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___Artwork

FontsTrapping / OverprintTrims / BleedsInk Rub / Web GrowthFormat / Tiff & JpegResolution / Re-sizingTAC / Spreads

Cost

06081012141618

20

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___Serif Vs Sans Serif

Nearly all books, newspapers, and

magazines use a serif font for body copy. It’s

popularly accepted that, in print, serif

fonts are easier to read. The idea being

that the serifs actually make the letters

flow together – and subsequently easier

on the eyes.

It’s been said that serif fonts are for

“readability,” while sans-serif fonts are

for “legibility.” Which is why, in print, sans serif fonts are often

used as the headline font and serif fonts

are used for the body text.

The conclusion being that serif fonts are

easier to read when it comes to fonts on

paper, but sometimes that isn’t appropriate (like this publication).

___True Type

TrueType is an outline font standard developed by Apple

computer in the late 1980s as a

competitor to Adobe’s Type 1 fonts used

in Postscript. It has become the most

common format for fonts on both the Mac

OS and Windows operating systems.

___Outlines

The outlines of the characters (or glyphs)

in TrueType fonts are made of straight

line segments and quadratic Bezier

Curves. These curves are mathematically

simpler and faster to process than cubic

Bézier curves, which are used both in the

PostScript fonts.

.___Using for Print

It it useful to use TrueType fonts

for print because they was purposely

designed to look exactly the same on paper as they do on

screen.

___Reversed Out Lettering

Reversed 1-1 out lettering, or knocked out type, should be

out of a minimum of colours. Type or

objects smaller than 10pt in size should ideally be reversed

out of one colour only. Small letters reversed

out of multiple colours, particularly fonts with fine serifs - will show colour in

white type areas even with the slightest mis-registration on press. Check to ensure that reversed-out lettering

does not become illegible due to the text’s background.

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Trap

ping

& O

verp

rint

___Trapping

is a pre-press technique used to compensate for registration errors in lithographic printing and is the process of adding a slight overlap between adjacent areas of color to avoid gaps caused by misalignent. A litho press requires each colour separation to be laid down one at a time over the next in a particular order.

In four colour process printing, this order is KCMY or in other words, black followed by cyan, then magenta and lastly yellow. Each plate needs to be perfectly aligned to avoid what we call misregistration. As you can see in the diagram above when trapping is applied, even with bad print registration, there is no white gaps and the overlap would be so small that it wouldn’t be visible to the human eye.

___Printed Result with Bad Registration

___Drawing with Trapping

___Printed Result with Bad Registration

___Drawing without Trapping

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When overlapping images, the colour on top will block out the colour underneath. The standard for CM and Y is that they will lock out each other.

Because Black is a dark ink the default for that is to Overprint, On top of other colours.

What is interesting is that we can change how colours block out and overprint. For example, when using a Spot Colour to specify a gloss varnish. The way we do this is choose a colour that isn’t used in the document but tell the printer to not print that colour but use it as a spot varnish. The colour will default and block out the colours underneath, but if I need it to be a varnish I have to change this to overpeint

___Overprint___Locking Out

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___Guides

Columns and Guides are there to aid your layout design but have no consequence on the final layout.

___Margins

Margins aid you to have a consistent empty space around each page which helps fro print.

Trim

s &

Ble

eds

___Bleed

Bleed is the most important. Anything that goes to the edge of the page should extend off the edge. The reason for this is when it’s trimmed down there are no white edges if there are slight trim errors. Always include a Bleed Margin. The common standard is 3mm though.

___Slug Area

The Slug Area is outside the page that will be trimmed off eventually. This is used for trim marks, crop marks, registrations marks and any other printers marks. You can take advantage of the slug area to put in our own trim and fold marks outside of the page.

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___Blue LineSlug Area

___Red LineBleed

___Black LineEdge of Paper

___PurpleMargin

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Ink

Rub

& W

eb G

row

th

Ink can be transferred through abrasive contact on press and bindery handling systems during the manufacturing process. Matt and silk/satin papers are particularly susceptible to ink rubbing. Consideration can be given to this at the design stage. Where possible avoid facing pages of heavy ink coverage against white, unprinted pages.

Where possible avoid designs where the outside front cover is heavily inked and the outside back cover has large areas of white space or vice versa.If this is unavoidable, consider a seal, which can sometimes prevent marking.

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Paper has a tendency to expand as it absorbs moisture and shrink when it loses moisture. In the heatset web offset process heat is applied to the paper in order to flash off solvent and dry the ink. After heating the paper is cooled, and a layer of silicone emulsion is applied to “recondition” it. The heating of the paper removes a percentage of the moisture content which cannot be replaced in the printing process. The width of the web will have reduced by several millimetres when it leaves the press, which results in about one millimetre of shrinkage per page.

In sheetfed printing the opposite occurs. Paper takes up water in the printing process and may stretch due to water absorption

When sheetfed covers are bound with web offset sections, the covers are trimmed flush with the inner sections. After the trimming the covers release moisture into the air and the web offset sections absorb moisture from the air. The covers may shrink slightly and the web sections will grow and hence show a difference in size. Since the industry-accepted best-practice is to run paper grain parallel to the spine, web growth beyond the sheetfed cover will normally be evident on the fore-edge.

This effect is common within the printing industry and is most often seen when sheetfed covers are bound with web offset sections.

It may be possible to minimise the impact of this effect by careful design of the cover and page one of the content. Speak to your Production Controller at Headley Brothers for advice.

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Form

at, T

if &

Jep

g

___Image File Format

Image file formats are standardized means of organizing and storing digital images. Image files are composed of digital data in one of these formats that can be rasterized for use on a computer display or printer. An image file format may store data in uncompressed, compressed, or vector formats. Once rasterized, an image becomes a grid of pixels, each of which has a number of bits to designate its color equal to the color depth of the device displaying it.

___Compression

There are two types of image file compression algorithms: lossless and lossy.

Lossless compression algorithms reduce file size while preserving a perfect copy of the original uncompressed image. Lossless compression generally, but not exclusively, results in larger files than lossy compression. Lossless compression should be used to avoid accumulating stages of re-compression when editing images.

Lossy compression algorithms preserve a representation of the original uncompressed image that may appear to be a perfect copy, but it is not. Often times lossy compression is able to achieve smaller file sizes than lossless compression.

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JPG is the standard file format of most of consumer-quality digital cameras and is supported by most imaging software. JPEG offers efficient file sizes for uploading/posting on websites or emailing as attachments.

JPEG uses lossy compression, meaning some image data is lost when the file is compressed and then uncompressed. The amount of compression can vary, with more compression meaning more data loss but resulting in a smaller file. JPEG, like TIFF, is a good bet for a long term archival format.

Uncompressed TIFF is an excellent choice for archiving images when file size is not a consideration as uncompressed TIFF files are larfer JPEG.

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Re-

sizi

ng &

Res

olut

ion

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___Resolution

Resolution is basically the measurement of how many dots/pixels fit into one inch.

The resolution of an image refers to the density of the pixels (or printed dots) that make up that image or graphic. The higher the resolution, the crisper and more detailed the image will be. A lower resolution will be fuzzy, and less detailed. Image resolutions are measured in DPI (Dots Per Inch) and PPI (Pixels Per Inch). There are differences between the two

___DPI

DPI stands for ‘Dots Per Inch’ and this refers to a printed document, and the amount and spacing of the Cyan, Magenta, Yellow and Black dots

___PPI

PPI stands for ‘Pixels Per Inch’ and this refers to the pixels on a screen.

They aren’t the same thing, but designers and print professionals tend to use the terms DPI and PPI interchangeably. Sometimes they’ll say DPI but mean PPI.

___20 DPI___72 DPI___300 DPI

The higher resolution, the sharper the image will be. The recommended resolution is 300 dpi (dots per inch) for crisp, clear results as most printers are set to 300dpi or even 600dpi. Lower resolution images appear fuzzy, jagged and blurry.

Computer monitors are generally 72dpi and this is the default setting in photoshop. It is important you ensure all documents that are designed for print are set to at least 300dpi as it may look okay on screen at 72 but will look pixelated when printed.

___Resizing

When altering an image size in Photoshop you have two options, resize or resample. If you resample (the default option in Photoshop), you’re altering the pixel size of the document. If you resize (Uncheck the resample box), you’re altering the resolution and therefore the printed size of the document.

As we know, resampling a document up is bad. Photoshop will have to guess what pixels to insert into the gaps. Resampling a document down is OK, as we’ve already got more than the amount of pixels we need.

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TAC

& S

prea

ds

Total Ink Density, or total area coverage

as it is sometimes referred to, is the total

amount of ink in one area of the page.

For example, if the background of your piece is made up of

100C 80M 80Y 100K, the total ink density would be 360% for

the background.

Too much ink can cause appearance

issues, such as muddy colors or

ink puddling, and therefore total ink

density needs to be capped at 290%.

Source Interlink Media Prepress Department will

reduce the ink density of any ads that are outside of

our specification to 290%. Since color

is subjective, it is important that the

total ink density be adjusted prior

to submitting your materials.

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When designing for print, there will be times when you need to transform readers’ spread designs into printer spreads when going to press.

This can be really confising and if you designing using Adobe Indesign it automatically does this. However, thats not always the case so i’ts importnat to learn a little trick to make sure everything fits together properly.

If you make a two column grid, you can start on the right hand page and make your way down diagrnoally to the bottom then make your way back up to the top to see which pages will sit next to each other.

As you can see here, Page 8 and 1 are togheter, as are page 2 and 7.

Com

mer

cial

Cos

ting

___Cost Estimates

8 Page 4 Colour Gloss Brochures

500 - $2531000 - $45010,000 - $800100,000 - $6000

4 Colour Gloss Business Cards

500 - $301000 - $5510,000 - $350100,000 - $2500

20 Page 4 Colour Gloss Catalogs

500 - $7981000 - $130010,000 - $10,000100,000 - $50,000

4 Colour Gloss Flyers

500 - $1681000 - $30010,000 - $2500100,000 - $20,000

____Design By

Sam Lanesadcastle.co.uk

@sadcastle

____Typefaces Used

RaisonneHelvetica