DesignforPrint. Colour ≠ Artwork ≠ Processs

000/234//3P2//Z/2

1

Colour. [1] Gamut [3] Additive/ Subtractive [5] Overprinting [7]

Colour Separations [9] Pantone [11] Spot Colour [13]

Artwork. [17] Printers Marks [19] Resolution [21] Pre-Flight [23]

Proof [25]

Process. [29]Lithography [33] Gravure [35] Flexography [37]

Digital [39] Screen Printing [41] Pad Printing [43]

Finishing [45]

Glossary [55]

Colour.

Colour is one of the most important aspects of design for print that you must con-sider. When producing work that is going to be printed in high quantities using a Rotary printing method* the amount of colour that is used can drastically affect the costing

and quality of the job.

This chapter will work through how colour is used in print and how to successfully use colour to your advantage.

*Refer to Process

[3]

CM

YK

Col

our

Gam

ut

When using colour for print there are certain restrictions that you must consider whilst you are designing. The colours that you see on screen will prob-ably be brighter and more vibrant than what the printed product will be. The image above shows a range of colours, tints and shades that can be achieved by

• A ‘Gamut’ is a range, in this case, a range of printable colours.

using different values of CMYK. When setting up your document you must make sure that the colours lie within the possible colour gamut, this can be done by going to View>Proof Colours.

[4]

How

it Work

sCMYK works by combining different quantities of the four colours, altering the angle and frequency that the dots are printed allows combinations that will create any colour within the colour range. Below is an example of a zoomed in image, all of this is happening on such a small scale that you cannot see it

• CMYK stands for Cyan, Magenta, Yellow & Key. ‘B’ couldn’t be used as it has already been assigned to ‘Blue’ in the RGB colour model used for screen based design.

naturally. There are other colour models that use this system such as Hexachrome, which uses CMYK + Or-ange and Green to create a wider colour range but this didn’t really catch on and CMYK is still the Global standard.

[5]

Sub

trac

tive

Col

our

Subtractive Colour describes the outcome of layering inks, paints or dyes over each other. In the example above Cyan,Magenta and Yellow are combined to create Red, Green, Blue and Black. Changing the quantities of these colours allows the creation of different hues and tints of colours. The result of layering

• * Refer to Artwork manual to find out how to check for and avoid excessive ink being applied.

these colours always makes a darker colour than the ones that were used in its creation, layering too many colours may cause a bad print quality*.

Magenta x Yellow

Produces Red

Cyan x Yellow

Produces Green

[6]

Additive C

olour

Additive Colour occurs when designing for screen. Light reacts differently to ink, where ink would become darker, light multiplies the intensity and makes the resulting colour brighter than the originals. This allows for a much wider Colour Gamut.

You must make sure that, if you are de-signing for print, your document is setup to accommodate for CMYK printing and not for screen based publication.

• Additive colour was discovered around 1860 by James Clerk Maxwell.

Green x Blue

Produces aBright Cyan

Red x Blue

Produces a Bright Pink

[7]

Ove

rprint

ing

As a result of Subtractive Colour, as a designer, you must be aware of how to avoid having problems with colour and know how to use it to your advantage. When producing work that is intended on being mass produced the amount of colours that you will be allowed to use

Will be restricted to cut the costs. There will be times when you need to use Spot Colours* and not rely solely on CMYK. However, there are ways that you can layer the colours and have more control over the work you are producing.

The colour and texture of the stock you are printing could drastically change the colour of the ink you are applying, this will be especially prominent when print-ing light colours onto darker stock, this could be avoided by printing a brighter colour than the one that you need, or printing onto white stock.

Printing a neutral colour will darken the coloured stock wherever it is printed. To avoid this you would have to print onto white paper and print the colour for the stock as well.

Layering the same colour allows you to create darker hues of that colour, this could be used to add shade and depth to illustrations without having to introduce a shade of grey or another colour.

Always consider what stock you are going to be printing on* you can get an idea for how the layered inks will react to each other by using the Multiply Blend Mode- but as this is on screen, the printed product will yet again be dif-ferent.

StockInk

*Refer to the Stock manual for a range of available stocks.

• Overlapping two colours or more to create a new colour is called a Colour Build.

[8]

[Stock

Colour]

[Ink Colour]

Actually printed

[Stock

Colour]

[Ink Colour]

These two colour tables will give you some idea of how printing over different

shades and hues of stock will affect the end result of your printed design.

[9]

Col

our

Sep

arat

ions

CYAN

YELL

OW

BLAC

KMA

GENT

A

When products or publications are sent to print, the colours need to be separated so that they can be applied to different printing plates* and when printed on top of each other the colours

come together to create the final image. The above images show the different values and density of where the colour is going to be applied.

*Refer to Process.

[10]

CYAN +

MAG

ENTA

MAGE

NTA

+ YE

LLOW

CYAN

, MAGENTA + YE

LLOW

CMYK

Usually the printer will separate the lay-ers themselves by selecting separations within the output tab of the print dia-logue box. Below are examples of how applying the different colours creates the final image.

To preview colour separations:

InDesign:

Window>Output>Separations preview

Illustrator:

Window>Separations Preview

Photoshop:

Window>Channels

[11]

Pantone® is a system that is used Internationally that allows two, or more, people to define specific colours without any room for alteration or miscommuni-cation. If you have designed a poster that uses a colour mix of 90% Cyan and 10% Magenta there would be a risk that the percentages got changed by accident or that the printer gets the mix wrong. The

• Each year Pantone announce a ‘Colour of the Year’. 2012’s colour is Tangerine Tango Pantone 17-1463.

Pan

tone

® M

atch

ing

Sys

tem

use of Pantone codes allows the printer to order and use that specific colour that will match, exactly, what you intended. There are a variety of Pantone swatch books that have col-our that is related to the different stocks (Gloss, matt etc.)

90% Cyan

10% Magenta

PANTONE® P 116-13 U

[13]

Spot

Col

ours

: C

ase

Stu

dy

This is an example of how a number spot colours can be used to give the im-pression of more colours. This is the latest Christ-mas disposable cup from Starbucks which appears to have around 6 different colours/ shades, but if you look closely you can see that the yellow ink

has been used to create the darker red by overprint-ing the ink. Similarly the red has been used on top of the blue to create a darker, deeper blue. The use of white space on the face also helps to give the design more depth and integrity As well as the Blue, Yellow and Red the official Starbucks Green has been used for the logo which is essential in keeping with the brand identity. So by using only 4 spot colours the designer has managed to give the impression of 6 or 7.

To use spot colours in a design for print you need to make sure your swatch palette is organised and clearly labelled with the inks that you want to use and clear communication with the printer

will help to produce a successful job.

• Spot varnishes can be applied by spec-ifying where you want them by using a swatch named appro-priately.

[14]

Spot C

olours in Brand

ing

‘For yellow, use PANTONE 123. For red, use PANTONE 485”

“For Starbucks Green, use Pantone® 3425 C. Do not use any other green.) Print on uncoated stock, match-ing Pantone® 3425 C ink to coated hue. No other col-ours may be substituted.”

All established brands have strict guide-lines for what you can and can’t do with the logo and identity of the company. Spot colours are used for brand identity to ensure that wherever company ma-terial is being printed the colours will be

exactly the same and will still tie into the identity of the company. Here are some snippets from various companies Corporation Identification Standards Manual’s with the official Pantone Codes for the logo colours.

Apple channel signatures can be shown only in all-black or all-white. When placing a signature on black or colour back-grounds, use an all-white signature reversed out of the background colour. Never place an Apple chan-nel signature on a visual-ly cluttered or patterned background.

[15]

• When dealing with print always set documents up as CMYK

• Colours for print are sub-tractive, colours for screen are additive

• Overprinting can be used to your advantage to create new shades of colour

• Spot colours can be used to ensure the colour stays the same over a range of prod-ucts

Summary

[16]

≠

[17]

2

Artwork.

Mise en Place : a French phrase which means “everything in

place”.

This is key to creating suc-cessful artwork for print. Not spending enough time and consideration whilst setting up your document will come

back to bite you later.

This section will look at the main aspects that you need to ensure are correct before sending your files for produc-

tion.

[19]

Print

ers

Mar

ks

&C

M

Y

CM

MY

CY

CMY

K

Printers Marks.pdf 1 08/11/2012 13:591

2 3

4

5

61: Star Target

2: Label

3:Registration marks

4: Crop Marks

5: Progressive Colour Bar

6: Gradient Tint Bar

This is used by the printers to align the different colour separations.

These are used to identify the edge of the artwork for cutting out.

This is the name of the document that is to be printed.

This is used as a colour test to ensure all inks are working correctly.

These are used alongside the Star Target to align different colour separations.

This tests the black ink and tints.

[20]

Docum

ent Setup

When making a new document it is best to know the specific dimensions of the piece you are designing. All CS pro-grammes feature an International Paper drop down that gives you the option of picking from standard sizes.Be sure to specify the Colour Mode before you start designing. (Remember:

RGB for screen, CMYK for print.) When using InDesign to design a publication focus on setting your columns up effec-tively and add Bleed and Slug to ensure a more successful finished product- a standard bleed depth is 2mm on each edge.

[21]

When designing for print it is important that you use high quality

images. Because images are made from pixels, if they are stretched to a larger size the images become pixelated. How many pixels there are per inch is known as resolution. If the image you

• Pixel is an abbre-viation of Picture Element

Inco

rrec

t im

age

reso

lution

have is low resolution it is impossible to increase the resolution as this data is lost completely. But if you start with a good quality image you need to be careful that you don’t lose any of the quality when saving and importing. You should also make sure that your images aren’t unnecessarily too large as this will cause lag when using the file.

[22]

It is best to take your own photos as you can control the size of them and avoid any unnecessary compression. There are a number of free stock images websites available where you can download large images but, as they are free, you may struggle finding the image that you need. Avoid dragging and dropping

Correct im

age resolution• Saving images as .TIF helps retain in-formation that is lost in compression with .JPEG

directly from the internet as this will force the image to lose quality as well as giving you ‘missing file’ problems which you will come across on the next page.

[23]

Pre

-Flig

ht C

heck

The Pre-Flight check gives you essential information to help ensure your file is all together and working. It gives you a fast overview of all the errors that are in your document such as missing links to images and overset text (when text is missing because text box is too small).

You can then click through all the errors and rectify them one by one- it now comes in helpful if you’ve been keeping an organised work folder so that you know where all the images are!

Red circle indi-

cates errors

Question mark on

image indicates

missing link/ other

error

[24]

When all errors have been corrected you will see a little green light with ‘no errors’ by it. To double check your document go to File>Package which will bring up the dialogue box at the bottom of this page. This will give you more information such as colour modes for images, all the inks that would be needed to produce the file and all the fonts that have been used in

the publication. Making sure that your document is fully together will save wasted time sending files to the printer and will also save money if your file is sent to print with some of the content missing and wasting the job.

• The term originates from the pre flight checklist done by pilots.

Preflight will display

green dot when there

are no errors

[25]

Pro

ofin

g

Proof Checklist

• Are all pages included in

the proof?

• Are all photos visible

and correctly cropped?

• Are all fonts correct?

• Is all spelling and gram-

mar correct?

• Are all full bleed col-

ours full bleed?

• Are there any colours

that shouldn’t be there?

• Measure the size of the

publication

• Are all page numbers cor-

rect?

After you have finished your document and carried out the checks mentioned on the previous pages, you’ll be ready to send your document to print. When doing a job that requires a large print run you should receive a proof that you must review before fully finalising and

confirming that the document is correct and fit for print.Following is an essential checklist that you must double check in the proof before you agree to the print.

[26]

• Use CMD-I in InDesign to conduct a spell check. Also carefully read the proof and double check for mistakes!

• Preparing all the individual elements of a document cor-rectly is essential

• Checking, double checking and triple checking is re-quired for important, high quantity print jobs

• Being aware of image and document sizes will remove problems you may hit during the finishing of your docu-ment.

• Being aware of how your publication will be printed will help to inform you of design restrictions you may come across in the future - read on to Process.

Summary

≠[28]

[29]

3

Process.

Being aware of how your de-signs are printed is essential to being informed about why using multiple colours could affect the cost, what would be the most suitable method of printing and what is currently used to print products today.

This section will also give you examples of the products that are made using different methods of print and a rough idea of how this impacts on the overall cost of the project.

Typ

es o

f Print

ing

Rotary

Screen

Digital

Pad

• Offset Lithography

• Rotogravure

• Flexography

• Silkscreen

• Serigraphy

[a.k.a]

• Inkjet

• Laser

[30]

[33]

Off

set

Litho

grap

hy

Offset Lithography works by trans-ferring an image onto a printing plate, which is usually made from aluminium or stronger materials if it is a longer print run. Chemicals are applied to the plate so that only the areas that you need printing will accept the ink. Ink and water are then applied to the plate as it is rotated on the plate cylinder, the inky image is then transferred to the blanket cylinder which turns and applies the image to the paper. This process is called ‘offset’ lithography because blanket

cylinder stops the paper and printing plate from touching.

The paper will go through the process shown above for every colour that needs to be applied.

Main uses:

• Magazines

• Brochures & Catalogue

• Direct mail

• Newspapers

• Business forms

• Financial and legal documents

• Fliers

• Leaflets

• Business cards

[34]

• Offset Lithography is the most common form of printing today.

• One machine can product 10,000 double sided colour fliers in 3 hours.

▬ The surface of an offset Litho plate is comprised of tiny dots which allow it to print small lettering and fine lines well

▬ This process is cost effective for produc-ing short print runs

▬ Plates can be reproduced and replaced in two hours

▬ Aligning colour separations can be diffi-cult and results aren’t as consistent as Gravure

▬ Requires additional plates for longer print runs

▬ More tension on the stock means that a heavy stock must be used.

[35]

Rot

ogra

vure

Opposing offset lithography, the impres-sion of the artwork used in gravure come in direct contact with the stock being used. The image is engraved into metal cylinders, as opposed to plates- usually a more durable material, like copper, rather than the thin aluminium used in Offset litho which will stay usable for longer print runs. The printing plate is directly lowered into a tub of ink, it then rotates and a doctor blade takes away any excess ink and returns it to the tub, meanwhile a

rubber impression roller carries the stock around onto the printing plate which transfers the ink from the plates onto the stock.The stock then goes through a dryer and onto the next rollers for an application of a different colour or varnish.

Rotogravure is suitable for longer print runs because the plates are made of a more durable material (copper). Bank notes and stamps are printed using photogravure.

[36]

• Gravure is used for some products that require very high print runs such as money and stamps

+ Colour is deeper and richer than offset Lithography

+ Allows for more precision with registra-tion due to the solid plates

+ Gravure inks are drier than offset inks so this affects the stock less and give you a more crisp and clear print

- Gravure can’t print below a 2% dot because the wells are too small to hold enough ink

- This also affects small lettering, creat-ing a jagged outline due to the diamond structure of the copper gravure plate

- Gravure is more expensive than offset when producing short print runs

[37]

Fle

xogr

aphy

Like Litho and gravure, flex is a ‘web fed’ process which means they print on large rolls of stock. Flexo can print around 350ft of material per minute. Similar to Litho the image is transferred onto a printing plate, this time it is made of a rubber polymer and the image works due to a photo sensitive surface. This plate is then wrapped around a cylinder and secured in place. Using a rubber surface allows the cylinders to have more grip on the material that they are

printing onto, which suits well for print-ing glossy, thin and filmy labels that you find on drinks bottles or the foil material used for crisp packets.

Main uses:

• Corrugated boxes

• Shopping bags

• Food bags

• Milk and drink cartons

• Disposable cups

• Flexible plastics

[38]

• In Germany, Flex-ography is called Gummidruck which translates to rubber printing.

▬ Flexography has had problems with consist-ency in print runs

+ Flexography can print on almost any type of stock

+ Advances in Flexography are enabling it to produce the same results as Litho and Gravure with less restrictions

[39]

▬ Not viable or cost effective for very large print jobs

▬ Aligning double sided spread can sometimes be difficult if you need to do it manually

▬ Not able to print on too heavy stock or too flimsy stock

+ Ability to print one off, full colour prints without the need of a plate or a lot of space

+ Very high quality photographic prints can be done at a relatively cheap rate

[40]

Digital P

rinting

Digital Printing is the most common form of household printing. Most digital printers use CMYK ink, with some high quality photo printers adding additional inks to increase the potential printable colour gamut. When printing mock ups or very short runs then digital printing will be the most cost effective and time saving.Digital printing removes the need for printing plates and allows anybody access to quick and easy printouts.

There are two types of digital printing, laser and inkjet, inkjet printing produces much higher quality results, especially if used with quality, glossy stock.

Main uses:

• One-off mock-ups

• Short print runs

• High quality photographs

• Home printing

• Vinyl stickers

• Printing one-off banners/ posters

[41]

Scr

een

Print

ing

Screen printing works by forcing paint through a mesh onto stock/ material.A light sensitive emulsion is applied to a clear screen and left to dry. The design that you want printing need to be digi-tally printed or drawn onto transparent or very translucent paper, this is then placed on the screen and exposed in a light box for about 2 minutes. The light dries the paint that isn’t covered by your design, the screen is then washed out, getting rid of the non-set paint that is your design and leaving the mesh blocked where you don’t want paint to get through.This screen can then be used with paint, binder and a squeegee to push the paint through the mesh onto your stock. After using the screen you need to wash it out thoroughly and leave it in a drying cupboard for around an hour before using again.Screen printing is effective for doing

runs of 50-100 as you can get through them quickly, however it is time consum-ing and there is potential for each copy to vary slightly.

Things to look out for when screen printing:

• Make sure your designs aren’t

too close to the edge of the

screen as this part of the mesh

is tighter and harder to push

down onto the stock

• Make sure your work area is

spotless as it is easy to get

dirty hands or put your work in

a rogue bit of spilt paint

• Make sure that there are no gaps

in the exposed screen that you

don’t want, you can cover these

with screen filler or parcel tape

• Don’t try to rush screen

printing as this will cause

the quality of your prints to

deteriorate

[42]

• Screen printing is used for road signs to print a fluorescent lay-er onto the hard plastic material.

▬ Time consuming and results can vary if you are doing it yourself

▬ Aligning different screens can be difficult and produces mixed results

▬ Using a lot of colours greatly increases price and time

+ Works well for material and t shirts

+ It’s a relatively cheap process

+ It’s effective for printing 50-100 posters as once you are set up you can print quite rapidly

[43]

• The general principles of pad printing have been around for centuries but it was only with the invention of silicon that it could be used on a large scale

▬ The largest printed motif you can get is about 30cm diameter

▬ It is quite a time consuming print process in comparison to others

+ Can be used to print on irregular and uneven surfaces

+ Capable of 90° wrap around on 3D objects

+ Relatively cheap process and capable of multi colour printing

[44]

Pad

Printing

The image is etched into a metal plate, that plate is then covered in ink and the ink only takes in the places where it needs to. The flexible pad is then pressed onto the ink and takes the image onto its surface. Then the pad is pressed onto the 3d object that is to be printed and transfers the ink to the surface of the product, moulding around any contours

that the product may have.

Main uses:

• Pens

• Lighters

• Keyrings

• Gold balls

• Keyboards

[45]

Foi

ling

Foiling is a finishing process that uses heat and pressure to set type or image in shiny foil. The image that you want to be foiled is engraved onto a metal die, the metal die is then heated to a high temperature. A sheet of foil leaf is placed over the stock that is going to take the foil. The heated metal die is then pressed onto the foil and literally melts the foil

onto the stock. The foil that isn’t pressed by the die is then removed, leaving you with the finished product. To include foiling in commercial print you will need to speak with the printer and ask what finishing services they offer. • The term originates

from the pre flight checklist done by pilots.

▬ It can add a lot of cost onto the print job

+ Environmentally friendly as it does not use solvents or inks

+ Gives the product an instant professional and expensive aesthetic.

+

[46]

Spot V

arnishSpot varnishes are commonly applied to typography to give it prominence and stand out from the page. It is also a fa-vourite to be used by brands to make the logo look trustworthy and professional. Spot varnishes can be applied in a D.I.Y

fashion by using a stencil and clear varnish.

To add spot varnishes to a commercial print you set it up the same as if you were including a spot colour* in your swatch palette labelled appropriately and also communicate with the people printing your publication to make sure that they have a clear understanding of what you want.• The term originates

from the pre flight checklist done by pilots.

▬ Quite a long and time consum-ing process

▬ Tricky to do on a small scale by yourself

+ Adds a unique and high quality edge to any publication

+ Adds an element of touch an in-teractivity to a printed prod-

uct

+

*Refer to Page 9

[47]

Em

bos

sing Embossing is a process that physical

alters the structure of the substrate that you are using. It works by producing male and female stamps of what you want embossing, the stock is then placed between the two stamps and high pressure is applied. Embossing works best with thick stock that can handle the deformation and hold its form well.

Embossing can be used to add more quality to a product or brand by adding a more tactile and engaging element to it. It is also commonly used for document authentication and postage stamps.

• Embossing and Foil stamping together is called Combination stamping or Combo stamping

[48]

De-b

ossingDe-bossing uses exactly the same process as embossing except, instead of the final result being raised from the surface of the paper it is pushed beneath the surface of the paper. De-bossing is

regularly used in conjunction with foil stamping on diaries and other hard back publications.

• Applying ink to an embossed part of a product is called Colour Register Embossing

[49]

Bin

din

g

Saddle Stitch

Case

Perfect

Oversew

This is the simplest binding method, the pages are laid on top of each other in the correct order then the centre fold is stapled or stitched to hold all the pages together.

Perfect binding takes multiple smaller ‘books’ of paper and stacks them

together, gluing them at the spine, then a cover is added to contain all of the

pages. The smaller ‘books are known as signatures. See the image at the bottom

of this page.

Multiple signatures are clamped togeth-er and a small hole is drilled through the

left hand edge of the stack. The signatures are then all sewn togeth-

er. A draw back with oversewing is the reduced margins and books are unable

to lie flat.

Case binding is commonly used to bind hardback books. Multiple signatures are bound together with string and glued to a hard cover.

[50]

Screws

Japanese

Spiral Coil

Comb Holes are stamped through a stack of loose sheets of paper, then screws are placed in the holes at both ends - holding the pages together.

Japanese stab binding takes a stack of loose sheets of paper, then multiple holes are punched down one edge of the stack a needle and thread is used to sew the pages together using a variety of patterns.

A comb bind is aesthetically similar to spiral binding. Rectangular holes are

stamped down one edge of the stack of loose sheets then a plastic comb is used

to hold all the pages together.The problem with this kind of binding is

that there is no spine that can be printed on.

Loose sheets are stacked up and hole punched down one edge, a plastic or metal spiral is then fed through the holes to hold all pages together.

[51]

Fol

din

g

Single

Roll

Broadsheet

Double

Closed Gate

This page shows some examples of how you could make a small pub-lication more interest-ing and interactive.

[52]

Standard C Fold

French

Endorsement

Concertina Letter

Parallel Double

• Offset Lithography is the most common form of commer-cial print

• Publications and products can be finished to a high standard by using spot var-nishes and foil stamping

• Communication with the printer during the manu-facture of your publication is essential in getting the exact product that you have designed

• Elements as simple as fold-ing can be used effectively to engage the audience.

Summary

≠[54

[55]

Glossary

Bleed

Branding

CMYK

Colour Build

Colour Separations

Desktop Publishing

Emboss

Estimate

Foiling

Gamut

GSM

Gutter

Hue

Bleed is the area outside of a doc-ument that you should extend all images to ensure full coverage on the printed document.

The process of using a stamp to physically raise the surface or a stock or material.

The estimated cost that the printer will give you for doing a particular print job.

Method of applying a foil surface to a stock by the use of a hot stamp.

A gamut is the range of possible colours within a particular colour system.

The Unit of measurement for paper (Grams pre square Metre) *See Stock Book

In Editorial, this is the space be-tween columns.

A Hue is simply a specific colour.

Branding is the logo and graphic style associated with a particular business, company or person.

Abbreviation of the four process colours: Cyan, Magenta, Yellow and Key (Black).

A colour build is what it is called when you create a new colour by layering two or more different colours.

Colour Separation is splitting an image into it’s constituent CMYK layers, which is how it is printed.

Often abbreviated to DTP. This is the use of a personal computer to create graphics and documents ready for print.

[56]

Laid Finish

Loose Leaf

Moire

Page Count

PMS

Printing Plates

Proof

Ream

Registration

Resolution

Shade

Signature

Slug

Spine

Finish on paper in which parallel lines simulate the surface of hand-made paper. Aligning the different colour layers

used in a specific print job. Com-monly CMYK, often with additional spot colours.

The quality and sharpness of an image, measured in DPI (Dots per Inch).

A hue that is made darker by the addition of black.

One or more folded pieces of paper, stacked to form a book.

The hard edge of a book, where all the leaves are held together.

A slug is the space around the outside of a document that contains printers marks that will be printed but trimmed off for the finished document.

500 sheets of paper

Binding method that allows the addition and removal of pages.

In Printing this is an undesirable pattern formed when plates are misaligned.

Total number of pages in a docu-ment (Also called Extent).

Sometimes used abbreviation for Pantone Matching System.

The plates that a design is engraved into and used on cylinders to print efficiently.

A one-off printed example of what the document will look like before going ahead with the mass run.

[57]

Spot Varnish

Spread

Stock

Tint

A varnish often applied to a portion of type to give a glossy finish.

Two facing pages that adopt the same aesthetic style and content.

Any sort of printable material - See accompanying Stock book.

Changing a hue by adding white to it.

[58]

Imag

e Sources:

Http

://www.clydebankli

ve.co.uk/wp-content/up

-lo

ads/

2012/07/Screen-p

rinting1.jpg

http

://www.pyramidvisu

als.co.uk/about/printing-machi

nes/

hp90

00/images/hp-9000-

digital-printer.jpg

http

://www.contitech.d

e/pages/presse/messen-veransta

ltun

-ge

n/pr

-messen/2012/120

402_drupa/image_1_uv_dl.jpg

http

://www.sxc.hu/phot

o/444341

http

://www.beecroftpre

cision.com/Images/PadPrintingM

a-ch

ine.

jpg

Othe

r Images from www.

sxc.hu

Des

igne

d an

d W

ritte

n by

: Chris Shuttleworth,

2012.