a pocket reference for the discerning student
pocket print
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1 2 3
design
format layout colour artwork
production
glossary
printing stock finishing costing
05 08 16 24
32 37 41 46
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1
design format
1000 x 1414
B1
707 x 1000
A2
420 x 594
B2
500 x 707
A3
297 x 420
B3
353 x 500
A4
210 x 297
B4
250 x 353
A5
148 x 210
B5
176 x 250
A6
105 x 148
B6
125 x 176
A7
74 x 105
B7
88 x 125
A8
52 x 74
B8
62 x 88
A9
37 x 52
B9
44 x 62
A10
26 x 37
B10
31 x 44
mm
mm
B0
594 x 841
format
format
841 x 1189
A1
C series, used for envelopes, folders & postcards
mm
A0
B series, used for books & publications
format
A series, used for everything, mainly documents & artwork
standard sizing
C0
917 x 1297
C1
648 x 917
C2
458 x 648
C3
324 x 458
C4
229 x 324
C5
162 x 229
C6
114 x 162
C7
81 x 114
C8
57 x 81
C9
40 x 57
C10
28 x 40
ISO International Organization for Standardization The ISO system is the standard for the majority of the World today, exceptions being the US and Canada. ISO 216 represents the A and B series, ISO 217 represents the RA and SRA series and ISO 269 represents the C series.
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design format
common book sizing
other relevant sizing
mm
mm
bound book sizes
4to pronounced quar-to
mm
8vo pronounced eight-vo bound book sizes
Raw format A & Supplementary Raw format A format
quarto
mm
octavo
format
RA & SRA series
foolscap 8vo
108 x 171
foolscap 4to
171 x 216
640 x 900
crown 8vo
127 x 191
crown 4to
191 x 254
450 x 640
demy 8vo
143 x 213
demy 4to
222 x 286
SRA3
320 x 450
royal 8vo
159 x 254
royal 4to
254 x 318
SRA4
225 x 320
RA0
860 x 1220
SRA0
900 x 1280
RA1
610 x 860
SRA1
RA2
430 x 610
SRA2
RA3
305 x 430
RA4
215 x 305
folio
Books vary in size with substanitally tall books in Imperial folio, usually used for tables or bottom shelves due to the size versus smaller books like the foolscap octavo.
Dimensions Lengthwise Dimensions lengthwise, known commonly as DL, is the most common sized envelope. Used for brochures and flyers alongside important documents. DL is exactly a third of A4 measuring 100mm x 210 mm. DL is also used for common products like compliments slips, door hangers, greetings cards and invitations to name a few.
mm
DL
bound book sizes
fo, abbreviation of folio
crown fo
254 x 381
demy fo
286 x 445
royal fo
318 x 508
imperial fo
394 x 559
The most common sizing for books is ‘crown octavo’, or ‘cr 8vo’. Roughly 200mm tall, crown octavo is widely used for fiction, fact, poetry and biographies.
eye & page relationship
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design layout
This spread is set out to recreate ‘hot’ areas of the page that are scanned by the eye.
The densest area of pattern indicates the ‘hottest’ area of the page, leaving the areas with more negative space the areas read last by the eye. Design can be used in ways to exploit this, or potentially, even exaggerate it.
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design layout
document set up
grids are good
Creating a grid before placing your content into your document can help stick to guide lines, offering structure to your document and consistency to a publication.
Grids aren’t a must have for every document you set up although they are used by a lot of professionals.
pioneers of the grid
Jan Tschichold
Josef MĂźller-Brockmann
1902 - 1974
1914 - 1996
Max Bill
Emil Ruder
1908 - 1994
1914 - 1970
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1
design layout
printers marks
tint bar
colour bar
pocketprint.indd
registration marks
Most of these printer marks are essential and can be viewed in context on the opposing page.
pocket print.indd
06/11/2012 16:20
06/11/2012 16:20
page information
crop marks
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1
design colour
main colour modes
RGB
CMYK
Red Green Blue
Cyan Magenta Yellow Key
cyan
green
blue
blue
magenta
key yellow
red
cyan white
magenta
The above diagram represents the subtractive colour mode. Showing the main colours involved within cmyk, 3 primary colours used together to reproduce other colours, including the primary colours in the additive process. Where all the colours overlap in the center is where black is formed, the key in cmyk.
red
yellow
green
The above diagram represents the additive colour mode. Showing the primary colours of rgb, and the colours produced when these primaries are mixed. Due to the additive process, the more colour is overlapped the lighter it becomes until white is achieved.
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design colour
visible colour space
aspects of colour hue hue is the technical term for colour
human colour spectrum CIE 1931 chromaticity diagram
brightness brightness refers to the intensity of the colour
saturation saturation refers to the amount of colour
Hue, brightness and saturation all help to clarify communication within print. Accurate colour specifications enable the designer and printer’s task at hand to run easier whilst providing a clear and concise portrayal of colour to the client.
This diagram is the CIE 1931 chromaticity diagram which, although slightly outdated, represents the range of spectral colours visible to the human eye. This colour space is also known as a ‘gamut’. Colour gamuts help the designer realise the limitations with colour within web and print. RGB can produce around 70% of the visible spectrum whilst CMYK can reproduce a lot less. Quite a vast number of colours cannot used for printing with CMYK, spot colours are a costly way to solve this problem. RGB can be translated into CMYK, usually dulling the image and providing noticeable change, although, some colours translate well. The image of the diagram was originally in RGB and once translated to CMYK, it lost a lot of brightness and a large amount of colour.
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1 colour space
design colour
spot colour
RGB
PMS
Red Green Blue
Pantone Matching System
The RGB colour space is the standard for screen based media, reproducing around 70% of the spectral gamut perceived by the human eye.
Spot colours are used when a precise colour needs to be used. This could include a logo colour specific to a brand which would have a specific pantone or PMS code. Spot colours are also widely used when a colour that sits outside of the gamut range of possible colours requires printing. Spot colours boast a greater intensity and vibrancy due to the fact a spot colour is a flat colour as opposed to a half tone build up of different layers of inks.
sRGB standard Red Green Blue
ColourMatch RGB
Range of solid metallic, pastel and process colours which can be printed on various stocks and substrates.
ColourMatch RGB has a wider colour space than sRGB meaning the colour range can simulate CMYK enabling digital work for press.
Pantone pastels Range of flat and solid pale colours, different to tints due to the solid colour block as opposed to the dot build-up of CMYK.
EC - euro coated C - coated
Pantone solid
U - uncoated M - matte
Pantone has a specific coding system that helps printers understand the exact colour the designer’s requesting.
sRGB is a standard colour space devised by HP and Microsoft. Being deviceindependent, these boundaries provide a consistanct colour match across different devices.
Pantone hexachrome A six colour process adding orange and green to CMYK to create CMYKOG. These additions help recreate 90% of the Pantone PMS colours.
Pantone metallics Range of metallics colours giving a metallic effect. Popular colours such as gold, silver and bronze can be produced.
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design colour
Multi-tone images begin as a monotone and can have colour introduced to them via the duotone options.
PMS 284 C PMS 237 C
PMS 284 C
duotone
Half-tones are made up from a series of dots which are manipulated in size and angle to reproduce the image.
monotone
multi-tones
larger pixels
half-tones
standard half-tone
tritone PMS 284 C PMS 237 C PMS 107 C PMS black 6 C
tritone
further increased pixel sizing
PMS 284 C PMS 237 C PMS 107 C
original image
colour within imagery
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overprinting
types of black
There are different types of black to work with, notably registration and black from CMYK, although other types of black can be produced.
The left image is in greyscale, printing with only black. In comparison, the image on the right is that of CMYK which forms a richer black than the greyscale due to the four colour process overlaying more ink.
Overprinting is where inks are printed over each other resulting in two colours being mixed to create a new colour.
yellow overprinting cyan produces green
yellow overprinting magenta produces red
magenta
cyan
design artwork
Black can be altered by adding just one other process colour to create different feelings to the colour. Adding underlayers of cyan or magenta, ‘cool’ and ‘warm’ blacks can be achieved.
magenta overprinting cyan produces blue
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design artwork
channels
magenta layer
black (key) layer
Black finally completes the coloured image.
yellow layer
Cyan and magenta with yellow added nearly completes the image.
cyan layer
Cyan and magenta form the base of the image.
Channels can be split in Photoshop or InDesign to show individual colour layers of an image. Splitting an image into separate negatives for CMYK would enable photo reproduction via screen printing for example.
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proofing
resolution
Resolution for images should be set at 300 ppi for print and 72 ppi for screen based working. Although 72 pixels per inch is now not the standard for monitors, it remains the web standard.
Proofing is an essential part of the print production process. Different methods of proofing the said document can be performed at different stages throughout the process.
types of proofing
300 ppi would relate to 300 dpi in print, ‘d’ replacing pixels for dots, which this image represents in both senses. Set up as 300 ppi in Photoshop which printed in 300 dpi.
This image is 72 ppi which is used for screen based images. Setting the resolution so low has negative effects on the image as shown here.
design artwork
laser proof
A digital laser print of the document, to check screen structure, image and text positioning. Cheap way to mock up/proof but it’s usually only black & white.
pre-press proof
Another style of digital print, incorporating colour. Inexpensive and good approximation of what the final product is to look like, although, the colours may differ to the final colouring.
scatter proof
Proof of either individual or groups of photos enabling a check of the images prior to final proof or print. But the images aren’t shown in context and in the layout, which can be a downside.
contract proof
A colour final proof used to form a contract between the client and the printer. This is the final proofing stage prior to print, forming an accurate representation of the final product.
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2 pre-press proofs
print order
12:35 PM
page 17
12:36 PM
1
production printing
page 28
The order the inks are printed can heavily affect the outcome of a print. This is known as print order. Print order can be manipulated to achieve different outcomes.
design colour
resolution Resolution for images should be set at 300 ppi for print and 72 ppi for screen based working. Although 72 pixels per inch is now not the standard for monitors, it remains the web standard.
RGB red, green, blue
blue
magenta
cyan
300 ppi would relate to 300 dpi in print, 驶d始 replacing pixels for dots, which this image represents in both senses. Set up as 300 ppi in Photoshop which printed in 300 dpi.
white red
yellow
green This image is 72 ppi which is used for screen based images. Setting the resolution so low has negative effects on the image as shown here.
The above diagram represents the additive colour mode. Showing the primary colours of rgb, and the colours produced when these primaries are mixed. Due to the additive process, the more colour is overlapped the lighter it becomes until white is achieved.
The above image shows pre-press proofing of a single page in CMYK.
The above image shows pre-press proofing of a single page in black and white.
The page would be printed on the stock that would be used in the final publication. This would enable the client and printer to understand the look and feel of the finished product, including colour, body copy and imagery. Enabling any further amendments to be made.
Again printed on the stock that would be used in the final publication. Although this page is solely black, indicated by the colour swatch at the bottom of the page.
CMYK is an acronym for the four colour process. It is the standard print order, when overlaid in the order that the acronym is spelt, reproduction of photographs and the range of colours in the CMYK colour space can be achieved.
There are other print processes or extensions to the standard such as CMYKOG, which adds orange and green to the process. Similarly, spot colours can be added to the process and used instead of CMYK or to aid CMYK.
The printer will have input as to which order colours are printed, if there are better ways to have the ink printed the printer will usually notify the client or at least advise them. Overprints require a different order of the process, dependent on the colours involved. Sealing an image can be achieved by the printer who will print the yellow after the black.
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production printing
printing methods
printing processes
lithography
There are a number of different processes to consider when it comes to printing. Printing processes have stayed the same for large amounts of the print era until digital printing enabled practically unlimited print techniques.
Lithography was first introduced in 1796 when limestone and wax was used to create printing blocks. The modern way has just advanced the technology within the process and now use laser etching on metal plates to acquire the negatives needed for the process.
inking rollers
lithography
flexography
digital printing
letterpress
screen-printing
gravure
There are many different substrates that can be thought about when printing although we’ll be focusing solely on paper based print.
dampening rollers
plate cylinder
offset cylinder
stock
impression cylinder
Offset lithography is used for a an extensive range of printed products, mainly focusing on paper based. Posters, books, maps, newspapers and packaging are the main products using the process. The process if best for mass produced items which results in lower overall costs of production due to the plates and initial set up being the most costly part of the process.
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production printing
flexography
gravure
Flexography, or flexo for short, is the modern alternative to letterpress. It features a flexible printing plate which is good for printing on a varying range of substrates including metals, plastics and cellophane.
Gravure is an intaglio style of printing, built upon two different processes. Photogravure uses a copper plate, coated with a light sensitive material and then etched, which creates a high quality plate suitable for photo reproduction and good tonal properties.
The process boasts advantages over other processes due to a larger range of inks being available due to the water base of the inks. The inks also generally have a low viscosity which enables faster drying resulting in a faster process, ultimately reducing production costs. flexible plate
doctor blade
plate cylinder
The process today is typically used by photographers as opposed to commercial printing, due to the high costs and labour intensive process. Commercial printers do still however usually offer the service when high quality reproductions are required by a client.
stock/ substrate
impression cylinder impression cylinder stock/ substrate
anilox cylinder fountain cylinder
doctor blade printing cylinder
ink tray
ink tray
Photogravure is the predecessor of rotogravure which is a speedier and more cost effective version, although only worthwhile if the quantity required is sufficient. The rotogravure process, pictured to the left, is used commonly today for commercial magazines, postcards and packaging. Although was once the main printing process for newspaper photo features.
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production stock
paper stock
digital printing
paper quality
Digital printing, referring to laser and inkjet printers, is the process that anybody can afford to undertake. This is due to them being widely available to anyone in the world. This process is used for short runs and proofing to some extent.
Paper is available in all different sizes, colours, textures and a variety of other factors, such as printability, which aid the designer to choose the ideal stock for the job at hand.
The below image features an inkjet printer, the more common of the two for household use. The ink is replaceable and can be swapped for different kinds of inks achieving different outcomes.
The main aspects that determine the paper quality are GSM, paper grain and fibre direction.
GSM grams per square metre
GSM is a measurement system for the weight of stock with laser paper at around 120 GSM and business cards at around 400 GSM. A0 is equal to one metre square, so the weight of the stock in A0 gives the GSM rating.
stock
stock
ink
paper grain
Paper has a direction which the grains within run. Paper grain is useful with enabling easier bending, folding and tearing of the stock.
fibre direction
Fibre direction in paper is taken into consideration for commercial, household and office printers alike. The direction has different outcomes and can aid easier and faster printing if the grain runs along the long edge of the paper.
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production stock
paper types
Cost can be a big factor when it comes to selecting what stock to use within a project so can the different characteristics each stock possesses, such as texture, absorbency and opacity.
texture
antique
Clay coated on both sides, making detailed prints better defined. A textured stock with a rough or matt surface.
Paper surface obviously affects the print outcome. Stocks can be smoothed off and polished with calendering rollers.
artboard
An uncoated board, used primarily for flyers and packaging.
absorbency
cartridge
A thick stock, good for all kinds of drawing dependent upon paper colour. Used for mail shots and sketchbooks.
Levels of absorbency differ between stocks, measured by how penetrated the stock is by ink. Inks can dry quicker on more absorbent stocks but can also cause quality issues due to dot gain.
newsprint
The cheapest paper available that will stand up to print processes but it struggles when reproducing colour.
uncoated
Paper used most commonly in offices and photocopiers. Uncoated has a non-glossy slightly rough surface, good for general use.
opacity
The opacity of paper is when printed material can be seen through the reverse of the page. High opacity papers will not show ink through the reverse.
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production finishing
sustainability
finishing
printing and the environment
finishing processes
Sustainability is in relation to the environment and how to reduce the impact companies have on the Earth. Consumers are pushing for sustainability with free-range this and that, reusing plastic bags, recycling and growing their own vegetables to name a few.
There is a wide range of processes available to complete the print process once the final design has been printed onto it’s chosen substrate.
Companies feel the need to satisfy the consumer and in response to the world becoming ‘eco-friendly’ look to the likes of graphic designers and printers to ensure they can be as sustainable as possible, whilst sticking to budget.
die stamping/cutting
foil-blocking
binding
folding
Accuracy and research into exactly what’s required by the client themselves gives them a better understanding of what they want. As opposed to just expecting everything they want is possible and in their price range as well as ensuring the amount of wasted printed material is substantially reduced.
laminates
varnishes
Sustainability to some people and businesses screams low quality, although ways of recycling have drastically changed with a heavy focus on good quality ‘eco-friendly’ produce.
Finishing processes can be used for many reasons. They can add decoration and textures, help the functionality of the product, enhance aspects of the design and even protect the product or just improve it’s lifespan.
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production finishing
binding
Binding is the process where all the pages involved within the publication are securely held together so that they perform as desired.
open bind
saddle stitch
belly band
singer stitch
bolt/screw bind
perfect bind
A bound book which has it’s binding exposed due to the fact it has no cover.
Commonly stapled, although can be stitched dependent upon run and desired effect.
A band which incorporates further information or design to accompany or hold together a document, maybe even used within packaging.
A single stitch holds the document together with just a single thread. Works well when used in the right projects.
A simple way to bind a book and still keep the content interchangeable, removable and/or replaceable.
Commonly used with a lot of books. Perfect bind uses a flexible adhesive to attach content to the cover and hold it all together.
foil
perforation
duplex
laser cutting
deboss
emboss
laminate
spot varnish
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special finishes production finishing
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production costing
£925.00
Digital print process 12 page tabloid newspaper 52 GSM newsprint
300 copies
£444.00
1 copy
£14.00
Web offset process 64 page tabloid newspaper 52 GSM newsprint
300 copies
£1567.00
5000 copies
£2615.00
Digital print process 64 page tabloid newspaper 52 GSM newsprint
300 copies
£1680.00
1 copy
£25.00
average cost
5000 copies
quantities
£484.00
examples
average cost
300 copies
business cards
quantities
Web offset process 12 page tabloid newspaper 52 GSM newsprint
web offset
examples
costing
Spot varnish Laminated Duplex 400 GSM silk
250
£160.00
5000
£390.00
Spot varnish Laminated 400 GSM silk
250
£130.00
5000
£300.00
Embossed Uncoated 300 GSM wove
250
£130.00
5000
£270.00
Foiled Uncoated 300 GSM wove
250
£130.00
5000
£270.00
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glossary
glossary binding
brightness
channels
foil
Process applying coloured foil/s to a substrate. Applied with a heated die.
overprint
Also known as ‘value’, representing how light or dark a colour is.
four colour black
Darkest black producible through CMYK, which is all four process inks overlaid.
paper grain
Information stored for an image, consisting of channels to correspond to colour.
gamut
Every possible colour that can be accessed either by the human eye or print and web.
Various pages of printed work gathered together and securely held to form a publication.
CMYK
Main process colours in print also known as the primary subtractive colours.
colour space
Colours that can be reproduced via that colour model.
doctor blade
Used within processes to remove excess ink off the rollers.
dot gain
dpi
duplexing
deboss/ emboss
gradient
greyscale
hue
Gradual increased weight of colour.
Convert colour photographs into approximate levels of grey.
The actual colour of a colour. Main characteristic of a colour formed by wavelengths.
perforation
ppi
printing
registration black
Ink overlays another causing them to mix and thus create a new colour. Alignment of the fibre in the paper during manufacture.
Cuts in the substrate to enable interactive or decorative design.
Pixels per inch, a measurement for screen resolution.
stock
text block
tint
Processes in which ink is applied to a substrate via plates and applying adequate pressure.
varnish
Black made from CMYK but not used for anything other than registration/printers marks.
vector
laminate
Layer of plastic coating, smooth and providing an extended lifespan.
resolution
Dots per inch, a measurement for print resolution.
laser cutting
Use of a laser to cut, engrave and score designs onto all kinds of substrates.
RGB
Created by bonding two stocks to form a single stock with different characteristics.
layers
Levels within a digital image or file, enabling easier editing and coordination of your work.
rich black
Black that users a shiner to affect the way the black is perceived.
A steel die stamps a design to either raise or indent a design or type onto the substrate.
layout
Management of form and space within the design.
saturation
Also known as ‘chroma’, referring to the amount of grey in the colour.
Spreading and bleeding of ink dots on the page during print.
shiner
Pixels contained in an image.
Main online colour mode, also the additive primary colours.
The underprinting of a colour to strengthen the black.
Chosen substrate for the print.
Sections of publication.
Ten percent increments of a colour, built from half-tone dots.
Colourless coating, to protect and/or enhance the print.
Artwork defined by maths as opposed to pixels. Scalable and always high quality.
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ougd504
print&web