TOPPRINT10

1KNOWINGCOLOUR MODES

PRINT TOP 10page 1

CMYK

RGB

THIS IS THE COLOUR MODE USED IN PRINT. THIS IS A SUBTRACTIVE COLOUR MODE, MEANING THAT THE COLORS ARE BUILT UP FROM DYES AND INKS STARTING FROM WHITE. RGB IS AN ADDITIVE COLOUR MODEL, MEANING THAT IT BEGINS WITH BLACK, ADDING MORE COLOURS MAKES WHITE DUE TO THEM BEING MADE FROM LIGHT, HENCE ITS USE ON SCREEN.

THIS IS THE COLOUR MODE USED FOR SCREEN. COLOURS CREATED IN THIS MODE WILL VERY RARELY TRANSLATE TO CMYK BECAUSE THEY CANNOT BE REPLICATED WITH SUBTRACTIVE COLOUR.

REMEMBERPRINTRESOLUTION2PRINT TOP 10page 2

300dpi

3KNOWINGPRINT METHODS

PRINT TOP 10page 3

LITHOGRAPHY GRAVURE FLEXOGRAPHY DIGITAL

PAD PRINTING SCREEN PRINTING

- Rotary- Cylindrical plate(aluminium)- Sheet or roll fed

A process used massively in commercial print, for all types of ephemera, commonly magazines and newspapers.

- Copper plate - Not offset (prints straight from plate to paper)

A process used for very long print runs because of the deeper etched and more durable copper printing plate that gives a high density of ink.

- Rubber plate- Roll fed - Not offset

A similar process to the others but the rubber plate transfers sticky ink directly onto the paper. Used for throw away goods because of the poor print quality.

- No process -RIP (raster image processor)

A method of print that goes straight from document to print, raterized by the printer from a digital file. Used for small print runs with high quality.

- 3-D plate- Not offset

A printing process used for transferring designs directly onto 3-Dimensional objects. This is due to the semi-spherical sponge like plate.

- Physical process- Mesh screen

A process done by hand with imagery created by photographic exposure of the screens. Very small print runs with high ink density.

4EXPERIMENTWITH FORMAT

PRINT TOP 10page 4

DON’T JUST USE STANDARD FORMATSWhen printing, aswell as getting all the processes and document setup and so on right, it is also important to have something you are pleased with and will stand out. A good way to achieve this would be to move away from standard print formats to create something different, or to think about how you can use the normal formats differently. Examples I’ve found where different formats have been used are very often the most interesting and create the most memorable designs.

5EXPERIMENTWITH STOCK

PRINT TOP 10page 5

COATED UNCOATED WOVE OTHERPaper with a clay or other coating applied to one or both sides is coated paper. Coated papers are available in gloss, silk (sometimes called satin) or matt finishes- and are used for projects requiring a fine

Paper with no coating applied is uncoated paper. Through not having a coating this stock is not as smooth. It is available in many different colours, and weights and is more absorbent than coated paper.

Paper made on a closely woven wire roller or mold and having a faint mesh pattern. Wove is a popular sheet for stationery and book publishing. Wove is a premium quality paper with a uniform surface.

But remember that paper isn’t the only kind of stock available, printing is possible on many different substrates and the best one depends on the job. Use what is relevant and don’t just go straight for paper...

6MONOTONEDUOTONE& TINTS

PRINT TOP 10page 6

MONOTONE - CYAN

DUOTONE - CYAN & PANTONE RUBINE RED C

TINTS - C

7SPECIALPRINTFINISHES

PRINT TOP 10page 7

EMBOSSING FOIL BLOCKING SPOT VARNISH DIE CUTTINGEmbossing is a process by which the design on the page is raised in relief to give a textured finish. A process done using pressure to push the design out from the back.

Foil blocking is a special process by which a foil, often metallic is applied to the surface of a design. It is done by heat press that applies the foil to the chosen design.

A special effect that puts an overprint varnish only on specific areas of a printed piece. The term spot varnish refers to the spot application of Ultra violet light.

Another special print finish that uses a pre-made cutting blade to cut the desired shape from the design. Done by applying pressure when the blade is in the desired position.

8CONSIDERTHE JOBSCOST

PRINT TOP 10page 8

COSTING WORKING APPROPRIATELYCosting is a very important part of any job that will go to print and commercially, can very often determine the outcome almost entirely. So it’s very important that you get the cost of printing correct so that you can get the most out of the job as possible and create something that ultimately, everyone will be pleased with. One of the worst things that could happen is you plan your artwork with the budget given by the client and have all your printing in mind, then when you are given a quote by the printers it is way over budget. This would require a massive re-think and at the end of the day, is just a massive hassle. If you have made sure to be thorough in your search for a reputable printer and got a few different quotes then you should get an idea of the cost. Even before a job you could have found out what sort of price the printer would charge for various processes, then when you come round to a brief you want to apply it you’ll have a rough estimate. This should become a little easier over time as you build relationships with printers.

Remeber when working for print that you’re only producing what you’re being paid for. It’s important to work appropriately and not try to use too much time or include specialist print processes that are way above what the job is worth. For example embossing and foil blocking on to a specially produced duplex stock for a catalogue in a print run of ten thousand. For which the customer is only paying you for a plain old catalogue. it might seem boring but producing something with so many special print processes would take up time needed for other jobs and the cost would only end up coming out of your pocket.Estimate the price needed for a job and work to it, if there is enough in their budget to use different processes then go for it, as it will normally improve the product and will create something more satisfying for both you as a designer and the customer.

9KNOWINGPANTONE MATCHING

PRINT TOP 10page 9

The pantone matching system is the definitive international reference for selecting, specifying, matching and controlling ink colors. The pantone formula guide, a three-guide set consisting of 1,114 solid pantone colors on coated, uncoated and matte stock, shows corresponding printing ink formulas for each color, and the three-book set of solid chips provides coated, uncoated and matte perforated tear-out chips that can be used for quality control.

The digitally created pantone 4-color process guides provide a comprehensive palette of more than 3,000 colors achievable in four-color (cmyk) process printing. The pantone color bridge® guides coated and uncoated compare solid pantone colors to their closest possible match in cmyk four-color process that can be achieved on a computer monitor, output device or printing press. Other pantone color reference guides for the graphic arts include metallic, pastel and tints.

COLOUR BOOKS

REMEMBERALWAYSSPELLCHECK

10PRINT TOP 10page 10

This could save you a lot of time and money... the last thing you want to do is send a print run of 5000 posters to print and realise there is a spelling error as it’s a lot of hassle and costs sorting mistakes like these. It applies in the same way to colour matching, on pieces where having the colour right is particularly important, it could have a similar effect to a spelling mistake. It means a massive amount of money and time is needed to put right a mistake that need never be made if you check your work thoroughly