Chapter 8.4 : Essentials of the printing process
Chapter 8.4
Essentials of the printing process
This chapter includes:
J
The eight essential steps of print production
J
Information your printer will need
J
Preparing the artwork correctly
J
The six main types of paper used in direct mail
J
Proofing: the four types of proof
J
The six printing methods
J
Printing technology
J
Why use digital printing?
J
Envelopes for direct mail
J
Choosing your print supplier
About this chapter
A
s many authors have noted elsewhere in this Guide, there are few areas of
direct marketing which do not involve direct mail. One of the chief
differences between marketers in the conventional sphere and those in
direct marketing is the knowledge required to implement complex print and mail
campaigns. These may well involve dozens of different items of print, each
produced in a different quantity, using different printing processes, different
paper stocks and different finishing techniques.
In this brief but essential introduction to printing and print buying, Philip
Moreland throws light on some of the terms you will encounter and the sequence
of events to be followed when translating finished artwork into mailing packages
ready for the mail.
Printing, like every other area of the business, is undergoing constant
technological change and a knowledge of the principles will help you to keep pace
with them.
Authors/Consultants: Philip Moreland, John Hughes
8.4 – 1
Chapter 8.4 : Essentials of the printing process
Philip Moreland, M IDM
Philip joined the printing
industry as an apprentice
in 1964 with John
Waddington Ltd. He gave
his first technical
presentation, at PIRA, the
printing industries research and development
organisation, on developments in printing plate
technology and has since been a regular speaker
on print technology for the IDM.
In 1983 he was appointed Marketing Director of
Waddington & Ledger, one of the first UK
companies involved in the production of direct
response products using ‘in-line’ finishing. In
1990 he became W&L’s MD, and in 1994 he and a
colleague set up Marketing Specialists to run
alongside W&L. This company offers technical
consultancy and print management services.
Philip has four children and six grandchildren, is
a keen sailor and spends as much time as
possible cruising the Mediterranean. He enjoys
playing squash and in quieter moments, paints
and still plays the guitar ... badly!
Philip Moreland M IDM
Managing Director
Waddington & Ledger Ltd
Lowfields Business Park
Elland
West Yorkshire HX5 9DA
This chapter, which appeared in the previous edition of the Guide, has been
reviewed and amended for this edition by John Hughes
John Hughes F IDM
Giving up a farm
management career in
Tanganyika, Africa, John
returned to England in
1965 to join his mother as
Managing Director for
Mail Marketing, a business which she started in
1950. Over the years John has continued to work
with the team to build the business into one of
the UK’s foremost direct marketing service
companies and during the 1980s handled a large
number of the government privatisation projects.
John has run the business with a passion and
fervour ensuring the company remained at the
forefront of its industry, bringing a sense of
propriety to an industry which at first struggled to
become professional.
As a principal pioneer of the direct marketing
industry in the UK, John was instrumental in
8.4 – 2
setting up the Direct Mail Sales Bureau, was a
founder member of the Institute of Direct
Marketing, and one of their first Honorary
Fellows; the first name on the DMA’s Role of
Honour, having assisted in drafting their Code of
Practice, and a member of their Governance
Committee. He was also a recipient of the
prestigious Robert Bill Award for services to the
industry. John’s work continues with his passion
for education within the industry and until
recently he sat on the Council for Industry and
Higher Education, CAM and the CBI Council for
South West and was awarded an Honorary Fellow
of CIM. He was presented with the first award
from Royal Mail in 1998 for recognition of his
contribution to the direct marketing industry.
More recently he has helped establish the
Foundation and Forum for Corporate Governance
and is involved with a number of charities.
Chapter 8.4 : Essentials of the printing process
Chapter 8.4
Essentials of the printing process
The eight essential steps of print production
A
ll printed work, no matter what the process or volume, should follow a set
procedure if your work is to be produced exactly to your specification, on
time, and to your budget.
Let us first set out the procedure, and then look at each of the stages in more
detail.
The sequence you should follow is always the same. The timings, where given, are
recommended minimums. Where no timing is given this is, of course, dependent
on the nature of the work and will be advised at time of estimate.
1.
Estimate – two weeks prior to delivery
2.
Paper order – four weeks prior to delivery [If a making]
3.
Origination – allow two working days
4.
Plate making – allow one day
5.
Ozalid proof – allow one day
6.
Printing – will be advised
7.
Finishing – will be advised
8.
Delivery – your due date
Factors affecting mail pack timing
The overall timings above are for a typical mailing pack comprising brochure,
letter, order form and envelope etc. Special timing arrangements must be
negotiated in the case of catalogues which, with perhaps 48 pages or more, are
the equivalent of several regular mailings.
Factors which will affect your general timing for direct mail will include:
?
Special papers – ‘makings’
?
Second and third colour proofs
?
Late specification changes
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Chapter 8.4 : Essentials of the printing process
Remember: printers’ estimates assume no further corrections to your copy
or art. Changes during production can potentially jeopardise your mailing
date, although any reputable printer will lean over backwards to
accommodate you. Remember to consult your mailing house regarding
delivery dates needed to meet proposed mailing dates. Your start date should
always be calculated backwards from the proposed mailing date.
Please note that the ever-increasing adoption of digital four-colour printing at
commercially competitive quality, speed and price has had the effect of reducing
lead times and proofing dramatically. PDFs (digital proofing) allow creatives to
design electronic communication to printers and then press the button for instant
production. Even conventional litho presses have fast ‘make readies’ and proofing
processes that can shorten the production cycle while preserving ‘fit for purpose’
quality of the documents.
Step 1: The estimate – start early
It is always advisable to contact your printer as soon as you have a rough visual,
some ideas of your proposed mailing quantity, and, if possible, desired mailing
date. Ideally you should ask for a printer’s estimate prior to beginning artwork
production. Remember an estimate is not a quote, so always get confirmation
when full spec is to hand.
There are many reasons for this; for example, your printer may suggest minor
changes (e.g. of fold or size) which can save significant amounts of money. These
may require artwork to be prepared in a slightly different way. Sometimes your
printer will be aware of new techniques which, if employed, can give your mailing
a competitive edge. Just occasionally your designer may create a superlative
package on paper which technically cannot be executed, or only at inordinate cost
– all good reasons for calling in your printer as early as possible. Also remember
if the printer is not a mailing house as well, the same applies to the collating and
enclosing process. Check it can run on whatever machines are to be used.
With large-scale direct mail campaigns, or in the case of small quantity tests
which may become large-scale rollouts if successful, getting an early printer’s
estimate is paramount, since even a small price differential multiplied by millions
can amount to tens of thousands of pounds. And, of course, a large-scale plan
that is held up due to an avoidable technical hitch can lead to massive shortfalls
of revenue for the advertiser.
It is sensible to ask for a breakdown between set-up and run-on or reprint costs.
The cost- effectiveness of a company should never be judged on a test production
cost but the rollout-per- thousand to judge its viability.
Here are some of the ways in which your printer can often show you significant
savings if consulted early in the process:
8.4 – 4
G
Changes in format size
G
Modifications to the format, e.g. inbuilt envelopes
G
Alternative paper stocks
G
Rationalised production methods – pre-inserted flyers and order
forms
Chapter 8.4 : Essentials of the printing process
G
Inkjet and laser filling or complete graphics personalisation changes
including coding, offering variants and graphics etc. rather than plate
changes. Sequencing can also be accomplished this way, avoiding post
inserting sortation of mail to maximise postal savings
G
Inbuilt involvement devices, e.g. scratch-off panels
Information your printer will need
All printers and production managers require certain standard information in
order to provide costings and to plan for a job. It is a good idea, since you may
find yourself using several printers, to use your own standard print enquiry form.
An example of the items to be covered on a typical print enquiry/estimate form is
shown on the facing page, from which you can readily create your own form. It
may be necessary to prepare a separate enquiry form for each item in your
mailing or campaign as virtually every item will be different, e.g. envelope, order
form, leaflet, price list, letter and reply envelope. In some cases they will be
handled by different printers.
Cover
Remember to note whether a brochure or booklet is self-covered (i.e. same paper
as text) or whether a different paper stock is required for the outside pages.
Bleed
The amount of bleed (where ink ‘runs off’ the edges of the pages) can affect the
cost of a print job noticeably. Your direct mail designer will be aware of the
significance of bleed, but may not be aware of its true impact on costs. This also
has an impact on folding and in-line cutting. Pagination is key to multi-page
brochures and letters etc. Different finishing equipments use different ‘mobile’
attachments to achieve the result, so designer and printer must liaise if in doubt.
8.4 – 5
Chapter 8.4 : Essentials of the printing process
Figure 8.4.1
8.4 – 6
Chapter 8.4 : Essentials of the printing process
Quantity
Printers will normally print a larger quantity than you request to allow for spoils,
although every printer’s ‘overs’ policy is different. It may be wise not to assume
printers will deliver overs so this may need to be added to the mailing quantities.
The percentage depends on the size of run and method of production. Ask your
mailing house for guidance as the enclosing process may specify average
requirements. Remember, a reprint is costly and causes delays in fulfilment of the
order.
Transparencies
It is often not realised how the cost of a full-colour print job increases in direct
proportion to the number of transparencies used, and whether they are to be
reproduced actual size (‘s/s’ or same size), enlarged or reduced. As digital
photography has improved, more often than not images are supplied in a digital
format. Designers use Apple Mac and deliver ‘ready to print’ (pdf) digital artwork.
Changes are usually simpler, quicker and less costly to achieve. Where the
printing processes are dynamic then programme data manipulation must be
carefully checked or the wrong data may be married to the incorrect images.
Paper
The weight of paper is a major factor in the weight, and therefore the postage
cost, of a mailing – as well as the cost of print.
Finishing
This is a printers’ term for a variety of processes that include folding, stapling,
glueing and varnishing etc. Finishing can be in-line and offline. Worth checking if
finishing is to be done inhouse. The amount of overs required can vary if offline
complex finishing is required.
Size
Most direct mail designers are fully au fait with standard paper sizes and how to
get the best from them. Generally speaking the advantages of having a nonstandard print size (e.g. extra impact or awareness) can be heavily outweighed by
the disproportionate costs due to ordering non-standard paper and having it ‘cut
to waste’.
Delivery
Coding of materials: mark the code and quantity on boxes or pallets. Never mix
different print items in boxes on pallets. State all relevant details concerning
delivery: quantities, destinations, method of packing (if appropriate) and so on.
Dates
Remember to state the date at which you plan for artwork or films to be ready, if
being prepared by a specialist supplier and not the printer. Invariably your printer
will be able to carry out the stages known as origination on your behalf.
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Chapter 8.4 : Essentials of the printing process
Preparing the artwork correctly
Artwork is the image used for reproduction and is the province of the art director.
However, here are a few thoughts on artwork preparation as seen from the
printer’s perspective:
G
Always supply some form of colour proof with disc (positional guide
only) – it can be low resolution.
G
Make sure trim/tick marks are shown and base artwork is correct to
size.
G
Check against printer’s laydown sheet if appropriate. (Complex
finishing jobs.)
G
Make sure transparencies are all together and are in focus. Check
with glass.
G
Check that the colour markup is complete with no areas of doubt, i.e.
tint panels, headlines, key lines and whether they print or not.
G
Watch out for type reversals in very small type – no less than 8pt.
G
Check for ‘special colours’ i.e. those that cannot be achieved with the
four-colour process.
G
Make sure the disc provided is compatible with the repro house/
printer.
G
Ensure the repro house/printer carries the fonts specified on the disk.
G
If any type corrections are made on or after the first proof, make sure
the original disc is also corrected at some stage.
Check with your printer that he is happy with the disc and format of artwork
you propose to supply.
Digital artwork is now the norm as most companies have desktop publishing and
design systems. It is imperative that some form of colour proof is presented with
the relevant artwork disk. This proof will act as the positional guide and colour
markup. It is not necessary for this proof to be of high resolution for this
particular purpose.
Check that the printer/repro house can handle the system disk selected.
Step 2: Ordering the paper
Most printing paper is bought through specialist paper merchants and each
merchant will give the paper a brand name. This brand name will be different
from merchant to merchant even though the paper is the same and may have been
8.4 – 8
Chapter 8.4 : Essentials of the printing process
manufactured by the same mill. Only very large printers are able to buy paper
directly from the mills.
If a job requires in excess of two tonnes of paper then a ‘making’ is normally
bought. A making is paper of a specific size, whether in reel or sheet form, and of
the required weight. Such paper can take four to six weeks to manufacture and
deliver. Stock paper can be bought for almost immediate delivery. However, stock
paper may be the wrong size and weight for the job, possibly resulting in
excessive waste. Stock papers are also more expensive per tonne to buy.
In practice, very large regular mailers (e.g. financial service organisations,
publishers and mail-order catalogues) buy paper by the making, whereas most
business-to-business mailers are generally forced to rely on stock papers. If you’re
a business mail, therefore, create your designs with stock sizes in mind. Smaller
mailers should not concern themselves unnecessarily with early ordering of paper
unless a very rare paper is being contemplated, e.g. antique finish or ‘laid’ paper
(watermarked).
The six main types of paper
There are six generic types of paper in common use for direct mail. Each has
specific advantages and disadvantages of which weight and price are two –
although by no means the only two.
The chart below sets out the six grades of paper together with the chief features
and uses of each.
Table 8.4.1
The 6 grades of paper
Type
Uses
W.S.O.P.
(Web-sized offset
paper)
Bottom of the range
Low-cost, high-volume work
Long-run weekly magazines, eg TV Times
Blade coated
mechanical
(BCM)
Off-white, mid-range, coated
For run-of-the-mill colour work
Magazine inserts, brochures, broadsheets etc
Matt coated part
mechanical
Off-white matt coated (cartridge)
Semi-high quality work
Letters, application forms, brochures
Near woodfree
Whiter than above
Better quality, better colour reproduction
Brochures, inserts
Woodfree
Top-of-the-range
matt coated Extra white, high quality
Application forms, letters, brochures etc
Woodfree art
High gloss/high reflection
Prestige reproduction
Quality brochures, prospectuses, company reports etc
The effect of paper weight
Most papers used in direct mail can be bought in a wide range of weights, ranging
from as low as 45 grammes per square metre (gsm) to 200gsm, or more.
8.4 – 9
Chapter 8.4 : Essentials of the printing process
Weight, generally speaking, is synonymous in the recipient’s mind with quality.
The heavier the weight the better it resists unwanted creasing and spoiling due to
handling. But weight, of course, equals cost in postage and print terms.
The most commonly used weights of paper in direct mail are as follows:
65gsm
High-volume brochures, magazines and catalogues
90gsm
Volume letters and application forms
115 to 135gsm
Prestige leaflets, brochures and certificates etc.
International paper sizes
Everyone connected with direct mail should be familiar with the international ‘A’
sizes for paper and printed goods. The principle is that all stock paper sizes can
be cut from a standard A1 or A0 sheet.
However, your designer will know that some paper is lost during trimming and
folding and you should be certain of whether your sizes are for flat (opened-out)
size or trimmed and folded size.
In the case of booklets of 8 pp (8 printed pages) and 16 pp, many print machines
will print, fold and finish them in one pass – so that special sizes apply, as there
may be no trimming.
On rare occasions you might be involved in printing items for use in the US,
in which case be aware that international A sizes have not been universally
adopted there. This can lead to mistakes and misunderstandings and is
worth a special check.
Weight can affect the postage costs so it is critical, especially if one is targeting, to
maximise the weight and therefore amount of material to be sent within a postal
weight band.
Dependent on the printing process, paper will be ordered in sheets and reels. The
allowance for set- up varies with the printing process selected.
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Chapter 8.4 : Essentials of the printing process
Figure 8.4.2
International ‘A’ paper sizes
Step 3: Origination – colour separations and proofing
Origination is the first stage in the print process proper, after the designer has
completed his artwork and the photographer has supplied the transparencies.
Origination is the point at which artwork is separated into the four printing
colours for what is called the 4-colour process or full-colour work.
The four printers’ colours are:
G
Black
G
Yellow
G
Cyan (blue)
G
Magenta (red)
8.4 – 11
Chapter 8.4 : Essentials of the printing process
Figure 8.4.3
Every full-colour picture in a printed piece comprises arrangements of tiny colour
dots in the four so-called process colours. To reach this stage, original artwork is
usually scanned electronically by laser beam. The scanner views the originals
through a series of filters which allow only one colour to register at a time. The
result is four separate positive films; one for each of the process colours.
Step 4 : Plate making – fixing the image in metal
In order to transfer the separated and screened images to the paper it is
necessary first to produce a printing plate or cylinder.
The different types of plate are described later under ‘printing methods’. Plates
are generally of flexible metal and are bolted or clipped around a cylinder.
Three types of screening
Conventional screening is a process in which the positive films are broken down
into a series of dots. Each colour is screened at a different angle and the dots vary
in size according to the depth of colour and detail present in the original.
8.4 – 12
Chapter 8.4 : Essentials of the printing process
Geometric screening is the same in principle, except the dots are elongated and
bumped against each other to form lines, appearing as a sharp, fine-line screen.
Full tone is a random (stochastic) screening that excels in handling text and line
work and provides outstanding rendition of fine detail.
Step 5 : Proofing – the four types of proof
To check the quality and accuracy of the positive films, they must be ‘proofed’. For
most colour work there are four types of proof which you need be aware of:
G
Wet proofs
G
Cromalins
G
Ozalids
G
Digital proofs
Proof checking
Wet proofs – these are produced on a small single colour printing press,
specifically designed for this purpose. Each colour is printed separately and has
to dry before the next one is printed down. As a general statement the wet proof is
the closest we can get to the actual printing process to be used. An added
advantage of the wet-proof system is the ability to proof on the actual paper stock
to be used for the print run itself. Needless to say wet proofing is a costly and
time-consuming process.
Wet proofing is often preferred by non-experienced print buyers, especially for
quality work, because of its closer approximation to the finished job.
Please note that it is as important to proof on the paper being used as it is to
check register, colour match and copy position.
Wet proofing is used when multiple proofs are required, e.g. twelve or more. In
most circumstances proofs can be backed up (printed on reverse) so that
dummies can be made up exactly as the finished item.
Cromalin proofs – the word Cromalin is a trade name but is now commonly used
to describe methods of photomechanical proofing. In short, a light-sensitive
laminate is applied to a base material. A film positive is laid on it and exposed to
a bright light. The laminate is dusted with a powder dye (one for each process
colour) and the excess is removed. This is repeated for each process colour. The
final result is an accurate representation of the positives used.
Cromalins are quicker and cheaper than wet proofs provided that only one or two
proofs are required. The nature of the proof itself, being on heavy duty paper,
makes it very difficult for realistic dummies to be made up to show what the job
will look like. Cromalins cannot be double-sided.
Ozalid proofs – in some respects ozalids are the most important proofs of all.
They are taken at the plate making stage and are a black-and-white representation
of the images on the printing films. If any type alterations have been made after
the first proof, this is the last opportunity to examine corrections before the job
8.4 – 13
Chapter 8.4 : Essentials of the printing process
goes to press. Corrections after this stage can prove very costly, particularly if a
press is left to stand while the alteration is made and a new plate is made.
Digital proofs are now the preferred method of checking documents for
positioning and content of text, images and tints throughout the creative process.
The choice of proofing technology for a particular job can be made from a list
which includes laser printer (or colour laser), liquid inkjet, solid inkjet, thermal
wax, dye-sublimation and hybrid electro-photographic techniques.
In the professional desktop publishing market the technologies of dyesublimation, inkjet and thermal wax provide the basis for mid-range proofing
solutions. 3M have developed the Rainbow Proof (brand name), a dye-sublimation
process meant to simulate the offset printing process with continuous tone
output.
While the traditional print buyer may consider digital proofs they still have some
way to go before they become accepted as a ‘proof to work to’. The process has
improved to the point that most commercial colour printers can deliver a ‘fit for
purpose’ result. Speed and cost now drive the adoption of the use of digital
proofing which is why it has become acceptable.
Things to check when passing a proof include:
G
Register or fit
G
Colour against transparency/illustration/colour artwork
G
Read the copy
G
Tint panels and headings
G
Spotting
G
Trim lines
G
Make up a dummy and trim to size
The most important point about proofing is to stipulate the type of proofing
you require at the outset, as it can considerably affect the cost and time
required for a job.
Step 6 : Ready to run – the six printing methods
There are six printing processes in commercial use today, all of them employed in
the direct mail business. They are:
8.4 – 14
1.
Letterpress, including flexography (impact printing)
2.
Photogravure
3.
Silk-screen
4.
Lithography: sheet-fed or web offset
Chapter 8.4 : Essentials of the printing process
5.
Laser and inkjet
6.
Digital offset colour
We now look briefly at each of the above: the differences and their chief
applications:
Letterpress – Caxton’s method
Letterpress is the oldest of the printing processes and is used nowadays
exclusively for very short-run work such as business cards and formal invitations.
The image is in relief, the ink is applied directly onto the plate (‘forme’ as it is
called) and the print is taken from the forme itself. This is a classic example of
impact printing.
Letterpress gives printing a particularly ‘crisp’ look which can enhance the ‘olde
worlde’ prestige of very short-run productions. But for all other intents and
purposes you will not be concerned with it in direct mail production.
Figure 8.4.4
Letterpress – impact printing
Flexography – modern impact printing
Flexography is the modern equivalent of the Dickensian letterpress process and is
used for high- volume packaging. The image is in relief on the printing forme
which is inked by a roller. The paper passes between the inked forme and an
impression cylinder and so picks up the image.
Figure 8.4.5
Flexography – for volume packaging
8.4 – 15
Chapter 8.4 : Essentials of the printing process
Photogravure – the multimillion method
Like all printing processes, photogravure is very simple in principle. The image
areas are engraved into the surface of huge printing cylinders. The cylinders
rotate in reservoirs of ink and surplus ink from the surface (non-image) areas of
the cylinders is removed with a ‘doctor blade’. This leaves ink in the ‘cells’ of the
engraved cylinders, rather like honey in a bee’s honeycomb which has been rolled
up with the open cells outwards.
As the paper comes into direct contact with the cylinders the ink is transferred.
This takes place at extremely high speeds for each of the four colours, all colours
being printed simultaneously.
Photogravure is mainly used for large volume magazine and catalogue production
and can prove expensive on all but the very longest runs as the cost of cylinder
preparation is high.
Figure 8.4.6
Photogravure – like a honeycomb
Silk-screen – a specialist technique
Silk-screen is another simple printing process and is based on the stencil method
of printing. A material with a fine open weave (screen) is stretched across a frame.
On top of that frame is a stencil which blocks out areas not required to print. Ink
is poured into the frame and the frame is lowered onto the material to be printed.
The ink is squeezed across the screen forcing the ink through the open weave not
protected by the stencil. This is repeated for each colour.
In recent years rotary silk-screen machines have been developed. Silk-screen is
used for short runs on virtually any material, e.g. plastic and glass. It is
commonly used for posters and any work requiring a high density of solid colour,
such as portfolio covers, gifts and novelties.
8.4 – 16
Chapter 8.4 : Essentials of the printing process
Figure 8.4.7
Silk-screen – the stencil method
Lithography – the direct mailers’ choice
Lithography is undoubtedly the most widely used printing process and the one
with which all direct marketers should be familiar. Depending on volume there is
a choice of two lithographic systems: sheet-fed and web offset. How they differ
can be seen in the diagram overleaf.
Both systems are based on the principle that grease and water do not mix. The
image on the plate surface is grease receptive, while the non-image area
(background) is water receptive. To begin with, a film of moisture is applied to the
plate surface and is attracted to the non-image areas and repelled by the greasy
image area. This is immediately followed by a film of ink which is greasy in
nature. The ink is attracted to the image area and is repelled by the non-image
area covered in moisture.
The moisture evaporates to leave the ink behind to form the image. This is then
transferred onto a rubber blanket and then onto the paper. This process is
repeated for each of the printing colours. The plate is totally smooth, with the
image neither raised nor engraved. Because the actual printing is via an
intermediary ‘blanket’ and not direct from the plate – it is called offset litho.
Figure 8.4.8
Litho – the principle
8.4 – 17
Chapter 8.4 : Essentials of the printing process
Sheet-fed litho – one sheet at a time
Sheet-fed presses print from flat-cut sheets and deliver flat-cut sheets. Such
presses are capable of printing speeds up to 18,000 sheets per hour. They are
most suitable for runs of up to 50,000 impressions but this very much depends
on the sheet size of the press. Presses designed for packaging applications may
well produce several hundred thousand impressions. Most sheet-fed machines
print from one to four colours, one side only. Specialist machines can print more
colours with varnishes and some can print both sides. Sheet-fed machines can
also print the board weights used in packaging, an advantage over web offset
which would otherwise prove to be cheaper.
Figure 8.4.9
Sheet-fed litho
Web offset litho – from a continuous reel
Web offset presses print from a continuous reel of paper, usually in four colours
and on both sides of the paper simultaneously. The ink is dried with hot air which
tends to give a high gloss finish. Quick drying enables the web to be folded on
press if, for example, eight or 16 page sections are required. Some presses are
fitted with in-line finishing which allows them to glue and perforate, make
envelopes, and produce completely finished products at the end of the machine.
Most of the novelty one-piece formats associated with direct mail are produced by
this method.
Web presses can run at speeds approaching 40,000 impressions per hour and are
suitable for runs of 50,000 up to several million.
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Chapter 8.4 : Essentials of the printing process
Figure 8.4.10 Web offset litho (printing on both sides)
Sheet-fed and web – paper differences
The table below summarises the important differences between sheet-fed and web
presses. Note that each type of press calls for its own paper sizes for maximum
efficiency – one clear reason for consulting your print estimator before finalising
your design and artwork.
Table 8.4.3
Litho printing presses – sizes and specifications
Size
Specification
SRA1 4-col sheet-fed
640 x 900
one side only
4 colours
SRA2 4-col sheet-fed
450 x 640
one side only
4 colours
8pp mini web
Cut off web width
630 x 505
4 colours
both sides
16pp web
Cut off web width
630 x 965
4 colours
both sides
There are several important points of difference between sheet-fed and web, as
follows:
Sheet-fed
G
Usually prints one side only
G
Prints from flat-cut sheets
8.4 – 19
Chapter 8.4 : Essentials of the printing process
G
Delivers flat sheets
G
Ink has to dry before backing up, i.e. printing reverse unless driers used or
perfector press (printed two sides in one pass)
G
Paper stocks from 70gsm to 220gsm
Web offset
G
Prints both sides simultaneously
G
Prints from a reel of paper
G
Delivers flat sheets or folded sections
G
Ink is dried by hot air, i.e. heat-set
G
Paper stocks from 52gsm to 180gsm
G
Some presses can produce continuous stationery
Printing technology
Laser printing – the 21st Century method
Laser printing is an electronic printing process, but is closer to being a highspeed computer process. Its use in direct mail is primarily to print letters by
means of an online computer which ‘tells’ it specific information such as the
recipient’s name and address. This feature is used for personalising letters and
order forms etc.
Laser printing (and other forms of computer-directed printing such as inkjet) is
frequently employed to in-fill data on preprinted items that have been produced
by one of the conventional print methods described above. The production of
print for subsequent laser printing comes within the scope of any printer geared
towards direct mail.
Until recently personalised printing was confined to black-and-white reproduction
achieved almost always by the dry toner method, similar to that used in
photocopiers.
Inkjet printing – spray printing dots of ink
Inkjet printing is the original electronic printing process. It differs from all the
others in as much as it is a non-impact printing system. Electronically charged
ink particles are sprayed onto the paper.
The simplest systems apply sell-by dates on foodstuff packaging and codes on
inserts, while high-end versions produce fully personalised mailings at a quality
that matches many laser printers. The key strengths of inkjet in this application
are speed, versatility and cost, particularly when combined with in-line finishing
technology.
Over the last few years inkjet has also developed as a colour imaging system for
designers, desktop publishers and repro companies. Costs for these systems vary
greatly depending on the intended application. Low-end colour printers used with
8.4 – 20
Chapter 8.4 : Essentials of the printing process
Apple Mac design stations can cost a few hundred pounds. High-end printers as
used by a repro house to produce colour proofs can cost several thousand
pounds. Similar high-end systems are used by some companies to produce shortrun posters.
Digital offset – colour plus personalisation
Two key issues have influenced the development of printing technology over the
last decade:
G
The need for more targeted communications
G
Shorter lead times and lower costs from design to print
Targeted communications
It is well documented that personalised communications deliver higher response
rates than non-personalised. Laser printers have been used to personalise
mailings for many years. Laser printing technology for direct mail applications,
though proven, only offers personalised text in one or two colours. The base
stationery has to be preprinted by some other process before it is passed through
the laser printer.
The ultimate concept is one-to-one marketing, which requires us to reach an
individual customer with a personalised message. This quest is fast becoming a
reality with digital printing technology – albeit at a price. However, with some
users claiming response rates of between 10 and 20 per cent, it is worth a closer
examination.
As far as printed communications are concerned, digital technologies were first
introduced in the early 90s.
One of the first digital colour presses was the Indigo E-Print 1000 launched in
1993. There are now seven or more manufacturers of digital printing presses,
some of which have up to five models in their range.
The digitisation of printed communications
Over the last two decades, most organisations have invested in some form of
desktop computers and or publishing equipment. These systems now allow users
to send electronic files to other parts of their organisation or to printers. Today
most printers receive well over 50 per cent of their jobs in electronic form.
Digital technology enables images to be stored as digital files (‘dots on disc’)
rather than film. Photographic images can be electronically scanned or
downloaded onto a computer from digital cameras or photo CDs. Other images
are created on the computer using various software packages. Once the data is
loaded onto a computer it can be manipulated. After correction or modification, it
can than be transmitted to a printing machine in another room or even in another
country if an ISDN line is used.
In experienced hands this technology has the potential to provide a much quicker
and cheaper route to market than the more traditional film-based methods.
How a printer then converts the data into images on paper or other substrate
depends entirely on what the communication is to be used for. Different machines
have been developed for different types of printed products.
8.4 – 21
Chapter 8.4 : Essentials of the printing process
Digital printing presses
It would be quite wrong to view digital printing as a generic process. To be
specific, digital printing is any printing completed via digital files. Digital printing
machines can have very different methods of applying images to paper.
Manufacturers each have their own view on the technological way forward.
Some are based on a process technology called xerography. Xerographic printing
uses an electrostatic image that attracts powder toner. The toner is then
transferred to the paper by electrostatic or direct physical means.
Others use a development of this process and use electrostatic inks rather than
toner. The imaging cylinder is exposed with a laser beam, so establishing an
image that attracts the liquid ink. The image is then transferred to a printing
cylinder and from there directly to the paper. The image is created from digital
data that has been transferred from a computer. For each subsequent copy the
imaging cylinder has to be re-exposed by the laser.
The computer can be programmed to create a different image for each copy to be
printed. It could be argued that this notion is not new since laser printers have
for many years offered this facility for personalised text.
The fundamental difference with this new technology is that it can also combine
pictures and words. Some presses are designed to print in one colour only;
others can print up to six colours.
Why use digital printing?
One-to-one
There are clear benefits in producing direct mail pieces with words and pictures
that are relevant to the recipient only. However, while few companies are likely to
have a database that is individualised to such an extent this is beginning to
change and will become more common in the future. Notwithstanding this there
are certain practical problems to consider:
G
The creative costs for producing totally individual communications are
likely to prove prohibitive, unless a very high-ticket item is being sold.
G
Each mail pack would have to be checked and effectively signed off prior to
printing.
G
The cost and time implications of data preparation need to be considered.
Test marketing
There could be a case for using digital printing for testing different creative ideas.
Quantities of 1,000 or less could be printed and mailed in order to establish
which creative to adopt for the rollout – subject to the minimum required for
statistical validity. However, if it were simply a question of testing different
propositions, then digital printing would not show any particular cost advantages.
8.4 – 22
Chapter 8.4 : Essentials of the printing process
Fulfilment packs
In a two-stage campaign where fulfilment packs are mailed in response to off-thepage advertising, DRTV or inserts, digital printing may offer some advantages.
As digital printing also offers print on demand in very small quantities, it may be
possible to print fulfilment packs at short notice when response levels to the
advertising are known. The packs could be printed and mailed as necessary, so
avoiding potential wastage.
For large-ticket items, such as cars, totally unique mailings could be beneficial. If
a consumer has shown interest in a specific model and colour/trim combination,
it is possible to print a single brochure for that particular customer.
On the other hand, it is most unlikely that a catalogue of hand-picked products
targeted at one person would ever cover its costs, whereas to a group of 500, it
may do.
As in all aspects of direct marketing, a cost/benefit analysis should be
carefully undertaken to avoid using technology just because it’s there!
Figure 8.4.11 Digital printing
Step 7 : Finishing
Once items have been printed they have to be cut and folded for end use. On
certain products re-moist gumming and perforations may be added. In many
instances this forms part of the finishing process, although these features can be
incorporated while printing on specialist machines designed for volume
production. Ask your printer for details of his finishing capacity when making
your initial enquiry.
8.4 – 23
Chapter 8.4 : Essentials of the printing process
For small specialist finishing requirements offline is usually preferred whereas inline is the option of choice for large volumes. It is important to ensure the printer
and finishing aspects are co-ordinated, especially if done by two different
suppliers.
Table 8.4.4
Some everyday print finishing terms
Saddle stitching
Wire staples used to hold multi-page sections together
Spine glueing
Multiple pages glued together rather than saddle stitched
Re-moist glue
Applied glue for self-seal application forms or envelope flaps
Impact glue
Applied glue for making up envelopes or glueing two sheets together
to form postcards
Pattern
perforating
Perforating in any direction or shape
Trimming
Cutting leaflets or brochures to a finished size
Die-cutting
Cutting leaflets or pages of a brochure into an irregular shape
In-line finishing
Products that are folded and trimmed on press – very sophisticated
formats can be produced this way (see following page for examples)
Off-line finishing
Similar features as above but produced from flat sheets after printing
Step 8 : Delivery
Unless specified otherwise a printer will quote ex works. It is important to be
specific about your delivery address and number of ‘drops’ if you want an
accurate costing. Note, with insert campaigns (where delivery may be direct from
printer to publisher) delivery can prove to be quite an expensive item with
quantities of print being despatched to various magazines around the country. It
is not uncommon for such a campaign to be spread across 30 or more
destinations.
8.4 – 24
Chapter 8.4 : Essentials of the printing process
Figure 8.4.12 Examples of finished formats
The examples below cover almost all formats in everyday use. In the case of
high-volume print runs using web offest presses, these formats can be
produced on the machine, i.e. in one “pass” and can include glueing and
perforation etc.
Single sheet
8-page
(French fold)
8-page
gate fold
12-page
letter fold
4-page
6-page
8-page
accordion
or concertina
6-page accordion
or concertina fold
8-page
short fold
8-page
parallel (3 folds)
8-page
map fold
8-page
reverse fold
10-page
accordion or
concertina
12-page
broadsheet
16-page
broadsheet
16-page
booklet
Head
Binding or
leading edge
(spine)
Foredge
Tail
Portrait
Landscape
8.4 – 25
Chapter 8.4 : Essentials of the printing process
Envelopes for direct mail
The most common envelopes in use in direct marketing are DL (to fit A4 folded
twice) and C5 (A4 folded once). C4 (to fit A4 flat) envelopes are used on occasion.
Outside of those stock sizes are bespoke envelopes, made to whatever size you
require.
Envelopes can be printed in up to 4 colours. With large volume, production
envelopes are printed and manufactured on a machine that accepts reels of white
paper and delivers finished printed envelopes. Smaller quantities are produced by
either overprinting stock envelopes or printing in flat sheets and making them up
as a separate operation.
A special making of envelopes can take six to eight weeks to deliver. Overprinted
stock envelopes can be produced in 10 to 14 days but are more expensive. When
envelopes are filled at a mailing house they are often filled by machine. These
machines require ‘machine insertable’ envelopes if they are to run at maximum
speed. This should be borne in mind when envelopes are being ordered.
It is essential to ensure the envelope width allows enough gap on each side for the
tolerance of the enclosing equipment. The thicker the pack the more room should
be allowed. Most machinable envelopes are wallets, i.e. flap on long side as
opposed to pockets with flap on short side. The manner in which envelopes are
packed in boxes is also important to avoid damage. Good quality cartons and
dividers are essential. It is worth noting that there is an increasing use of
polythene for the outer wrapper. Sometimes this can have a metallic finish.
For small quantities finished ‘bags’ are normal with peel-off self-adhesive glue or
alternatively they are heat sealed.
For large runs poly enclosing machines are used which are usually reel-fed poly
and can be in multi colours. Designing for poly enclosing needs close liaison with
the production house.
8.4 – 26
Chapter 8.4 : Essentials of the printing process
Figure 8.4.13
8.4 – 27
Chapter 8.4 : Essentials of the printing process
Table 8.4.5
Leaflets – 50,000 +
Important: In the majority of instances, due to the size and quantity required, paper is
rarely available from stock. Therefore we have to order the requirement direct from the
manufacturers. Much of the UK’s paper is made in Scandinavia, which requires
approximately four weeks lead time.
8.4 – 28
Day 1
Receipt of artwork.
Required by midday.
Day 2
Proofs sent out overnight.
Day 3
Proofs to client 10am.
Approval/Amends required 4pm.
Day 4
am we to amend.
Proofs sent out overnight.
Day 5
Reproof to client 10am.
Approval required 4pm.
Day 6
Film to printer.
Final Ozalid proof sent out overnight.
Day 7
Final Ozalid proof to client 10am. Final Ozalid proof approved.
Day 8
Commence printing and
folding/finishing.
On most products we would expect to
complete approx. 500,000 copies per
day.
Day 9/10
Commence delivery.
Dependent on quantity
we will notify quantity available.
Chapter 8.4 : Essentials of the printing process
Table 8.4.6
Direct mailpack schedule (simple)
Simple mail pack i.e. C5 outer, A4 or A3 stationery, t’s & c’s, BRE + flyer, simple laser up
to four versions/letter variants per nationality.
Day 1
Receipt of artwork
(With sample pack mock up).
Required by midday.
Day 1
Receipt of letter text.
Required by midday.
Day 1
Complete DATA required.
Required by midday.
Day 2
Colour proofs sent out overnight.
Day 2
Data dumps sent out overnight.
Day 3
Colour proofs to client 10am.
Approval required 4pm.
Day 3
Data dumps to client 10am.
Approval required 4pm.
Day 4
We to make any colour
proof amends.
Proofs sent out overnight.
Day 5
Reproof to client 10am.
Approval required 4pm.
Day 6
Film to printer.
Day 7
Commence printing.
Day 7
Produce live lasers.
Sent out overnight.
Day 8
Live lasers to client 10am.
Comments required 3pm.
Day 8/9
Corrections made to laser proofs,
this can take up to 24 hours.
Whenever possible we will fax the
corrections but often this is not possible
due to size of font i.e. caveats, in which
case we will send overnight.
Day 10
Revised laser proofs to client
10am. Delivery of all additional
inserts and envelopes required.
Final approval required 2pm. Note; If we
receive further corrections this will result
in delay.
Day 11
Commence lasering.
Day 12
Commence enclosing.
Day 13
Commence mailing
Commence mailing.
Quantity TBA dependent on complexity
of product.**
** Mailing schedule subject to total quantity and complexity of product.
Print buying – the three key issues
There are several thousand printers in the UK without looking to Europe. Apart
from a few specialist printers they all do much the same thing – put ink on paper.
However, some do it on a larger scale than others; some do it cheaper and some
do it faster. Your choice of printer should be based on three considerations:
1.
Quality of service
2.
Quality of product
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Chapter 8.4 : Essentials of the printing process
3.
Price
Price should always be the last of your three considerations. The cheapest quote
can easily become the most expensive job if it does not arrive on time and to the
required standard.
It is important to develop a close working relationship with your suppliers. There
is a trend towards ‘partner’ relationships between client and supplier which began
in the early 1990s, with organisations working with preferred suppliers only.
Good communication is the key to a good working relationship. Poor
communications between parties will lead to jobs being produced inefficiently.
Every job should begin with a well-specified request for a quotation. If the
job changes in specification or timing (as is often the case), then this should
be re-evaluated by both parties, with revised costs and schedules submitted.
This will ensure that the job is produced to specification, on time, and most
importantly – to budget.
A good supplier should also act as an adviser and suggest alternative production
approaches when appropriate.
Choosing your print supplier
We said earlier not all jobs are suitable for the same printer. It is important to
establish at the outset what each potential supplier is capable of.
Below is a checklist of questions to ask yourself and your shortlisted printer
before you hand over the job:
Table 8.6.7
Ten questions to ask about a printer:
1.
Are they recognised by the appropriate trade bodies, i.e. BPIF or DMA?
2.
Do they have appropriate equipment and capacity for your work?
3.
What are their materials handling and storage facilities like, and is there a general
air of tidiness and efficiency about their works?
4.
What experience do the sales and estimating staff have?
5.
Who would be the day-to-day account handlers?
6.
How do they handle production supervision and quality control?
7.
Do they understand your product and its uses?
8.
Are they financially stable?
9.
Are there any client references and samples of previous work available to be seen?
10. Are they ISO 9000 accredited?
8.4 – 30