING.

N A T AI N ODN

BEFORE AND AFTER 1971

PHALLIC POWER

GEORGE WASHINGTON HILL, PRESIDENT OF THE AMERICAN TOBACCO COMPANY AND AN ECCENTRIC BUSINESSMAN, RECOGNISED THAT AN IMPORTANT PART OF HIS MARKET WAS NOT BEING TAPPED INTO. HILL BELIEVED THAT CIGARETTE SALES WOULD SOAR IF HE COULD ENTICE MORE WOMEN TO SMOKE IN PUBLIC.

STUDIES ARE ONGOING TO DETERMINE WHICH ADDITIVES AND INGREDIENTS IN TOBACCO SMOKE ARE HARMFUL. FOR EXAMPLE, HEALTH AUTHORITIES IN CANADA HAVE PRODUCED A LIST OF 44 SUBSTANCES THEY CONSIDER TO BE PARTICULARLY HARMFUL.

ER 1971

C I G A R E T T E

BY THE MID-1920S SMOKING HAD BECOME COMMONPLACE IN THE UNITED STATES AND CIGARETTE TOBACCO WAS THE MOST POPULAR FORM OF TOBACCO CONSUMPTION. WOMEN WERE ONLY PERMITTED TO SMOKE IN THE PRIVACY OF THEIR OWN HOMES. PUBLIC OPINION AND CERTAIN LEGISLATION AT THE TIME DID NOT PERMIT WOMEN TO SMOKE IN PUBLIC, AND IN 1922 A WOMAN FROM NEW YORK CITY WAS ARRESTED FOR LIGHTING A CIGARETTE ON THE STREET.

THIS MEANS RESEARCH IS STILL UNDERWAY TO DETERMINE EXACTLY WHAT GOES INTO A CIGARETTE. SO FAR MORE THAN 4000 DIFFERENT SUBSTANCES HAVE BEEN IDENTIFIED IN CIGARETTE SMOKE. AROUND HALF OF THESE SUBSTANCES ARE FOUND IN THE TOBACCO ITSELF, THE REST ARE PRODUCED AS THE TOBACCO BURNS.

BEFORE AND AFTER 1971

NIPPLE SUBSTITUTE

CIGARETTES WERE COMMONLY ASSOCIATED WITH INDEPENDENCE AND FREEDOM BY ADVERTISERS. THE MOST FAMOUS APPLICATION OF THIS BEING THE MARLBORO MAN, BY CREATING A LINK BETWEEN A SYMBOLIC FIGURE IN AMERICAN HISTORY (COWBOY), AND A CIGARETTE TOOK MARLBORO FROM A FROM A FAILING BRAND, TO A SYMBOL OF AMERICAN FREEDOM.

HEJ

NA T ION

CIGARETTE AS SYMBOL

C I G A R E T T E

INDEPENDENCE

PLAYING ON THE COMMON FEELINGS OF LONLINESS EXPERIENCED BY TEENAGERS, ADVERTISERS WOULD PROMOTE CIGARETTES AS A TOOL WHICH CAN BE USED TO IMPROVE SOCIAL INTERACTION.

AND

PSYCHOANALYSTS HAVE LINKED THE SMOKING OF CIGARETTES TO YEARNING FOR A RETURN TO THE LACTATING BREAST OF THE MOTHER. THIS IMPLIED A COMFORTING AFFECT SMOKING CAN HAVE.

HALLO CIAO BONJOUR

T ION

ER 1971

CIGARETTE ADVERTISING

E T T E

T ION

N A T AI N OD N

CIGARETTE AS SYMBOL

BEFORE AND AFTER 1971

NA T ION

BEFORE AND AFTER 1971

CIGARETTE ADVERTISING

C I G A R E CT IT G E A R E T T E

MARLBORO MAN CAMPAIGN POSTER FROM 1969.

ER 1971

AND

CIGARETTE ADVERTISING

E T T E

MARLBORO MAN

BEFORE AND AFTER 1971

CIGARETTE ADVERTISING

AND

NA T ION

CIGARETTE AS SYMBOL

BEFORE AND AFTER 1971

C I G A R E T T E

THE MEDIA USED TO ADVERTISE CIGARETTES WAS AN INTEGRAL PART OF THE RESTRICTIONS. FROM JANUARY 2ND 1971, TELEVISION AND RADIO WAS A THING OF THE PAST FOR ADVERTISERS OF CIGARETTES. THIS AFFECTED THE AUDIENCE THAT COULD BE REACHED. THIS WAS A PRE-INTERNET WORLD, WHERE THE MAIN HOME ENTERTAINMENT SOURCE WAS TELEVISION AND RADIO.

HEALTH A STATE OF COMPLETE PHYSICAL, MENTAL, AND SOCIAL WELL-BEING AND NOT MERELY THE ABSENCE OF DISEASE OR INFIRMITY.

ALTHOUGH TELEVISION AND RADIO WERE NO LONGER AVAILABLE TO ADVERTISERS, IT WAS LEGAL TO ADVERTISE ACROSS; MAGAZINES, NEWSPAPERS, BILLBOARDS AND DIRECT MAIL. THERE WAS STILL AMPLE OPPORTUNITY FOR TOBACCO COMPANIES TO PROMOTE THEIR DEADLY PRODUCT.

WARN·ING A STATEMENT OR EVENT THAT INDICATES A POSSIBLE OR IMPENDING DANGER, PROBLEM, OR OTHER UNPLEASANT SITUATION.

N A TAI NODN N A T I O N

BEFORE AND AFTER 1971

N A TAI NODN N A T I O N

CIGARETTE AS SYMBOL

C I G A R ECT IT G E A R E T T E

WITH THE RISE OF FILTER CIGARETTES IN RESPONSE TO THE INCREASING HEALTH CONCERNS TIED TO SMOKING, PHILIP MORRIS DECIDED TO REPOSITION ITS MARLBORO BRAND FOR THE FILTER MARKET. WHAT WAS ORIGINALLY A CIGARETTE MARKETED AS “MILD AS MAY” TO ATTRACT A PRIMARILY FEMALE AUDIENCE, ALL AT ONCE GAINED A FILTER AND BECAME A MAN’S CIGARETTE. NO LONGER WOULD MARLBORO ADVERTISE “IVORY TIPS TO PROTECT THE LIPS” OR “RED BEAUTY TIPS TO MATCH YOUR LIPS AND FINGERTIPS,” AS IT HAD DONE SINCE THE 1920S; INSTEAD, MARLBORO UNDERWENT A COMPLETE SEX CHANGE IN 1954. THE BRAND’S NEW MASCOT, THE “MARLBORO MAN,” WOULD EXUDE RUGGED MANLINESS IN AN EFFORT TO POSITION MARLBORO AS A FILTER WITH FLAVOUR. PREVIOUSLY, MOST FILTER CIGARETTES WERE CONSIDERED TO BE “SISSY” OR EFFEMINATE, LACKING IN FLAVOUR AND MEANT FOR THOSE WHO COULDN’T HANDLE STRONGER BRANDS. WITH THE MARLBORO MAN CAMPAIGN, PHILIP MORRIS WORKED TO REVERSE THIS SENTIMENT. THE ORIGINAL MARLBORO MEN WERE EXCESSIVE IN THEIR MASCULINE VIRILITY. THE MODELS RANGED FROM ROUGH COWBOYS AND SAILORS TO ALLURING BUSINESSMEN AND ACADEMICS. WHETHER THE MARLBORO MAN WAS PICTURED PREPARING HIS GUN OR PLAYING CHESS, HE ALWAYS SPORTED A MILITARY-INSPIRED TATTOO ON THE BACK OF HIS HAND. IN 1960, THE TATTOO WAS DISCONTINUED, BUT ITS MESSAGE - THAT OF INTRIGUE AND MASCULINITY - REMAINED VIBRANT IN THE MARLBORO MEN OF THE DECADES TO FOLLOW.

AND

BEFORE AND AFTER 1971

C I G A R E CT IT G E A R E T T E IN MODERN TIMES THE MAJORITY OF PEOPLE KNOW THAT SMOKING CIGARETTES IS BAD FOR YOU. THIS WAS NOT ALWAYS THE CASE, AS STATED EARLIER IN THE BOOK, THE 1952 ARTICLE ‘CANCER BY THE CARTON’, PUBLISHED BY READER’S DIGEST FIRST TOLD THE PUBLIC HOW DANGEROUS SMOKING IS.

IT SOON BECAME LEGISLATION FOR HEALTH WARNINGS TO APPEAR ON CIGARETTE PACKAGING. IN 1966, THE UNITED STATES BECAME THE FIRST COUNTRY TO FEATURE HEALTH WARNINGS ON CIGARETTE PACKAGING. THE NEXT PAGES WILL DISUCSS THE HEALTH CONCERNS, AND IMPLICATIONS THAT HAS HAD ON THE DESIGN OF CIGARETTE PACKAGING.

ADVERTISING RESTRICTIONS

MISC. AMMONIA CARBON MONOXIDE NICOTINE NITRIC OXIDE HYDROGEN CYANIDE MERCURY TAR* BENZO[A]PYRENE*

TOXIC TRACE METALS NICKEL* LEAD CADMIUM* CHROMIUM* ARSENIC* SELENIUM

AROMATIC AMINES 1-AMINONAPTHALENE 2-AMINONAPTHALENE, 3-AMINOBIPHENYL 4-AMINOBIPHENYL*

VOLATILE CARBONYLS FORMALDEHYDE* ACETALDEHYDE* ACETONE ACROLEIN PROPIONALDEHYDE CROTONALDEHYDE METHYL ETHYL KETONE BUTYRAIDEHYDE

AND

N A TAI NODN N A T I O N

TELEVISION AND RADIO

BEFORE AND AFTER 1971

HEALTH WARNING

C I G A R ECT IT G E A R E T T E NITROSAMINES NNITROSONORNICOTINE* NICOTINE-DERIVED NITROSAMINO KETONE (NNK)* N-NITROSOANATABINE* N-NITROSOANABASINE*

BASIC SEMI-VOLATILES PYRIDINE QUINOLINE

PHENOLIC COMPOUNDS HYDROQUINONE RESORCINOL CATECHOL PHENOL M+P-CRESOL O-CRESOL

SELECTED VOLATILES ISOPRENE ACRYLONITRILE* BENZENE* TOLUENE STYRENE

AND

HEALTH WARNING

NA T ION

BEFORE AND AFTER 1971

C I G A R E T T E PREPARATION

WITH TOBACCO BEING A FARMED PRODUCT. THE MANUFACTURING PROCESS, FROM THE NATURAL GOOD TO END PRODUCT HAS A DRAMATIC AFFECT ON THE SAFETY OF THE CIGARETTE.

CAR·CIN·O·GEN* A SUBSTANCE CAPABLE OF CAUSING CANCER IN LIVING TISSUE.

T ION

ER 1971

HEALTH WARNING

E T T E

AND

HEALTH WARNING

N A TAI NODN N A T I O N

BEFORE AND AFTER 1971

WHAT IS A CIGARETTE?

C I G A R E CT IT G E A R E T T E

AND

INGREDIENTS

N A TAI NODN N A T I O N

BEFORE AND AFTER 1971

HEALTH WARNING

C I G A R ECT IT G E A R E T T E

BEFORE AND AFTER 1971

IN RECENT TIMES THE SOCIAL LANDSCAPE OF SMOKING HAS CHANGED SIGNIFICANTLY. SMOKING WAS ONCE LEGAL IN EVERY WALK OF LIFE, DOCTORS WOULD SMOKE IN THEIR SURGERIES. AFTER THE TRUTH ABOUT THE HEALTH IMPACT OF CIGARETTES WERE UNDERSTOOD, MOUNTING PRESSURE FROM ANTI-SMOKING GROUPS MADE SMOKING ILLEGAL IN SOME PLACES. THE THREE MOST AFFECTED PLACES WAS: THE WORKPLACE, BAR AND RESTAURANT. THESE CHANGES IMPACTED THE FREEDOM OF THE UNITED STATES CITIZENS.

CAUTION: CIGARETTE SMOKING MAY BE HAZARDOUS TO YOUR HEALTH.

1970 - 1985

WARNING: THE SURGEON GENERAL HAS DETERMINED THAT CIGARETTE SMOKING IS DANGEROUS TO YOUR HEALTH.

ON A PERSONAL LEVEL I FEEL THE HEALTH WARNINGS WOULD ENCOURAGE YOUNG PEOPLE TO SMOKE, SHOWING A CERTAIN DARING, REBELIOUS PERSONALITY. SIMILAR TO THE EFFECT THE ‘PARENTAL ADVISORY’ LOGO HAD ON THE SALE OF MUSIC IN THE MID TO LATE 1980’S.

NA T ION

WHAT INFLUENCES DAMAGE

C I G A R E T T E

1966 - 1970

WARNING LABELS, ABOUT THE ADVERSE HEALTH AFFECTS OF CIGARETTES HAVE APPEARED ON PACKAGING IN THE UNITED STATES OF AMERICA SINCE 1966. PREDATING THE ADVERTISING RESTRICTIONS BY 5 YEARS, BECOMING THE FIRST NATION TO FEATURE HEALTH WARNINGS.

AND

1985 - PRESENT

SURGEON GENERAL’S WARNING: SMOKING CAUSES LUNG CANCER, HEART DISEASE, EMPHYSEMA AND MAY COMPLICATE PREGNANCY.

1985 - PRESENT

SURGEON GENERAL’S WARNING: QUITTING SMOKING NOW GREATLY REDUCES SERIOUS RISKS TO YOUR HEALTH.

1985 - PRESENT

SMOKING KILLS

SURGEON GENERAL’S WARNING: SMOKING BY PREGANT WOMEN MAY RESULT IN FETAL INJURY, PREMATURE BIRTH AND LOW BIRTH WEIGHT.

1985 - PRESENT

SURGEON GENERAL’S WARNING: CIGARETTE SMOKE CONTAINS CARBON MONOXIDE.

T ION

ER 1971

HEALTH WARNING

E T T E

AND

WARNING LABELS

N A TAI NODN N A T I O N

BEFORE AND AFTER 1971

HEALTH WARNING

C I G A R E CT IT G E A R E T T E

AND

WARNING LABELS

N A TAI NODN N A T I O N

BEFORE AND AFTER 1971

C I G A R ECT IT G E A R E T T E THE AVERAGE LIFE EXPECTANCY OF A SMOKER IN 1970’S AMERICA WAS 62 YEARS. AT THE SAME TIME, THE LIFE EXPECTANCY OF A NON-SMOKER WAS 70 YEARS. MEANING SMOKING COSTS MORE THAN 10% OF THE AVERAGE LIFETIME.

SMOKING IN PUBLIC

REV·E·NUE INCOME OF A COMPANY OR ORGANISATION.

AND

NA T ION

SMOKING IN PUBLIC

BEFORE AND AFTER 1971

C I G A R E T T E WITH THE RESTRICTIONS PLACED ON THE PROMOTION OF CIGARETTES, YOU WOULD ASSUME THERE WOULD BE A REDUCTION IN PROFITS. THIS WOULD BE THE CASE WITH MANY OTHER PRODUCTS, SUCH AS MOBILE PHONES AND CHOCOLATE BARS. DO THESE RULES APPLY TO THE TRADING OF TOBACCO? THE REVENUE IS BASED ON EACH SMOKER PURCHASING ONE PACK OF CIGARETTES EACH DAY OF THE YEAR.

SMOKERS NON-SMOKERS

LEGAL TO SMOKE ILLEGAL TO SMOKE

T ION

ER 1971

SMOKING IN PUBLIC

AND BARS 2010

N A TAI NODN N A T I O N

BEFORE AND AFTER 1971

THE HUMAN IMPACT

AND

N A TAI NODN N A T I O N

LIFE EXPECTANCY 1970

BEFORE AND AFTER 1971

132

THE MONEY GAME

AND REVENUE

NA T ION

BEFORE AND AFTER 1971

133

71: Cigarette and Nation A publication looking at the affect cigarette advertising restrictions had on American society as a whole. The book has chapters ranging from cigarette advertising, to the mortality rates of smokers. The book is 110mm x 172.5 mm.

LEGIBILITY The ability to distinguish one letterform from another. READABILITY The ability to understand a piece of type or design.

CAP HEIGHT AND ASCENDER HEIGHT Cap height (the height of capital letters) and ascender height (the height of ascenders, such as the ‘h’). They can be equal height although in some typefaces the heights vary slightly.

TYPEFACE ANATOMY

A F d T G O A

APEX The point formed at the top of a letter, such as the ‘A’, where the left and right strokes meet. ARM A horizontal stroke that is open at the end, as seen on the ‘T’, ‘F’ and ‘E’. ASCENDER The part of the letter that extends above the x-height. BRACKET The curved part of the serif that connects it to the stroke.

COUNTER The empty space inside the body of a stroke. CROSSBAR A horizontal stroke on the ‘A’ or ‘H’. The crossbar joins to stems together. CROSS STROKE A cross stroke intersects a singles stem.

K p v K g p A h

CROTCH Where the leg and arm of the ‘K’ and ‘k’ meet. DESCENDER The part of the letter that falls below the baseline. EAR The right side of the bowl of the ‘g’, also the end of the ‘r’ and ‘f’ . HAIRLINE The thinnest stroke in a typeface that has varying widths. LEG The lower, downward sloping stroke of the ‘K’, ‘k’ and ‘R’. LINK The part that joins the two bowls of the double-storey ‘g’. LOOP The stroke that encloses, or partially closes a counter in a roman. SERIF The small stroke at the end of a main vertical or horizontal stroke. SHOULDER The arch formed on the ‘h’ or ‘n’. SPINE The left-to-right curving stroke in the ‘S’ and ‘s’. STEM The main diagonal or vertical stroke of a letter.

o Y Q v

LEADING Leading is a hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them correctly. Leading is specified in points and refers to the space between the lines in a block of text.

TRACKING Tracking refers to the amount of space that exists between letters. This can be adjusted to make characters more or less distinguishable. Reducing the tracking lessens the space between letters, this condenses the text, if the tracking is too tight the letters will crash into one another which can affect legibility.

CHIN The angled terminal part of the ‘G’.

STRESS The direction is which a curved stroke changes weight. STROKE The diagonal portion of letters such as ‘N’, ‘Y’ and ‘M’. TAIL The descending stroke on the ‘Q’. TERMINAL The finish of a stroke. VERTEX The angle that forms at the bottom of a letter where the left and right stroke meet.

TYPEFACE CLASSIFICATION

Bak Block, Blackletter, Gothic, Old English, Black or Broken typefaces are based on the ornate writing style prevalent during the middle ages. They tend to be difficult to read in large text blocks and seem antiquated.

ROMAN

Roman type has proportionately spaced letters and serifs, it was derived from Roman inscriptions. It is the most readable type and is commonly used for body text.

GOTH C

Gothic, sans serif or lineal typefaces do not have the decorative touches that typify Roman typefaces. Their clean and simple design makes them ideal for display text, but make them more difficult to read in long passages.

SCR PT

Roman type has proportionately spaced letters and serifs, it was derived from Roman inscriptions. It is the most readable type and is commonly used for body text.

TYPEFACE STYLES A typeface family contains the range character styles and weights which

ROMAN TA C MED UM BOLD

w w KERNING Kerning is the space between two letters. Certain letter combinations have too much or too little space between them, this can make some words difficult to read. TWO RULES OF KERNING ONE As the type gets bigger you will need to tighten kerning to compensate. TWO Do not kern type until the tracking values and typeface selections have been set. Kerning can be a time consuming practice and kerning values rarely transfer between typefaces.

TYPE ALIGNMENT Type can be set in a variety of horizontal alignments. When used effectively alignment can harmonise text with other elements in the design. Large blocks of text that are not left aligned may become tiring and confusing to read. LEFT-ALIGNED Type can be set in a variety of horizontal alignments. When used effectively alignment can harmonise text with other elements in the design. Large blocks of text that are not left aligned may become tiring and confusing to read. CENTRE-ALIGNED Type can be set in a variety of horizontal alignments. When used effectively alignment can harmonise text with other elements in the design. Large blocks of text that are not left aligned may become tiring and confusing to read. RIGHT-ALIGNED Type can be set in a variety of horizontal alignments. When used effectively alignment can harmonise text with other elements in the design. Large blocks of text that are not left aligned may become tiring and confusing to read. JUSTIFIED Type can be set in a variety of horizontal alignments. When used effectively alignment can harmonise text with other elements in the design. Large blocks of text that are not left aligned may become tiring and confusing to read.

TYPE HIERACHY Type hierachy is a logical and visual guide. It distinguishes headers from body text, and can highlight the importance of text through using varying; typefaces, type weights, point size or colour. Below I will show the hierachy used throughout this publication.

A-Head

The A-head is a primary heading usually reserved for the titles in the text. In this publication I use 6 point type for the main header. B-HEAD The B-head is a secondary heading, in this publication the B-Head is 4.5 point and bold. I am using this for sub-headers and pull quotes. C-Head The C-Head in this publication is used in the body text. The point size is 4.5 point as with the B-Head, however, the type is set to regular rather than bold. This allows the headers and sub-headers to be distinguished.

IMAGE In modern design images tend to be supplied in an electronic format, even if they have been handrendered and later scanned in. The following section of the book will go through the setting required for an image that is to be printed. RASTER A raster image is any that is composed of pixels within a grid, each pixel contains colour information for the reproduction of the image. Rasters have a fixed resolution, which means that an enlargement of the image results in a quality decrease. Raster images are usually saved as TIFF or JPEG files for print, and JPEG or GIF for use on the web. VECTOR A vector image contins many scalable objects that are defined by mathematical formulae (bezier curves) or paths rather than pixels. Vectors are scalable and not affected by resolution. Vectors can be enlarged indefinitly and remain crisp and clear. Vector files must be saved as EPS format to retain their scalability. They are used for corporate logos and other graphics as they are easily portable and cannot be altered within publishing programs.

PRINT & SCREEN IMAGES

GH ND N

YELLOW PLATE Yellow is the third press plate to be printed.

Paper characteristics that affect printability include; smoothness, absorbency, opacity and ink holdout.

BLACK PLATE The black plate, often referred to as key, is applied to print last.

SMOOTHNESS The smooth surface of these stocks is obtained through the use of filler elements that may be polished with calendering rollers. These are typically glossy as well.

LETTER SPACING

TYPEFACE A collection of characters, letters, numbers, symbols and punctuation which have the same distinct design. FONT The physical means to create a typeface, be it computer code, lithographic film, metal or woodcut.

PAPER CHARACTERISTICS

CMYK MODE CMYK images are made from Cyan, Magenta, Yellow and Black subtractive primaries and have 4 channels, one for each colour. An image stored as CMYK is larger than a RGB file as it has one extra channel. CMYK images are used for printing as each colour corresponds to one of the printing plates. DPI Dots per inch, a measure of the resolution of an image on screen or the printed page. Printed images typically require a setting of 300dpi. RGB MODE RGB images are made from red, green and blue additives, they have 3 channels, one for each colour. RGB images are smaller than CMYK images as they have one fewer channel. RGB files are used on screen because of their lower file size. PPI Pixels per inch, a measure of the resolution of an image on screen. Images to be used on screen typically have 72 pixels per inch. BITMAP A bitmap or raster is any image that is composed of pixels in a grid. The images are a fixed resolution so quality will be affected. Converting a greyscale image in to a bitmap will reduce the tonal palette to black and white only. GREYSCALE A greyscale is a tonal scale or series of achromatic tones that have varying levels of white and black to give a full range of greys. A greyscale is used to reproduce contious tone photographs. It does this by converting colours into the most approximate levels of grey. Up to 256 shades. The intensities of these greys are reproduced on the printing plate throught he use of a half-one screen. HALF-TONE A half tone image is created by reproducing a continuous tone image as a composition of dots. This can be seen in enlarged image above.

ABSORBENCY Stocks have different absorbency levels, which is the degree to which the ink penetrates it. Printing inks tend to dry quicker on absorbent stocks, but absorbency may cause problems such as dot gain. OPACITY Opacity is used to describe the extent to which whatever is printed on one side of a sheet shows through and is visible on the other. High-opacity papers have no show through.

FINAL PRINTED IMAGE The image when all the colours have been printed.

TYPES OF SHEET WORK Sheet work refers to how a press sheet is turned to enable doublesided, multi-page documents to be printed in the correct order. WORK AND TURN Printing one side of a sheet, turning it from front to back and printing the second side with same sheet-edge alignment on the press.

INK HOLDOUT This is the degree to which a stock resists ink penetration die to its relative lack of absorbency. Coated stocks may be particularly prone to ink holdout as the ink sits on the surface, which in turn increases drying time.

WORK AND TUMBLE Both sides of the sheet are set on one plate. The sheet is printed and turned over side to side to be printed again (backed up).

BASIC PAPER TYPES LAID PAPER Premium quality paper with textured pattern or parallel lines. Often used for business stationery.

WORK AND TWIST Printing one half of the sheet, turning it 180º and then going back through to print the other side.

WOVE PAPER This premium quality paper has a smooth surface and is mostly used for business stationery. BOND PAPER This is usually cheap uncoated wove paper and is used for photocopiers and faxes. COATED PAPER This has a smooth finish because it has a coating (usually china clay) and is available in gloss, silk (or satin) or matt. It is used for leaflets, glossy brochures etc and are sometimes called ‘art’ paper.

B1 PAGES PER VIEW B-1 (1000mm x 707mm) is a common format used in commercial offset-lithography printing. This gives trim and bleed for most A series paper sizes. Below are examples of pages-per-view on a B1 sheet. 1 A1 841MM X 594MM Sheet can fit on a B1 press sheet.

UNCOATED PAPER Is it doesn’t have a coating it is less smooth and therefore is suitable for laser printing and photocopying. Premium quality uncoated paper is used for business stationery, but it can also be used for brochures etc. Available in a range of finishes.

2 A2 594MM X 420MM Sheets can fit on a B1 press sheet. 4 A3 420MM X 297MM Sheets can fit on a B1 press sheet.

ALTERNATIVE SUBSTRATES ACRYLIC Available in a large range of colours and thicknesses, acrylic tends to have a high gloss finish and is prone to scratching. For this reason it is supplied with a protective film on both sides of the material. It is available in cast and extruded acrylic sheets. Cast acrylic sheet is produced between two sheets of glass, it is more rigid that extruded acrylic, easier to cut and glue and is available in a wider variety of colours and finishes. Extruded is made from granules of plastic and is the preferred material for thermoforming.

9 A4 297MM X 210MM Sheets can fit on a B1 press sheet. 16 A5 210MM X 148MM Sheets can fit on a B1 press sheet. 32 A6 148MM X 105MM Sheets can fit on a B1 press sheet. 64 A7 105MM X 74MM Sheets can fit on a B1 press sheet.

BIBLE PAPER An extremely thin printing paper, and has been made from a variety of materials, from rags to wood pulp. It is exceptionally strong and retains a reasonable degree of opacity. Bible paper foil blocks very well but care needs to be taken because of it’s lightness. The strength of the paper allows it to be creased and folded many times without the print cracking. BOOK CLOTH Woven cotton that is coated in a starch and pigment mixture then subjected to live steam before being spread across the cloth. The granules of starch burst open and thicken , causing the material to thicken, giving the starched effect. Drying is usually done by a steam heated drum, cloth is wrapped around it during its journey through the spreading machine. The heat dries the starch the starch on to the cloth. When the material is glued, the process is reversed as water in the glue softens the starch granules, making the material pliable and easy to wrok with. The starch prevents the glue from penetrating through the cloth.

121 A8 74MM X 52MM Sheets can fit on a B1 press sheet. 210 A9 52MM X 37MM Sheets can fit on a B1 press sheet. 360 A10 37MM X 26MM Sheets can fit on a B1 press sheet. 100 STANDARD BUSINESS CARDS 85MM X 55MM Sheets can fit on a B1 press sheet.

B2 PAGES PER VIEW B2 (707mm x 500mm) is a common format used in commercial offsetlithography printing. This gives trim and bleed for most A series paper sizes. Below are examples of pagesper-view on a B2 sheet. 1 A2 594MM X 420MM Sheet can fit on a B2 press sheet.

It is more common to find paperbacked or tissue-lined book cloths on the market. These differ from cotton book cloths on the market. These differ from cotton book cloth as their material is predominantly from a synthetic source, such as rayon. Cotton book cloth has the disadvantage that adhesive will penetrate the cloth when glued. Rayon has a flexible backing or lining that prevents this, and is cheaper than cotton. A further disadvantage is the availability of much brighter colours and more variances of weave. Cotton book cloth tends to be associated with dry legal or medical tomes, whereas as rayon with art or design based projects. Cotton cloth is more durable than rayon.

2 A3 420MM X 297MM Sheets can fit on a B2 press sheet. 4 A4 297MM X 210MM Sheets can fit on a B2 press sheet. 9 A5 210MM X 148MM Sheets can fit on a B2 press sheet.

30 A7 105MM X 74MM Sheets can fit on a B2 press sheet.

Printing methods tend to be restricted to screen printing, and it is difficult to achieve a fine print as the material is quite fibrous. Felt makes an interesting covering material and can be converted into book jackets as an alternative to book cloth. It cannot be used as a covering material in box making as it cannot be glued. FLEXIBLE PVC Flexible PVC (Polyvinyl chloride) is a variant of rigid PVC. The introduction of plasticesers to the substrate makes the material more pliable. Flexible PVC is now commonly used in the manufacture of stationary such as binders and holders for car-parking permits. There are unusually uses of flexible PVC. For instance, a thin, black, embossed flexible PVC is appropriate for coffin linings, where as it’s white counter part is used to line babies prams. There is a semi-translucent version that is used for blood bags, while thicknesses of up to 5mm are used for factory-door curtains. HIGH-DENSITY FOAM High density foam has a 3-stage production process, commencing with polymer being blended in line and extruded into solid sheet or slab form. This sheet is then cross-linked to create a lattice-like structure at a molecular level within the material. This allows the material to be thermal moulded, as cross-linked foams can be stretched and compressed, and retain their shape when cooled. High density foam has a range of applications but can principally be employed by the designer as a packaging material to house a series of items securely and attractively without having to resort to overengineered cardboard executions. LEATHER There is an almost infinite choice of leather to use. It is an expensive material to use, and decisions based on expectation of how leather should feel and smell will lead you to higher-priced skins. Leather is mainly available at specialist merchants who normally supply skins to make handbags and belts and therefore are structured towards this market. The use of leather in a project generally denotes wealth, tradition and luxury. Leather can be screen printed, embossed and foil blocked. It should be noted that, as leather is animal skin the surface and texture of leather is a variable which could hamper the application of a design. Care should be taken when glueing as leather has a tendency to contract when mounted or bonded. More rigid leather will die-cut and trim far better than softer pig-skin or goatskin leather. If cost is an issue there are a number of synthetic materials that mimic the grain of leather, and some have even been developed to smell like it too. METAL Metal could be regarded as a material that has very limited applications with the design process. It has a look, feel and density that will rarely be appropriate.Cost is an important factor when considering using metal for a project. A reason for this is the extra processes that metal has to go through prior to being ready to work with. The materials most commonly used by designers are aluminium and stainless steel, both of which are easily cut, creased and screen printed. Stainless steel is much harder than aluminium and can be supplied in very thin gauges. The thinner the gauge the sharper the edges become. Stainless steel is good for having designs etched in to or through it’s surface. Aluminium is a lightweigh popular substrate for binders. Its edges do need to be sealed or anodized by immersing the material in an anodizing solution and running an electric current through it, otherwise it is prone to oxidisation and marking from fingers. There are not many suppliers or manufacturers who can produce high quality finished goods from metal. MIRRI-BOARD Mirri-board is manufactured by laminating thin films of metalised polyester to different base papers

VEGETABLE-BASED INKS Inks that are made with vegetable based oils (as opposed to mineralbased such as pertoleum) and that, as a result, are more environmentally friendly.

ADVANTAGES Intended to eliminate moire, rosette and other undesired effects. DISADVANTAGES Screening must be erformed before a screen proof is printed and printing data contains no screen information. LASER PROOF A black and white computer print. ADVANTAGES Shows photos, text and position. Cheaper than a blueline. DISADVANTAGES Low resolution and may not reprduce at actual size. PRE-PRESS PROOF An analogue or digital proof that gives an approximation of what the finished piece will look like. ADVANTAGES Inexpensive, particularly digital proofs.

DISADVANTAGES One colour and does not reflect paper stock or true colour. Proof has a blue colour and the image fades with time. SCATTER PROOF A proof of an individual photo or group of photos not included as part of the individual page layout. ADVANTAGES For checking colour before the final proof. Many photos can be proofed at once to save time and materials. DISADVANTAGES Images not seen in the layout. COMPOSITE INTEGRAL COLOUR PROOF High quality proofs (such as match print of chromalin) produced using 4 sheets (one for each colour) laminated together in register. ADVANTAGES Very accurate colour proof produced from the colour separation film used to make printing plates.

ADVANTAGES Realistic impression of the final print. Can be produced on actual print stock. DISADVANTAGES Costly as the plates have to be set up, particularly if another proof is required following changes. CONTRACT PROOF A colour proof used to form a contract between the printer and the client, final proof before going to press. ADVANTAGES Accurate representation of the final print job. DISADVANTAGES N/A

PRODUCTION PROCESSES There are seven basic printing methods that are used to produce most of the printed material you see around you in the world today.

DIGITAL

FLEXOGRAPHY

Uncoated (U) Coated (C) Euro-Coated (EC) Matte (M)

PASTELS A range of flat, solid, but very pale colours. These are different to tints as they print as a solid colour without visible dots. They are available in both coated and uncoated swatches. HEXACHROME A range of 6 colour process colours used for hexachrome printing. In addition to the CMYK process colours, the system adds green and orage process colours allowing it to reproduce 90% of the Pantone PMS colours. METALLICS A range of over 300 special colours that give a metallic effect including copper, silver and gold colours. Metallics are available in both varnished and unvarnished coated swatches.

INKS HEAT-SENSITIVE INKS These inks are supplied in a limited range of colours. Black is the preferred colour as it creates dramatic results. Heat sensitive inks are suspended in a semi-clear base and works best when screen printed. The reactive temperature can be varied according to climactic conditions. As with scented inks, the system is water based and is supplied for printing on paper based substrates. It can be used on plastics but a number of layers of varnished will need to be applied for it to key in. This is time consuming and not very cost-effective. Heat-sensitive ink also has a tendency to scuff if not properly sealed. PEARLESCENT AND IRIDESCENT INKS These inks can be printed on all substrates and create a different shade of metallic colour depending on how close the viewer is to the print. RUB-REMOVABLE INKS Normally used on scratch cards or other promotional items, rubremovable ink is latex based. It is supplied as a metallic, as it’s function it to obliterate what it overprints. The ink is quite fragile and difficult to work with, but it can be effective when printed in solid areas. It gives a rubberised feel and communicates that the area should be handled with care. SCENTED INKS Scented inks can be supplied in a wide selection of smells and can also be synthesised to use a specific fragrance. As scented inks are water based they can only be printed on unsealed paper (paper not plastics). On other surfaces water-based ink

Screen printing offers a lot of versatility for the designer. It gives scope to experiment with a lot of different inks and materials. Screen printing can be an automated process, or hand done. The screen is made of a piece of porous and finely woven fabric stretched over a rectangular frame. Areas of the screen are blocked off allowing a stencil of the image to be printed through. The screen is placed on top of the substrate to be printed, a squeegee or rubber blade is used to press the ink through the stencil and on to the substrate. The screen can be used many times.The screen printing process has an immediacy that other print processes don’t. ADVANTAGES High quality finish. Hand made feel. DISADVANTAGES A very time-consuming process. Low print runs can be expected when using this process as each screen is pulled by hand.

WEB-OFFSET

Web printing prints from a roll of paper rather than separate sheets. This allows for higher printing volume and speed with a lower production cost. Web can be used with litho but most commonly with relief printing methods such a rotogravure and flexography as the plates are more durable. Due to the scale and cost of this production method, it is not suitable for low volume printing. ADVANTAGES Very high print runs can be achieved using this process, for a relatively low cost. Typically used for newspaper printing. DISADVANTAGES Limited image reproduction quality. Very expensive if being used for small print runs.

PRINT FINISHING Finishing techniques are applied to a job after it has been printed. They create special effects which cannot be achieved with ink.

Trim lines are identified by crop marks, these marks are also used to help with registration of the printed page. Trimming is paid for in the printing of a design, so no extra charge is incurred. This is different to other finishing techniques, such as folding, which cost extra. DRILLING AND PUNCHING Designs that are ring or post bound require holes ranging between 1/8 inch and 1/4 inch. Commercial printers use a drill to make these holes according to size and placement specifications. Spiral and plastics comb binding require puching holes, a process that costs a bit more than drilling. PERFORATING Peforating involves punching a line of holes to make tearing easier. It can be done as part of the binding process to make signatures easier to fold before they are bound and trimmed. Peforation is used as a means to facilitate tear-offs on designs that require a response, such as business reply cards. SCORING To make folding more efficient a crease is applied using a metal rule or a wheel so that an embossed ridge is formed on the substrate. Heavy substrates that are to be folded should always be scored. Scoring is also important to avoid cracked ink on fold lines when using coated stocks with heavy ink coverage.

FOLDING METHODS Flexography (often abbreviated to flexo) is a form of printing process which utilises a flexible relief plate. It is essentially a modern version of letterpress which can be used for printing on almost any type of substrate, including plastic, metallic films, cellophane, and paper. It is widely used for printing on the non-porous substrates required for various types of food packaging (it is also well suited for printing large areas of solid colour). ADVANTAGES The relief printing plate is suitable for printing on non-porous surfaces, such as metal. It is used to print drink cans, plastic bags and much more. DISADVANTAGES Large print runs are required using this process.

OFFSET-LITHOGRAPHY

The circled ‘C’ refers to the stock the colour will be printed on. There are four options available in the colour matching system;

SOLID A range of solid metallic, pastel and process colours that can be used on different paper stocks and substrates. The flourescent opposite would be Pantone 806U, 806C or 806M depending on whether it is to print on uncoated, coated or matte stock.

SCREEN PRINTING

CUTTING AND TRIMMING As most commercial printing jobs use paper that is slightly larger than the finished design will be, there will need to be cutting and trimming to achieve the final desired format.

DISADVANTAGES The digital file need to be available, unlike other print methods which can be produced from a physical plate.

The Pantone Colour Matching System (PMS) has developed to include a wide range of different colours, including special solid, hexachrome, metallic and pastel colours.

DISADVANTAGES High start-up costs. Slightly pixelated lines and text. Very high print-runs are needed to make it profitable.

PRESS OR MACHINE PROOFS A proof produced using the actual plates, inks and paper.

SPECIAL PROCESS COLOURS

PANTONE PMS COLOURS

ADVANTAGES Long lasting printing plates. Good image reproduction. Low cost per unit if using very high print runs.

DISADVANTAGES Time consuming and labour intensive as an additive proof takes about 30 minutes to produce.

RESOURCE A useful resource for imposition plans can be found at www.re-nourish.com.

METALLICS Metallic inks are made with copper, zinc and aluminium pigments in order to produce copper, bronze, silver and gold colours which cannot be produced by standard process inks.

Rotogravure (Roto or Gravure for short) is a type of intaglio printing process; that is, it involves engraving the image onto an image carrier. In gravure printing, the image is engraved onto a cylinder because, like offset printing and flexography, it uses a rotary printing press. Once a staple of newspaper photo features, the rotogravure process is still used for commercial printing of magazines, postcards, and corrugated (cardboard) product packaging.

BLUELINE, DYLUX OR SALF PROOF A contact print produced from film. Shows imposition, photos and text as 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 approximate the finished job.

A printing process where an inked image from a printing plate is transfered or offset on to a rubber blanket roller, which is then pressed against the substrate. Litho uses a smooth printing plate and works on the basis that oil and water will repel each other. When the plate passes under the ink roller, non image areas that have a water film repel the oily inks that stick to the image area. Litho produces good photographic reproduction and fine linework on a veriety of stocks. The printing plates are easy to prepare and high speeds are available,. These reasons make it a cost effective way to print. Offset litho is available in sheet and roll fed form. Sheet fed is more appropriate for smaller print runs such as flyers, brochures and magazines while web printing is more appropriate for higher run jobs like newspapers, magazines and reports. ADVANTAGES Uses an engraved printing plate. Can print on a wide variety of substrates. One of the most cost-effective and commin methods in commercial print today. DISADVANTAGES Reasonably high start-up costs for low print-run jobs. The plates can wear out quickly compared to other print processes.

PAD PRINTING

Folding is used for almost all multi-page print jobs in some form or another. MOUNTAIN One of the two basic folds that are the basis of all the other folds. In a mountain fold, you fold the paper towards yourself. VALLEY The second of the two basic folds that are the basis of all the other folds. In a valley fold, you fold the paper away from yourself. GATEFOLD A gatefold has extra panels that fold in to the central spine of the publication with parallel folds so that they meet in the middle of the page. The extended pages are folded and cut shorter that the standard publication pages so they can nest correctly. THROW-OUTS/ THROW-UPS Throw-ups and throw-outs are sheets of paper folded into a publication. They allow for larger scale images than can be used in the original design size. TIP-IN A tip-in is a means to attach an insert into a book or magazine by gluing along the binding edge. CONCERTINA Each fold runs opposite to the previous one to obtain a pleated result. The outer panel needs to be bigger than the inner panels, this hides the rough folding edges of the final piece. BACK/FRONT FOLDER Wings either side of the central panel have a double parallel fold so that they can fold around and cover both sides of the central panel. DOUBLE GATEFOLD The double gatefold has three panels that fold in towards the centre of the publication.

Pad printing is a printing process that can transfer a 2-D image onto a 3-D object. This is accomplished using an indirect offset (gravure) printing process that involves an image being transferred from the cliché via a silicone pad onto a substrate. Pad printing is used for printing on otherwise impossible products in many industries including medical, automotive, promotional, apparel, and electronic objects, as well as appliances, sports equipment and toys. It can also be used to deposit functional materials such as conductive inks, adhesives, dyes and lubricants. Physical changes within the ink film both on the cliché and on the pad allow it to leave the etched image area in favor of adhering to the pad, and to subsequently release from the pad in favor of adhering to the substrate. The unique properties of the silicone pad enable it to pick the image up from a flat plane and transfer it to a variety of surfaces, such as flat, cylindrical, spherical, compound angles, textures, concave, or convex surfaces.

behind to cover the front with the first half size panel. HARMONICA SELF-COVER FOLDER An accordion fold where the first two panels form a cover that the other panels fold into. The first two panels need to be larger than the others to allow for creep. MOCK BOOK FOLD Essentially an accordion fold, where the penultimate two panels form a cover that the other panels then fold in to to create a book.

DISADVANTAGES Colour not as accurate as press proof as does not use actual printing inks.

ADVANTAGES The printing set-up is quicker as no plates are needed. Print-runs that require limited quantities are best suited to digital printing.

FLOURESCENTS These are special colours that have a particular vibrancy and cannot be produced using the standard 4-colour process inks.

ROTOGRAVURE

SOFT/SCREEN PROOF A proof used to check layout and colour information and to check the screen structures of a print.

49 STANDARD BUSINESS CARDS 85MM X 55MM Sheets can fit on a B2 press sheet.

The 4-colour printing process can produce a wide range of colours, however it is sometimes desirable to use a special process (spot) colour. The are specially made inks. A special colour is solid colour, rather than made a CMYK colour which is created by using a series of dots. As a result the colour is much more vibrant than CMYK mixed colours. Special colours are also used to produce metallic and flourescent colours. When using special colours an extra plate needs to be used in the production process. This means extra cost to a project. Such things must be taken into account when considering the use of special colours.

DISADVANTAGES High start-up costs.

Proofing is one of the most important aspects in the artwork stage of the printing process.

182 A10 37MM X 26MM Sheets can fit on a B2 press sheet.

100 A9 52MM X 37MM Sheets can fit on a B2 press sheet.

ADVANTAGES The ability to print on 3 dimensional substrates, golf balls, tv controls, keypads and more.

PROOFING METHODS

Digital printing refers to methods of printing from a digital based image directly to a variety of media. It usually refers to professional printing where small run jobs from desktop publishing and other digital sources are printed using large format and/or high volume laser or inkjet printers. Digital printing has a higher cost per page than more traditional offset printing methods but this price is usually offset by the cost saving in avoiding all the technical steps in between needed to make printing plates.

49 A8 74MM X 52MM Sheets can fit on a 3B2 press sheet.

CORRUGATED CARDBOARD Corrugated cardboard consists of flat outer sheets sandwiching a central core or filling of corrugated fluted paper (called a medium) that resists crushing under compression. When used in a box this gives cushioning to the boxes contents. The liner and medium are glued together along the outsides of the peaks and valleys of each flute, boxes are usually designed with the flutes running vertically for stacking strength.

The largest palette tends to be supplied to a thickness of 1mm. It is rare to find thicker felt in colours other than black. This is partly because you cannot dye the felt consistently. A more limited palette of colours, but one with a far more interesting texture is provided by ‘industrial’ felts. Usually supplied in off-white, grey and brown, this industrail felt is used to polish and finish jewellery and metalwork and can be found encasing the strikers of church bells. Industrial felt could be seen as having a texture and finish aligned to materials such as grey board and corrugated cardboard.

SOY-BASED INKS Inks derived from soy bean oil as opposed to petroleum.

16 A6 148MM X 105MM Sheets can fit on a B2 press sheet.

CORK Cork is the bark of the cork tree. Cork is extremely bouyant as more than 50% of the structure is air, yet it remains solid. This makes cork very compressible without breaking, making it flexible and resilient. As the surface is naturally uneven finish can be problematic,particularly when attempting to print fine text or complex logos. Cork can be die-cut and guillotines with relative ease.

FELT Felt is made from wool matted together into fabric by beating, rolling, suction and pressure. The most common wool used in felt manufacture is sheep wool. Some felts can be dyed in a veriety of colours. Felt is available direct from the manufacturer, brighter colours tend to be available at handicraft markets.

does not adhere to it and will scratch off. The scent has will usually lose potency over time.

DUELLING Z-FOLD Z-Fold wings fold in to the centre panel and meet in the middle. FRONT/BACK ACCORDION Three parallel folds, the two panel outer wings fold in to and out of the centre. The double panel centre serves as the cover. FRONT/BACK GATEFOLD The same as a normal gatefold, but with an extra panel inside the front or back. HALF COVER FROM BEHIND An accordion fold where the penultimate panels forms a back cover that the other panels fold in to to create a book. The other half size panel folds around the book from

TRIPLE PARALLEL Parallel folds that create a section that nests within the cover panels, with a front opening. This type of fold is commonly used with maps.

BINDING TECHNIQUES Binding is needed for multiple page documents. There is a wide variety of binding techiniques, ranging from simple to elaborate solutions. CAPACITY When a planning a publication, the capacity of a cover to contain its pages. The dimensions of the spine will vary depending upon the number of pages in the publication. BELLYBAND A plastic or paper substrate that wraps around the ‘belly’ of a publication. CASE The pages form signatures that are sewn using thread and then glued to linen tape for flexibility and strength. Case-bound books lie flat and are extremely durable. PAMPHLET stitch The cover and pages are sewn together with thread and then tied off. The knot and ends remain visible. This is a process done by hand and is typically used for publications with 36 pages or fewer. Pamphlets lie flat. PERFECT Loose pages are adhered with glue along their bound edge. The cover is then wrapped around and glued. Perfect bound books do not lie flat. PLASTIC COMB Probably the least aesthetically pleasing binding method of them all. The plastic comb looks cheap and the books do not lie flat. SADDLE STITCH The cover and pages are folded and stapled. As the entire book is folded in half there is a maximum thickness of roughly half an inch for effective saddle stitch binding. Saddle stitched books lie flat and are a low cost binding technique. SCREW AND POST Covers and pages are drilled and bound with a threaded post and screw. The cover then turns on itself to hide the fastening. Pages can added and subtracted. Books have to be hand assembled, screw and post bound books do not lie flat. SIDE STITCH Pages and covers are stapled through from front to back. As the binding runs on the edge of the book. This means that a lot of space is lost on the inner margins. Side stitched books do not lie flat. SPIRAL Hole are punched through the pages with a machine, and then a wire coil is spun up the spine of the book. Spiral bound books lie flat. STAB Stab is also referred to as Japanese binding. Sheets are sewn together so that the thread is visible on the spine and sides of the book. TAPE A cloth tape is treated with heatsenstive glue is wrapped around the assembled covers and pages. Heat is applied, causing the glue to adhere to the pages and cover. Tape bound books lie flat.

SPECIAL FINISHES Special finishes can range from diecuts to varnishes. DIE-CUT A process that uses a steel die to cut away a section of a page. Die-cuts have many uses and are mainly used for decorative purposes to enhance the visual performance of a design. They may also serve a physical function, such as making unusual shapes or creating apertures that allow users to see inside a publication. Die-cuts produce a range of effects from the striking to the subtle. DIE-STAMP The traditional way to emboss, using an engraving plate or die. The die is pressed into contact with the paper. Inks used in die-stamping have traditionally been oil based and slow drying. A die can be used without ink, this procedure is called blind embossing. Die stamping, like thermography offers an alternative to more conventional print processes, creating a tactile and luxurious finish.

LAMINATES Lamination provides the best protection of all methods. Lamination creates an exceptionally strong surface that repels moisture, this means the design can be washed wthout being damaged. The process involves applying a layer of polyester, polypropylene or nylon film to one or both sides of a printed sheet. Laminates are available in dull and glossy finishes. NYLON LAMINATES Nylon laminates are the most durable and expensive type of laminate available. Nylon laminates are recommended for lightweight substrates such as paperback covers and designs where metallic inks are involved. POLYESTER LAMINATES Polyester laminates have are hard surface and are reasonably priced makes polyester laminates appropriate for case-bound books and for designs where durability and longevity are important. POLYPROPYLENE LAMINATES Laminates made of this material are often used on dust jackets and packaging. They are more likely to be scratched and scuffed, polypropylene laminates are the least expensive. Polypropylene laminates can also be applied to lightweight substrates and surfaces printed with metallic inks with-out the risk of paper curling. RIGID BOX MAKING Among the most luxurious and desirable forms of packaging. The boxes are often handmade. Versions of this packaging can be made by machine but the choice of material and construction is more limited. A rigid box consitst of a hard base material, which is cut to shape, fixed together to form a box and covered in cloth, paper or vinyl. The box can be lined, usually using a coloured, uncoated paper. Larger boxes are more difficult to cover and therefore more expensive. It is very difficult to make a rigid box any shallower than 15 to 25mm, for these cases it is better to use a cardboard carton. THERMOFORMING A method used in processing plastic-based substrates. The material is heated to its thermoforming temperature and then immediatly shaped. Pressure is maintained on the material until it has cooled. The tooling used in this process is cheaper than that used in injection moulding. The tooling is is generally made from aluminium. As the process is generally used for industrial applications it tends to be ignored for more aesthetic reasons. Thermoforming is a very precise process, the material has to be consistent and the sheet must be heated evenly to the correct processing temperature. The initial costs of this process can make it prohibitive. The process does offer alternative possibilites to a project. THERMOGRAPHY Thermography or relief printing, is used to raise a design off the paper and adds another dimension to the design. A potential problem with thermographic printing is thermographic ink can melt if put through the same temperature twice (i.e laser printing, as could be used with a letterhead paper). VARNISHES AND COATINGS The three main types of varnishes and coatings that are used are; SPOT VARNISH A clear coating is applied on press or in line. Spot varnishes cost the same as applying an extra ink would cost. Spot varnishes come in glossy or dull finishes and can be lightly tinted with other inks. Spot gloss varnishes are usually used to enhance photographs and other types of image by giving them a high sheen and richness. Dull varnishes are often applied to areas of text on a glossy, coated paper to prevent glare. Spot varnishes offer little protection against scuffing. AQUEOUS COATING A gloss coating made from a mix of polymers and water that is often applied to magazine and brochure covers as a means of protection against scuffing, dirt and water. Aqueous coatings are applied as a flood varnish, meaning the entire page is covered. Aqueous coatings require a special coating unit and cost roughly twice as much as spot varnishes. UV COATING A UV light-cured process that involves a platic liquid, ultraviolet coating offers more protection and a higher degree of gloss that aqueous coating. Some printers apply UV coating in the press line but often it is supplied separate from the printing process.

COMMERCIAL COSTINGS Everything discussed in this book up to now costs a price. If you want to add finishes such as folding, binding or specials to a job it will increase the cost. If you want your design printed on A2, rather than A4 paper it will cost extra. This section of the book will discuss basic costing considerations when deciding the print and finishes your design requires.

PRICING A PRINT JOB The six key areas that will affect the overall cost of a printed job are; format, colours, quantity, material, printing method and finishes. FORMAT The final size of the printed document will affect the price of a print run. Most commercial printers print on B1 or B2 sheets or use a roll, such as web-offset, the larger the format of the final design the more press sheets will be needed to print the job, thus increasing costs. COLOURS In most commercial printing processes colours are added in separate layers. As this is the case the more colours used in a design will increase the number of plates that need preparing and inks being used. This will increase the cost. Where special (spot) colours are being used an extra plate is needed, this increases the cost even further. For this reason it is important that colour usage is managed closely. QUANTITY The quantity of a print-run, will affect the cost of a print run in a similar way the format will. The higher a print run, the more press sheets are needed, this increases the cost. MATERIAL The material a design is printed on will affect the cost. For example, it will cost more to print on gold than paper. The material used will affect the drying time of the ink, this again, will increase the cost of the print job. These are things that need to be considered before sending a job to print. PRINTING METHOD Choosing between offset-lithography, digital, roto and other printing methods can greatly affect the price of a print job. Some methods are best used for high print runs (roto) and other for small (digital). The printing method is one of the most important things to consider. FINISHES From binding, folding and specials when finishes are used the cost of a printing job will increase.

PRINT POSTER

TYPOGRAPHY

DIP MOULDING Dip moulding lends itself to low-volume production runs and the development of projects. It is versatile enough to cope with high volume production when needed. It has cheaper tooling costs for both prototypes and production tooling. The preferred material for tooling is aluminium, with more complex shapes being made with a wooden pattern then cast in aluminium. The dip-moulding process does not lend itself to forming text out of the tooling as it is difficult to strip the finished mould without damaging the finished product. The surface can be printed, with silk-screen offering the greatest flexibility. Pad printing can be employed for more complex, 3 dimensional surfaces. The process offers a very specific finish and feel. Given it’s synthetic and tactile nature.ing a tactile and luxurious finish.

EMBOSSING AND DEBOSSING Paper is pressed between two moulds called dies. The moulding of paper between the dies results in a raised impression. If an impression is moulded so that it is lower than the paper’s surface it is called a deboss. Embossing can be combined with a printed image or foil stamping to enhance the three-dimensional appearance of an image. An embossed impression made independend of a printed or foil-stamped image is called a blind emboss. Soft, uncoated papers generally take a better embossed impression than hard or smooth coated papers.

FOIL BLOCKING Foil blocking operates as an addition to other printing methods, allowing metallic finishes to be applied to a surface. There is a huge range of foils including metallic, colour and clear and some holographic or decorative foils. There are strict rules to follow for foil block, this should ne be ignored. You cannot foil on top of foil; if you apply foil on the reverse side, the foil on the front will be removed. Foil blocking can be used on stationary and letterheads. A potential is that the foil reheats and peels away from the paper depending on the printer used. If planning to use this method for such purposes, it is important to check compatability with all office printers on-site beforehand. Foiling can sometimes be considered an overdecorative process.

HF WELDING HF (or high-frequency) welding is also known as RF (radio-frequency) welding or dielectric sealing. The principle behind the process is the use of high-frequency radio energy to produce a molecular agitation in the materials being processed to the point that they melt and weld together, typically forming a bond as strong as the original material. This approach could be considered as a packaging alternative, although 3D constructions do tend to stretch the capabilities of this process.

INJECTION MOULDING Used to make items such as shampoo bottle tops and CD cases.This process is a great deal more expensive than processes like thermoforming. As a process it can be sourced and used internationally and nationally. The outcomes are well worth the extra expense associated with the process. KISS-CUT A method of die-cutting whereby the face material of a self-adhesive substrate is die cut but not all the way through to the backing sheet. This enables the face material to be easily removed from the backing sheet.

Print Poster

TREK

Produce an approriately designed document of things to know, consider or remember when producing successful design for print. The content includes the basics of colour, typography, file formats, print processes, finishing processes and paper formats. I designed a 100 cm x 150 cm poster. The reasoning behind the poster outcome is the wide range of available â&#x20AC;&#x2DC;guide to printâ&#x20AC;&#x2122; books available to buy.

Design a logo for a small independent theatre group. Due to a very restricted budget the logo needed to be applied to various materials at a low cost. I designed a type based logo, I ligatured the type to create a custom stencil type. This enabled the logo to be applied as a stencil, allowing one physical logo to be produced at a relatively low cost.

Northern Ireland Assistance Dogs

Three Minute Theatre

Design a logo for the Northern Ireland Assistance Dogs charity. The logo design needed to work as a single colour. It also needed to be recognisable with or without type and look good in every size, from postage stamp to van livery. The one element I wanted to show in the logo design was the importance of the dogs. To do this I referenced postage stamps, linking the dogs with royalty. The glasses show the dogs intelligence.

Design a logo for an independent theatre in Manchester. The logo needed to be adaptable across a range of materials and work in a single colour to save on print costs. I designed a logo that sits within a 3 dimensional space. The logo will be printed as a sticker to allow for low application across a range of materials.

Blockface A self-initiated typeface design. I wanted to design a monospaced display typeface that was bold and blocky. A monospaced typeface which has equal vertical and horizontal dimensions.

Secret 7 Design record sleeve artwork for Laura Marlingâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;The Beastâ&#x20AC;&#x2122;. The artwork could not include the name of the artist or title of the track. Having read the song lyrics, I found the song is about sleeping with something that is bad for you. For this reason I used a bed bug. I made the image using condoms to illustrate the importance of staying safe in the bedroom.

Culture Clash An open brief set by Adidas to show what happens when styles/ trends/cultures clash and collide. The format used was open. The only requirement was the logo to be in the design. I avoided a clash of fashion styles or trends and instead depicted the biggest culture clash of the 20th century with an ink and brush illustration. The design works as both a poster and a patch to be stitched on to clothing.

UGG window display A work-in-progress brief. I am designing a range of window displays for UGG stores. The window displays will all feature a single large scale cardboard model from the range of shoes and boots UGG offers their customers. Each shoe will be between 10 and 12 feet high when complete. The images seen on this spread are the results of the first shoe I constructed in order to measure each section of the shoe.

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Crooked Tongues In-progress album design for local band Crooked Tongues, the album is called HeadRush. I made some hand lettering for the album cover, based on a tongue wrapping itself around letterforms. The poster for promoting the bands gigs will be a sheet of stickers that can be removed, this will enable fans to promote the gig and band and get the word out at a low cost.

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Big Burger An installation information graphic proposal. The burger will be 9 feet tall and be made from foam rubber, giving a tactile feel. The burger has a 23.1% bite taken out of it, this represents the obesity levels of the UK in 2012. The proposal model is made out of plasticine. I am currently in the process of sourcing the materials in order to build a full scale model of the obesity burger.

Bacardi: Free Refills The brief was to produce an in-bar solution that will atttract more 18-24 year old males to drink Bacardi. The concept is centred around the customer receiving a free refill on their drink. The way the glass is designed instructs the user to scan the QR Code through their smart phone. This will activate the augmented reality refill. Creating a talking point and conversation starter between strangers in the bar. This integrates Bacardi in a persons bar experience, and is more effective, at a lower cost than a traditional advertising campaign.

Leeds Brewey/Creative Networks Hellfire Design a Creative Network beer label to appear on the beer supplied by Leeds Brewery for upcoming 2013 events. The design needed to be innovative, memorable and stand out against competitors beer labels. I started the brief by designing a typographic mark. Combining the ‘H’ and ‘F’ to create the main core of the label design. I used a cleaned up blackletter style lettering for the mark as I felt this reflected the name of the beer well.

Stay Safe Design a t shirt for a fruit and vegetable seller to be used as a promotional hand out at a swimming safety event in Manchester. The event is for 14 - 18 year olds. The t shirt design needed to show how a balanced diet can improve health. I wanted the t shirt design to have a second meaning. The banana, when combined with the copy does this. The design has links two of the biggest social issues facing young people today, obesity and sexual health.

WORKS IN 70 COUNTRIES. WORKS IN 30 LANGUAGES.

READS 3,500 UNSOLICITED SCRIPTS A YEAR.

THE ROYAL COURT THEATRE

THE ROYAL COURT THEATRE.

WAS FOUNDED IN 1956.

YEARLY, MORE THAN 120,000 VISITORS EXPERIENCE.

THE ROYAL COURT THEATRE

The Royal Court Theatre Bring to life the story of The Royal Court Theatre’s relationship with playwrights and theatre practitioners. The content was to be communicated to the existing theatre going audience and be executed to a low budget. I designed five double-sided drink coasters to be placed in the theatre’s bar, showing the main developmental work the theatre undertakes. The coaster designs all used custom type design.

Our Deity Bread An in-progress brief I am currently working on. Based on pareidolia and people seeing godâ&#x20AC;&#x2122;s and other idols engrained in pieces of bread, cheese and tomatoes. I am in the process of designing a range of products, from the bread, to posters and t-shirts based around deityâ&#x20AC;&#x2122;s in popular religions. The culmination of the project will be an online store which is currently in the process of being designed.