Offset Lithography edition
table
OF contents
2burt’s basics
4 paper selection
6 evaluating artwork
8 making separations
10 dots & screens
12 paper handling
14pre-press
I’m
burt.
a.k.a.
16 on-press proofing
18 press adjustments
20 post-press techniques
24burt’s words of wisdom
burt’s
for
Managing
Tips
Your
Projects,
Step by Step.
The soft, open surface of uncoated papers gives them a finish and look
that translates into a more approachable brand image without sacrificing
sharp imagery and vivid color. In fact, its print characteristics meet the
demands of virtually any color job.
Domtar uncoated papers provide optimal brightness, sheet formation,
ink holdout, longevity, and runnability to achieve an extraordinary finished
product. It’s all a matter of making the right choices and adjustments
(Best
Uncoated Results Toolkit)
throughout the workflow process, from paper selection to proofing on press.
?
Let’s start from
step one.
1
Why Choose
Domtar
burt’s
Uncoated Paper?
IT’S GOOD FOR YOUR IMAGE
There was a time when uncoated papers were considered
basics
inferior to coated. However, technology and trends have
greatly changed. There have been tremendous advancements
in papermaking and printing. We have also become much more
creative in our use of coatings and varnishes. Sharp, full color
reproduction combined with the smooth surface finish, brightness,
opacity and substantial overall feel is making uncoated paper
an increasingly popular choice among a new generation of
savvy designers. And
the results are brilliant.
With Domtar Cougar®, Lynx® Opaque Ultra, and Husky® Opaque
Offset product lines, you’ll find the ideal paper for a piece that
will unquestionably project an exceptional image.
IT’S ENVIRONMENTALLY RESPONSIBLE
Not to brag, but words like “brilliant” and “vivid” are often associated with my work.
But enough about me.
Let’s talk about you and your project.
Domtar is North America’s largest integrated manufacturer and
marketer of fine paper and a leader in sustainable practices.
With Domtar EarthChoice®, we are proud to offer the largest
2
family of environmentally and socially responsible papers ever
assembled. Manufactured to Domtar’s high standards, this line
is Forest Stewardship Council™ (FSC®) certified and Rainforest
Alliance Certified™. No wonder it’s burt’s premier choice.
Note my “notes” on everything from paper selection and environmental impact
to on-press proofing. I’m here to assist you with any questions you may have.
Keep in mind that there’s no such thing as a silly question.
3
PAPER selection
PAPER SELECTION
Paper is an important design element and should be considered early in the process. To get the best results
when printing on uncoated paper, make sure you choose the right sheet for the job. That means carefully
thinking through all the functions your paper must perform.
b.notes
4
of
ity and lifespan
th the personal
bo
er
s it’s a
id
ap
ns
rh
Co
pe
£
mailed? Or
be
to
g
in
go
it
repeatedly.
the piece. Is
will be handled
at
th
g
lo
ta
ca
y, cost per
brochure or
rough durabilit
th
k
in
th
to
t
an
h to apply.
It’s import
niques you wis
ch
te
ss
re
-p
st
po
piece, and
to discuss
mailer, be sure
lfse
a
g
in
gn
si
incurring
£ If you are de
printer to avoid
ur
yo
ith
w
es
in
postal guidel
es.
Postal Service fe
additional U.S.
e
per based on th
weight of the pa
e
th
e
s
in
or
ct
rm
fa
te
£ De
n to such
rticular attentio
pa
y
Pa
t,
e.
ou
us
ld
d
ho
en
ity, ink
brightness, opac
as finish, color,
lk.
stiffness and bu
quality is a key
eet when print
sh
th
oo
sm
a
£ Pick
el is a priority.
when a tactile fe
m
llu
ve
d
an
or
fact
aware that
r brightness; be
fo
ok
bo
ch
at
sw
appearance
£ Look at a
e will affect the
ad
sh
a
of
ss
ne
t, the color/
the white
are transparen
ks
in
e
us
ca
Be
of the ink.
e overall hue
t will impact th
ee
sh
se
ba
e
th
shade of
of the image.
d require
r comes from, an®
pe
pa
ur
yo
re
he
®
or PEFC™.
£ Find out w
ch as FSC , SFI
su
n
tio
ca
ifi
rt
ce
e your paper
third-party
er used to mak
fib
e
th
at
th
s
This ensure
d responsibly.
ed and harveste
ag
an
m
as
w
eated
paper dummy cr
ve specs, have a
d finish. ha
an
u
t
yo
gh
ce
ei
w
On
t
£
ed the righ
ct
le
se
ve
u’
yo
to be sure
niques you will
the specific tech
g
in
ow
sh
so
es
al
pl
Get sam
per dummy can
project. The pa
be using in your
respect to ink
ith
e the job w
iz
tim
op
to
ed
be us
oring layouts.
coverage and sc
5
EVALUATING artwork
EVALUATING ARTWORK
Reproduction criteria for uncoated paper are essentially the same as for
any other paper; however, the right artwork can make all the difference.
Maximize the use of uncoated by choosing photography and artwork
with a full range of tones. While midtones and shadows are usually
the most challenging to reproduce, there are some relatively simple
adjustments and ways to color-correct images before going to press.
Maximize the use of
uncoated paper by
choosing photography
and artwork with a full
range of tones.
6
b.notes
on the computer
because it looks good
£ Remember, just
on paper.
it will translate well
screen doesn’t mean
early on.
Involve your printer
avily saturated.
t are open, and not he
tha
es
ag
im
ect
sel
£ Try to
t resolution for
nts that lack sufficien
£ Avoid enlargeme
t can
images/techniques tha
printing. Avoid blurry
.
e to a mottle in print
inadvertently translat
y to select colors
ge screen builds. Tr
.
£ Be careful with lar
ange, gold and black
ing on press, like or
that are more forgiv
od midtones and
ecify images with go
£ Try to select or sp
shadow detail.
7
MAKING SEPARATIONS
Separations must be tailor-made for every paper – coated and uncoated. Because of absorption and, to some
degree, paper texture, halftone dots tend to spread, deform and connect (a.k.a. “dot gain”). As a result,
well-planned separations are probably the most important part of the production process.
MAKING separations
CYAN C
YELLOW Y
9
MAGENTA M
BLACK K
Well-planned separations
8
are probably the most
important part of the
production process.
Dot Control:
Dot Shape:
Screen Ruling:
Stochastic Screening:
Dot gain occurs on uncoated paper more than on coated papers due to
ink absorption into the sheet. By adjusting for dot gain during the color
separation process you can increase contrast, improve highlights, and
reduce muddying of shadow areas.
Choice of dot shape – square, round or elliptical – is determined by both press
requirements and aesthetics. Most printers will have a preference and can discuss
their methodology from the outset of the project.
Screen ruling determines dot size and frequency. The finer the screen, the smaller and
more numerous the dots. Be aware that there is a common misconception that small
dots lead to better reproduction. Because there is a direct relationship between screen
ruling and dot gain, a finer screen does not automatically produce a better image.
This technology uses the same size dots, but, rather than structuring them
in a uniform grid of columns and rows, stochastic screening creates tones
by varying the number of dots in an area.
150 line screen
175 line screen
200 line screen
stochastic line screen
11
b.notes
b.notes
£ Allow for approximately 16 percent more dot gain on an uncoated
sheet versus a coated sheet.
10
£ While formulas for making adjustments vary from printer to printer,
as a rule highlight dots are reduced by 5 percent, midtone dots by
25 percent and shadow dots about 15 percent.
£ Adjust press curves to reduce dot size at both ends of the screen
curve to prevent plugging in shadows.
£ Square dots, which are the most common, are thought to give the best
definition of fine detail, but may cause midtone “chop” or roughness
in large smooth areas such as skies.
£ Because 50 percent elliptical dots connect only at their ends, they also mitigate
the effects of dot gain, yielding smoother gradation among adjacent tonal
areas and reducing “tonal breaks” or rough textures in, for example, skin tones.
£ Round dots may be the best choice when heavy dot gain is predictable, such as
on newsprint or on high-speed web jobs. They do not connect until they reach
about 70 percent of maximum size; thus they extend midtone range and
minimize loss of midtone and highlight quality.
b.notes
£
The more open the paper surface, the greater benefit achieved from a
lower line screen.
£
In general, run halftones with a screen of 150 lines or less and stay away
from tints of 5 percent or finer (although under controlled conditions you
can reproduce screens of up to 200 lines per inch and achieve even finer
tints on smooth uncoated stocks). Premium papers can easily allow for
175 - 200 line screens.
£
For best reproduction, do not specify a line screen finer than needed
and do select a paper with a smooth, uniform surface.
b.notes
£
The screening of four colors is no longer made with four different angles
as with the traditional screen, therefore it eliminates screening moiré.
£
Stochastic screens can print as many colors as needed to match virtually
any color.
£
Because of the small size of their dot – the largest is tinier than 0.10
percent dot in a conventional 150 line screen – stochastic screens
produce sharper images.
PAPER handling
b.notes
PAPER HANDLING
& PRESSROOM CONDITIONS
It is important for the press to be in a
controlled environment with a stable
temperature and humidity. Optimal
conditions are a temperature of 68°-76° F
(20°-24° C) and a humidity of 35-55
percent. Paper should always be
Optimal conditions are a
acclimated to the pressroom by allowing
temperature of 68°-76° F
it to reach the room’s temperature before
(20°-24° C) and a humidity
removing protective wrapping.
of 35-55 percent.
12
ld be
ehouse shou
uck or a war
tr
a
rapped.
om
nw
u
fr
is
ed
ceiv
ture before it
ra
£ Paper re
pe
m
te
ach room
allowed to re
hours before
pressroom 24
e
th
to
in
r
e pape
ppers.
£ Bring th
ing ream wra
ons or remov
rt
weather.
ca
g
ld
in
co
g
en
op
ant durin
rt
po
s
im
ly
al
it from carton
This is especi
r or remove
pe
pa
e
th
p
Do not unwra
process.
during this
in doorways.
ct sunlight or
re
di
in
r
pe
e pa
£ Don’t stor
per flat.
– keep the pa
d
en
on
s
on
k cart
£ Don’t stac
pallets.
t floors – use
en
m
ce
on
s
k carton
£ Don’t stoc
t.
dust and gri
n and free of
ea
cl
rs
oo
fl
£ Keep the
r identified.
Keep the pape
.
ls
be
la
y
ro
st
£ Don’t de
ened skids.
s. Rewrap op
on
rt
ca
ed
en
£ Reseal op
13
PRE-PRESS
Pre-press is a multistage process that starts
by converting the files to develop a plate/
proof curve that compensates for the greater
dot gain inherent in uncoated paper.
Printers apply curves to the proofs to
manage color and, equally, expectations.
It cannot be overstated that the experience
PRE-press
and intuitive eye of a true craftsman
(both pre-press and on-press) will make all
the difference in reproduction.
Preparing Files: Plates are built via a series of dots to
reproduce solids, shades, light and dark. The printer can
manipulate and correct image resolution/sharpness by
adjusting dot size, shape and density.
Pre-press Proofing: Proofs are produced from digital data that
can be used to simulate plate, ink and paper effects. After the
proof is run, images should have the hue and intensity you are
looking to achieve. Check shadows, highlights, shaded areas,
halftones and flesh tones. Note that color won’t appear exact
as proofs are typically generated on a special proofing paper
14
When viewing your proofs,
be sure to check shadows,
highlights, shaded areas,
halftones and flesh tones.
that is most commonly coated.
b.notes
£ Wh
en prin
ting lar
buildin
ge soli
d black
g with
CMYK
areas, c
or doub
onside
£ Wh
le bum
r
en prin
ping “K
t
in
g a gra
.”
if at all
y, do no
possible
t build
, as this
options
from C
signific
MYK
with co
antly li
ntrol.
mits
£ Ea
ch pres
s is goin
may ne
g to pr
e
int diffe
d
t
o run a
rently,
for a ba
t
arget s
so you
seline t
heet ( “
o calibr
fingerp
a
rint” )
t
e your
£ Colo
proofin
r adjus
g
d
t
evices.
ments
of the im
can be
made t
age du
o indiv
ring th
idual a
e prepr
£ Be
reas
ess pro
aware t
o
fi
n
h
g
a
t
s
t
m
a
g
o
st proo
e.
Resolu
fs are in
tion/sh
arpnes
kjet ba
uncoat
s
s
m
e
d.
ed pap
ay be d
er unle
ifferen
proper
ss dot g
t on
ly appli
a
in curv
ed.
es are
£ You
may ap
p
ly an u
proofs
ncoate
in orde
d color
r to ma
curve t
tch the
o digita
£ Pro
proof w
l color
of a blu
it
h
t
h
e
line fro
e press
layouts
.
m
t
h
e print
are cor
er to m
rect.
a
k
e
sure
£ Ma
king as
m
a
n
y
adjustm
proofin
g stage
ents as
will sav
possible
e you t
in the
ime an
d mone
y on pr
ess.
15
ON-PRESS proofing
Always check proofs both
wet and dry since colors
will change slightly as the
ink sets, a phenomenon
known as “dryback.”
ON-PRESS PROOFING
AND SET-UP
A good press proof closely duplicates the
condition of the eventual run, employing the
same imposition, plates, ink and press type.
Most important, it is made on the paper
chosen for the job rather than on a
special proofing paper, which may
imitate coated paper.
16
b.notes
with the ink
paper. Work
ed
at
co
n
u
r
below 14 to
designed fo
eep ink tack
K
.
£ Use inks
ck
ta
k
in
timize
supplier to op
cking.
rtunity for pi
po
op
e
iz
n.
im
in
m
eased dot gai
result in incr
to
ly
ke
li
e
tacks are mor
k.
£ Low ink
stay open in
opposed to a
as
s
k
in
g
n
d dryi
£ Run har
ase.
be quick rele
kets should
an
bl
s
es
pr
used for
£ The
it should be
,
ed
ov
pr
ap
eet is
first press sh
of the run.
£ Once the
the duration
r
fo
s
n
so
ri
pa
m
co
color
will change
since colors
y
dr
d
an
et
th w
back.”
eck proofs bo
nown as “dry
enomenon k
£ Always ch
ph
a
,
ts
se
k
e in
slightly as th
ok, density
k solids for lo
ec
h
C
.
rs
lo
ess co
atch and proc
£ Review m
cy.
and consisten
a PMS if
sing an extr
benefits of u
e
th
e
or
pl
colors, ex
.
£ For truer
the capability
the press has
17
PRESS adjustments
PRESS ADJUSTMENTS
On-press adjustment capability will vary from printer to printer
depending on strategic technological investments made by
each individual shop.
Press adjustments may need to be made specifically for
uncoated paper. Sheetfed press adjustments can be made
for each side of the sheet individually, while web press
adjustments (such as impression cylinder pressure) impact
the image on both sides simultaneously.
b.notes
£ Uncoa
ted pa
per genera
lly require
every thre
s blanket w
e rolls or a
ash ups
fter each s
kid (sheetf
e
d
).
£ Consid
er the amo
unt of squ
pressure,
eeze/impr
ink sequen
ession cyli
ce and pre
nder
ss chemistr
y
.
£ Mainta
in a founta
in solution
to minimiz
target pH
e filler lea
range of 4
ching or in
.5 to 5.5
k drying is
sues.
£ To ke
ep screens
smooth, tr
or put a ne
y over-pac
w set of bla
king your
blankets
nkets on th
e press.
18
19
POST-PRESS TECHNIQUES
Your piece has been skillfully printed.
The colors are vivid and your images look
great. However, it’s not until the finishing
stage that your project takes its final form
and comes to life. From the outset of a
project, don’t assume special techniques
are out of reach. There are many ways to
make your piece more functional or give
s
e
u
iq
it an attention-getting twist.
S
S
E
R
P
ST
PO
20
n
h
tec
ssing,
, embo dwork.
g
n
i
m
g: trim
nd han
de.
cludin stitching) a
roadsi
n
b
i
,
d
s
n
n
a
saddle
g optio
el fold
parall
nishin adhesive or
,
fi
d
l
e
o
s
f
u
l
(
l
o
nding
old, ro
ut in-h
ncy.
er abo g, folding, bi
, gate f
t
d
l
n
i
o
efficie
r
f
p
g
n
r
n
o
n
i
i
i
u
r
d
d
o
l
o
r
y
c
fo
n.
co
lk to
tting, s
ize the tock selectio
old, ac
u
f
m
-c
r
i
£ Ta
e
e
x
i
t
t
a
d
e
,
s
l
m
foiling
tion to e the proper
nclude
tyles i
rienta
r
s
o
u
s
g
n
i
n
n
i
a
e
r
fold
halos”
cific g
rder to
pular
s and “
ire spe lacing the o
e
r
u
£ Po
u
q
t
e
p
r
y
ru
p
es.
lds ma ter prior to
holes,
rp edg
o
n
f
a
i
h
p
e
s
,
u
s
q
n
e
i
in
and u
rp edg
£ Un ult your pr
eeling
un- sha
p
ns
,
r
o
g
o
f
C
n
fi
k
f
.
g, chec
es, scu
chang
bossin the emboss)
r
m
o
e
l
o
n
c
e
,
d
h
n.
£ W
aroun
hering
positio
or feat
t
adows
f
c
h
e
s
k
ck for
r
(
c
r
e
to che
g, ch
he co
t
y
n
i
n
m
p
i
m
m
d
u
il sta
cut an
med d
hen fo
leanly
a trim
c
e
e
k
£ W
r
a
a
m
uts
bound
e die -c
ded or
l
ke sur
o
a
f
e
M
r
£
tion.
heets a
inted s t and pagina
r
p
e
r
fo
en
£ Be
lignm
rrect a
o
c
s
e
t
o
n
.
b
21
PRODUCTION notes
Brochure - 24 pages plus cover
Cover printed on 80 lb. Cougar® Opaque Cover, Smooth Finish
Text pages printed 80 lb. Cougar® Opaque Text, Smooth Finish
Cover
Printed using 4 color process inks with dot-for-dot dull
varnish throughout
Inside Front Cover, Page 1
Printed using 4 color process inks with dot-for-dot dull varnish
Page 10-11
Printed using 4 color process inks with dot-for-dot dull varnish
Page 12-13
Printed using 4 color process inks with dot-for-dot dull varnish plus
match PMS 877 silver touch plate on Robots
Page 14-15
Printed using 4 color process inks with dot-for-dot dull varnish
Page 16-17
Printed using 4 color process inks with dot-for-dot dull varnish
23
Page 2-3
Printed using 4 color process inks with dot-for-dot dull varnish
Page 4-5
Printed using 4 color process inks with dot-for-dot dull varnish
Page 18-19
Printed using 4 color process inks with dot-for-dot dull varnish
Page 20-21
Printed using 4 color process inks with dot-for-dot dull varnish
Page 6-7
Printed using 4 color process inks with dot-for-dot dull varnish
Page 8-9
Printed using 4 color process inks with dot-for-dot dull varnish
plus CMYK ink build process
Page 22-23
Printed using 4 color process inks with dot-for-dot dull varnish
Page 24, Inside Back Cover
Printed using 4 color process inks with dot-for-dot dull varnish
22
PRODUCTION notes
Carrier Piece
Printed on 100 lb. Cougar® Opaque Cover, Smooth Finish
burt’s
Words of
Techniques - four page accordion fold
Printed on 80 lb. Cougar® Opaque Cover, Smooth Finish
Wisdom
Get creative and don’t be afraid to ask
questions or explore new options.
Outside carrier
Die cut with sculptured emboss that is registered for printing. Printed using 4 color
process inks with dot-for-dot dull varnish
Die Cut technique
Sunglasses Die Cut and nicked. Printed using 4 color process inks with dot-for-dot
dull varnish. Scored and perforated.
If you don’t already have swatchbooks for
Cougar, Lynx, and Husky,
you can always conveniently order at
Emboss technique
Pencil and shavings embossed with sculptured die. Printed using 4 color process inks
with dot-for-dot dull varnish. Scored and perforated.
Domtar.com, where we also regularly
post exciting project samples.
Whether you are a designer or a printer,
it’s always inspirational to see great
results and work within the industry.
24
Touch Plate technique
Match Red Touch Plate on center red car. Printed using 4 color process inks plus and
dot-for-dot dull varnish. Scored and perforated.
Coating technique
Soft touch aqueous coating on chewing
gum. Printed using 4 color process inks
with dot-for-dot dull varnish. Scored
and perforated.
Foil Stamp technique
Gum wrapper stamped with etched
stamping die. Printed using 4 color
process inks with dot-for-dot dull varnish.
Scored and perforated.
Inside carrier
Printed using 4 color process inks with dot-for-dot dull varnish
Acknowledgments:
Copywriting: Tracy Morgan, The Davola Group – Charlotte, NC
Translation: Monique Guillet – Montréal, Québec
Printing: Blue Ridge Printing – Asheville, NC
Enjoy.
And if you have any questions about
uncoated paper, shoot me an email at
[email protected] or contact your
Account Manager.
As North America’s largest integrated manufacturer and marketer of fine paper and a recognized leader in environmentally-sustainable practices, we believe
our customers deserve even more. At Domtar, we strive to do everything — from the forest floor to your front door — to earn your confidence and your business
through the offering of superior quality products, dedicated service and continuous innovation. If you’re looking for distinct paper solutions for your printing,
publishing, or business communications, look to Domtar to answer your every need.
For more information about Domtar, please visit:
www.domtar.com
© 2011 Domtar
Printed on 80 lb. Cougar® Cover, Super Smooth Finish
SKU 30902824 Printed in USA 08/2011
Follow us on Twitter @domtarpaper
Like us on Facebook: www.facebook.com/domtarpaper