printproduction

New

tintspaper sizes

die cutspot colour

duotoneusing black shinersprinting processes

end bit

contents

tints

50%

40%

30%

20%

10%

If you are using a spot colour in print, you can also use a % tint of the same colour to give a range of shades.

tints90%

80%

70%

60%

100%

iso paper sizesA2 A5A3 A4

RA Oversize Series mmRA0 860 × 1220RA1 610 × 860RA2 430 × 610RA3 305 × 430RA4 215 × 305

A Standard Series mmA0 841 by 1189A1 594 by 841A2 420 by 594A3 297 by 420A4 210 by 297

If you want to print a design A series format, you will need to use an oversized paper stock to allow for the printing bleed (size usualy ISO RA series). This can then be trimmed down to A format after printing.

iso paper sizesA2 A3

A4

A5

A1

diecut

Using a metal die, shapes can be cut from stock. As can be seen from these examples, of packerging this tecnique can be used very effectively to add interest to a product. This will cost quite a bit more than standard printing so is oftern seen on premium branded products. The shape that can be cut ir really only limeted by the designers imagination. Laser cutting is sometimes also used, this produces intricate shapes but with slightly fringed edges.

spot colour

Pantone spot colours are used either when a desired colour is out of the CMYK gamut (unachievable by purely mixing these inks) or when a higher quality pure colour is required (rather than a colour that is created out of a combination of CMYK ink). The image (left) is of a Pantone swatch book. These are actual printed samples of each ink, they are used to find and match colours accuratly.

spot colour

duo tone

duo toneDuotone images mix two spot colours and can be cheaper to print with the lithograph process. It is also an interesting creative technique and I have enjoyed playing around in Photoshop making a few. See dialog boxes for details on the duotone on facing page.Origional grayscale, left.

using black shiners

100% key. Using only black ink can result in a washed out grayer black.

Matching blacks has always been a problem for me in previous projects. I have now learnt there is a lot more to creating a good black in print than you might expect.

100% key and 100% Cyan. This is called a shiner and creates a darker, richer, ’cooler‘ looking black

B L

100% key and 100%Magenta. This shiner can be used to create a ‘warmer’ looking black.

100% key, 100% Cyan, 100% Magenta and 100% Yellow. This is known as registration black, only really be used as printing marks as it can appear muddy looking.

100% key, 50% Cyan, 50% Magenta and 50% Yellow. This is known as a rich black and can be useful to hide possable registration problems.

A CK

printing processes

Lythograph

This is more economic for larger run print jobs as printing plates have to be created but higher speed printing is achievable.

Digital Print

This is more economical for smaller run printing jobs, process is very similar to domestic ink-jet printers.

It is important for a designer to understand how their designs will be printed. This is a quick run-down on the currently used commercial printing processes. Silk-screen printing is also used for some high quality, low volume jobs.

Web Printing

Using paper from huge rolls rather than individule sheets, used for very high volume jobs such as newspapers.

flexograph

Similer process to lythograph but can be use for printing plastics and cardboard and also for printing packerging such as bags and cartons.

Pad

Used for printing on all kinds of 3d objects.

printing processes

books researched:the production manual - ambrose/harristhe fundamentals of creative design - ambros/harristhe little know it all20th century type - lewis blackwell

photographs sourced from internet

fonts used:bell gothic std boldbell gothic std blackbrush script mt italic

end bit

end bit