BOOK 4 / Format & Finish

Standard Paper SizesFormat MM

4AO 1682 x 23782A0 1189 x 1682A0 841 x 1189A1 594 x 841A2 420 x 594 A3 297 x 420 A4 210 x 297 A5 148 x 210 A6 105 x 148 A7 74 x 105 A8 52 x 74 A9 37 x 52 A10 26 x 37

B0 1000 x 1414B1 707 x 1000B2 500 x 707 B3 353 x 500 B4 250 x 353 B5 176 x 250 B6 125 x 176 B7 88 x 125 B8 62 x 88 B9 44 x 62 B10 31 x 44

C0 917 x 1297C1 648 x 917C2 458 x 648 C3 324 x 458 C4 229 x 324 C5 162 x 229 C6 114 x 162 C7 81 x 162 C8 57 x 81 C9 40 x 57 C10 28 x 40DL 110 x 220

RA0 860 x 1220RA1 610 x 860RA2 430 x 610 RA3 305 x 430 RA4 215 x 305 SRA0 900 x 1280 SRA1 640 x 900 SRA2 450 x 640 SRA3 320 x 450 SRA4 225 x 320

US Paper Sizes

Letter 216 x 279Legal 216 x 356Ledger 279 x 432Super A3 330 x 483

ISO

The ISO system is based on a height-to-width ratio of the square root of 2 (1:1.4142) which means that each size differs from the next or previous by a factor of 2 or 0.5.

The ISO standard provides for a range of complementary paper sizes in order to cater for most common printing needs,as shown in the tables above. Generally speaking, A sizes are used for printing everything from posters and technical drawings to magazines, office paper, notepads and postcards; B sizes are used for printing books; while C sizes are used for envelopes that will hold the A sizes.

RA and SRA series

These 2 paper sizes are based on the ISO printers that are slightly larger than the A series to provide the grip, trim and bleed. To produce an A1 full bleed poster you need to print on an SRA1 sheet of paper to allow for trimming.

DL

Th DL envelope allows for an A4 sheet with 2 horizontal, parrallel folds to fit comfortably inside. The DL compliment slip are the same as A4 sheet of paper.

Common Book Sizesmodern book sizes H x W (mm)

Demy 152 x 229Royal 191 x 235Crown Royal 210 x 280Classic h-back/C-format p-back 222 x 143‘Trade’ paperback or B format 198 x 129

Traditional book formats

Imperial folio 390 x 550Royal folio 320 x 500Imperial quarto 280 x 300Crown folio 250 x 300Royal quarto 250 x 320Medium quarto 240 x 300Demy quarto 220 x 290Foolscap folio 210 x 340Imperial octavo 190 x 280 Crown quarto 190 x 250Foolscap quarto 170 x 210 Royal octavo 150 x 250medium octavo 140 x 240demy octavo (demy 8vo) 143 x 222Large crown octavo 129 x 198Crown octavo 127 x 190Foolscap octavo 108 x 171.5‘A’ format ‘Pulp Fition’ 111 x 175 Outdoor SizesFormat MM

4 - sheet 1016 x 152412-sheet 1524 x 304816-Sheet 2036 x 3048 32-Sheet 3048 x 406448-Sheet 3048 x 6096 64 - sheet 3048 x 812896-sheet 3048 x 12192

Containment and protectionA major element of design is to contain and protect the object or function for which it was created. This is the case in the book where the inner pages (content) is contained in and outer cover (protection).

SlipcasesA slipcase is generally a box structure made from a hard and durable substrate to contain and protect a book, or to group several books together in once package. A slipcase also adds another element to the presentation of the product. It is open at one end so that the book’s spine is visible and will naturally have slightly bigger dimensions than the items it is to contain, which are designed to fit snugly inside.

StorytellingMany formats offer a fixed narrative. Books have a start, middle and an end which are usually fixed in order by binding. Designers can use this intrinsic order and pace to convey stories and narratives. This is arguably the key to graphic design.

‘To design is to communicate clearly by whatever means you can control or master’ Milton Glaser

Form follows functionIt is commonly held that design has 2 discrete functions - its form and its function. A designs form is the physical manifestion while it’s function is what it is trying to communicate.

‘Form follows function - that has been misunderstood. Form and function should be one, joined in spir-itual union.’ Frank Lloyd Wright

Reveals and discoveryUsing reveal, or ‘punch throughs’ allows a sense of discovery on the part of the user. This controllingof pace and content can help to form stories, narratives and a sense of journey. It can also add a sense of interactivity and order,, with certain ‘parts’ of the information being released at staged intervals.

Order/RandomnessDesigners often want to control the order in which information in disseminated. However, there is a value in not trying to control or prescribe this, and in simply letting users ‘experience’ or create a narrative for themselves instead.

Printed media‘Societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication.’ Marshall McLuhan

Imposition and multiple stocksAn imposition plan provides an economic benefit by reducing the number of sections that you need to print with the special colour or finish. Having a pagination plan can help simplify colour-fall and allows you to see other pages that can benefit from additional colour or special treatments. An additional finish-ing techniques are shown in this plan, including layouts, throw-outs and any tip-ins.

BellybandA bellyband is a paper or plastic substrate that wraps arond the ‘belly’ of a publication. The substrate may be a full loop or a strip. Commonly used on magazines, they serve to produce an eye-catching piece of information.

Tip-insA tip-in is a means to attach an insert into a book or magazine by gluing along the binding edge. It is a method for attaching individual elements into a publication, such as colour plates, that are typically pro-duced on a different stock where insufficient pages are required to warrant printing a separate section.

ScaleScale has a huge effect on a design. Scale can create a point of difference, marking the design out from the crowd.

Maquette(French for scale model) a maquette is a small draft or model of a larger work. This allows the flow of im-ages, spread of colour without the distraction readable text.

GatefoldsA gatefold has extra panels that fold intot he central spine of the publication with parallel folds so that they meet in the middle of the page. The extended pages are folded and cut shorter than the standard publication pages. Gatefolds are commonly used in magazines.

Throw-outs and throw-upsThrow-outs and throw-ups are sheets of paper folded into a publication.They can be used to showcase a particular image, or visual elements by allowing a larger scale.

Poster wrapsA poster wrap is used to form a loose, informal cover for a publication that can be removed and opened out to reveal a poster format. Combining the practicalities of a dust jacket with the scale and effect of the poster.

Types of Folds(add images later)

Front/back accordion foldWith 3 parallel folds, the 2-panel outer wings fold into and out of the centre. The double panel centre serves as the cover.

Mock book foldEssentially an accordion fold, where the penultimate 2 panels form a cover that the other panels then fold in to to create a book.

Front/back gatefoldAn extra double panel that folds inside the front and/or back panel.

Triple parallel foldParallel folds that create a section that nests within the cover panels, with a front opening. May be used with maps.

Back/Front coverWings either side of the central panel have a double parallel fold so that they can fold around and cover both sides of the central panel.

Half cover from behindAn accordion fold where the penultimate panel forms a back cover that the other panels fold into to create a book, but the half-size end panel folds around the book from behind to cover the front together with the half-size first panel.

Duelling Z-FoldZ-Fold wings fold into the centre panel and meet in the middle.

Harmonica self-cover foldAn accordion fold where the first 2 panels form a cover that the other panels fold into. The first 2 panels need to be larger than the others to allow for creep.

Double gatefoldThe gatefold has 3 panels that fold in towards the centre of the publication.

The basic foldsThere are essentially 2 basic folds that are used to construct even the most complex of printed items, the valley fold and the mountain fold. A valley fold is created when you fold the paper in towards yorselfs. For the mountain fold you fold the paper away from yourself.

Concertina foldEach fold runs opposite to the previous one to obtain a pleated result. The outer page needs to be larger than the inner pages to hide th erough folding edges of the final piece. Alternatively a concertina can folded in on itself. For this the pages need to incrimently smaller

Accordion fold2 or more parallel folds that go in opposite directions and open out like and accordion. Also called a con-certina fold.

Types of bindingThere are a wide variety of binding techniques available. From simple staples to more elaborate solutions.

InformalFrom elastic binds, clips, bolts and more.

Edition bindingCase or edition binding has signatures, or sections, of a book sewn together and bound with a cloth strip down the spine. This is then attached to endpapers, in turn connecting the text block to hard outer covers. This outer cover is then often ‘wrapped’ in a dust jacket for added protection.

Open bindingA form of binding where the collated, sewn signatures are left exposed, adding a dramatic graphic effect.

Perfect bindingA binding method commonly used for paperback books, where the sgnatures are held together with a flexible adhesive that also attaches a paper cover to the spine. The fore-edge is trimmed flat.

Saddle-stitchA binding method used for booklets, programmes and small catalogues. Signatures are nested and wire stitches are applied through the spine along the centrefold. When opened, saddle-stitched books lay flat.

Wiro/comb bindingA spine of metal (wiro) or plastic (comb) rings that binds and allows a document to open flat. Used for reports, office publications, manuals and so on. Usually with a hard cover stock.

French foldA sheet of paper that has 2 right-angle folds to form a 4-page, uncut section. The section is sewn through the fold while the top edges remain folded and untrimmed. It’s common for the inner reveals to be printed with a flood colour.

Cnadian/half-Canadian bindingA spiral-bound volume with a wraparound cover that gives the benefits of spiral binding (lays flat, pages can be folded around) with the profession look of perfect binding. Half canadian has an exposed spine, full canadian has a covered spine.

Japanese or stab bindingA binding method whereby the pages are sewn together with one continual thread. Pages do not open flat. This is a very decorative binding method, which is not commonly used but it very luxurious.

Z-Binds and perforated Z-bindsZ-binds are a dual-binding technique, where 2 books are essentially bound onto a single cover. In the case of a perforated z-bind, these are pre-cut, indicating that the 2 parts are intended to be separated.

Open bindsAn open bind has a result like a book without it’s final cover-board applied. The glue and fabric used to secure pages is left exposed, creating a strong graphic statement.

CapacityWhen planning a publication, a designer needs to take into account the capacity of a cover to contain it’s pages. The dimensions of the spine will vary depending upon the number of pages in the publication. This is particularly true for perfect-bound publications and bindings.

AnimationWhether created online, for fil or for cartoons, animation is typically produced from a series of still images each subtly different from those previous, which create the effect of movement when viewed at speed.

Singer SewingRequires a sewing machine to create a stitched line.Used to give a hand-finished effect as the binding is not as accurate as other techniques. There is also a limit to the amount of sheets that can be binded this way.

Thread BindingOne of the oldest and strongest forms of binding. Mostly usedto bind hardbound books.It involves put-ting the printed and section-folded sheets into the correct order and trimming them. They are then thread stitched together on the spine.

Carton MakingThe cheapest alternative to rigid box making. It is the preferred method for consumer packaging where price is an issue.Logistically cartons are easier to transport as they can be packed flat. Cartons need not be produced from paper and board, it is worth exploring how other materials can act as cartons.

ClosuresClosures are the various ways a book or box can be kept shut.

Disc and stringOriginated in the legal profession. It is used primarily on envelopes and folders housing documents that need to be securely fastened and accessed quickly. It consists of discs riveted onto the opening parts. The discs themselves tend to be made from a pressed cardboard and the string from cotton. It is possible to have these discs made from the same material as the item you are producing, however the material may not be as strong as the cardboard and could buckle when tied with string.

MagnetsThe most common magnetic closure is the magnetic strip, these can be supplied in various widths. Mag-nestic discs are available but can be problamatic due to their bulk. The brownish black colour of magnets can be a worry for some clients, and the method of covering the magnet with card only serves to eliminate the magnetism. It is important to check that the magnets adhesive will stick to the substrate you choose to print on.

VelcroYou need to check the adhesive will stick to the substrate you choose to print on. There is a range of col-ours available. Velcro can be supplied in strips and dots in a range of sizes. As velcro creates a very strong contact some dots may tear off the substrate when opened.

Press StudsTend to work best with more rigid stock such a polypropylene. They are rivited to the substrate. Com-monly available colours tend to be bright primaries, black,white, gold and bright chrome.

ElasticElastic is an interesting closure alternative. You do not directly shutting or pressing the object closed. You are holding it together like you do when putting an elastic band around documents.

Die-CutA process that uses a steel die to cut away a section of a page. Die cuts have many uses and are mainly used for decorative purposes to enhance the visual performance of a design. They may also serve a physi-cal function, such as making unusual shapes or creating apertures that allow users to see inside a publi-cation. Die cuts produce a range of effects from the striking to the subtle.

Kiss-CutA method of die-cutting whereby the face material of a self-adhesive substrate is die cut but not all the way through to the backing sheet. This enables the face material to be easily removed from the backing sheet.

FiligreeFiligree is traditionally ornamental work in which fine gold or silver wire is used to create intricate pat-terns.

Types of PerforationA series of cuts or holes manufactured on a form to weaken it for tearing. Press perforation or machine perforation refer to how the perforation is made, while blade perforation and wheel perforation reference the cutting device used.

Spot VarnishSpot varnishing is the application of varnish to a specific area of a printed piece, usually prividing full cov-erage of an image. In-line or ‘wet’ varnishing as a fifth or sixth colour during printing adds a wet layer of varnish onto a wet layer of ink. As they dry, they absorb into the stock together which diminishes the im-pact. Off-line varnishing applies the varnish on a separate pass after the ink has already dried and results in extra glossiness, as less is absorbed by the stock. A UV spot varnish is a high-gloss varnish applied to selected areas to enhance impact or form part of the graphic design, this results in a raised texture.

Die StampingThe traditional way to emboss, using an engraving plate or die. The die is pressed into contact with the paper. Inks used in die-stamping have traditionally been oil based and slow drying. A die can be used without ink, this procedure is called blind embossing. Die stamping, like thermography offers an alterna-tive to more conventional print processes, creating a tactile and luxurious finish.

Dip MouldingDip moulding lends itself to low-volume production runs and the development of projects. It is versatile enough to cope with high volume production when needed. It has cheaper tooling costs for both proto-types and production tooling. The preferred material for tooling is aluminium, with more complex shapes being made with a wooden pattern then cast in aluminium. The dip-moulding process does not lend itself

to forming text out of the tooling as it is difficult to strip the finished mould without damaging the fin-ished product. The surface can be printed, with silk-screen offering the greatest flexibility. Pad printing can be employed for more complex, 3 dimensional surfaces.The process offers a very specific finish and feel. Given it’s synthetic and tactile nature.

Foil BlockingFoil blocking operates as an addition to other printing methods, allowing metallic finishes to be applied to a surface. There is a huge range of foils including metallic, colour and clear and some holographic or decorative foils. There are strict rules to follow for foil block, this should ne be ignored. You cannot foil on top of foil; if you apply foil on the reverse side, the foil on the front will be removed.Foil blocking can be used on stationary and letterheads. A potential is that the foil reheats and peels away from the paper depending on the printer used. If planning to use this method for such purposes, it is im-portant to check compatability with all office printers on-site beforehand.Foiling can sometimes be considered an overdecorative process.

HF WeldingHF (or high-frequency) welding is also known as RF (radio-frequency) welding or dielectric sealing. The principle behind the process is the use of high-frequency radio energy to produce a molecular agitation in the materials being processed to the point that they melt and weld together, typically forming a bond as strong as the original material.This approach could be considered as a packaging alternative, although 3D constructions do tend to stretch the capabilities of this process.

Injection MouldingUsed to make items such as shampoo bottle tops and CD cases.This process is a great deal more ex-pensive than processes like thermoforming. As a process it can be sourced and used internationally and nationally. The outcomes are well worth the extra expense associated with the process.

Rigid Box MakingAmong the most luxurious and desirable forms of packaging. The boxes are often handmade. Versions of this packaging can be made by machine but the choice of material and construction is more limited. A rigid box consitst of a hard base material, which is cut to shape, fixed together to form a box and covered in cloth, paper or vinyl. The box can be lined, usually using a coloured, uncoated paper. Larger boxes are more difficult to cover and therefore more expensive. It is very difficult to make a rigid box any shallower than 15 to 25mm, for these cases it is better to use a cardboard carton.

ThermoformingA method used in processing plastic-based substrates. The material is heated to its thermoforming tem-perature and then immediatly shaped. Pressure is maintained on the material until it has cooled. The tool-ing used in this process is cheaper than that used in injection moulding. The tooling is is generally made from aluminium. As the process is generally used for industrial applications it tends to be ignored for more aesthetic reasons. Thermoforming is a very precise process, the material has to be consistent and the sheet must be heated evenly to the correct processing temperature. The initial costs of this process can make it prohibitive. The process does offer alternative possibilites to a project.

ThermographyThermography or relief printing, is used to raise a design off the paper and adds another dimension to the design. A potential problem with thermographic printing is thermographic ink can melt if put through the same temperature twice (i.e laser printing, as could be used with a letterhead paper). An uneven finish may also be left on the