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Digital copy preparation is now virtually universal.
Its application to typesetting, art creation, image
capture and page makeup have replaced the
traditional forms to such an extent that the
mechanical "board" is the exception rather than the
rule.
However, the contents of the traditional mechanical
that were considered absolute requirements still
exist, but in a different form. While application
programs provide file originators with a fantastic
array of new tools, the significance of
communications between the printer and the designer
has not lessened. In fact, early collaboration has
increased in importance.
As some responsibilities shift from the prepress
provider to the customer, the functions previously
performed by that provider must now be understood
and implemented by the designer/creator of the file.
The file preparer is compelled to comprehend how the
work performed on the computer has to reflect the
needs of the ink-on-paper product that is the final
result. If the anticipated goals - cost savings and
quicker turnaround - are to be realized, these needs
must be accurately reflected in the final file given
to the printer or prepress provider.
Prepress and printing basics are included in this
section to guide you in these efforts.
Design
Choosing a designer who can efficiently and
effectively execute in the digital environment can
result in achieving some of the time and money
savings that software vendors promise and customers
now demand. Communication has become an absolute
requirement between the print buyer, the designer
and the printer to ensure smooth delivery of the
steps leading to the final printed piece. Make sure
the print provider you select is "on-board" at the
creation stage to help you keep the project on-time,
on-track, and on-budget.
Beyond electronic wizardry, consider today's wide
spectrum of papers, plus the creative production
techniques like folding, embossing and coating.
These contribute to the effectiveness of print as a
media that gets marketing results.
"Specing" the Job
Detailed, accurate specifications are the key to
success with any printing job. Your printer must
have complete information to fulfill your
expectations. In this section of the Texas Graphic
Arts Buyer's Guide, you'll find a checklist for
writing printing specifications which will help you
organize all the details. You can then use this
"spec sheet" to help fill out a request for
quotation and for issuing a purchase order.
Selecting a Printer
There are thousands of printers, so how do you
choose? First, get to know your local printers. Take
tours of their plants and note their specialties.
Get to know a variety of printing salespeople and
start a file of printing samples. Ask friends or
associates for references. When other things are
equal, it may be best to go with the company that
will provide value-added services that fit the needs
of your business, whether that is in full
coordination of your project, design or
distribution. Establishing an ongoing relationship
enables your printer to know your printed product
requirements and offer suggestions that can save
time and money.
How to Compare Estimates
Each printer should have a mock-up of your design
and complete specifications. Request written
estimates. If you change a specification to one
printer (for example, paper) be sure to change it
for all. Otherwise, your estimates are not
comparable. Most estimates are good for 30 days.
Scheduling
Quick turnaround is the rule, but it requires
intelligent coordination. Once the who and what are
determined, the when needs to be decided. Printing
projects usually run on tight schedules, so stay on
track and let vendors know the specifics. Begin with
your distribution date and work backwards with your
sales rep.
Then stick to your schedule or alert your rep in
advance if there are unavoidable delays. Tell your
rep you expect to be informed if there are delays on
the printer's end. If you are contracting tasks
separately, account for the time that each vendor
needs, including delivery.
Getting to Plate
In most situations, plates are prepared from film
that is generated from imagesetters or, less
frequently now, from camera exposure. Plates
prepared directly from computer files are beginning
to come on the scene. In either case, correct copy
preparation for this film is paramount. When changes
are made or mistakes caught after this plating step,
costs rise rapidly.
Jobs generated from computer files must contain all
the printing production requirements that the final
composited traditional plate film contained. File
preparers who choose to construct files for
plate-ready film must include spreads and chokes
(called "trapping" in computer terminology), bleed
overwork, plus trim and center mark indications that
were formerly accomplished by the "image assembler"
at the printer. Printers with electronic prepress
capabilities offer file manipulation services that
cover things like trapping, low resolution image
replacement and more. They generally prefer handling
these critical production details in-house to assure
proper preparation for their particular press and
finishing lines.
The importance of proofs from digital files and
plate film has increased because of today's speed of
production and the opportunities to rapidly incur
expensive remake costs at the plate stage. Proofs
should reflect exactly what is represented on the
file or plate film.
Color
Multicolor printing of some kind is the norm,
whether it's spot color or four-color process. Spot
color uses a designated ink color, while four-color
process printing creates color by laying down
overlapping dots (screens) of four primary ink
colors: yellow, cyan, magenta and black (CMYK). The
size, shape and degree of overlap of these dots
determines the appearance of the final printed
colors.
The most convenient way to specify spot color is to
use one of the color systems like Pantone or
Trumatch. The newest page makeup, illustration and
photo-editing software also support these systems.
Each Trumatch or Pantone color has a formula for
creating that color with printer's inks.
Preparing full-color files on your Mac or PC and
delivering a disk to your printer by physical or
electronic means is now commonplace in most
instances. Often, designers use low resolution scans
in their electronic files and have the printer or
prepress house produce high quality separations,
which in turn are stripped into the film either
electronically or traditionally.
Creating color files requires knowledge of the
printing requirements for color, including trapping
and color balance. Use of computer color management
systems by the file originator who wishes to go
beyond low-res images is an absolute requirement for
quality and consistency.
Despite all of today's advances, the most important
aspects of dealing with printed color remain: make
sure everyone "sees" the same color and understands
the limitations of four-color process.
Prepress color proofs that simulate color printing
allow you to check composition, color breaks,
registration and separation quality and are an
essential step for satisfactory results.
Printing, Finishing and
Binding
Once you have approved the prepress proofs, your job
is ready to print. If a press check is included in
your bid, you'll be at your printer's plant when the
first sheets come off the press. At this point, the
final tweaking is done and the press operator takes
over.
The final step in converting a printed sheet to
product is called finishing and/or binding. They are
as equally significant a stage as everything that
has gone on before and must be planned into the
original design. While bindery and finishing are
usually the last phases of a printed job, it is
important to identify these needs up front when
planning the job so that all will run smoothly.
Folding
Folding is a relatively imprecise operation, so you
must leave room for variations in the folds.
Remember, also, that each fold is affected by the
variation in the previous fold. Paper stock also
affects folds. Prepare a paper dummy of the folds
before you go to press, and remember to allow
adequate trim for the bindery operation.
Binding
When planning your job, you need to decide if it
will be bound and how. Talk about the bindery
requirements with your printer or trade binder
before going into production. Listed below are some
common bindings and definitions.
Saddle stitching
Signatures inserted into each other and stapled
through the spine. Requirements: Lip on back of
signature at least 1/4". Head trims and foot trims
should be 1/8".
Side stitching
Stapled through stack, parallel to spine.
Spiral Binding
Wire spiral inserted through hole-punched stack.
Requirements: Minimum trim of 1/8" on head, spine,
foot and front - more desired. Binding margin is
1/2".
Comb binding
Plastic comb binding inserted through hole-punched
stack.
Perfect binding
Perfect-bound books are made from signatures that
are stacked. On the left side, the folds are trimmed
away. Hot glue is applied to the spine and the cover
is pressed against it. Then the other sides of the
book are trimmed away. Head trims and foot trims
should be 1/8" or more.
Binding is the work required to convert printed
sheets into books, magazines, catalogs and folders.
Included are the steps for scoring, folding,
collating, stitching and trimming. Finishing
includes mounting, die-cutting, laminating,
embossing, punching, gluing and marbleizing.
Last Word on Finishing
If your printed project is going to be die-cut,
coated or finished in any of the ways mentioned
above, note that the mechanical requirements for
these processes must be built into the design of the
printed piece. For instance, aqueous and UV coatings
are spectacular, but certain ink colors do not take
coating as well as others. Always consult with your
printer about your finishing plans, even if the
printer is not coordinating the whole project.
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