Imposition

Imposition is one of the fundamental steps in the prepress printing process. It consists in the arrangement of the printed product’s pages on the printer’s sheet, in order to obtain faster printing, simplified binding and less waste of paper.
Correct imposition minimizes printing time by maximizing the number of pages per impression, reducing cost of press time and materials. To achieve this, the printed sheet must be filled as fully as possible.
Imposition is affected by five different parameters:

• Format of the product: The size of the finished page determines how many pages can be printed on a single sheet.
• Number of pages of the printed product: The compositor must determine how many sheets are to be printed to create a finished book.
• Stitching/binding method: The compositor must understand how the sheets are placed to form the signatures that compose the finished book.
• Paper fiber direction: Many papers have a "grain," reflecting the alignment of the paper fibers. That these fibers must run lengthwise along the fold influences the alignment, hence the position, of the pages on the printed sheet.
• Finishing and binding

To understand how the pages are related to each other, an imposition dummy may be used. This is made by folding several sheets of paper in the way the press will print and fold the product. A little copy is then created, and this can help paginate the product.^[1]

Poster images

Shapley 1: An Annular Planetary Nebula

Explanation: What happens when a star runs out of nuclear fuel? For stars about the mass of our Sun, the center condenses into a white dwarf while the outer atmospheric layers are expelled into space and appear as a planetary nebula. This particular planetary nebula, pictured above and designated Shapley 1 after the famous astronomer Harlow Shapley, has a very apparent annular ring like structure. Although some of these nebulas appear like planets on the sky (hence their name), they actually surround stars far outside our Solar System.

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NGC 7331 and Beyond

Explanation: Big, beautiful spiral galaxy NGC 7331 is often touted as an analog to our own Milky Way. About 50 million light-years distant in the northern constellation Pegasus, NGC 7331 was recognized early on as a spiral nebula and is actually one of the brighter galaxies not included in Charles Messier's famous 18th century catalog. Since the galaxy's disk is inclined to our line-of-sight, long telescopic exposures often result in an image that evokes a strong sense of depth. The effect is further enhanced in this sharp image by galaxies that lie beyond the gorgeous island universe. The background galaxies are about one tenth the apparent size of NGC 7331 and so lie roughly ten times farther away. Their close alignment on the sky with NGC 7331 occurs just by chance. Seen here through faint foreground dust clouds lingering above the plane of Milky Way, this visual grouping of galaxies is also known as the Deer Lick Group.

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NGC 3314: When Galaxies Overlap

Explanation: NGC 3314 is actually two large spiral galaxies which just happen to almost exactly line up. The foreground spiral is viewed nearly face-on, its pinwheel shape defined by young bright star clusters. But against the glow of the background galaxy, dark swirling lanes of interstellar dust appear to dominate the face-on spiral's structure. The dust lanes are surprisingly pervasive, and this remarkable pair of overlapping galaxies is one of a small number of systems in which absorption of light from beyond a galaxy's own stars can be used to directly explore its distribution of dust. NGC 3314 is about 140 million light-years (background galaxy) and 117 million light-years (foreground galaxy) away in the multi-headed constellation Hydra. The background galaxy would span nearly 70,000 light-years at its estimated distance. A synthetic third channel was created to construct this dramatic new composite of the overlapping galaxies from two color image data in the Hubble Legacy Archive.

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The Fairy of Eagle Nebula

Explanation: The dust sculptures of the Eagle Nebula are evaporating. As powerful starlight whittles away these cool cosmic mountains, the statuesque pillars that remain might be imagined as mythical beasts. Pictured above is one of several striking dust pillars of the Eagle Nebula that might be described as a gigantic alien fairy. This fairy, however, is ten light years tall and spews radiation much hotter than common fire. The greater Eagle Nebula, M16, is actually a giant evaporating shell of gas and dust inside of which is a growing cavity filled with a spectacular stellar nursery currently forming an open cluster of stars. The above image in scientifically re-assigned colors was released in 2005 as part of the fifteenth anniversary celebration of the launch of the Hubble Space Telescope.

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NGC 3521: Galaxy in a Bubble

Explanation: Gorgeous spiral galaxy NGC 3521 is a mere 35 million light-years away, toward the constellation Leo. Relatively bright in planet Earth's sky, NGC 3521 is easily visible in small telescopes but often overlooked by amateur imagers in favor of other Leo spiral galaxies, like M66 and M65. It's hard to overlook in this colorful cosmic portrait, though. Spanning some 50,000 light-years the galaxy sports characteristic patchy, irregular spiral arms laced with dust, pink star forming regions, and clusters of young, blue stars. Remarkably, this deep image also finds NGC 3521 embedded in gigantic bubble-like shells. The shells are likely tidal debris, streams of stars torn from satellite galaxies that have undergone mergers with NGC 3521 in the distant past.

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M27: Not a Comet

Explanation: While hunting for comets in the skies above 18th century France, astronomer Charles Messier diligently kept a list of the things he encountered that were definitely not comets. This is number 27 on his now famous not-a-comet list. In fact, 21st century astronomers would identify it as a planetary nebula, but it's not a planet either, even though it may appear round and planet-like in a small telescope. Messier 27 (M27) is an excellent example of a gaseous emission nebula created as a sun-like star runs out of nuclear fuel in its core. The nebula forms as the star's outer layers are expelled into space, with a visible glow generated by atoms excited by the dying star's intense but invisible ultraviolet light. Known by the popular name of the Dumbbell Nebula, the beautifully symmetric interstellar gas cloud is over 2.5 light-years across and about 1,200 light-years away in the constellation Vulpecula. This impressive color composite highlights details within the well-studied central region and fainter, seldom imaged features in the nebula's outer halo. It incorporates broad and narrowband images recorded using filters sensitive to emission from sulfur, hydrogen and oxygen atoms.

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NGC 7635: The Bubble Nebula

Explanation: It's the bubble versus the cloud. NGC 7635, the Bubble Nebula, is being pushed out by the stellar wind of massive central star BD+602522. Next door, though, lives a giant molecular cloud, visible to the right. At this place in space, an irresistible force meets an immovable object in an interesting way. The cloud is able to contain the expansion of the bubble gas, but gets blasted by the hot radiation from the bubble's central star. The radiation heats up dense regions of the molecular cloud causing it to glow. The Bubble Nebula, pictured above in scientifically mapped colors to bring up contrast, is about 10 light-years across and part of a much larger complex of stars and shells. The Bubble Nebula can be seen with a small telescope towards the constellation of the Queen of Aethiopia (Cassiopeia).

Context for zine. Nebulae.

Object Name - Orion Nebula (M42, NGC 1976)

Object Description - Emission Nebula

Position (J2000) - R.A. 05h 35m 17s // Dec. -05° 23' 28"

Constellation - Orion

Distance - The distance to the Orion Nebula is 1,500 light-years (460 parsecs).

Dimensions - The image is 30 arcminutes (13 light-years or 4.0 parsecs) square.

Color - This image is a composite mosaic of many separate expposures made by the ACS instrument on the Hubble Space Telescope and the ESO La Silla 2.2 meter telescope using several different filters isolating the light of specific elements or of specific broad wavelength ranges. The color arises by assigning different hues (colors), to each monochromatic image.

Object Name - V838 Monocerotis

Object Description - Nova-like variable star and surrounding light echo

Position (J2000) - R.A. 07h 04m 04.8s // Dec. –03° 50' 50"

Constellation - Monoceros

Distance - The star is ~20,000 light-years (~6 kiloparsecs) away.

Dimensions - This image is 2.4 arcminutes (13.6 light-years or 4.2 parsecs) wide.

Context for Zine. Planets.

Object Name - Uranus

Object Description - Planet

Distance - The semi-major axis of Uranus's orbit about the sun is 19.18 Astronomical Units (A.U.) or roughly 4.5 billion km.

Dimensions - Uranus (without rings) has a diameter of roughly 32,000 miles (51,000 km) at the equator.

Object Name -  Jupiter

Object Description - Planet

Distance - The semi-major axis of Jupiter's orbit about the Sun is 5.2 Astronomical Units (778 million km or 483 million miles).

Dimensions - The planet has a diameter of roughly 88,789 miles (142,984 km) at the equator.

Context for Zine. Galaxies.

Object Name - NGC 4038/4039, Antennae Galaxies

Object Description - Interacting Galaxies

Position (J2000) - R.A. 12h 01m 53s.18 // Dec. -18° 52' 52 ".4

Constellation - Corvus

Distance - 60 million light-years (19 megaparsecs)

Dimensions - The composite image of the Antennae Galaxies is 34 arcminutes (59,000 light-years or 18,000 parsecs) wide.


Release Date - August 5, 2010

Colour - This image is a composite of many separate exposures made by the NASA Great Observatories. The color results from assigning different hues (colors) to each monochromatic image. In this case, the assigned colors are:

- Chandra X-ray Observatory X-ray blue

- Hubble Space Telescope Optical/Visible yellow

- Spitzer Space Telescope Infrared red

Object Name - M82, NGC 3034

Object Description - Starburst Galaxy

Position (J2000) - R.A. 09h 55m 52s // Dec. +69° 40' 49"

Constellation - Ursa Major

Distance - 12 million light-years (3.7 Megaparsecs)

Dimensions - This image is roughly 7.9 arcminutes (28,000 light-years or 8,500 parsecs) wide.

Release Date: April 24, 2006

Color -
This image is a composite of many separate exposures made by the ACS instrument on the Hubble Space Telescope using several different filters. Three filters sample broad wavelength ranges, one isolates the light of hydrogen. The color results from assigning different hues (colors) to each monochromatic image. In this case, the assigned colors are:

F658N (Hydrogen-alpha) red/orange
F814W (I) red
F555W (V) green
F435W (B) blue

Unsourced.

A piece of design i stumbled across on Tumblr. Interesting use of stock, i'd like to propose a release a series of exclusive posters printed on a gold like foil for the workers that helped build the telescope.

Korean Cultural Centre/British Council: Supervisions Show Catalogue.

A simple design i found, using a bold red against a light blue gives an interesting look. I would like to use a similar colour combination within some of my design for what is production for print.

Dodcument Set-up. InDesign CS5 / 5.5

1. Choose File > New > Document.
   The New Document dialog box combines the Document Setup and the Margins And Columns dialog boxes, so that you can set up the page size, margins, and page columns all in one place. You can change these settings at any time.
   
2. Specify document setup options. (See New Document options.)
   To specify the dimensions of the bleed and slug areas, click More Options. The bleed and slug areas extend out from the edges of the defined Page Size. To make the bleed or slug areas extend evenly on all sides, click the Make All Settings The Same icon .
   
3. Click OK to open a new document with the settings you specified.

To set default layout settings for all new documents, choose File > Document Setup or Layout > Margins And Columns, and set options when no documents are open.

New Document options

Document Preset

Choose a preset that you have saver earlier.

Intent

If you are creating a document to be output to PDF or SWF for the web, choosing the Web option changes several options in the dialog box, such as turning off Facing Pages, changing the orientation from portrait to landscape, and using a page size based on monitor resolution. You can edit any of these settings, but you cannot change the Intent setting after the document is created.

Number of pages

Specify the number of pages to create in the new document.

Start Page #

Specify which number the document starts on. If you specify an even number (such as 2) with Facing Pages selected, the first spread in the document begins with a two-page spread. See Start a document with a two-page spread.

Facing Pages

Select this option to make left and right pages face each other in a double-page spread, such as for books and magazines. Deselect this option to let each page stand alone, such as when you’re printing flyers or posters or when you want objects to bleed in the binding. After you’ve created a document, you can use the Pages panel to create spreads with more than two pages or force the first two pages to open as a spread. (See Control spread pagination.)

Master Text Frame

Select this option to create a text frame the size of the area within the margin guides, matching the column settings you specified. The master text frame is added to the A‑Master. (See Using text frames on master pages.)The Master Text Frame option is available only when you’ve chosen File > New > Document.

Page Size

Choose a page size from the menu, or type values for Width and Height. Page size represents the final size you want after bleeds or other marks outside the page are trimmed.

Orientation

Click Portrait  (tall) or Landscape  (wide). These icons interact dynamically with the dimensions you enter in Page Size. When Height is the larger value, the portrait icon is selected. When Width is the larger value, the landscape icon is selected. Clicking the deselected icon switches the Height and Width values.

To specify the dimensions of the bleed and slug areas, click More Options in the New Document dialog box. To make the bleed or slug areas extend evenly on all sides, click the Make All Settings The Same icon .

Bleed

The Bleed area allows you to print objects that are arranged at the outer edge of the defined page size. For a page of the required dimensions, if an object is positioned at its edge, some white may appear at the edge of the printed area due to slight misalignment during printing or trimming. For this reason, you should position an object that is at the edge of the page of the required dimensions a little beyond the edge, and trim after printing. Bleed area is shown by a red line on the document. You can set bleed area settings from Bleed in the Print dialog box.

Slug

The slug area is discarded when the document is trimmed to its final page size. The slug area holds printing information, customized color bar information, or displays other instructions and descriptions for other information in the document. Objects (including text frames) positioned in the slug area are printed but will disappear when the document is trimmed to its final page size. Objects outside the bleed or slug area (whichever extends farther) do not print.

Note: You can also click Save Preset to save document settings for future use.

Document window overview

Each page or spread in your document has its own pasteboard and guides, which are visible in Normal View mode. (To switch to Normal View, choose View > Screen Mode > Normal.) The pasteboard is replaced with a gray background when the document is viewed using one of the Preview modes. (See Preview documents.) You can change the color of this preview background and guides in Guides & Pasteboard preferences.

 

Document and guides in Normal View Mode

A.

Spread (black lines)

B.

Page (black lines)

C.

Margin guides (magenta lines)

D.

Column guides (violet lines)

E.

Bleed area (red lines)

F.

Slug area (blue lines)

Document window notes:

• Lines of other colors are ruler guides which, when present, appear in the layer color when selected. See Layers.
• Column guides appear in front of margin guides. When a column guide is exactly in front of a margin guide, it hides the margin guide.

Create custom page sizes

You can create custom page sizes that appear in the Page Size menu in the New Document dialog box.

1. Choose File > New > Document.
2. Choose Custom Page Size from the Page Size menu.
3. Type a name for the page size, specify page size settings, and then click Add.

The New Doc Sizes.txt file that lets you create custom page sizes in previous version of InDesign is not available in InDesign CS5.

Define document presets

You can save document settings for page size, columns, margins, and bleed and slug areas in a preset to save time and ensure consistency when creating similar documents.

1. Choose File > Document Presets > Define.
2. Click New in the dialog box that appears.
3. Specify a name for the preset and select basic layout options in the New Document Preset dialog box. (See New Document options for a description of each option.)
4. Click OK twice.

You can save a document preset to a separate file and distribute it to other users. To save and load document preset files, use the Save and Load buttons in the Document Presets dialog box.

Create a document using a preset

1. Do one of the following:.
   • Choose File > Document Preset > [name of preset]. (Hold down Shift while choosing the preset to create a new document based on the preset without opening the New Document dialog box.)
   • Choose File > New > Document, and then choose a preset from the Document Preset menu in the New Document dialog box.
   The New Document dialog box displays the preset layout options.
2. Make changes to the options (if desired) and click OK.

Document Set-up. InDesign. CS4

ADOBE INDESIGN CS4

After you create a document, you may change your mind about how you want it set up. For example, you may want single pages instead of facing pages, or you may want to change the page size or margin settings.

Change document setup

Changing options in the Document Setup dialog box affects every page in the document. If you change page size or orientation after objects have been added to pages, you can use the Layout Adjustment feature to minimize the amount of time needed for arranging existing objects. See About automatic layout adjustment.

1. Choose File > Document Setup.
2. Specify the document options, and then click OK. (See New Document options.)

Change page margin and column settings

You can change column and margin settings for pages and spreads. When you change the column and margin settings on a master page, you change the setting for all pages to which the master is applied. Changing the columns and margins of regular pages affects only those pages selected in the Pages panel.

Note: The Margins And Columns dialog box doesn’t alter columns inside text frames. Text frame columns exist only within individual text frames, not on the page itself. You can set up columns within individual text frames by using the Text Frame Options dialog box. (See Change text frame properties.) Text frame columns can also be affected by the Layout Adjustment feature.

1. Do one of the following:
   • To change margin and column settings for one spread or page, go to the spread you want to change, or select one spread or page in the Pages panel.
   • To change margin and column settings for multiple pages, select those pages in the Pages panel, or select a master that controls the pages you want to change.
2. Choose Layout > Margins And Columns, specify the following options, and then click OK.

   Margins

   Type values to specify the distance between margin guides and each edge of the page. If Facing Pages is selected in the New Document or Document Setup dialog box, the Left and Right margin option names change to Inside and Outside, so that you can specify additional inside margin space to accommodate binding.

   Columns

   Specify the number of columns.

Create unequal column widths

When you have more than one column on a page, the column guides in the middle appear in pairs. When you drag one column guide, the pair moves. The space between the column guides is the gutter value you specified; the pair moves together to maintain that value.

Note: You cannot create unequal column widths for columns in a text frame. Instead, created threaded, side-by-side text frames with different column widths.

1. Go to the master or spread you want to change.
2. If column guides are locked, choose View > Grids & Guides > Lock Column Guides to deselect it.
3. Using the Selection tool , drag a column guide. You can’t drag it past an adjacent column guide or beyond the edge of the page.

 

Dragging a column guide to create unequal column widths

Document Set-up. Illustrator. CS5 / 5.5

As with CS4, CS5 / 5.5 allows you to change the default setup options for your document, this includes units of measure, transparency grid display, background colour and type settings such as language, quote style, super script and subscript size and exportability.

- You can either select Document Set-up button in the control panel, or:
Choose File > Document Set-up.

- Choose options as you would like.

Again the 'Simulate Coloured Paper' option is found on CS5 / 5.5, this allows the document to show the designer how certain colours would look printed on coloured paper e.g. if yellow was printed onto red paper it would look orange.

Document set-up. Illustrator. CS4

ADOBE ILLUSTRATOR CS4

Illustrator allows you to change the default setup options for your document, this includes units of measure, transparency grid display, background colour and type settings such as language, quote style, super script and subscript size and exportability.

You can close this dialog box by clicking 'Edit Artboards' this also activates the Artboard tool.

- You can either select Document Set-up button in the control panel, or:
Choose File > Document Set-up.

- Choose options as you would like

- If you want to do a simple change such as switching you art board from Portrait to Landscape, then select 'Edit Artboards' in Document Set-up.

The Document Set-up button is visible when nothing else is selected.

Another useful setting found on illustrator is the 'Simulate Coloured Paper' option, this allows the document to show the designer how certain colours would look printed on coloured paper e.g. if yellow was printed onto red paper it would look orange.

Bookbinding.

- Hardcover binding.


The Hardcover book features a hard external cover (called a “case” by the binding industry). These are usually covered with cloth, leather, or textured paper. On some books, the spine has a different covering material than the front and back panels. This is called quarter-binding and is very popular in the publishing industry.
Hardcover binding is a good choice for publishing, photobooks, yearbooks, dissertations, theses, high-end presentations, and proposals.

-  Tape Binding

Tape binding uses a thermoplastic adhesive on a strip to bind books. In technique, it is similar to perfect binding, where the individual pages are glued to the book spine. Tape binding is a good choice for office documents, review books, or other presentations.

- Perfect Binding 

Perfect binding is a punchless binding method that works by fastening the book block to the cover spine. It is often used for softcover books and is most familiar to people in the form of paperback books. It is also called adhesive binding, or unsewn binding.

- Sewn Binding

Sewn binding is usually used in conjunction with hard cover binding. The book block, or sections of the book block are sewn together prior to the addition of the cover. This makes for a very sturdy book. The biggest disadvantage to sewn binding is that it requires specialized, expensive equipment, and, when done on a custom basis, is a slow process.

- Wire Stitching

Wire stitching is a form of binding that uses wire staples to bind sheets together. Wire stitching can either be used as side stitching, or saddle stitching. Side stitching is used for thin books that are usually then either covered with a hard cover, or a tape strip. Saddle stitching binds the sheets together through the fold in the center of several pages. It is the form of binding commonly used on comic books and magazines.

- Plastic Comb Binding
 
Also called GBC binding, plastic comb binding is a punch-and-bind system that is used for many office documents. Its main advantage is that it is inexpensive and easily edited. Its disadvantage is its appearance and the security of the final book. Also, like other punch-and-bind systems, it requires more labor than tape binding.

- Wire-O Binding

Wire-O is a punch-and-bind system that is similar in technique to the plastic comb binding, but resembles wire spiral binding in appearance.

- Velobinding
 
Velobind is a punch-and-bind system that uses a two-part binding element. First the paper is punched with a series of tiny holes. One half of the binding element consists of a plastic strip with evenly spaced plastic spikes on one side. The other half of the binding element is a plastic strip with evenly spaced holes that match the punches. The spikes are pushed through one side of the paper and then fed through the plastic strip with holes. The ends of the spikes are melted off, creating the bind. A Velobound cannot be edited without rebinding.

- Spiral Binding

Spiral binding—as its name suggests—is a punch-and-bind system that uses a plastic or metal spiral wire that is wound through punched holes on the binding edge. It is the type of binding most often used for school notebooks and steno pads.

Folding.

	Single (half) Fold a single fold brochure made by folding the paper in half making four panels: (2-front + 2-back)			Tri-fold Brochure made by folding the paper in thirds. After folding it consists of six panels (3-front + 3-back) with the right panel tucked inside of the panels created by the first fold
	Z Fold Brochures are made by folding the paper in thirds in “zig zags.” It opens like an accordion in the shape of a “Z”			Single (half) Fold a single fold brochure made by folding the paper in half making four panels: (2-front + 2-back)
	Double Parallel Brochure made by folding a sheet of paper in half twice in the same direction making eight panels (2-front + 2-back). The last two panels need to be slightly smaller than the outer panels to fold properly inside the outer two panels			Accordion (”M”) Fold three zigzag folds with 8 panels (3 parallel folds that go in opposite directions). Each panel of the accordion fold are the same size
	Single Gate Fold The left and right panels fold inwards to meet in the middle resulting in six panels: (3-fronts + 3-backs)			Double Gate Fold The left and right panels fold inwards to meet in the middle and then folding at the center making eight panels: (4-fronts + 4-backs) Panels on each end need to be slightly smaller than the outer panels
	Roll (Barrel) Fold the piece is folded inward multiple times as if you are “rolling up” the paper with folds. The outside two panels must be the largest, and each successive panel beginning with the 3rd must be about 1/16” smaller than the previous panel to fold properly.			Right Angle (French) Fold folding a page in half in one direction and then folding it in half again in the opposite direction. After folding it makes of eight panels: (4-fronts + 4-backs)
	Half Fold & Tri Fold Folding a sheet of paper (often 17” x 11”) in half, and then tri-folded in the opposite direction

Stock.

- Paper Density.

The paper density of a type of paper or cardboard is the mass of the product per unit of area. The term density here is not used in its traditional sense of mass per unit volume. "Paper density", rather, is a measure of the area density. Paper products that let little or no light pass through (e.g. poster board) are considered dense or heavy. Paper products that allow some light to pass through (e.g. tissue paper) are considered lightweight.

Two ways of expressing paper density are commonly used:

• Expressed in grams per square metre (g/m²), paper density is also known as grammage. This is the measure used in most parts of the world.

• Expressed in terms of the mass (expressed as weight) per number of sheets, it is known as basis weight. The convention used in the United States and a few other countries using US paper sizes is pounds of a ream of 500 (or in some cases 1000) sheets of a given (raw, still uncut) basis size. Japanese paper is expressed as the weight in kg of 1000 sheets.

 - Coated / UN-coated paper.

Coated paper is paper which has been coated by a compound to impart certain qualities to the paper, including weight, surface gloss, smoothness or reduced ink absorbency. Kaolinite or calcium carbonate are used to coat paper for high quality printing used in packaging industry and in magazines. The chalk or china clay is bound to the paper with synthetic viscofiers, such as styrene-butadiene latexes and natural organic binders such as starch. The coating formulation may also contain chemical additives as dispersants, resins, PE: to give water resistance and wet strength to the paper, or to protect against ultraviolet radiation.

Departamento.

Departamento, just some more packaging design similar to what i had in mind, so far i have struggled to find any cheap envelope packaging of this quality.

It looks like the easiest way to do this is to buy the odd few pieces of packaging and experiment on cheaper standard envelopes.

Print Manual.

Areas i want to cover within my print manual.

1 - Colour

- Terminology
- CMYK / RGB
- Pantone matching system
- Spot Colours


2 - Format

- A Formats
- Envelope formats
- Book sizes
- Poster sizes


3 - Stock 
 
- Coated Uncoated
- Specialist stock (Metal coated etc.)
- Plastics & Acetates
- Weight (gsm)


4 - Artwork

- Document set up
- Bleeds
- Registration
- Types of Black


5 - Print Processes 

- Lithography

- Gravure 

- Flexography

- Pad Printing
- Digital
- Web Printing
- Letterpress
- Screen Printing
- Reprographics


6 - Cost



- Early quotes are better.
- Learn roughly what things cost per unit.
- Understand viable minimum quantities-
- Extras/Author corrections


7 -Binding

- Types of Binding


8 - Folding

- Different way of Folding


9 - Finishes

- Foiling
- Embossing & Debossing
- UV Spot Varnish
- Die Cutting



10. Imposition

Hexagon.

An interesting piece of design i found, it reminds me of reflecting light and it makes up my initial idea for a shape to use although i cant source it im still going to incorporate a similar idea into my work.

7 Things to Know about Print.

In Todays workshop with lorenze we looked and discussed the general nessacery factors when working in a professional print environment.

COLOUR MODELS

FORMAT

ARTWORK

STOCK

PROCESSES

FINISHING

COSTING

COLOUR MODELS

- RGB & CMYK (the print differences)

- Hexachrome

- Spot Colours

- PMS (Pantone Matching System)

FORMATS

- Standard ISO paper sizes

- A & SRA Sizes

- Imperial (North America) versus metric (rest of the world)

- Tabloid (Compact), Broadsheet, Berliner (The "Inbetween" size)

SRA Sizes= the colour bleed printing sizes (slightly larger dimensions)

DL Size= 1/3 of A4 (standard business envelope size)

ARTWORK

- Document set up

- File format & fonts

- Spellcheck

- Colour spec

- Printer marks

- Mock ups

- Proofs (The final responsibility lies with the client in the sign off)

- Sign off (V. important)

STOCK

- Laid or wove (paper weave structure)

- Boards, carton

- Plastics & Acetates

- Weight (gsm)

- Finish (Gloss/Silk/Matt//Coated/Uncoated)

PRINT PROCESSES

- Litho

- Gravure

- Screen Print

- Six Colour

- Laminate (gloss//matt)

- Foil Blocking

- Emboss//Deboss

- Spot UV varnish

- Flexography

- Pad Printing

FINISHING

- Binding (what type?) (eg swiss binding, spiral, perfect, saddle stitch, PUR)

- Folding & Creasing

- Die Stamping/Drilling

COSTS

- Early quotes are better.

- Learn roughly what things cost per unit.

- Understand viable minimum quantities-

- Extras/Author corrections

PANTONE BOOKS

- Solid coated

- Solid uncoated

- 4- Colour process coated/uncoated

- Colour bridge (compares RGB against CMYK)

Colour.

Colour

RGB and CMYK


- CMYK.

Is classed as the subtractive primary colours, when two of these subtractive colours overlap they create the additive primaries, these being RGB, where all three subtractive colours overlap black is produced because no light escapes.

- RGB.

Is classed as the additive colours, and as with CMYK, when two of these additive colours overlap they create the subtractive primaries, these being RGB, each additive colour represents a component of white light, so where all colours overlap, white is produced.



- Spot Colours.

These are colours graphic designers use to ensure that a specific colour in the design will print, this is mostly used when a colour is outside the range or gamnut of the four colour CMYK printing process, these special colours have a much greater vibrancy as they print a solid colour as apposed to one composed of half tone dots.

- Overprinting.

This is where one ink overprints another so that they mix to create different colours. as colour theory dictates, overprinting pairs of the three trichromatic subtractive primary process colours produces the additive primary colour, different black also be achieved by over printing.


- Pantone matching System.

The Pantone Color Matching System is largely a standardized color reproduction system. By standardizing the colors, different manufacturers in different locations can all refer to the Pantone system to make sure colors match without direct contact with one another.


- PANTONE MATCHING SYSTEM®
 
FORMULA GUIDE Solid Coated & Solid Uncoated
SOLID CHIPS Coated & Uncoated
COLOR BRIDGE® Coated
COLOR BRIDGE® Uncoated
COLOR BRIDGE® Coated & Uncoated Set
chip replacement pages for PANTONE PLUS SERIES and PANTONE Goe™
DESIGNER FIELD GUIDE Solid Coated
DESIGNER FIELD GUIDE Solid Uncoated
DESIGNER FIELD GUIDE Solid Coated & Uncoated Set
STARTER GUIDE Solid Coated & Uncoated

- Process Colour.

CMYK Coated & Uncoated
COLOR BRIDGE® Coated
COLOR BRIDGE® Uncoated
COLOR BRIDGE® Coated & Uncoated Set

- Metallics, Pastels & Neons.

PASTELS & NEONS Coated & Uncoated
PASTELS & NEONS CHIPS Coated & Uncoated
PREMIUM METALLICS Coated
PREMIUM METALLICS CHIPS Coated
Metallics Coated
METALLIC CHIPS coated
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Before Sending to the Printer you should.

- Delete all unused colour
- Ensure all you want to print in black is black and not registration, as registration will print all plates
- Ensure all you want to print in registration is registration and not black as black will only print on the black plate.
- Ensure all spot colours are accounted for. if the job is printing with a special colour, all is well; if the job is printing CMYK only, then turn all spot colours to CMYK.
- Ensure all images are converted to CMYK and not RGB
- Ensure your imported swatches are of the right value; if the job is being printed on uncoated, then set any spot colours as uncoated and not coated or unspecified.

Print Methods.

Four main Print Methods

- Lithography.

Lithographic printing is a process through which the inked image from a printing plate in transferred on to a rubber blanket roller, which is then pressed against the substrate. Lithography uses a smooth printing plate and functions on the basis that oil and water repel each other. when the plate passes under the ink roller non image areas that have a water film repel the oily inks that stick to the image areas.

- Lithography produces good photographic reproduction and fine line work on a variety of stocks.
- Printing plates are easy to prepare and high speeds are achievable which helps make it a low-cost printing method.

- Offset Web printing.

This uses stock that is supplied on massive rolls rather than individual sheets. this makes for a higher volume of printing speeds and a lower production cost per unit for high volume print jobs, webs are most commonly used with relief printing methods such as flexography or rotogravure as the plates are more durable. Due to the scale and cost of this method it is not suitable for low volume print runs.

- Rotogravure.

Rotogravure (Roto or Gravure for short) is a type of intaglio printing process; that is, it involves engraving the image onto an image carrier. In gravure printing, the image is engraved onto a cylinder because, like offset printing and flexography, it uses a rotary printing press. Once a staple of newspaper photo features, the rotogravure process is still used for commercial printing of magazines, postcards, and corrugated (cardboard) product packaging.\

- Flexography.

Flexography (often abbreviated to flexo) is a form of printing process which utilizes a flexible relief plate. It is basically an updated version of letterpress that can be used for printing on almost any type of substrate including plastic, metallic films, cellophane, and paper. It is widely used for printing on the non-porous substrates required for various types of food packaging (it is also well suited for printing large areas of solid color).














- Pad Printing.

Pad printing is a printing process that can transfer a 2-D image onto a 3-D object. This is accomplished using an indirect offset (gravure) printing process that involves an image being transferred from the printing plate (cliché) via a silicone pad onto a substrate (surface to be printed). Pad printing is used for printing on otherwise impossible products in many industries including medical, automotive, promotional, apparel, electronics, appliances, sports equipment and toys. It can also be used to deposit functional materials such as conductive inks, adhesives, dyes and lubricants.

- Digital Print.

Digital printing refers to methods of printing from a digital based image directly to a variety of media. It usually refers to professional printing where small run jobs from desktop publishing and other digital sources are printed using large format and/or high volume laser or inkjet printers. Digital printing has a higher cost per page than more traditional offset printing methods but this price is usually offset by the cost saving in avoiding all the technical steps in between needed to make printing plates. It also allows for on demand printing, short turn around, and even a modification of the image (variable data) with each impression. The savings in labor and ever increasing capability of digital presses means digital printing is reaching a point where it will match or supersede offset printing technology's ability to produce larger print runs at a low price.

- Letterpress.

Letterpress printing is relief printing of text and image using a press with a "type-high bed" printing press and movable type, in which a reversed, raised surface is inked and then pressed into a sheet of paper to obtain a positive right-reading image. In addition to the direct impression of inked movable type onto paper or another receptive surface, letterpress is also the direct impression of inked printmaking blocks such as photo-etched zinc "cuts" (plates), linoleum blocks, wood engravings, etc., using such a press.

In the 21st century, commercial letterpress has been revived by the use of 'water-wash' photopolymer plates that are adhered to a near-type-high base to produce a relief printing surface typically from digitally-rendered art and typography.

-  Screen Printing.

Screen printing is a printing technique that uses a woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substrate. A roller or squeegee is moved across the screen stencil, forcing or pumping ink past the threads of the woven mesh in the open areas.

Screen printing is also a stencil method of print making in which a design is imposed on a screen of silk or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced through the mesh onto the printing surface. It is also known as silkscreen, serigraphy, and serigraph printing.