Sappi the Standard Varnish & Coating

7/28/2019 Sappi the Standard Varnish & Coating

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Varnish&

Coatings

A Sappi Guide to Designing for Print:

Tips, Techniques and Methods for

Achieving Optimum Pr inting Results


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Issue three o The Standard examines ways that

varnish and coatings can be used as a design tech-

nique. Filled with practical and inormative tips, print

demonstrations, and a glossary o important terms,

The Standard serves as a bridge between the technical

and the creative. It is intended to be used as an

educational reerence tool, surveying techniques rom

the simple to the complex. Examples are provided or

visual comparison and as ood or thought when

considering design options. This edition o The Standard

showcases the versatile fnishes o McCoy, a premium

coated sheet brought to you by Sappi. McCoy is

part o the Sappi portolio o environmentally

responsive papers, which also includes Lustro Oset

Environmental (LOE), Opus, Somerset, and Flo.

Varnish &

Coatings


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Varnish and coatings do more than protect a

printed sheet from smudges, scratches

and fingerprints. They give designers the

ability to do on paper what online media cannot give tangible

depth, dimensionality and texture to images and words. Creative

use of varnish and coatings has the potential to transform the

viewing experience by appealing to multiple senses. You can evoke

a mood, convey an attitude, project energy or calm. You can

simulate the feel of concrete and silk. You can raise images off

the page or give the illusion of multiple layers. You can imitate the

look of practically anything, from plastic and metal to leather.

You can enhance reality by embedding scent into coatings and

by changing color through simple touch.


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Over the past five years, innovations in paper chemistry and

printing technology have led to the introduction of varnish and

coating effects that were not possible before. Most of these

techniques can be printed inline on a conventional press. The

availability of these amazing capabilities are prompting designers

and marketing strategists to rethink the role of print in advertising

and marketing communications. Creative professionals are asking

themselves what can be done more memorably on paper than

on a screen TV, computer monitor or cell phone? One answer

is to take advantage of the tactile quality and design possibilities

of varnish and coatings. Print allows designers and corporate

communicators to control how their message is seen and to

transcend the one click longevity of digital communications.


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Performance Comparison

Wt usig vais ad coatigs o potctio o as a dsig

tciu, p i mid tat ac as advatags ad imitatios.

Fo xamp, covtioa vais ca b appid om a gua

i uit o pss ad od tigt gistatio, but it aso dis mo

sow ta coatig ad ows ov tim. UV os ubatab

tuaoud tims ad suts i most catgois, but tpica costs

mo. UV aso sows mo gpitig, but w scatcs.

Pasct ma caus udsiab coo sits. Goss coatig mas

o ds bacs ta du coatigs, wic ma o ma ot b a

good tig. Cosid t tados ad wat is most impotat o

t job. Tis Pomac Compaiso is od as a ga guid

w vauatig ou coics.

4 McCOy SIlk

VArnISh AqUeOUS COATInG UV COATInG

Coo Sit

Cost

Dig Tim

Du lvs

Figpitig

Goss lvs

Ma-rad Tim

rccabiit

Scatcig

Spcia ects Avaiab

yowig

Pertinent categories are compared on Varnish and Coatings demonstration pages SCAle 1= ast 5 = most


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Sustainable and Recyclable

B ow, idust possioas udstad t impotac o

spciig FSC ad SFI ctid paps suc as McCo ad usig

vgtab-basd is, but t viomta impact o pocsss

suc as vais ad coatigs a ss amiia. A o t tcius

sow i tis boo a co-id ad o-toxic, ad do usig

igdits tat a ccab. Tis as og b tu o vais

ad auous coatig. It is aso tu o cut utaviot (UV) coatig.

UV coatig is cud ito a 100% soid b UV amps, a pocss

tat ass o voati ogaic compouds (VOC) ad is ofam-

mab. Uti ct, UV-coatd pit matias ad to b spaatd

om ot matias w ccig, but ow t ca b ccd

aog wit ot mixd wast.

McCOy SIlk 5


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6 MCCOY SILK

Available in gloss, satin and dull finishes, varnish is essentially

ink without pigment, so it can be run using a regular unit on the

press and hold exact dot-for-dot registration. A gloss varnish

deepens colors on a printed piece, while satin and dull finishes

reduce contrast. For overall protection and sheen, varnish is flooded

onto the entire sheet. One drawback of varnish is that it tends to

yellow over time, becoming most evident in unprinted areas.

Printers also have to use a spray powder to keep printed sheets from

sticking together while the varnish is still wet. This may leave a

faint residue. Still, varnish offers opportunities to elicit a variety of

dramatic design effects at a relatively inexpensive cost.


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8 MCCOY GLOSSSEE PAGE 4 FOR LEGEND

Varnish Inline Dull & Drytrapped Gloss Combination


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Varnish Inline & Drytrapped Gloss Combination

MCCOY GLOSS 11


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Varnish Inline Gloss & Dull Combination

SEE PAGE 4 FOR LEGEND12 MCCOY GLOSS


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Inline spot tinted satin varnishes


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Varnish Overprinted Satin Tint Combinations

Perfume

Bottles

MCCOY SILK 14


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Varnish Inline Satin & Drytrapped Tinted Gloss Combination

MCCOY SILK 15

Fish

Dre

ss


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Varnish Inline Gloss/Dull & Drytrapped Gloss Combination

Drytrapped

spot gloss

varnish on black

measurements

reverses out

of dull varnish

16 MCCOY SILK SEE PAGE 4 FOR LEGEND

Inline spot

gloss varnish

on body

& background

Conventional

four-color

process

Inline spot

dull varnish

on yellow

tape


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Varnish Inline Satin & Dull Combination

Inline spot dull

varnish in

background

Matte black,

process black

& match silver

tritone

Inline

spot satin

varnish

on dress

stripes

MCCOY GLOSS 17

Running spots of

dull and satin

varnish inline

helped to make

this X-ray of a

striped dress look

more skeletal.


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18 MCCOY GLOSS


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Coatings Inline Soft-touch Aqueous

20 MCCOY SILKSEE PAGE 4 FOR LEGEND

T

arantula


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22 MCCOY GLOSS


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This spread shows

four different ways

to use UV coat-

ings to make this

alligator look more

realistic. Above, to

heighten contrast,

the eye has a UV

gloss coating, the

tongue a UV gloss

varnish and the

skin a UV dull

varnish.

Spot gloss UV

varnish on tongue


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An anilox roller

with unevenly

dimpled micro-

cells is used to

apply UV coating

for a textured

look.


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The chess pieces

are visually

lifted away from

the board with

an application

of soft-touch

aqueous coating,

which gives the

pieces a slight

tactile quality.


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32 MCCOY GLOSS


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MCCOY SILK 33


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36 MCCOY GLOSS


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MCCOY SILK 37


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No Varnish

& inline

cnventinal

ur-clr

prcess

Dull Varnish

& inline

cnventinal

ur-clr

prcess

No Coating

& inline

cnventinal

ur-clr

prcess

Dull Aqueous

Coating

& inline

cnventinal

ur-clr

prcess

Gloss Varnish

& inline

cnventinal

ur-clr

prcess

Gloss Aqueous

Coating

& inline

cnventinal

ur-clr

prcess

McCoy Matte

This guide is designed t give u a direct cmparisn hw

dierent varnish and catings lk n the three paper fnishes

McC. Each cmbinatin causes subtle r smetimes ver

prnunced shits in verall clrs and intensit shadws and

highlights. Fr instance, running a glss varnish ver McC Glss

results in a dierent eect than, sa, a dull varnish n McC Matte.

The right chice depends n the pririties ur particular jb

the stle and subject the imager, the kind md u are

tring t create, and the wa u want the paper t eel when

readers hld it in their hands. It is imprtant t tell printers ur

paper chice earl n, s the can take that int accunt when

beginning prepress wrk.

38 McCoy SILK


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No Varnish

& inline

conventional

four-color

process

Dull Varnish

& inline

conventional

four-color

process

No Coating

& inline

conventional

four-color

process

Dull Aqueous

Coating

& inline

conventional

four-color

process

Gloss Varnish

& inlineconventional

four-color

process

Gloss Aqueous

Coating

& inline

conventional

four-color

process

McCoy Silk


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No Varnish

& inline

conventional

four-color

process

Dull Varnish

& inline

conventional

four-color

process

No Coating

& inline

conventional

four-color

process

Dull Aqueous

Coating

& inline

conventional

four-color

process

Gloss Varnish

& inline

conventional

four-color

process

Gloss Aqueous

Coating

& inline

conventional

four-color

process

McCoy Gloss


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No Coating

& inline

UV four-color

process

Dull UV Coating

& inline

UV four-color

process

No Coating

& inline

UV black

Dull UV Coating

& inline

UV black

Gloss UV Coating

& inlineUV four-color

process

Gloss UV Coating

& inline

UV black

McCoy Matte


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No Coating

& inline

UV four-color

process

Dull UV Coating

& inline

UV four-color

process

No Coating

& inline

UV black

Dull UV Coating

& inline

UV black

Gloss UV Coating

& inline

UV four-color

process

Gloss UV Coating

& inline

UV black

McCoy Silk


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No Coating

& inline

UV four-color

process

Dull UV Coating

& inline

UV four-color

process

No Coating

& inline

UV black

Dull UV Coating

& inline

UV black

Gloss UV Coating

& inline

UV four-color

process

Gloss UV Coating

& inline

UV black

McCoy Gloss


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52 McCoy Silk


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MCCOY SILK 57


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10%


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Sappi Fine Paper

North America

225 Franklin Street

Boston, MA 02110

www.sappi.com

1.800.882.4332

PRO-5646

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Sappi the Standard Varnish & Coating