Issuu Test

CMYK vs ONE// CMYK RGBvs RGB

RGB: Additive colour for light emmiting computer screens.

The more colours you mix the lighter the colour.

CMYK: Subtractive colour for printers.

Each colour added to the first colour blocks the reflection, therefore ‘subtracts colour’.

Most design programmes are available to work in both RGB and CMYK. Devices like computer monitors, scanners and digital cameras use Red, Green and Blue (RGB) to produce the colours you see. Whereas, offset printing uses a different set of colours: Cyan, Magenta, Yellow and Black to produce produces publications, photos, product packaging and other marketing materials. The above image shows the difference in the two colour models, although there is only a slight change, it is evident from this that there is a diffennce in the two.

Colour gamut refers to the various levels of colour potentially displayed by a device. Each gamut is different depending on the software and colour model used. CMYK has a much greater color range compared to RGB gamuts. If a colour selected is ‘Out of Gamut’ a warning symbol will be displayed for this problem to be rectified.

TWO// COLOURWAYS

Greyscale colour mode: one colour of black and all the shades of grey through to white.

Duotone: A halftone image made from a single original image with two different colours.

Spot Colour: Any colour generated by a non-standard offset ink i.e metallic/fluorescent/spot varnish.

Monochromatic colour: All the colours of a single hue derived from one colour and extended using shades, tones and hints of that one colour.

THREE// PANTONE MATCHING SYSTEM (PMS)

The Pantone Matching System (PMS) is a standardised colour matching system and althought it is not the only one available, it is the one which most printers understand. PMS has come about due to critical need for accurate colour within design, what you see on screen may not necessarily be what is printed on a sheet, that’s where this standardised colour key becomes useful. As well as allowing consistency, PMS also enables the production of colour which cannot be produced using a CMYK mix. Pantone chip books enable designers to view the colours on coated, uncoated and matte stocks. PANTONE colous are made distinguishable by both a number and a suffix.

A linen tester is a strong magnifier with a measuring scale which can be used to test prints and distinguish specific print processes.

FOUR// FILE FORMAT To expedite the pre-press process, most printers will only accept the following file formats: Photoshop *.PSD (flattened) *.JPEG, *.JPG, *.TIFF, *.TIF (for 5th colour files) Preparing a document in Page Layout Programs such as InDesign: //Create your document to the exact size of the final trimmed piece. //Extend images that bleed off the document page by 3mm. //Delete unused colors in the colour palette. //Scale bitmap images no more than 10% up or down from their original size. A drastic enlargement will cause loss of detail and a drastic reduction in image quality. //Link images in your Illustrator files by placing them. Do not embed.

Saving images //Save all PhotoShop and Illustrator files in the CMYK color mode, which includes any nested or embedded files. //Submit PhotoShop files only in the TIFF or EPS formats.. //Delete unused colors in the color palette from Illustrator. //Turn off JPEG compression in your PhotoShop files.

Image types //Bitmap images are typically black & white images (no grays) used for text or logos.These should be saved at 600 dpi, as a TIFF and scaled to 100% of the intended size. //Bitmap (in Grayscale or CMYK mode) These are black & white or colour images.They should be saved at 225 dpi, as a TIFF or EPS and scaled to 100% of the intended size. //Bitmap (in duotone mode) These images can be monotones, duotones, tritones or quadtones and must be saved as an EPS. //Vector images can be saved at any size and scaled up or down in your page layout program and they can only be saved as an EPS. Colour Selection //Spot (PMS) colours must use the same name in all image files. You will also need to indicate if a PMS colour is to be spot, built out of process colours or a UV varnish.

FIVE// STOCK ISO Paper sizes and dimensions

These ISO paper sizes are what the finished, printed and trimmed document size will be, therefore, this is the size you will set your document to when creating an artboard.

Grammage The grammage refers to the weight of the paper, this standard is defined as grams per square metre (g/m2). The wieight of a single A0 paper size will determine the weight of the paper as ISO A0 paper size has an area of 1 square metre. An A0 sheet of 80gsm paper will weigh 80 grams, an A0 sheet of 100gsm paper will weigh 100 grams and so on. The abbreviation gsm is most commonly used rather than g/m2.

For example a typical photocopier paper is 80gsm, a good letterhead paper might be 120 gsm, a postcard would be about 300gsm.

Paper Stock Coated - is a paper with a outer coating applied to one or both sides. Coated paper is available in gloss, matte or silk finishes and tends to result in a sharper, brighter image as it has better reflectivity than uncoated paper. Coated paper is used to print leaflets, brochures, posters and a wide range of other printed materials with high volume print runs. Some people can become confused with varnish or plastic lamination that has been applied to the printing piece, but these are two different processes that are added to the printed piece at the end of the process.

Uncoated- is a paper with no outer coating applied, consequently, uncoated paper is not as smooth as coated paper and is generally more absorbant. Uncoated paper is available in a range of finishes, colours and weights; these uncoated stocks can be used as an alternative or in conjunction with coated stocks. Uncoated paper stock usually has a natural rough feel to the paper. Newspapers, cheaper catalogs and paper back books are prime examples of uncoated stock. Uncoated paper stock tends to soak up the ink; how much ink is soaked up all depends on the quality of paper. Uncoated tends to give off less of a glare so make it easier on the eyes to read.

REMEMBER When making a decision on whether to use coated or uncoated paper stock, just remember that uncoated stock is used for newspapers, books and flyer's, forms etc. wheras coated paper stock is used for good quality pieces such as brochures, catalogs or mailshots.

Paper Finishes Cockle - A cockle finish simulates characteristics of hand made paper with a wavy, rippled, puckered finish. The effect is obtained by air drying the paper under minimum tension.

Felt - Felt is a soft texture on uncoated paper that is created during the papermaking process with a either felt covered roller or with a rubber roller with a felt pattern that creates the finish. It can also be accomplished as an offline process. The felt finish does not affect the strength of the paper.

Gloss - A gloss finish produces a shiny and reflective surface on one or both sides of certain coated papers. A higher gloss is usually seen on higher quality coated papers. The gloss finish is produced from compounds added during the paper making process.

Laid - A laid finish has the appearance of translucent lines running horizontally and vertically in the paper. It is produced during the papermaking process with a special roller that creates the pattern in the wet paper.

Linen - Linen finished paper resembles linen cloth and is usually produced after the papermaking process as an offline embossing process.

Matte - A finish on certain coated papers that is smooth but gives a dull appearance. A matte finish, as well as other types of coated paper, are good choices for print jobs in which high quality is required.

Parchment - A paper finish that has an old or antique appearance and is the result of washing sulfuric acid over the paper and then quickly neutralizing the acid wash. This process melts the outer paper fibers which fill the voids in the rest of the paper. Parchment is very durable and grease resistant.

Smooth - A smooth finish is the result of the paper passing through sets of rollers during the papermaking process. This process is known as calendering.

Vellum - A vellum finish has an eggshell appearance and is consistent and even but not as much as a smooth finish. Vellum is one of the most popular uncoated finishes and paper with this finish has a high ink absorbency rate.

Wove - An even finish in uncoated paper with a slight texture made by a felt roller covered in woven wire.

‘TOP 10’ PRINT MANUAL

SIX// BLEED & TRIM When creating your artboard for print it is important to take into consideration the bleed area required on your document. The bleed area is extra space around your artwork which will be cut off, so be sure not to place anything in this area which you do not wish to lose. The extension of background elements is the usual occurance within this space. This is an important factor to consider within your design as it prevents unwanted white boards around the edge of your print and reduces the likelihood of any during the printing process. This measurement will typically be around 3mm.

Consequently, your printer will use SRA paper sizes; these are slightly bigger than ISO paper sizes to allow for full bleed and cutting down to size using the crop marks provided, in order to produce a seamless document. This additional size is also required for the mechanical gripping on both offset litho and digital printing presses.

SEVEN// RESOLUTION

Resolution is one of the most important parts of designing for print, as this will ensure all imagery on your printed design will be crisp and clean-cut, not pixelated. It is recommened that your work is porduced using at least 300 dpi/ppi (dots per inch/pixels per inch). It is essential to set your document up with 300 dpi/ppi as most images taken from the internet will be created at 72 dpi/ppi, which evidently is far less than need for print. Above is a dramatised example of the impact taking an image directly from the internet can have upon your artwork then printed; the pixalation is clear to see. This does not, by any means, disable you from using images from the internet, it simply means you have to select a large image and adjust the resolution to 300 dpi/ppi using and pragramme such as Photoshop in order to preserve the quality of the image.

EIGHT// PRINT PROCESSES Offset Lithography (Litho) Planographic Etched aluminium plates on a cylinder transfer ink to an ‘offset’ rubber blanket roller and then print to the surface.

Rotograuve (Gravure) Intaglio Copper plater (with mirror image) transfer ink directly to print surface, usually rolls. The plates used within this process are more durable making them good for long print runs.

Flexography (Flexo) Relif.

A positive, mirror image rubber polymer plate, on a cylinder, transfer ink directly to print surface. It is usually roller fed.

Digital Print CMYK inks are mixed to produce the printed colours. This print is ideally suited to short runs producing a range of media from paper to metal.

PAD Printing A process whereby a 2D image is transferred onto a 3D object.

Screen Print Ink is forced onto a surface through a prepared screen of fine mesh material so as to create a picture or pattern.

NINE// FINISHES UV Spot Ink Spot Varnish is applied to chosen spots (areas), of a printed piece. This has the affect of highlighting and drawing attention to that part of the design, but it also provides the additional visual stimulus of having varied textures on a single printed surface.

Die Cutting Die cutting involves the use of metal dies to give the stock a specific shape or design which cannot be accomplished by a straight cut on a web press or a guillotine cutter. This process can also be used to produce perforations and folds as well as cutting.

Laminating Laminating is the process of applying a film to either one side or both sides of a printed document.

Embossing A process that applies pressure to the backside of a material to alter the surface, giving it a three dimensional or raised effect.

Foil Blocking Foil blocking

TEN// COSTING

//GLOSSARY