COMMUNISIS ARTWORK HANDBOOK A BASIC GUIDE TO LAYOUT, DESIGN AND PRINT
Produced by Communisis PDM Creative Artwork Services
COMMUNISIS ARTWORK HANDBOOK A BASIC GUIDE TO LAYOUT, DESIGN AND PRINT
Manston Lane Cross Gates Leeds West Yorkshire LS15 8AH Tel +44 (0)113 225 2555 Fax +44 (0)113 225 2528 www.communisis.com
CONTENTS A
Paper and Envelope Sizes . . . . . . . . . . . . . . . . . . . . . . . 1
B
Colour Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
C
Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
D
Bitmap Images and Vector Graphics . . . . . . . . . . . . . . . 9
E
Image Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
F
Standard Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
G
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
H
Creating Artwork for Print . . . . . . . . . . . . . . . . . . . . . . 17
I
The PDF File Format . . . . . . . . . . . . . . . . . . . . . . . . . . 19
J
Collecting Artwork for Distribution . . . . . . . . . . . . . . . 21
K
Data Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . 22
L
Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
M
Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
N
Stock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
O
Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Contents
A Paper and Envelope Sizes In 1959 the British Standards Institute adopted a standardised system of sizes for printing and writing papers. This new standard was based on the International Standards Organisation (ISO) in use in most other countries. The A-size series is used to define the common finished paper sizes in commercial printing. This practical and economical system is based on a rectangle whose height/width ratio remains constant (1:1.41) for all sizes. The largest size (A0) measures one square metre. A1 is half the size of A0, A2 half the size of A1, etc. In addition, there are two other series of sizes included in the system – B and C. The same logic from the A-series applies to the B-series of sizes, except the starting point (B0) is the dimension of one of the sides, which is one metre. B-sizes are used mainly for posters, wall charts and maps. The C series of sizes are based on a basic sheet size of 917 x 1297mm and are used for envelopes. C series envelope sizes are formulated to take A series paper exactly without folding, C4 for A4, C5 for A5 and C6 for A6, etc‌
Standard Paper Sizes
1
One of the most popular envelope sizes, DL, is however, an exception to this series. The name is derived from the German DIN Lang, ‘DIN’ being the German equivalent of the ISO standard, and ‘Lang’ meaning long. DL envelopes accommodate A4 paper folded twice or A5 paper folded once.
2
Standard Paper Sizes
‘A’ series paper dimensions denote the actual finished size of the sheet. Printers often prefer to print on paper that is a little larger than these A sizes to allow printing and finishing machines to grip the sheet and allow trimming, to clean up the edges of the end product, without reducing the final size. These larger sizes are prefixed with an ‘R’: RA0, RA1, etc. Some print work requires even larger sheet sizes than this, to allow for either the printed image to bleed off the edge of the finished page or to allow printing control panels to be printed in the trim margins. These sizes are prefixed ‘SR’: SRA0, SRA1, etc.
ISO Paper/Trim Sizes
Standard Paper Sizes
Name
Millimetres (w x h)
A0 A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 B0 B1 B2 B3 B4 B5 B6 B7 B8 B9 B10
841 x 1189 594 x 841 420 x 594 297 x 420 210 x 297 148 x 210 105 x 148 74 x 105 52 x 74 37 x 52 26 x 37 1000 x 1414 707 x 1000 500 x 707 353 x 500 250 x 353 176 x 250 125 x 176 88 x 125 62 x 88 44 x 62 31 x 44
3
ISO Envelope Sizes Name
Millimetres (w x h)
C0 C1 C2 C3 C4 C5 C6 C7 C8 C9 C10
917 x 1297 648 x 917 458 x 648 324 x 458 229 x 324 229 x 324 114 x 162 81 x 114 57 x 81 40 x 57 28 x 40
ISO Press-Sheet Sizes
4
Name
Millimetres (w x h)
Name
Millimetres (w x h)
RA0 RA1 RA2 RA3 RA4
860 x 1220 610 x 860 430 x 610 305 x 430 215 x 305
SRA0 SRA1 SRA2 SRA3 SRA4
900 x 1280 640 x 900 450 x 640 320 x 450 225 x 320
Standard Paper Sizes
B Colour Theory RGB Colour RGB is the colour model used for devices that create colours using light, such as a computer monitor and a television. The name “RGB” stands for Red, Green and Blue and is based on the fact that you can make any colour in the spectrum by combining different intensities of these three primary colours. Above: RGB Colour Model.
The RGB colour model is called an additive model, which relates to the fact that we’re perceiving colour as a mixture of discrete wavelengths of light transmitted directly from several sources. This colour method is only used with light sources; it does not apply to printing.
CMYK Colour This is the colour method based upon inks, pigments and dyes. “CMYK” stands for Cyan, Magenta, Yellow, and Black. It is an enhancement on the basic CMY model which uses just the three “subtractive” primary colours. In theory, if all the CMY inks are present at full intensity, the result should be pure black. But, in practice because of the impurity and transparency of the inks, a dark grey colour is produced instead. Black (denoted by the letter K in CMYK) is included to ensure the clarity of the darker tones.
Above: CMY Colour Model.
Using these 4 colours, most other colours can be achieved. Unfortunately, CMYK cannot reproduce the same amount of colours as RGB can, which is why some colours, especially yellow-greens, sometimes look a bit dirty when printed.
Colour Theory
5
Above L to R: Composite full colour photograph, and the Cyan, Magenta, Yellow and Black separations that form it.
Pantone (PMS) Colour This is yet another printing colour method. PMS stands for “Pantone Matching System�, and is a large list of specially mixed colours made by the Pantone Corporation. Instead of using CMYK to create colours, the pigments are created individually for colour purity, creating a globally accepted system that provides an accurate method for the selection, specification, communication, reproduction, matching and control of solid colours. In most cases it is very difficult to match Pantone colours using the CMYK Process. Pantone produce a book showing the closest process match to their spot colours but if this match is not adequate, it is often deemed necessary to print the spot as an additional fifth colour in the printing process to maintain colour accuracy. As printed colours vary by different amounts depending on what paper stock they are printed on, Pantone produce all of these colour guide books in coated and uncoated versions. Above L to R: PANTONE Formula Guide, PANTONE Solid to Process Guide and PANTONE Process Guide.
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Colour Theory
C Fonts Fonts cause some of the most persistent problems in imaging electronic files. Artwork is often received with missing fonts, corrupt fonts or the wrong fonts. To avoid delays and errors it is imperative that the right fonts are supplied with every file. If the actual fonts used aren’t supplied with the file they can be substituted for different versions held by the printer but this often results in changes to the document, including text re-flow, which can be either subtle or extremely obvious.
Common errors when sending fonts Missing fonts Even if only a single character from a certain font is used, that font has to be supplied along with all the others, including the bold, italic, and other variations of the font if used. Not all fonts are text. There may be symbols or bullets on pages. Those fonts need to be supplied too.
Missing fonts in EPS graphics Embedded EPS files that include text use fonts as well. It is sometimes possible to embed the fonts or convert text to curves in the graphics software, to avoid having to send font files. However, this isn’t always possible or advisable.
Missing screen or printer fonts Type 1 (PostScript) fonts have two files that must be sent – both a screen and a printer font. With only the screen font the file may look fine on screen but when printed you’ll get a font substitution. Both screen and printer files must be supplied for every Type 1 font.
Wrong version While printers prefer Type 1 fonts many can and will use TrueType as well. Some designers who use TrueType fonts in their designs may mistakenly send the Type 1 version. TrueType and Type 1 differ in how they handle spacing, so sending the wrong version of the font can result in differences in text flow and alter the appearance.
Fonts
7
Automated font collection The best way to ensure that all the fonts used in a document are supplied with the artwork file is to use the utilities of the page layout program or a third-party pre-flight software to gather all of the files needed for output, or provide lists of the fonts used in a particular document. Alternatively, you can manually locate all of the files for each of the fonts used in the document, which can be time consuming for bigger documents or those which use a lot of fonts and increases the risk of missing certain elements or collecting the wrong files. Name of Font
Font Style
Helvetica Roman
Th e quick b ro wn fox jumps over the lazy dog.
Helvetica Italic
Th e q uick b ro wn fox j umps over the l a zy dog.
Helvetica Italic
Th e q uick b ro wn fox j umps over the la zy dog.
Above: Example of possible errors when fonts not supplied.
0
1
2
3
4
5
0
1
2
3
Sample Font
Sample Font
Above: Futura Bk (Bitstream)
Above: Futura Bk (Linotype)
Sample Font
Sample Font
Above: Futura Hv BT (Bitstream)
Above: Futura Hv BT (Linotype)
4
5
Above: Example of how the same fonts differ between suppliers.
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Fonts
D Bitmap Images and Vector Graphics Graphical images that have been processed by a computer can usually be divided into two distinct categories, either bitmap images or vector graphics.
Bitmap Images Bitmap images (also known as raster images) are exactly what their name says they are – a collection of bits that form an image. The image consists of a matrix of individual dots (known as pixels) that all have their own colour that, when combined, make up an image that you see.
Far left: the original full colour photograph. Left: an enlargement of the top of the small sail showing the pixels that make up the picture.
All scanned images are bitmap images, and all pictures from digital cameras are bitmap images. However, because of the limitations of the pixels that create them, it is very difficult to scale up bitmap images without losing the quality of the image. Bitmap images can contain any number of colours, but we distinguish between four main categories:
Line-art These are images that only contain two colours, usually black and white.
Left: Line-art picture.
Bitmap Images and Vector Graphics
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Greyscale Greyscale images, which contain various shades of grey as well as pure black and white.
Left: Greyscale picture.
Multitones Multitone images contain shades of two or more colours. The most popular multitone images are duotones, which usually consist of black and a second spot colour (often a Pantone colour). The example below contains black and Pantone Reflex Blue. Left: Black picture Middle: Reflex Blue picture Right: Duotone picture made up of Black and Reflex Blue.
Full colour images The colour information for these images can be described using a number of colour spaces: CMYK, RGB or Lab for instance, depending on what the image is required for.
Left: CMYK Middle: RGB Right: Lab
Vector Images Vector images are made up of many individual, scalable objects. These objects are defined by mathematical equations rather than pixels, so they always render at the highest quality. Objects may consist of lines, curves, and shapes with editable attributes such as colour, fill, and outline. The images show the basic principle. To the left you see the image itself and to the right you see the actual lines that make up the drawing.
10
Bitmap Images and Vector Graphics
Far left: The image Left: Lines that makeup the drawing.
Each individual line is made up of either a vast collection of points with lines interconnecting all of them or just a few control points that are connected using what are known as bezier curves. The diagram below demonstrates these two principles. To the left, a circle is formed by connecting a number of points using straight lines. To the right, you see the same circle that is now drawn using four points (nodes) only.
Far left: Circle drawn by using four point nodes. Left: Circle drawn by using a number of connecting straight lines.
Vector-based images can usually be scaled without any loss in quality and because they’re scalable, they are resolution independent. You can increase and decrease the size of vector images to any degree and your lines will remain crisp and sharp, both on screen and in print. This makes them ideal for company logos, maps or other objects that have to be resized frequently. Vector images have many advantages, but the primary disadvantage is that they are unsuitable for producing photo-realistic imagery. Vector images are usually made up of solid areas of colour, or gradients, but they cannot depict the continuous subtle tones of a photograph. Vector graphics are continually becoming more advanced, however, and we can do a lot more with vector drawings now than we could just a few years ago. Vector images primarily originate from software. You can’t scan an image and save it as a vector file without using special conversion software. Vector images can, however, quite easily be converted to bitmaps. This process is called rasterising.
Bitmap Images and Vector Graphics
11
E Image Resolution Bitmap images are resolution dependent. Resolution refers to the number of pixels in an image and is usually stated as dpi (dots per inch). Bitmap images are displayed on your computer screen at a screen resolution of 72dpi. However, when printing bitmaps, you need much more image data than a monitor does to achieve reasonable quality. A minimum of 300dpi is recommended to produce a decent printed image. Left: 72dpi picture at 25%. Right: 300dpi picture at 25%.
Left: 72dpi picture at 50%. Right: 300dpi picture at 50%.
Left: 72dpi picture at 100%. Right: 300dpi picture 100%.
Left: 72dpi picture at 125%. Right: 300dpi picture 125%.
This is why, often, a logo or image supplied to be used in a document may look OK on your computer screen but, when printed, the result is a much poorer quality. Similarly, this is the reason why images cannot be extracted from web pages to be used within printed items. Because bitmaps are resolution dependent, it’s difficult to increase their size without sacrificing the image quality. Even if you don’t see it on your screen, a definite jagged appearance will be very apparent in the printed image. Scaling a bitmap image to a smaller size doesn’t have any effect; in fact, when you do this you are effectively increasing the dpi of the image so that it will print clearer. This is why it is recommended that images are always supplied, at minimum, at the actual size that they are to be printed.
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Image Resolution
F Standard Software Software used for creating artwork for print is generally categorised as either imaging, graphic or layout software.
Digital Imaging Software Software that falls into this category works primarily with bitmap images and is used for the manipulation of digital photographs and scanned imagery. The industry standard digital imaging software package is Adobe PhotoShop.
Graphic Software These are generally vector-based software and are most commonly used for image creation, drawing logos, diagrams, graphs, maps, illustrations, etc. In recent years, as these packages have been developed, they have also acquired page layout tools and are also capable of setting complete jobs. The industry standard graphic software packages are Adobe Illustrator and Macromedia FreeHand.
Page Layout Software Also known as desktop publishing (dtp) software, these packages are used for typesetting and the final compilation of page layouts. As they do not have sophisticated drawing or image editing capabilities of their own, elements have to be created in graphics and digital imaging software and imported into the final layout. If these images later need changing, this must be done in the third party software and re-imported into the document. The industry standard page layout software packages are QuarkXpress and Adobe InDesign (which replaced the previously popular Adobe PageMaker).
Standard Software
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Non-Standard Software There are other software packages on the market that emulate the graphic creation and page layout tools of these professional packages, such as Microsoft Publisher and Word. Whilst these programs may appear to do the job on the surface, they do not have the sophisticated operational processes behind them to successfully and accurately pass through a commercial printing process. For this reason, these software packages are only suitable for providing raw data, such as text, and for indicating style or positioning for the actual artwork creation.
Software Versions Most software packages are capable of reading previous file versions (for example, FreeHand version 10 can read version 8 files if required); however, most are unable to read formats of versions created after their release (e.g. FreeHand version 8 cannot read version 10 files). Many software packages have the ability to back save files to earlier versions, but this facility can be restricted as earlier software versions may not support some specialist information that is used in the document.
Software Use
Software Name
Digital Imaging
Adobe PhotoShop
Graphic
Adobe Illustrator Macromedia FreeHand
Page Layout
QuarkXpress Adobe InDesign
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Standard Software
G File Formats All software packages are capable of handling different file formats. Some are native to that particular program, others to its program category and others are universally accepted. File formats are generally recognised by their file extension (two, three or four letters after the dot in the file name). However, occasionally this information is embedded in the file instead, for the computer to automatically recognise the file format.
Native File Formats A native file format is the default file format used by a specific software application. Often, special software-specific properties can only be retained when a file is saved in the software’s native format and, as such, it is not designed to be transferred to other applications. See tables for native file formats and applications.
Universal File Formats There are many file formats that can be read or imported into a number of different software applications. The downside of these formats, however, is that a lot of specialist information is lost during the conversion from the native format and this often restricts future usage and alteration of the file.
Compressed File Formats Files that are quite large are often compressed in special formats to reduce the file size during transfer or for storage. These files require special decompression software to open them.
File Formats
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Format
Application Name
ai ind/indd pm(x) * psd cdr fh(x) * xls ppt pub doc/dot qxd/qxt;
Adobe Illustrator Adobe InDesign Adobe PageMaker Adobe PhotoShop CorelDraw Macromedia FreeHand Microsoft Excel Microsoft Powerpoint Microsoft Publisher Microsoft Word QuarkXpress
Format
Property Type
tif jpeg/jpg bmp gif pct dcs ps eps pdf txt rtf
Bitmap Image file Bitmap Image file Bitmap Image file Bitmap Image file Bitmap Image file Bitmap Image file Vector or Bitmap Image file Vector or Bitmap Image file PDF Document Text file Text file
Format
Compressed File Type
sit zip tar bin hqx
Stuffit ZIP UNIX MacBinary or Binary Binhex
* (x) version number of program used
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File Formats
H Creating Artwork for Print When setting up artwork for print, there are a number of things to be taken into consideration to ensure that the job prints correctly.
Colour The artwork should be set up in the colour mode that is intended for final production. For example, if the job is to print process, no spot colours should be set on the artwork and if the job is to print in spot colours only those colours required should be present in the document.
Bleed If an image or graphic is to run up to the edge of the page, the artwork should be set up with a minimum 3mm bleed. This allows the image to run off the edge of the paper before being trimmed to the correct size and prevents a white edge appearing on the finished job.
Above: Compliments Slip showing cropmarks with bleed of 3mm (circled).
Creating Artwork for Print
17
Fonts When setting artwork for print it is imperative that font styles such as bold or italic are not applied to text as they can lead to problems in production. If these styles are required on artwork it is essential that the actual font is used instead.
4
8
Above L to R: Screen shot showing operator choosing a bold font. Screen shot showing operator applying a bold “style�.
Images Wherever possible, logos and graphics should be supplied in vector file formats. All bitmapped images should be supplied at a minimum resolution of 300dpi at 100% of the final print size. If the bitmapped file is to be scaled up on the final artwork, the resolution should be adjusted accordingly (e.g. at 150% the minimum resolution required is 450 dpi, 200% at 600 dpi etc.) If a bitmapped image is to be included in a process job it must be saved in CMYK mode. For a spot colour job, images should be converted into these spot colours and saved in a compatible file format (eps, dcs, etc.)
Finishing Finishing details such as perforations, die cuts etc. should be clearly indicated on the artwork, ideally in a colour that does not print on the job (e.g. in a spot colour on a process job, or as an extra spot colour on a spot job). Where possible, this information should sit on a separate layer to the rest of the artwork.
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Creating Artwork for Print
I The PDF File Format A Brief History PDF stands for “Portable Document Format” and was initially created by Adobe in 1991 as a cross platform standard for transferring data. It allows a user to create a PDF file on one computer platform, such as an Apple Mac, so it can still be opened on a PC or Unix system and still see the document exactly as it was intended to be viewed.
Standard PDF Files PDF supports a number of compression features as well as a clever file structure to keep the file size of PDF files down to an absolute minimum. This is why, when you view or print images from a standard PDF file they may appear more pixelated or bitmapped than the original file. Today, you can create PDF files from more or less any application, as more and more applications feature an ‘export to PDF’ kind of function. These files are perfectly acceptable for what they are intended – transferring forms/data between computers.
Print-Ready PDF Files In 1997, Adobe created a more sophisticated version of “PDF” that could only be created using a special, advanced piece of software called Acrobat Exchange. This PDF format compressed files in a much more sophisticated way, preventing images from becoming pixelated and preserving hidden font, colour and other technical information from the native file. Adobe have continued to develop this software and have now progressed the file format to a level wherby by all information required for the pre-press process is embedded in the file. This “hidden” information, and the fact that images etc. are not compressed as much to preserve their quality, means that print-ready PDF file sizes are quite large. Due to the fact that PDF files aren’t easily editable, it is imperative that the original artwork file is set up accurately for colour, content, layout, etc. before converting the file into a print ready PDF.
The PDF File Format
19
Above: Screen shot showing a standard pdf.
Above: Screen shot showing a print ready pdf.
PDF/X Format PDF/X is the international print ready PDF standard. It complies with ISO 15929 and ISO 15930 and is the most reliable method of PDF delivery. It includes all fonts and images, verifies technical data and ensures accurate colour management.
Which PDF Format? The PDF format has a variety of uses and because of its small file size, the standard PDF format is great for proofing, distributing electronic documents, etc. However, due to a lack of technical information, it is not suitable for professionally printing from. Similarly, you wouldn’t use a print-ready PDF file for these multipurpose, everyday situations as its file size is just too large for easy, general distribution.
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The PDF File Format
J Collecting Artwork for Distribution When you send a digital file out for printing, there are a number of elements that you must remember to send, these include:
The application file This is the actual digital file that the artwork is created in. Before you send an application file, you need to ensure that the printer has the same software and either the same version or a later one. If the printer has an earlier version you may need to back-save your file (this is not always possible in some applications). If your application file format is not acceptable (many printers can’t accept Microsoft files such as Publisher, Word or Powerpoint), you may have to consider submitting a PostScript or print ready PDF file.
Fonts Even when you use common, classic typefaces, you need to send the copies of the actual font files that your document contains. Fonts can vary from supplier to supplier and differences even exist between the TrueType and Postscript versions of fonts. If you don’t supply fonts, the printer may substitute their own version and this might result in differences in your document, including a reflow of text. When sending Postscript/Type 1 fonts, both the screen and printer fonts must be supplied. If there are EPS files embedded in the document that have text elements you must remember to send the fonts for those images as well.
Graphics and Images In order to minimise file size, most graphics and images are linked and not embedded in the application file. It is important to ensure that copies of all of these images are supplied. Ideally, they should be saved in uncompressed formats such as EPS and TIFF. RGB images should be converted into CMYK, where applicable, and it is important that the names of graphic and image files are not changed in any way, unless they are re-linked to the original application file.
Collect for Output and Preflight To ensure that all fonts and graphics needed for the output of the document are included, it is a good idea to use the collect for output or pre-flight capabilities of the application program. Alternatively, you can use a third-party program such as FlightCheck. These applications are cleverly designed to check, locate and gather copies of all associated elements of an artwork file into one folder for ease of distribution and help eliminate the mistakes that can occur when gathering this information manually.
Collecting Artwork for Distribution Collecting Artwork for Distribution
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K Data Transfer Options Once collected, artwork files can be distributed via a number of different methods, all of which have some advantages and some limitations.
Electronic Based Transfers When using this kind of facility to transfer data it is always recommended that the files and folders are compressed into a single file using a file compression application such as WinZip or Stuffit. This not only reduces the size of the file being transferred so that it processes quicker but also ensures that all items are locked into one file, reducing the risk of corruption and lost elements.
ISDN (Integrated Services Digital Network) The original electronic file transfer system, ideal for sending small to medium size files. It uses a special ISDN phone line and requires that both sender and recipient have the necessary hardware and software attached to the line to handle the file. ISDN was the preferred data transfer method for many years and is still widely used. However, as technology has developed and alternative options have become available, ISDN is gradually being replaced by the newer and cheaper options.
FTP (File Transfer Protocol) This is a way of transferring files over the internet. It is most commonly used for uploading and downloading files to a server or web space that can be secured with a user name and password. The size of files that you can transfer using this method can be limited by your internet connection, but is normally capable of handling small to medium size files.
Email If your artwork files are reasonably small it is possible to email them. It is always important to check whether the recipient’s email address has a file size limit on it as some email systems reject files any bigger than 1MB.
Media Based Transfer Occasionally, file sizes are just too big to be sent electronically and, as such, must be distributed via conventional removable media. There have been a lot of different formats of these over time: 5” disc, 3” disc, tape, optical disc, syquest cartridge, jazz disc, zip disc, etc… but the most common formats now are CD and DVD. The problem with removable media is the delay in transfer as the disc has to either be manually delivered, posted or couriered to its destination.
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Data Transfer Options
CD (Compact Disc) A CD can hold between 650 and 700MB (depending on type) and is ideal for the transfer of large or multiple files. Most computer users now have a CD-ROM built into their machine, making it one of the most widely accepted methods of data transfer.
DVD (Digital Versatile Disc) A standard DVD can hold around 4.5GB worth of information so is ideal for very large projects with lots of images, etc. As technology is advancing, DVDs are being developed to hold even more data than this. DVD, however, is still a relatively new media type and if you have the facilities for writing DVDs it is always advisable to check that it is an acceptable method of data transfer with the end user.
Email ISDN
CD DVD
0
500MB
1G
2G
3G
4G
5G
Above: Table comparing capacity of data transfer methods.
Data Transfer Options
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L Size Paper Sizes ISO Paper Series O
1
3
5 6
4
2
The ISO system ISO paper sizes, illustrated above, are derived from an AO size rectangle which has the area of one square metre. There are a number of different paper ‘series’ which use the ISO system for determining sizes: 1. ‘A’ sizes are intended to be the finished job sizes 2. ‘RA’ sizes are to allow grip on the printing press 3. ‘SRA’ sizes allow for both grip and bleed 4. ‘B’ sizes allow for oversize formats
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Size
Standard Sheet Sizes A series
mm
B series
mm
A0 A1 A2 A3 A4 A5 A6
841 x 1189 594 x 841 420 x 594 297 x 420 210 x 297 148 x 210 105 x 148
B0 B1 B2 B3 B4 B5 B6
1000 x 1414 707 x 1000 500 x 707 353 x 500 250 x 353 176 x 250 125 x 176
RA series
mm
SRA series
mm
RA0 RA1 RA2 RA3 RA4
860 x 11220 610 x 860 430 x 610 305 x 430 215 x 305
SRA0 SRA1 SRA2 SRA3 SRA4
900 x 1280 640 x 900 450 x 640 320 x 450 225 x 320
Standard US
mm
8.5" x 11" 17.5" x 22.5" 19" x 25" 23" x 29" 23" x 35" 24" x 36" 25" x 38" 35" x 45"
216 x 280 445 x 572 483 x 635 584 x 737 584 x 889 610 x 914 635 x 965 889 x 1143
B series considerations Unlike the other metric sizes above, there are many derivatives of the B series. B stock sizes differ from the theoretical B sizes listed above. For example B1 can be 720 x 1020mm, 720 x 1010mm or 700 x 1000mm – all are regarded as B1 size. To avoid confusion, either stipulate the size or check the dimensions of the sheet.
Size
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Imposition and Planning Pagination Printed work is most commonly produced in multiples of 4pp sections, ‘pp’ means ‘printed pages’ and indicates the number of printed sides. These 4pp sections are then imposed and planned up by the printer. It is at this point that the printer will make allowances for margins and gutters between pages. This is so that they can be machine folded and then ‘finished’ into the final job, either being bound in sections (multiples of 4pp in a ‘section sewn’ document) or gathered (in 4pp sections) for ‘saddle stitching’. It is possible to work out an economical format using the dimensions of the sheet and remembering that jobs are produced in 4pp sections. It is however, important to check with your paper merchant or printer that you have allowed enough room for trim, margins and gutters. An example is as follows: using a 720 x 1020mm (B1) sheet size it is possible to print a 32pp text section in a size of 245 x 165mm which would maximise the use of both paper and print areas.
16 pages to view on a sheet (a 32 page section)
4 page section
Web Offset Formats A web-fed press prints on a continuous roll of paper. The width of the press and the circumference of the impression cylinder dictates the maximum available printed area. Web Offset printing is also referred to as HSWO (Heat Set Web Offset) and the following points are worth noting: 1. Web is a fast production process, typically printing at 40,000+ impressions per hour compared to sheet fed at 10,000 – 12,000 impressions per hour. 2. Web presses have a built in folder and will bring off all their sections folded, for sheet fed this is an extra off line operation. 26
Size
3. Web offset is better at printing on light weight papers. With sheet feed 70gsm / 80gsm is the minimum weight typically, whereas 45gsm / 56gsm and 60gsm are common weights for web. Popular finished sizes for jobs printed using Web Offset, which are generally considered economical (depending on the press size and material combinations), are A3, A4, A5, and a size peculiar to Web printing called “Delta� (196 x 210mm). Many non A sizes are still printed, often wasting paper to achieve the result. However the advantages (mainly speed) of web production can outweigh the cost of paper wasted and the offcuts are always recycled. Information about Web Offset gratefully supplied by www.webmartuk.com
Mailing Envelope Sizes The standard envelope sizes listed below have been developed to accommodate standard paper sizes. DL format envelopes accommodate an A4 sheet folded into thirds.
C series sizes
mm
Other sizes
mm
C0 C1 C2 C3 C4 C5 C6 C7
917 x 1297 648 x 917 458 x 648 324 x 458 229 x 324 163 x 229 114 x 162 81 x 114
DL +DL +C5
110 x 220 114 x 229 162 x 241
Standard US sizes
mm
No 10" Monarch No 6.25"
105 x 241 98 x 190 92 x 165
Size
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Envelope Styles Diamond flap
Pocket shape
Wallet shape
Self seal wallet
Postage Costs In the UK postage costs are calculated using a combination of the overall size and weight of an item. The classifications below will give an indication of this system. Check www.royalmail.co.uk for the current pricing structure. Packet more than 353mm (L) or 250mm (W) or 25mm (D) max weight depends on service Large letter max size 353 x 250mm max depth 25mm max weight 750g Letter max size 240 x 165mm max depth 5mm max weight 1OO
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Size
M Format Folding Types of Fold 6 page standard fold
8 page concertina fold
Parallel map fold
French fold 8 page
8 page parallel double fold
12 page concertina letter fold
endorsement fold
Format
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Folding Considerations Grain direction After printing, most jobs will require some degree of ‘print finishing’ which will usually involve folding the paper or board. When paper is made, most fibres will lie parallel to the direction in which the paper machine is running. When folding a printed job it is generally desirable to make a fold parallel to the grain for the following reasons: 1. The paper will fold more easily and is less likely to crack or buckle. 2. Text pages will turn more easily if the grain is running head to foot. 3. Paper is a natural product and is affected by moisture in the atmosphere. Fibres in the sheet will take up moisture and swell sideways not end to end. Therefore if the printed text paper is not parallel to the grain, the foredge of the book MAY become wavy as the ends of the fibres are exposed as opposed to the sides of the fibres. Long and short grain ‘Long grain’ is the term given to paper where the fibres run parallel to the long edge of the sheet. ‘Short grain’ means the fibres run parallel to the short edge of the sheet. Long grain
Short grain
Scoring Heavy paper and board weights need to be scored before folding, to prevent cracking and buckling and to ensure a sharp, clean fold. This is generally done by using a ‘male/female matrix’ which results in a raised ridge on the inside of the fold. Matrix crease
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Format
Multiple Folding There are some jobs such as maps where the design requires a sheet, or a number of sheets, to be folded down many times without any form of binding so that the finished size of the job is much smaller. A common problem that can occur with multiple folds is what is referred to as a ‘crows feet’ where unsightly wrinkling appears, spreading out from the points of the folds. This creasing is caused by numerous folds on top of each other, and also trapped air being forced out under pressure. Generally the problem can be alleviated by not folding material onto itself each time as this reduces stress and allows air to escape. If the material can be concertina folded one way and then concertina folded the other, crows feet will normally be avoided. Note: Paper can be folded a maximum of seven times (perpendicular folds onto itself) but this number of folds can’t be done neatly.
Common Bindings Square Back Binding (Adhesive) Brochures, hardcover books and magazines with a thickness greater than 5mm will use one of these three main types of adhesive binding, which look much the same but are different. Section sewn Printed sheets are machine folded into sections (commonly 16pp) and then sewn in the folded spine using thread. The sections are then gathered and glued together along the spines. This is the traditional method for optimum strength and durability and will be used for hardcover books and prestigious soft cover brochures. This method also slightly increases the thickness of the spine. Perfect binding Printed sheets are machine folded into sections (commonly 16pp). The sections are collated and gathered, have their folded spines shredded off (this is so glue has better adhesion), and then are glued together along the spine. This is the method used for most magazines and paperbacks as it is economical, however pages can eventually drop out. PUR (Polyurethane Reactive Hotmelt) The same method as perfect binding but using a much stronger adhesive which (in theory) will not fall apart. It is used for brochures, manuals and report and accounts.
Format
Square back binding
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Wire Stitching Saddle stitching This is the commercially used term for stapling. The folded sections and cover are put over a mechanised ‘saddle’ and the stitching wire is then punched through the outside of the spine. A claw comes up from the inside of the saddle and presses the ends of the wire flat on the inside. It is after stitching that the job is trimmed on all remaining three sides. Loop stitching This is a variation of wire stitching where the wire is formed into a loop on the spine of the job. The wire loop protrudes about 6mm from the spine and enables documents to be easily filed in ring binders. If using this method, it is important to specify the correct measurements in between the loops. Stab or Side stitching This is another form of wire stitching, where the wire penetrates the whole thickness of the document from front to back cover. It is commonly used for cheque books and the wire is often covered by binding tape.
Saddle stitch
Loop stitch
Side stitch
Wire stitching: the ‘creep’ issue Because a wire stitched document is made up of 4pp sections, the number of printed pages of the document will start to affect the physical properties. The inner sections will start to protrude beyond the outer pages (see diagram). Adjustment must be made at the planning stage to avoid problems with printed matter getting too dose to the trimmed edge. Responsibility must be assumed and agreement should be reached at the start of a project about who will make the adjustments.
trim
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Format
Specialist Bindings Case Binding Case binding is the industry term for a hardback book. The ‘case’ is the hard outer cover and is ‘married’ with the text block by glued ‘end papers’. This is the most traditional binding method and can be done by hand or machine. The parts of a Case bound book 1 Spine 2 Headcap 3 Headband 4 Squares 5 Head 6 Front board 7 Inner joint 8 Foredge 9 Rear board 10 Fixed end paper 11 Tail 12 Free end paper Rounded spine Usually with sewn sections. With Joint or Groove.
1
2
3
4
8
9
5
6
7
10
11
12
Flush joint Usually with sewn sections. Without Joint or Groove.
Joint/Groove Tight back Usually perfect bound. Covers glued to back of book.
Flat back Always with Joint.
Information about case binding gratefully supplied by www.waytebinding.co.uk
Format
33
Wire-O Binding This is a binding system where holes are punched through both the text and cover and wire loops are inserted and closed into position. There are a number of Wire-O binding formats and they are reproduced below. In each case the Wiro-O binding is indicated in red. Standard Wire-O The wire loops penetrate the front and back cover and through the pages, leaving the wire exposed on the spine.
Standard Wire-O with flap As per a Standard Wiro-0 but the cover has an extended flap which folds around the pages making a spine at the front of the book.
Concealed Wire-O in soft cover As per a Standard Wiro-0 but with the end paper or back board glued into a soft cover.
Case bound Wire-O As per a Standard Wiro-0 but with the end paper glued into a hardback traditional bookbound case.
Reverse fold standard Wire-O The wire loops penetrate the cover and the pages. The cover is then folded back on itself to form a double thickness back cover and a spine concealing the Wire-O.
Half Canadian Wire-O The wire loops go through the back or the front cover allowing a visible spine.
Wire-O® is a trademark registered to James Burn International
Singer Sewn Thread is sewn through the printed pages of a book. This is done on a ‘saddle’ with the thread going through the spine in the same way that a saddle stitched (stapled) job is produced. The thread runs all the way from the bottom to the top of the spine. It is produced using a ‘Singer’ sewing machine, which works on the same principal as a normal domestic sewing machine.
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Format
Side Sewing Also produced using a ‘Singer’, in this instance the thread penetrates the whole thickness of the book. so is visible on the outside covers. Normally the sewing is set 5-10mm away from the spine. This does affect the readable area of the text pages.
Japanese Binding Traditional Japanese binding is extremely complex and creates very dramatic effects. However it usually involves the use of one piece of exposed thread or twine which penetrates the text and cover, linking the holes on the outside of the cover and wrapping around the spine. The holes are generally in groups of even numbers, four being the most popular.
Three Hole Sewn This describes a ‘looser’ binding method which is ideal for small booklets and sections. The thread is sewn into the spine through three holes and is fastened with a knot on the inside.
Format
35
Stud or Screw Binding Holes are punched through both the text and cover. A nut with a sleeve and a bolt is then inserted and screwed together. The screws are usually made from brass or plastic. If the cover is folded back on itself the nut can be hidden.
French Folding ‘French folding’ describes a job which has a folded edge on the foredge. It is made using 4pp sections with the open edges in the spine. It can only be perfect bound, stab stitched or side sewn.
Tip-in Pages As mentioned earlier, in general all printed work is made up by using 4pp sections. However, it is possible to ‘tip in’ different materials. An example is a ‘flysheet’ which goes in between the inside cover and the first and last pages of the text. It is often desirable for this to be another material such as a translucent paper. In a saddle stitched document it must still be done in a 4pp section — wrapped around the outside of the text block. In an adhesive bound job. single leaves (2pp tip-ins) would be dropped in at the front and back of the book and glued in. Tip-ins can be placed in other positions in adhesive bound jobs but it is always more economical if they fall in between the folded sections.
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Format
N Stock Content Paper Making Pulp The majority of paper is made from woodpulp which contains a mixture of hard and soft wood fibres. Pulp is made from logs which are ‘chipped’ and processed mechanically and chemically before being bleached. These fibres are then ‘pressed’ on a continuous machine which forms sheets of pulp which look like crude sheets of thick card. This is then collected into half tonne bales ready to be used for paper making. Fibres such as Hemp and Bamboo can also be used but with current technology, wood is the most efficient fibre source. The paper making process A paper machine is large, typically 4 metres wide and over 100 metres long. Bales of refined pulp are tipped into a ‘Hydropulper’ which breaks the pulp up by adding huge amounts of water and movement. After several more refining stages the ‘stock’, now 99% water and 1% fibre, is pumped to the start of the paper machine called the Headbox. The stock is sprayed onto a fast moving mesh which due to gravity allows most of the water to fall through the mesh. The remaining fibres are ‘matted’ together on the mesh forming a knitted ‘web’ of interlocked fibres (if you tear a sheet of paper you can see the fibres). The web of paper which is still about 60% moisture passes through the press section which compacts the fibres and removes more moisture before entering the drying section which finally reduces moisture by use of steam heated drying cylinders. The web is then wound into large rolls at the end of the machine which can weigh 30 – 100 tonnes. Paper converting The large rolls are then slit into smaller rolls which can either be used for web offset printing, or cut into sheets.
Stock
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Types of Paper Uncoated Uncoated papers come in a wide variety of finishes and qualities. They are often described as ‘Offset’ or ‘Cartridge’ papers. These are typically rougher and used for more general uses such as envelopes and pads. Laser papers are generally smoother and designed to work well for office printing. Uncoated ‘Text and Cover’ papers are usually of the highest quality for excellent reproduction in brochures and will generally show very good results when printing solids and four colour imagery. Coated It is worth remembering that all papers begin life as uncoated. Coated papers are produced by applying a coating mixture of china clay, chalk and latex. This can be done either on the paper machine (at the end of the drying process) or on a coating machine. Applying a coating has the effect of making a sheet smoother and more receptive to the ink resulting in a technically superior printing surface. ‘Matt’ coated papers are produced by the application of the coating which is scraped off using a very sharp blade, leaving a smooth matt finish. Silk finished papers are produced by slightly ‘calendaring’ (which means polishing) using heat, pressure and polished rollers. High gloss papers, sometimes referred to as ‘Art’ papers, are produced by coating the paper, exactly as a matt coated, but then subjecting the paper to extreme pressure, very high temperature, and highly polished rollers. Textures and finishes There are a variety of different finishes which can be applied to paper both during the papermaking process and after. The characteristics of ‘Laid’ papers (with narrow linear patterns, commonly used for stationery) and ‘feltmarked’ papers (textured like artists’ paper) are produced during the paper making process. Embossed papers that look like leather or linen are produced after the papermaking process with the pattern being pressed into the paper by a heavy steel roller. Selecting the right paper The production of printed literature necessitates that paper must always be looked at as part of the design and ideally should be considered at the beginning of a project. Think about these questions: Is paper going to add anything to the design? By selecting the right type of paper will I help answer the brief any better? Have I considered the extra cost of using selected paper? Have I considered the damage that can be done by selecting or accepting an inferior paper for the job?
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Stock
Either when choosing a paper or when the job is ready to be talked through with the printer, it is a very good idea to have a ‘dummy’ made. This can either be done by you, the printer or paper merchant. The production of a plain paper replica means that you can judge the overall appearance, bulk and weight. It is only at this stage that you can be confident that the choice of material is practical and successful. It is also the time to see the material, the shape and the binding or folding working together.
Weight Paper Characteristics All papers are manufactured to a given specification. Usually this will involve a substance (weight), a thickness (bulk), and a shade or colour. Below are descriptions of some useful common terms: GSM This is the abbreviated term for ‘Grams per Square Metre’. In the metric system, the weight or substance is expressed as gsm or gm2. It is calculated by the physical weight of one sheet of paper measuring 1 x 1 metre. In reality, no one actually folds down a sheet of paper that large to weigh it, so it is generally measured using a scaled down measure of 10 x 10cm. Bulk The thickness or caliper of a sheet of paper is often described as ‘bulk’. It is measured using a micrometer and expressed in microns. Paper and Board Substances up to 170gsm are generally classified as ‘paper’ weights. Weights above 170gsm are usually classed as ‘board’. Colour / shade Most paper made is white. Coloured paper is made by adding dies to the pulp and (on some paper machines) later in the papermaking process. When paper is made it is constantly monitored to give a consistent shade and colour. Special paper weights There are instances where specific weights have been developed for particular uses or economical manufacturing, for example: Tissue paper 17-22gsm; Airmail paper 33gsm; Bible paper 28-60gsm; Newsprint 45-48gsm; Bank paper 28-44gsm.
Stock
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Impacts Paper and the Environment Unfortunately paper often gets bad press. Paper is a totally natural product. It is also (in theory) totally sustainable, biodegradable and recyclable. There are few other manufactured products that can claim this. Of course, there are environmental issues, as with any manufactured product. In the case of paper they are as follows: Sustainability There are a number of schemes which offer certification that trees used in production have come from regulated forestry. www.fsc.org www.pefc.org www.svanen.nu Recycling Recycling plays an increasingly important part as a fibre source for paper. It is however not a ‘cure all’ and recycled paper should be chosen where appropriate such as newspapers, packaging and some graphics uses. Bear in mind that highly processed, heavily bleached bright white ‘recycled’ papers may not be the best environmental choice. www.blauer-engel.de
Disposal If paper cannot be recycled for whatever reason, there are still environmental plus points. Paper is entirely biodegradeable, it can be easily composted, and it can also be incinerated cleanly, in comparison with other products. www.foe.co.uk/resource/briefings/paper_recycling.html Conclusion Paper is a natural product, its’ use, re-use and disposal can be truly sustainable although there is a long way to go. Use of environmentally friendly and recycled papers can play a part in a company’s ‘green’ strategy but look deeper at the issues and consider the appropriateness of the end product and the claims that are being made.
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Useful Terms Acid Free Papers which have a pH value of 7.0 or above and do not contain free acids — which cause premature ageing of paper. An essential quality for books and documents that require a long life span. Art Paper Highest quality mineral coated paper. The coating results in an exceptionally smooth paper, with high brightness and opacity, and even ink absorption. Bank A thin and strong paper of between 45-60gsm originally used for duplicate typewriter copies. Bond A writing paper similar to bank but of higher grammage, above 60gsm. Calendering
The smoothing of the paper by passing through a series of roll nips. There are two types: ‘machine calendering’ done on the papermaking machine with metal rolls, and ‘super calendering’ done as a separate operation with alternative metal and soft rolls. Cartridge Originally the term had a precise meaning and was the paper used for making gun cartridge cases. It was a strong paper with a fairly rough surface. Cartridge papers are now understood to be uncoated, reasonably even-sided sheets for offset litho printing. Cast Coated Top quality paper and board with excellent smoothness and the glossiest surface. Suitable for prestige work. In spite of its appearance, the surface is quite porous making it necessary for special inks to be used. Chromo Paper and Board Usually one side is coated, having a heavy coating weight and containing the best types of mineral pigments. Often used for book jackets and labelling applications.
Stock
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Deckle edge This term refers to the feathered edges of sheets of paper made by hand, or in a mould. This can add prestige to the appearance of the job when retained in the format. The Deckle edge produced on a paper machine is also a feathered edge which is trimmed off just before the reel is wound. Dimensional Stability Changes to the dimensions and flatness of paper and board that occur with variations in its moisture content. Duplex Board Board made up of two layers of different paper material or colour. Equilibrium Relative Humidity When a paper is in moisture equilibrium with the atmosphere to which it is exposed. In this state the edges of the sheet will not distort. This is particularly important for offset litho printing, where there is 100% contact with the paper in the printing nip. It is also important for colour register work. For the UK, printing paper should be delivered in equilibrium with 50-55% relative humidity at 23°C. Formation The manner in which fibres are distributed in paper, which can be seen when examined with transmitted light (the look through). The extremes are ‘even’ and ‘wild’ (blotchy). The former is desirable for printing quality but is more difficult to achieve with strong papers. Ivory Boards Were once ivory coloured, but are now often white with a smooth finish, even formation and have been made with an exceptionally smooth surface. MF (Machine Finished) Uncoated paper which is calendered on the end of the paper machine with a stack of metal rolls. Has good bulk, is not particularly smooth but is excellent for bookwork without halftones. MG (Machine Glazed) Paper that has dried on the papermaking machine with a single very large drying cylinder, known as a ‘Yankee drier’. The side of the paper in contact with the drying cylinder, normally the wire side, is given a gloss finish, the reverse side remaining rough. Used for posters and packaging.
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Metallic Papers These include metal foil laminated to base paper, coated paper printed with metallic ink, or coated paper with aluminium deposited on it while in a vacuum. These papers are suitable for labels and expensive decorative boxes and can be produced either one sided or two sided. Mould-Made Paper A good imitation of handmade paper. It is made on a cylinder mould and varying sized sheets of paper can be produced with four deckle edges. Optical Bleaching Agent (OBA) An almost colourless substance used in paper to improve brightness by converting ultra-violet light into visible light. Is not effective in tungsten light and ironically the source that makes it effective, sunlight, also destroys it. For this reason, paper and boards that contain large amounts of OBA should not be used in window displays as they will soon yellow. Surface Sized The application of a liquid, ie starch or alginate, to the surface of the paper by a size press in the drying section of the papermaking machine. The treatment increases the surface strength of the paper as necessary for offset litho printing, but also for improved print gloss and print density. Twin Wire Machine A papermaking machine that has two wires on which separate webs of paper are formed. The two webs are brought together and pressed and dried as a single sheet. Wire Side The side of the paper which was in contact with the wire on a Fourdrinier machine. On uncoated paper it is the poorest side for print quality, but the strongest. There is less filler present and it carries the impression of the pattern of the wire, although most current papers are much better in this respect. Woodfree Paper Paper that is primarily made from chemical wood pulp, with no greater than 10% mechanical wood pulp, which is used for the best grades of paper.
Stock
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Glossary of Terms A A Sizes – Common sizes of paper used in the printing industry. The A0 sheet (841x1189mm) is one square metre and smaller sizes are A1, A2, A3, A4, etc. Adobe – A leading producer of professional graphics and desktop publishing software including: Acrobat, InDesign, Illustrator, PageMaker and Photoshop. Adobe Acrobat – A suite of programs from Adobe which creates, edits, and manipulates PDF files. Acrobat Distiller (Adobe) – Part of the Adobe Acrobat family of products. Distiller is the main engine for turning PostScript files into PDF documents. Acrobat Reader (Adobe) – A freely distributed software program from Adobe used to view PDF files. Annotation – Notes that are added to a PDF to show any required amendments or additions.
B Bitmap – An image or graphic composed of pixels in a grid. Also known as raster or fixed resolution image. Black – The key colour of the four process inks CMYK used in process printing. Also a typeface with heavier and thicker strokes than found in bold type. Bleed – When an image or element on a page extends beyond the trim edge to allow for deviations in cutting the paper to finished size. The amount of bleed allowance may vary, depending on the method of printing and the press used. Bold – A typeface with thicker strokes than regular text.
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Glossary of Terms
C Centre Marks – Vertical lines used to indicate the centre of a 2-page spread for folding or cutting. Also known as fold marks. Clip Art – The term for non-photographic graphical images that can be used in their original state or as a starting point for creating custom images, available in both bitmap and vector formats. CMYK – The four ink colours used by the printing press: C for cyan, M for magenta, Y for yellow and K for black (known as the key colour). Colour Separations – Artwork that has been split into its individual colour components in preparation for printing. Cyan, yellow, magenta and black colour separations would be produced for a process job. Crop – To cut off unwanted parts of a picture or image. Crop Marks – Lines placed at the corners of an image or a page to indicate where to trim it. (Also known as tick marks.) Cyan – The blue-green shade of the four colours used in process printing.
D Desktop Publishing – The production of page designs, including typesetting and the placement of graphics, images and photographs, on a computer. DPI – Dots per inch. A measure of the resolution.
Glossary of Terms
45
E EPS – Encapsulated PostScript. This is a vector file format based on the PostScript language. It is considered the best choice of graphics format for high resolution printing.
F Font – Style of text. Also known as a typeface. FreeHand (Macromedia) – One of the leading vector drawing software packages.
G GIF – Graphics Interchange Format is a low resolution bitmap graphics format that supports transparency and animation, primarily used on the internet.
H Halftone – Tone represented by a series of evenly spaced dots in varying size, shape and direction. High Resolution – Images contained in a page are of sufficient pixels per inch to render high quality print. Usually 300 pixels per inch (ppi).
I Illustrator (Adobe) – One of the leading vector drawing software packages. A key element of Adobe Creative Suite. InDesign (Adobe) – Professional desktop publishing software package that replaced PageMaker. A key element of Adobe Creative Suite. Image area – Portion of paper on which ink can appear. Italic – Typeface that slants to the right. A true italic font is drawn from scratch with unique features and not just a tilted version of the standard typeface. Imposition – Ensuring that the number of pages are produced in the job are correct to create the ‘imposed document’ eg: 4pp, 8pp, 12pp, 16pp, etc.
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Glossary of Terms
J JPG/JPEG – A bitmap file format developed specifically for photographic images by the Joint Photographic Experts Group. Justification – Another term for alignment, justification is the aligning of the top, bottom, sides, or middle of text or graphic elements on a page. Text can be left or rightjustified, justified text typically refers to text that that is aligned to both the left and right margins.
L Low Resolution – Images contained on a page that are not suitable for printing, but are sufficient for email transmission and online approval, normally 72dpi. Lines per inch – The number of rows of dots per inch in a halftone. Leading – Terminology used to determine the distance between the base line of each line of text.
M Macromedia – A leading producer of professional print and web software including: FreeHand, Director, Flash and Dreamweaver. Magenta – The red/pink shade of the four colours used in process printing.
O Overprint – When one ink prints on top of another, changing the colour underneath.
P Pantone – The founding company of PMS (Pantone Matching System). PageMaker (Adobe) – Professional desktop publishing software package, replaced with InDesign.
Glossary of Terms
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PPI – The number of pixels per inch in a bitmap image. PDF (Portable Document Format) – A universal file format that is readable by most computer platforms. Photoshop (Adobe) – The leading image editing software package. A key element of Adobe Creative Suite. PMS (Pantone Matching System) – A universal standard for matching spot colours. Point – A unit of measure that is the standard for measuring type. Process Colours – Also known as CMYK – the four ink colours used by the printing press: C for cyan, M for magenta, Y for yellow and K for black (known as the key colour). Proof – A representation of an artwork file. Hard copy proofs are printed on paper, usually by digital methods. Soft proofs are on-screen only, usually in PDF format.
Q QuarkXpress – Professional desktop publishing software package.
R Raster – An image or graphic composed of pixels in a grid. Also known as a bitmapped image. Registration marks – Cross-hair lines or marks on artwork, film and plates that aid the positioning of the printed image in relation to the other colours. RGB – Refers to the three main elements, red, green and blue, from the colour model used for devices that create colours using light, such as a computer monitor and television. Resolution – Refers to the number of pixels per inch of images contained on a page. eg 72ppi for on-screen view, 300ppi for print quality.
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Glossary of Terms
S Separations – Artwork split into individual colour components in preparation for process printing. Spot Colour – A specially mixed ink used in printing. Usually a PMS, metallic or fluorescent colour. Spread – Adjacent pages laid out for printing.
T TIFF (Tagged Image File Format) – A bitmap graphics format that is ideal for high resolution printing. Trim – To crop.
V Vector – A type of graphic that is composed from straight lines and curves, making it resolution-independent and fully scalable. Vignette – An area of colour that gradually changes from one colour to another.
Y Yellow – An element of the four process inks, CMYK, used in process printing.
Glossary of Terms
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May09