The
Paper
IntroThis newspaper will provide you with all the information you need to know about designing for print and its production. Focussing on the digital side of print, the paper will cover the fundamentals of preperation, process, on-press requirements and finising. The paper does include some information on the traditional processes and there is a brief history of the subject as well.
print /prÉŞnt/ Verb
Verb: print; 3rd person present: prints; past tense: printed; past participle: printed; gerund or present participle: printing. 1. - - - - - -
Produce (books, newspapers, etc.), especially in large quantities, by a mechanical process involving the transfer of text or designs to paper. Produce (text or a picture) by a printing process. (Of a newspaper or magazine) publish (a piece of writing) within its pages. (Of a publisher or printer) arrange for (a book, manuscript, etc.) to be reproduced in large quantities. Produce a paper copy of (information stored on a computer). Produce (a photographic print) from a negative.
2. - - - - - -
Write (text) clearly without joining the letters together. Mark (a surface, typically a fabric or garment) with a coloured design or pattern. Transfer (a design or pattern) to a surface. Make (a mark or indentation) by pressing something on a surface or in a soft substance. Mark (the surface of a soft substance). Fix (something) firmly or indelibly in someone's mind.
Noun Noun: print; plural noun: prints. 1. - - -
The text appearing in a book, newspaper, or other printed publication, especially with reference to its size, form, or style. The state of being available in published form. Relating to the printing industry or the printed media.
2. - An indentation or mark made on a surface or soft substance. - Fingerprints.
3. - - -
A picture or design printed from a block or plate or copied from a painting by photography. A photograph printed on paper from a negative or transparency. A copy of a motion picture on film, especially a particular version of it.
4. - -
A piece of fabric or clothing with a coloured pattern or design printed on it. A pattern or design printed on a garment or fabric.
Contents. What is print?
01/02
Colour.
03/04
Format & layout.
05/06
Image & file types.
07
The press.
08/11
Quote.
09/10
Bleed, registration & trim.
12
Print production.
13/14
Web & Litho printing.
15/16
Digital & traditional.
17/18
Stock.
19/20
Finishing.
21/22
Speciality printing.
23/24
Folding & Trimming.
25
?
What is
We have come to believe that what is printed is the truth. It used to be that we believed everything that was printed to be true and correct, however, we are much more media aware now.
Between the 15th to the 18th centuries, the production of printed books boomed. The boom was fueled by countries with formulated religions as well as those with strong scientific revolutions.
Print was and still is a way to standardize information on a large scale that is accessible to anyone who can read.
Everything now became visual and print and communication were at the forefront of everything.
In 750 AD woodblock print emerges in East Asia. This is thought to be the first records of printed matter. The print was on very bulky substantial stock, which was expensive at the time.
Print and communication brought individualism, capitalism, nationalism and democracy to a new level.
Book-esque printed media began to be developed in 1000 AD after woodcut, where the content was religious, based around Buddhism. Printing was restricted to religion and the wealthy as it was a very expensive process. Moveable type had already been used in Asia almost 400 years before it was used in Europe and it wasn’t until 1400 AD when print and moveable type really took hold in Europe. Up until this point, print had mainly been used as documentation rather than reproduced as a form of communication. The development of the Guttenberg Press in 1436 changed what print was forever. No longer was it just a form of documentation, it was foremost a way of mass communication. Literacy began to boom and knowledge became power. This was the beginning of the class divide and the trickle down theory.
In 1884 the development of linotype revolutionized the printing press. It made it much quicker and easier to set up work for print. This also brought with it the development of the keyboard and associated technology. Following this was the development of lithography and advertising. In 1917 colour became popular in print. The War changed print forever. Print was still foremost communication but it was not the communication that it previously was. The series of wars form the Spanish Civil War trough to World War II turned print into propaganda and it started to have negative connotations. Now print is everywhere, like design it is inescapable. Although the development and popularity of the screen has lead to a reduction in some forms of print much of it still continues. Many traditional processes are no longer as popular and are only practiced by print enthusiasts and designers, however, they are not completely eradicated at all.
Spot.
CMYK stands for cyan, magenta, yellow and key and is the colour mode used when creating work for press and digital printing. Only colours that can be made from the four inks can be printed. If the colour settings are not set to this colour mode when designing the print may look a completely different colour to the design visible on screen. Colour is one of the fundamental differences between designing for print and designing for screen, so it is important that the colour mode is correct and considered.
Hexachrome.
Spot colours are a solid colour that is created without using dots. They are specific colours and also refer to any non-CMYK ink, whether that is a hand mixed colour, a UV ink or a metallic ink.
Hexachrome printing is a 6 plate printing process. Designed by Pantone it has the standard 4 plates – CMYK – but it adds two new plates, green and orange.
Spot colours can not be made using CMYK inks and therefore require another plate, printing method or specialized ink to be applied.
This allows a greater number of colours to be reproduced for print as the colour gamut is expanded.
A spot does not always have to be a colour. It can also be a varnish that is being applied to the work to add a different dimension. Again, this requires and extra plate or process.
This process is more expensive as it requires 6 plates rather than 4 and therefore will also use more ink.
Colour. The Pantone Matching System (PMS) is a standardized colour matching system in Europe and America. It is not the only colour matching system but it is the most popular and the most common. This system means that clients, designers and printers can be in completely different locations with completely different software/hard copies and be referring to the same colour exactly. Pantone have a vast number of colours, from those composed of CMYK to specific spot colours, all of which have swatches. They also have swatches on different stock - uncoated and coated so that you can get a consistent colour regardless of what stock you are using.
Pantone
ÂŽ
Printed pages.
Pre-print.
The printed pages are the number of pages being printed and not how many sheets are going to be used to print them.
This is a procedure, regarding colour that should be followed with any work prior to sending to print.
These two must not be confused as this could end with a very expensive and unneeded print job or a finished publication that is missing pages.
-
Delete all unused colours.
-
Ensure anything in black is black and not registration, as registration will print on all plates.
-
Ensure all registration marks are in registration rather than black, as otherwise they will only print on the black plate.
-
Spot Colour: If it is being printed in a special colour leave it, if it is to be printed CMYK all spot colours must be converted to this colour mode.
-
The actual number of pages printed.
-
Not the number of spreads.
- Not the number of pieces of paper used. -
One sheet printed double-sided is two printed pages.
- All images must be in CMYK and not RGB.
Prep-
Tints. Tints are the percentages of any chosen colour. They allow you to reduce the print costs of a job as tints of a colour all print on one plate. Tints can also reduce the intensity of a colour, which gives it a different aesthetic. -
Tints below 10% and above 90% may not print due to the effect of dot gain.
-
A tint bar can be printed on the trim edge of the wet proof.
-
Adjustments can then be made prior to final printing.
-
Wet proofs use the actual press, pressure, ink, stock and printing conditions of the final job.
Overprint.
Overprinting is the process of layering different inks over each other to produce different colours. -
Increases the number of colours you can print.
-
The order in which the process colours are printed must be considered otherwise it will not work.
- Graphics and images can be overprinted. -
Layering bold, different coloured, semi- translucent ink over photographs or body copy have become very popular.
- Overprinting is used as a design element too rather than just to increase the possible number of colours.
- Colour-fall should match the printer’s expectations. - All imported swatches are the right value.
Types of black.
Four-colour Black. A four-colour black is the darkest black that can be printed commonly. This black is created by overprinting all the colours – cyan, magenta, yellow and black – on top of each other. This type of black is used for registration and printers marks as it has to be printed using every plate. If four-colour black was used for every bit of black on the design it would increase the print cost, especially if it was just a black and stock or black and colour design as it would use a lot more ink and possibly more plates than required.
Warm & Cool Blacks. Blacks can have different qualities and aesthetic feels. This is done by printing a shiner of another colour underneath the black. For a warmer black a magenta shiner is used. For a colder black a cyan shiner is used.
Rich Black. Rich black is the practical solution to ‘bounce’. ‘Bounce is a registration error that can occur when an area of heavy coverage is directly next to an area of no colour. Printing the black with 50% cyan, magenta and yellow avoids this error by producing greys. This now means that the areas have shared colours so the ‘bounce’ is no longer visible.
Format & Layout. Imperial // Metric.
Both are measuring systems. The imperial system is used in Britain to measure weight and distance. The common measurements of the imperial system are inches, feet, yards and miles. This system is becoming outdated and replaced by the metric system. The metric system, or its modern counterpart, the International System of Units, is the most widely used system of measurement. This systems common measurements are millimetres, centimetres, metres and kilometres.
Broadsheet. 750 x 600 mm (29.5” x 23.5”) The term ‘Broadsheet’ derives from single sheets of political satire and ballads sold on the street.
The ‘Broadsheet’ became popular after Britain placed a tax on newspapers by the number of pages.
It is now becoming increasingly less popular.
Berliner. 470 x 315 mm (18.5” x 12.4”) The ‘Berliner’ is also known as a Midi. Commonly used by newspapers across Europe.
Tabloid. 430 x 280 mm (16.9” x 11.0”) ‘Tabloids’ are also referred to as ‘half a broadsheet’. They are similar in size to that of the A3 paper size.
verso. They contain compact stories in short, easy to read, exaggerated forms. Globally used.
Many papers are now changing from the ‘broadsheet’ to the ‘tabloid’.
Left-hand page.
*Also a printing method in which both sides of the stock are printed.
Magazines. Books. Zines. Leaflets.
Paper sizes. There are many different paper sizes and scales. The most common is the international standard. The international standard is the A Series, B Series and C Series with the most common in the UK being the A Series – A6, A5, A4, A3, A2, A1, A0. In America they use a different system that has different sizes. Their common sizes are: letter, legal, ledger and tabloid. It is important to consider paper sizes when designing for print as work may require cropping, folding and binding. There are also other paper sizes that are not as common and are used to give a different dimension to the work, away from the standard. European (3048mm x 3962mm) Squarer format. Same vertical dimension as 48- and 96-sheet billboards. Golden square (6096mm x 6096mm) Square format. Typically illuminated at night. Breaks boundary of standard rectangle. Huge space.
The design will be affected by what you are producing which, is important when creating a publication because you have to take into account binding, folding and size.
Active & Passive Design. Theses areas are dictated by how we read, scan and view a page. The most active area of the page is the top left, with the most passive area being the bottom right. The eye processes from left to right and top to bottom. Breaking these rules can produce some very interesting designs, however, care must be taken as sometimes information and content is lost in the layout.
Printing on Recto & Verso. This is more economical as multiple pages can be printed on a single sheet. Can limit the number of printing plates used which saves money.
recto.
This method can also limit the number of passes required through the press, again saving money.
Right-hand page.
*Also a printing method in which both sides of the stock are printed.
Image types.
File types.
Raster images.
Captured files.
A raster image is composed of pixels in a grid, where each pixel contains colour information for the reproduction of the image. This type of image has a fixed resolution and therefore enlarging the image results in a decrease of quality. These images are commonly saved as TIFF or JPEG files for print.
RAW
PDFs are used for sending information as they are a global standard and can be read anywhere digitally with very limited software. They are completely portable and are a single document as all the necessary information – fonts/images/colours – are all embedded in the file.
Vectors. Vector objects are scalable, meaning they can be enlarged infinitely without any loss of quality. They are able to do this as they are defined by mathematical formulae and paths, rather than pixels.
Bitmaps. A bitmap is any image that is composed of pixels in a grid. They are not easily scalable as the have a fixed resolution. Saving something as a bitmap will also reduce the possible tonal pallet.
Greyscale. This is a series or scale of achromatic tones, varying the levels of black and white to produce a range of greys. Greyscale is commonly used for continuous tone photographs as it converts all of the colours to the most approximate grey.
Half-tones. Half-tones reproduce a continuous-tone image as a series of dots, with different sized dots creating the tonal value. The angles, frequency and shape of the dots can also be changed the appearance of shapes, images and colours.
A RAW file contains the maximum continuous-tone colour information possible. These file types are not compressed or processed at all. RAW files need to be converted into a colour mode (RGB/CMYK) before they can be used.
Saved files. TIFF
BMP BMPs are uncompressed files of either 24- or 32-bit quality. They can be full colour images and are usually used for graphic manipulation.
Sending files.
Resolution.
A TIFF file is a continuous-tone file format. A TIFF uses lossless compression so that a perfect reconstruction of the original can be produced from the compressed data. TIFF files are specifically for files that are SPI is the number of samples taken by a scanner as it passes over an image - the to be printed. higher the number of samples per inch the more pixels the file will contain. EPS
SPI.
An EPS file is a compressed save option for scalable graphic element. EPS files allow you to compress a vector without taking up a lot of space and losing it scalable quality. GIFS
PPI. PPI is the number of pixels displayed horizontally and vertically in each square inch of the image. A low ppi image will appear pixelated due to a lack of information.
GIFs are used for flat graphic and flat colour works. The reason they are used for this is because they do not save tonal values. DPI is the number of ink dots a printer GIFs are used to preserve sharp lines on can deposit on a substrate within an inch work intended for web. - 300dpi is the common standard.
DPI.
JPEG JPEGs are a very standard saved file. They compress all the file information making images suitable for the web. As they compress the images for web it can lead to a loss of information if it is done repeatedly and over time.
LPI. LPI is the number of cells in a half-tone grid used to produce continuous-tone images.
There are three respo to a piece of design –
Wow is the one to ai
onses – yes, no, and wow.
im for. Milton Glaser.
Bleed, registration & trim. Printing a four-colour job. There are some important design features that should be taken into account when producing full colour work for print.
Registration black. Registration black is the colour that all the registration marks are printed in. Registration black contains 100% coverage of all 4 process inks – cyan, magenta, yellow and key. Using registration black instead of 100% key is a common mistake. This can cause issues as it uses more ink and that area will appear on all of the plates.
Registration problems.
If an image or a colour fi lls right to the edge of the page a bleed is required to prevent white edges if there is an inaccuracy in the trimming.
Registration problems only occur when two or more colours are used. The problems that usually occur are due to the plates not being perfectly aligned.
The common bleed distance is 3mm, however, more can be used if the job requires it.
Mis-registration can distort and blur images, text, colour and graphic.
Prior to sending a job to print it is a good idea to discuss the bleed with the printers as they may require specifi c bleed properties.
This can make text illegible, off images and colours and problems with the layout.
Trapping. Spread and choke. The spread and choke prevent small gaps appearing between different blocks of colour on a print. The three options are; spread, choke and centre trapping. Spreading is the most common, where lighter objects are made larger to spread into a darker one. Choke is used to reduce the size of the aperture that an object will print in. Centred trapping uses a combination of enlarging the object and reducing the aperture. Knockout and overprint (untrapped options). Overprint is when one colour is printed over another and knockout is where a gap is left in one colour for another colour to print in. If overprinting, colours will mix, where as they wont when using knockout. Both can be used as part of the design, to change the presentation of the image and treat the image frame and its background separately. These processes are not limited to blocks of colour, and can use images and half-tones.
Overprint, reverse out & surprint. These are three ways that ink can be laid out in the print process Overprint. Where one ink is printed on top of another. Reverse out. Instead of the design being printed it is removed and left as an unprinted area. Surprint. Two elements that are printed on top of on another that are tints of the same colour.
Imposition. The imposition is how various pages of a publication are arranged to print. Information needed by the printer. These are: any change in stock through the job, the colours used and how and where any spot colours are used. The printing imposition helps the designer by allowing them to calculate the colour fall; meaning pages with certain colours can be grouped together. It also improves efficiency and reduces the overall cost.
Pages to view. These are the number of pages that will be printed on to one side of stock.
Printer’s Plans. The printer’s plans describe how different sections of a publication will be printed, how pages are grouped together according to how they will print, the stock they will be printed on and how the sections back. These plans allow the printer to easily see which pages require spot colours.
Imposition plans. In imposition plans pages can appear up side down if they are to will be folded or cut. It is easier to think of the publication as horizontal strips of pages if you know how it is going to be printed. The imposition plan provides a visual key for planning, often using colour coding. The plan shows sections that will be folded, pages that use a specific/special colour and which pages are to be printed on a different stock.
Gatefolds. A gatefold is a folded sheet of four panels that is bound into a publication. Gatefolds are used to provide extra space. The inner panels of the gatefold often have the same dimension as the page and the outer panels are slightly narrower to allow them to fit when folded.
Throw-outs. A throw-out is half a gatefold, again bound into a publication. Throw-outs only open on one side and therefore the throw-out sheet must be narrower so that it fits in the publication when folded. The use of throw-outs is to turn a 2-page spread into a 3-page spread.
Tip-ins. A tip-in is the attachment of a single page to a publication by wrapping it around the central fold of a section and gluing along the bottom edge.
Tip-ons. A tip-on is a page or another element is poster in a publication, for example, a reply card. They can be located anywhere on the host page and can be either temporary or permanent.
Proofs are used to ensure that the final print is perfect and has no problems or imperfections.
Soft or screen proof. This type of proof is used for layout and colour control and checking the screen structures of a print. This proof is intended to eliminate undesired effects such as moiré and rosette. A screening must be performed before a screen proof is printed, as printing data contains no screen information.
Laser proof. A laser prof is a black and white computer print that shows photos, text and positions. A laser proof is much cheaper than a blueline, although it has a low resolution and may not be actual size.
Pre-press proof. This proof can be either analogue or digital and is an approximation of what the finish piece will look like. Pre-press proofs are inexpensive but the colour not completely accurate, as it does not use the actual inks.
Blueline, dylux or salt proof. These proofs are contact prints produced from film and show impositions, photos and text that will appear when printed as well as the trim and binding edges. They are very quick proofs, using only one colour – blue. They are printed actual size so that pages can be folded, trimmed and stitched to approximate the finished job. They do not represent the true colour or stock and the image fade with time.
Scatter proof. This is the proof of an individual photo or group of photos and does not have any relevance to the actual design. This proof is used for checking colour before final proof and the process allows for multiple photos to be proofed at once saving time and materials. The photographs are not seen in situ in the layout.
Composite integral colour proof. These proofs are high quality proofs, such as Matchprint or Chromaline and are produced using 4 sheets – one sheet for each colour. The sheets are then laminated together in register, providing a very accurate colour proof. The proof is produced from the colour separation film used to make printing plates and is a time-consuming and labour-intensive form of proofing.
Press/machine proofs. These are proofs that are produced using the actual plates, inks and paper, creating realistic impression of the final print. These proofs can also be produced on the actual stock, providing a near perfect representation of the final product. These proofs are costly, especially if another proof is required after changes.
Contract proof. A contract proof is a colour proof used to form a contract between the printer and client/designer and is the final proof before going to press, meaning it is an accurate representation of the print job.
Proofing.
Printing and print order. Understanding print order.
The print order is the order in which different colours are laid down during the printing process. The common print order for the fourcolour process is cyan, magenta, yellow and then black, however, printers may change the print order depending on the artwork. If there are large panels of flat colour, overprints or if inks are required to be printed out of sequence, then the print order is changed.
Standard print order. If the job is printed in the wrong order images will appear in the wrong colour.
Printing plate.
Each time a sheet goes through the printing press to receive an image is called a pass, so double sided jobs require two passes. The technology is developing so that a double-sided job can be printed in one pass.
Gripper edge. Stock is grabbed on its gripper edge to draw it into the printing press so on the printed imposed sheet, space needs to be allocated for the gripper edge.
Sheet work. Sheet work is when one side of a sheet is printed, before being turned over and printed on using a separate plate.
Selecting an alternative Work and turn. print order. Special colours are printed where makes the most sense and large areas are often printed first. Yellow is often printed last to act as a seal as printing black last can cause pickering problems and leave uneven patches. The order should be discussed with printers when using special colours or overprint, as this will prevent any problems.
Work and turn is when one side of a sheet is printed, turned from front to back and has the second side printed with the same sheetedge alignment.
Work and tumble.
Descriptions.
Work and tumble has both sides of a sheet set on one plate so that the sheet is printed and turned over side to side to be printed again – producing 2 or more of the 2-sided print.
The descriptions are plots where the different pages of a design will be printed that depend on how it will be printed and folded. Big print jobs, such as books, benefit the most from imposition planning as it allows the optimisation of special colours, tints and varnishes. The descriptions are how a printer imposes the job for printing, using different methods, such as work and tumble.
Work and twist. Work and twist prints one half of a sheet before it is turned 180 degrees to go back through the print press to print the other side.
Screen angles. 1st order stochastic printing. This printing has a fixed dot size and varied dot spacing, allowing some dots to touch.
Conventional half-tone. Conventional half-ton has varied dot sizes and fixed dot spacing, giving different colour tones.
Stochastic printing.
Rows of half-tone dots are set at different angles to prevent them from interfering with each other because if they were set at the same angle they would cause a moiré pattern. Different colours give a better coverage of the printed surface, for example; lighter colours are set at the most visible angles – yellow at 90 degrees and cyan at 105 degrees. Opposite to the lighter colours, the stronger colours are set at less visible angles, magenta at 75 degrees and black set at 45 degrees. This prevents the less visible colours being drowned out by the stronger colours.
Stochastic or frequency modulation printing is a method that uses different dot sizes as an alternative method to help prevent the appearance of moiré patterns. The effect created is similar to that of the grain of photographic film and can give very good continuous-tone reproductions. The reason it does this is because half-tone dots, when printed, have very little visibility and produce a high quality, detailed reproduction. By removing the barriers of screen angle interference from the printing press, it makes it possible to use more than the basic four process colours. Hexachrome printing has been added to give a wider gamut of colours, a process where 6 plates are used instead of 4. The removal also means that a more accurate reproduction of pastel colours and light tints can be achieved.
Flat tint. Flat tint has a fixed dot size and fixed dot spacing so is therefore very uniform.
2nd order stochastic printing. 2nd order stochastic printing has varied dot sizes, and varied dot spacing, unlike 1st order printing. This method thoroughly mixes things up, preventing the formation of moiré patterns.
Gradient. Gradient uses one or more colours that combine to create the colour effect. In a two-colour gradient one colour is darker/stronger and the other is lighter/weaker. A banding pattern is created by half-tone printing screens but can be avoided by adding noise into the gradient. The noise disperses or dithers the colour.
Tint. Tint is a colour printed at a percentage of the full solid colour, created using half-tone dots of different sizes it produces colour dilution from the substrate.
Web Web and lithography printing are the most common types of commercial mass-producing print processes. Web printing uses stock that is supplied on massive rolls rather than sheets, meaning there are higher volume printing speeds. Web printing has a low production costs per unit for high-volume print jobs. The two processes lithography and web printing can be used together but web printing is usually combined with relief printing methods such as rotogravure and flexography, as the plates are more durable. This process is not suitable for low-volume print jobs as that would waste paper and the machines are not set up to produce one-off or small runs. Neither of these processes should be confused with digital printing, which is another common form of modern printing. Digital printing does not use plates; instead the printers deposit toner or pigment onto the substrate. The problems are mostly the same between the two processes with some minor differences. Hickeys or bullseyes. Hickeys or bullseyes are spots or imperfections on the printed image that are caused by dried ink, dirt or other particles on the press. Miss-registration. This is a problem cause when one or more printed images are not aligned. Setoff.
Problems with web printing.
Also known of offset, setoff is when ink from one printed sheet unintentionally marks or transfers onto the next. Colour variation. As the name suggests, colour variation is the failure to maintain a constant and adequate ink//water balance on the printing plate. This is something that usually happens over a long print run.
Hickeys or bullseyes. Hickeys or bullseyes are spots or imperfections on the printed image that are caused by dried ink, dirt or other particles on the press. Miss-registration. This is a problem cause when one or more printed images are not aligned. In this process this can be caused by the presence of water, distorting stock. Setoff.
Problems with litho printing.
Also known of offset, setoff is when ink from one printed sheet unintentionally marks or transfers onto the next. Colour variation. As the name suggests, colour variation is the failure to maintain a constant and adequate ink//water balance on the printing plate. This is something that usually happens over a long print run.
Lithography is a printing process where the inked image from a printing plate is transferred or offset onto a rubber blanket roller and then pressed against the substrate. Lithography uses a smooth plate and works on the principle that water and oil repel each other. This works as when the plate passes under the ink roller, non-image areas that have the water film repel the oil based inks. Lithography produces quality prints, with good photographic reproduction and fine line quality on a variety of stocks. As with web printing, it is a low cost printing process as the plates are easy to prepare and it can be a high-speed process. Lithography is a high-volume process that is commonly used to produce posters, books, newspapers, packaging and anything that is to be mass-produced.
Litho.
Digital.
This is a process of printing digital media directly onto a substrate. Digital printing as a higher cost per page when compared to more traditional largescale printing methods, however, cost is usually covered by avoiding costs of set up and other requirements of plate printing methods. Digital printing is on-demand printing, meaning very little set up is required, it has a short turnaround time and modifications can be made if the print is not correct of a change is wanted. It has very few labour costs too, and now competes with offset printing’s ability to produce large print runs with ease and low prices. There is no need to replace printing plates, which is the main reason for digital’s quick turnaround and ability to compete with offset printing. The only default with digital printing compared to offset is quality. The prints are not always as high quality in terms of image reproduction, unlike offset printing, which has a very high quality of image reproduction. The most common types of digital printing are inkjet and laser that deposit toner or pigment onto a substrate. These processes do not saturate the substrate, instead the toner or pigment sits on top, forming a thin layer.
Screenprinting. Screen-printing is a traditional printing process that is still quite popular today. Screen-printing is a low-volume printing process where ink is pulled through a screen. The screen, originally made from silk, has the design exposed onto it in a light box. The design has to be in black and white expose correctly and it is the black areas that allow the ink through. It is a relatively slow and expensive process, however, it does allow you to print onto a variety of different substrates, from cloth to ceramics and metals, as well as standard paper stock. Screen-printing is not limited by colour modes and can print any colour or varnish that can be mixed or made up. The print also creates a raised surface on the substrate, providing a tactile element as well as a visual one.
Letterpress. Letterpress is another traditional printing process that is popular at the moment. Letterpress is a type of relief printing where an inked, raised surface is pressed against a substrate. This was the first commercial print method and enabled pages to be laid out with greater ease and speed. The raised surface can be made from single type blocks, each holding an individual letter or glyph, cast lines such as linotype or engraved plates. Letterpressed work can be identified by the sharp and precise edges to letters and they have heavier boarders.
Stock.
Paper types & print qualities. Smoothness.
The smooth surface of a stock is obtained through the use of filler elements. Stock is then polished with calendering rollers. Most smooth stocks are also glossy. Opacity.
The opacity of a stock is the extent of what is printed on one side of the stock shows through onto the other side. High opacity papers have no or limited show-through. Absorbency.
A stock’s absorbency is the degree that ink penetrates it. Printing inks tend to dry quicker on more absorbent stocks. Absorbency can cause problems such as dot gain and colours often differ, as they are absorbed into the paper. Ink holdout.
The ink holdout is the degree to which a stock resists ink penetration due to its lack of absorbency. Coated and glossy stocks are particularly prone to ink hold out as the ink sits on the surface of the stock. Stocks with a high ink holdout have an increased drying time when printed on.
Weight (GSM).
GSM stands for the ‘grams per square metre’. The higher the GSM value, the weightier the stock feels. An A0 page is equal to one metre square, meaning that grams per square metre equates to the weight of a single A0 sheet.
Paper grain & direction. Paper produced on a machine has a grain due to the fibres lining up during the manufacturing process.
The fibres line up in the direction that it passes through the machine. The grain is the direction in which the fibres lay. It is easier to cut, fold, bend and tear along the grain. The direction of the fibres in paper used in laser printers, typically has a grain that runs parallel to the long side of the paper, allowing it to pass through the printer with ease.
TypeAntique.
Antique is a high-quality paper that has a clay coating on both sides of the stock. It is a good printing surface, especially for half-tones and has a textured feel which provides a different dimension to the work that is printed on it.
It has a rough texture, a substantial bulk and as the name suggests it is grey in colour.
Mechanical. Mechanical stock is produced using wood pulp and acidic chemicals.
In brief it is a textured stock with a rough or matt surface.
This type of stock is only really suitable for short-term use as it yellows and fades quickly.
Art.
It is an uncoated, matt stock and has a higher brightness and smoothness than newsprint.
Art is another high-quality paper with a clay coating on both sides. This is again a good printing surface for half-tones and full colour printing. In brief this is a glossy, high brightness stock that is smooth to touch.
Artboard. Artboard is an uncoated board, usually used as a cover stock for a publication. It is a much stiffer and stronger stock that Art and Antique.
Cartridge. Cartridge paper is a thicker standard stock and is commonly used in artist’s sketchbooks. It has a stiff feel but is much thinner and less sturdy that artboard. Cartridge paper can come in a variety of different colours.
Cast coated. Cast coated stock is a wet-coated paper that is then pressed against a hot, polished metal drum to obtain a high-gloss finish. This leaves the paper with a very smooth, glossy surface.
Chromo. Chromo stock has a waterproof coating applied to one side of the paper. This allows the paper to be used in the embossing and varnishing process. The other side of the paper is clay coated and the stock can either be glossy or matt.
Flock. This stock is coated with flock, creating a very fine wool surface. Flock is usually used for decorative covers. Other material such as refuse or vegetable fibre dust can be use, giving a velvety or cloth-like appearance and feel. In brief this is a textured and decorative surface and is not very practical to print on.
Greyboard. Greyboard is either a lined or unlined board manufactured from waste paper. It is used as a packing material as it is strong, sturdy and relatively durable. It can also be used to print on and provides an interesting texture for screen-printing.
NCR (No Carbon Required). NCR stock uses a carbonless coating to make duplicate copies. The stock is available in 2- and 6-part. It works by applying pressure to the top part which subsequently makes an impression on the other parts.
Newsprint. A very standard and widely used stock, newsprint is primarily made of mechanically ground wood pulp. It is the cheapest paper that can withstand the printing process. It is an extremely absorbent stock and does therefore not reproduce colour well. This is not a very durable stock and consequently has a short life span.
Plike. Plike is a rubbersised substrate with a rubbery surface. Printing and varnishing it work very well and create an interesting aesthetic.
Uncoated woodfree. This stock is only used in non-commercial printing. It is white in colour with a slightly rough texture and a matt surface.
Fin ish ing.
Binding.
Book binding.
Comb binding. Comb binding uses a spine of connected plastic rings that allows the document to fold flat.This type of binding is often used in commercial documents and business reports.
Spiral binding.
Head and Tail bands.
Spiral binding is when a single metal or plastic wire is wound through punched holes in the publication, again allowing the publication to open flat.
Head and tail bands are the ornamental and usually coloured or patterned pieces of cloth located on a books spine. The headband is at the top of the book and the tailband is at the bottom of the book.
Wiro binding.
Bulk.
Wiro binding uses a spine of metal rings, through punched holes to bind the pages together and, as with spiral and comb, wiro also allows the document to open flat.
The bulk of a book is the full thickness of the book including signatures and covers. This is an important consideration if there is to be a dust jacket on a hardcover book, as the ducts jacket needs to be large enough to accommodate the book’s block bulk. The common rule is that 3mm should be added for a hardback book and that the spine will measure whatever the bulking dummy measures and an additional 6-7mm.
Open bind.
Text block.
An open bound book is a book that has been sewn together, however, has not had a cover over the bind so it is visible, leaving the spine exposed.
The text block – also known as the book block – is made up of all the printed/ unprinted signatures that will form the publication pages.
Flaps. Bellyband. A bellyband is a band of stock, usually different to the cover or printed on, that wraps around the publication.
Singer sewing. Singer sewn publications are bound using on continual thread to bind all the way up the spine.
Elastic bands. The elastic band is an informal type of binding, where the band sits around the centre fold and holds the pages together.
Clips and bolts. Clips and bolts are simple fastening devices that hold loose pages together. This type of bind requires punched or drilled holes for the bolt or clip to pass through.
Perfect bound. A perfect bound book has the back sections removed and clamped, whilst a flexible adhesive and mesh is applied to the spine. The adhesive also attaches the paper cover to the spine. Finally the fore edges are trimmed flat.
Case or edition binding. This is a very common hardcover bookbinding bind, where their signatures are sewn together, the spine is flattened and the end sheets, head and tailbands are applied. Hard covers are attached and the spine is usually rounded with grooves along the cover edge acting as hinges.
Canadian. A Canadian bound publication is a wiro bind with a wrap-around cover that encloses the spine. This full wrap-around cover is called a Canadian and a partial wrap-around cover is called a Half-Canadian.
Saddle stitch. With saddle stitch, the signatures as nested and bound with wire of fabric stitches.The stitches are applied through the spine and the centre fold.
Flaps are either extensions of the cover or dust jacket that fold back into the publication. They usually have information about the author, a brief summary of the book or other information printed on them.
End pages. End pages are the pages that are neither cover nor text block. They fix the text block to the cover boards and are usually made from a different stronger stock. The end pages can be printed on and add another visual element to the inside cover.
Ribbon. The ribbon is a length of ribbon that is attached to some books and publications to be used as a page marker.
Spine orientation. The spine orientation is the way that any text on the spine is orientated. It can be orientated so that it is read top to bottom or bottom to top. The European standard is to read bottom to top, however in the UK we read top to bottom. The reason we print them like this is so that when the book is laid on a table the spine and cover are readable and it is also easier to read when in a bookcase. The spine text can also be printed horizontally but this usually occurs on larger/ wider volumes with broader spines.
Z-bind. A Z-bind is a ‘Z’ shaped cover that joins two separate text blocks so that a single publication can contain two separate bits of information that can be read in separate ways. Typically using, perfect binding it is a clear and functional way of splitting different types of content. The problems with a Z-bind occur in large publications if the stock used for the ‘Z’ is not strong enough to support the weight of the text blocks.
Varnishes. Gloss. A gloss varnish makes colours appear richer and more vivid, photographs appear sharper and more saturated and is therefor commonly used in brochures. Matt. The opposite to gloss, matt softens the appearance of the printed image and makes text easier to read as id defuses the light, reducing glare. Neutral. A neutral varnish is a basic, near invisible coating that seals the printing ink without affecting the appearance.
This varnish also decreases the drying time required of print jobs on matt and satin papers.
These textures are raised and can represent a variety of things from sandpaper to leather to crocodile skin.
Pearlescent.
UV.
Ultraviolet varnish creates a coating that The pearlescent varnish subtly reflects myriad colours, creating quite a luxurious is glossier than any other, making the page appear and feel shiny and slightly effect. sticky. Satin/Silk. The detail will not be seen until exposed to UV light. This varnish is a mid point between gloss and matt. Textured spot. A textured spot varnish creates a texture on the stock.
Speciality p r i n t i n g . Laminates. Gloss. Gloss laminate is highly reflective, enhancing the appearance of graphic elements and increasing colour saturation. Matt. A matt laminate helps diffuse light, reducing glare and increasing readability. Satin. Satin laminate has a finish between matt and gloss, providing some highlight but is not as flat as matt.
Sand. A sand laminate creates a subtle sand grain within a design. Leather.
Supplying designs to be varnished orlaminated.
A separate file must be sent, indicating A leather laminate gives a leather texture where they are required. to a design. The area(s) that are to be varnished or laminated should be presented in black as it will run as a solid colour. It is important that good contact and understanding is kept between designer and printer when printing varnishes and laminates.
Cutting methods.
Perforation.
Foils.
Die cutting.
Also known as perf cutting, perforation creates a cut-out area in a substrate to weaken it so that it can be detached by hand.
Foil blocking is the process where foil is pressed onto a substrate via a heated die or a heat press.
Die cutting uses a steel die to cut away a specific section of a design, adding decorative elements to a print job that enhance the aesthetics. Laser cutting.
It can also be uses as a decorative effect.
This process adds a shiny finish to the specific areas it has been applied to.
Laser cutting uses a laser to cut shapes in the stock, which can burn the edge of the substrate. Laser cutting is very quick to set up and the machine has a fast job turnaround. Laser cutting can produce more intricate cut-outs, leaving a cleaner edge. Kiss cutting. Kiss cutting is a die cutting method used with self-adhesive or duplex substrates. The first stock is die cut but the second stock is not. This is usually seen in the production of stickers, so that they can easily be removed, however, it is sometimes done as an aesthetic feature. When producing work to be kiss cut a gutter guide must be included in the design.
Duplexing.
Thermography.
Duplexing is the bonding of two or more stocks to form a single substrate.
Thermography is a print-finishing process that produces raised lettering or graphic.
The stocks can be different colours and/or texture so that there is a difference on either side.
It does this by fusing thermographic poeder to the design in an oven.
Fold
ing.
Cutter draw. When cutting a large number of sheets the cutter blade has a tendency to slide forward on a commercial cutter or guillotine. This is a problem as it may cause a bowing in the middle of the stock as it is secured at both ends in a press. This is commonly a problem with lighter stocks.
Valley fold.
Tab fold.
Holding the stock horizontally a valley fold has a central crease at the bottom, like a valley.
Like the inclined tab, stock is removed, however, in this case it is cut away horizontally (stepped). It is then accordion folded so that each pair of panels decreases in size behind the front full-sized panel.
Mountain fold. Opposite to the valley fold, a mountain fold has the crease at the top when held horizontally, like a mountain.
Front/back accordion fold. A front/back accordion fold has three parallel folds. There are 6 panels and the two outer panels fold equally into the centre panel. The two inner panels are the same with and once the outer panels are folded in they fold together to the size of a single panel.
Mock book fold. Again using the accordion fold, the penultimate two panels form the cover for the others to fold into.
Front/back gatefold. This fold has an extra double panel that folds inside the front and/ or back panels
Triple parallel fold. This type of fold creates a section of panels the sit with in the cover panels with a front opening, commonly used for maps.
Back/front folder. This fold has a central panel with wings either side. The wings are divided into 3 equal sections using two parallel folds. The paneled wings then fold around and cover both sides of the centre panel simultaneously. Each wing covers half of the front and back of the centre panel.
Half cover from behind. This fold is an adaptation of the accordion fold, where the penultimate panel forms the back cover and the other panels fold in to create a concertina book. The half sized end panel folds around the book from behind, creating a cover with the half-sized end panel.
Dualling z-fold. The dualling z- fold has two z-wings that fold into the centre panel and meet in the middle.
Harmonica self-cover folder. This folder uses the accordion fold, however, in this case the first two panels form the cover rather than the centre two. All the following panels fold down and into the first two. The first two panels are required to be slightly larger to accommodate the inner panels.
Double gatefold. The double gatefold has six panels, three either side of the centre 2 panels, that fold into the centre.
Inclined tab. The top of the stock is cut away at an incline and then accordion folded, presenting panels of increasing size from front to back.
Ascending folder. An adaption of the accordion fold, the ascending folder has increasing widths between folds so that the panels get wider the further back in the folder you go.
Staggered folder design. Another adaption of the accordion fold, stock is cut away horizontally from the top and bottom making the panels central but shorter with the shortest at the front.
Boxed step. Stock is cut away horizontally from the top so that each panel decreases in size from the full-sized panel and the accordion folded.
Amending designs to compensate for creep. Creep is a process where the inner pages extend beyond the outer pages. Modern print finishing workshops have computer controlled guillotines that ensure trim constancy and accuracy to within 1/10 of a millimetre. High-print-run books or magazines are usually trimmed on 3-knife trimmers, which cuts all three edges in only two cuts. The fore edge blade makes the first cut before the other two blades cut the top and bottom simultaneously.
Over-runs and quantities. When work and designs are sent away to be printed, many copies are wasted whilst the printing press is being set up. Printers usually print more copies to allow for the waste at the finishing point. If the printer and the designer have a good relationship then the printer may overprint to allow for any wastage. When sending work to commercial a minimum must be specified otherwise there may not be enough finished copies at the end. Printers will not and are not obliged, legally or otherwise, to restart the press for 50 missing copies so it is important to get it right first time. To avoid any errors of short runs it is advised to speak to the printer prior to sending them the job.
Trimming.