Print & Web Technical Notebook | Dawson College by Steph Lebel

Print & Web Production Processes 570-369-DW Steph Lebel Group 1 F16

TECHNICAL NOTEBOOK

DESIGN & LAYOUT Steph Lebel INSTRUCTOR Gyula Zoltan Gefin TYPEFACE Circular

INDEX

History of Paper Making

Paper Making Process

Printing Paper Types

Paper Shades and Colours

Paper Weight

Finishing Techniques

Paper Sizes

Imposition

Paper Folds

Offset Printing

Binding

Glossary

HISTORY OF PAPER MAKING

“ Paper is a powerful communicator.”

Today’s high quality papers require a highly technical and accurate manufacturing process. Let’s detail the steps involved in the paper making process and the use of wood and paper for recycling.

History of Paper Making

Modern papermaking began in the 19th century in Europe with the development of the Fourdrinier machine, which produces a continuous roll of paper instead of individual sheets.

Papermaking can be traced back to China around 105 CE during the Han Dynasty. Tsai Lun, a court official invented the paper making process using mulberry, fishnets, old rags, and hemp waste. Lun’s techniques spread to Korea and Japan in 610 CE, then spread to the Islamic world in the 8th century, leading to the creation of coated papers. In the 14th century, known techniques were exported to Europe by way of Italy and were heavily improved upon.

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HISTORY OF PAPER MAKING

Today’s high quality papers require a highly technical and accurate manufacturing process. Let’s detail the steps involved in the paper making process and the use of wood and paper for recycling.

History of Paper Making

Modern papermaking began in the 19th century in Europe with the development of the Fourdrinier machine, which produces a continuous roll of paper instead of individual sheets.

Paper Making Process

PAPER MAKING PROCESS

1. WOOD is renewable raw material for the pulp and paper industry and comes from sustainably managed forests.

2. BARK that cannot be used for papermaking is stripped from the logs and used for energy. Stripped logs are CHIPPED into small pieces and recovered.

5. The fibres are then CLEANED, screened and dried. The pulp is ready to be used directly or it can be bleached into white paper. 5

Paper Making Process

4. The woodchips are CHEMICALLY PULPED to remove lignin (algea etc). Burning of the process by-products enables the whole pulping process to be energy self-sufficient.

3. Woodchips are ground to seperate the fibres. MECHANICAL PULPING is used to make high volume commodity printing products such as newsprint and magazine paper.

8 Paper Making Process

6. HEADBOX squirts a mixture of water and fibre through a thin horizontal slit across the machine’s width onto an endless moving wire mesh.

9. PRESS SECTION squeezes the web of wet papers and lowers water content to 50%.

7. PAPERMAKING The wood pulp is diluted to 100 times its weight. The fibre liquid is then run through the machine.

10. A series of cast-iron cylinders heated to a temperature in excess of 1000 C, where the web of sheets pass through and DRYING takes place.

8. The water is then removed on this WIRE SECTION. Here the fibres start to spread and consolidate into a thin mat. The process is called “sheet formation”.

Paper Making Process

10 Paper Making Process

11. FINISHING REELS AND SHEETS The papers are then wound into a reel or cut into sheets, ready for printing.

12. In the COATING process, creating color is spread onto the paper surface. The coating colour contains pifments, binding agents and various additives. Coating the paper several times often improve its printing properties. High grade printing paper is coated up to 3 times.

11 Paper Making Process

13. CALENDERING After coating, the paper can be calendered. A calendar is a device with two or more rollers through which the paper is run. The compression of the rollers and the application of heat give the paper its smooth and glossy properties like ironing shirts.

14. PAPER FOR RECYCLING is an important material for the pulp and paper industry. 14

If paper is where design leaps off the screen and into your hands, then the textural surface is the first thing you encounter as you hold the finished print between your fingers. The way paper feels is called its “hand”. Hand affects how the page is turned, how panels fold out in a book. It is the secret power of a printed piece. Carefully choosing the type of paper for your project harnesses the power to amplify your message, enhance your client’s brand, or add a tactile dimension to your design. From a bulky cover to a crisp sheet of letterhead to the supple pages in a book, the paper’s hand makes a statement. Paper also plays into the overall look of a piece. It can be slick or silky, loud or understated. it can have eye-popping gloss or an honest authentic appeal. Printing papers are roughly split into 2 categories:

COATED

UNCOATED

All coated papers have a thin layer of coating on top of the paper fiber

Light application of starch which reveals more natural texture of pulp

GLOSS crisp image reproduction

Uncoated papers may also be referred to as WRITING TEXT and COVER, OFFSET PAPER, or sometimes FINE paper.

DULL or SILK solid ink coverage and good text reproduction

MATTE lowest “glare” characteristic - good text legibility

There is a broad range of uncoated paper qualities (much more than coated): Smooth lightly polished surface Vellum no surface smoothing Linen embossed texture like linen fabric Felt textured lke watercolour paper Embossed embossed texture patterns Laid mimicking handmade paper

Printing Paper Types

PAPER BASICS AND PHYSICAL ATTRIBUTES

“ Paper is the foundation to every printed project.”

PRINTING PAPER TYPES

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PRINTING PAPER TYPES

PAPER BASICS AND PHYSICAL ATTRIBUTES

The way paper feels is called its “hand”. Hand affects how the page is turned, how panels fold out in a book. It is the secret power of a printed piece. Carefully choosing the type of paper for your project harnesses the power to amplify your message, enhance your client’s brand, or add a tactile dimension to your design. From a bulky cover to a crisp sheet of letterhead to the supple pages in a book, the paper’s hand makes a statement. Paper also plays into the overall look of a piece. It can be slick or silky, loud or understated. it can have eye-popping gloss or an honest authentic appeal. Printing papers are roughly split into 2 categories:

COATED

UNCOATED

All coated papers have a thin layer of coating on top of the paper fiber

Light application of starch which reveals more natural texture of pulp

GLOSS crisp image reproduction

Uncoated papers may also be referred to as WRITING TEXT and COVER, OFFSET PAPER, or sometimes FINE paper.

DULL or SILK solid ink coverage and good text reproduction MATTE lowest “glare” characteristic - good text legibility

Printing Paper Types

If paper is where design leaps off the screen and into your hands, then the textural surface is the first thing you encounter as you hold the finished print between your fingers.

BRIGHTNESS

Shade is an expression of where paper falls on a spectrum of warm to cool white and relies heavily on subjective evaluation. It is more important than brightness because it is about perception. There are typically three groups of white shades: blue whites, cream whites and true whites. Blue whites tend to appear both brighter and whiter and have quickly become a manufacturer favourite. Cream whites are considered on the warmer side, as it absorbs blues and cooler colors. True white papers reflect a greater amount of the total colour spectrum, making them an ideal choice for photography. COLOUR

Beyond white paper, there’s a world of papers where the fibers are dyed in the paper making process - to create paper from the lightest pastels to hyper fuorescent colours and deep rich tones. Coloured paper can be a designer’s unsung hero moment. Coloured papers add dimension and interest and often, can by themselves become a major design element, if say, used as a fifth colour in a four colour printing project.

Paper Shades & Colours

There are three primary ways to classify paper for colour and shade: brightness, shade, and colour.

“ Coloured paper can be a designer’s unsung hero moment.”

PAPER SHADES & COLOURS

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PAPER SHADES & COLOURS

White papers are graded for brightness by a standard industry test measuring the reflectance of an angled light source. Its brightness is scored between 70 and 100 (100 being the highest possible score). Brightness determines the intensity of the colour your eye sees reflected from the surface of paper. Brighter papers are preferable for transparent printing inks, and more natural shades of white are better for text-heavy pieces. SHADE Shade is an expression of where paper falls on a spectrum of warm to cool white and relies heavily on subjective evaluation. It is more important than brightness because it is about perception. There are typically three groups of white shades: blue whites, cream whites and true whites. Blue whites tend to appear both brighter and whiter and have quickly become a manufacturer favourite. Cream whites are considered on the warmer side, as it absorbs blues and cooler colors. True white papers reflect a greater amount of the total colour spectrum, making them an ideal choice for photography. COLOUR Beyond white paper, thereâ&#x20AC;&#x2122;s a world of papers where the fibers are dyed in the paper making process - to create paper from the lightest pastels to hyper fuorescent colours and deep rich tones. Coloured paper can be a designerâ&#x20AC;&#x2122;s unsung hero moment. Coloured papers add dimension and interest and often, can by themselves become a major design element, if say, used as a fifth colour in a four colour printing project.

Paper Shades & Colours

BRIGHTNESS

There are three primary ways to classify paper for colour and shade: brightness, shade, and colour.

Paper Weight

PAPER WEIGHT

When choosing paper weight, there are 5 industry terms that are used to classify a paper’s weight and substance: basis weight, GSM, M weight, caliper, and PPI BASIS WEIGHT Paper’s weight is often the first attribute a designer would consider as the beginning step in choosing paper for a project. This american-based concept of basis weight is the basis for much confusion. Simply put, the weight of 500 sheets in it basic size is a paper’s basis weight. These basic sizes vary between paper types. Notably, writing papers, text papers and cover papers. WRITING TEXT COVER

legal pads coffee table books business cards

24 lb 100 lb 130 lb

GSM Outside of North America, metrics take over, and when mills are categorizing paper, they do so by calculating the weight of one square meter of paper in a particular thickness (grams per square meter) 325 gsm 325 g/m²

(North America) (Europe)

This is the most logical and easy to understand method of classifying papers by weight. In paper sample guides, these GSM values are very commonly listed beside the basis weight for easy cross reference. 80 pound text (basis weight) = 118 grams per square meter (GSM)

M weight is used to express the weight (lbs) of 1000 sheets of any given size. This is a convenient reference for printers when they order paper because the most common denominator and basis for paper pricing is gauged by weight. In fact, anyone working around printing and paper and the graphic arts industry will often have the knowledge and experience to interchangeably refer to M weight, basis weight and GSM. Writing Text Cover

(24lb) 103M (100lb) 400M (130lb) 520M

CALIPER Caliper indicates an extremely precise measure of the paper’s thickness. Measured in thousandths of an inch, caliper can either be expressed as fractions of an inch, or more commonly, in points. For example, .007 inches is commonly referred to as a seven point caliper. Thickness is an important measure when creating direct mail, which needs to meet predetermined specs from the postal service, or when choosing paper to run on a digital press, which may have a maximum caliper tolerance of 18 point. PPI PPI, or pages per inch - is quite simply a measure of how many sheets of paper are in one inch. PPI’s an important calculation to keep in mind when you’re building a book or any project where you need to know how thick a stack of pages will be. The simple way to calculate PPI is two divided by the caliper. 2 ÷ (caliper) = PPI

2÷.0095 = 211 PPI

17 Paper Weight

M WEIGHT

Embossing, debossing, foiling, die cutting, and spot UV varnishing

EMBOSSING

Embossing creates a raised image or text on paper or board - an image that can be felt as well as seen giving a very tactile element to print. With the addition of multilevel and sculptured dies the results are really impressive.

The texture of the paper used when embossing is very important and different papers produce different results. Sometimes designers choose a textured paper and use embossing to smooth out the paper while others opt for a smooth paper and the embossing is textured which gives stunning results.

Finishing Techniques

A well thought out and executed piece of graphic design can be an effective part of your client’s marketing tools. A printed brochure will last far longer than any Twitter or Facebook post. It is visual, tactile and if done well, will be memorable and appreciated. The right finish for any printed job is crucial. These are the 5 most common techniques in the printing industry:

“ Print on paper is special. It activates the senses.”

FINISHING TECHNIQUES

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FINISHING TECHNIQUES

EMBOSSING Embossing creates a raised image or text on paper or board - an image that can be felt as well as seen giving a very tactile element to print. With the addition of multilevel and sculptured dies the results are really impressive. The texture of the paper used when embossing is very important and different papers produce different results. Sometimes designers choose a textured paper and use embossing to smooth out the paper while others opt for a smooth paper and the embossing is textured which gives stunning results.

Finishing Techniques

Embossing, debossing, foiling, die cutting, and spot UV varnishing

A well thought out and executed piece of graphic design can be an effective part of your clientâ&#x20AC;&#x2122;s marketing tools. A printed brochure will last far longer than any Twitter or Facebook post. It is visual, tactile and if done well, will be memorable and appreciated. The right finish for any printed job is crucial. These are the 5 most common techniques in the printing industry:

20 Finishing Techniques

DEBOSSING Debossing is the opposite of embossing. Debossing involves pressing an image or text into paper or board. This can be combined with print, foil or alternatively a â&#x20AC;&#x2DC;blindâ&#x20AC;&#x2122; image can be left, without colour or foil. Blind images give a feeling of elegance and superior quality.

FOILING Foiling is an excellent way of adding colour and the wow factor to any print job. It is available in a vast array of colours and textures including gold, silver, coloured metallics or security with holographic foils. It gives printed material colour, shine, texture, depth and a feeling of sophistication and quality.

DIE CUTTING

Die cutting is the process used to generate cut-out regular/irregular shapes from paper or board. It adds shapes, patterns and new dimensions to print. Virtually any shape can be diecut. It works well for folders, brochures and packaging. It can create elements of interest and intrigue, using apertures and portholes promoting the viewer to explore further.

Finishing Techniques

SPOT UV VARNISHING Spot UV varnish has many uses. It highlights detail, draws attention to specific areas like images or text, and adds a new tactile dimension to print. For some jobs it even protects, making documents hardwearing and very durable. There is a wide range of varnishes available, including textured, tinted, gloss, and sparkly. Gloss varnishes give a shiny coating, which can make photography look incredible and elements of design accentuated.

Paper Sizes

PAPER SIZES

INTERNATIONAL SYSTEM As the term implies, the international standard, also known as the ISO 216 standard is used throughout the world. It is based on an aspect ratio of the square root of two (1:4142), like the side of a square and its diagonal. This makes it simple to enlarge or reduce a document for printing on another ISO paper format. This idea was originally proposed by the German scientist Georg Christoph Lichtenberg in 1786. In 1922, Dr. Walter Porstmann brought Lichtenbergâ&#x20AC;&#x2122;s ideas into being in Germany. This new standard was known as the DIN 476 standard. The system became widely used during World War II. The most commonly used ISO paper size is A4. All paper sizes of the A series has a name that consists of an A followed by a number. The larger the number, the smaller the paper. The basis for the whole system is the A0 format which has an area of one square meter, or, 841 x 1189 millimeters. The dimensions of the subsequent papers can be created by folding the paper in half with the crease parallel to the shortest side.

A7 A6

A5 A3

Very little is known about the origin of traditional American paper formats.

11" 17.5"

8.5"

17"

22"

35" 38" 40"

23" 25" 28"

Paper Sizes

The North American system is used primarily in the USA and Canada. The current sizes are based on traditional sizes such as Letter (8.5 in x 11 in) and Legal (8.5 in x 14 in). The names of North American sizes have started with ANSI ever since the adoption of ANSI/ ASME Y14.1 by the American National Standards Institute in 1995. Though the sizes now begin with ANSI, they are nevertheless based on the traditional sizes.

NORTH AMERICAN SYSTEM

Imposition

IMPOSITION

Imposition is one of the fundamental steps in the prepress printing process. It consists in the arrangement of the printed productâ&#x20AC;&#x2122;s pages on the printerâ&#x20AC;&#x2122;s sheet, in order to obtain faster printing, simplify binding and reduce paper waste. Correct imposition minimizes printing time by maximizing the number of pages per impression, reducing cost of press time and materials. To achieve this, the printed sheet must be filled as fully as possible. Because of the way a booklet is produced, you can't have a random number of pages. It has to be a multiple of 4.

PAGE PROGRESSION IN INDESIGN 1

4 7

6 8

WORK AND TUMBLE

Printing a sheet so that the same image is produced on both sides of a sheet. When the sheet is turned, the same side of the sheet is fed through the press.

Printing a sheet so that the same image is produced on both sides of a sheet. When the sheet is turned, the opposite side of the sheet is fed through the press.

WORK AND TURN

6 7

3 2

4 1

2 1

7 8

6 5

3 4

Imposition

The arrow indicates the direction the paper is flipped.

There are an endless amount of paper folds that can be created in the printing production process.

Half-Fold

Tri-Fold (3-Panel Roll Fold)

Z-Fold (3 Panel Accordian Fold)

4-Panel Accordian Fold

3-Panel Gate Fold

Double Gate Fold

Roll Fold

Double Parallel Fold

Vertical Half Fold

French Fold (Quarter Fold)

Map Fold

Paper Folds

Certain folds require short panels to allow the finished piece to remain flat. The amount of trim for the short panels will depend upon the weight and type of stock used in your project, but a safe measurement is 1/16th of an inch.

â&#x20AC;&#x153; Paper is where design leaps off your screen and into your hands.â&#x20AC;?

PAPER FOLDS

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PAPER FOLDS

Half-Fold

Tri-Fold (3-Panel Roll Fold)

Z-Fold (3 Panel Accordian Fold)

4-Panel Accordian Fold

3-Panel Gate Fold

Double Gate Fold

Roll Fold

Double Parallel Fold

Vertical Half Fold

French Fold (Quarter Fold)

Map Fold

Paper Folds

There are an endless amount of paper folds that can be created in the printing production process.

The main advantage of offset printing is its high and consistent image quality. The process can be used for small, medium or high-volume jobs. There are two types of offset printing machines in use for publication today. In sheet-fed offset printing, individual pages of paper are fed into the machine. The pages can be pre-cut to the final publication size or trimmed after printing. In web offset printing , larger, higher-speed machines are used. These are fed with large rolls of paper and the individual pages are separated and trimmed afterwards. Where sheet-fed offset printing is popular for small and medium-sized fixed jobs such as limitededition books, web offset printing is more cost effective for high-volume publications whose content changes often, such as metropolitan newspapers or magazines. OFFSET LITHOGRAPHY PROCESS

An image is transferred to thin metal printing plates. Unlike other forms of printing, in offset lithography the image on the printing plate is not recessed (like intaglio) or raised (like letterpress or flexography). Rollers apply oil-based ink and water to the printing plates on the plate cylinder. Since oil and water don’t mix, the oil-based ink won’t adhere to the non-image areas. Only the inked image portion is then transferred to a rubber blanket (cylinder) which then transfers the image onto the paper or other substrate as it passes between it and another cylinder beneath the paper.

Offset Printing

Offset printing (also called offset lithography), is a method of mass-production printing in which images on metal plates are transferred (offset) to rubber blankets or rollers and then to the print media. The print media, usually paper, does not come into direct contact with the metal plates. This prolongs the life of the plates. In addition, the flexible rubber conforms readily to the print media surface, allowing the process to be used effectively on rough-surfaced media such as canvas, cloth or wood.

“ A printed brochure will last far longer than any Twitter or Facebook post.”

OFFSET PRINTING

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OFFSET PRINTING

In sheet-fed offset printing, individual pages of paper are fed into the machine. The pages can be pre-cut to the final publication size or trimmed after printing. In web offset printing , larger, higher-speed machines are used. These are fed with large rolls of paper and the individual pages are separated and trimmed afterwards. Where sheet-fed offset printing is popular for small and medium-sized fixed jobs such as limitededition books, web offset printing is more cost effective for high-volume publications whose content changes often, such as metropolitan newspapers or magazines. OFFSET LITHOGRAPHY PROCESS An image is transferred to thin metal printing plates. Unlike other forms of printing, in offset lithography the image on the printing plate is not recessed (like intaglio) or raised (like letterpress or flexography). Rollers apply oil-based ink and water to the printing plates on the plate cylinder. Since oil and water donâ&#x20AC;&#x2122;t mix, the oil-based ink wonâ&#x20AC;&#x2122;t adhere to the non-image areas. Only the inked image portion is then transferred to a rubber blanket (cylinder) which then transfers the image onto the paper or other substrate as it passes between it and another cylinder beneath the paper.

Offset Printing

CMYK & PMS

Offset Printing

The most common method of achieving color in printing is referred to as CMYK, fourâ&#x20AC;&#x201C;color process, 4/c process or even just process. To reproduce a color image, a file is separated into four different colors: Cyan (C), Magenta (M), Yellow (Y) and Black (K). Colors created without screens or dots, such as those found in the PANTONE MATCHING SYSTEM, are referred to in the industry as spot or solid colors. From a palette of 18 basic colors, each of the spot colors in the PMS is mixed according to its own unique ink mixing formula developed by Pantone. Each color in the System has a unique name or number followed by either a C or U. The letter suffix refers to the paper stock on which it is printed: C for Coated paper and U for Uncoated paper.

M Pantone Process Cyan C

COLOUR SYSTEMS

When we mix colors using paint, or through the printing process, we are using the subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker and tends to blacken.

If we are working on a computer, the colors we see on the screen are created with light using the additive color method. Additive color mixing begins with black and ends with white; as more color is added, the result is lighter and tends to whiten.

But in the physical world, any printing ink holds impurities and mixing the three subtractive colors gives you a murky, muddy brown at best. To overcome this deficiency in the color separation process, printers remove some cyan, magenta, and yellow in black areas (areas where the three colors exist in equal amounts), and replace it by the fourth color by printing black ink instead. This is the four-color printing process.

Offset Printing

Available color systems are dependent on the medium with which a designer is working. When painting, an artist has a variety of paints to choose from, and mixed colors are achieved through the subtractive color method. When a designer is utilizing the computer to generate digital media, colors are achieved with the additive color method.

SCREENING (HALF-TONING)

Offset Printing

With current printing techniques, each color separation is output to a photographic film used to create printing plates. Generally, full color documents — documents with many colors as in a photograph — are separated into four basic process colors: cyan (C), magenta (M), yellow (Y) and black (K). This kind of color separation is called CMYK separation. Looking at colored text or a photograph on printed matter — a book, magazine, newspaper, postcard, calendar etc. — with a strong enough magnifying glass, this is what you’d see. Where the human eye sees continuous color, say a certain blue, green or red, the magnifying glass would show you patterns, so-called screens, composed of dots of different sizes and shapes, but where each screen is just one color — either cyan, magenta, yellow or black.

DOT GAIN

4 different sources of manufacturing dot gain can be distinguished: 1. Plate making dot gain When making the printing plates, several factors can contribute to dot gain (exposure, the quality of the plate, film etc). 2. Printing-pressure of the ink On the press, due to the pressure and to the fact that the ink is fluid, a 50 % dot on the plate will cover a paper area equivalent to a 60 % dot. 3. Paper type The surface roughness and porosity of the paper cause internal light reflections around the ink boundaries, making the border areas olok darker. On smooth coated paper, a 50 % covered area will perhaps only reflect 40 % of the incident light, resulting in an apparent 60 % dot. On uncoated paper it wouldo lok even darker. 4. Type of press There are different printing methods (flexo, offset, gravure...), resulting in a lot of variations in the dot gain. This diagram explains that, in order to obtain a dot of the right size in print, a smaller dot has to be put on the digital film. In other words, applying dot gain compensation (DGC) means that the original dot is compensated (reduced) to a certain extent on the digital film.

what you want on print

what you get on print

what you put on film

what you get on print

Offset Printing

Once the printing plates are created and put on the press - the original file is printed and is darker than the original file in the desktop program. The reason for this is that dots on the press always print fatter than the original dots on the film or plate - they increase in size. This phenomenon is known as dot gain (DG).

The type of binding is usually selected based on the function of the document, the number of pages it contains and the printing budget. Strangely, aesthetics are usually considered last in the decision-making, unless quality is a priority and budget is not a factor, or the binding itself is part of the conceptual design.

Loop Stitched (8-80 Pages) Comparable to saddle stitching, but with a different effect. Loops are created with wire along the external spine in order to insert and secure the document into a 3-ring binder. Great option for information installments that can be added to larger collection.

Stab Stitched (2-300 Pages) Stab or side stitching uses wire that is “stabbed” into the front cover, through the inside pages and back cover of the document, instead of along the spine. Often covered to hide the wire.

Sewn Bound (8-24 Pages) Similar to saddle stitching, but uses thread instead of wire. Thread is stitched along the entire spine. As more pages are added it begins to closely resemble case binding, but without the hardcover.

Perfect Bound (50-250 Pages) Sections of folded pages (signatures) have their spines trimmed off and roughed up to improve bonding with glue. All sections are collated and glued to its wrap-around cover. Cover is always scored on back and front, for ease of opening and less stress on spine.

Tape Bound (50-250 Pages) This method involves an adhesive tape being wrapped around the spine to hold the covers and inside pages in place. Usually pages need to be stitched together prior to affixing the tape to reinforce and provide added strength.

Screw Bound (16-400 Pages) In screw, stud or post binding, first holes are drilled through the complete document. Then a barrel post is inserted through the holes and a cap screw is added to the post to hold everything together. Frequently used for swatch books.

Hardcover or Case Bound (60-400 Pages) Standard binding used for hardcover books. Several different types to choose from, but typically involves inside pages being sewn together in sections. These are then glued to end papers which are glued to cover’s spine.

Binding

Saddle Stitched (8-80 Pages) Probably the most common and economical binding method. Created by punching wire through the document’s outside spine, then bending the wire flat on the inside centre fold to grip all the pages. It may provide a similar look, but is not the same as stapling.

“ The way paper feels is the secret power of a printed piece.”

BINDING

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BINDING

35 Binding

Glossary

GLOSSARY

BASIS SIZE Standard sheet size from which the basis weight of a given grade is derived. BASIS WEIGHT Weight in pounds of a given paper in its basic size. BRIGHTNESS A common classification for white papers and determined by objective, scientific measurement. CALENDER A machine Intended to smooth or otherwise finish the paper and consisting essentially of a certain number of superimposed rolls of which only one is power driven. CALIPER Thickness of a sheet expressed in thousandths of an inch. CHEMICAL PULP Pulp made by cooking the wood in the present of chemical agents (acids or alkali) which eliminates most of the non fibrous material.

COATED PAPER Paper that has been treated with a smooth thin layer resulting in either Gloss, Dull/Satin or Matte finishes. DIE CUTTING Cuts and scores formed on corrugated sheets with a stell rule die like a biscuit cutter. DOT GAIN The tendency, during the reproduction chain from original to printed image, of halftone dots to grow in size, either photographically in prepress stages, or in ink during printing. EMBOSSED A type of paper on which a textured surface has been applied during manufacture. FELT A finish for uncoated paper that resemble watercolour papers. FOURDRINIER The terms applied to the standard type of paper machine which was produced by Fourdrinier about 1800.

GSM A unit of measurement used in the specification of paper, indicating its substance based on weight, regardless of the sheet size. HALFTONE The reprographic technique of reproducing a continuous tone image on a printing press by breaking it up into a pattern of equally spaced dots of varying size. This determines tones or shades. HAND The tactile quality of paper. HANDMADE The original manner in which all paper was made. So called from the fact that the sheet is formed by a workman dipping a mould into the pulp vat and taking up sufficient â&#x20AC;&#x2DC;stuffâ&#x20AC;&#x2122; to form a sheet of paper of the required substances. A peculiar movement Is required to felt the fibres together, and this is the only acquired after long practice and experience.

HEADBOX A tank supplying papermaking stock under a controlled pressure. IMPOSITION The arrangement of pages in the sequence and position in which they will appear on the printed sheet, with appropriate margins for folding and trimming, before platemaking and printing. JUMBO REEL First reel of paper produced after the papermaking process, before it is either slit into smaller reels or transferred for further processing. LAID Paper with subtle parallel lines in its surface which mimics handmade paper. LIGNIN A non cellulose material found in vegetable plants that may be considered as a binding agent or cement between the fibres of the plant.

M WEIGHT The weight of 1,000 sheets of a given paper size, “m” being an abbreviation of the Latin mille, meaning one thousand. OFFSET A printing technique in which the ink is transferred from the printing plate to a “blanket” cylinder and then to the paper or material on which it is to be printed. ORANGE Gyula's favourite colour. To be heavily used in any and all projects when searching for an appropriate colour. See also yellow-red.

PAPER A compressed matted vegetable substance in thin flexible sheet form, being the precipitate of a fibrous pulp in water. PAPER COLOR The colour applied to paper ranging from soft pastels to vibrant primaries and rich, dark hues. PAPYRUS Latin root for “paper”. It is a thick paper made from the pith of the papyrus plant. PLATES Litho plates that have received a lightsensitive coating and are ready for exposure to a positive or negative. PPI (pages per inch) - is the measure of how many sheets of paper are in one inch.

REAM Five hundred sheets of paper. SHADE A white paper classification placing papers ona spectrum of warm to cool. SMOOTH FINISH Lightly polished finish for uncoated papers. SUBTRACTIVE COLOURS The color model describing the primary color of reflected light: cyan, magenta and yellow (CMY). Subtractive colors form the basis for printed process colors. UNCOATED PAPER A paper without a mineral surface coating and revealing its natural texture of pulp. It may also be referred to as writing text and cover, offset paper, or sometimes fine paper. VELLUM an uncoated paper with no surface smoothing.

WEB OFFSET A rotary printing press that uses a continuous reel-fed paper “web” where the impression (image) from the plate is offset onto the blanket (usually rubber) before being printed onto the paper. WEB PAPER Roll of paper used in web for rotary presses.

Glossary

MECHANICAL PULP Pulp made by the grinding of steamed or boiled groundwood (without the addition of chemical agents).

PANTONE A system of colour standards, control and quality requirements, in which each color bears a description of its formulation and can be matched exactly by any printer.

LINEN Paper embossed to resemble coarsely woven cloth.