Artwork
Contents
Page 02
Artwork & Cost
Artwork
Contents
Page 02
Contents
___Artwork Fonts Trapping / Overprint Trims / Bleeds Ink Rub / Web Growth Format / Tiff & Jpeg Resolution / Re-sizing TAC / Spreads
06 08 10 12 14 16 18
Cost
20
Fonts
Artwork
06
Artwork
___Serif Vs Sans Serif Nearly all books, newspapers, and magazines use a serif font for body copy. It’s popularly accepted that, in print, serif fonts are easier to read. The idea being that the serifs actually make the letters flow together – and subsequently easier on the eyes. It’s been said that serif fonts are for “readability,” while sans-serif fonts are for “legibility.” Which is why, in print, sans serif fonts are often used as the headline font and serif fonts are used for the body text. The conclusion being that serif fonts are easier to read when it comes to fonts on paper, but sometimes that isn’t appropriate (like this publication).
___True Type
.___Using for Print
TrueType is an outline font standard developed by Apple computer in the late 1980s as a competitor to Adobe’s Type 1 fonts used in Postscript. It has become the most common format for fonts on both the Mac OS and Windows operating systems.
It it useful to use TrueType fonts for print because they was purposely designed to look exactly the same on paper as they do on screen.
___Outlines The outlines of the characters (or glyphs) in TrueType fonts are made of straight line segments and quadratic Bezier Curves. These curves are mathematically simpler and faster to process than cubic Bézier curves, which are used both in the PostScript fonts.
07
___Reversed Out Lettering Reversed 1-1 out lettering, or knocked out type, should be out of a minimum of colours. Type or objects smaller than 10pt in size should ideally be reversed out of one colour only. Small letters reversed out of multiple colours, particularly fonts with fine serifs - will show colour in white type areas even with the slightest misregistration on press. Check to ensure that reversed-out lettering does not become illegible due to the text’s background.
Trapping & Overprint
Artwork
___Drawing without Trapping
___Printed Result with Bad Registration
___Drawing with Trapping
___Printed Result with Bad Registration
___Trapping is a pre-press technique used to compensate for registration errors in lithographic printing and is the process of adding a slight overlap between adjacent areas of color to avoid gaps caused by misalignent. A litho press requires each colour separation to be laid down one at a time over the next in a particular order.
08
In four colour process printing, this order is KCMY or in other words, black followed by cyan, then magenta and lastly yellow. Each plate needs to be perfectly aligned to avoid what we call misregistration. As you can see in the diagram above when trapping is applied, even with bad print registration, there is no white gaps and the overlap would be so small that it wouldn’t be visible to the human eye.
Artwork
___Locking Out
When overlapping images, the colour on top will block out the colour underneath. The standard for CM and Y is that they will lock out each other. Because Black is a dark ink the default for that is to Overprint, On top of other colours.
___Overprint
What is interesting is that we can change how colours block out and overprint. For example, when using a Spot Colour to specify a gloss varnish. The way we do this is choose a colour that isn’t used in the document but tell the printer to not print that colour but use it as a spot varnish. The colour will default and block out the colours underneath, but if I need it to be a varnish I have to change this to overpeint
09
Artwork ___Guides
___Bleed
___Slug Area
Columns and Guides are there to aid your layout design but have no consequence on the final layout.
Bleed is the most important. Anything that goes to the edge of the page should extend off the edge. The reason for this is when it’s trimmed down there are no white edges if there are slight trim errors. Always include a Bleed Margin. The common standard is 3mm though.
The Slug Area is outside the page that will be trimmed off eventually. This is used for trim marks, crop marks, registrations marks and any other printers marks. You can take advantage of the slug area to put in our own trim and fold marks outside of the page.
___Margins
Trims & Bleeds
Margins aid you to have a consistent empty space around each page which helps fro print.
10
Artwork
___Blue Line Slug Area ___Red Line Bleed ___Black Line Edge of Paper
11
___Purple Margin
Artwork
Ink Rub & Web Growth
Ink can be transferred through abrasive contact on press and bindery handling systems during the manufacturing process. Matt and silk/satin papers are particularly susceptible to ink rubbing. Consideration can be given to this at the design stage. Where possible avoid facing pages of heavy ink coverage against white, unprinted pages. Where possible avoid designs where the outside front cover is heavily inked and the outside back cover has large areas of white space or vice versa. If this is unavoidable, consider a seal, which can sometimes prevent marking.
12
Artwork Paper has a tendency to expand as it absorbs moisture and shrink when it loses moisture. In the heatset web offset process heat is applied to the paper in order to flash off solvent and dry the ink. After heating the paper is cooled, and a layer of silicone emulsion is applied to “recondition� it. The heating of the paper removes a percentage of the moisture content which cannot be replaced in the printing process. The width of the web will have reduced by several millimetres when it leaves the press, which results in about one millimetre of shrinkage per page. In sheetfed printing the opposite occurs. Paper takes up water in the printing process and may stretch due to water absorption
When sheetfed covers are bound with web offset sections, the covers are trimmed flush with the inner sections. After the trimming the covers release moisture into the air and the web offset sections absorb moisture from the air. The covers may shrink slightly and the web sections will grow and hence show a difference in size. Since the industry-accepted best-practice is to run paper grain parallel to the spine, web growth beyond the sheetfed cover will normally be evident on the fore-edge. This effect is common within the printing industry and is most often seen when sheetfed covers are bound with web offset sections. It may be possible to minimise the impact of this effect by careful design of the cover and page one of the content. Speak to your Production Controller at Headley Brothers for advice.
13
Artwork
Format, Tif & Jepg
___Image File Format Image file formats are standardized means of organizing and storing digital images. Image files are composed of digital data in one of these formats that can be rasterized for use on a computer display or printer. An image file format may store data in uncompressed, compressed, or vector formats. Once rasterized, an image becomes a grid of pixels, each of which has a number of bits to designate its color equal to the color depth of the device displaying it.
___Compression There are two types of image file compression algorithms: lossless and lossy. Lossless compression algorithms reduce file size while preserving a perfect copy of the original uncompressed image. Lossless compression generally, but not exclusively, results in larger files than lossy compression. Lossless compression should be used to avoid accumulating stages of re-compression when editing images. Lossy compression algorithms preserve a representation of the original uncompressed image that may appear to be a perfect copy, but it is not. Often times lossy compression is able to achieve smaller file sizes than lossless compression.
14
Artwork
JPG is the standard file format of most of consumer-quality digital cameras and is supported by most imaging software. JPEG offers efficient file sizes for uploading/posting on websites or emailing as attachments. JPEG uses lossy compression, meaning some image data is lost when the file is compressed and then uncompressed. The amount of compression can vary, with more compression meaning more data loss but resulting in a smaller file. JPEG, like TIFF, is a good bet for a long term archival format. Uncompressed TIFF is an excellent choice for archiving images when file size is not a consideration as uncompressed TIFF files are larfer JPEG.
15
Re-sizing & Resolution
Artwork
16
Artwork ___300 DPI
___72 DPI
___Resolution
___DPI
Resolution is basically the measurement of how many dots/pixels fit into one inch.
DPI stands for ‘Dots Per Inch’ and this refers to a printed document, and the amount and spacing of the Cyan, Magenta, Yellow and Black dots
The resolution of an image refers to the density of the pixels (or printed dots) that make up that image or graphic. The higher the resolution, the crisper and more detailed the image will be. A lower resolution will be fuzzy, and less detailed. Image resolutions are measured in DPI (Dots Per Inch) and PPI (Pixels Per Inch). There are differences between the two
The higher resolution, the sharper the image will be. The recommended resolution is 300 dpi (dots per inch) for crisp, clear results as most printers are set to 300dpi or even 600dpi. Lower resolution images appear fuzzy, jagged and blurry.
___PPI PPI stands for ‘Pixels Per Inch’ and this refers to the pixels on a screen. They aren’t the same thing, but designers and print professionals tend to use the terms DPI and PPI interchangeably. Sometimes they’ll say DPI but mean PPI.
Computer monitors are generally 72dpi and this is the default setting in photoshop. It is important you ensure all documents that are designed for print are set to at least 300dpi as it may look okay on screen at 72 but will look pixelated when printed.
17
___20 DPI
___Resizing When altering an image size in Photoshop you have two options, resize or resample. If you resample (the default option in Photoshop), you’re altering the pixel size of the document. If you resize (Uncheck the resample box), you’re altering the resolution and therefore the printed size of the document. As we know, resampling a document up is bad. Photoshop will have to guess what pixels to insert into the gaps. Resampling a document down is OK, as we’ve already got more than the amount of pixels we need.
Artwork Total Ink Density, or total area coverage as it is sometimes referred to, is the total amount of ink in one area of the page.
TAC & Spreads
For example, if the background of your piece is made up of 100C 80M 80Y 100K, the total ink density would be 360% for the background. Too much ink can cause appearance issues, such as muddy colors or ink puddling, and therefore total ink density needs to be capped at 290%. Source Interlink Media Prepress Department will reduce the ink density of any ads that are outside of our specification to 290%. Since color is subjective, it is important that the total ink density be adjusted prior to submitting your materials.
18
Artwork When designing for print, there will be times when you need to transform readers’ spread designs into printer spreads when going to press. This can be really confising and if you designing using Adobe Indesign it automatically does this. However, thats not always the case so i’ts importnat to learn a little trick to make sure everything fits together properly. If you make a two column grid, you can start on the right hand page and make your way down diagrnoally to the bottom then make your way back up to the top to see which pages will sit next to each other. As you can see here, Page 8 and 1 are togheter, as are page 2 and 7.
19
___Cost Estimates 8 Page 4 Colour Gloss Brochures
Commercial Costing
500 - $253 1000 - $450 10,000 - $800 100,000 - $6000 4 Colour Gloss Business Cards 500 - $30 1000 - $55 10,000 - $350 100,000 - $2500 20 Page 4 Colour Gloss Catalogs 500 - $798 1000 - $1300 10,000 - $10,000 100,000 - $50,000 4 Colour Gloss Flyers 500 - $168 1000 - $300 10,000 - $2500 100,000 - $20,000
____Design By Sam Lane sadcastle.co.uk @sadcastle ____Typefaces Used Raisonne Helvetica