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4 Introduction Paper is unappreciated, undervalued, and sometimes overlooked by designers. We spend so much time creating smart and beautiful design, but our paper choice has the possibility to transform the design into something completely different. After taking field trips to printing facilities, learning about and doing research on paper, and experiencing our own frustrations and triumphs with printing, our Graphic Production class has compiled our knowledge into this book. The sections featured here supplement information provided by paper distributors, ultimately helping us to spec paper. With topics ranging from paper grain to brightness, Paper Cuts is our reference for the vast and daunting world of paper.

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6 TABLE OF CONTENTS PAPER MAKING 7 RECYCLED PAPER 13 SYNTHETIC PAPER 17 PAPER WEIGHT AND SIZES 22 PAPER CATEGORIES 24 SPEC ING PAPER 28 PAPER GRAIN 31 SURFACE TEXTURE 35 PAPER BRIGHTNESS 39 INK HOLDOUT 43 COLOR CONCERNS 47 SPECIAL EFFECTS 51 BOOK BINDING 59

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8 CHAPTER ONE paper making

9 History Beginning in China, papermaking spread to the Islamic world in the 18th Century. This is where bulk manufacturing of paper was designed. Moving forward in history, Canadian and German inventors created the machine and process for pulping wood to make paper. Previously, rags had been used to make paper, and during the great plague in Europe, the use of rag-made paper was said to be a source of the spread of the plague in its transfer to England. Modern papermaking started in the early 19th century with the development of the Fourdriner machine which allows a continuous roll of paper rather than single sheets. In today s papermaking, materials have grown to include raw logs, wood, paper waste and recovered paper. Other materials such as cotton fibers, flax, sugar cane, and fibrous plants are used to create specialty papers. With the rapid development of technology, the need for paper was growing more than ever. This created a greater need for efficiency in the papermaking process. 8 Paper Making

10 The Process Simplified Certain differences alter the way the papermaking process is completed but the simplest explanation of the hand created process breaks it down into its main parts. 1. No matter the material, the process starts by shredding the material into small strips and soaking them to loosen the fibers. 2. Next, the fibers are boiled for 2 to 6 hours, being stirred periodically. The fibers are then washed with fresh water and particals or imperfections are removed by hand. 3. After this, the fibers are beaten in a blender until it becomes a creamy pulp. 4. At this stage, dyes can be added to create different colored papers. 5. The pulp is poured into a large tub and the fibers get suspended in the water. 6. A framed screen is then dipped into the water and lifted to the surface catching the fibers on the screen. 7. The screens are then left to dry and the paper is created. Paper Making 9

11 Manufactured Paper Making 1) Delivery and Preparation Most of the mill s raw material arrives by truck or rail as logs. The logs are soaked in water and tumbled in slatted metal drums to remove the bark. The debarked logs are then fed into a chipper, a device with a rotating steel blade that cuts the wood into pieces about 1/8 thick and 1/2 square. (In some cases, the wood may have been chipped, bark and all, when it was harvested.) The wood chips are stored in a pile outside the mill; as new chips are added to the top of the pile, others are withdrawn from the bottom and carried by conveyor to the digester. 2) Pulping Digesting is the process of removing lignin and other components of the wood from the cellulose fibers which will be used to make paper. Lignin is the glue which holds the wood together; it rapidly decomposes and discolors paper if it is left in the pulp (as in newsprint, which is usually made from groundwood pulp with little or no chemical treatment). Since this is a kraft mill, the lignin is removed by the action of sodium hydroxide ( caustic soda ) and sodium sulfate under heat and pressure. The chips are fed into the top of a digester and mixed with the cooking chemicals, which are called white liquor at this point. As the chips and liquor move down through the digester, the lignin and other components are dissolved, and the cellulose fibers are released as pulp. At the bottom of the digester, the pulp is rinsed, and the spent chemicals (now known as black liquor ) are separated and recycled. 3) Bleaching and Refining At this point, the brownstock pulp is free of lignin, but is too dark to use for most grades of paper. The next step is therefore to bleach the pulp by treating it with chlorine, chlorine dioxide, ozone, peroxide, or any of several other treatments. A typical mill uses multiple stages of bleaching, often with different treatments in each step, to produce a bright white pulp. Chlorine bleaching generally provides the best performance with the least damage to the fibers, but concerns about dioxins and other by products have led the industry to move towards more environmentally friendly alternatives. At this point, the individual cellulose fibers are still fairly hollow and stiff, so they must be broken down somewhat to help them stick to one another in the paper web. This 10 Paper Making

12 5) Cutting and Packaging is accomplished by beating the pulp in the refiners, vessels with a series of rotating serrated metal disks. The pulp will be beaten for various lengths of time depending on its origin and the type of paper product that will be made from it. At the end of the process, the fibers will be flattened and frayed, ready to bond together in a sheet of paper. 4) Coating, Drying, and Calendering After leaving the press section, the sheet encounters the drying cylinders. These are large hollow metal cylinders, heated internally with steam, which dry the paper as it passes over them. The sheet will be wound up and down over many cylinders in the drying process. Between dryer sections, the paper may be coated with pigments, latex mixtures, or many other substances to give it a higher gloss or to impart some other desirable characteristic. After another round of drying, the paper sheet is passed through a series of polished, closestacked metal rollers known as a calender where it is pressed smooth. Finally, the sheet is collected on a take-up roll and removed from the paper machine. From the head box, it may have traveled half a mile or more in less than a minute. In many cases, the new paper roll is simply rewound on a new core, inspected, and shipped directly to the customer. Other paper grades, however, may be further smoothed by passing them through a supercalender where the sheet is polished by passing between steel and hard cotton rollers (much like ironing fabric), or they may be embossed with a decorative pattern. The paper may also be cut into sheets at the mill, often by automatic equipment which accepts a roll of paper at one end and delivers packages of cut sheets at the other, already boxed and wrapped for shipping. Papermaking today is one of North America s most capital-intensive industries, devoting large sums of money to the development and construction of newer and more efficient equipment and processes. Although we ourselves might not recognize the paper mills of three hundred years from now, the same basic processes will almost certainly be in use to produce a product that will still be in demand far into the future. Paper Making 11

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14 CHAPTER TWO recycled paper how it s made, benefits, and myths

15 How it is Made A load of paper for recycling is brought into the paper mill where it is cut into smaller pieces, soaked in hot water, and pulverized. The resulting pulp is rinsed and strained to remove any non-paper materials (pieces of glue, plastic, etc). The cleaned pulp is then bleached and treated with chemicals to make the next process faster or to pre-dye the paper. It is then poured on an ultra fine mesh screen where the water can be pressed out while the fibers remain. The screen is dried and the paper is removed. The paper is then pressed, heated, and processed for sale. This could include adding texture, adding more dye, and so on. The process is very similar to the making of virgin paper (paper made from original fibers rather than recycled fibers). Most fibers will only go through this process 5-7 times before the fibers are so small that they slip through the fine mesh screen when the pulp is pressed. 14 Recycled Paper

16 Benefits Recycled paper has a number of environmental benefits. The process creates less greenhouse gasses like carbon dioxide and methane. It reduces the need for virgin fibers, helping to better utilize the materials we already have. It reduces waste by utilizing the used paper for new uses. Due to the lack of need for new materials to be grown from scratch, energy and water consumption is reduced. Myths There are many myths and claims about recycled paper, but most are not true. All recycled paper is thin, brown or tan, and is rough or lumpy to the touch. FALSE. Recycled paper is no different than virgin paper. It can be as rough or smooth as the company wants to make it. It can come in a wide variety of textures, colors, and weights. The notion that they have to look like the paper used for cardboard or cheap dime novel pages is completely false. Recycled fiber paper can jam printers, clog ink heads, and get damaging dust buildups in printers. FALSE. This is not a trait of recycled paper, but of poor quality paper in general. Papers that are not as well pressed or have poorly trimmed edges can lead to these results. Recycled paper can be as high a quality as any other paper on the market. Recycled paper is super expensive or super cheap. FALSE. Recycled paper, like all other papers, can be any quality and any price the company selling it wants. Like any other paper, it is best to consider what you plan on doing with the paper before buying what is cheapest available or the most expensive Recycled Paper 15

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18 CHAPTER THREE Synthetic Paper

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20 SYNTHETIC PAPER General Definition Synthetic paper is partly a misnomer as it has come to represent a blanket term for paper-like substrates that are made almost exclusively from petroleum derivatives. In essence, synthetic paper is a combination of polyethylene (one possible derivative of petroleum) acting as thin plastic film and a clay coating to give that thin film a paperlike feel. The clay coating is also what makes synthetic paper printer-friendly, giving it relatively high ink holdout compared to traditional, wood-pulp based papers. Benefits & Disadvantages Other benefits inherent to most synthetic papers include: water resistance, tear resistance, extended durability over time, enhanced color reproduction, and a general weather resistance wood-pulp papers do not possess. Although traditional papers may be treated with different coatings to gain these strengths, they incur an extra cost to the buyer because they are not present during paper-making. In fact some coatings actually damage the organic fibers, weakening the paper. A major disadvantage to synthetic papers, no matter how paper-like producers claim the substrate to be, they lack much unique, tactile feedback and texture. Because the substrate is derived from petroleum, it s doomed to always feel like plastic. Synthetic Paper 19

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22 CHAPTER FOUR paper weight & sizes paper categories spec ing paper

23 PAPER WEIGHT AND SIZES Basis Weight, Basic Size, and M-Weight Different weights within paper categories are measured in basis weight, which is often misunderstood as the weight of one sheet of paper. The basis weight of a paper is designated by the fixed weight of a ream of 500 sheets, measured in pounds for a given dimension. A sheet of 80lb text paper is not the same as 80lb cover because of the basic sheet size, which is a specified uncut sheet in the ream. A ream of writing paper may have a basis weight of 20lb, but that doesn t simply mean that the ream weighs 20lb; the 20lb is based on " x 22" sheets of the paper. The basic size or parent sheet of 500 sheets of bond paper is 17" x 22", 25" x 38" for offset paper, 20" x 26" for cover paper, 24" x 36" for tag stock, and 25.5" x 30.5" for index paper. Similarly to basis weight, M-weight is another system for weighing paper. It is the weight of 1,000 sheets, in pounds, of a basic sheet size; for example 100M means that 1,000 17" x 22" sheets weigh 100lbs. 22 Weights, Categories, Spec ing Paper

24 ISO Paper Sizes The International Standard (ISO) is a system of paper sizes used in most countries besides the US and Canada. The main standards system is the ISO 216 size that includes the A and B series, but the supplementary standards are ISO 217 and 269 that define the RA, SRA, and C paper formats. All ISO standard paper sizes have the same aspect ratio of 1: 2. This ratio allows the paper to be cut or folded in half widthwise, and the halves have the same aspect ratio. Each ISO paper size is also one half of the area of the next size up. What is a broken carton? A broken carton of paper is less expensive than a full carton of paper. Full cartons of paper are expensive. When choosing paper, it is important to think about cost and how often the type of paper you are using is used regularly. If it is used regularly, it is very likely that the printing place already has it in stock, and you get the broken carton price. However, if the paper you are using is not often used, such as a light green glossy cardstock, the printer will probably make you pay for the full carton of paper since not many people use it, and they will most likely have to store that paper or throw it away. Weights, Categories, Spec ing Paper 23

25 PAPER CATEGORIES Types of Paper The different categories of paper include writing, text, cover, offset, coated, tag, and index papers. Available in a variety of whites and off-whites, with textures from smooth to embossed, writing papers are lightweight and appropriate for letterhead and written communication. Text Paper (25" x 38") More tactile than other papers. Text paper is great for printing applications, such as office or school work. It is standard print paper. This type of paper is uncoated (often of an interesting color) and is often used for announcements, memos and general daily use. Bond Paper (17" x 22") Good absorption, rigidity and erasibility. Bond paper is a very durable writing paper that has a weight greater than 50 g/m2. The paper was originally made for government bonds and other similar documents. Now, it is mainly used for letterheads or office documents because of its clean finish. It is created using eucalyptus pulp, making it very popular in office settings and with graphic designers. Its smooth finish makes it resistant to smudges and imperfections. Some finishes that are available are laid, cockle, linen and woven. 24 Weights, Categories, Spec ing Paper

26 Bristol Paper (25.5" x 30.5") Heavy, high quality, inexpensive, stiff board grade. Bristol paper (also known as Bristol board) was originally produced in Bristol, England, for the purpose of painting, illustrating, and drawing, which are what it is mainly used for today. It is great paper for post cards, wedding invitations, technical drawings, illustrations, and many other artistic works. There are different types of Bristol board just like there are paper; the heaviness is set in terms of plies, which refers to how many layers of paper have been used to create the board, much like plywood. Bristol board can come in a variety of surfaces, ranging from very smooth to very rough. Cover Paper (20" x 26") Thick, stiff, multitude of uses. Cover stock is often known as card stock or pasteboard. It has a multitude of uses, from printing to regular arts and crafts. It is versatile and can be used for almost anything. Cover stock is a specific term used to characterize heavy weight paper meant to be used for a decorative tone. It is often found in an assortment of colors, finishes, textures, and coatings. It is usually classified by its paper weight and it can be coated or uncoated. Cover paper is usually used for book covers, brochures, business cards or post cards. Coated Paper (25" x 38") High gloss, and absorptivity. Coated paper has a thin layer of material such china clay applied to one or both sides of the paper. This is done in order to create a surface more suitable for high-resolution halftone screens. It is then calendared, which provides great ink holdout to minimize dot-gain. Coated paper consists of coated groundwood free paper. This paper is usually used for advertising materials, books, annual reports, and high quality catalogs. Weights, Categories, Spec ing Paper 25

27 Offset Paper (25" x 38") Bright white, lightweight, allows colors and graphics to characterize, smooth, high contrast. Offset papers are sold in large volumes and are intended for long web-press runs. They are most often used for offset printing. Offset stock is very white and is usually used in the making of books, manuals, or leaflets. Tag Paper (25.5" x 30.5") Durable, can withstand frequent handling and bending, and are tear and water resistant. Newsprint Paper (24" x 36") Weak and easily destroyed, recycled look, dark, does not often come in white, highly acidic, degrades quickly. Newsprint is used for printing newspapers and associated issues. It is a low-quality, absorbent paper made from coarse wood pulp. It is fragile and discolors easily. However, although it is often used primarily for newspapers, it can also be used for picnic table covers, craft projects for children, packing material, or wrapping paper. Tag paper is a heavy grade of paper durable enough for die-cutting, scoring, and folding. It provides strong performance on press and is ideal for menus, folders and hangtags. Index Paper (25"x 38") Excellent for die-cutting, inexpensive. Index papers are stiff yet inexpensive and sold in high bulk. Index papers have good ink holdout, snap, and resistance, as well as exceptional die-cutting, and scoring and folding possibilities. These can be used for signage or business reply cards. 26 Weights, Categories, Spec ing Paper

28 From top left to bottom right: Text paper, bond paper, coated paper, offset paper, cover paper, newsprint paper, and bristol paper. Weights, Categories, Spec ing Paper 27

29 SPEC ING PAPER Paper Spec ing Design is not only appreciated by the actual aesthetic, it is also appreciated when the paper works well with the design. Selecting paper can oftentimes be essential to making a design successful. Designers must spec paper or specify what they need in a paper. By Spec ing paper, designers consider the needs of the design by finding the right paper for it. Paper Spec ing Considerations There are important terms that a designer must know when spec ing paper such as: basis weight, gloss, brightness, finishes and opacity. They must also consider how many number of pages must be produced, if they plan to run offset or digital printing, the project trim size, caliper, grade name and whether or not environmental attributes are a factor. When spec ing paper, a designer needs to consider two things: physical and visual characteristics. A designer s objective must be to inform the paper supplier exactly what the paper is expected to do. They must know what kind of color, weight, caliper, folding strength, or finish of the paper is needed in order to fulfill the needs of their design. Some environmental attributes are that the paper is made 100% by wind power, carbon neutral, recycled content and are FSC certified (Forest Stewardship Council). FSC certified papers are produced in a respectful way by not causing harm to the environment, wildlife and indigenous people. 28 Weights, Categories, Spec ing Paper

30 Common Questions Designers must ask themselves a few questions before going to a paper supplier. Specifications for paper vary and can include things like color brightness, gloss and folding strength. Here are a few examples of what kind of questions designers must ask themselves when spec ing paper. Need bright colors and sharp details? In order to get the best color and detail, a designer must consider what kind of finish they are willing to work with. In terms of getting the best color and detail, smooth, glossy paper is the best choice because it preserves the sharpest dots. Rough paper reduces brightness and detail because it absorbs more ink and scatters the light. Is color fidelity important? Color fidelity or color accuracy depends on what the subject matter is. Blue-white paper does not show warm-toned subjects or designs accurately. However cream-white paper does better with these tones, but produces less accuracy with pure whites. How stiff do you want your paper to be? What finish do you want? The two most common finishes are glossy and matte. For brightness, glossy finish is the ideal choice, whereas for a matte finish, it dulls the colors and the inks tend to fade. However, matte finishes are a lot easier on the eyes than glossy because glossy papers create a glare. More or less opacity? Paper with less opacity means that the inks printed on it can show through. That means lighter-weight paper are not ideal for printing with lots of text because of the density of the inks. Is there a certain thickness you need? A designer must spec the caliper, or the thickness of the paper, in coated or uncoated paper. Thicker paper such as cover are suited for business cards and postcards, whereas text paper is used for general purposes such as flyers and memos. How strong do you want your paper? High gloss coated paper can crack when it is folded, compared to uncoated paper. Some coated paper can tear more easily as well. Usually fine paper is milled to maintain smoothness but board stock preserves stiffness and thickness Weights, Categories, Spec ing Paper 29

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32 CHAPTER FIVE paper grain

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34 PAPER GRAIN Introduction The grain of paper refers to which direction the majority of the fibers in a sheet of paper lie. The direction of the grain is determined during the printing process, and is helpful for designers to know for various reasons. Long Versus Short Grain Paper grain is often classified as long or short, which refers to the direction of the grain relative to the dimensions of the paper. If the grain goes along the longer edge of the paper it is considered long grain, and vice versa. in one direction (bending against the grain creates more resistance). The bending method works better with thicker papers. Knowing the direction of the grain can be a key part of making certain design decisions. For example, paper should always be folded parallel to the grain to avoid tearing fibers under the stress. Also, books should be bound with the spine parallel to the grain direction so that pages turn more easily and the book has less of a tendency to close itself. Determining Paper Grain When purchasing paper, the side parallel to the grain will often be marked in some way on the dimensions of the paper (for example, it may be bold or underlined). If you need to know the grain direction of an unfamiliar paper, there are several tests that can be performed. Perhaps the easiest is to lightly moisten one side of the paper. This will cause it to curl, creating a tube in the direction of the grain (which will flatten as the paper dries). Another option is to tear the sheet in each direction. The tear pattern will be straighter with the grain and more jagged against the grain. If these methods are too destructive, it is possible to determine the direction of the grain just by bending the sheet of paper. It will be noticeably easier to bend Paper Grain 33

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36 CHAPTER SIX surface texture

37 surface texture Coated vs. Uncoated Heavy Textures Coated Has a waxy finish and can be shiny or matte (coated one side- a cover stock that has a coating on one side and is dull on the reverse side, coated two sides- a cover stock that has coating on both sides.) Uncoated Untreated surface is dull and/or unreflective. Glossy vs. Matte Glossy Typically more of a coating than a finish, creates a shiny finish and increases the durability of the paper. Generally this finish is one sided and is used to enhance image quality. Matte Typically a very smooth finish paper with a matte coating. The paper will have a smooth silky finish that can be double sided. Weave A subtle random bubbled surface, subtle enough to not be distracting, can rubber stamp, heat emboss or print, also watercolor or chalk. Stipple Pebble like surface that is ideal shading and blending, primarily used for dry medium. Laid A paper that is manufactured with textured lines on its surface, this is primarily used for business papers such as letterheads, envelopes, and business cards. Felt Can range in look, can vary in deep or subtle finishes. The deeper finish is commonly used for watercolor, heat embossing, pastels, diecutting, and scoring. The more subtle finish is more elegant, but can also be used for the techniques previously listed. Canvas Has an artistic texture embossing and is generally used for fine arts such as painting and watercolor. 36 Surface Texture

38 Light Textures Vellum When looking straight on looks smooth, but from the side there is a roughness shown. This is called a tooth and differentiates a vellum finish from a smooth finish. Kid Resembles the surface of unfinished kid leather. Oxford Also known as tweed, has a fabric appearance like a professors jacket, the finish is easy to rubber stamp or heat emboss. Eggshell A slightly grainy finish that resembles the texture of an eggshell. Linen Similar to a laid finish, but the lines are finer and more regular, most frequently used for business stationary. Smooth Smooth Also called an English finish, similar feel to quality copy paper and is most common for social stationary. Wove A smooth paper with a woven pattern that is embossed into the paper and can only be seen with a magnifying glass. There is no apparent tooth to it, the pattern is so subtle it feels smooth to the touch. Linear Columns More of a modern finish, that creates a lined pattern that is more noticeable on one side of the paper versus the other side, and embossed into the paper. Laser A paper that is guaranteed to be more compatible with the laser printers. Surface Texture 37

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40 CHAPTER SEVEN Paper Brightness

41 PAPER BRIGHTNESS The type of white (brightness of a sheet of paper) definately makes a difference in the graphic designer s vision. It plays an important role in terms of color vibrancy, which in turn influences the reproduction of images. Brightness is defined by the amount of light it reflects. Papers with a higher brightness allow the colors to stand out while lower level brightness papers are best for reading for longer periods of time. Brightness Scales Most photo papers are at the higher levels of paper brightness (90s and above), for papers used in desktop and copy printing the brightness level is reduced (around levels near the 80s). Levels are reduced due to the intended use of the final product. In photography more importance would be the vibrancy and crisp look of a fine art photograph, whereas desktop and copy printing are more likely used for documents the eye shouldn t have to stain upon when looking over. Paper brightness is usually measured using a brightmeter machine. The values from the machine are then organized on a scale of 1 to 100, where 100 is the brightest a sheet can be. Each level of the scale is standardized. In the U.S., the brightness scale is referred to as the (TAPPI) GE Scale. In European, Asian and other countries, they follow a brightness scale from the International Organization for Standardization (ISO). Both types of brightness measurement differ. The ISO levels of brightness in comparison to TAPPI/GE Scale measurements are that ISO levels are two units of brightness lighter. This is due to the standardized source of light used in ISO and GE scales. For example, if the ISO of a paper is 100, then on a GE scale the paper would be rated as Paper Brightness

42 Designer Beware Paper whiteness is not the same as paper brightness. Instead of the percentage of light reflected from a sheet of paper, paper whiteness refers to the shade of color the sheet of white paper is. Two different color whites at the same brightness level can have very different effects. For example, two papers at different white shades with the same GE of 90; the bluer white colored paper would appear brighter despite being the same GE level. The shade of white will influence the final printed color depending on what shade the paper is (bluer shade will make images look more pale compared to a warmer shade of paper.) Some vendors may also advertise paper without brightness levels, and describe their paper as Bright White or UltraBright these labels may be deceiving because of the vague description of Paper Brightness and even Paper Whiteness. Paper Brightness 41

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44 CHAPTER EIGHT ink holdout

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46 INK HOLDOUT Introduction Ink holdout allows ink to dry on the surface of the paper rather than it being absorbed into the paper. Inks achieve better quality when they dry on the surfaces rather than when they are absorbed into the paper. The papers ability to hold ink on the surface consistently will result in a sharper, more clearly defined dot and produce a higher ink gloss. When ink is absorbed into the paper, it spreads and creates often undesirable dot gain. Ink holdout prevents excessive absorption of the ink and ultimately depends on how porous the chosen paper substrate is. Paper Choice Less porous papers are required for best results. Coated glossy papers have low ink absorption with a high holdout rate, while high absorption paper substrates such as newsprint or 20lb. have a relatively low holdout. Depending on the porosity and moisture contents of a paper, the degree of ink holdout can change. Bond weights have a higher absorption and lower holdout rate overall. Additional Processes Different printing applications may be applied to paper with a low absorption rate in order to prevent potential problems associated with high holdout including overprint varnishes, aqueous coatings, and UV coatings. However, in some printing processes including highspeed web printing for newspapers, it is often desirable to obtain rapid ink absorption and drying where ink holdout is undesirable. Special Considerations High holdout can also create problems in printing. Ink sitting on the surface of the paper can rub off and smear onto other documents. For printing that needs rapid ink absorption and drying, such as printing newspapers, the designer should expect a much longer drying time to prevent any ink smears. Ink Holdout 45

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48 CHAPTER NINE color concerns

49 COLOR CONCERNS How do I know which paper to use to get the best color results? Matte Paper has a smaller gamut than semigloss and glossy papers, which means there will not be much color vibrancy and contrast. Matte paper is good to use when there is a concern for light reflections and glares. Also matte papers produces a softer feel to their image. Lastly, matte papers are not as expensive and can be used in situations where they will be viewed from a distance and where detail is not as important. Tips for accurate color reproduction: Color Matching Sometimes it is impossible to match colors using CMYK. In order to match colors more closely, one can refer to a swatchbook and use spot colors which will help one to better match the colors seen on screen. CMYK vs RGB Print material is CMYK and web material is RGB, but what you see on sreen is not always what you get; that is why it is helpful to use a swatchbook as mentioned above. Semi-Gloss Paper produce the widest color range and the best resolution among matte and semi-gloss papers. The only down sides of glossy paper are glares and finger prints. The reason the ink shines is because unlike matte paper where it absorbs the ink, on glossy paper, the ink is not absorbed, but sits on top the paper. Glossy Paper is a selection between matte paper and glossy paper. Semi-gloss or luster paper allows one to have a similar color range to glossy paper without producing so much glare and finger prints. Brightness In general, the brighter and whiter the paper, the brighter and lighter the image will look when printed. 48 Color Concerns

50 Before sending your file off to the printer: 1. Consult your printer about what you want to print. 2. Make sure your file is in CMYK. 3. Make sure your resolution is at least 300 dpi. 4. Check your CMYK values against a swatchbook. 5. Do not flatten your layers. How will the ink effect my paper? Ink Opacity White ink is usually used for plastic films or foils for packaging, it can also be harder to control. Opaque ink is thicker and it drys slower, which can lead to smudging and bleeding. Metallic Inks To receive the best results in printing metallic ink, it should be printed on glossy paper since the ink is not absorbed into the paper, which will allow it to shine better. Metallic ink can get chalky and flaky so an aqueous coating is a must. Metallic ink can also be used with other inks to make color metallics; these should be mixed as spot colors due to the opacity of metal. Printing on Colored Paper: When considering colored paper, think of it as another color on the printer that will automatically be added. One can use an opaque white ink as a base for specific colored ares that will help to keep colors true, but remember, white ink can be difficult to print. Therefore, it is a lot easier to print color in the background than printing light colors on a dark colored paper. What is foil stamping? A specialty printing process that uses heat, pressure, metal dies, and foil film. Using pressure the foil is pressed onto the paper leaving a raised impression. What is the best paper to use for foil stamping? Paper that is smooth and coated will allow the foil to lie flat and stick well as compared to uncoated paper which will make it harder for the foil to lie smoothly. Also, high gloss coated papers helps the foil to shine brighter because it will reflect the greatest amount of light. Color Concerns 49

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52 CHAPTER TEN coatings die cutting foil stamping

53 SPECIAL EFFECTS Coatings Summary There are various choices to make when it comes to coating your printed product: aqueous coating, varnish, ultra violet coating, or lamination. Coatings are applied to a printed product for two main reasons. Protecting a product from moisture, finger prints, extreme temperatures, scratches, or frequent handling is important if the product needs to last through the years. Coating also adds style to the product. Coats can bring out the color; having certain elements covered in an aqueous coat will draw the eye to those elements. Aqueous Coating Aqueous coatings are water-based, fast-drying, sealants that are very resistant to smudges and fingerprints. Because of its water-based feature, it is more environmentally friendly than varnishes. The advantages of aqueous coating are faster drying, no yellowing with age, environmentally friendly, higher gloss, and higher rub resistance. These coatings can be finished as matte, glossy, or many varients in between. Being low cost, many people choose this type of coating. The cost is so low because it it able to be applied inline with the printing and it dries fast. Both of these features decrease the time for the process. The less time a process takes, the cheaper the cost will be. Being water-based is yet another reason people choose this method of coating their printed products. Varnishes Varnish is a petroleum based sealant that provides style to the product and little protection. Varnishes take at least two hours to dry after applied to the finished printed work. Varnish is more commonly used than aqueous coatings when applying a spot coating because it can be applied on the press and can be applied very precisely. Yellowing over time, varnishes are not used when trying to perserve paper, they give little protection as well. 52 Special Effects

54 Another cost of varnishes is the printer s offset spray powder used to keep the sheets from sticking together. Ultra Violet Ultra Violet coatings give the most protection. They are applied like aqueous coatings and varnishes, but are exposed to ultra violet lights to harden the coating, which shortens the length of drying time. This provides a magnificent gloss finish, but requires expensive machinery. When using UV coating, the ink must not contain micro crystalline wax (waxfree inks). Ultra violet inks can also be used. Using this coating is difficult to recycle. It can also crack when folding. Lamination Laminating is the last type of coating that is a film-based and liquid-based. A film is laid down on the paper, or a clear liquid is spread over the sheet. Laminate coating is more expensive, but will shield from water, will provide a strong, washable surface, and will not yellow with age. Paper Choice When coating a product for stylizing purposes, uncoated paper will be the proper choice. If a specific element in the piece should be given special attention, a coated paper will give no contrast. The task of stylizing will fail in delivering the special effect. Special Effects 53

55 Die Cutting Summary Die cutting is a technique where shaped metal is hammered into wood and used to cut uniform custom pieces from materials such as wood, plastic, metal, fabric, and paper. The process of die cutting is similar to traditional printing, but the printing plate is replaced by a sharp embossing plate, or die. Die cutters range in size from large industrial models to small, human operated models marketed for education and scrapbook enthusiasts. Industrial die cut machines are able to mass-produce die cuts, and they are much faster and more precise than personal models. They offer pressure adjustment for the cut, automatic paper feed, and a variety of customizable options. The final product is called a die. In die cutting, a sharp blade is bent into a desired shape and pressed into a material to cut. Some dies can cut one piece of material at a time, while others can slice through multiple layers. Die cuts are areas of an application that are partially or completely cut, shaped, or cutout in unique shapes. Simple slits designed to hold the corners of a business card are examples are die cuts. It is typically the last step in the print production process. The advantages of using dies would be that all the cuts would come out all the same for the final products. Benefits of die cutting include the ability to create rounded corners, flaps, holes, or 54 Special Effects

56 pop-ups. Like all techniques, die cutting has its drawbacks. For instance, repair size of die cut is more expensive than buying a new die. Common applications include: keys, doilies, business cards, folders, and other products, not necessarily just paper. What type of paper? It all depends on how strong the blade is, and how thick the paper is. For example, traditional Chinese die cut patterns are very intricate, and would require the thinnest of paper to cut out the small detail. However, Ghirardelli s annual holiday chocolate box is very simple in shape, which in that case, the paper thickness could be much thicker. Paperweight can vary between 20lb-130lb, in either cardstock or text weight. Any paper will do, and the more variation in the kind of paper, the more of an affect you can give it. Special Effects 55

57 Forms of Die Blanking die cuts are made in one step and produce a flat shape. This is the type of die cutting most often encountered in standard paper die cutting. A bulging die literally bulges the closed end of a tube, either with a rubber part or with use of oil or water, depending on the type of die. A bending die bends a flat material into the necessary shape by pressing the material over a specially shaped die. Forming dies curve a blank by bending it along a curved surface. A shaving die shaves off the sides of a shape until it reaches desired accuracy, while a trimming die cuts off irregular parts of a blank. Coining dies form blanks that have different sides, as with a standard coin. 56 Special Effects

58 Foil Stamping Summary Foil stamping involves metallic foil that is gold, silver or pastel, creating a glossy, reflective finish. A heated die is stamped onto the foil and transfers a thin layer of the foil film to the paper surface, leaving the design imprint on the paper. The material can be paper, vinyl, hard plastic, leather, or textiles like satin ribbon, polyester and nylon. Foil stamping is often paired with embossing to create a striking 3D image. The edges of the foil stamp can be straight, curved or sculpted. There are countless foils from which to choose: glossy and dull colors, metallics, pearls, transparent colors, and various patterns and grains. Foil Stamping is typically a commercial print process used for wedding invitations, napkins, photographs, book covers, envelopes, and other projects. Recommended Paper for Foil Stamping Uncoated papers are not well suited for foil stamping because it is difficult to make the foil lie smoothly on uncoated papers. That being said, foils can be used with uncoated stock (such as pocket folders). The reason being, pigment and gloss foils provide more of a quality color coverage than conventional inks, especially on darker or very textured surfaces. Textured papers need additional Special Effects 57

59 pressure to ensure the foil doesn t stick up on the paper surface. Coated papers are rarely stamped because gases may get trapped and bubble between the coating and the foil. Because most foils are opaque and smooth, choosing a dark colored, textured paper provides contrast and impact. Clear and pastel foils on light color papers can create effects that cannot be accomplished on an offset press. In general, foil stamping is most effective on a smooth, coated stock. The foil will cling to the paper well and lie flat on the surface. The heavier the paper, the better. For the most shine, highly reflective gloss coated papers can be used to accentuate the foil stamping technique. When using both embossing and foil stamping, a dull or matte coated paper can be used. Foil Stamping Considerations Never foil stamp over coatings and varnishes because it will trap gases and blister. Be sure to check that the printer uses wax-free inks. Printing over foil can be done with care, registration, flexibility, and lots of time. Plan carefully for registering a foil stamp to a printed knockout. Foils tend to fill in across narrow spaces so avoid fine type and tight kerning. Always test a sample in the laser printer to be sure it doesn t pucker or bubble. 58 Special Effects

60 CHAPTER ELEVEN book binding

61 BOOK BINDING History Prior to first century A.D., books were usually clay tablets or long rolls on papyrus or cloth. They were not really bound with how we would define a bound book today. It wasn t until during the first century that books were being made out of sheepskin vellum and were being bound in a similar way to binding used today. The first books that were bound were bound by hardcover but they did not have any sort of uniform because pages were all written by hand. When the Gutenberg printing press was developed in 1447, it gained more uniformity but the binding was still constructed by hand. David McConnell Smyth patented one of the first sewing machines in It was specifically designed for bookbinding and over the next three decades, he developed machines for gluing, trimming, case-making (hardcover), and casing in. In 1895, perfect binding was invented but not used much until 1931, when Albatross Books first introduced the paperback book as an experiment. Then Kevin Parker created the process of the punch-and-bind systems in Thus, many developments in binding have occurred over only the last 150 years, which means books and their binding is still developing through other aspects. 60 Book Binding

62 Hardcover Binding Hardcover book binding involves rigid covers and the book is stitched down the spine. Several signatures are bound together with threads, that can also be visible in the middle of the book when it is open. Modern hardcover books are made with thick cardboard and it has an overlap of a paper, cloth, leather, or other material. Hardcover books are often the most durable with four different variations. Over sewing Over sewing binding is a stronger method of binding that is best used for books that are five inches or thicker. The only disadvantage is that the pages will not lie flat when opened because the margins are reduced. The signatures begin as loose pages that are clamped together and small holes are punched through each signature on the left-hand edge. They are then Case Binding Case binding is also known as perfect binding, cloth binding, or edition binding, and it is the most common type of hardcover binding. Pages are often average weight for books and are placed into signatures that are glued into a text block. The textblock is attached to the case that is made of cardboard covered with paper, cloth, leather, or vinyl. Double-Fan Adhesive Binding This type of binding begins with two signatures of loose pages that are applied with glue and perfectly aligned to form a text block. The edges are then attached to a piece of cloth that forms the Double-fan adhesive bound books also have wide margins and can open flat. However, the pages can come loose and tear easily when certain types of paper are used that do not hold adhesive well. Smyth Sewn Smyth Sewn, also known as sewing through the fold, is when signatures are folded and stitched through the fold. This kind of sewn binding have wide margins and open flat, but it is not very secure which causes signatures to become loose. In Smyth Sewn binding, signatures are sewn or glued togehter at the spine to form a text block after being stitched. Book Binding 61

63 Punch and Bind There are several versions of punch and bind binding. There is double wire, comb binding, velobind, spiral binding, proclick, and zipbind. The most common types of punch and bind binding are comb binding, velobind, and spiral binding. Double wire binding is often for books that will be used in an office or home type environment and there are several patterns that can be used. Proclick and zipbind are manufactured by General Binding Corporation and they are both similar types of binding that are easy to edit and swap out pages. Comb Binding Comb binding is best used for books that possibly would need to be disassembled and reassembled by hand because it can be done with damaging the book. There is a rectangular hole pattern that is punched into pages near the bound edge, and a curled plastic comb is fed into the slits to hold pages together. The supplies are sold in variations of colors and diameters. The benefit of using comb binding is that the supplies can be re-used and recycled. Spiral Binding Spiral Binding is similar to comb binding because the basic type is made by punching holes along the edge of the binding area and winding a wire helix through the punch holes along the entire spine. The most common pattern of hole style is 4 holes per inch (4:1). Spiral binding is the most economical form of binding when plastic or metal is used. Velobind Velobind is more of a permanent binding with using a plastic strip on the front and back of the book. The pages are punched with holes near the bounding edge. Pins are then attached to the top and bottom strip of plastic to bind the pages togehter. When the plastic is heat-sealed, it creates a relatively flat binding method. Velobind is mostly used for small publications and business or legal presentations. 62 Book Binding

64 Thermally Activated Binding Thermally activated binding is normally associated with perfect binding, but there are several other types of thermally activated binding, such as thermal binding, cardboard article, tape binding, and unibind. All but the unibind involves a process with gluing together the spine. Unibind uses resin rather than glue, which creates a more sturdy spine. It also involves a special steel channel for the spine where the resin is placed. Thermally activated binding is also the most common type of binding for paperback books. Perfect Binding Perfect binding involves the cover being heavier than the paper inside the book. The paper inside the book is rough-cut and glued at the spine with flexible glue so that the book can open up easily. If each page is fully cut and glued, the book will most likely fall apart which is why the cutting and gluing needs to all be done together for the best binding. Perfect binding is used for most paperback books and magazines. A cardboard article is a similar binding to perfect binding, but its a paperback with a hardcover that is performed by a machine. Thermal Binding Thermal binding involved using a piece of the cover with glue down the spine to quickly and easily bind the pages without punching. There are specific covers sold for this kind of binding because it fits a standard size of paper and comes with a glue channel down the spine. The process involves paper being placed in the cover and when it is heated and the glue cools, the glued spine adheres to the paper. Tape Binding Tape binding is a type of binding that wraps and glues a piece of tape around the base of the book. There is a tape binding machine that is involved that is usually used to complete the binding process. It also actives the thermal adhesive glue strip. Book Binding 63

65 Stitched or Sewn Binding Stitched or sewn binding is a very easy type of binding to understand. Books that are stitched or sewn with some sort of string or thread are similar to how the hardbound books are made. The only thing sewn books lack are a hard cover but they are still just as durable. Saddlestitched books are not technically stitched but they are stapled in the centerfold. Many comic book and some magazines, depending on the thickness, are saddle-stitched. 64 Book Binding

66 Book Binding 65