Paul Mitchell 16page Book Print Quality


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Paul Mitchell 16page Book Print Quality

  1. 1. New print production
  2. 2. contents tints paper sizes die cut spot colour duotone using black shiners printing processes end bit
  3. 3. tints 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. 10% 20% 30% 50% 40%
  4. 4. 100% 90% 60% 80% 70%
  5. 5. iso paper 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). A2 A3 A4 A5 This can then be trimmed down to A format after printing. A Standard Series mm A0 841 by 1189 A1 594 by 841 A2 420 by 594 A3 297 by 420 A4 210 by 297 RA Oversize Series mm RA0 860 × 1220 RA1 610 × 860 RA2 430 × 610 RA3 305 × 430 RA4 215 × 305
  6. 6. sizes A2 A3 A1 A5 A4
  7. 7. die cut
  8. 8. 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.
  9. 9. spot colou
  10. 10. ur 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.
  11. 11. duo
  12. 12. tone Duotone 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.
  13. 13. using black shiners BL 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. Using only 100% key and 100% Cyan. black ink can result in a This is called a shiner and washed out grayer black. creates a darker, richer, ’cooler‘ looking black
  14. 14. A CK 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 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. appear muddy looking.
  15. 15. printing p 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. Digital Print Lythograph This is more economical This is more economic for for smaller run printing larger run print jobs as jobs, process is very printing plates have to be similar to domestic ink-jet created but higher speed printers. printing is achievable.
  16. 16. processes Web Printing flexograph Pad Using paper from huge Similer process to Used for printing on all rolls rather than individule lythograph but can be use kinds of 3d objects. sheets, used for very for printing plastics and high volume jobs such as cardboard and also for newspapers. printing packerging such as bags and cartons.
  17. 17. end bit books researched: the production manual - ambrose/harris the fundamentals of creative design - ambros/harris the little know it all 20th century type - lewis blackwell photographs sourced from internet fonts used: bell gothic std bold bell gothic std black brush script mt italic