extra: Encyclopaedia of Experimental Print Finishing 9783034609173, 9783034600835

Citation preview

extra

franziska morlok till beckmann

extra Encyclopaedia of Experimental Print Finishing with contributions by Markus Zehentbauer and Uwe Jäger

birkhäuser basel · Boston · Berlin

introduction

As designers interested in using print finishes we always ended up facing the same problem: a lack of proper examples illustrating the effects and possibilities of the individual techniques. Because they rely on photographs, design books fail to convey the haptic quality of fi ­ nishes. For a truer representation of the different finishes, we had to turn to the sample books of individual companies, but these are often very technique-based and fail to convey the aesthetic attraction. Nor do they give insights into the full range of possibilities, because each firm usually specialises in just a few techniques. There are two opposing currents in contemporary graphics. As digital design becomes ever more important there is also growing interest in haptic qualities, special papers, and quality work. Print finishes are one possibility for lending greater materiality and durability to two-dimensional graphic design. Some techniques, such as lenticular printing [ 30] or diffraction foils [ 39], bring movement to a surface, while others, such as rub-off ink [ 27] or thermochromic ink [ 22], invite interaction. In this book we set out to show actual examples of the full diversity of finishing techniques, giving visual and technical overviews of the available options. For the visual part we invited thirty international designers each to e ­ xplore and interpret one of the techniques. The only rule was the technique itself (needless to say the design had to be technically feasible). Their experimental designs show how finishes can go far beyond the usual functional applications in packaging and advertising (for example, to make a car look shiny or a wine label appear more refined). These pages with examples of finishes are cross-referenced with articles about the techniques, forming a visual index that allows the book to be used intuitively.

4

introduction

The techniques are explained in five comprehensive sections: printing and varnishing, foil lamination, embossing, cutting and edge finishing. Thirty-three individual texts describe the techniques used and explain their most important properties, advantages, and drawbacks. We outline a few basic rules for dealing with the individual techniques, but that should not be taken as meaning there are no alternatives. Essays address ­general questions about planning [ 78], perception [ 92], and environmental considerations [ 96], and we have an interview with the Swiss designers Müller + Hess [ 82], who opened up their treasure trove of design experiments for us. All the important specialist terms are explained in the glossary. The outcome is a designer’s reference work by thirty graphic designers from nine countries with eleven production firms, thirty-three finishing techniques, five kinds of paper, and forty-six spot colours in the final artwork. That tested the limits – not only of the layout software. We had spent a long time looking for this book, but never found it. So in the end we made it ourselves.

5

Printing & Varnishing

printing & varnishing

matt, satin, and gloss varnishes

matt, satin, and gloss varnishes [ 2] spot varnish

Alongside foil lamination [ 1,  36], varnishing is the commonest paper-finishing technique. Varnish is applied by offset printing, flexography, or screen printing, with screen printing allowing the thickest application. Varnish printed across the whole surface protects the printed product from wear and dirt. It can, however, also be used as a design feature on parts or the whole surface, and even to reproduce fine details, raster images, and small typefaces. Various different effects can be achieved using varnishes. Gloss varnish, for example, reflects a lot of light and can be used to simulate the qualities of photographs: the details appear sharper, the colours more saturated. The silky surface of matt varnish reduces reflection by scattering the light, and is therefore especially suitable for text. The effect of satin varnish is in-between matt and gloss: it emphasises the surface without making it appear dull. The most important varnishes and processes for surface finishing UV varnish UV varnishes have the most striking effect of all varnishes. Their gloss is glossier, their matt duller. They are suitable for full-surface as well as partial printing (for example to bring out fine details, raster images, or small typefaces). UV varnishes are highly viscous and have a solid content close to 100 per cent; they retain their plasticity as they harden under UV light. For that reason UV varnishes are also used as tactile varnish [ 5,  13] and structured varnish [ 4,  12]. They are solvent-free, highly protective, and wear-resistant. UV varnishes can be applied in-line by offset printing or flexography using a varnishing unit, or by screen printing which allows thicker application. Dispersion varnish, water-based varnish Water-based dispersion varnishes offer a finish ranging from matt to medium gloss. They can be used as a protective coating and/or for aesthetic purposes. Their effect is not as marked as UV varnishes, but they do protect the paper from yellowing. Dispersion varnishes are applied in-line by offset printing using a varnishing unit.

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printing & varnishing

matt, satin, and gloss varnishes

Oil-based varnish Oil-based varnishes are used above all as surface protection. They increase the stability and sheen of the printed product, but their gloss is too low for a strong aesthetic impact and they do not protect the paper from yellowing. Oil-based varnishes are applied in-line by offset printing using an inking unit. Drip-off varnish Drip-off varnish is applied in a two-stage in-line offset printing process that can be used to generate striking matt/gloss contrasts. First, a special oil-based matt varnish is applied to the parts that are to appear matt. Then a high-gloss dispersion varnish is applied to the whole surface but allowed to drip off the repelling matt areas before drying. The effect works best on glossy coated paper. Hybrid process, hybrid varnish The hybrid process is similar in principle to the drip-off process, but produces an even more marked effect. First a special oil- or water-based matt varnish is applied to the parts that are to appear matt. Then a high-gloss UV varnish is applied over this. The two varnishes interact to create a granular texture. Hybrid varnish can be applied in-line by offset printing. Note The choice of varnish depends above all on whether its primary purpose is protective or aesthetic. All varnishes change the appearance of the ink underneath. Data For full-surface applications it is sufficient to specify the varnish required; it is not necessary to define the solid area in the file. Partial applications should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Varnishes can be printed on coated and uncoated papers, with different effects for the respective papers. With screen printing, varnishes can also be printed on foil, cardboard, and other materials.

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printing & varnishing

matt, satin, and gloss varnishes

Finishing Full-surface varnish has a protective effect but, unlike foil lamination, is not tear-resistant. Varnishes can be combined with other printing and print finishing techniques if no final varnish is applied, for it seals the surface and makes further surface finishing impossible. Specific details should be clarified with the printer. Costs Partial varnishing increases costs, because – unlike for fullsurface application – an additional plate or screen is required.  UV varnish (dispersion, and oil-based varnishes are considerably cheaper)

Uv varnish matt

10

Uv varnish gloss

printing & varnishing

soft-touch varnish

soft-touch varnish [ 3]

Soft-touch varnish gives surfaces a special texture: depending on the make, it can feel velvety, rubbery, or soft. Its extremely matt finish works especially well with partial applications, but it can also be printed across the whole surface. Soft-touch varnish can be printed by screen printing, offset printing, and flexography, with screen printing allowing thicker application. It is transparent and generally colourless, but can also be coloured like any varnish using pigments. Soft-touch varnish is widely used in other applications too, for example in the car industry to make interior panels appear softer. Note Because soft-touch varnish is extremely matt it mutes the colours underneath, absorbs light and is sensitive to scratching. Scratches are more noticeable on dark bases than on light ones. With fine softtouch varnishes even filigree details, raster images, and small typefaces can be printed. Data Soft-touch varnish should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Coated papers and papers with a smooth surface are best suited to bring out the effect of soft-touch varnish. With uncoated papers, test prints are recommended. With screen printing, soft-touch varnish can also be printed on foil, cardboard, and other substrates. Finishing Because soft-touch varnish scratches easily, finishing must be conducted with the utmost caution. The slip-resistant surface can interfere with automated handling. Soft-touch varnish can be printed double-sided and bled off. Costs 

Cyan, magenta, black

Fluorescent ink offset printing

soft-touch varnish

scented varnish

11

printing & varnishing  Structured varnish

Structured varnish [ 4] structure varnish, structure effect

Structured varnishes are UV varnishes [ 8] that create a particular structure when they harden. They can have optical or textural effects or – with appropriate artwork – the surface structures of wood or textiles. The structural effects are created by various particles added to the varnish. Finer and coarser standard structured varnishes are available, but it can also be mixed to order, for example to create the texture of sandpaper. The varnish has functional uses too, such as non-slip coatings on floor stickers and mousepads. Structured varnish is an especially ob­v ious choice where particular features of a printed product are to be highlighted haptically. It is applied by screen printing and is transparent and generally colourless, but can also be coloured like any varnish using pigments. Note The motif to be printed is a factor when selecting a structured varnish. For example, a coarsely structured varnish cannot be used to print sharp edges and fine lines. The finer the image, the finer the structured varnish must be. Because of the effect of the added particles, the varnish is always matt, absorbs light, and mutes the colours underneath. Data Structured varnish should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Structured varnish can be printed on coated and uncoated papers, with different effects on the respective papers. Because it is applied so thickly, a heavier paper is recommended; the paper must not be too soft or the structure will leave marks on the opposing pages. Other substrates such as foil and cardboard can also be printed with structured varnish. Finishing The coarser the structured varnish, the more caution is necessary to exercise during finishing, as the structure can scratch or make a mark. Double-sided printing with structured varnish is in principle possible, but the printer should be consulted and tests carried out. Structured varnish should not be bled off, to prevent cracking and flaking when trimmed. Costs 

CMYK 12

Structured varnish

printing & varnishing

tactile varnish

tactile varnish [ 5] relief varnish, braille varnish

Tactile varnish is a highly viscous UV varnish [ 8] that is applied exceptionally thickly. Used to make lettering and other elements stand out three-dimensionally without deforming the substrate, it has a solid content of nearly 100 per cent and retains its plasticity as it hardens. Owing to its special haptic qualities it is also used to print Braille. Tactile varnish is applied by screen printing and the thickness of the application can be adjusted. It is transparent and either glossy or matt, but can also be coloured with pigments. Note The best effect is achieved where tactile varnish is used for linear motifs. Fine lines and other details cannot be made quite so thick but they still stand out well. Large areas, on the other hand, appear uneven with indistinct edges, and the varnish sinks in the middle. Because the resolution of tactile varnish is limited, the printer should be consulted about the minimum line thickness. Like all other varnishes, transparent tactile varnish alters the effect of the colours underneath. Data Tactile varnish should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Tactile varnish works best on coated papers and papers with a smooth surface. With uncoated paper test prints are recommended. Because it is applied so thickly, a heavier paper is recommended. Other materials such as foil and cardboard can also be printed with tactile varnish. Finishing Finishing must be conducted with the utmost caution, to avoid damaging the thickly applied tactile varnish. To avoid leaving marks on the opposing pages, paper printed with tactile varnish should be cut carefully in small batches. Tactile varnish should be printed only on one side and not bled off, to prevent it from cracking and flaking when trimmed. Costs 

CMYK

tactile varnish

13

printing & varnishing

effect pigment varnish

effect pigment varnish [ 6] effect varnish, effect ink, iriodin ink, interference ink, pearlescent ink refraction Multi-coloured pearlescent gloss varnish substrate

Inks containing effect pigments such as aluminium, polyester, or pearlescent particles can generate an enormous range of results, reflecting and refracting the light or producing interference effects, with the exact effect depending on the size, composition, and surface properties of the particles. Effect pigment varnishes all have a metallic sheen and are more subtle than glitter varnishes [ 7,  16]. There are metallic, Iriodin, multi-colour, and tilt effects. With the tilt effect, the colour changes depending on the viewing angle and the light, for example from metallic green to metallic purple. The multi-colour effect uses metallic pigments that shine in the colours of the rainbow. Effect pigment varnishes are transparent, so the higher the proportion of effect pigments the more opaque they are and the stronger the result. They can be applied either over the top of printing inks, for greater effect, or underneath. In both cases, the effect pigments blend visually with the printing ink to create variable colour effects. Effect pigment varnishes can be printed by offset or screen printing, the latter allowing a thicker application and the use of coarser pigments for a more powerful result. Special security pigments with similar effects are used to print forgery-proof documents: the particles appear as black dots when photocopied or scanned. Note The motif to be printed is a crucial factor when selecting effect pigments. For example, it is impossible to print fine lines and sharp edges using coarse effect pigments. The more delicate the image, the finer the effect pigments must be. Effect pigment varnishes are transparent and react very differently depending on the underlying colours; most effect pigment inks work best on a dark base. Data Effect pigment varnish should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps.

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printing & varnishing  Effect pigment varnish

Printing substrate Effect pigment varnishes can be printed on coated and uncoated papers, with different results depending on which is used. A test print is recommended, because the pigments have to be matched with the substrate. With screen printing, effect pigment varnishes can also be printed on foil, cardboard, and other substrates. Finishing Depending on the substrate and pigment size, effect pigment varnish can crack when folded. To avoid this, the substrate should be carefully scored first. Effect pigment varnish can be printed double-sided and bled off. Certain metallic inks rub off and have to be protected by a varnish coating [  8]. That should be clarified in advance with the printer, and tested if necessary. Costs Effect pigments are relatively expensive, but costs can be saved by applying less thickly. 

CMYK

Effect pigment varnish

15

printing & varnishing

glitter varnish

glitter varnish [ 7] glimmer, flitter, flake

Glitter varnishes are UV varnishes [ 8] containing glitter particles that sparkle in the light. How the particles reflect the light depends on their size, quantity, and colour. The higher the concentration of glitter particles in the varnish, the more opaque it is – and the stronger the glitter effect. Glitter is available in grades from fine to coarse, but there is a limit to the size of particle that can be printed. Standard glitter is available in gold and silver, as well as a multitude of special colours. Multi-colour and iris glitter are transparent and shimmer in different colours depending on the angle of the light and they are often used to intensify the effect of the colours underneath. Glitter varnish is applied by screen printing. Note The motif to be printed is a crucial factor when selecting glitter. For example, it is impossible to print fine lines and sharp edges using coarse glitter. The more delicate the image, the finer the glitter must be. Glitter varnishes in silver and gold create different effects depending on the colour underneath: on a light base, glitter particles appear as dark dots, while on a dark base they form light dots. Data Glitter varnish should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Glitter varnish works best on coated papers and papers with a smooth surface. With uncoated paper test prints are recommended. Because glitter varnish is applied thickly, a heavier paper is recommended. Other substrates such as foil and cardboard can also be printed with glitter varnish. Finishing The thicker the coating of glitter varnish, the more caution is called for when finishing. To avoid leaving marks on the opposing pages, paper printed with glitter varnish should be cut carefully in small batches. Glitter varnish should be printed only on one side and not bled off, to prevent cracking and flaking when trimmed. Costs The more glitter the varnish contains, the greater the material costs. 

CMYK 16

glitter varnish

printing & varnishing

scented varnish

scented varnish [ 3] perfumed ink, scratch-and-sniff, fragrance printing

Scented varnishes contain micro-encapsulated aromatics, the scent of which is released when the surface is rubbed by finger, breaking open some of the micro-capsules. The effect can be repeated again and again, as only a few capsules are broken each time. Scented varnish is applied as the last ink layer, normally by screen printing. Offset printing is also an option, but is more complex because the aroma capsules have to be protected during the printing process. Another advantage with screen printing is that the ink can be applied more thickly than with offset printing. A whole spectrum of off-the-shelf synthetic aromas is available, ranging from flower scents and various spices to chocolate and even engine oil. Customised fragrances are possible too, but are more time-consuming and costly because the aroma has to be specially encapsulated. Note Because of the micro-capsules they contain, scented varnishes are slightly matt. They should generally be printed on areas large enough to rub. The effect of synthetic aromas is not easy to predict, and sometimes they evoke completely contrary associations in different people. Because they cannot be objectively compared the way printing inks can using a colour chart, it is all the more important to print proofs and ask several different people to test them. Data Scented varnish should be assigned to a clearly defined layer and identified as spot colour set to overprint. Printing substrate Scented varnish can be printed on coated and uncoated papers, with different effects depending on which is used. With screen printing, scented varnish can also be printed on foil, cardboard, and other substrates. Finishing Finishing work should be done as carefully as possible, in order to avoid damaging the micro-capsules. Scented varnish can be printed double-sided and bled off. Costs 

Cyan, magenta, black

Fluorescent ink offset printing

soft-touch varnish

scented varnish

17

printing & varnishing

fluorescent ink

fluorescent ink [ 8] day-glow ink, neon ink

Fluorescent inks are much brighter than conventional inks in daylight. Their day-glow effect is produced by their property of emitting more visible light than they receive. They ‘convert’ shorter-wavelength parts of the daylight spectrum (blue light and the ultra-violet that is invisible to the human eye) into longer-wavelength light. Yellow and red fluorescent ink, especially, appears much brighter and more garish than comparable standard colours. The more ultra-violet the light contains, the brighter the colours. Because they are especially effective in overcast weather and at dusk, fluorescent inks are also used for safety clothing. Fluorescent inks are available in only a few colours, basically yellow, orange, pink, and green. They are transparent to semi-opaque, and can be applied by screen printing and offset printing, with screen printing allowing a thicker application and so a stronger fluorescent effect. Note Fluorescent inks produce a matt finish and work best on a light-coloured base – so it may be necessary to print a light colour underneath in a first pass. They are not weather-proof or light-fast, and fade gradually in sunlight. Fluorescent inks for screen printing are more stable than those for offset printing. Data Fluorescent ink should be assigned to a clearly defined layer and identified as spot colour. Depending on the motif, trapping may be required to avoid gaps. Printing substrate The effect of fluorescent inks is strongest and most uniform on coated papers, whereas on uncoated papers they have a tendency to appear cloudy and uneven. With screen printing, fluorescent inks can also be printed on other substrates such as foil and cardboard. The printer should be consulted about the suitability of substrates. A test print is recommended.

18

printing & varnishing

fluorescent ink

Finishing Fluorescent inks are not light-fast, and neither protective varnish [ 8] nor foil lamination [ 1,  36] can do much to change that. Interaction with varnishes can cause colour changes that alter the fluorescent effect. Fluorescent ink can be printed double-sided and bled off. Costs 

Cyan, magenta, black

Fluorescent ink offset printing

Fluorescent ink screen printing

19

printing & varnishing

phosphorescent ink

phosphorescent ink [ 9] luminous ink, glow-in-the-dark, afterglow, photoluminescence, phosphorescence

Phosphorescent inks glow in the dark. Rather like the way a rechargeable battery stores electricity, they store incoming light energy and release it again later. These effects are made possible by inorganic crystalline pigments (Luminova pigments), whose crystal structures contain impurities (dopants) that absorb, store, and re-emit light energy. When light falls on the pigments, the electrons in these excitation centres are raised to a higher energy level. When the light is switched off again, the electrons return to their original state, emitting energy in the form of visible light in the process. The glowing effect gradually dims as the number of light-emitting electrons falls. It is a reversible, purely physical process that can be repeated any number of times. How intensely the inks glow, and for how long, depends on the quality and quantity of the pigments, as well as on the duration and intensity of illumination. Daylight is just as suitable as artificial light (e.g. fluorescent tubes or halogen lamps). Phosphorescent inks are available with afterglow times of up to twenty-four hours, but the longer they glow the more expensive they are. Inks with an especially long afterglow are used in safety applications to signpost escape routes. Phosphorescent inks are temperature-sensitive and are not weather-proof. Standard phosphorescent inks are yellowish-white and glow green, although there are also inks that glow in other colours, but their effect is shorter and less intense. Phosphorescent inks are applied by screen printing. Because they are transparent, they can also be printed over other inks and are then almost invisible in daylight. Note The glow effect only works if the ink has been able to absorb enough light. A lighter base produces a stronger glow, so it may be necessary to print a light colour underneath in a first pass. Phosphorescent ink is transparent, but often has a slightly yellowish appearance in daylight. Data Phosphorescent ink should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps.

20

printing & varnishing

phosphorescent ink

Printing substrate Phosphorescent ink can be printed on coated and uncoated papers, with different effects depending on the paper used. Because it is applied more thickly, a slightly heavier paper is recommended. Other substrates such as foil and cardboard can also be printed with phosphorescent ink. The printer should be consulted about the suitability of substrates. A test print is recommended. Finishing Where phosphorescent ink is applied more thickly it should not be bled off – otherwise the ink could crack and flake off when trimmed. It can be printed double-sided. Costs The longer the afterglow time, the greater the cost of the phosphorescent ink. 

spot colour

phosphorescent ink

21

printing & varnishing

thermochromic ink

thermochromic ink [ 10] thermochromatic ink, temperature ink, thermo ink, thermochromism ink

Thermochromic inks are temperature-sensitive. At a particular temperature they change colour or become transparent and colourless. The effect is produced by complex compounds the structure of which changes abruptly at a particular point when they are heated or cooled. The process is in principle reversible, with the original colour returning when the thermochromic ink reverts to its original temperature. The ink manufacturer calibrates the temperature at which the colour is to change, with thresholds ranging from -15 to +65 degrees Celsius. A popular value is 27 degrees, where body temperature is sufficient to trigger the effect by touching, rubbing, or blowing on the thermochromic ink. Thermochromic inks can be used to create a colour-changing effect or to allow a temporary view of a motif underneath. In industry they are also used to measure temperatures. Normally thermochromic inks can change colour any number of times, but there are also pigments where the change is irreversible. One use of these is in the food industry, to indicate whether the cold chain has been broken. Thermochromic inks that become transparent from a certain temperature are available in various colours and in pure black. There are also inks that change from one colour to another, but not every combination is possible. Thermochromic inks are not fully opaque. They are applied by screen printing, while the motifs underneath can be printed using any technique. Note Thermochromic inks are most suitable for area printing. Because they are not completely opaque, the image underneath should avoid extreme contrasts; black covers best. The context in which a product using thermochromic ink is to appear is decisive for the choice of threshold. For a magazine to be sold in heated shop premises, for example, the planned temperature for the colour change should be higher than room temperature, otherwise the image underneath the thermochromic ink might be visible all the time.

22

printing & varnishing

thermochromic ink

Data Thermochromic ink should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Thermochromic ink works best on coated papers and papers with a smooth surface. With uncoated papers, test prints are recommended. Other substrates such as foil and cardboard can also be printed with thermochromic ink. Finishing Thermochromic ink can be printed double-sided, bled off, and printed across folding lines. Costs Thermochromic ink is relatively expensive, but costs can be saved by applying less thickly. 

CMYK

thermochromic ink red

thermochromic ink blue

thermochromic ink black

23

printing & varnishing

thermography printing

thermography printing [ 11] raised thermography printing, raised printing, thermorelief

Thermography printing is a process used to make lines and areas literally stand out. A temperature-sensitive powder is applied to the ink while it is still wet. Any excess is vacuumed off and the printed sheet is heated. The powder melts and hardens to form a shiny raised coating on the ink. The powder itself is colourless, so the ink below determines the colour of the thermorelief. Glitter [ 7,  16] or pearlescent pigments may also be mixed into the powder. Thermography printing is sometimes described as the poor man’s steel engraving [ 27,  62], but really there is no comparison with the edge definition and quality of a proper steel engraving. Nonetheless, striking haptic effects can be achieved. Thermography printing can be done in-line or off-line, but off-line the powder has to be applied by hand, which takes longer and costs more. Note The grade of powder must match the motifs. For example, thin lines demand fine powder. The coarser the powder, the higher the relief (but only one grade of powder can be used per printed sheet). The format is normally restricted to A4 (A3 in exceptions). Data Thermography ink should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, off-line work may require trapping to avoid gaps. Printing substrate Papers with a smooth surface upward of 90 g/m² are best suited. The paper must not be too absorbent, otherwise the ink will dry too quickly and the powder will fail to stick. Items that would be damaged by the high temperatures needed for the process – such as bonded paper and cardboard or window envelopes – are unsuitable. Tests are recommended.

24

printing & varnishing

thermography printing

Finishing Thermography printing should not be used across folding lines, because the coating could crack and flake off. If the technique is bled off, the sheet can no longer be trimmed and must be die cut instead. If articles with thermoreliefs are to be printed in a laser printer a special powder hardened by UV light must be used (otherwise the powder would melt again and damage the laser printer). With this UV-hardened coating, double-sided printing is also possible. Articles with thermoreliefs cannot be foil-stamped [ 20–22,  46–52] or foil-laminated [ 1,  36], because the coating would melt. For the same reason, laminated items are unsuitable for thermography printing. The process can be combined with screen printing, blind embossing [ 19,  42], steel engraving [ 27,  62], and other printing and print finishing techniques that function without heat. Note, however, that the heat involved in thermography printing can cause the substrate to shrink slightly, so precision is lost in subsequent finishing processes. Costs For small print runs thermography printing is relatively economical, because no tools have to be made. Multi-colour thermography printing costs no more than single-colour. 

CMYK

thermography printing

25

printing & varnishing

abrasive ink

abrasive ink [ 12]

Abrasive ink is principally a functional coating: its rough phosphoruscontaining surface is used to light matches. But its striking texture can also be used to aesthetic effect. Abrasive ink is highly opaque and is available in dark brown and black with textures ranging from fine to coarse. Abrasive ink is applied by screen printing, and is suitable for full-surface or partial application. A relatively thick layer is required to ensure full functionality. Note Because of the thickness required, abrasive ink is not suitable for lines thinner than 2.8 pt, fine raster images, or small typefaces. Data Abrasive ink should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Coated papers and papers with a smooth surface are best suited. Because abrasive ink is applied quite thickly, a heavier paper is recommended (150 g/m² upwards). With lighter paper the application must be thinner. Finishing Items with abrasive ink must be handled carefully, because the rough surface could scratch other pages. Abrasive ink itself is also extremely sensitive to scratching. It should not be bled off or printed across folding lines. Before printing double-sided, the manufacturer should be consulted and tests carried out. Abrasive ink cannot be combined with other finishing techniques. Costs 

CMYK

26

abrasive ink

printing & varnishing  Rub-off ink

Rub-off ink [ 13] scratch-off ink

Rub-off inks contain latex and can be rubbed or scratched off using a fingernail or coin. They are often used to raise expectations about the image or text hidden underneath. This effect is most familiar in lottery scratch-cards. Gold and silver give the best coverage and are the standard colours for rub-off ink, but for a large print run other colours can be mixed to order. Rub-off ink can be applied by screen printing and flexography, and can also be overprinted by screen printing or offset printing. Note The substrate and the ink used underneath will affect how long it remains possible to rub off the layer. Both factors should be clarified with the printer in advance, otherwise the ink can harden within just a few weeks to a point where the effect no longer works. The printing technique used for the image underneath is also crucial, for example digital printing shows through more quickly than offset printing. Data Rub-off ink should be assigned to a clearly defined layer and identified as spot colour set to overprint. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Coated papers and papers with a smooth surface are best suited for printing with rub-off ink. Because the ink is applied quite thickly, a slightly heavier paper is recommended. With screen printing, rub-off ink can also be printed on foil, cardboard, and other substrates. Finishing Rub-off ink can be bled off, but should not be printed on two opposing sides (because this could cause the surface to scratch). Care should be taken with the sensitive coating during finishing; for example there should be no folding lines through the rub-off ink. Costs 

Cyan, black

UV varnish

Rub-off ink

27

printing & varnishing

flock printing

flock printing [ 14] flock, flocking

negative charge

adhesive substrate

positive charge

Flock is a coating made up of millions of minute fibres that can be applied to many different substrates using adhesive and an electric field. The even pile this process creates is hard-wearing, with a texture ranging from soft and velvety to hard and abrasive depending on the length and thickness of the fibres. The thinner the fibres, the softer the flock. The fibres are commonly polyamide, but cotton, rayon, polyester, or acrylic may also be used. The technique of flock printing exploits the properties of a high-voltage electric field. First of all, adhesive is applied to the selected areas by screen printing. The flock fibres are sprayed onto the selected areas through a grid connected to a high-voltage generator; the substrate is earthed. The flock fibres align themselves with the electric field (which is perpendicular to the surface to which they are being applied), thus producing a thick pile. Most of the excess flock is collected and reused. Flock is suitable for full or part surface application, and a wide range of fibre thicknesses, lengths, and colours are available. Flock printing is normally done in just one colour; it is possible to apply two layers (flock on flock) or several colours, but with considerably increased costs. With light flock colours the printing inks underneath shimmer through slightly, creating an effect that can be put to aesthetic use. There are no standard colours for flock, each flock manufacturer has their own. The best way to choose a colour is to use Pantone or HKS colour charts to select a tone, and then consult the manufacturer to find the best match. There are also possibilities for mixing flock colours. Note Flock is especially good for treating larger areas, but if short fibres are used raster images and lines are an option too. The minimum line thickness is 1.7 pt, because the fibres form fuzzy edges and the flock becomes less durable. Sans-serif fonts can be reproduced from a capital height of 5 mm upwards, while serif fonts and inverted fonts should be considerably larger; wider letter-spacing is also recommended. Data Flock should be assigned to a clearly defined layer and identified as spot colour. Depending on the motif, trapping may be required to avoid gaps. Printing substrate Coated paper is best suited; with uncoated paper there is a risk that the adhesive will be absorbed and the flock will fail to stick properly. The paper should not be too flimsy either; a weight of at least 180 g/m² is recommended. Flock can also be applied to all kinds of other materials, such as metal, wood, porcelain, and textiles.

28

printing & varnishing

flock printing

Finishing Flock hampers automated finishing such as trimming and die cutting [ 68]. For example, except with very short flock it is not possible to trim several sheets at once, because the flock can cause the sheets to shift. If the flock is bled off, sheets must be trim cut individually, which increases the cost. Folding lines through the flock should be avoided, as the adhesive may crack. Certain surfaces are unsuitable for flocking: flock bonds poorly on varnish [ 8] with a high oil content, while offset-printed paper should be treated with a suitable primer before flocking. Costs Costs can be reduced by avoiding the need for trim cutting and optimising the imposition. 

black

Flock printing

29

printing & varnishing

lenticular printing

lenticular printing [ 15] flip images, lenticular images

viewing angle

lenticular foil images

Lenticular printing creates 3D effects and animations like flip images and motion sequences. These optical illusions are generated by taking two or more images and dividing them into very thin strips that are arranged alternately in the final copy (interlaced). To make the effect work, the mirror-image copy has to be printed onto the reverse of a lenticular foil made up of rows of semi-cylindrical lenses (lenticular lenses), which enlarge one or other of the thin strips of image underneath, depending on the viewing angle. If the lenses are horizontal only one of the images will be visible at any one time (which one will depend on the viewing angle). This creates flip images and motion effects. If the lenses run up and down, the right eye sees a different image from the left. This can be used to create a 3D image with several spatial planes where the brain puts the left and right image together to make a single three-dimensional picture. A third form of lenticular printing is the fly’s eye effect, where round lenses are used. Flip effect With the image flip effect, several different images are seen one after another when the product is tilted forward or back. This technique is the basis for all the possibilities of horizontal lenticular lenses: flip cards, morphing, and motion sequences. A flip image is based on two or three graphic files, which are seen alternately depending on the viewing angle. With four or more images a zoom is also possible, creating the impression that an object is moving away from or towards the viewer. Another possibility is the morphing effect, where one image successively changes into another. Here, the starting and finishing image must not be too different. A standard morph is made up of eight individual images. You can create your own or simply supply the printer with the first and last image. Whole motion sequences and brief film sequences can also be simulated using a series of frames. This motion technique uses up to thirty individual images; the more individual images integrated, the smoother the motion appears, but blurring can also result. The printer requires each individual image as a separate file or Photoshop layer. Flip effects should avoid using elements that contrast too strongly, as otherwise several different phases may be visible at the same time. The colours used should be as pure as possible (for example singlecolour black rather than four-colour black for lettering).

30

printing & varnishing

lenticular printing

3D effect If the lenticular lenses run up and down, the left and right eye each see a different image from a different angle, which can be used to create a 3D effect. A separate Photoshop layer must be created for each image plane, and the background must be constant. The printer divides the image into different planes and gives individual elements additional depth. Fly’s eye effect The fly’s eye effect uses a different foil, which is made up of spherical convex lenses rather like a fly’s compound eye. In contrast to conventional lenticular lenses, this creates a spatial impression that is independent of a specific viewing angle. The effect results from the interaction of background and contrasting foreground motif: it appears as though the foreground motif were printed on top of the foil rather than underneath it. A simple pattern or pictogram should be used for the background, while the foreground can be freely designed. Note Typeface should not be smaller than 10 pt, as smaller sizes are difficult to read through lenticular foil. Data The image data must have a resolution of at least 300 dpi, defined in individual layers. Printing substrate Transparent lenticular foils with 15 to 140 lenses per inch are used for lenticular printing. The thickness of the foil depends on how many stages are going to be displayed: thin foils (starting from 150 µ) are suitable for a smaller number of stages, while thicker foils (up to 800 µ) are needed for a greater amount. The thicker the foil, the fewer lenses it contains. Finishing Depending on the purpose, lenticular images can be laminated onto paper (postcards) or other materials (e.g. advertising displays) or integrated into printed products. Self-adhesive versions are available, and they also can be used in large backlit formats. Costs 

CMYK

lenticular foil

31

printing & varnishing

other effect inks

other effect inks

Metallic inks are available in gold, silver, bronze, and various colours. Mirror inks produce a mirror-like effect comparable to laminated metallic foil [ 17,  38] or foil stamping [ 20,  46] with silver foil. However, they are very expensive and the effect only works on smooth substrates. Fading inks become invisible after a certain time. Light-reflecting inks reflect more incoming light than normal inks, so they are easier to see in the dark, although their effect is not as strong as that of self-adhesive reflective foil. Photochromic inks contain white or pastel-coloured pigments that become visible or change colour in daylight. The effect is reversible. Luminescent inks are invisible in daylight, and require strong UV light to be seen. They are used largely for product protection. Electro-luminescent inks start to glow when placed in an electric field. In daylight they are invisible. Piezochromatic inks are white inks that turn irreversibly black under mechanical strain. Hydrochromatic inks change their colour under the influence of humidity. Water-soluble inks can be washed off with water. Blackboard inks create a surface on which chalk can be used to write and draw. They are available in many different tones, and have the same qualities as a school blackboard, so the chalk can be wiped off again afterwards. Printable protection foils can be applied to a part of a layout by screen printing, and peeled off later. The process is often used to protect mobile phone displays from scratching, but the foils can also be printed on paper.

32

printing & varnishing

other effect inks

Ferrous inks contain iron, allowing magnets to be attached to them. They are often used for displays. Adhesives can also be applied to parts of a layout. A huge range of adhesives is available, from post-it adhesive to extremely strong glues. They can be printed double-sided too.

33

Foil Lamination

Foil laMination

foil lamination matt, gloss

foil lamination matt, gloss [ 1] foil laminating, cellophaning

As well as protecting printed products, lamination with foil is also used to create a high-gloss or matt finish. The process involves bonding a thin transparent plastic foil to the entire sheet. The foil can be polypropylene, acetate, PVC, or polyester. Foil lamination is normally chosen for products in frequent use that need to be durable. Foil lamination provides weather-proofing, enhances mechanical stability, and protects the substrate and ink against moisture, dirt, and wear. Matt foil lamination has a velvety texture that reduces reflection, but also rather dulls the colours underneath. Gloss foil lamination, on the other hand, intensifies the underlying colours. Note The whole page or sheet has to be laminated, although it is possible to leave out technical details such as flaps. Foil lamination can alter the effect of the underlying colours, so a test is recommended. The effects can also be tested using matt and gloss adhesive tape. Printing substrate Coated papers in the range 80 to 600 g/m² are best suited, but uncoated papers can be laminated too. With uncoated papers the texture of the paper appears on the foil, which can create interesting results. Lightweight paper can tend to curl if laminated on one side only. Finishing Matt and gloss foils scratch more easily than structured foil [ 16,  37] and offer less protection from dirt and wear. Laminated foils are tear-resistant and can be scored and folded without damaging the surface. They are often combined with finishes such as foil stamping [ 20–22,  46–52] and partial varnishing [ 2,  8]. The question of which foil is best suited should be clarified with the manufacturer. Costs 

black

36

Foil lamination gloss

Uv varnish matt

Foil laMination

foil lamination structured

foil lamination structured [ 16] structured foil, embossing foil

Structured foils have a fine or coarse surface texture, which may be matt or gloss. Of all the laminating foils, this is the one that offers the best protection against dirt and wear, so it is principally used for products that receive heavy and frequent use, such as school textbooks and reference works. We distinguish between prestructured foils and structured foils, whose structure is embossed after laminating. Prestructured foils with standard structures such as fine linen or brushed finish are simply laminated onto the substrate. After laminating they can no longer be overprinted or varnished [ 8]. With structured foil, on the other hand, a matt or gloss foil is first laminated onto the substrate and then embossed. A structure roller transfers the structure – for example coarse cloth, fine linen, or granular – in a process that also embosses the underlying substrate and shows through on the other side. For that reason the type size used should not be too small. Note The whole page or sheet has to be laminated, although it is possible to leave out technical details such as flaps. Foil lamination can alter the effect of the underlying colours, so a test is recommended. The effects can also be tested using matt and gloss adhesive tape. Printing substrate Coated papers in the range 80 to 600 g/m² are best suited (for structureembossing no heavier than 450 g/m²). Uncoated papers can be laminated too. Lightweight paper can tend to curl if laminated on one side only. Finishing Products laminated with structured foil are tear-resistant and can be scored and folded without damaging the surface. Structured foils can be varnished or overprinted after they have been laminated (but prestructured foils cannot). They can also be combined with other finishes such as foil stamping [ 20–22,  46–52] and partial varnishing.

Costs 

CMYK

Foil lamination matt

embossing

Uv varnish gloss

37

Foil laMination

foil lamination metallic

foil lamination metallic [ 17] silver foil lamination, silver lamination, gold lamination

Metallic foils for lamination have an additional vacuum-metallised layer. As well as matt and gloss foil in silver and gold, they are also available in nuanced colours and with pearlescent effect. After laminating, most metallic foils can be overprinted by offset printing or screen printing. If they are overprinted with transparent ink or raster images, all the colours acquire a metallic sheen of a superior quality to that achieved using metallic pigments alone. Particular areas can also be knocked out using opaque white. Note The whole page or sheet has to be laminated, although it is possible to leave out technical details such as flaps. The metallic foil has a colour of its own, which must be taken into account when overprinting with other colours. For example, a red will appear darker on a silver metallic foil. If a photograph is to be printed over a metallic foil, the contrast should be increased, because the white will have a greyscale value of about 40 per cent. Where images with a high proportion of black are to be printed onto metallic foil they should be defined as 4c black, otherwise they will appear grey. Printing substrate Coated papers in the range 80 to 600 g/m² are best suited to this process, but uncoated papers can be laminated too. Lightweight paper can tend to curl if laminated on one side only. Finishing Metallic foils are not scratch- or abrasion-resistant, so a protective varnish [ 8] is recommended. Products laminated with metallic foil are tear-resistant and can be scored and folded without damaging the surface. They are often overprinted by screen printing or offset printing or combined with finishes such as foil stamping [ 20–22,  46–52] and partial varnishing. The question of which foil is best suited should be clarified with the manufacturer. Costs 

Foil lamination metallic

38

CMYK

Foil lamination gloss

Foil laMination

foil lamination diffraction

foil lamination diffraction [ 18]

Diffraction foils have a thermoplastic layer with embossed microstructures that refract the light and change colour depending on the viewing angle. Owing to the production process, some diffraction foils have visible joins (shim lines). Hologram foils for lamination are also available. After laminating, most diffraction foils can be overprinted by offset printing or screen printing. If they are overprinted with transparent ink or raster images, all the colours acquire a metallic sheen of a superior quality to that achieved using metallic pigments alone. Particular areas can also be knocked out using opaque white. Note The whole page or sheet has to be laminated, although it is possible to leave out technical details such as flaps. The diffraction foil has a colour of its own, which must be taken into account when overprinting with other colours. For example, a red will appear darker on a silver diffraction foil. If a photograph is to be printed over a diffraction foil the contrast should be increased, because the white will have a greyscale value of about 40 per cent. Where images with a high proportion of black are to be printed onto diffraction foil they should be defined as 4c black, otherwise they will appear grey. Many manufacturers do not keep diffraction foils in stock but have to order them. One to two weeks should be allowed for this. Printing substrate Coated papers in the range 80 to 600 g/m² are best suited to the process, but uncoated papers can be laminated too. Lightweight paper can tend to curl if laminated on one side only. Finishing Diffraction foils are not scratch- or abrasion-resistant, so a protective varnish [ 8] is recommended. Products laminated with diffraction foil are tear-resistant and can be scored and folded without damaging the surface. They are often overprinted by screen printing or offset printing, or combined with finishes such as foil stamping [ 20–22,  46–52] and partial varnishing. The question of which foil is best suited should be clarified with the manufacturer. Costs 

Foil lamination diffraction

CMYK

Foil lamination gloss

39

Embossing

eMbossing

blind embossing

blind embossing [ 19] inkless embossing, blind printing, relief stamping, relief embossing

Blind embossing is a stamping process where the substrate is shaped three-dimensionally without a foil being transferred. A counter die opposes the stamping die. The process allows images and text to be emphasised three-dimensionally (haptically), creating an eye-catching effect consisting entirely of the contrast of light and shadow. The stronger the deformation, the more marked the effect – pronounced edges, varying angles, and embossed and debossed [ 44] elements are the result. Blind embossings can be single-level, multi-level, or sculptured [ 45], and structures can also be transferred.

stamping die

substrate Counter die

Note The three-dimensional deformation of the substrate can also be seen on the reverse: with thicker substrates less pronounced, with thinner ones more so. Unevenly patterned or dark surfaces can weaken the shadow contrast. The printed image on the substrate expands a little under the pressure of the stamping die, so this effect needs to be taken into account especially with fine details, condensed and negative fonts, and small typefaces. Data For single-level blind embossing define vector data as spot colour and indicate whether the relief is to be beveled or rounded [ 44], embossed or debossed. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. For multi-level blind embossing define vector data with a different spot colour for each level (or a greyscale image with at least 600 dpi where the greyscale values indicate height/depth). With very complex designs it may be useful to state heights and depths in figures. For sculptured blind embossing the transitions between the different levels should be defined as gradients: the gentler the gradient, the more gradual the change in height. One can design one’s own template or have it made by the tool-maker. The tool-maker can engrave especially fine details by hand. height data

42

3D rendering (proof)

The proof of a blind embossing can be created as a 3D rendering or as a test embossing on the actual material.

eMbossing

blind embossing

Printing substrate Blind embossing can be used on coated and uncoated papers up to about 500 g/m², as well as varnished [ 2,  8] or foil-laminated [ 1,  36] substrates. Short-fibre paper, in particular, may break easily at the edges of the embossing forms. Finishing Blind-embossed products cannot always be handled by machines, because mechanical contact may occur. The more pronounced the embossings the more sensitive they are. Costs Optimising the imposition can reduce tooling costs. 

CMYK

Flat foil stamping

blind embossing

43

eMbossing

relief forms for embossing

relief forms for embossing

The edges of the forms used for embossing relief are either beveled or round, and vary widely in their visual and haptic effect. Beveled forms produce a harder image than rounded ones.

beveled edges

round edges

Both basic forms can be embossed and debossed, and can be combined with one another.

embossing

Debossing

Relief angle As well as the relief form, different relief angles can also be defined. A sharp angle makes the edges more pronounced, while gentler gradients create softer transitions.

60°

44

45°

35°

eMbossing

relief forms for embossing

Single-level, multi-level, and sculptured embossings Embossing processes such as blind embossing [ 19,  42], combination foiling /embossing [ 22,  52], or foil stamping with structure [ 21,  50] can create single-level, multi-level, or sculptured structures. In a single-level embossing all the raised (or recessed) elements lie on a single plane. Multi-level embossing allows numerous planes to be defined, which considerably extends the design possibilities. In a sculptured embossing different planes, angles, and relief forms are freely combined.

single-level

Multi-level

sculptured

Relief embossing can also be combined with standard structures. All that is needed is to define which areas are to be treated with a particular structure. Pretreating the embossing die can generate surface effects such as matting of the stamping foil [ 48]. The quality of the embossing depends not only on the form of the embossing die and the pressure applied, but also on the substrate. High-quality long-fibre papers can be strongly deformed without breaking.

45

eMbossing

flat foil stamping

flat foil stamping [ 20] foil blocking, hot foil stamping

heating plate stamping die

Carrier transfer layer substrate

Flat stamping is the most widespread foil stamping process. The transfer layer [ 48] of a foil is transferred to the printing substrate by heat and pressure. The raised areas of the stamping die press on the stamping foil [ 48] and the decorative layer is transferred to the substrate. Flat foil stamping can be used to create striking haptic and visual contrasts between stamped and unstamped areas. Different foils create metallic, holographic, pearlescent, and matt/gloss effects, and transparent foils are also available. One use of flat foil stamping is for product protection. Sophisticated hologram foils [ 58] are used to deter forgery, for example on euro banknotes. Note The printed image on the substrate expands a little under the pressure of the stamping die, so this effect needs to be taken into account especially with very fine details, condensed and negative fonts, and small typefaces. The minimum line thickness for stamping is about 0.5 pt, depending on the particular surface of the substrate. The transferred foil layer will be impressed (to what extent will depend on the pressure and substrate) and especially with very thin substrates an impression may show through on the reverse. Data Vector data are required, defined as spot colour on a layer of their own. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. The image under the foil should not be knocked out, to avoid gaps. Printing substrate Flat foil stamping can be used on coated and uncoated papers up to about 500 g/m², as well as varnished [ 2,  8] or foil-laminated [ 1,  36] substrates. The technique can even be used on thickly flocked substrates [ 14,  28] and textiles (but test first whether the foil bonds properly). The question of which foil is best suited for a particular substrate should be clarified with the manufacturer.

46

eMbossing

flat foil stamping

Finishing Flat foil stamping is a dry printing process, so the next production step can follow on immediately. The stamped surfaces are sensitive to scratching, so avoid mechanical contact and take special care during handling in die-cutting, folding, and gluing machines. Flat foil can bleed off, but this should be clarified with the manufacturer. Stamped items can also be printed with a laser printer, but a test is recommended. Costs Optimising the imposition can reduce tooling costs. 

CMYK

Flat foil stamping, red

Flat foil stamping, green

47

eMbossing

stamping foils

stamping foils

Stamping foils are special foils used to create metallic, holographic, pearlescent, and matt/gloss effects. Depending on the foil type, they comprise four to six layers: carrier, release layer, decorative layer (ink or metallic layer), and adhesive layer. The release layer ensures that the decorative layer separates from the carrier during the stamping process. The decorative layer has the same function as printing ink; its surface is safeguarded by a protective layer. The protective layer, decorative layer, metallisation, and adhesive layer together form the transfer layer, which is transferred to the substrate by heat and pressure during the foil stamping process.

transfer layer

Carrier release layer (protective layer) Decorative layer (Metallisation) adhesive layer

There are no standard international designations for the different stamping foils, but we can distinguish the following types: Metallised foils [ 20–23] are available in different gloss grades and colours; gold and silver tones are common. High-gloss colour foils are mostly slightly transparent, so their colour changes to a small degree on coloured bases. They are available in a limited range of colours and are used above all on problematic substrates. Transparent foils are used to generate unusual matt/gloss contrasts. They represent an alternative to UV varnishes [ 2,  8], but are considerably more expensive. Pigment colour foils are used above all on problematic substrates. On normal papers offset printing is significantly cheaper. Pigment colour foils are matt, opaque, and suitable for use on dark substrates. They are available in many different colours. Pearlescent foils contain interference pigments and produce a shimmering, iridescent finish. They are available in various colours.

48

eMbossing

stamping foils

Metallic pigment foils are opaque and generate evenly distributed metallic reflections of the kind familiar in car paint. Bronze foils were for many years the most popular stamping foils, but they oxidise easily so their production has almost ceased. Genuine gold foils are comparable with metallic stamping foils. They are used for gilding special editions, and these days are only produced in small quantities by specialist firms. Holographic foils comprise a thermoplastic lacquer layer with embossed refracting microstructures. In most such foils a metallic layer amplifies the effect. We distinguish between diffraction foils [ 24] and hologram foils [ 25,  58]. Diffraction foils are available in silver, gold, a variety of other colours, and transparent, as well as endless repeating patterns. Owing to the production process, some of them have visible joins (shim lines). These can be irritating, especially on large areas. Optical adjustment in the foil stamping machine can reduce this effect, and diffraction foils with optimised shim lines are also available. Hologram foils feature either individual motifs or endless repeating patterns.

49

eMbossing

foil stamping with structure

foil stamping with structure [ 21] hot foil stamping (structure)

heating plate stamping die

Carrier transfer layer substrate Counter die

In the process of foil stamping with structure the substrate is given a particular surface structure at the same time as the transfer layer [ 48] is transferred from foil to substrate. To accomplish this, the structure is engraved into the stamping die and embossed into the substrate during the stamping process. Depending on the depth of the structure, a counter die may be needed to oppose the stamping die. This process can be used to transfer both fine structures and more marked linear and ornamental patterns. Numerous standard structures are available. In customised designs the structures must be clearly differentiated from the flat details of the drawing, together with an indication as to whether they are to be slightly raised or slightly impressed. Flat and structured surfaces can be combined, and they can lie on different levels. This can generate matt/gloss contrasts, where the smooth surfaces of the foil reflect the light while the structured ones scatter it. Different stamping foils [ 48] create metallic, holographic, pearlescent, and matt/gloss effects. Note The three-dimensional deformation of the substrate can also be seen on the reverse: with thicker substrates this is less pronounced, with thinner ones more so. The printed image on the substrate expands a little under the pressure of the stamping die, so this effect needs to be taken into account especially with very fine details. Data Define clearly designated areas for standard structures. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. Customised structures should be defined as vector data or a greyscale image with at least 600 dpi where the greyscale values indicate height/depth. The image under the foil should not be knocked out, to avoid gaps. Printing substrate Foil stamping with structure can be used on coated and uncoated papers up to about 500 g/m², as well as varnished [ 2,  8] or foil-laminated [ 1,  36] substrates. The question of which foil is best suited for a particular substrate should be clarified with the manufacturer.

50

eMbossing

foil stamping with structure

Finishing Foil stamping with structure is a dry printing process, so the next production step can follow on immediately. The stamped surfaces are sensitive to scratching, so avoid mechanical contact and take special care during handling in die-cutting, folding, and gluing machines. Foil stamping with structure can bleed off, but this should be clarified with the manufacturer. Costs Optimising the imposition can reduce tooling costs. 

CMYK

Foil stamping with structure

Foil stamping with structure

Foil stamping with two structures

51

eMbossing

combination foiling/ embossing

combination foiling /embossing [ 22] hot foil stamping (relief), foil stamping in relief heating plate stamping die

Carrier transfer layer substrate Counter die

Combination foiling/embossing is a foil stamping process, where the substrate is embossed three-dimensionally at the same time as the transfer layer [ 48] is transferred from foil to substrate. A counter die opposes the stamping die. With this technique, printed products can be given a marked three-dimensional (haptic) effect, with pronounced edges, varying angles, and embossed and debossed elements. Different stamping foils [ 48] create metallic, holographic, pearlescent, and matt/gloss effects. There are single-level, multi-level, and sculptured [ 45] embossings. Combination foiling/embossing can be accomplished in one or two steps (we speak of a single-stage process and a two-stage process). For the single-stage process the stamping die must be engraved more precisely in order to transfer both the relief and the foil in one step. In the two-stage process a flat foil [ 20,  46] is transferred first, before the relief is formed by blind embossing [ 19,  42] in a separate step. This way particularly deep reliefs with sharp edges can be stamped. Note The three-dimensional deformation of the substrate can also be seen on the reverse: with thicker substrates less pronounced, with thinner ones more so. The embossed motif on the substrate expands a little under the pressure of the stamping die, so this effect needs to be taken into account especially with very fine details, condensed and negative fonts, and small typefaces. The minimum typeface and line thickness that can be stamped depends on the properties of the substrate and the depth/height of embossing. Data For single-level combination foiling/embossing define vector data as spot colour and indicate whether the deformation is to be beveled or round [ 44], embossed or debossed [ 44]. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. For multi-level combination foiling/embossing define vector data with a different spot colour for each embossing level (or a greyscale image with at least 600 dpi where the greyscale values indicate height/depth). With very complex designs it may be useful to state heights and depths in figures.

52

eMbossing

combination foiling/embossing

For sculptured combination foiling/embossing the transitions between the different levels should be defined as gradients: the gentler the gradient, the more gradual the change in height. One can design one’s own template or have it made by the tool-maker. The tool-maker can engrave especially fine details by hand. photo

height data

The motif under the foil should not be knocked out, to avoid gaps. The proof of a foil stamping can be created as a 3D rendering or as a test embossing on the actual material.

3D rendering (proof)

Printing substrate Combination foiling/embossing can be used on coated and uncoated papers up to about 500 g/m², as well as varnished [ 2,  8] or foillaminated [ 1,  36] substrates. The question of which foil is best suited for a particular substrate should be clarified with the manufacturer. Finishing Combination foiling/embossing is a dry printing process, so the next production step can follow on immediately. The stamped surfaces are sensitive to scratching, so avoid mechanical contact and take special care during handling in die-cutting, folding, and gluing machines. The more pronounced the relief, the more easily it can be damaged. Combination foiling/embossing can bleed off, but this should be clarified with the manufacturer. Costs Optimising the imposition can reduce tooling costs. 

black

Combination foiling/embossing

53

eMbossing

microembossing

microembossing [ 23] foil stamping (microstructure)

Microembossing is a technique in-between flat foil stamping [ 20,  46] and foil stamping with structure [ 21,  50]. A laser or cutter is used to engrave the stamping die with microstructures so fine that they normally alter only the surface of the stamping foil [ 48] and not the substrate. A counter die is not required.

heating plate stamping die

Carrier transfer layer substrate

The fine surface structure produced by microembossing creates a unique effect; the way the light is refracted changes depending on the viewing angle. Microembossing is especially well suited for reproducing fine patterns, raster images, and line drawings. Numerous standard structures are available, and customised designs are also an option. Different microstructures can be combined to create even more complex patterns. Like flat foil stamping, microembossing is also used for product protection. Note The transferred foil layer will be impressed (to what extent will depend on the pressure and substrate) and particularly with very thin substrates an impression may show through on the reverse. Microembossing larger areas requires greater pressure and causes greater deformation of the substrate. Some stamping foils are unsuitable for microembossing. Data Define clearly designated areas for standard structures. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. Customised structures should be defined as vector data or a black-and-white image with at least 600 dpi. The image under the microembossing foil should not be knocked out, to avoid gaps. Printing substrate Microembossing works best on coated papers and papers with a smooth surface up to 500 g/m². The effect may be weaker on uncoated papers; tests are recommended. Data for microembossing, enlarged 300 %

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microembossing

Finishing Microembossing is a dry printing process, so the next production step can follow immediately. The stamped surfaces are sensitive to scratching, so avoid mechanical contact and take special care during handling in die-cutting, folding, and gluing machines. Microembossing with structure can bleed off, but this should be clarified with the manufacturer. Costs Optimising the imposition can reduce tooling costs. 

black

Microembossing

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eMbossing

variogram

variogram [ 24] pseudo-hologram

Variograms are made up of different diffraction foils [ 49] (or diffraction foils with different optical orientations). They generate rather simple holographic effects. The effect is based on the properties of diffraction foil, which refracts the light and changes colour depending on the viewing angle. Variograms are applied by flat foil stamping [ 46], with one run for each foil. Note The holographic effects are by no means as complex as those of real holograms, and are much less three-dimensional. Variograms work best when applied to a sufficiently large area. The embossed motif on the substrate expands a little under the pressure of the stamping die, so this needs to be taken into account especially with very fine details, condensed and negative fonts, and small typefaces. The transferred foil layer will be impressed (whether indiscernibly or considerably will depend on the pressure and substrate) and, especially with very thin substrates, an impression may show through on the reverse. Data Vector data are required, with each foil or optical orientation defined as spot colour on a layer of its own. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. Trapping should be used to avoid gaps, and the motif under the foil should not be knocked out. Printing substrate Variograms can be used on coated and uncoated papers up to about 500 g/m², as well as varnished [ 2,  8] or foil-laminated [ 1,  36] substrates. The question of which foil is best suited to a particular substrate should be clarified with the manufacturer. The smoother the substrate the greater the effect.

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variogram

Finishing Variogram foil stamping is a dry printing process, so the next production step can follow on immediately. The stamped surfaces are sensitive to scratching, so avoid mechanical contact and take special care during handling in die-cutting, folding, and gluing machines. Variograms can bleed off, but this should be clarified with the manufacturer. Costs Variograms are considerably cheaper than individual holograms, but their effect is also less striking. 

Diffraction foil, full-surface application

Diffraction foil, partial application

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stamped hologram

stamped hologram [ 25] foil stamping hologram, holography stamping, hologram hot stamping, holographic effects

Holograms show one or more images or continuous patterns with striking perspective effects. Their typical three-dimensionality is produced by refraction: the incoming light is divided into its spectral colours by a specially stamped micro-relief in the thermoplastic foil layer. Hologram foils are transferred to the substrate by flat foil stamping [ 46] or as stickers. Holograms can be used to generate different kinds of 3D effect, and the foils differ accordingly in their manufacture. Omitting the metallic layer creates a transparent hologram, but then the effect is a good deal weaker. Holograms are often used in product protection to prevent forgery. The most important hologram types 2D/3D holograms produce spatial effects by placing several twodimensional images one behind another. The plane that is to stand out must be in the foreground. It appears sharp while those behind are less distinct. True 3D holograms create a proper three-dimensional image of a real object. They require directed light for viewing and in daylight appear less distinct than two-dimensional holograms. Continuous holograms form endless patterns of holographic images. They are transferred without any specific positioning from the stamping foil [ 48] to the substrate. The Kinegram is a patented two-dimensional hologram used almost exclusively for security purposes. It simulates a motion sequence when viewed from different angles. Kinegrams are found on banknotes, identity documents, and driving licences.

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stamped hologram

Data Vector data are required, defined as spot colour on a layer of its own. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. The motif under the stamped hologram should not be knocked out, to avoid gaps. Note Creating a customised hologram is expensive and usually takes from eight to twelve weeks. Standard holograms can be applied to parts of a surface by flat foil stamping, but their effect is strongest when applied to the whole surface. Printing substrate Coated papers and papers with a smooth surface are best suited to this process. Holograms on uncoated paper reflect less light, making them appear darker. Finishing The stamped surfaces are sensitive to scratching, so avoid mechanical contact and take special care during handling in diecutting, folding, and gluing machines. The hologram is best protected by impressing it slightly by blind embossing [ 42] before further handling. Costs Stamped holograms cost considerably more than stamping with other foils. Standard holograms are less expensive than customised holograms.  (standard hologram)

CMYK

Flat foil stamping

stamped hologram

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eMbossing

Carrier transfer layer adhesive substrate

cold foil transfer

cold foil transfer [ 26] cold foil printing, cold foil stamping, cold foil finishing

Cold foils are laminated with a special adhesive. After the adhesive has been applied to the required parts of the substrate via an offset plate, the foil is applied in a special printing unit; the transfer layer of the foil remains stuck to the adhesive. Unlike conventional foil stamping, cold foil transfer produces no noticeable edges along the outline of the treated areas. The cold foil functions like an additional ink and can be bonded in-line in a single run using an offset plate. It can be applied absolutely precisely with high resolution even for the finest structures such as raster gradients and thin lines. Typeface is legible from about 5 pt upwards and has excellent edge definition. Because both individual motifs and whole areas can be treated this way, cold foil transfer is also an alternative to foil lamination metallic [ 17,  38]. Cold foils are available in various silver and gold tones and transparent. Other metallic tones can be created by overprinting. Note The cold foil has a colour of its own, which must be taken into account when combining with other colours. For example, a red will appear darker on a silver cold foil. If a photograph is to be printed over a metallic foil the contrast should be increased, because the white will have a greyscale value of about 40 per cent. Very light metallic tones can only be achieved by screening the silver foil or by using an especially light foil. Where images with a high proportion of black are to be printed onto cold foil they should be defined as 4c black, as otherwise they will appear grey. Transparency effects set in the layout programme should be avoided because the results are unpredictable. Data Cold foil should be assigned to a clearly defined layer and identified as spot colour. In image data the cold foil must be defined as a spot colour channel. Cut-outs must be defined very precisely, with soft edges no more than a single pixel. If cold foil is applied in part, trapping should be used: light metallic motifs should overlap with the background by one or two pixels, but only in the cold foil channel. This creates a better transition from the silver foil to the background.

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cold foil transfer

Printing substrate Some printing substrates are unsuitable for cold foil transfer. The best results are obtained on glossy coated papers and papers with a smooth surface. Weights from about 80 to 500 g/m² are possible. Finishing Surfaces treated with cold foil are sensitive to scratching and are normally coated with a dispersion varnish [ 8], a UV varnish [ 2,  8], or a transparent foil lamination [ 1,  36] to protect them. Special care should be taken when handling in die-cutting, folding, and gluing machines. Costs 

Cold foil

CMYK

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steel engraving

steel engraving [ 27] die stamping, siderography

Die ink

substrate

Counter die

transferred ink substrate

Steel engraving is a traditional gravure printing process, formerly used for printing banknotes and postage stamps due to its sharp contours, great detail, and haptic effect. To this day the images are generally engraved by hand into the steel plate. After it has been applied to the plate and any excess removed with a doctor blade, the printing ink remains only in the depressions. A matching counter die presses the substrate into the depressions under sufficiently high pressure to transfer a large amount of ink and to change the shape of the substrate at the same time. The printed elements are opaque and slightly raised, but nonetheless absolutely sharp. That makes steel engraving particularly suitable for reproducing very fine lines, detailed hatching, and small typefaces. The oil-based inks used give a saturated, glossy finish when dry. Almost any HKS or Pantone colour can be mixed, and metallic inks are also available. In the United States – unlike in Europe – water-based inks that produce a matt finish are used to differentiate steel engraving from thermography printing [ 11,  24]. Note The steel engraving is highly opaque, and the process can even reproduce light images on a dark background. Lines and type can be reproduced in line thicknesses from 0.3 to 8.5 pt, while anything broader must be realised in crossline screen. Larger areas are better avoided anyway, because there is a limit to the image area that can be printed in one run. An impression of the steel engraving is also visible on the reverse. Data Vector data or image data are required, defined as spot colour on a layer of their own and clearly identified. Crossline screen must be defined for image data, which must not contain any greyscale values. Printing substrate Uncoated papers are best suited for this process. There is no upper limit for paper grammage but the thicker the substrate the more visible the impression of the counter die on the reverse. The grain direction of the substrate is also relevant: longer lines of text should always run parallel to the grain, otherwise the paper will crinkle.

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steel engraving

Finishing Because of the large quantities applied in this process it can take up to twenty-four hours for the ink to dry. If the next process is started too quickly the ink may scuff, smudge, or transfer. For printing in a laser printer it may be necessary to allow a drying time of up to three weeks. When finishing great care must be taken to protect the exposed ink, and automated handling is not always an option. Steel engraving can be combined with printing techniques such as offset printing and screen printing and with most print finishing techniques. The specific possibilities should be clarified with the manufacturer. Costs Steel engraving is an extremely exclusive and expensive technique because many of the steps are still carried out by hand. For short print runs, creating the steel plate can actually cost a lot more than the printing itself. 

CMYK

steel engraving

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paper engraving

paper engraving [ 28] laser engraving

A laser can be used to engrave graphics such as illustrations and lettering into a substrate with absolute precision. The laser can be set to burn different depths into the surface, which further enhances the haptic effect. Paper engraving is especially suitable for fine linear motifs, less so for larger expanses. Note Burning away layers of paper changes its colour. On a light-coloured paper the laser-engraved image appears brownish, while on dark paper it may appear so light as to seem inverted. The substrate can be laser-engraved to different depths (also exposing underlying layers) without causing deformation on the reverse. Some materials may have to be engraved several times to achieve the required depth.

Deepest level

Data Paper engraving requires vector data or greyscale images with at least 300 dpi, where the greyscale values indicate the depth of engraving. Black is used for the deepest level. A paper engraving should always be designed at 1:1 scale. Printing substrate Uncoated papers are generally best suited for paper engraving. Papers with special surfaces or different-coloured layers can be used to generate striking contrasts. The thickness of the material is not crucial. Other materials such as plexiglass and organic substances like leather and wood can also be laser-engraved. The laser beam has a different effect on each substrate, for example unwanted scorch marks can occur. The specific details should be clarified with the manufacturer and tested. Finishing Engraving reduces the stability of the paper somewhat, so engraving through folding lines or too close to the edges should be avoided. When foil-laminated [ 1,  36] articles are laser-engraved the edges may melt. Tests are recommended in this case too.

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paper engraving

Costs Paper engraving is an obvious option for small batches because it avoids the expense of making a cutting die; setting up the machine is normally the only additional cost. The larger the paper engraving, the higher the cost. By optimising the imposition it may be possible to reduce the laser time and thus cut costs. 

black

paper engraving

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Cutting

CUtting

die cutting

die cutting [ 29] punching

Die cutting is a mechanical cutting technique with which any form – individual shapes or combinations of several shapes – can be cut out of a substrate. The technique allows particular parts of an image to be emphasised, while at the same time giving a view of the page or pages underneath. Kiss-cutting cuts only part of the way through the substrate, for example for stickers and tear-off flaps on packaging. A special cutting die must be made for each die-cutting job, normally a wooden block into which the cutters are set. Very precise dies can be cut using a computer-controlled laser. The cutting die is pressed onto the substrate and the specially shaped blades cut through it to a plate below, which is made of hardened steel. Note The area underneath the cut-out part must always be taken into account at the design stage. The cut edge also plays a role, because die-cut paper printed with a dark colour will leave a white edge along the cut outline. Sometimes nicks may occur in the die-cut figure, when the cutters fail to meet exactly in the corners. If the insides of enclosed forms (such as circles, squares, rectangles, or counters) are not to fall out, bridges must be defined. Laser cutting [ 31,  70] is better suited for cutting out particularly fine patterns than die cutting. Depending on the complexity, it takes two to four days to make a die. The cut parts are often still removed by hand, which can be time-consuming if the design is complex. Data Vector data are required. The die-cut line should be assigned to a clearly defined layer and identified as spot colour. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. Printing substrate Coated and uncoated paper of any grammage can be cut in a die-cutting machine, as well as other materials such as cardboard, foil, and metal. Long-fibre papers are best-suited, because they are more stable.

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CUtting

die cutting

Finishing Depending on the size and shape of the die-cut parts, the substrate may become less stable – possibly to the point where machine handling (for example folding in a folding machine) becomes impossible. Costs Die cutting is relatively expensive for small batches, because a special tool has to be made. But the investment pays off for longer runs, where the cost per item is considerably less than for laser cut. 

CMYK

Die cut

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cutting  Laser cut

Laser cut [ 31] laser punching, laser graphics

Laser cut is a digitally controlled cutting technique with which exceptionally fine images, lettering, and even raster images can be cut into paper and cardboard. A laser beam just 0.2 mm wide is guided by vector data to burn the image out of the material. Printed paper can be laser cut too. The process is especially suited for small batches because it avoids the cost involved in making a cutting die. Note Laser cutting can leave scorch marks on the back of the paper. These thin brown-coloured edges can be integrated into the design or overprinted. Whether scorch marks occur depends on the paper. It is best to test beforehand. If the insides of enclosed forms (such as circles, squares, rectangles, or counters) are not to fall out, bridges must be defined. They should be at least 0.5 mm wide. Data Vector data are required. The paths must not be obscured or overlapping, contours must be closed, and lines must be defined as solid areas. Printing substrate Any coated or uncoated paper or cardboard heavier than 40 g/m² can be laser cut, up to a thickness of 3 mm. Because of the possibility of scorch marks, a test using the actual paper type is recommended. Other materials such as plexiglass and organic substances like leather and wood can also be laser cut. Finishing Laser cutting should be the last step in the production process, to avoid damaging the fine cut-outs. The paper may lose stability, depending on the size and shape of the pieces removed. When foillaminated [ 1,  36] articles are laser cut the edges may melt. Tests are recommended. Costs Laser cutting can be used to produce one-off pieces and small batches without the expense of creating a cutting die. Setting up the machine is normally the only additional cost. The larger and more complex the pattern or image being laser cut, the higher the cost. 

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cutting  Perforation

Perforation [ 33] slit punching, slot punching, hole punching, microperforation, line perforation, hole perforation

Perforation is a special form of cutting, which normally fulfils a particular function. A regular row of holes or slits is cut into the substrate to allow a part to be torn off later. One familiar example is admission tickets. Hole perforations are punched with comb perforators in continuous stationery presses and perforating machines, while slit or line perforations can be punched in printing presses, folding machines, or perforating machines. The smaller the spacing between the holes, the easier it is to tear off the perforated part; the bridges remain as ‘teeth’ on the torn edges. Only with microperforations, which are punched using fine needles, is the edge almost smooth. Perforations are normally punched in straight lines, but curves and freehand forms are also an option, for example to follow the outlines of a motif. Note The perforation holes and cuts have a particular diameter or line thickness that must be taken into account at the design stage. The technical limits of cutting tools require that the distance between two perforation lines must not be too small and the angle between two perforation lines must not be less than 15 degrees.

Slit Bridge

Data The perforation line should be assigned to a layer of its own and defined as spot colour. The spacing between slits (or the perforation ratio) on the other hand can be clarified separately with the manufacturer and need not be defined in the file. Printing substrate Coated and uncoated paper can be perforated. The alignment and length of fibres should be taken into consideration when determining the perforation ratio, as otherwise it may be difficult to tear the perforation. Tests are recommended. Finishing If the substrate is to be further processed, the perforation ratio must be chosen accordingly. For example, if the bridges are too narrow the perforation may tear when folded in a folding machine. Particularly flimsy materials may lose stability when perforated. Costs 

Black

Perforation

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Edge Finishing

edge finishing

edge finishing

In addition to the surfaces, the cut edges of a book block, business card, or other printed product can be finished. They can be stained or inked, the metallised layer of a foil can be applied, or they can even be embossed. First of all the edge is clamped and trimmed by about 1 mm to make it completely smooth. Then foil or ink is applied using one of several different techniques. Foil edges (gilt edges) are shiny, while stained edges appear matt. All edge finishes also protect against dirt and dust. Foil edges The transfer layer [ 48] of the foil is normally transferred to the clamped block using a hot silicone cylinder. It is comparable to a conventional stamping foil [ 48]. The treated pages stick together easily, so the block has to be briefly fanned out by hand. Gold and silver are the standard edge foil colours, but other metallic colours and diffraction foils [ 49] are also possible. The latter, however, have to be produced specially, so they are only an option for larger print runs and may involve long delivery times. It is also worth asking a manufacturer if they have remainders of special foil from past orders. Foil edges can also be embossed with a cylinder in a single-level process [ 45]. Stained edges Edges can be stained in any tone – in principle any Pantone or HKS colour including metallic and fluorescent inks [ 18]. The ink can be applied using a cylinder, a spray gun, a sponge, or a brush. Edges inked with UV ink UV ink is applied to the edge in a special machine with a system of cylinders and hardened using UV light. Because it dries immediately the ink produces an even coating and does not run into the block which means that the treated block can move on to the next process straight away. The machine can handle blocks of any format up to a thickness of about 95 mm. UV ink costs more than other edge finishing techniques, but it bonds even on coated and varnished [ 8] papers and can be used to apply patterns, text, and other motifs. Occasionally lighter-coloured UV inks may not cover properly where pages are bled off. Because of the cylinder system in the machine, this method cannot be used on blocks with rounded corners.

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edge finishing

Staining edges with water-based ink Soft rollers can be used to apply water-based inks, which cover better than UV inks and are considerably cheaper. But the ink may run into the block, and varnished and coated papers cannot be treated using this method. Sprayed edges Edges can be sprayed by hand using a spray gun. Rounded edges can be treated, and the ink covers well, but it may run into the block. Because the aerosol could contaminate the cover, spraying should only be used on blocks that have not yet been mounted in the cover. Spraying is less suitable for large print runs because production and drying take considerably longer than for UV inks. Inking edges with a sponge or brush Sponges and brushes used to be widely used for inking edges, but these techniques have fallen into disuse because the application is less even than with other methods. The ink stains easily and may also run into the block. Note A hardback block must be treated before it is mounted in the cover, but soft-cover books are finished in their covers. If the book is to have a rounded spine the edge must be treated before rounding. Avoid books that are wider at the spine, and products with bonded samples or cards, as these involve longer production times and higher costs. Printing substrate Edge finishes can be applied to books, business cards, invitations, as well as other materials such as wood and passe-partout cardboard. Costs Format, block thickness, production volume, and ink are determining factors.

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Texts

texts

planning a finish

planning a finish

A print finish is always something extra, requiring additional printing processes and materials, and possibly additional service providers and transport. All that takes time and adds to the cost. So thorough planning is all the more important. A finish is often so complex and delicate that it will have repercussions on all the other steps involved in production. If the typeface to receive the finish is too small, if the wrong paper has been chosen, or the offset printer has already applied a final varnish, the planned finish may not be possible. And anyone who forgets that it must still be possible to stack, transport, fold, trim, and bind the finished sheets may be in for a nasty surprise. So you always have to keep all the printing and post-printing processes in mind. ‘You have to communicate incredibly intensively and always know what is needed when and where.’ That is how Frankfurt-based production consultant Rahel Wend describes her role in a finishing job. Wend advises mainly advertising agencies, which regularly need to have complex mailings and invitation cards printed. ‘I’m in permanent contact with the manufacturers; I know about all the latest technologies and supply my clients with samples and materials.’ That is a service every graphic designer would like to be able to tap, but of course it does not come for free. Wend is paid a fee by the printer or receives commission. When a graphic designer is looking to put a finish on a book, a leaflet, or packaging they often turn first to their usual offset printer rather than a production consultant. The printer provides a cost estimate, orders services from finishers, coordinates processes, transport, and post-print work, monitors the quality of the results, and makes sure deadlines are met. But it would be better – especially for more complex projects – to discuss possible alternatives directly with the finishers and the bookbinder, test different materials, and test the technical feasibility.

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planning a finish

The decision to use a finish should be made at the earliest opportunity. In fact, ideally you should begin researching materials before the layout work even begins. It is a tricky business imagining the texture, colour, and effect of a finish, and the effect of glitter [ 7,  16] or an embossed [ 21,  50] structure is almost impossible to simulate on screen. Normally the planned finish is defined in the graphics software as an additional spot colour. Without samples supplied by the manufacturer it is impossible to make a decision. The metallic colour guides from HKS and Pantone are helpful, as are stamping foil guides. Anyone planning to apply a finishing technique experimentally or to use a combination of finishing techniques should consult printer and finisher no later than the layout phase. ‘We often make little test prints that show the effect of an ink, and whether it will bond to the desired paper,’ says Sabine Gerscher, managing director of screen printer Gerscher Druck. Tests and samples can also help to convince a customer how effective a finish might be. Sometimes designers make the mistake of adding the finish to their design at the end – as an afterthought – rather than integrating it from the outset. Often it is the customer who suddenly wants the lettering or image highlighted by a finishing technique after the piece has been printed. ‘Then a lot of money gets spent on something that maybe won’t work at all,’ muses Ralph Rieker from Rieker Druckveredelung: ‘For example if you knock out white lettering on a black background, and then at the end print a UV varnish [ 2,  8] over it, you won’t see anything at all, there’s no contrast.’ It would have been better to have included the UV varnish in the design from the start and used it to print the lettering on the black background. To avoid this sort of misunderstanding you should find out everything about the different finishes beforehand and if necessary experiment with different materials and papers, because changes during the production process can be expensive. With screen printing, says Sabine Gerscher, ‘that would mean taking out the stencil and the ink, cleaning the screen, remixing the ink, and possibly even changing the stencil.’ Normally the materials make up the lion’s share of the print finishing costs. With expensive inks like thermochromic ink [ 10,  22] or longglowing phosphorescent ink [ 9,  20] a maximum ink coverage should be agreed (i. e. a limit on the proportion of the sheet requiring that ink). ‘Less is often more anyway,’ says Ralph Rieker. ‘The individual effects don’t really get noticed if a design is overloaded with finishes.’

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texts

planning a finish

It may be possible to economise on the thickness of an ink or varnish coating, or by choosing standard structures for foil stamping [ 21,  50]. One relatively inexpensive but nonetheless striking finish is UV varnish, which is conspicuously glossy and can be applied thickly. Certain effects can be achieved in several different ways, and this will sometimes have a bearing on the cost. For example a silver effect can be achieved by using a cold foil [ 26,  60], a hot-stamped foil, lamination with metallic foil [ 17,  38], or metallic varnish. Which finishing technique is best suited will depend on factors such as the motif, the quantity produced, the substrate, and the post-print processes. As always with finishing, many different aspects have to be taken into account here that may turn out to be crucial. For example, a laminated product is always relatively inexpensive and can be scored and folded without difficulty, but lamination can only be applied to whole sheets. Cold or hot stamping foils [ 48, 60] are glossier than metallic varnish, but their effect only really works well on papers with a smooth surface. Rahel Wend once had fourteen tests done to find the best solution for a slipcase with white lettering on a white background. ‘We really did try out everything,’ she says: varnish [ 8] on matt laminated paper, glossy lamination [ 1,  36] with matt varnish, Iriodin, pearlescent varnish, UV varnish. ‘In the end we opted for matt laminated paper and the lettering was done in opaque white with a bit of Iriodin.’ Sometimes a finish will turn out to be unfeasible not because of the cost but through lack of time or poor scheduling. For example, you should not make the mistake of looking only at the actual production times. Preparation may require time too, to make an embossing die or cutting tool or to set up the machine. And if diffraction foil [ 49] has to be ordered from abroad, it may be weeks before the printer can actually get down to work. Especially with large print runs, remember that producing a finish takes longer than the usual offset printing processes. A screen printing machine, for example, prints considerably fewer sheets per hour than an offset press.

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Texts  Planning a Finish

Having left nothing to chance thus far, the same thoroughness should be applied to the final processes. Consult the bookbinder at an early stage, otherwise you might find yourself crossing your fingers that those expensively finished sheets remain intact. All too easily can metallic foils scratch in the die-cutting machine, glitter varnish crack when folded, or an embossed relief [ 22,  52] get squashed flat if stacked too high. If the worst comes to the worst you might have to start again from scratch.

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texts  interview with müller + hess

Sometimes it Is Downgrading

Beat Müller and Wendelin Hess of Müller + Hess in Basel produce an exceptional and rigorously conceived design series. Every year since 2001 they have used a completely different – and unusual – finishing technique on the catalogue for Art Basel’s Art Unlimited show: for example, anti-slip ink [ 88], abrasive ink [ 26, 85], thermochromic ink [ 22], phosphorescent ink [ 20, 89], or flock [ 28]. But the effect is not used conventionally to emphasise particular elements on the cover, instead it is applied to the whole surface. A discussion about scratched rub-off ink [ 27, 84], finding the right screen printer, or foil-stamped kitsch. Why do you use special finishes? Müller: For the joy of the materiality, the joy of experimenting. Our concept for Art Basel is very strict. No images or illustrations, just the logo and an expanse of colour. If we are to bring that concept to life in a different way each year, we have to spring a new surprise every time, with a special quality of colour and material. Hess: We try to blend and distil different printing techniques and colours in such a way that even an expert can’t untangle how it works, which inks were mixed where and which material printed on what. That’s the attraction, doing something that is pretty much impossible to imitate. How would you describe your concept for the Art Unlimited catalogues? Müller: What we want is to put the most contrasting of materials on the cover each year. Ones that wouldn’t normally belong there. That’s the Art Basel ethos too, to be different from the other art fairs. With its huge hall exhibiting special and very large works of art, Art Unlimited is unique. So of course the catalogues should be unique too. Hess: Without making art ourselves, we aim to push the limits of innovation in the field of printing technology. Müller: Of course we play on the word ‘unlimited’ by testing the limits, what possibilities finishing techniques hold. For us it is a unique opportunity to do things that would never be allowed in normal book publishing. Why? Müller: It would be unaffordable anywhere else, except maybe for an art book with a tiny print run. The Art Unlimited catalogue print run is about five thousand, so the costs just about work out if you print four to a sheet. But it’s only possible because Art Basel affords itself this luxury to build its image. Of course there is a budget limit. The phosphorescent ink in 2002 overran by one third, but we were so convinced of the idea that we contributed ourselves.

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texts  interview with müller + hess

Have you had ideas that didn’t work? Müller: Of course – the best ones! Sometime we would love to use some kind of magnetic ink [ 87], one that actually attracts metal. We tried that with a pigment made of powdered iron, and our screen printer mixed it with some kind of binder, but we weren’t satisfied with the effect. And then it wrinkled after printing. That experiment was a failure. And the 2004 catalogue, the one we used thermo ink for, that one didn’t really work either. When you held the catalogue, the warmth of your hand was supposed to leave a handprint on the printed raster dots. But it seems the ink supplier got something muddled up and it took far too long for the impression to appear. You often use very unusual materials. How do you come up with something like anti-slip ink? Müller: Whenever a new technique appears, our first thought is what project we could use it for. And we meet up pretty regularly with our screen printer Hanspeter Arni. He is a real innovator, someone who knows how to improvise and likes to try out new things. When we have manufacturers and specialists in our office we always inundate them with questions: Is there anything new? What’s possible? They enjoy that, because most of their work consists of boring routine jobs, and it’s a challenge to try out something crazy too. And the anti-slip ink? Müller: That also came up in a discussion with our screen printer. He said we could perhaps try it out. It’s a kind of colourless milky rubber ink that swells up under UV light. Hess: You think that the structure you see is the structure of the material, but that’s a trick. Actually we designed the structure ourselves and printed it in grey over an orange background, then we put the anti-slip ink [ 88] over the top and in the end you couldn’t tell which was which. When does work begin on the next catalogue? Müller: Well really we’re thinking about it all year round and collecting new ideas and materials. The first round of tests and experiments begins in January. At the moment we’re testing three different techniques, a tactile varnish [  13], a foam varnish that is kind of baked in a kiln, and a lenticular foil [  30]. But none of them is doing what we’d like it to yet. We’re working on it. Originally finishing techniques were used to turn an object into something special, refined, and today we often speak of enhancing or adding value. Why do you do it? Müller: To experiment with materials and printing techniques. Finishing in the sense of upgrading is perhaps not the right word for it. With some techniques like rubber ink and abrasive ink [ 26, 85] it would be better to speak of downgrading. Such materials are less refined than you would expect but they are still special.

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Isn’t it a contradiction to put the finish on the whole surface? After all, print finishing techniques are mostly used to emphasise particular parts. Müller: That is precisely the fascination for us, to employ a technique like flock [ 28] excessively, to think of it expansively. And in fact using the whole surface throws up technical difficulties you wouldn’t otherwise have. Especially for the bookbinding. How fast will the cutter wear out when trimming? Will the material break at the spine, or does it tear easily? Sometimes these issues appear out of nowhere. The 2005 catalogue with the rub-off ink [ 27, 84] nearly finished us off. After countless tests the ink was finally adjusted so that it bonded fairly well but could still be rubbed off. So we printed the first run which was to be delivered to Germany and then something tipped over in the van and all the covers got scratched, so we had to print the whole lot again. But the first screen printer had had enough, and the second we asked couldn’t get the effect to work properly. So we had to bin the second run too. Then we begged the original printer to print us a third run overnight, and he did, and then we put the catalogues vertical for transport with paper in-between. The bookbinder hated us for it, because he couldn’t use machines on them. That was a rather expensive business. But the rub-off ink was great. Hess: The idea was for the artists to sign the catalogue at the fair. Müller: In the end only a few actually did, but some also scratched something into the ink, like a drawing. Normally rub-off ink is about revealing what’s underneath. With ours it was the opposite, because there was only plain colour underneath.

Müller + Hess in Basel, founded in 1995 by Beat Müller and Wendelin Hess, has been responsible for the corporate design of Art Basel since 1999, and since 2001 also for the corporate design of Art Basel Miami Beach. Müller and Hess studied at the School of Design in Basel and have been art directors of the Swiss magazines ‘Du’ and ‘Das Magazin’ and the weekly ‘Die Weltwoche’. In 2007 they set up the Echtzeit Verlag publishing house together with journalist Markus Schneider.

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You use these print finishing techniques in a new context, and completely freely. Don’t you have to watch out that it doesn’t become an end in itself? Müller: It is an end in itself! A finish like that on the cover serves no functional purpose. We just have to watch out that it doesn’t become kitschy. That can happen before you know it with gloss and stamping foils [ 48]. But anyway I’d find it a bit banal just to stamp a foil across the cover. Plenty of people do just that. Which finishing techniques would you still like to try out sometime? Müller: We’ve already suggested blackboard ink [ 32] several times. But when the catalogue is just lying there that would be a pretty unspectacular black surface. It doesn’t work unless you know what it is. Hess: Spray paints offer plenty of good colour qualities that you unfortunately can’t print. Granite effect paint, for example, I’d like to do that. You’d have to employ graffiti artists to spray them by hand for five Swiss francs an hour.

texte  interview mit müller + hess

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texte  interview mit müller + hess

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Texts  Experiences

Just Black Layers on the Screen

No designer is going to turn down an opportunity to use print finishing techniques. The project need not necessarily be as complex as the invitation card Antoine Audiau and Manuel Warosz (Antoine + Manuel) once designed for Christian Lacroix – with six spot colours, blind embossing [ 42], tactile varnish [ 13], and die-cut parts [ 68]. ‘The budget will rarely stretch to that,’ says Berlin-based graphic designer Mario Lombardo, ‘but I ask every time anyway.’ Too tempting the diverse finishing options, each offering their own additional level of design. Lombardo is currently doing a lot of work for cultural events and projects, he says: ‘That’s a field where the finish can really express the amount of energy that has gone into a project.’ Lombardo has no qualms that some of these techniques might be kitschy or stereotyped. In fact, he loves to flirt with cliché: his cover for a catalogue of photographs by Natalie Pelosi incorporates the traditional frame motif with a hot foil stamping [ 46] that bleeds off, but in fire-engine red rather than the traditional gold. Antoine + Manuel are rarely content with just one finishing technique. Their opulently extravagant cards and brochures for Christian Lacroix have long since acquired the status of collectors’ items for their sophisticated production techniques. ‘But when we use more than three or four techniques for a design, we find it hard to imagine how it will turn out,’ Antoine Audiau admits. ‘It’s just black layers on the screen.’ It would be hard to find a graphic designer who knows the individual finishing techniques better than these two Parisians. ‘Ten years ago you still had these old craft workshops in the Marais quarter where we work, including a little embossing firm with just three employees,’ relates Audiau. ‘The first thing we had embossed there was a cigarette packet for Yves Saint Laurent. It was a very important experience. We watched very carefully how it works, learned all the tricks.’ Audiau loves these traditional crafts: ‘I like the idea that it can take a while to get a thing finished, and also that a process like blind embossing is centuries old.’ Today, when so many things are published digitally and online, he says, a proper printed product has to be something special, full of emotion and movement.

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Texts  Experiences

Fons Hickmann says he always feels ‘ambivalent about using something that the world doesn’t need’. A finish will only work, he says, if it is justified by the content and an integral part of the concept. ‘Otherwise it can easily appear overdone.’ That said, Hickmann has nonetheless deployed embossing, die cutting, foils, and flock [ 28] in his designs for the Bavarian State Opera. For the latest, the 2009/2010 preview, he even used a minimalist application of lenticular foil [ 30], which is normally associated with kitschy greetings cards and 3D flip cards rather than high culture. The two parts of the season’s title – ‘Cursed Bodies’ and ‘Saved Souls’ – alternate when the volume is tilted. In 2006, for the cover text of the World Cup edition of the magazine ‘Dummy’, Hickmann wanted a thick coating of high-gloss UV varnish [ 8] on a photograph of green turf. But the printer did not have the right machine for the job, and simply printed normal dispersion varnish [ 8]. ‘He just blagged, even when one of my staff went to check the quality,’ Hickmann recalls. ‘In the end nobody really noticed, because nobody knew how it was supposed to look, but now we get proofs done whenever possible, and always speak with the printer directly. Only then can you really be sure that everything will work out.’ The ‘Dummy’ issue still won a gold in the Lead Awards. The tenement workshops on Schlesische Strasse in Berlin-Kreuzberg are home to numerous printers, and also the German office of Weiss – heiten Design. Studio Manager Tobias Kohlhaas knows the importance of the location. ‘Spending time at the printer’s has become a standard part of our design process,’ he says. ‘Over time, working very closely with a printer gives you a better and better idea of how the printed product is going to turn out.’ That is especially crucial with finishes, of course. Kohlhaas is a great fan of fluorescent inks [ 18]. ‘They are intrinsically loud and aggressive, but we use them differently, rather hidden or as a subtle irritation.’ That might mean a millimetre grid – like graph paper – in neon orange, a neon green printed on the back of a poster to shimmer through mysteriously, or simply an edge finish. They used the latter in their own business cards and letterheads, where fluorescent inks join phosphorescent [ 20] lettering and logo to produce a shining example night and day. Unfortunately the phosphorescent pigments have begun to peel off, forming a fine dust that glows in the dark. ‘It would have been more stable if we had primed the paper first,’ Kohlhaas now realises. But nobody thought of that at the time.

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Texts  Questions of Perception

Questions of Perception

Print finishes play an ever-growing role in product design, as the most important weapon in the battle to gain and hold the attention of easily distracted consumers. But are there scientific reasons why particular finishing techniques attract attention? To answer this we can turn to the findings of psychological research into perception. Perception research looks at how our senses respond to stimuli, systemises the findings, and identifies categories of perception. Optical perception research is naturally the most important field when considering possible finishes. The central perception categories relevant to attention are objects, colours, distance, and motion. According to Gestalt theory, the perception of objects divides in turn into proximity, similarity, continuation, and closure. Intensity is the most important factor for colour perception, while the tone itself is only relevant with finishes where the colour changes, such as specialeffect inks. Perception of distance is generated principally through relative size effects, overlaps, shadow, and atmospheric perspective (where objects that are further away are out of focus). Movement and change attract attention most strongly at the moment they occur for the first time. The following examples show how particular finishes create or intensify an attention-grabbing effect in the aforementioned categories of perception. Object perception Print finishing techniques can add a uniform characteristic to particular parts of the printed item to provide for continuity and similarity. For example cutting out [ 29] an area or treating it with a high-gloss UV varnish [ 16] can join particular elements together to form a unit or motif that would not otherwise have been perceptible. Colour perception High-gloss and UV varnishes intensify the perceived colour intensity, causing the motif to appear stronger. This phenomenon, which can even be measured by instruments, is what causes the ‘shiny nose’ effect.

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Texts  Questions of Perception

Distance Perception of distance is best supported by finishing techniques that give the substrate a third dimension. Tactile varnish [ 5], die cutting, and embossing [ 22] are some of the preferred techniques here. Embossed reliefs and tactile varnishes can create an impression that the motif in question is larger, which subjectively reduces the distance. Die cutting is the best way to create overlaps and shadow effects. Index cutting intensifies these effects, and lenticular printing [ 15] can also generate productive overlaps. At the same time lenticular printing is also ideal for making far-away objects appear out-of-focus to create atmospheric perspective. Movement and change Here again lenticular printing is the most obvious option. Depending on the motif, thermochromic inks [ 10], rub-off inks [ 13], phosphorescent inks [ 9], or effect pigment inks [ 6] may also be suitable for creating an impression change. As well as attracting attention, all these techniques also invite interaction on the part of the user. The motion and change effects only occur when the image is tilted, touched, or rubbed (or when the light is turned off). That automatically stimulates other senses too.

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Texts  The History of Print Finishing Techniques

The History of Print Finishing Techniques

Today there are more print finishing possibilities than ever before. That may be a reason why the interest in the techniques has grown markedly in recent times. Another attraction is the way their materiality and haptic qualities hark back to a craft tradition whose resurgent popularity extends far beyond graphic design circles. Most finishing techniques are relatively new technologies: cold foil [ 26,  60], laser cut [ 31,  70], microembossing [ 23,  54], and paper flocking [ 14,  28] are all developments of the past decade. Screen printing effects such as glitter varnish [ 7,  16], tactile varnish [ 5,  13], and structured varnish [ 4,  12] were unable to unleash their full potential until UV technology came onto the market at the end of the 1970s, because the highly viscous UV varnish [ 2,  8] can be applied more thickly than the previous dispersion varnishes [ 8] and also allows much coarser pigments to be added. The origins of blind embossing [ 19,  42], on the other hand, are pretty much as old as civilisation itself. Embossing is the oldest printing process of all, and was already widespread in Mesopotamia and Egypt before 2 000 BCE, where stamps and seals were used to apply ornaments and texts to pottery vessels or to identify bricks and loaves. Later, in Ancient Greece, silver coins were minted using metal dies. The oldest surviving blind-embossed bookbindings are Coptic leather examples dating from the sixth century. They were made using a technique that was later adopted in both the Orient and the West and was to govern book-binding until the nineteenth century. No later publication ever matched the splendour of medieval illuminated manuscripts: leather-bound wooden covers were blind-embossed, set with precious stones, and decorated with motifs and ornaments of ivory, gold, and enamel. Not until the fifteenth century did Venetian bookbinders succeed in emulating the technique of stamping gold leaf with a heated die, which had been practised before in the Arab world. From there it was really no great leap to the modern process of foil stamping [ 20–22,  46–59], although it was 1892 before Ernst Oeser filed a patent for the ‘manufacture of coloured relief prints using coloured foils’. He applied a thin coating of gelatine, glycerine, mineral dye, and water to a glass plate, allowed it to dry, and removed it in sheets. In 1931 gold-leaf manufacturer Kurz succeeded in vacuum-metallising gold onto lengths of foil to create the endless foil still in widespread use today.

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Texts  The History of Print Finishing Techniques

Seeking broader historical roots of today’s print finishing techniques, means moving to a more general level. At a very early stage, for example, humans recognised the attraction of the visual and developed techniques for changing and enhancing a surface’s quality. They applied shiny, conspicuous materials to face, clothes, and jewellery to draw attention to themselves. In India gold leaf has been used to coat religious artefacts for five thousand years. And three thousand years ago in China natural fibres were applied to textiles by sprinkling them onto a layer of resin. This was a kind of precursor of flock, which reappeared later in a similar form in nineteenth-century French wallpapers. And the Ancient Egyptians already had an equivalent of today’s glitter: silver-coated glass beads and particles that were similarly scattered onto surfaces coated with glue. A later and cheaper alternative was fish silver, pearl essence extracted from the scales of the mirror carp, which served as shimmering silver surface decoration. Today’s glitter is largely made of polyester particles. The history of ink and varnish effects, on the other hand, extends no further back than the nineteenth century when the first dye works were founded to manufacture synthetic dyes. These new compounds quickly replaced the natural dyes made of earth colours, plant juices, and animal secretions that had been used until then. One of the first types of effect ink – discovered more or less by accident – was thermochromic ink [ 10,  22]. For a long time this was treated as a mere curiosity before it found an industrial use at the end of the nineteenth century, to indicate overheating of motors. The first luminous inks [ 9,  20] were radioactive radium inks which came in at the beginning of the twentieth century, principally for watch hands and faces and to mark escape routes, but also for advertising signs. Radium ink was banned after the Second World War and today’s luminous inks contain neither radioactive substances nor phosphorus. The fluorescent pigments developed by the Switzer brothers in Berkeley in 1934 did not really catch on until after the Second World War. Rupprecht Geiger used them to paint abstract paintings, but they were usually used on signs and posters. Back in 1848 Rudolf Christian Böttger, a chemist in Frankfurt, invented a quite different sort of ink. Abrasive ink [ 12,  26] is made of glass powder and red phosphorus and is used to this day for the striking surface on matchboxes. A purely functional coating, one might think, but recently it has begun to appear as a finish, which only goes to show how designers’ attitudes have changed. There is nothing refined or costly about abrasive ink, nor does it imitate any other costly material. It simply has a unusually rough surface. And why should one not strike a match on a book cover?

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Texts  Print finishes and the environment

Print Finishes and the Environment

As pretty as a print finish may be, its environmental credentials will not necessarily look pretty. A finish consumes more energy and materials than normal printing, and an additional varnish [ 8] or foil layer makes it harder to recycle the paper. ‘We don’t advise against finishes, but we do always ask our customers whether they really need them,’ is the line taken by Berlin-based Oktoberdruck, a printer renowned for its environmental commitment. But does that mean we should do without finishes altogether? Not if we find out about the environmental implications beforehand and take that information into account when choosing a technique. And of course there is a distinction to be made between a leaflet that will soon be in the bin and a collectors’ edition that will be on the bookshelf for decades. So graphic designers definitely still have some leeway to influence the environmental impact of print production. Purely mechanical finishing techniques such as blind embossing [ 42], die cutting [ 68], and perforation [ 71] are recommended because they use no additional materials. Similarly laser cutting [ 70] and paper engraving [ 64], whose power consumption remains within certain limits; the laser does not even need an industrial electricity supply. With other finishes such as foil stamping [ 46 – 59], foil lamination [ 36 – 39], and screen printing effects [ 8 – 27] it is definitely worthwhile to compare and weigh up the different environmental aspects. Is there pollution from the manufacture of the materials used, the process itself, or combustion of waste residues? How much energy is required? How easily can the coating be separated from the paper for recycling? And how long will the finish last? Foil stamping scores relatively well because no pollution at all is caused by the stamping process and relatively little material is consumed. The individual layers of the foil are extremely thin. The aluminium layer on a metal foil, for example, is just one threehundredth the thickness of household aluminium foil. Of course an enormous amount of energy goes into refining the aluminium, but ultimately it is less problematic than the heavy metals formerly used in many cases. Screen printing used to be regarded as the witch’s kitchen of the printing industry, but many heavy metals such as lead, arsenic, cadmium, and mercury were phased out during the 1990s. Certain effect inks still contain solvents though, volatile organic compounds ( VOCs) that evaporate as the ink dries and contribute to the greenhouse effect and summer smog. Over the years more and more screen and offset printers have acquired UV printing machines, which allow structure [ 12] and relief effects [ 13] and glitter [ 16] to be printed with better results than before.

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Texts  Print finishes and the environment

Now UV technology is sometimes described as environmentally friendly because UV varnishes [ 8] are solvent-free, consisting of monomers that harden under UV light. But they can harm the environment too. The ozone produced by UV irritates the skin and eyes and must be extracted from the workplace for health reasons. If discharged into the atmosphere it decomposes fairly quickly, but can still increase the ground-level ozone concentration, causing summer smog. Nor can paper printed with UV varnish easily be recycled, because during reprocessing most of the mechanically reduced particles of UV varnish pass through the screen but are too large to be removed by the deinking process. If the fibres are to be used for graphic paper they have to be milled smaller in a disperger, otherwise they are only fit for making low-grade paper or cardboard. One German paperworks without a disperger recently had to dispose of eighty tonnes of recycled paper because it was full of varnish flecks. By mistake the waste sheets of a magazine cover finished with UV varnish had ended up in the container for graphic paper scrap. By contrast foil lamination turns out to be surprisingly positive in environmental terms. Oriented polypropylene (OPP) foils may be considerably thicker than the carrier layer of a stamping foil [ 48], but when the paper is recycled the foil can be relatively easily separated from the substrate and when burned they produce no toxic pollutants, so they are classified as environmentally neutral. Nor should one forget that OPP foils are more durable than other finishes. Structured foil laminations, especially, protect heavily used articles from moisture, dirt, and wear. Apart from expensive cellulose acetate foils, another alternative to conventional OPP foil is Ökophan foil made largely of starch. But Ökophan is better suited for shorter-lived articles because it is neither waterproof nor tear-resistant (and not terribly good for scoring either). Otherwise, environmentally friendly alternatives to conventional finishing techniques are difficult to find. For example, a UV dryer with LED lamps whose radiation creates no ozone and is said to use up to 80 per cent less electricity was exhibited at the 2008 Drupa printing fair. But the problem of recycling paper treated with UV varnish remains. And whatever the finish, papers treated on both sides cannot be recycled and finishes on uncoated paper are harder to remove during the recycling process than those on coated paper. Incidentally, if you are planning to put a finishing technique on recycled paper, do not allow yourself to be dissuaded too quickly. In most cases you will have to test it first, but sometimes the effect of a spot varnish highlight or a foil stamping on recycled paper may be even more marked than on normal paper.

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Texts  The finished pages

Bold and Hidden

Sandpaper, velvet, wood, transparent plastic, and fabric were the materials Bruno Munari used to put together his first children’s books back in the 1940s, to foster a haptic learning experience. Munari, an Italian influenced by Futurism, was one of the first to start using print finishing techniques completely divorced from their original context. Today, thanks to the excesses of Stefan Sagmeister, they have become an everyday designer’s tool and an important element in many design concepts. The trend is reflected very clearly in today’s graphic design, and indeed in this book, too. Thirty designers used thirty different finishing techniques to design thirty pages. The results are experimental, conceptual, artistic, and extremely diverse, not only in their different techniques but also in the very different approaches. The only fixed point was the finishing technique itself, so it is no surprise that many put it centre stage, with its specific properties, aesthetic, history, and usual function. Project Projects (New York) took the opportunity to test the very limits of combination foiling / embossing [ 22,  52]. They feature famous sculptures from the past fifty years by Piero Manzoni, Jeff Koons, Maurizio Cattelan, and others, looking rather like a collection of unusual insects pinned to the page. Here the sculptures stand not in the white cube of the museum but rise in shiny silver out of the white of the page. How sculptural can sculptured embossings be, and can we still recognise the sculptures as reliefs? Those are the challenging questions posed by Project Projects. No other design puts the technique itself on show in the way that theirs does. In fact, some of the designers use the finishes in conspicuously untypical ways, as an irritation or so subtly that you have to search for them. Instead of spreading the flock [ 14,  28] out as an expanse, the charming portrait collage by Jung + Wenig (Berlin) uses it to trace just a few lines – rather like a drawing by one of the Old Masters, where individual lines in black chalk bring out the material substance of the hair or some other detail.

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Texts  The finished pages

The design by Weiss – heiten Design radiates a puzzling aura. Instead of the usual glare of fluorescent ink [ 8,  18] they substitute a neon ink for the yellow in CMYK, causing it to push oddly to the fore in the rastered background photo. The Dutch studio LUST presents an interpretation of lenticular technology [ 15,  30] – better known for 3D gimmicks and animations – and you have to take a very close look at their design. The lenticular foil shows quotes and images from other pages in the book, displaying many at the same time, or just a detail, or nothing at all, depending on the viewing angle. When you tilt the page, one particular image might come to the foreground, while others may disappear in a game of hide and seek that demands heightened concentration. Other designers explicitly invite the viewer to interact, too. Mario Lombardo superimposes thermochromic inks [ 10,  22] in three transparent layers with different colours. Placing a hand on the page or rubbing will reveal one after another. The top text – ‘The indescribable moments of your life’ printed in black – disappears, only to reappear again as a sweet memory in the colourful last layer. At first glance the design by Onlab is a mystery, because the illustration is printed in transparent thermorelief [ 11,  24]. The best thing is to take paper and pencil and rub the image like a brass rubbing. Node Berlin Oslo poke fun at the conventional use of rub-off ink [ 13,  27]: in a circle of gold rub-off ink they have knocked out ‘you win’ in black, so if you really do rub the ink away ‘your win’ disappears leaving nothing but an empty black space. The graphic designers in this book run the whole gamut of design possibilities: text, illustration, and photography. A surprising number chose to work with text. Annik Troxler, for example, whose rastered typeface in light blue is nothing special in daylight, but all the more so when you turn off the light because the three crucial characters are printed in an identical light blue phosphorescent ink [ 9,  20]. Or Fanette Mellier, who assembled the word ‘bird’ from colourful stripes and superimposed a transparent tilt effect pigment varnish [ 6,  14] whose colour alternates between green and violet, rather like the feathers of some exotic bird. Dutch designer Maureen Mooren takes a very different slant on text and image, superimposing a bright copper rectangle over a photo from ‘The New York Times’ of November 5, 2008 to give a historic moment – the election of Barack Obama as President of the United States – an aura of timelessness. Stamped with microstructures [ 23,  54] Obama becomes transcendent.

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Texts  The finished pages

There are still clichés about finishes being garish and kitschy. The term has acquired an air of golden frames, glossy type, and cheap illusion (the water drops on the beer can). Not the designs in this book, however. Except for those that set out to play on the cliché. Thomas Mayfried (Munich) starts with a photo of a heap of confetti, the colours of which are already totally over the top, and takes it to the extreme with kitschy stamping foils [ 20,  46], while Sarah Illenberger glitterises [ 7,  16] the photo of her paper and aluminium foil cake. Catrin Altenbrandt and Adrian Nießler from Studio Pixelgarten (Frankfurt) follow the principle that ‘more is more’ too. You could not imagine a lovelier ironic/ affirmative double take than their illustration decorated with matchstick trimmings and garlands and finished with abrasive ink [ 12,  26].

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Glossary

glossary

A

Abrasive ink [ 12] A functional coating on whose rough, phosphorus-containing surface matches can be struck. B

Beveled edge A hard, sharp relief form in embossing and foil stamping. Bleed off To print over the edge of the page. The additional strip at the edge must then be trimmed. C

Coated paper Paper to which a layer of binder, pigments, and various other substances has been applied to produce a smooth stable surface that enhances the reproduction of details. The coating can be matt or gloss, white or coloured, single- or double-sided. We distinguish between matt, satin, gloss, and cast-coated papers. Cold foil transfer [ 26] Cold foil is a metallic or transparent foil that functions like an additional ink. It can be applied to parts or to the entire surface using an offset printing plate and adhesive. Counter The area enclosed by a letter form. Counter die The counterpart to the die in embossing and stamping processes. A separate counter die is made for each motif. The die and counter die are pressed together under high pressure to deform the substrate. Cut-out An element that has been cut out of an image and is reproduced without its original background. D

Debossing Stamping an impressed relief. See also Embossing. Deinking The process by which printing ink is removed during paper recycling. Die The stamping tool into which the motif is engraved for embossing and stamping processes. A matching counter die opposes the die on the other side.

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glossary

Die cutting [ 29] A mechanical technique for cutting shapes out of a substrate. Die-cut line The outline of the elements to be cut out of the substrate. Diffraction foil A foil with holographic patterns created by a thermoplastic varnish layer with embossed microstructures that refract the light. There are diffraction foils for stamping and diffraction foils for laminating. Digital printing A printing process where digital data is transferred directly to the substrate, without a printing plate. Digital printing is an economical alternative to conventional printing processes, especially for small quantities and personalised articles. Disperger A machine used to reduce the size of particles of varnish and other contaminants in recycled paper that are not removed by deinking. The process allows the fibre pulp to be turned into graphic paper with an even consistency. Double-sided Printed on both sides of the paper. Drip-off process A two-stage in-line offset process that can be used to generate matt/gloss contrasts. A special oil-based matt varnish is applied to the parts that are to appear matt. Then a high-gloss dispersion varnish is applied over the top of the entire page and allowed to drip off the repelling matt areas. E

Effect pigment varnish [ 6] Adding effect pigments (for example, aluminium, polyester, or pearlescent particles) to ink can generate an enormous range of results. Embossing Stamping a raised relief. Also used as a general term for the process of stamping a raised or impressed relief. See also Debossing. Embossing processes [ 19 – 25] Processes where relief and/or foil are transferred to a substrate by an accordingly shaped die. We distinguish between blind embossing, foil stamping (flat, combination foiling/embossing, structured), microembossing, variogram, and holography stamping. See also Foil stamping.

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glossary

F

Finishing All stages after the actual printing process that are required to produce a finished printed product. These include die cutting, perforating, hole-punching, folding, trimming, binding, and packaging. Flexography A web-fed rotary printing process using flexible photopolymer plates and low-viscosity printing inks. A wide range of substrates can be printed, including packaging and three-dimensional objects. Flock printing [ 14] A coating of short fibres (polyamide, cotton, rayon, polyester, or acrylic) that can be applied to a wide range of substrates using adhesive and an electric field. Fluorescent ink [ 8] Fluorescent ink is significantly brighter in daylight than normal ink. The more UV the light contains, the stronger the effect. Foil lamination [ 16–18] A bonded coating of thin transparent plastic foil. There are matt and gloss foils, prestructured foils, embossing foils, metallic foils, and ­d iffraction foils. Most laminated foils protect against moisture, dirt, and wear. Foil stamping [ 20–25] Processes where the transfer layer of a foil is transferred to the substrate by stamping. Folding line The edge along which paper is folded. G

Gaps Thin white lines where two areas of ink fail to meet properly due to register problems or changes in the paper during printing. Gaps can be avoided by trapping the areas. Gestalt theory An interdisciplinary theory of human cognitive perception processes. The theory proposes that we order perceptions holistically into units of meaning (gestalten, i.e. shapes). The principle of ‘prägnanz’, which explains why a structure made up of individual elements is perceived as a whole, is a central concept in gestalt theory. Glitter varnish [ 7] UV varnish with added glitter particles that sparkle in the light. Today the particles are generally polyester and are offered in the widest range of colours. 106

glossary

Grain direction The orientation of the cellulose fibres in paper. During papermaking the liquid pulp flows through a screen and the fibres align themselves parallel to the direction of flow. Grain direction is especially important for folding, because paper folded across the grain can easily tear. Grammage The basis weight of paper and cardboard is expressed in g/m² or gsm (grams per square metre). See also Weight. Gravure printing A process where the image is etched or engraved into the plate or cylinder. Ink is applied to the cylinder and any excess removed by a doctor blade; the ink that remains in the impressions is then transferred to the substrate. Greyscale image A digital image where the brightness is indicated exclusively by shades of grey (from pure black to pure white). H HKS colours

A colour system for printing inks with 120 spot colours and more than three thousand tones. The HKS colour chart allows tones to be defined and communicated to the printer with absolute precision. Hologram An image or pattern that appears three-dimensional under particular lighting. Hybrid process A two-stage printing process, where a special oil- or water-based matt varnish is first applied to the parts that are to appear matt and then a high-gloss UV varnish printed over the top. The two varnishes interact to create a granular texture. I

Imposition The arrangement of different pages on a printed sheet. Optimising the imposition can reduce the costs for producing films, plates, screens, or dies. The printer or finisher normally arranges the imposition. Index cutting The purpose of an index cut into the pages of a book is to assist orientation within the book, but the technique can also be used to aesthetic effect. There are step indexes, thumb indexes, and tab indexes.

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In-line processes In-line printing and finishing processes are conducted consecutively in a single machine or system of machines. Cold foil and various varnishes can be applied in-line. See also Off-line processes. Interference Interference effects are produced when identical light waves interact, for example when they are reflected by superimposed optical layers. The effect causes the surface to shimmer in different colours. Iriodin Merck’s tradename for a pearlescent pigment based on the natural mineral mica. Iriodin can be used to produce metallic, interference, and tilt effects. K

Knock out When inks are overprinted the overlaps may show. To avoid this, the affected parts of the background colour are knocked out rather than printed. L

Lamination A process where two or more flat materials are bonded together using adhesive, wax, or varnish across the whole surface. Laser cut [ 31] A digitally controlled cutting technique. The laser can cut extremely fine motifs, lettering, and even raster images out of paper or cardboard. Lenticular printing [ 15] Offset-printed lenticular foils can be used to generate 3D effects, animations, and motion sequences. Long-fibre paper Paper composed of longer fibres is tougher, more tear-resistant, and more stable than short-fibre paper. M

Multi-level embossing A relief with several different embossed or debossed planes. O

Off-line processes Off-line printing and finishing processes are conducted one after another in separate machines. See In-line processes.

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Offset printing An indirect planographic printing process where the image is transferred from the printing plate to a blanket cylinder and from there to the substrate. Offset printing is based on the principle that oil and water repel one another; the ink is repelled from the moistened non-printing parts of the printing plate. Offset printing is used above all for books, packaging, and job printing. Overprinting Printing images one on top of another. P

Pantone colours Pantone’s colour system is used worldwide and now encompasses more than 1 100 colours on a broad range of papers. The Pantone colour chart allows tones to be defined and communicated to the printer with absolute precision. Paper engraving [ 28] Surface finishing process where a laser is used to engrave graphics such as illustrations and lettering into a substrate. The laser can be set to burn different depths into the surface. Perforation [ 33] A special form of cutting where regular lines of holes or slits are cut into the substrate to allow a part to be torn off later. We distinguish between hole perforation and slit perforation. Phosphorescent ink [ 9] Phosphorescent inks glow in the dark. Rather like the way a rechargeable battery stores electricity, they store incoming light energy and release it again later. Pigments The substances that give inks their colour. Primer A thin, colourless varnish used to treat the surface of the substrate to improve the bonding of adhesives and finishes such as flock. Proof A digital printout used to check and approve the artwork before printing. Galley proofs or page proofs are used to check content and layout, while colour proofs are used to verify the quality of the colours too.

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R

Resolution 1. In printing, the smallest spacing at which two lines or dots can still just be distinguished. Resolution is usually given in dpi (dots per inch). 2. In digital images, the number of pixels of which an image is composed, given as total number (megapixels), per line and column (pixel × pixel), or per inch (dpi or ppi). Round edge A soft, curved relief form in embossing and foil stamping. Rub-off ink [ 13] Ink containing latex, which can be rubbed or scratched off using a fingernail or coin. Best known from lottery scratch-cards. S

Scented varnish [ 3] An ink containing micro-encapsulated aromatics which are released when the surface is rubbed or scratched. Screen printing A printing process where a doctor blade is used to force the printing ink through a fabric screen onto the substrate beneath. As well as flat materials (paper, foil, boards, etc.) three-dimensional objects can also be screen printed (e.g. glass bottles). Compared with other printing ­processes, screen printing allows a thicker layer of ink to be applied, and screen printing inks are especially strongly pigmented and therefore more weather-resistant and longer-lasting. Screen printing takes longer than offset printing because the sheet has to be run through the machine ­separately for each colour. Sculptured embossing A relief where different planes are freely combined. Shim lines Lines that disturb the effect of certain diffraction foils. They are caused by the production process. ‘Shiny nose’ The point on a surface that reflects light most strongly when viewed from a particular angle. The smoother and shinier the surface the more prominent the ‘shiny nose’ effect. Single-level embossing A relief where all embossed or debossed elements lie on the same plane. Soft-cover book A book whose cover is made of flexible material joined to the block at the spine. 110

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Soft-touch varnish [ 3] A varnish that gives surfaces a special haptic quality. Depending on the varnish manufacturer it may feel especially velvety, rubbery, or soft. Spot colour A predefined colour not composed of CMYK, which appears in its own colour separation. Effect inks like gold and silver, fluorescent inks, and partial varnish are printed as spot colours. HKS and Pantone colours are always spot colours. Spot colour channel Spot colours are defined in Photoshop as spot colour channels. A spot colour channel is additional to CMYK, and can also be used to indicate the area for a finish. Everything in a spot colour channel becomes an a ­ dditional spot colour after colour separation. Spot varnish A partial application of UV varnish. Stamping foil Special foil used in stamping processes to create metallic, holographic, pearlescent, or matt/gloss effects. Stamping die The tool into which the motif is engraved for foil stamping. The stamping die and its counterpart, the counter die, are pressed together under high pressure to deform the substrate. Stamping tool The die and counter die used in stamping and embossing processes. Dies are made of magnesium or brass, the latter being more robust but also more expensive. Brass dies are especially suitable for large volumes and for very fine motifs and pronounced reliefs. The relief is engraved into the die using a CNC cutter or a laser and then embossed into the substrate using heat and pressure. If a foil is transferred too, cutting edges following the outline of the motif cut through the transfer layer of the foil. If the substrate is to be shaped three-dimensionally, a counter die is required. It too must be made specially for each motif. Steel engraving [ 27] A traditional gravure printing process, formerly used for printing banknotes and postage stamps due to its sharp contours, great detail, and haptic effect. A steel die transfers the engraved image under high pressure and at the same time deforms the substrate. Structured varnish [ 4] A UV varnish with added particles that form a special surface structure when the varnish hardens.

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Substrate The material that is printed. It is normally paper, but may also be cardboard, foil, textile, glass, or other materials. T

Tactile varnish [ 5] A UV varnish that coats exceptionally thickly and can be used to make lettering and other elements stand out three-dimensionally without deforming the substrate. Test embossing The tool-maker carries out a test embossing to check the die before production. The test embossing is comparable with the test print for printing. Test print A test print on the actual substrate is used to check the reproduction or finish before starting production. Because test prints are expensive, many graphic designers today make do with digital simulations. See Proof. Thermochromic ink [ 10] Temperature-sensitive ink changes colour or becomes transparent at a particular temperature. Thermography printing [ 11] A printing process by which lines and areas can be elevated and emphasised. A temperature-sensitive powder is applied to the ink while it is still wet and then it is heated until it melts to produce a shiny raised surface. Transfer layer The part of a stamping foil that is transferred to the substrate by heat and pressure. The transfer layer is normally made up of a protective layer, a decorative layer, a metallised layer, and an adhesive layer. Transparent Unlike opaque inks, transparent inks do not completely obscure the image underneath. Trapping Trapping is the technique of making areas of ink overlap very slightly to avoid gaps.

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U

Uncoated paper Because its surface is open, uncoated paper absorbs a good deal more ink than coated paper. The surface of uncoated paper is rougher and appears more natural. Colours often appear less brilliant, details less precise, and solids rather uneven. V

Varnish [ 2] Varnishing is the most widespread surface finishing technique, alongside laminating. Varnish can be applied by offset printing, flexography, or screen printing. We distinguish between gloss, satin, and matt finishes, and between oil-based, water-based, and UV varnishes. Vector data A data format where the motifs are saved not as pixels but as ­mathematical formulae defining points, lines, curves and polygons. ­Vector data requires less memory than pixel data and can be scaled without loss of quality. Typical vector-based file formats are ai and fh. Viscosity The thickness of a liquid ink or varnish. The higher the viscosity, the thicker the liquid. W

Weight The basis weight of paper and cardboard is given in g/m² or gsm (grams per square metre). The figure gives an indication of thickness and stability. See also Grammage.

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Appendix

appendix  designers

123 buero™ [ 19]

123buero™ is a Berlin-based, independent graphic design consultancy that develops, designs, and realises projects based on structure, analysis, and logic. Established by Timo Gaessner in 2002, the studio works on projects across many diverse clients and sectors, such as Adidas, fashion label A.D.Deertz, architect Jürgen Mayer H., and the Kunsthaus Dresden. Additionally, Timo Gaessner designs typefaces, some of which will be available at the newly established type label MilieuGrotesque from autumn 2009 (www.milieugrotesque.com). 123 buero™ Timo Gaessner Lilli-Henoch-Strasse 17 10405 Berlin Germany T +49.30.43 65 96 67 [email protected] www.123buero.com

Antoine + Manuel [ 21,  90]

Antoine Audiau and Manuel Warosz met at art school in Paris and soon decided to work together under the name Antoine + Manuel. From the outset they have combined hand drawing and computer illustration with their own typography and photography. They explore their individual favourite fields and creative methods, resulting in output which, though diverse, has an obvious unity. Moving from dance to fashion via contemporary art and design, the duo has defined a singular graphic style. They work for fashion (Christian Lacroix), home (Habitat, Galeries Lafayette, Domestic, BD Ediciones), publishing houses, contemporary dance, theatre, and art. Their next projects will lead to an ever greater involvement in interior design. Antoine + Manuel Antoine Audiau, Manuel Warosz 8, rue Charlot 75003 Paris France T +33.1.44 61 99 00 [email protected] www.antoineetmanuel.com

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Catalogtree [ 28]

Catalogtree is a multidisciplinary design studio founded in 2001 by Daniel Gross and Joris Maltha. The studio works on commissioned and self-initiated design projects. They believe that form = behaviour. ­G enerative design, programming, typography, and the visualisation of quantitative data are part of their daily routine. Recent endeavours include pneumatic pushpin firing at moving targets, irregular print-screen development, laser ranging, and the visualisation of parking behaviour of New York diplomats. Catalogtree Daniel Gross, Joris Maltha Wijnstraat 96F 3011 TR Rotterdam The Netherlands T +31.10.7 14 26 80 [email protected] www.catalogtree.net

Drushba Pankow [ 27]

Alexandra Kardinar and Volker Schlecht founded Drushba Pankow in Berlin in 2002. The pair cover a spectrum ranging from illustrations to book and magazine design, from corporate design to animated film. They describe their working method as creative ping-pong – between drawing and art collage, between pen and computer, between intuition and research, and not least between Kardinar and Schlecht. Their clients include the Heinrich Böll Foundation, Büchergilde Gutenberg, Spektrum Verlag, ‘Stern’ magazine, Mercedes, Jung von Matt, and EMI. In 2007 and 2008 they illustrated a fifty-part series on knowledge for the ‘Die Zeit’ newspaper. In 2006 Alexandra Kardinar was appointed professor of illustration at the Georg Simon Ohm University of Applied Sciences in Nuremberg. Drushba Pankow c/o buerro Alexandra Kardinar, Volker Schlecht Brückenstrasse 1 10179 Berlin Germany T +49.30.21 60 73 18 [email protected] www.drushbapankow.de

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appendix  designers

Hans Gremmen [ 2]

Hans Gremmen (born in 1976) is an Amsterdam-based graphic designer. He works in the field of culture and collaborates with artists, architects, and photographers. In 2003 he compiled ‘Empty Trashcan’ (St. Joost Publishers), a book about the sense and the nonsense of the personal computer. In 2008 he edited the book ‘Serendipity’ about the beauty of failure which was published by Roma Publications. Hans Gremmen teaches typography at ArtEZ Institute of the Arts in Arnhem and gives workshops at the University of Kassel, the Technical University, Delft, and the St. Joost Academy of Arts, Breda. In 2009 he founded an online bookshop for ­i ndependently published photography books (www.independent-publishers.org). Hans Gremmen Amstel 242 sous 1017 AK Amsterdam The Netherlands T +31.20.4 28 20 47 [email protected] www.hansgremmen.nl

Fons Hickmann [ 31,  91]

Fons Hickmann is a graphic artist, designer, and author living in Berlin. His studio, Fons Hickmann m23, develops holistic communication systems: corporate design, book and poster layouts, magazine concepts, and digital media. Hickmann has exhibited, lectured, and taught all over the world. For six years he was professor of graphic design at the University of Applied Arts in Vienna, before moving in 2007 to the University of the Arts in Berlin. His work has won many awards and been the subject of numerous publications. He is a member of TDC New York, and AGI Alliance Graphique International. His latest publications are ‘Beyond Graphic Design’ and ‘Touch Me There’. Fons Hickmann m23 Fons Hickmann, Gesine Grotrian-Steinweg Mariannenplatz 23 10997 Berlin Germany T +49.30.69 51 85 01 [email protected] www.fonshickmann.com

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appendix  designers

Hort [ 24]

Founded in 1994 by Eike König, Hort has always been a big, colourful playground (the name is derived from the German word for afternoon childcare for younger schoolchildren). It is a place without boundaries, but with absolute openness, enormous trust, and every imaginable opportunity. It is an unconventional place in which to design, one that allows anything and demands all. Hort draws inspiration from everything and everyone, is always on the move, growing, and ­changing. It focuses on corporate design, branding concepts for fashion, lifestyle, and record labels, illustrations, editorial concepts, and interior design. As well as working for renowned clients such as Nike, Microsoft Zune, Universal Music, Draftfcb, Mercedes Benz, ‘Wallpaper*’, and the ‘New York Times’, Hort also offers workshops and lectures. Hort Hagelberger Strasse 52/HH 10965 Berlin Germany T +49.30.81 82 81 08 [email protected] www.hort.org.uk

Sarah Illenberger [ 7,  100]

In her Berlin studio, Sarah Illenberger develops visual ideas and concepts for magazines and independent advertising agencies. Her extraordinary series of photographed objects and installations have appeared in ‘SZ-Magazin’, ‘Neon’, and ‘Sleek’. Illenberger studied at Central Saint Martins College in London and designed jewellery before turning to illustration. She works alone, but often has her work photographed by still-life photographers. Sarah Illenberger Illustration & Art Direction Brunnenstrasse 10 10119 Berlin Germany T +49.30.24 53 46 51 [email protected] www.sarahillenberger.com

119

appendix  designers

Jung + Wenig [  14,  98]

Christopher Jung and Tobias Wenig met at the Academy of Visual Arts (HGB) in Leipzig in 1999. Among their professors were Cyan and Günter Karl Bose. In 2004 they founded Jung + Wenig (jung = young, und = and, wenig = little). Their work includes books, magazines, CD covers, film and multimedia works for clients in the cultural sector. Above all, they want their design to relate to the project; and the result should look good and make the client, consumers, and the designers themselves happier. Most of the time they get the greatest satisfaction out of very small things: a letter that looks like an animal, an almost empty page with two or three well placed basic elements on it, a nice colour or surface. It can be anything. Jung + Wenig Christopher Jung, Tobias Wenig Reichenbergerstrasse 136 10999 Berlin Germany T +49.30.55 10 56 23 [email protected] www.jungundwenig.com

karlssonwilker inc. [ 3]

karlssonwilker inc. is the design studio of Hjalti Karlsson and Jan Wilker, located in the heart of Manhattan. Originally from Iceland and Germany respectively, they work on all sorts of projects with a wide range of clients. They are joined in the studio by Nicole (Germany) and one intern, making a small unit of only four people. They enjoy giving talks and workshops around the world, and from time to time they hold parties on their backyard rooftop. karlssonwilker inc. Hjalti Karlsson, Jan Wilker 536 6th Avenue New York, NY 10011 USA T +1.212.9 29 80 64 [email protected] www.karlssonwilker.com

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appendix  designers

Hoon Kim [ 5]

Hoon Kim is a graphic designer and an educator. He established Why not smile, an independent graphic design workshop based in New York City in 2009. Why not smile focuses on cultural and environmental issues across printed matter, branding, exhibition design, motion graphics, and websites. Hoon has worked for the MoMA, Practise, Samsung Design Membership, and Crosspoint, spanning New York City, London, and Seoul. His current personal research strives to visualise soundscapes in the public sphere. Hoon teaches at Rhode Island School of Design and he was a recipient of the Next Generation Design Leader award supported by the Korean Institute of Design Promotion. Why not smile Hoon Kim 530 E 89TH ST, #5J New York, NY 10128 USA T +1.401.4 40 73 31 [email protected] www.whynotsmile.com

Yang Liu [ 4]

Yang Liu was born in 1976 in Beijing and has lived in Germany since 1990. After graduating from the University of the Arts in Berlin she worked for Thomas Manss in Berlin and London and for Chermayeff & Geismar in New York, before opening her own agency in Berlin in 2004 (now with an office in Beijing too). She teaches at the Central Academy of Fine Arts in Beijing and at Glasgow School of Art. In 2007 she published ‘Ost trifft West’, a book of pictograms explaining the differences between Germany and China. She has won several design awards, most recently an ADC Gold Medal, the Lead Award in Gold, and the German Book Design Prize. Yang Liu Design Yang Liu Invalidenstrasse 115 10115 Berlin Germany T +49.30.63 21 92 59 [email protected] www.yangliudesign.com

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appendix  designers

Mario Lombardo [ 10,  90, 99]

Mario Lombardo has been advising magazines and music, DVD, and record labels since 1998, and was art director of ‘Spex’ from 2001 to 2006. In 2004 he set up Bureau Mario Lombardo in Cologne. His work concentrates on the medium of print and moves in the cultural context of art, fashion, music, photography, design, architecture, and TV design. Lombardo’s approach is always interdisciplinary, creating connections between language, space, aesthetic, material, and poetry. Currently art director of the magazine ‘Liebling’, he moved his firm to Berlin in 2008. Lombardo teaches at several design schools and was named Visual Leader of the Year in 2008. Bureau Mario Lombardo Mario Lombardo Auguststrasse 85 10117 Berlin Germany T +49.30.99 28 80 60 [email protected] www.mariolombardo.com

LUST [  15,  99] LUST is a graphic practice that tries to anticipate new terrains for

graphic design, for software, and for new audiences. They work in a variety of media including printed materials, interactive installations, and architectural graphics. LUST considers design as a process. Each design stems from extensive research. In the course of its existence, LUST has developed a design methodology which has been described as process-based design. This entails the development of an analytical process which eventually leads to something that designs itself. Furthermore, they are most interested in the cutting edge where the disciplines of graphic design, interactive and media design, architecture, and urban planning overlap. LUST Jeroen Barendse, Thomas Castro, Dimitri Nieuwenhuizen Dunne Bierkade 17 2512 BC Den Haag The Netherlands T +31.70.3 63 57 76 [email protected] www.lust.nl

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appendix  designers

Thomas Mayfried Visual Communication [ 20,  100]

Graphic design must respect the content, which is why Thomas Mayfried studied visual communication after working as a photojournalist. In 1999 he opened his studio Thomas Mayfried Visual Communication, concentrating on projects in the field of culture, one of which was to develop the corporate design for Haus der Kunst in Munich (2003), for which the office continues to be responsible. Mayfried firmly believes that graphic design is not ­decoration, rather it is about finding the appropriate form for the content. That is nothing new, but it is always a challenge. Thomas Mayfried Visual Communication Thomas Mayfried T +49.89.38 38 09 00 [email protected] www.mayfried.com

Fanette Mellier [ 6,  99]

Fanette Mellier, born 1977, graduated in 2000 from the École supérieure des arts décoratifs (ESAD) in Strasbourg and worked for Pierre Di Sciullo and Pierre Bernard. She began her freelance career as a graphic designer in 2004, working for literature publishers and clients from the cultural and social fields. As artist in residence at Chaumont since 2007, she has been investigating ways to bring together graphic art and literature. Her commercial and research projects are always mutually enriching. Fanette Mellier 45 rue Séverine 94270 Le Kremlin-Bicêtre France T +33.6.62 70 31 58 [email protected] www.fanettemellier.com

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mischen [ 16]

Barbara Bättig, Harri Kuhn, and Vera Rammelmeyer established the Berlin design studio mischen in 2005. mischen’s concepts and designs are individual and public, creative and focused, emotional and intelligent, unusual and familiar, continuous and spontaneous, profound and beautiful. mischen works in plane and space, motion and stasic, real and virtual, with hand and mouse, and is timeless and ahead of its time. mischen Barbara Bättig, Harri Kuhn, Vera Rammelmeyer Erkelenzdamm 11–13 10999 Berlin Germany F +49.30.44 04 20 82 [email protected] www.mischen-berlin.de

Maureen Mooren [ 23,  99]

Maureen Mooren lives and works in Amsterdam after having graduated from the Willem de Kooning Academy in Rotterdam in 1996. Until 2007 she collaborated with Daniel van der Velden on a variety of projects for cultural clients, such as the ‘Archis’ magazine, the catalogue ‘For Real’ for the Stedelijk Museum Amsterdam, several books for artists like Haegue Yang and Jonathan Monk, and the graphic identity and poster campaigns for the Holland Festival. The duo’s work is documented in the book ‘These Words/Graphic’. Since 2007 Maureen Mooren has run her own studio and continues to work for the Holland Festival, she does posters and books for cultural institutions such as the Marres Centre for Contemporary Culture in Maastricht. Maureen Mooren Stavangerweg 890–15 1013 AX Amsterdam The Netherlands F +31.20.6 20 55 47 M +31.6.24 55 48 71 [email protected] www.maureenmooren.nl

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Node Berlin Oslo [ 13,  99] Node is a Berlin- and Oslo-based graphic design studio, founded in

2003 by Anders Hofgaard and Serge Rompza. Vladimir Llovet Casademont joined the collaboration in 2006. All three studied at the Gerrit Rietveld Academy, Amsterdam. The studio works for international clients and on self-initiated projects across various media. Node runs what has been seen as a ‘hotel’ in their studio, in which they host customer and project identities. The way they work fosters a strong sense of belonging in the graphic designers who work in the studio. Node is research-driven and motivated by an appetite to pursue interesting projects. Node Berlin Oslo Anders Hofgaard, Serge Rompza, Vladimir Llovet Casademont Lobeckstrasse 30–35 10969 Berlin Germany T +49.30.3 22 97 04 30 [email protected] www.nodeberlin.com

OK-RM [ 29] OK-RM is a studio formed in 2008 by Oliver Knight and Rory McGrath

who have worked collaboratively since 2003 when they graduated from Bristol UWE. They work mainly in the cultural sector for institutions and individuals, creating identities, books, posters, exhibitions, and websites. OK-RM’s projects are more often than not grounded in a genuine concern for collecting and organising content through a rational and thoughtful approach. Recent clients include Hayward Gallery, Barbican Art Gallery, Swatch, Film and Video Umbrella, Channel 4, and Artangel. They are also developing an interest in selfpublished projects. OK-RM Oliver Knight, Rory McGrath [email protected] www.ok-rm.co.uk

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appendix  designers

onlab [ 11,  99]

onlab is a Berlin-based Swiss graphic design studio. The studio works on commissioned, collaborative, as well as self-initiated design projects and is a co-founder of etc publications, a platform for independent publishing. Recent projects are the redesign of ‘Domus’ magazine and the art direction of the German pavilion at the Architecture Biennale in Venice, 2008. onlab states its position by linking the contents and aesthetics of the productions with topical subjects. The essence of a task and of a project is always the guide to solving it, unfolding an emotional and accessible dimension. In doing so, a committed project can explore fact or fiction. onlab Nicolas Bourquin Oderberger Strasse 11 10435 Berlin Germany T +49.30.80 61 58 80 [email protected] www.onlab.ch

Pixelgarten [ 12,  100]

Catrin Altenbrandt and Adrian Nießler are Pixelgarten. Both studied visual communication at the Academy of Art and Design in Offenbach and have been working together since 2004 on free and applied projects in the fields of photography, illustration, and graphic design. For publishers and cultural institutions, and magazines like ‘Neon’, ‘form’, and ‘Wired’, they have realised projects that transcend the boundaries of two-dimensional print media to move into three-dimensional space too. Together with Gerrit Terstiege they produced the book ‘Three D – Graphic Spaces’, published in 2008 by Birkhäuser Verlag. Pixelgarten c/o Basis Frankfurt Catrin Altenbrandt, Adrian Nießler Elbestrasse 10 HH 60329 Frankfurt Germany T +49.69.80 08 79 40 [email protected] www.pixelgarten.de

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appendix  designers

Project Projects [ 22,  98]

Project Projects is a design studio focusing on print, exhibition, and interactive work with clients in art and architecture. Founded in 2004 by Prem Krishnamurthy and Adam Michaels, the studio’s clients include Art in General, Berkeley Art Museum, Canadian Centre for Architecture, Center for Urban Pedagogy, Field Operations, the MoMA, the ‘New York Times Magazine’, Phaidon, Princeton Architectural Press, and Steven Holl Architects. The studio was named a Finalist in the 2009 Cooper-Hewitt National Design Awards and has won numerous awards including ‘I.D.’ magazine’s 2007 Design Distinction Award and the Art Directors Club Young Guns 5 Award. In addition to client-based work, Project Projects initiates and produces independent curatorial and publishing projects. Project Projects Prem Krishnamurthy, Adam Michaels 156 Ludlow St, 3rd floor New York, NY 10002 USA T +1.212.5 09 06 36 [email protected] www.projectprojects.com

Rimini Berlin [ 33]

Rimini Berlin, founded by Till Beckmann and Franziska Morlok, conceptualises and designs printed, digital, film, and spatial projects. Work in a whole range of different media and a conceptual yet still experimental approach form the basis for their independent and client-led projects. Their clients include Berlin’s Natural History Museum, Filmgalerie 451, the Film and Television Academy in Potsdam, the J­ ewish Museum in Berlin, and artists like Heinz Emigholz and Katja Eydel. Franziska Morlok and Till Beckmann studied at the University of the Arts in Berlin, where they now teach graphic design and media art. Rimini Berlin Franziska Morlok, Till Beckmann Raumerstrasse 27 10437 Berlin Germany T +49.30.25 32 33 77 [email protected] www.rimini-berlin.de

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appendix  designers

Viola Schmieskors [ 17]

Early encounters with shapes and shades led Viola Schmieskors to study Communication Design at the Folkwang Hochschule, Essen, where she was part of the typography committee. Subsequently she was hired as a full-time designer in the studio Fons Hickmann m23 in Berlin. Here she further developed and refined her flair for subtle details and original compositions. At the beginning of 2009 she opened her own studio and is now a self-employed graphic designer with bases in Berlin and Stockholm. Viola Schmieskors works for clients such as the artist Katharina Bosse, and concentrates on creative, structured, and conceptional design solutions – often greatly enhanced by the use of special material and paper finishing. Viola Schmieskors Karlbersgsvägen 53 A 11335 Stockholm Sweden T + 46.760.17 19 79 Reichenbergerstrasse 89 10999 Berlin Germany M +49.178.1 83 02 74 [email protected] www.violaschmieskors.com

Ariane Spanier [ 25]

Ariane Spanier, born 1978 in Weimar, studied visual communication at Berlin Weissensee School of Art. After working in Stefan Sagmeister’s New York office in 2004–05, she began her freelance career on her return to Berlin. Spanier works largely for clients in the fields of culture, galleries, artists, publishers, and architects. Her main métier is print, but she also designs animations and websites. For Spanier the essence of design is the attempt ‘to contribute something to our visual environment and to strive to improve it for a moment’. Ariane Spanier [email protected] www.arianespanier.com

128

appendix  designers

Annik Troxler [ 9,  99]

Annik Troxler was born in 1979 in Wolhusen, Switzerland. She studied graphic design at the ECAL in Lausanne, and now lives and works in Basel. Annik Troxler has worked at the studios of Niklaus Troxler (Willisau), Fons Hickmann (Berlin), and Stephan Bundi (Boll/Bern). In 2005 she won the Swiss Federal Competition for Design, which gave her the opportunity to work for six months with Mevis & Van Deursen in Amsterdam. Annik’s posters have received awards in many design and poster competitions: in 2006 she won the Grand Prix of the 8th International Poster Triennial of the Museum of Modern Art Toyama, Japan; and in 2008 the first prize at the International Poster Festival in Chaumont, France. Annik Troxler Baldeggerstrasse 54 4052 Basel Switzerland T +41.61.3 11 39 19 [email protected] www.anniktroxler.ch

Üppig [ 26]

Üppig Identity Store in Amsterdam is a shop for original ideas, where artists get together in the pursuit of an interesting question, a smart business idea, or just a good conversation about life, who we are, where we are heading, why we are concerned about the environment, politics, and the fact that graphic design brings the sustainable solution, making the real difference in this crowded world where everybody is a designer, and why we should go back to living in the countryside, keeping sheep, baking bread that tastes like bread, and meanwhile working hard, looking for that special moment, creating new combinations since there is enough in this world for everyone, if they start thinking the Üppig way. Üppig Monika Sunnanväder, Richard van Os Prins Hendrikkade 147 1011 AV Amsterdam The Netherlands T +31.20.3 00 36 37 [email protected] www.uppig.nl

129

appendix  designers

Weiss  – heiten Design [ 8,  91, 99]

Weiss – heiten is a European design team with studios in Berlin, London, Paris, and Zurich. Working across a diverse range of sectors including the arts, retail, corporate services, and public sector, Weiss – heiten provides advice, generates concepts and creates designs for both local and international projects. Intensive dialogue between and among Weiss – heiten’s studios, the exchange of ideas, expertise, and experience, is European culture at its best and part of our daily life and work. Weiss – heiten Design Tobias Kohlhaas, Birgit Hölzer Schlesische Strasse 29/30 10997 Berlin Germany T +49.30.69 56 62 50 [email protected] www.weiss-heiten.eu

Welcometo.as [ 27]

Adam Macháˇcek and Sébastien Bohner first met during their internship at Studio Dumbar in The Hague in spring 2002. That same year they met again coincidentally in Lausanne (Sébastien’s hometown), where Adam was studying during a one-year scholarship at ECAL . After working on a few projects together, they established Welcometo.as in 2004. Their projects are always developed in dialogue with clients and strongly inspired by their contexts. The studio’s creations – spanning books, exhibition catalogues, signage, and visual identities – are mischievous and engaging, and interact playfully with the audience. Common to the designs is the will to push print processes to the very limit, to better sidestep the restrictions that commissions impose. Welcometo.as Adam Macháˇcek, Sébastien Bohner Rue de Genève 19 1003 Lausanne Switzerland T +41.21.3 12 72 14 [email protected] www.welcometo.as

130

Appendix  production firms

Bölling [ 11, 27, 29]

Marco O. Bölling, born 1973, is managing director of Bölling Prägedruck, a distinguished name in relief printing and finishing. Bölling and his team support creative agencies and individual customers through the whole process of print finishing, from planning to end product – and if required with initial consulting services too. Connoisseurs of quality from all walks of life – including famous personalities and leading politicians – are among the many customers of this specialist company. The combination of state-of-the-art technology with traditional craft skills produces exemplary results that have won awards from TDC and ADC, among others. Bölling GmbH & Co KG Prägedrucksachen Schwalbacher Strasse 83 65812 Bad Soden Germany T +49.6196.76 69 80 F +49.6196.76 69 866 [email protected] www.boelling.com

Dalla Betta Kartonagen [ 33]

Packaging manufacturer Dalla Betta is renowned for innovative packaging and sophisticated production solutions. The company combines young, creative staff with sixty years of manufacturing experience. Dalla Betta produces cardboard packaging, folded boxes, and displays, and offers specialist solutions for all branches of industry. The firm won the DID Award for Finishing in 2007 and the German Printing Industry Innovation Award for 2007 and 2008. An in-house CAD department and the latest plant and machinery make Dalla Betta the perfect partner for many branches of industry, in particular the publishing trade which it provides with unique solutions for covers and product integration (e.g. CDs). Dalla Betta Kartonagen Feldweg 5 87437 Kempten Germany T +49.831.73 713 F +49.831.75 059 [email protected] www.dalla-betta.de

131

Appendix  production firms

Flock-Tec [ 14]

Flock-Tec was established in 1990 and specialises in flocking panels and moulded parts. Having accumulated a wide range of experience in all fields of flocking, the company is often commissioned for development work, sample series, and special applications. In 1999/2000 the company flocked the designs that appeared on the covers of all of Lycra’s presentations of seasonal colours. The advertising agency liked the effect so much that it had special Christmas wrapping paper and cards flocked for its own use. Another highlight in 2001 was the cover for ‘Krieg und Frieden – Eine deutsche Zarin in Schloss Pawlowsk’, published to accompany an exhibition at Haus der Kunst in Munich. In 2007 Flock-Tec greatly expanded its paper flocking operations. Over the years, Flock-Tec has flocked millions of cards, book covers, and other articles. The company is pleased to supply samples; customers find the sample sheets with positive and negative lettering and lines in different sizes especially helpful. Flock-Tec Technische Beflockungen GmbH Robert-Bosch-Strasse 60 72810 Gomaringen Germany T +49.7072.80 584 F +49.7072.91 29 03 [email protected] www.flock-tec.de

Gerscher Druck [ 3 – 10, 13]

Gerscher is a family business with sixty years of experience in all kinds of screen printing. The company supplies offset printers with print finishes that are often only possible in combination with screen printing. The optical and haptic possibilities offered by screen printing are enormous. Gerscher prints high-gloss UV varnishes, special matt varnishes, tactile varnishes, structured varnishes, glitter varnishes, Iriodin inks, security inks, rub-off inks, fluorescent inks, phosphorescent inks, thermochromic inks, hydrochromic inks, perfumed inks, and much else besides. As well as print finishing Gerscher also offers the full spectrum of classical and technical screen printing – from stickers and keyboard foil to printed metal parts and special technical applications. The company covers post-print processes too. Gerscher can screen print and finish any size of job, from small format to sheet sizes of 150 × 110 cm on various automatic, semi-automatic, and three-quarter automatic ­machines.

132

Gerscher GmbH Im Oberen Tal 24 74858 Aglasterhausen Germany T +49.6262.92 150 F +49.6262.92 15 55 [email protected] www.gerscher.de

Appendix  production firms

Gräfe Group [ 19 – 26, printing]

Print finishing is fascination and emotion combined. The Gräfe Group melds technical know-how with creative ideas, skilfully integrating the different finishing processes to create printed products that communicate particularly effectively by appealing to all the senses. The techniques offered include all the variants of classical foil stamping along with innovations such as cold foil transfer, and of course foil lamination and varnishing too. ‘The dose is crucial: often less is more’ is the motto. At its facilities in Bielefeld and Landau, the Gräfe Group provides the wherewithal for designers, photographers, agencies, printers, and branding consultants to realise infinite design possibilities. Gräfe-Druck & Veredelung GmbH Eckendorfer Strasse 82–84 33609 Bielefeld Germany T +49.521.97 20 50 F +49.521.97 20 550 [email protected] www.graefe-druck.de

Leissing Druckveredelung GmbH & Co. KG Lise-Meitner-Strasse 10 76829 Landau Germany T +49.6341.94 24 90 F +49.6341.94 24 949 [email protected] www.leissing-druckveredelung.de

hinderer + mühlich [ 19 – 25]

hinderer + mühlich manufactures perfect stamping tools for print finishing. The company is global market leader with plants in Germany, China, France, Switzerland, and the United States; in a word hinderer + mühlich stands for precision, fast delivery, and a huge range of customised tools. hinderer + mühlich supplies tools for relief types, embossing and debossing, blind embossings, and – their preference – tools for extraordinary designs. The keywords are: microembossing, paperscape, faces of relief, lenticular. hinderer + mühlich KG Heilbronner Strasse 27–29 73037 Göppingen Germany T +49.7161.97 82 20 F +49.7161.97 82 210 [email protected] www.hinderer-muehlich.de

133

appenDix

production firms

klenke druck [ 15]

Since 1976, Klenke has been a respected partner for diverse printed objects that use plastics, stickers and foils and range in size from XXS to XXL . Its customers include numerous advertising agencies and wellknown corporations. Klenke has made a name for itself as a pioneer in lenticular printing. Depth and fl ip effects, a combination of the two, or morphing – the team from Osnabrücker Land constantly pushes the limits of what is possible. Its portfolio is rounded off by a variety of fi nishing services for plastic, foil, UV offset, and screen printing. Klenke Druck GmbH & Co. KG Stievenstrasse 15 49201 Dissen Germany T +49.5421.94 41 0 F +49.5421.94 41 11 [email protected] www.klenke-druck.de

kösel [printing, binding] ‘Making books’ has been the speciality of Kösel for more than 400 years. It is only through the harmonious interaction of text, material, print quality and fi nishing that a book becomes a perfect unit in the sense of functionality and aesthetics. Besides the usual specifications, there are some developments unique to Kösel. By developing extraordinary book forms, the books provide not only a source of information but become an experience in themselves. With fi rst-rate quality and service Kösel is one of the leading book-production companies on the European market. Being a comprehensive production company including pre-press, print, binding, and efficient logistics, Kösel offers its customers a very competent service long before and after the actual book production itself.

Kösel GmbH & Co. KG Am Buchweg 1 87452 Altusried-Krugzell Germany T +49.8374.58 00 F +49.8374.58 02 56 [email protected] www.koeselbuch.de

134

Appendix  production firms

Kremo [ 31]

Paper is particularly noticeable where it is missing. Kremo has many years of experience as a specialist in laser cutting paper, giving the finishing touches to printed products with the finest of cut-outs, perforations, and engravings. When conventional cutting tools reach their limits, Kremo is only warming up. The resulting products stand out clearly from other processes; figures with the featheriest of structures create astonishing effects. The range includes advertising brochures, annual reports, invitations, mailings, and business cards. Cutting and engraving offer opportunities for personalisation, too. Thicker modelling materials, book covers (even finished books), cardboard, leather, cork, thin wood (up to about 3 mm), and plexiglass (up to about 8 mm) can also be cut and lettered. Numerical control allows costeffective cutting of any size of batch – from one to one hundred thousand or more. And the viewer is astonished. Kremo Laser-Papierfeinstanzungen Karl Kretschmer e. K. Odenwaldstrasse 19 74821 Mosbach Germany T +49.6261.14 805 F +49.6261.18 471 [email protected] www.kremo.de

Kurz [ 18 – 26]

Kurz produces all the foils for conjuring metallic sheen or holographic images onto paper: hot stamping foils in gleaming metallic colours and different grades of gloss, optimised for substrate, motif, and stamping tool, as well as holographic foils in different colours or transparent, offering unlimited design possibilities. A full range of cold foils rounds off the Kurz spectrum with brilliant cold foils for sheet-fed offset and narrow web label presses and striking overprinting effects. Leonhard Kurz Stiftung & Co. KG Schwabacher Strasse 482 90763 Fürth Germany T +49.911.71 410 F +49.911.71 413 57 [email protected] www.kurz.de

135

Appendix  production firms

Richard Mayer Buchbinderei

Buchbinderei Mayer [Edge finishing] Buchbinderei Mayer specialises in exceptionally high-class finishes, manufacturing covers, sleeves, and cases, and carrying out superb edge finishes in gold, silver, and in colour for anything from a one-off to a high-volume run. The company has two industrial edgefinishing systems and the corresponding peripherals. Buchbinderei Mayer finishes, embosses, and punches leather, wood, and metal, and produces large-format books up to 420 × 700 mm (upright format) and 750 × 450 mm (oblong format). The company was founded in 1946 and today has 23 staff in Esslingen. Work can also be inexpensively subcontracted out to a subsidiary in Prague. The managing partners are Frieder Mayer and Gerald Schlegel.

Richard Mayer Buchbindermeister GmbH Alleenstrasse 21 73730 Esslingen Germany T +49.711.32 77 80 80 F +49.711.32 77 80 89 [email protected] www.bubi-mayer.de

PaperluxTM [ 28]

Richard Mayer Buchbinderei GmbH . Obertürkheimer Str. 62 . 73733 Esslingen/Mettingen . Telefon 0711 - 327 7808 0 . Telefax 0711 -3 27 7808 9 : [email protected] . internet: www.bubi-mayer.de . HRB 21-3225 Esslingen . Geschäftsführer: Frieder Mayer, Gerald Schlegel . StrNr. 59350-21183

Paperlux is a design and production agency based in Hamburg. It was founded in 2003 and works for customers such as Lange & Söhne, Falke, Adidas, and Escada, to name just a few. The company has three fields of business: Surface, Design, and Production. The field Paperlux Surface includes its very own, patented sublimation method: Paperlux paper etching. Paperlux Design incorporates strategic corporate, brand, and product communication. Be it complex corporate identity, event communication tools or packaging – this is where polished brand worlds emerge. Working alongside this section is Paperlux Production. Here, brand messages become tangible – as hand-made small series or with complex manufacturing, all done in-house. Paperlux Production ensures quality and the technical and production-related feasibility of ideas. Here, new ideas are developed, individual solutions are sought and service providers are coordinated. Paperlux GmbH Schanzenstrasse 70 20357 Hamburg Germany T +49.40.430 94 80 0 F +49.40.430 94 80 28 [email protected] www.paperlux.com

136

Appendix  production firms

Arbeitskreis Prägefoliendruck e. V.

Arbeitskreis Prägefoliendruck e. V. is a non-profit organisation of print finishing firms, printers and technology partners working to develop and communicate quality and innovation in all the diverse aspects of foil stamping. Arbeitskreis Prägefoliendruck e. V. prepares information and training materials, and runs seminars on marketing, creative processes, production, and training. Arbeitskreis Prägefoliendruck e. V. P.O. Box 1629 73506 Schwäbisch Gmünd Germany T +49.7171.418 34 [email protected] www.look-and-feel.net

Rieker [ 1, 2, 12, 16, 17, 18]

Rieker is not just any old print finishing company. It is a refiner of ideas. Anything a customer wants to put on paper, Rieker will do it in abundance: gloss, matt, structured, perfumed, laminated, varnished. Best of all a combination of the lot. Rieker can draw on more than a century of experience providing services in the field of print finishing for the printing trade. The company does all the known finishing techniques in-house (and some unknown ones too). Post-printing processes such as die cutting and hot-foil stamping are offered in association with partner firms. Rieker has the latest technology and a flexible vehicle fleet for fast, punctual processing of all finishing jobs. Competent staff are always pleased to advise. Rieker Druckveredelung GmbH + Co. KG Max-Lang-Strasse 62 70771 Leinfelden Germany T +49.711.75 87 09 90 F +49.711.75 87 09 91 11 [email protected] www.rieker-dv.de

137

appenDix

production firms

sappi

Sappi, the world’s leader of coated fine papers also produces uncoated fine papers and paper boards. With headquarters in South Africa, it has manufacturing operations in Europe, North America, and Africa, a joint venture in China, and more than fi fty sales offices around the world. Graphic designers, brand owners, and printers in more than 100 countries use Sappi papers for demanding, high quality publishing, promotional and packaging applications. They are produced to international quality and environmental standards at ten state-of-the-art mills. Sappi’s entire European operations are also certified under both the FSC and/or PEFC forestry protection schemes, ensuring the environmental credentials of its products and the long-term sustainability of its raw materials. Each Sappi brand is marketed in a full range of finishes and basis weights to promote the broadest variety of design creativity. HannoArt HannoArt™ is the smart choice. The papers’ blue-white shade and exceptional ink gloss provide lucidity, depth and dimension affording designers with an exciting canvas for creativity. Excellent runnability saves time on press and in the converting process. The papers come in gloss, silk, and matt fi nishes, in basis weights from 80 to 350 g/m². HannoArt Gloss [ 3, 8, 12, 13, 14] The paper’s uniform, even shiny surface gives exact image reproduction for superb visual effects and a brilliant end result. Improved ink setting supports its performance on press. HannoArt Silk [ 2, 5, 6, 7, 9, 10, 16, 17, 18] A smooth, non-calendered surface provides greater volume and exquisite touch. Excellent print gloss and contrast in relation to the silk-touch surface helps to create an impressive, visually striking result. HannoArt Bulk [ 4, 11, 27, 33, text section] High bulk, opacity, and stiffness give a tactile, more voluminous feel, adding perceived value to all types of application. Lighter grades also provide considerable yield advantage. The non-glare surface enables good legibility and vivid colour reproduction.

138

appenDix

production firms

Algro Design Duo [ 1, 19 – 26, 29 – 32] As part of the Algro Design™ range of superior, high white, silk coated solid bleached boards (SBB) with exceptional UV-light fastness, Algro Design Duo offers unlimited creative possibilities for premium graphics and packaging applications. The durable carton board is symmetrically double-silk coated on both sides adding value and a clean, fresh image to brand communication. Precise colour reproduction, contrast, sharp images, and highest consistency in all print- and fi nishing techniques are at the heart of the high white Algro Design™ range of carton boards. The cover of this book, the articles, and technical descriptions are all printed on Sappi papers. Sappi Fine Paper Europe Chaussée de la Hulpe 154 1170 Brussels Belgium T +32.2.676 97 00 [email protected] www.sappi.com

139

appendix  authors

Markus Zehentbauer [ 78 – 91, 94 –100]

Markus Zehentbauer is a freelance journalist and editor based in Munich. He writes about art and design for the ‘Süddeutsche Zeitung’ newspaper and the magazine ‘form’. Zehentbauer studied art history in Munich, worked at the Museum of Concrete Art in Ingolstadt, and was chief staff writer of ‘form’ magazine in Basel. He has also worked on Birkhäuser Verlag publications ‘Patterns 2’, ‘Limited Edition’, and ‘Chroma’.

Uwe Jäger [ 92 – 93]

Uwe Jäger studied engineering-orientated business management at Stuttgart University before completing a doctorate at Bayreuth University. He then worked for many years in sales and marketing in the packaging industry. Since 1997 he has been Professor of Marketing, Sales, and Management at Stuttgart Media University.

Franziska Morlok, Till Beckmann

Berlin-based graphic designers Franziska Morlok and Till Beckmann work under the name Rimini Berlin. They thought up the ‘extra’ project as a technical and aesthetic reference work for print finishing techniques, and brought it into being together with the participating designers, production firms, and authors.

140

Appendix  Thank you!

Many, many thanks …

To all the designers for their exceptional creativity and commitment Timo Gaessner, Meiko Gubler (123buero); Antoine Audiau, Manuel Warosz (Antoine + Manuel); Daniel Gross, Joris Maltha (Catalogtree); Alexandra Kardinar, Volker Schlecht (Drushba Pankow); Hans Gremmen; Fons Hickmann, Gesine Grotrian-Steinweg (Fons Hickmann m23); Eike König, Tim Schmitt, Lucie Ulrich (Hort); Sarah Illenberger; Christopher Jung, Tobias Wenig (Jung + Wenig); Hjalti Karlsson, Jan Wilker, Nicole Jacek (karlssonwilker inc.); Hoon Kim (Why not smile); Yang Liu (Yang Liu Design); Mario Lombardo (Bureau Mario Lombardo); Jeroen Barendse, Thomas Castro, Dimitri Nieuwenhuizen (LUST ); Thomas Mayfried (Thomas Mayfried Visual Communication); Fanette Mellier; Barbara Bättig, Harri Kuhn, Vera Rammelmeyer (mischen); Maureen Mooren; Anders Hofgaard, Serge Rompza, Vladimir Llovet Casademont, Miriam Waszelewski (Node Berlin Oslo); Rory McGrath, Oliver Knight (OK-RM); Nicolas Bourquin, Judith Wimmer, Thibaud Tissot (onlab); Catrin Altenbrandt, Adrian Nießler ­(Pixelgarten); Prem Krishnamurthy, Adam Michaels (Project Projects); Viola Schmieskors; Ariane Spanier; Annik Troxler; Monika Sunnanväder, Richard van Os (Üppig); Birgit Hölzer, Tobias Kohlhaas, Sandra Teschow (Weiss – heiten Design); Adam Macháˇcek, Sébastien Bohner (Welcometo.as) To all the production firms for their wonderful work and their expertise Marco O. Bölling (Bölling); Michael Weiss (Dalla Betta); Ulrich Maag (Flock-Tec); Dirk Gerscher, Sabine Gerscher (Gerscher Druck); Frank Denninghoff (Gräfe Druck & Veredelung); Faust Mühlich, Barbara Mühlich, Thomas Löchner, Joachim Seitz, Monika Beitlberger (hinderer + mühlich, Kurz); Anja Wellmeyer, Michael Krakow, Peer-Eric von Dreele, Lars Lindemann, Elisabeth Deutschmann (Klenke Druck); Martin Schöllhorn, Christian Sperle (Kösel); Karl Kretschmer, Christian Haas (Kremo); Frieder Mayer (Buchbinderei Mayer); Sebastian Heberle, F. Marco Kühne, Jan Staecker, Soraya Ziegler (Paperlux); Ralph Rieker, Oliver Hahn (Rieker Druckveredelung); Lars Scheidweiler, Marie-Ange Gérard, Stefan Wolff (Sappi) To everyone who helped us with the research Arbeitskreis Prägefoliendruck, Peter Barth, Stefan Berndt, Werner Deck, Wolfgang Faigle, Axel Fischer, Wendelin Hess, Uwe Jäger, Georg Kremer, Guido Lengwiler, Ralf Lokay, Lucie Mengel, Beat Müller, Thomas Nickert, Rüdiger Reinhardt, Rahel Wend (www.rent-a-wend.de) To all those who gave useful advice or provided support Martin Bankart, Sandra Barth, Sara de Bondt, Norbert Brey, Thomas ­Brugisser, Julia Bürck, Anke Heegewaldt, Hendrik Hornung, Christian Jürgensen, Oliver Klimpel, Jens Knöbl, Tale Jo König, Berit Liedtke, ­ Franz Maurer, Hans Peters, Marion Plassmann, Frank Pörschke, Anna Preuninger, Anne Rösemeier, Ulrike Ruh, Ulrich Schmidt, Ulrike Schoch, ­Sven Schreiber, Emily Smith, Paul Spehr, Dieter Weber, Claudia Weyandt, Markus Zehentbauer Financially supported by the Kulturwerk fund of VG Bild-Kunst GmbH, Bonn

141

appendix  index

3D rendering 42, 53 abrasive ink 26, 82f., 95, 100 acetate 36, 97 acrylic 28 adhesive 28f., 32f., 60 adhesive tape 36f. aesthetic 98 afterglow time 20f. aluminium 14, 96, 100 batch 13, 16, 65, 69f., see print run beveled edges 42, 44, 52 blackboard ink 32, 86 bleed off 11ff., 15ff., 19, 21, 23, 25ff., 29, 47, 51, 53, 55, 57, 74, 90 blind embossing 42f., 45, 52, 59, 90, 94, 96 blind printing 42, see blind embossing book block 74 braille varnish 13, see tactile varnish bronze foils 49 bridge 68, 70f. cellophaning 36, see foil lamination cloth 37 coated paper 9, 11ff., 15ff., 21, 23, 26ff., 36ff., 43, 46, 50, 53f., 56, 59, 61, 68, 70f., 97 cold foil finishing 60, see cold foil transfer cold foil printing 60, see cold foil transfer cold foil stamping 60, see cold foil transfer cold foil transfer 60f., 80, 94 combination foiling /embossing 45, 52f., 98 cost estimate 78 cotton 28 counters 68, 70 counter die 42, 50, 52, 54, 62 crossline screen 62 cut edge 68, 74 cutting die 65, 68, 70 cutting out 68, 92 cut-out 60 day-glow ink 18, see fluorescent ink debossed 42, 44, 52 deformation 42, 50, 52, 54, 64 deinking 97 die 42, 45f., 50, 52, 54, 56, 62, 65, 68, 70, 80, 94, 96f. die-cut line 68 die cutting 29, 68f., 91, 93, 96 die-cutting machine 47, 51, 53, 55, 57, 59, 61, 68, 81 die stamping 62, see steel engraving diffraction foils 39, 49, 56, 74, 80 digital printing 27 disperger 97 dispersion varnish 8f., 61, 91, 94 double-sided 11f., 15, 17, 19, 21, 23, 25f., 33 drip-off varnish 9 dry printing process 47, 51, 53, 55, 57

142

edge definition 24, 60 edge finishing 74f., 91 effect ink 14, 32f., 95f. effect pigment varnish 14f., 99 effect varnish 14, see effect pigment varnish electro-luminescent inks 32 embossed 37, 39, 42, 44, 49f., 52, 74, 79, 81, 90, 93 embossing foil 37, see foil lamination structured embossing level 42, 52 endless patterns 58 environmental credentials 96 fading ink 32 ferrous ink 33 fibre 28, 97 fine linen 37 flake 16, see glitter varnish flat foil stamping 46f., 54, 56, 58f. flexography 8, 11, 27 flip effect 30 flip images 30, see lenticular printing flitter 16, see glitter varnish flock 28f., 46, 82, 86, 91, 94f., 98, see flock printing flocking 28, see flock printing flock on flock 28 flock printing 28f. fluorescent ink 11, 17, 18f., 74, 91, 99 fly’s eye effect 30f. foil blocking 46, see flat foil stamping foil edges 74 foil laminating 36, see foil lamination matt, gloss foil lamination diffraction 39 foil lamination matt, gloss 36 foil lamination metallic 38, 60 foil lamination structured 37, 97 foil stamping 32, 36, 37ff., 43, 45ff., 87, 90, 94, 96, 97 foil stamping hologram 58, see stamped hologram foil stamping (microstructure) 54, see microembossing foil stamping in relief 52, see combination foiling / embossing foil stamping with structure 50f. folding lines 23, 25ff., 29, 64 folding machine 69, 71 forgery-proof 14, 46, 58 fragrance printing 17, see scented varnish frames 30 gaps 9, 11ff., 16, 18, 20, 23f., 26ff., 46, 50, 53f., 56, 59 genuine gold foils 49 Gestalt theory 92 glimmer 16, see glitter varnish glitter varnish 14, 16, 24, 79, 81, 94ff., 100 glow-in-the-dark 20, see phosphorescent ink gluing machine 47, 51, 53, 55, 57, 59, 61 gold 16, 27, 32, 38, 48f., 60, 74, 90, 94f., 99f. gold lamination 38, see foil lamination metallic grain direction 62 gravure printing 62 greyscale image 42, 50, 52, 64

hand engraving 42, 53 haptic 12f., 24, 42, 44, 46, 52, 62, 64, 94, 98 high-gloss 9, 36, 91f. high-gloss colour foils 48 highly viscous 8, 13, 94 HKS 28, 62, 74, 79 hole perforation 71, see perforation hole punching 71, see perforation hologram foils 39, 46, 49, 58 hologram hot stamping 58, see stamped hologram holographic effects 46, 48, 50, 52, 56, 58, see stamped hologram holographic foils 49 holography stamping 58, see stamped hologram hot foil stamping 46, 90, see flat foil stamping hot foil stamping (structure) 50, see foil stamping with structure hot foil stamping (relief) 52, see combination foiling / embossing hot-stamped foil 80 hybrid process 9 hydrochromatic ink 32 image data 31, 60, 62 imposition 29, 43, 47, 51, 53, 55, 65 index cutting 93 ink coverage 79 inkless embossing 42, see blind embossing in-line 8f., 24, 60 interference 14, 48 interference ink 14, see effect pigment varnish iridescent 48 Iriodin ink 14, 80, see effect pigment varnish iris glitter 16 Kinegram 58 kiss-cutting 68 knock out 38f., 46, 50, 53f., 56, 59, 79, 99 lamination 8, 10, 19, 36ff., 60f., 87, 96f. laser cut 68f., 70, 94, 96 laser cutting 70, see laser cut laser engraving 64, see paper engraving laser graphics 70, see laser cut laser punching 70, see laser cut laser printer 25, 47, 63 lenticular foil 30f., 83, 91, 99 lenticular images 30, see lenticular printing lenticular printing 30f., 93 light-fast 18f. light-reflecting ink 32 line perforation 71, see perforation long-fibre paper 45, 68 luminescent ink 32 luminous ink 20, 95, see phosphorescent ink

appendix  index

magnetic ink 83 materiality 82, 94 matt/gloss contrast 9, 48, 50 matt/gloss effect 46, 48, 50, 52 matting 45 metallic foils 38, 81 metallic ink 15, 32, 62 metallic pigment foils 49 microembossing 54f., 94 microperforation 71, see perforation micro-relief 58 microstructure 39, 49, 54, 99, see microembossing mirror ink 32 morphing 30 multi-colour 14, 16 multi-level 42, 45, 52 neon ink 18, see fluorescent ink off-line 24 Ökophan foil 97 offset printing 8f., 11, 14, 17f., 27, 29, 38f., 48, 63, 80 opaque white 38f., 80 opaque 14, 16, 18, 22, 26, 48f., 62 optical illusion 30 Pantone 28, 62, 74, 79 paper engraving 64f., 96 pearlescent 14, 38, 46, 48, 50, 52, 80 pearlescent foils 48 pearlescent ink 14, see effect pigment varnish pearlescent pigments 24 perception research 92 perforation 71, 96 perforation ratio 71 perfumed ink 17, see scented varnish phosphorescence 20, see phosphorescent ink phosphorescent ink 20f., 79, 82, 93, 99 photochromic ink 32 photoluminescence 20 piezochromatic ink 32 pigment 11ff., 20, 22, 24, 32, 38f., 48, 83, 91, 94f. pigment colour foils 48f. plastic foil 36, 58 pollution 96 polyamide 28 polyester 14, 28, 36, 95 polypropylene 36, 97 primer 29 printable protection foils 32 printed image 42, 46, 50ff., 59 printing ink 14, 17, 28, 48, 62 printing press 71 print run 25, 27, 63, 74ff., 80, 82, see batch production consultant 78 product protection 32, 46, 54, 58 proof 17, 42, 53, 91 protection 8ff., 15, 19, 32, 36ff., 61, 74, 97 pseudo-hologram 56, see variogram punching 68, see die cutting PVC 36

raised printing 24, see thermography printing raised thermography printing 24, see thermography printing raster image 8, 11, 26, 28, 38f., 54, 70 rayon 28 recycling 96f. recycled paper 97 relief embossing 42, see blind embossing relief forms 44f. relief stamping 42, see blind embossing relief varnish 13, see tactile varnish repeating patterns 49 resolution 13, 31, 60 round edges 42, 44, 52 rub-off ink 27, 82, 86, 93, 99 scented varnish 11, 17 scratch-and-sniff 17, see scented varnish scratch-off ink 27, see rub-off ink screen printing 8f., 11ff., 22, 25ff., 32, 38f., 63, 79, 82ff., 94, 96 sculptured 42, 42f., 52f., 98 security pigments 14 shim lines 39, 49 shiny nose effect 92 siderography 62, see steel engraving silver 16, 27, 32, 38f., 48f., 60, 74, 80, 95, 98 silver foil lamination 38, see foil lamination metallic silver lamination 38, see foil lamination metallic slip-resistant 11 slit punching 71, see perforation slot punching 71, see perforation single-level 42, 45, 52, 74 soft-touch varnish 11 soft-cover book 75 solvent 96 solvent-free 8, 97 spot colour 9, 11ff., 16ff., 20, 23f., 26ff., 42, 46, 52, 56, 59f., 62, 68, 71, 79, 90 spot colour channel 60 spot varnish 8, 97 stained egdes 74f. stamped hologram 58f. stamping foils 45f., 48f., 52, 54, 58, 74, 79, 86, 97, 100 standard hologram 59 standard structure 37, 45, 50, 54, 80 steel engraving 24f., 62f. structured foil 36f., see foil lamination structure structured varnish 8, 12, 94 structure effect 12, see structured varnish structure varnish 12, see structured varnish surface effect 45 surface structure 12, 50, 54

thermo ink 22, 83, see thermochromic ink thermoplastic layer 39 thermorelief 24f., 99, see thermography printing tilt effect 14 transfer layer 46, 48, 50, 52, 54, 60, 74 transparent 11ff., 16, 18, 20, 22, 38f. transparent foils 46, 48 trapping 9, 11ff., 16, 18, 20, 23f., 26ff., 56, 60 trim cut 29 uncoated paper 9, 11ff., 15ff., 21, 23, 28, 36ff., 43, 46, 50, 53f., 56, 59, 62, 64, 68, 70f., 97 UV-inked edges 74 UV light 8, 25, 32, 74, 83, 97 UV printing machine 96 UV varnish 8ff., 12f., 16, 27, 36f., 48, 61, 79f., 91ff., 97 varnish 8ff., 36ff., 43, 46, 48, 50, 53, 56, 74f., 78, 80, 95ff. variogram 56f. vector data 42, 46, 50, 52, 54, 56, 59, 62, 64, 68, 70 velvety 11, 28, 36 water-soluble ink 32 weather-proof 18, 20, 36 zoom 30

tactile varnish 8, 13, 83, 90, 93f. temperature ink 22, see thermochromic ink temperature-sensitive 20, 22, 24 test embossing 42, 53 test print 11, 13, 15f., 18, 21, 23, 79 thermochromatic ink 22, see thermochromic ink thermochromic ink 22f., 79, 82, 93, 95, 99 thermochromism ink 22, see thermochromic ink thermography printing 24f., 62 143

Concept: Franziska Morlok, Till Beckmann, Rimini Berlin Design: Franziska Morlok, Till Beckmann, Rimini Berlin, collaboration Anna Preuninger Contributions by: 123buero, Antoine + Manuel, Catalogtree, Drushba Pankow, Hans Gremmen, Fons Hickmann m23, Hort, Sarah Illenberger, Jung + Wenig, karlssonwilker inc., Hoon Kim, Yang Liu, Mario Lombardo, LUST, Thomas Mayfried, Fanette Mellier, mischen, Maureen Mooren, Node Berlin Oslo, OK-RM, onlab, Pixelgarten, Project Projects, Viola Schmieskors, Ariane Spanier, Annik Troxler, Üppig, Weiss – heiten Design, Welcometo.as Project management and editing: Ulrike Ruh and Berit Liedtke Texts: Markus Zehentbauer and Uwe Jäger Editing German texts: Markus Zehentbauer Translation from German into English: Meredith Dale Copy editing: Julia Dawson and Matthias Wenderoth Specialist advice on print finishing: Arbeitskreis Prägefolien Druck e. V., Stefan Berndt, Marco O. Bölling, Frank Denninghoff, Peer-Eric von Dreele, Sabine Gerscher, ­Christian Haas, Sebastian Heberle, Karl Kretschmer, Thomas Löchner, Ulrich Maag, Frieder Mayer, Faust Mühlich, Ralph Rieker, Michael Weiss, Soraya Ziegler Library of Congress Control Number: 2009931376 Bibliographic information published by the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or in other ways, and storage in databases. For any kind of use, permission of the copyright owner must be obtained. This book is also available in a German language edition (ISBN 978-3-0346-0082-8). © 2009 Birkhäuser Verlag AG Basel ∙ Boston ∙ Berlin P.O. Box 133, CH-4010 Basel, Switzerland Part of Springer Science+Business Media Printed on ageing resistant papers according to DIN ISO 9706, ECF. ISBN 978-3-0346-0083-5 9 8 7 6 5 4 3 2 1 www.birkhauser.ch