Top Ten Things To Know About Design For Print

Top Ten ThingsTo Know About

Design For Print

ConvertingCMYK to RGB

1. CMYK (4 seperations) & RGB

2. Converting CMYK to RGB

3. Colour Gamut

4. Paper Stocks & Weights

5. Paper Sizes

6. PMS (colour for coated/uncoated etc)

7. Linen Testers

8. Printing Methods

9. Finishing

10. Costs


Converting from rgb to cmyk forces drastic changes in colour. Be careful when printing incorrectly converted files. The RGB model displays a much larger percentage of the visible spectrum than the CMYK model and, as a result, has a wider gamut. Once an image has been converted from RGB to CMYK and brought into printable gamut, the extra RGB data will be lost.

It is important to choose the right color model for the job. If your images will be printed, then convert them to CMYK and manually bring them into gamut before printing.

CMYKCyan, Magenta, Yellow, Key

CMYK is subtractive.

“A subtractive color model explains the mixing of paints, dyes, inks,

and natural colorants to create a full range of colors, each caused by subtracting

(that is, absorbing) some wave lengths of light and reflecting the others.”

Colour Gamut

Each color model has is own gamut (range) of colors that can be displayed or printed. Each color model is limited to only a portion of the visible spectrum. Since a color model has a particular range of available color or gamut, it is referred to as using a "color space". An image or vector graphic is said to use either the RGB color space or the CMYK color space (or the color space of another color model). Some graphic applications present the user with more than one color model for image editing or illustration and it is important to choose the right one for the task.

RGBRed, Green, Blue

RGB is additive

“An additive color model involves light emitted directly from a source or illuminant of some sort.

The additive reproduction process usually uses red, green and blue light to produce the other colors.”

CMYK////RGB

Notice the centers of the two colour charts. In the RGB model, the convergence of the three primary additive colours produces white. In the CMYK model, the convergence of the three primary subtractive col-ours produces black.

In the RGB model notice that the overlapping of additive colours results in subtractive colours. In the CMYK model notice that the overlapping of subtractive colours results in additive colours (red, green and blue).

The CMYK model forms its gamut from the primary subtractive colors of cyan, magenta and yellow. When the cmy inks are combined it forms black - in theory. However, because of the impurities in ink, when cmy inks are com-bined it produces a muddy brown color. Black ink is added to this system to compensate for these impurities.

Paper Stocks& Weights

“When considering a print quotation for a particular project, it is important to make sure the stock selected suits the proposed project.”

Colours will alter upon the stock you choose. Always consider the texture, colour, weight and size of the stock before printing to avoid any nasty surprises. The type of paper will decide your print results. For example, magenta on an uncoated stock will differ to magenta on a coated stock.

CMYK////RGB

Notice the centers of the two colour charts. In the RGB model, the convergence of the three primary additive colours produces white. In the CMYK model, the convergence of the three primary subtractive col-ours produces black.

In the RGB model notice that the overlapping of additive colours results in subtractive colours. In the CMYK model notice that the overlapping of subtractive colours results in additive colours (red, green and blue).




CMYK////RGB

Notice that the colors in the RGB model are much brighter than the colors in the CMYK model. It is possible to attain a much larger percentage of the visible spectrum with the RGB model. That is because the RGB model uses transmitted light while the CMYK model uses reflected light.

The muted appearance of the CMYK model demonstrates the

limitation of printing inks and the nature of reflected light. The colors in

this chart appear muted because they are displayed within their printable

gamut.

The best way to avoid stock issues is to try out samples and experiment with the colour com-parisons. Don’t be wary to ask printers for advice and their opinion on your chcoice of stock. Later in the presentation I will go on to talk about how choosing the correct stocks wisely will save costs on print finishing, especially vital when working with a client and working to a limited budget.

When working with clients, it is important to get a quotation. These can be obtained through your printer. A quotation backs up your work and shows the client that the concept you have delivered is realistic and within the conversed budget.

CMYK//4 colour seperation

CMYK is design for print. The CMYK printing method is also known as "four-color process" or simply "process" colour. All of the colors in the printable portion of the colour spectrum can be achieved by overlapping "tints" of cyan, magenta, yellow and black inks. A tint is a screen of tiny dots appearing as a perce-ntage of a solid colour. When various tints of the four colours are printed in overlapping patterns it gives the illusion of continuous tones - like a photograph:

Cyan Magenta

Yellow Key

Paper Sizes

Sounds simple when spoken about broadly but paper sizes are a tricky subject when it comes to commercial print.

“SRA size paper is used by commerical printing companies. It is slightly larger than the A series to provide room for grip, trim and bleed. These paper series are untrimmed raw paper. RA stands for “raw format A” and SRA stands for“supplementary raw format A”. The RA and SRA formats are slightly larger than the corresponding A series formats. These paper sheets will after printing and binding be cut to the match the A format.”

The bleed is essential. This is when printing ontoan SRA size paper to reach the edges of the sheet.A series formats do not allow edge printing so printing onto an SRA (slightly bigger than an A) gives you the opportunity to design to the edges


Paper Sizes

and trim down to the natural A size format.

A series format and SRA formats that are key to remember:

0 - 841 x 1189mmA1 - 594 x 841mmA2 - 420 x 594mmA3 - 297 x 420mmA4 - 210 x 297mmA5 - 148 x 210mmA6 - 105 x 148mm

SRA0 - 900 x 1280mmSRA1 - 640 x 900mmSRA2 - 450 x 640mmSRA3 - 320 x 450mmSRA4 - 225 x 320mm

It is useful to memorise the sizes so conversationand debating with printers flows. Printers andfuture employees also respect the quick knowledgeyou have of papers and stocks that others fall shorton when asked on the spot.


Converting from rgb to cmyk forces drastic changes in colour. Be careful when printing incorrectly converted files. The RGB model displays a much larger percentage of the visible spectrum than the CMYK model and, as a result, has a wider gamut. Once an image has been converted from RGB to CMYK and brought into printable gamut, the extra RGB data will be lost.

It is important to choose the right color model for the job. If your images will be printed, then convert them to CMYK and manually bring them into gamut before printing.

PMSPantone Matching System

Earlier in the top ten I mentioned gamuts and stock choices. PMS stands hand in hand with these. Checking colour reproduction through Pantone Swatches define how a colour will reproduce on a certain surface/stock. I mentionedcoated and uncoated surfaces briefly. They repr-esent different formulations based on what typeof paper will be used.

Colour Gamut

Each color model has is own gamut (range) of colors that can be displayed or printed. Each color model is limited to only a portion of the visible spectrum. Since a color model has a particular range of available color or gamut, it is referred to as using a "color space". An image or vector graphic is said to use either the RGB color space or the CMYK color space (or the color space of another color model). Some graphic applications present the user with more than one color model for image editing or illustration and it is important to choose the right one for the task.

PMS

“Coated for glossy-coated papers, uncoated for plain uncoated paper, matte for paper with a matte finish. Different paper finishes will absorb the inks differently, so the inks are formulated slightly differently to compensate for that absorbtion.”

This is good to know about but in effect eve-rything will be evident in the PantoneSwatches.

It is your job to determine what type of surfaceshould be used for the print job. If there is aproblem with the colour choice then re-assesthe colour using PMS and inform the printer.

The CMYK model forms its gamut from the primary subtractive colors of cyan, magenta and yellow. When the cmy inks are combined it forms black - in theory. However, because of the impurities in ink, when cmy inks are com-bined it produces a muddy brown color. Black ink is added to this system to compensate for these impurities.




PMS

A Pantone Swatch book shows the colour measurements for different surfaces. There are a whole range of any colour you can think of, and then a range of tones, tints, coats for that specific colour. Each colouris referenced with a code. This code is usedby printers all over the world and is the mostcommon use to communicate the exact colourneeded to avoid any confusion whatsoever.




PMS

As shown in the image, the best way to get an accurate colour for what you want to print is to physically match the colour to what you see in the swatch book. Once matched, the reference code can be typedin to your design software ie Illustrator,Photoshop, Indesign etc. All the softwareyou will come to use most probably usethis system, especially the Adobe programs.

The colour will more than enough show anoff colour on the screen - a colour that differsto the one you see on your surface. This iscaused by the fact you cannot determine thecolour on the screen is what will be printed.If the colour reference is correct on what youare designing, it will print that exact colour.

The best way to avoid stock issues is to try out samples and experiment with the colour com-parisons. Don’t be wary to ask printers for advice and their opinion on your chcoice of stock. Later in the presentation I will go on to talk about how choosing the correct stocks wisely will save costs on print finishing, especially vital when working with a client and working to a limited budget.

When working with clients, it is important to get a quotation. These can be obtained through your printer. A quotation backs up your work and shows the client that the concept you have delivered is realistic and within the conversed budget.

Paper Sizes

Sounds simple when spoken about broadly but paper sizes are a tricky subject when it comes to commercial print.

“SRA size paper is used by commerical printing companies. It is slightly larger than the A series to provide room for grip, trim and bleed. These paper series are untrimmed raw paper. RA stands for “raw format A” and SRA stands for“supplementary raw format A”. The RA and SRA formats are slightly larger than the corresponding A series formats. These paper sheets will after printing and binding be cut to the match the A format.”

The bleed is essential. This is when printing ontoan SRA size paper to reach the edges of the sheet.A series formats do not allow edge printing so printing onto an SRA (slightly bigger than an A) gives you the opportunity to design to the edges

Paper Sizes

and trim down to the natural A size format.

A series format and SRA formats that are key to remember:

0 - 841 x 1189mmA1 - 594 x 841mmA2 - 420 x 594mmA3 - 297 x 420mmA4 - 210 x 297mmA5 - 148 x 210mmA6 - 105 x 148mm

SRA0 - 900 x 1280mmSRA1 - 640 x 900mmSRA2 - 450 x 640mmSRA3 - 320 x 450mmSRA4 - 225 x 320mm

It is useful to memorise the sizes so conversationand debating with printers flows. Printers andfuture employees also respect the quick knowledgeyou have of papers and stocks that others fall shorton when asked on the spot.

DuoMono

Duotone//

when a continuous tone image is printed in 2 or more spot colours - this term is also generally used when describing tri and quadtones.

Monotone//

like greyscale but with a coloured ink, ie: one colour percentage tints of that colour, plus the colour of the material it’s printed on.

TonesJust a sneaky page on what

the two terms mean.

PMSPantone Matching System

Earlier in the top ten I mentioned gamuts and stock choices. PMS stands hand in hand with these. Checking colour reproduction through Pantone Swatches define how a colour will reproduce on a certain surface/stock. I mentionedcoated and uncoated surfaces briefly. They repr-esent different formulations based on what typeof paper will be used.

PMS

“Coated for glossy-coated papers, uncoated for plain uncoated paper, matte for paper with a matte finish. Different paper finishes will absorb the inks differently, so the inks are formulated slightly differently to compensate for that absorbtion.”

This is good to know about but in effect eve-rything will be evident in the PantoneSwatches.

It is your job to determine what type of surfaceshould be used for the print job. If there is aproblem with the colour choice then re-assesthe colour using PMS and inform the printer.

Linen Testers“Linen Testers, as the name suggests, were first introduced to assist in the textile trade.More recently they are used extensively in the print trade and photography, to test the quality of the paper and the pixels respectively. A Linen Tester is also the most useful type of Magnifier for looking at watermarks, stamp perforations etc.”

A traditional printers tool for assessing print quality such as ink acceptance, dot structure and fit.

They are instruments that allow you to inspecta print. This is important to be sure that aprint is to the correct standard, measuringthe line width and checking the registrationof colour seperations. The magnifier gives youan insight into how printing functions. Forexample, when inspecting a colour photograph,the 4 colour seperation can be seen. This beingthe small dots of CMYK scattered across the

PMS

A Pantone Swatch book shows the colour measurements for different surfaces. There are a whole range of any colour you can think of, and then a range of tones, tints, coats for that specific colour. Each colouris referenced with a code. This code is usedby printers all over the world and is the mostcommon use to communicate the exact colourneeded to avoid any confusion whatsoever.

PMS

As shown in the image, the best way to get an accurate colour for what you want to print is to physically match the colour to what you see in the swatch book. Once matched, the reference code can be typedin to your design software ie Illustrator,Photoshop, Indesign etc. All the softwareyou will come to use most probably usethis system, especially the Adobe programs.

The colour will more than enough show anoff colour on the screen - a colour that differsto the one you see on your surface. This iscaused by the fact you cannot determine thecolour on the screen is what will be printed.If the colour reference is correct on what youare designing, it will print that exact colour.

Printing Methods

First off, it’s important to know what/who rep-rographics are. Put simply, they are the peopleinbetween artwork and technical print. They’relike the problem solvers before printing and use-ful contacts to be aquainted with, be their friend.

PMS

There are ways around a wrong colourmatching. Before printing the designofficially, your artwork will go througha proofing stage. This is as close to thefinished print as you will get on anotherstock.

From the point of discussions and final approval of the proofs/examples foryour client, you can then press-pass the project. A press-pass is when the artwork is going through the printers press on the actual stock using the print process you have specified, you are able to check the first sheets through the press. You can approve the project, slightly adjust the colours or if thereproduction/stock is not correct or successful, the process can be stopped and the artwork adjusted at the final artwork/repro stage. A different process and paper stock can be specified to meet the requirements of clients brief and objectives.

PMS

Proofs are great for showing your clienthow the work will look. The most usefulpart about reaching this stage is that itis the last point at which you can makeamendments and minor changes. If theclient is happy with this then it is theirproblem if the very final production stage,resulting in the print is not what theywanted - as they have declared they werehappy with it.

Also, proofs are important incase the printerfinally prints it wrong to how it looked on theproof. It almost acts as a contract for you toshow them how they declared it would look,therefore giving you the upper hand in anyconfrontations or opinions they may have.

DuoMono

Duotone//

when a continuous tone image is printed in 2 or more spot colours - this term is also generally used when describing tri and quadtones.

Monotone//

like greyscale but with a coloured ink, ie: one colour percentage tints of that colour, plus the colour of the material it’s printed on.

TonesJust a sneaky page on what

the two terms mean.

Offset Litho explanaition:

“Etched aluminium plates wrapped arounda cylinder transfer ink to an ‘offset’ rubber blanket roller and then to a print surface. Sheet fed or Web fed.”

Rollers apply oil-based ink and water to the plates. Since oil and water don't mix, the oil-based ink won't adhere to the non-image areas. Only the inked image portion is then transferred to a rubber blanket (cylinder) that then transfers the image onto the paper as it passes between it and another cylinder beneath the paper.

The term offset refers to the fact that the imageisn't printed directly to the paper from the plates, but is offset or transferred to another surface that then makes contact with the paper.

Linen Testers

A linen tester checks the quality of the print. The strong magnifier enables you to see the printed colours on a deeper scale. Often regarded as a printers best friend, every graphic designer should have one.

Gravure

Copper plates (with mirror image) transfer ink directly to print surface, usually on rolls. Advantage, plates are more durable and so are good for long print runs.Gravure printing is a process in which the image to be printed (unlike in letterpress and flexographic printing) is etched into the printing plate, and the printing ink (unlike in offset printing) is transferred direct to the paper.

Linen Testers“Linen Testers, as the name suggests, were first introduced to assist in the textile trade.More recently they are used extensively in the print trade and photography, to test the quality of the paper and the pixels respectively. A Linen Tester is also the most useful type of Magnifier for looking at watermarks, stamp perforations etc.”

A traditional printers tool for assessing print quality such as ink acceptance, dot structure and fit.

They are instruments that allow you to inspecta print. This is important to be sure that aprint is to the correct standard, measuringthe line width and checking the registrationof colour seperations. The magnifier gives youan insight into how printing functions. Forexample, when inspecting a colour photograph,the 4 colour seperation can be seen. This beingthe small dots of CMYK scattered across the

Linen Testerspage, so to the human eye an illusion emergeswhere the colours mix together to show animage.

Take the image above for example. The lefthand side shows the photograph as we wouldsee it normally.

However, looking deeper into it - using a linentester - into a specific section, we can see thehuge amount of colours (CMYK) that formsomething so miniture and decieving thathuman eye is unable to pick up, no matter howfar or close you are.

Printing Methods

First off, it’s important to know what/who rep-rographics are. Put simply, they are the peopleinbetween artwork and technical print. They’relike the problem solvers before printing and use-ful contacts to be aquainted with, be their friend.

RotaryPrinting

“In this process the image printing plates are wrapped around a cylinder. This is anauto-mated print process and the material to be printed can be sheet fed or on a roll.”

Offset lithography (Litho)Rotogravure (Gravure)Flexography (Flexo)

//////////////////////////////////////////

The three main types of rotary printing.

RotaryPrinting

“In this process the image printing plates are wrapped around a cylinder. This is anauto-mated print process and the material to be printed can be sheet fed or on a roll.”

Offset lithography (Litho)Rotogravure (Gravure)Flexography (Flexo)

//////////////////////////////////////////

The three main types of rotary printing.

Litho

Litho printing works on the basic principle that oil and water do not mix. The offset lithographic process works by first trans-ferring an image photographically to thin metal, paper, or plastic printing plates. Unlike other forms of printing, in offset lithography the image on the printing plate is not recessed or raised.

Offset Litho explanaition:

“Etched aluminium plates wrapped arounda cylinder transfer ink to an ‘offset’ rubber blanket roller and then to a print surface. Sheet fed or Web fed.”

Rollers apply oil-based ink and water to the plates. Since oil and water don't mix, the oil-based ink won't adhere to the non-image areas. Only the inked image portion is then transferred to a rubber blanket (cylinder) that then transfers the image onto the paper as it passes between it and another cylinder beneath the paper.

The term offset refers to the fact that the imageisn't printed directly to the paper from the plates, but is offset or transferred to another surface that then makes contact with the paper.

Print Finishing

The print finishing takes place after theprint stages. This may come in the form oflaminating, image transfer, trimming andcoating.

In commercial printing, print finishing isassociated with folding, stapling, saddlestiching and perfect binding, varnishing,foil blocking, embossing or die cutting.

- All of which is an addition to the cost andlook of a finished print job.

Gravure

Copper plates (with mirror image) transfer ink directly to print surface, usually on rolls. Advantage, plates are more durable and so are good for long print runs.Gravure printing is a process in which the image to be printed (unlike in letterpress and flexographic printing) is etched into the printing plate, and the printing ink (unlike in offset printing) is transferred direct to the paper.

Gravure

In gravure, a cylinder unit prints one colour on one side of the web, which is then dried in a hot oven before reaching the next unit. In contrast, web-offset units print one colour on each side of the paper without drying between units, and all the ink is dried in one oven after the last printing unit.

Print Finishing

UV Varnishing

With both gloss and matt finishes available UV varnishing gives a similar effect to lamination although the process is more akin to printing a spot colour. With not quite the same feel as a laminate it has benefits in that it is generally cheaper to employ and can be printed on to discreet sections of a page such as a logo or image. Metallic Inks. These are again spot printed onto a page and can add a bit of oomph to a brochure when used judiciously. They have a reflective quality due to the metallic constituent in the ink. Available in a variety of pantone colours they are best employed fairly simple areas due to the viscosity of the ink.

Flexography

A positive, mirror image rubber polymer plate, on a cylinder, transfers ‘sticky’ ink directly to print surface. Usually roll feed.Flexo is usually used on everyday packagingwe use such as crisp packets and bottles.

Digital Printing

Ideally suited to short run or specials on a range of print media from paper to metal.

Pad Printing

A printing process that can transfer a 2-D image onto a 3-D object.Pad printing is used for objects fromcalculators to pens and pencils.

Print Finishing

and subsequently can add significantly to the overall cost of a job.

Die cutting

A metal tool which punches is hole or edge into a piece of artwork ito create a irregular shape in the substrate, usually card or paper. Like a pie cutter in application, A die cutter is often used used to create packaging from a regular sheet, but can also be used in brochure design to create an unusual cover or to knockout a hole for a image to show through. The cutter is a series of blades set in a block to create a single unbroken but irregular edge and can be combined with scoring to create folds in the paper. These have a significant make ready cost and are usually only used when a budget permits.

Screen Printing

Screen Printing Screen Printing

A printmaking technique that uses a woven mesh to support an ink blocking stencil.

Screenprinting is one of the most commonprinting methods around. A printing company would normally have a series of screen printing beds surrounded in a circleso a series of prints can be printed continu-ously.

In some cases, there are actual screen printingmachines that churn out fresh prints autom-atically. If not then the screens are controlledby a series of people printing vasts amountsof finishes for the designs.

Print Finishing

The print finishing takes place after theprint stages. This may come in the form oflaminating, image transfer, trimming andcoating.

In commercial printing, print finishing isassociated with folding, stapling, saddlestiching and perfect binding, varnishing,foil blocking, embossing or die cutting.

- All of which is an addition to the cost andlook of a finished print job.

Print Finishing

Special finishes Lamination and varnishing are employed extensively in brochure printing as both of these treatments will generally give a page a luster that adds a feeling off quality to a publication.

Lamination

Often with lamination you might not actually see the laminate which is a thin plastic coating heat sealed onto the paper. You will however feel it as it creates a smooth and impervious finish. This will likely be a matt laminate. Gloss lamination is more readably seen and again adds to the tactile quality of a page. Often lamination is only used on a brochures cover as it can add considerably to the cost of a print job.

Print Finishing

UV Varnishing

With both gloss and matt finishes available UV varnishing gives a similar effect to lamination although the process is more akin to printing a spot colour. With not quite the same feel as a laminate it has benefits in that it is generally cheaper to employ and can be printed on to discreet sections of a page such as a logo or image. Metallic Inks. These are again spot printed onto a page and can add a bit of oomph to a brochure when used judiciously. They have a reflective quality due to the metallic constituent in the ink. Available in a variety of pantone colours they are best employed fairly simple areas due to the viscosity of the ink.

Print Finishing

Foil Blocking

A technique where metallic foil is applied to a page using heat and pressure to create a reflective area. The effect is usually more eye catching than a metallic ink as the foil has a greater reflective properties and sits on top of the paper rather than being partially absorbed as is the case with the ink. The down side of this is that it is more expensive than metallic ink requiring a special dye to be made and will often be carried out in a specialised workshop.

Embossing

The technique of raising up a portion of the page to create a shadow. This, like foil blocking, requires a special dye to be made

Print Finishing

and subsequently can add significantly to the overall cost of a job.

Die cutting

A metal tool which punches is hole or edge into a piece of artwork ito create a irregular shape in the substrate, usually card or paper. Like a pie cutter in application, A die cutter is often used used to create packaging from a regular sheet, but can also be used in brochure design to create an unusual cover or to knockout a hole for a image to show through. The cutter is a series of blades set in a block to create a single unbroken but irregular edge and can be combined with scoring to create folds in the paper. These have a significant make ready cost and are usually only used when a budget permits.

Costs

Documents

Top Ten Things To Know About Design For Print