colour models

pms
hexachrome
spot colour
gamut
rgb
cmyk
halftone
monotone
duotone
 co
l
mo our
de
ls
design for print colour models pms
 pantone
matching
system

The accuracy of color is critical in design. What you see on your monitor is never
what will appear on a printed sheet, designers need a standardized color key.

It can be very frustrating to see the logo you worked hard to create look deep blue on the client’s
letterhead, blue-greenish on his business card, and light blue on his very expensive envelopes. A
way to prevent this is by using a standardized color matching system, such as the PMS.

Though Pantone is not the only color standardization system, it is the most widely used and the
one that most printers understand. Aside from being able to have consistency, Pantone Colors
allow you to use colors that cannot be mixed in CMYK. Pantone offers chip books that help
designers see how colors look on coated, uncoated, and matte stock. Pantone Colors are
distinguished by numbers and a suffix. While the number indicates the Pantone Color itself, and
is standard across all types of stock, the suffix indicates the media or stock, which affects how the
ink is formulated to achieve the specific color.
gamut
spot colour
dealing with colour
hexachrome
colour models
spot colour
In offset printing, a spot color is any color
generated by an ink (pure or mixed) that is
printed using a single run. The widely spread
offset-printing process is composed of four
design for print
spot colors: Cyan, Magenta, Yellow, and Key
(black) commonly referred to as CMYK. More
advanced processes involve the use of six
spot colors (hexachromatic process), which
add Orange and Green to the process (termed
CMYKOG). The two additional spot colors
are added to compensate for the ineffective
reproduction of faint tints using CMYK colors
only. However, offset technicians around the
world use the term spot color to mean any color
generated by a non-standard offset ink; such
as metallic, fluorescent, spot varnish, or custom
hand-mixed inks.
hexachrome
Hexachrome is an ultra-high fidelity six-color
process printing system developed by Pantone,
Inc. It’s large color gamut, compared to
four-color process printing, makes it possible
for the first time to more accurately reproduce
a wide range of both vibrant and subtle colors
that can be defined and displayed on computer
monitors which previously could not be
duplicated in print. In Hexachrome, the existing
CMYK primaries were modified into more
chromatic inks, with orange and green being
added to the traditional equation. In addition to
reproducing more brilliant continuous-tone
images, Hexachrome is capable of accurately
reproducing over 90% of the PMS Colors,
almost twice the number that can be obtained
using conventional four-color process printing.
gamut
In color reproduction, including computer
graphics and photography, the gamut, or color
gamut, is a certain complete subset of colors.
The most common usage refers to the subset of
colors which can be accurately represented in a
given circumstance, such as within a given color
space or by a certain output device. Another
sense, less frequently used but not less
correct, refers to the complete set of colors
found within an image at a given time. In this
context, digitizing a photograph, converting a
digitized image to a different color space, or
outputting it to a given medium using a certain
output device generally alters its gamut, in the
sense that some of the colors in the original are
lost in the process.
hexachrome and gamut examples
cmyk
rgb
colour models
design for print

magenta

yellow
cyan

key

four colours
The CMYK color model (process color, four
color) is a subtractive color model, used in
color printing, and is also used to describe
the printing process itself.
CMYK refers to the four inks used in some color
printing: cyan, magenta, yellow, and key (black).
Though it varies by print house, press operator,
press manufacturer, and press run, ink is typi-
cally applied in the order of the abbreviation.
The CMYK model works by partially or
entirely masking colors on a lighter, usually
white, background. The ink reduces the light that
would otherwise be reflected. Such a model is
called subtractive because inks “subtract”
brightness from white.
 green

blue
red

colour on screen
The RGB color model is an additive color
model in which red, green, and blue light are
added together in various ways to reproduce
a broad array of colors.
The name of the model comes from the initials of
the three additive primary colors, red, green, and
blue. The main purpose of the RGB color model
is for the sensing, representation, and display of
images in electronic systems, such as televisions
and computers, though it has also been used in
conventional photography. Before the electronic
age, the RGB color model already had a solid
theory behind it, based in human perception of
colors.
halftone
colour models
design for print
Halftone is a reprographic technique
that simulates continuous tone imagery
through the use of dots, varying either in
size, in shape or in spacing.
Halftone can to refer specifically to the
image that is produced by this process.
Where continuous tone imagery contains an
infinite range of colors or greys, the halftone
process reduces visual reproductions to a
binary image that is printed with only one
color of ink. This binary reproduction relies
on a basic optical illusion—that these tiny
halftone dots are blended into smooth tones
by the human eye. At a microscopic level,
developed black-and-white photographic film
also consists of only two colors, and not an
infinite range of continuous tones.
Just as color photography evolved with the
addition of filters and filt layers, color printing
is made possible by repeating the halftone
process for each subtractive color—most
commonly using what is called the “CMYK
color model”. The semi-opaque property of
ink allows halftone dots of different colors
to create another optical effect—full-color
imagery. When different screens are
combined, a number of distracting visual
effects can occur, including the edges
being overly emphasized, as well as a
moiré pattern. This problem can be reduced
by rotating the screens in relation to each
other. This screen angle is another common
measurement used in printing, measured
in degrees clockwise from a line running to
the left.Halftoning is also commonly used for
printing color pictures. The general idea is
the same, by varying the density of the four
primary printing colors, cyan, magenta,
yellow and black, any
particular shade can be reproduced. In this
case there is an additional problem that can
occur. In the simple case, one could create a
halftone using the same techniques used for
printing shades of grey, but in this case the
different
printing colors have to remain close to
each other to fool the eye into thinking
they are a single color. To do this the
industry has standardized on a set of known
angles, which result in the dots forming into
small circles or rosettes. The dots cannot
easily be seen by the naked eye, but can
be discerned through a microscope or a
magnifying glass.
 halftone
colour moldels
design for print
The images are separated for printing with
process cyan, magenta, and yellow inks. Key
(black), is also used to minimize ink use.
monotone
colour models
design for print

Monotone image is an image that has been created by using different tones of the same
colour. Any colour can be used when using this printing process however in print terms it is
more commonly used to produce grey scale images made from black ink.

Duotone is a halftone reproduction of an image using the superimposition of one

contrasting colour halftone (traditionally black) over another color halftone. This is most
often used to bring out middle tones and highlights of an image. The most common colors
used for this process are blue, yellow, browns and reds. Now due to recent advances in
technology, duotones, tritones, and quadtones can be easily created using image
manipulation programs.

Duotone color mode in Adobe’s Photoshop uses an imaging process that computes the
highlights and middle tones in a black and white image then allows the user to choose any
color ink as the second color. In the case of the examples on this page, the violet
monotone image has been made into a duotone by adding orange. This makes the
duotone turn to a maroon red colour.
paper stocks

coated paper
uncoated paper
art
gloss coated paper
matt coated paper
silk coated paper
cast coated paper
laid
woven
watermarked paper
carbonless - self copy paper
pulpboard
bank and bond
newsprint
recycled paper
paper thickness
weight
stock
design for print paper stocks choosing the right paper
 choosing the right paper
coated paper
This type of paper has a coating, usually of
china clay, which gives it a smooth finish.
Coated papers are available in a gloss,
silk or matt finish and are used for projects
requiring a fine finish, which is why coated
paper is sometimes referred to as ‘art’ paper.
Most of the leaflets you get through your mail
box, the glossy brochures you pick up from
the travel agent and the fancy programmes
you buy at concerts are printed onto coated
paper.
uncoated paper
This type of paper doesn’t have a coating
and is therefore not as smooth as coated
paper. You will use uncoated paper in your
laser printer and photocopier. Premium
uncoated papers are used for business
stationery and are becoming increasingly
popular for use in prestigious brochures and
catalogues as an alternative to the more
commonly used coated papers.
art
A paper which has received a special coating
to give it a smooth gloss finish. It’s meaning
is often confused but it is more easily termed
as a gloss coated paper.
gloss coated paper
See definition for Art Paper. Gloss coated
papers have a high shine and a very smooth
surface, ideal for producing printed items for
promotional work. The finish of the paper
gives the ink a high degree of “lift”, giving
vibrant colour and definition to printed
images in particular. Ink dries well on gloss
coated paper, making a seal varnish (to
protect the ink from rubbing and marking)
less likely to be needed.
matt coated paper
Plain paper which has received a special
coating to give a smooth, matt finish. Matt
coated papers have no surface shine, and
a slightly “toothy” feel, rougher than a gloss
coated paper. The images will not have
quite such a lift as when printing onto gloss
coated paper, however, applying a gloss seal
varnish can often improve this. In addition,
printing inks do not dry and harden as well
on matt coated stocks as on gloss, meaning
that use of a seal varnish is recommended to
prevent ink rubbing. However, seal varnish is
relatively inexpensive.
silk coated paper
Plain paper which has received a special
coating to give a smooth, silk finish. Silk
coated papers have a low surface shine,
and are not as toothy feeling as matt coated
papers, or as smooth a feel as gloss coated
paper – a good compromise between matt
and gloss coated paper. Again, inks do not
dry or harden as well as on gloss coated
papers, and the use of seal varnish is
recommended.
cast coated papers
This paper has a very high gloss finish
achieved by using a special coating and the
surface is then polished by stainless steel
drying cylinders. It is often used for different
packaging requirements.
laid
Paper with a pattern of parallel lines at equal
distances giving a ribbed effect. It is classed
as a premium quality of paper with a textured
pattern of parallel lines, similar to hand made
paper. Commonly used for business
stationery.
choosing the right paper

choosing the right paper

woven newsprint
paper stocks

Mechanical pulp print paper containing a

A paper which shows an even texture rather
small percentage of chemical wood pulp.
than a parallel line pattern. It has a uniform
Grammage 45 - 50 g/m2. Mechanical pulp is
surface, not ribbed or textured like laid paper.
produced by grinding wood mechanically and
Again, used mostly for business stationery.
is used in cheaper papers.

watermarked paper
recycled paper
design for print

An impression is pressed into the top of the

New paper which is made entirely or in part
sheet on manufacture. This is normally used
from old paper.
in high quality writing papers eg Conqueror.
Clients can have their own watermark put
into a sheet if required.
paper thickness
It is normal practice to specify the ‘
carbonless - self copy paper thickness’ of paper by its weight in grams
per square metre (GM or GSM). A low quality
Paper specially coated to produce an image
photocopier paper is usually around 80gsm;
in black when pressure is applied. Used
a good quality letterhead around 120gsm;
extensively in sets. There is a top, middle
a fast food menu around 130gsm, a flyer
and bottom sheet with the coatings applied
around 300gsm; and a business card around
accordingly.
400gsm.

pulpboard
weight
Matt uncoated boards in white or tinted
Paper is graded by weight, a manufacturer’s
ranging from 200 micron thickness to 750
150gsm paper may seem slightly bulkier
micron.
or thicker than a competitor’s product. Also
uncoated papers tend to be bulkier than their
bank and bond coated counterparts, whilst matt and silk
coated papers tend to be bulkier than their
Bank paper is under 63g/m2. Both are
gloss coated counterparts. A paper’s GSM
essentially stationery papers supplied in a
rating is a good guide to how ‘thick’ or ‘stiff’
variety of colours with a matt uncoated
the paper will feel but always ask for paper
finish. Bond paper is a term commonly
samples if unsure. Card (or ‘board’ as it is
used to describe economical uncoated wove
usually called in the industry) is sometimes
papers. You will probably use bond paper in
measured in microns (a micron is 1000th of a
your photocopier and fax machine.
millimetre).
format
a sizes
b sizes
c series envelopes
ra sizes
sra sizes
us sizes
newspaper
format
A size formats
paper formas
design for print
size height x width height x width
4A0 2378 x 1682 mm 93.6 x 66.2 in
2A0 1682 x 1189 mm 66.2 x 46.8 in
A0 1189 x 841 mm 46.8 x 33.1 in
A1 841 x 594 mm 33.1 x 23.4 in
A2 594 x 420 mm 23.4 x 16.5 in
A3 420 x 297 mm 16.5 x 11.7 in
A4 297 x 210 mm 11.7 x 8.3 in
A5 210 x 148 mm 8.3 x 5.8 in
A6 148 x 105 mm 5.8 x 4.1 in
A7 105 x 74 mm 4.1 x. 2.9 in
A8 74 x 52 mm 2.9 x 2.0 in
A9 52 x 37 mm 2.0 x 1.5 in
A10 37 x 26 mm 1.5 x 1.0 in
dimensions of series paper
The dimensions of the A series paper sizes,
as defined by ISO 216, are given in the
table in both millimetres and inches (cm
measurements can be obtained by dividing
mm value by 10). The A Series paper size
chart to the right gives a visual explanation
of how the sizes relate to each other - for
example A5 is half of A4 size paper and A2
is half of A1 size paper.
international usage
The A series paper sizes are now in
common use throughout the world apart
from in the US, Canada and parts of
Mexico. The A4 size has become the
standard business letter size in English
speaking countries such as Australia, New
Zealand and the UK, that used to use
British Imperial sizes. In Europe the A paper
sizes were adopted as the formal standard
in the mid 20th century and from there they
spread across the globe.
diagram of paper sizes from A0 to A10
B size formats
paper formats
design for print

dimensions of series paper

size height x width height x width
B0 1414 x 1000 mm 55.7 x 39.4 in
B1 1000 x 707 mm 39.4 x 27.8 in
B2 707 x 500 mm 27.8 x 19.7 in
B3 500 x 353 mm 19.7 x 13.9 in
B4 353 x 250 mm 13.9 x 9.8 in
B5 250 x 176 mm 9.8 x 6.9 in
The dimensions of the B series paper
sizes, as defined by ISO 216, are given in the
table in both millimetres and inches (cm
measurements can be obtained by dividing
the mm value by 10). The B Series paper size
chart to the right is a visual explanation of how
the B paper sizes relate to each other.
why was it created?

B6 176 x 125 mm 6.9 x 4.9 in
B7 125 x 88 mm 4.9 x. 3.5 in
B8 88 x 62 mm 3.5 x 2.4 in
B9 62 x 44 mm 2.4 x 1.7 in
The B series paper sizes were created in
order to provide paper sizes that weren’t
covered by the A series. This system gives
a useful property for enlarging and reducing
documents.

B10 44 x 31 mm 1.7 x 1.2 in

diagram of paper sizes from B0 to B8
C size envelope
paper formats
design for print
size height x width height x width
C0 1297 x 917 mm 51.5 x 36.1 in
C1 917 x 648 mm 36.1 x 25.5 in
C2 648 x 458 mm 25.5 x 18.0 in
C3 458 x 324 mm 18.0 x 12.8 in
C4 324 x 229 mm 12.8 x 9.0 in
C5 229 x 162 mm 9.0 x 6.4 in
C6 162 x 114 mm 6.4 x 4.5 in
C7 114 x 81 mm 4.5 x. 3.2 in
C8 81 x 57 mm 3.2 x 2.2 in
C9 57 x 40 mm 2.2 x 1.6 in
C10 40 x 28 mm 1.6 x 1.1 in
dimensions of C series envelope
As defined by ISO 216, are given in the table
in both millimetres and inches (cm measure-
ments can be obtained by dividing the mm
value by 10). The diagrams to the right show
the size of each of the envelopes when
compared to a sheet of A4 paper.
why were they created?
C envelopes sizes are defined as the
geometric mean of the A and B sizes with
the same number i.e. C4 dimensions are the
geometric mean of A4 and B4. This produces
a size between the two that makes an
envelope that will neatly hold the A series
paper of the same size, thus a C4 envelope
is perfect for an A4 sheet of paper unfolded. It
should be noted that C format envelopes also
have an aspect ratio of 1:root2 and because of
this an A4 sheet folded parallel to its shortest
sides will fit in a C5 envelope and folded twice
will fit a C6 envelope.
diagram of C series envelope sizes
C size envelope
paper formats
design for print

C4, C5 and C6 envelopes was known as DIN Lang, but DL is now

more commonly expanded to ‘Dimension
The diagrams to your right show C4, C5 Lengthwise’. This size is defined in the ISO
and C6 envelopes compared to A4 paper standards for envelope sizes, as the stand-
size (the envelope being shown in yellow ard would have been remiss in omitting the
with the paper shown as white) as can be most commonly used business envelope
seen in the diagram the C4 envelope can size.
contain an A4 sheet, the C5 envelope can
contain an A4 sheet folded in half (an A5 DL envelopes
sheet) and the C6 envelope can contain an
The dimensions of DL are 110 x 220 mm (4
A4 sheet folded in half twice (an A6 sheet).
1/3” x 8 2/3”) and as such the DL envelope
This is the reason that you will sometimes
will hold an A4 sheet of paper folded into 3
see these envelope sizes being referred to
equal sections parallel to its shortest sides.
as A4 envelope size, A5 envelope size and
Despite complaints from manufacturers of
A6 envelope size.
automatic enveloping machines that it is
slightly too small for reliable enveloping and
One of the most widely used business
the introduction of a C6/5 envelope at 114
envelopes, the DL format does not
x 229 mm, the original DL size continues to
fall under the C series sizes as it has a
be most commonly used.
different aspect ratio. This envelope
originated in Germany in the 1920’s and
RA and SRA sizes
paper formats
design for print

Table of RA Paper Sizes RA0 to RA4

RA and SRA paper formats

size height x width height x width
RA0 1220 x 860 mm 48.0 x 33.9 in
RA1 860 x 610 mm 33.9 x 24.0 in
RA2 610 x 430 mm 24.0 x 16.9 in
RA3 430 x 305 mm 16.9 x 12.0 in
RA4 305 x 215 mm 12.0 x 8.5 in
The RA and SRA paper formats are defined
by ISO 217 “Paper - Untrimmed Sizes” and
cover untrimmed raw paper for commercial
printing. The RA and SRA sizes are slightly
larger than the corresponding A series
sizes to allow for bleed on printed material
that will be later trimmed to size, often for
bound publication.

To obtain paper sizes in centimetres,

Table of SRA Paper Sizes SRA0 to SRA4
size height x width height x width
SRA0 1280 x 900 mm 50.4 x 35.4 in
SRA1 900 x 640 mm 35.4 x 25.2 in
convert mm values to cm by dividing by 10.
The aspect ratio (the ratio of the width to
the height) of the RA and SRA sheets is 1:
root 2 (1:1.4142) as for the A series sheets.
Unlike the US untrimmed paper sizes, the
RA and SRA paper sizes do not form any

SRA2 640 x 450 mm 25.2 x 17.7 in part of the calculation of paper weight.

SRA3 450 x 320 mm 17.7 x 12.6 in

SRA4 320 x 225 mm 12.6 x 8.9 in

US paper sizes
paper formats
design for print

US paper formats

North America, including the US, Canada and parts of Mexico, is the only area of the
first world that doesn’t use the ISO 216 standard paper sizes, instead they use Letter,
Legal, Executive and Ledger/Tabloid paper sizes and those that have been formalised
in ANSI Y14.1M - Metric Drawing Sheet Size & Format.

Size Width x Height Width x Height Aspect Ratio

Letter 216 x 279 mm 8.5 x 11.0 in 1:1.2941

Legal 216 x 356 mm 8.5 x 14.0 in 1:1.6471

Junior Legal 127 x 203 mm 5.0 x 8.0 in 1:1.6000

Ledger 279 x 432 mm 11.0 x 17.0 in 1:1.5455

print processes
digital print
risograph
flexography
pad printing
offset litho
rotogravure
foil stamping
screen printing
letter press
print processes
digital print
colour moldels
digital print
design for print
Digital printing refers to methods of print
from a digital based image directly to a
different 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 could
match or supersede offset printing technology’s
ability to produce larger print runs of several
thousand sheets at a low price.
Digital Printing takes a different approach
assembling each image from a complex set
numbers and mathematical formulas. These
images are captured from a matrix of dots,
generally called pixels, this process is called
digitizing. The digitized image is then used to
digitally controlled deposition of ink, toner or
exposure to electromagnetic energy, such as
light, to reproduce images.
The mathematical formulas also allow for
algorithms to compress the data. It also give
a method of Calibration or Color Management
Systems which helps to keep images looking
the same color despite where they are view or
printed. One important function that the mathe-
matical formulas allowed was the development of
a common language for digital printing it is called
PostScript and was developed by Adobe. To see
what PostScript looks like open a PDF or EPS in
a text editor, the code seems very intricate but to
a computer it just a simple code of instructions.
One of the most important advantages that
Digital printing offers is a quicker response time
due to its minimal press setup and it’s built in
multicolor registration system. This eliminates
many of the upfront, time consuming processes
that can cause analog printing methods to
have a slower turn-around time. Another
advantage of Digital printing is the ability of offer
variable printing; this means that each printed
piece can have different information on it
providing personalization and customization
unmatched by analog processes.
risograph

Risograph is a high-speed digital printing system manufactured by

the Riso Kagaku Corporation and designed mainly for high-volume
print processes

photocopying and printing.

Increasingly, Risograph machines have been commonly referred to as a

RISO Printer-Duplicator, due to their common usage as a network printer
as well as a stand-alone duplicator. When printing or copying multiple
quantities (generally more than 20) of the same original, it is typically far
less expensive per page than a conventional photocopier, laser printer, or
inkjet printer. The original is scanned through the machine and a master
is created, by means of tiny heat spots on a thermal plate burning voids
design for print

(corresponding to image areas) in a master sheet. This master is then

wrapped around a drum and ink is forced through the voids in the master.

The paper runs flat through the machine while the drum rotates at high
speed to create each image on the paper. This simple technology is
highly reliable compared to a standard photocopier and can achieve both
very high speed (typically 130 pages per minute) and very low costs. A
good lifespan for a risograph might involve making 100,000 masters and
5,000,000 copies.
risograph
flexography
colour moldels
flexography
design for print
Flexography (often abbreviated to flexo) is
a form of printing process which utilizes a
flexible relief plate. It is essentially a modern
version of letterpress which 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). Flexography or flexographic
printing uses flexible printing plates made of
rubber or plastic. The inked plates with a slightly
raised image are rotated on a cylinder which
transfers the image to the substrate.
Flexography uses fast-drying inks, is a
high-speed print process, can print on many
types of absorbent and non-absorbent materials,
and can print continuous patterns (such as for
giftwrap and wallpaper). Some typical applica-
tions for flexography are paper and plastic bags,
milk cartons, disposable cups, and candy bar
wrappers. Flexography printing may also be used
for envelopes, labels, and newspapers.
A flexographic print is made by creating a
positive mirrored master of the required image
as a 3D relief in a rubber or polymer material.
Flexographic plates can be created with analog
and digital platemaking processes. The image
areas are raised above the non image areas on
the rubber or polymer plate. The ink is transferred
from the ink roll which is partially immersed in
the ink tank. Then it transfers to the anilox roll (or
meter roll) whose texture holds a specific amount
of ink since it is covered with thousands of small
wells or cups that enable it to meter ink to the
printing plate in a uniform thickness evenly and
quickly (the number of cells per linear inch can
vary according to the type of print job and the
quality required).
To avoid getting a final product with a smudgy
or lumpy look, it must be ensured that the
amount of ink on the printing plate is not
excessive. This is achieved by using a metal
scraper, called a doctor blade. The doctor blade
removes excess ink from the anilox roller before
inking the printing plate. The substrate is finally
sandwiched between the plate and the impres-
sion cylinder to transfer the image. The sheet is
then fed through a dryer, which allows the inks
to dry before moving on.In the case a UV ink is
used, the sheet does not have to be dried, but is
dried from UV rays.
design for print colour moldels pad printing
 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 cliché via a silicone pad onto a substrate.

Pad printing is used for printing on otherwise impossible products in many industries including
medical, automotive, promotional, apparel, and electronic objects, as well as appliances, sports
equipment and toys. It can also be used to deposit functional materials such as conductive inks,
adhesives, dyes andlubricants. The unique properties of the silicone pad enable it to pick the
image up from a flat plane and transfer it to a variety of surfaces, such as flat, cylindrical,
spherical, compound angles, textures, concave, or convex surfaces.
offset litho
colour moldels
offset litho
design for print
A lithograph is a type of printing process during
which original works of art can be printed and
reproduced; the final product is also known as
a lithograph, which is an authorized copy of an
original work created by an artist or other skilled
craftsmen.
The printing process for creating lithographs is
different from other traditional methods, mainly
because it does not require the print-maker to first etch
the image into metal plates. Prints can be made of
original works of art, first created on the stone table or
metal plate, or images from paintings or drawings can
be duplicated with this method. If the print quality of a
lithograph is excellent and the production numbers are
low, it may have significant value in the art world.
Offset litho printing is a commonly used printing
technique in which the inked image is transferred (or
“offset”) from a plate to a rubber blanket, then to the
printing surface. When used in combination with the
lithographic process, which is based on the repulsion
of oil and water, the offset technique employs a flat
(planographic) image carrier on which the image to be
printed obtains ink from ink rollers, while the non
printing area attracts a water-based film (called
“fountain solution”), keeping the non-printing areas
ink-free.
The most common ways of litho applications include:
newspapers, magazines, brochures, stationery, and
books. Compared to other printing methods, offset
printing is best suited for economically producing large
volumes of high quality prints in a manner that requires
little maintenance. Many modern offset presses use
computer to plate systems as opposed to the older
computer to film work flows, which further increases
their quality.
The actual process of printing is quite involved.
One of the most important functions in the process is
pre-press production. This stage makes sure that
all files are correctly processed in preparation for
printing. This includes converting to the proper CMYK
color model, finalizing the files, and creating plates for
each color of the job to be run on the press.
Every printing technology has its own identifying marks,
as does offset printing. In text reproduction, the type
edges are sharp and have clear outlines. The paper
surrounding the ink dots is usually unprinted. When
halftone is used, the dots are always hexagonal though
there are different screening methods (AM and FM).
rotogravure
rotogravure
colour moldels
design for print
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 a
newspaper photo features, the rotogravure process is
still used for commercial printing of magazines, post
cards, and corrugated (cardboard) product packaging.
With gravure printing an image is etched on the surface
of a metal plate or cylinder so that the image you want
to print is in the recesses or depressions not the raised
part of the plate (unlike relief printingwhere the image is
raised). The recesses are filled with ink and the raised
(non-printing) portions of the plate or cylinder are
wiped or scraped free of ink leaving the ink only in
the recesses. The paper or other material is pressed
against the inked plate or cylinder and the image is
transferred to the paper. Rotogravure presses can
produce a vast range of print jobs. They can be as
narrow as labels used on envelopes or shipping
packages, or as wide as 12 feet (about 3.66 meters)
wide rolls of vinyl.
The rotogravure press is not restricted to just paper
or foil. In fact, materials such as plastic or foil can be
printed on through several processes that include
electrostatic pull and applied pressure.
A rotogravure press includes an ink fountain engraved
cylinder, a doctor blade, a dryer, and an impression
roller. The engraved ink fountain cylinder is versatile
enough to be changed to meet the requirements of
each job layout. Generally, these changes are made by
adjusting its circumference.
Each color on a rotogravure press has its own
printing unit. These colors are referred to as CMYK
in the publishing profession. CMYK stands for cyan,
magenta, yellow, and key, with “key” being a the print
name given to the color black.
Besides printing, a rotogravure press also has the
capacity to produce saddle stitching. Saddle stitching
is commonly used for holding together magazines and
brochures. Rotogravure presses can print magazines
that have a long run with over one million copies.
rotogravure
foil printing

Foil stamping
design for print

Foil stamping, typically a commercial print process, is the

application of pigment or metallic foil, often gold or silver, but
can also be various patterns.

There is also pastel foil which is a flat opaque color or white special
film-backed material, to paper where a heated die is stamped onto the
foil, making it adhere to the surface leaving the design of the die on
the paper. Foil stamping can be combined with embossing to
create a more striking 3D image. It is still regularly used in many
applications and can achieve results that are virtually impossible by
any other method. High gloss metallic, holograms, wood grains. The
composition of the foil means that it adheres to a vast range of
materials and is protected by a really tough lacquer.
screen printing
colour moldels
screen printing
design for print
Screen printing or silk screening is a printing
technique particularly suited for flat or relatively
flat surfaces.
The heart of the process involves a fine mesh or
screen that is tightly stretched around a rigid frame.
The areas that are not to be printed are masked out
on the screen. To create the print, the framed screen is
positioned over the item to be printed along with a
dollop of thick ink. A squeegee is then used to press
the ink through the screen.
The masked areas prevent ink from passing through,
but the unmasked areas allow the ink to be imprinted
on the material. The final step is to send the item on
a conveyor belt through a heat-tunnel. This curing
process ensures that the inks dry quickly so that they
materials can be stacked or packaged. Properly cured
inks will remain on the printed substrate even under
harsh conditions.
If more colors are desired in the final design, the proc-
ess is repeated with different screens. Therefore, a
design that requires four different colors would require
four different screens. The screens are usually placed
on a rotary press which allows the different color prints
to be properly aligned or registered with each other.
Some screen-printers have fully automatic presses
that do not require any manual labor other than set-up
and loading/unloading.
There are a variety of ways that the screen can be
masked. The most straightforward way is to apply
masking fluid directly on the screen. This technique
is suitable for simple one or two color graphics but is
ineffective for more complex prints. For multicolor jobs,
screen-printers often use photosensitive emulsions to
create the masked areas.
First, the design is created on a clear piece of plastic
film. Meanwhile, a photosensitive coating is applied to
the entire surface of the screen and then dried. The
film is placed on the prepared screen and they are
exposed to bright light. After a period of time, the
exposed areas can be washed off the screen with
water which makes the screen ready to print.
design for print colour moldels letter press

letterpress
Letterpress is relief printing. It involves locking movable type into
the bed of a press, inking it, and rolling or pressing paper against it to form
an impression. It was the normal form of printing text from its invention by
Johannes Gutenberg in the mid-15th century until the 19th century and
remained in wide use for books and other uses until the second half of the
20th century.

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. Letterpress printing remained the primary way to print
and distribute information until the twentieth century, when offset printing was
developed. It was also an extremely important technological innovation, making
printed material available to a wider range of classes of people.
binding and folding
perfect bind

japanese stab stitch bind

double loop ringbind

screw and post bind

thermal tape bind

ringbind (folder)

saddle stitch bind

single fold

roll fold

z-fold

conertina fold

gate fold
binding
folding
book binding
print finishing

key
1. perfect bind
2. japanese stab stitch bind
3. double loop ringbind
4. screw and post bind
5. thermal tape bind
design for print

6. ringbind (folder)
7. saddle stitch bind

Book binding is a technical craft for the
connection of individual pages of a book into
a single volume.
It is practiced both on a high intensity commercial
level to produce the millions of books which are
printed every year, or it can be performed by hand,
by artisans who are creating one of a kind books.
Bookbinding is an ancient technique, with examples
of bound books in durable materials like vellum dat-
ing back thousands of years.
Whether books are being bound for large scale
commercial sale or special occasions, bookbind-
ing involves a few basic principles. The pages are
printed, using a technique called imposition where
up to sixteen pages are printed front to back onto
one sheet of paper called a signature. The signature
is folded into a section of text which is then bound
and trimmed to free the folded edges. A short book
may only contain one signature, while lengthy texts
may have hundreds.
The signatures are bound together with heavy
waxed thread so that they cannot pull apart,
although some modern bookbinding techniques
use glue instead because it is cheaper and much
quicker.
Finally, the bound pages are enclosed inside a
protective cover which is designed to be sturdy and
durable, preventing damage to the inside of the
book. This stage of bookbinding leaves the most
room for creativity and fun on the part of the artist.
At one time, book covers were often beautiful and
ornate, made from materials like leather or wood,
and embossed or studded with gems. Modern
commercially produced books usually have covers
made from sturdy paper or cardboard, but it is still
possible to find deluxe books bound in leather for
special collections.
 book binding examples

1 2 3

4 5 6

7 8 9
paper folding
print finishing

Leaflets that are folded are usually used for advertising or marketing purposes.
There are many types of folds, only the most popular types are listed here.
Although it is difficult to put a date on when some of these folds were first used,
it is evident that their popularity boomed when the first mass production printers
were introduced.
design for print

single fold concertina fold

This type of fold is mainly used for A concertina fold is a continuous

brochures, postcards and I actually saw
some creative business cards with half
fold as well.It is usually constructed by
folding an sheet of paper once, creating 2
equal halves. The inner pages are usually
used for the content, while the front and
the back page presents some company
information.
roll fold
Roll folds consist of four or more
panels that roll in on each other. The roll
in panels must get incrementally smaller
to be able to tuck into the respective
panels. One of the benefits of a roll fold is
that it can have multiple panels, but rolls
into a compact package.
z - fold
parallel folding of brochures and similar
printed material in an accordion-like
fashion, that is with folds alternatively
made to the front and back in zig zag
folds. Because they do not nest (as in
Letter Folds) panels can be the same
size
gate fold
The gate fold is very attractive as the
succession of message presentation is
dramatic. It requires e ither handwork
or specialized equipment. Lining up
images that cross over the inside flaps
can be very difficult. The left and right
edges fold inward with parallel folds
and meet in the middle of the page
without overlapping.

The “Z” style offers an advantage for

multi-page letters to be collated and hand
inserted for mailing. Because the pages
nest together, the letter is opened with the
pages in sequence. Folding the sheet of
paper twice (the outside left panel folds to
the left and the inside right panel folds to
the left, forming the brochure cover)as a
result it shapes as the letter “Z”.
paper folding examples