7 THINGS TO KNOW ABOUT PRINT - Lorenzo's Seminar

OVERVIEW - BASED ON LITHO PRINT MODEL

1. COLOUR MODES
2. FORMATS
3. ARTWORK
4. STOCK
5. PROCESS
6. FINISHING
7. COSTING

LITHO is the most common form of printing but what is discussed here is relevant to most forms of printing

COLOUR MODES. 

When generated in print, it will look completely different to how it does on screen because of the differences between RGB and CMYK and the non printable colours. 

FORMATS

Options and Limitations - have a knowledge of this as it will help you be more CREATIVE & ECONOMICAL

• A-SIZES - set sizes (UK) - standard ISO paper size
• USA - letter size - Imperial Vs. Metric (the rest of the world)
• TABLOID - compact, broad sheet
• SRA sizes - full bleed, (print system) slightly bigger so the ink of the picture wont go on nothing, it is an oversized sheet which can be chopped down. 
• MAGAZINES - tabloid and broadsheet, Berlin? is in-between broadsheet and tabloid
• C SIZES - envelopes. If you are being economical and sending to a client in the post you will have to work with envelope size - higher cost

STOCK

• The correct weight and finish of a paper or substrate are curtail to the feel of the job
• 80GSM is the minimum should should be using, very poor designer if you use this. 
• WEIGHT is calculated in GSM (grams m squared)
• Laid or woven
• Boards, Carton - white on 1 side, raw quality - many more variations
• Plastics and acetates - plastic coated papers, plastic sheeting

You can print on VERTUALLY anything, Think about the RANGE of different stocks available
what you print on as it also depends on the SCALE and QUANTITY 

Make sure that you are aware of the COST IMPLICATIONS (see MAC seminars)

Be aware of what is going to be VALUABLE to your employer and have the best QUALITY

ARTWORK

Preparing artwork correctly is the sign of a professional

The printer needs to know WHAT you want, give him a MOCK UP and give it to him on the actual size with the images all in place - it stops them from working in the dark

Always get the client to SIGN OFF the proof image (copy printed before the thousands of copies are made - this is an insurance policy if it goes wrong or if the client doesn't like the finished copy

Order of printing list to check;

• DOCUMENT SET UP
• FILES, FORATS, FONTS
• SPELL CHECK
• COLOUR SPECIFICATION
• PRINTER MARK
• PRE - FLIGHT CHECK - this picks up what images are still RBG and embed the Font
• MOCK UP
• PROOF = IMPORTANT - last chance
• SIGN OFF

Copyright - this is a grey area of legal but it is always best to know what it is about 

e.g. Typefaces - where did you get it from, free front always have a 'read me' file which will have the terms of use

Logos - cant photocopy logos within an institutional area

• Know the line between educational and commercial
• Call the artist/designer up and ask them - they may give you a job out of it
• SUBSTANTIAL WORK - don't be scared of asking
• ALWAYS show the client the PROOF and sign it off - VERY VALUABLE. 

'CALIBRATION' - calibrate screen device without put device you patch your main colours on screen to the printer, it balances out the colours. 

PRINT PROCESS

You should know early on in your send which process and finishing is appropriate for you job. 

There are advances in artwork specification 

-Litho

-Gravure

LOOK ON MOODLE

FINISHING

Closely linked to print process and should always be discusses with your printer as they are likely to do this IN HOUSE;

• BINDING
• FOLDING & CREASING
• DIE STAMP / DRILLING

COSTS

• Get 3 QUOTES and check the specification is the same on each one otherwise it is impossible to see you is providing the best deal
• Be aware of the impact of SPECIAL sizes, finishes etc. Sometimes the overall finish costs as much as the rest of the printing
• GET QUOTES EARLY on - BEFORE you start the job
• identical specification for 3 prints estimates how to wrok
• Learn roughly what things cost - cost sizes are not straight forward
• Understand viable min quantities for types of printings etc
• Extra/Author corrections - if the client changes their mind - artwork and repo charge
• Delivery

PANTONE SWATCHES

• SOLID - what it would be like in the paint pot, it will not match the pantones on the screen e.g. if 313 - if you have been quoted that colour you know what it is going to turn out like but it may not match up exactly on the swatch. 
• CLIENT - show the the different in colour between the COATED AND UNCOATED swatches as some of them are massively different. 

4 COLOUR PROCESS

• shows the values of the colour and the %'s so you can key them into ADOBE
• if you haven't been given the colour and you want to see if its achievable - find a colour and find the closest mix to it. 

FORMULAR 

• It shows the CMYK vs the RGB mix - if the colour is there then you can use it
• If you have chosen a colour and they want it for a logo, make sure it is in the CMYK swatch and if not then you will have to run it as a SPECIAL ink
• e.g. matt surface with laminated = look at the COATED swatch, you will never match exactly but you can get pretty close to it

WORK with the COATED & UNCOATED swatches - then go to the CMYK swatch = easier

BINDING

• case binding
• motor binding
• PUR binding
• Otabinding
• Swiss binding
• Flexi Binding
• Thread sewing
• Reverse binding

you don't need to remember all, but you should have some idea of what they look like