Look at the Crop Duster's Spray Through Press Coatings

Vector Art With your Favorite DTP program

I enjoy making my own professional artwork because it’s simple to create frames, boxes, or other page elements and place them where you want them within your project. Many of these programs have on board templates that are installed with the application that are great for ideas. Using my desktop program I always come up with original art that can be sent to anyone in the reproduction business to open and include in any project it is required. I stay away from the small, mickey mouse programs because they are stand alone. This means that they are rarely supported by others and can leave you in a quandary when you are trying to get professional support. BY using the reputable programs you get the best reproduction in color in RGB or CMYK language. We are often asked to create the logo from scratch which will ultimately be sent to print and the web for display. To insure the highest degree of accuracy use programs like Illustrator, Quark or Photoshop. For our needs we like illustrator. It is our #1choice for laying out and creating most any creative item called for in any format including SWF. Illustrator is used in our operation when you want to get Images in color for your designs and full color combination templates.

Artistic Design

Common effects you can use in these programs

• Apply plain borders
• Blending The Layers
• Overlapping transparencies to create multiple color appearances
• Adding fancy borders
• Adding type treatments like flush right/ragged left
• Applying Filters and effects
• Gaussian Blurs

Tips for the Company Business Card

During the design planning, simplicity is best when you want to communicate clearly. When you design your business cards you want to give to customers remember a quick glance should tell the whole story. Don’t let it become a costly and frustrating venture, online design is executed in minutes backed up with real people, behind the scene at WePrintColor. So if you run into a snag you can always contact us directly to get the refreshing advice of a real human. Designing your business cards you’ll see how to stand out from the crowd, easily with a unique business card layout. Don’t be afraid to take some design tips from professionals, especially when it’s free.

Our Personal Commitment to you

Our staff will give you a design guide when needed that transcends the ordinary. It is in our mission to transform a Business card into a gold for you so your business will be recalled by all those that view it. In the end we have to furnish you with a few business card tips that assist you in creating the ultimate card for you. Our people will help with your business card identity and business services if you require our help. We want to make sure you are extremely delighted with the prompt first class delivery and quality. In order to remember us we need to be professional and doing the job right the first time will help us both with your fond memory of our service.

Facts on Four-Color Process Printing

Four-colour print works through light absorption and reflection. Cyan-Magenta-Yellow-Black is are the 4 primary colors that are used on the printing press. These colors are also available in many color laser printers today which allow you to get a rough idea of what your project may look like in its finished printed format. Four colour process colors can be determined with a color wheel that you learned helpful tips and advice with in school to design aesthetically. It is really a case of dialing the right color in then you’ll see how it’s made (Percentages of each color)

Four-color printing means Cyan Magenta Yellow Black (Kilo) as required for the printing process and CMYK digital printing machines.

	No Varnish This diagram represents the surface of a coated paper over print with a uniform film of ink. Such a paper ink combination produces a surface that is relatively smooth. You will notice only slight variations in the angles at which light reflects back to your eyes. Consequently, there is neither a significant diffusion of light nor a pronounced dulling of the printed image.
	Dull Varnish When dull varnish overprints paper and ink, it produces a velvet-like effect. This is because dull varnish contains platelets that rise to the surface as it sets and dries. The final arrangement of these platelets is so irregular that light rays striking them are reflected in many different directions, diffusing the light. The printed surface, therefore, appears dull.
	Gloss Varnish Gloss varnish fills in the irregularities of as paper and ink surface and dries to form its own, which is virtually level. Because light rays reflect off this smoother surface at identical angles, there is little if any diffusions and the printed image appears crisp and sharp.

Designer’s Pick- Arts and Crafts

Related links:

• Understand how color affects your mood. Color is used in many forms to heal and aid the sick, diseased and the distressed. Color has been used in healing from ancient times.
• Red Color Selector- Is red your favorite Color? Bet you didn’t know there was so many different variations of red. Choose your colors and get them emailed to you

You can use cmyk color and the Pantone Matching System when extra colors are required by setting up extra spots colors as plates in your digital file.

You can also use cmyk color as opposed to RGB to print images but the colors may fluctuate. Cmyk inks can be used for your presentation cover with a protective coating. Utilize it color with the sliders or selectors when working on screen for truest representation of printed product. You can make cmyk printing files and save as either a tiff or an eps for best results when going to a commercial printing press.

A Quick Low-Down on CMYK (Cyan/ Magenta/ Yellow/ Black)

Four-color print colors are shown in RGB so that what gets printed looks the same as what appears on the monitor depending on calibration. Four-color printing can be used with a color wheel that you learned in school to design aesthetically pleasing colors. Four-colour print can be successfully used to print a single color brochure from a digital file that you prepare. It is used to create an unlimited number of colorful printed looking pages but using the inks shown below only.

An Explanation of Aqueous Coating

Aqueous coating is produced in one pass through the press which saves you the cost of an additional press run. A coating that also offers “spot” coating options where specific graphic areas are coated only. The coating is clear but should not yellow over time as varnish does. This coating can be printed on both Color Sides easily. This is a covering that can be applied on two sides for any type of paper, higher gloss materials present a greater challenge. Aqueous coating can have impact on its print performance over time.

Illustrator for Real Easy Vector Art

We use illustrator and Adobe Photoshop to prepare best files for inclusion in HTML files. You can use it for corporate design services where vector artwork may be a requirement. Adobe illustrator is our #1choice as the basic tool used for all print and direct mail requirements. It is easy to learn and implement into the commercial printing process. I use illustrator for sample templates that can often inspire some great ideas. Adobe’s ai remains our favorite due to its ability to make our printed sheet reality; quickly and accurately. Illustrator uses can include automated graphics programming, batch processing, create effective print designs and screen output through computer-based composition and vector Ripping devices. We use it day in and day out because of for designing entire graphic productions from concept to output there is no more stable program.

A Few Effects for Artists in Illustrator

• PDF creation
• Layer And Masking
• Using Guides
• Diffuse Glow
• Filters and effects
• Selection Coloring
• Drawing Straight Paths

Tips for the Company Business Card

When you design business cards consider producing web graphics as a branding phase to your website at the same time. This way your work can be utilized 2 fold and a consistent marketing images begins to form. During the design, planning your business card is your ticket in and out of meetings with new people so it makes sense to spend the necessary time now to make it right. While putting your business card together let the experts help you by providing the best online design tools (free). At the design planning point use templates to help get you on track , pre-made to help you with planning. By taking the time now you can transform a Business Card design into a gold nugget!

On the net today you’ll find so many choices of template designs, many have a similar look;  few of them have their own style and flare. Printing business cards in full color on your own color printer is a good way to decide on what personal presentation you fancy. Just simply design them and print them at home on your computer printer to get a good idea of what commercial print will look like. The color language you use to out put and type of color printer will effect .

Another option is to utilize a company that has web-based tools so you can design your own cards online and then they will print them in true CMYK Inks for you. With this approach will be able to select a design that you like and click through many other possibilities that you are interested in.

There are some things today that your local printer just can’t do. If you have shopped the net before you know what I am talking about. Many online printing and design companies have found specialty niches that they build on.

Steps for Getting Cards Printed Without the Internet

Imagine what life would be like without the communication of the internet. For me, I do not have to imagine it; I lived it. Without having the convenience of electronic communication here are the steps in getting your business cards printed;

1. Get in your car, drive to your local supplier of choice, Explore options
2. Place your order- make deposit payment
3. After a few days your proof is ready to view. Go to your local printers operation and approve your proof or make changes.
4. If you make changes (most people do on first draft) return again to approve the revised draft
5. Wait 5-10 days for a finished product and finally pick them up

All of these steps are necessary in creating your unique business card if there was no internet.

They can all be done in a few minutes by going to your kitchen, making a cup of coffee and relaxing. Now, on your computer you leisurely create a business card that pleases you, FREE. Whether you design your own business cards using computer software or buying business cards online, dealing with the right company will make your buying experience a pleasure and one that you will pleasantly repeat.

Make the Right Choice

When you are making your business cards, there are fonts, colors, sizes, paper types, backgrounds and objects to chose from. There are simply millions of possible variables that can sometimes make your choice an overwhelming one. Some customers may not have the time and patience to carry out this task. However, most online printers are more than willing to work with you to help build your own unique business card.

How do you choose the best business card for you?

Customers can always choose who they want to do business with but I recommend this only after seeing what’s out there. After all, your business card is a reflection of you and getting the very best value for your dollar while not affecting quality should be your goal.

Here are a few tips to help you make the right Choice:

• Look between the cracks, see what prepress techniques are being used. Specifically the line screen measure (LPI). LPI is how many dots per inch the printer uses. The more dots the printer can clearly print in one area the more photos realistic your business card will appear. You also want to ask if they use FM line screen
• Ask about protective coatings. Find out if FREE coatings are being offered.
• Look for the best place to get business cards printed based on the above points
• You want to feel as though the business cares for your order
• Are there rewards programs if you choose their service?
• Make sure the card design you choose is unique and personalized without infringing on copyrights.
• The thickness of card stock not less than 12 point for coated or #100 for uncoated cover stocks.
• Get multiple quantity Prices
• Online you also can add your own photos and custom images if you desire
• Don’t forget about the backside design

Paper Based Business Card Printing Options

The printing of your business card can be done a few different ways:

• Buy Perforated (tear out) sheets from your local office supply outlet and print them on your own printer. This can be used for a presentation that you have forgotten to get professional business cards for. Although this method is easy and cheap I do not recommend it as these cards will not stand up to wear and tear or moisture contact. Warning : Inkjet printing smears and runs if exposed to moisture – this does not leave a positive impression with your prospect after sitting in their sweaty pocket for a few minutes
• Digital- this means that your card is printed on some sort of digital printing machine, usually toner based. If you consider this option it is important to understand that your print quality will not compare with true print and litho, especially when you factor in technologies such as FM line screen and Aqueous Coatings. The reason one might consider this option is due to time constraints, but the truth is this style of card will not stand up against lithography.
• True Print and Litho- You may want to choose the design options that support a greater array of color that offset print and litho delivers. There are 2 basic colors styles of sheet fed offset printing, spot color and CMYK color. Spot Color or CMYK printing is where a printing press is used to produce your business card. The ink is actually absorbed into the paper a certain degree. The amount of absorbency depends on whether you are using a matt or glossy finish. In either case the ink is absorbed into the material which creates a better bond between ink and paper. You may also opt in on a protective coating which will further enhance the longevity and colors of your card. Professional printing is the best way to produce your business cards, although some digital gurus may argue that point, I gladly invite any comments on this blog.

When all projects are completed storing info electronically makes for easy and color-consistent reordering.

Here are a few ideas for printing and using your business cards

• Print labels describing your current promotion and stick them to the back of your card
• Attach them to business bulletin boards
• Print Double sided business cards to increase your mileage
• Get magnets from your local office supply store that can be attached to your business cards

Always consider printing the back-side of your card. Some ideas include mission statements, promotions, map to location, calendar or a metric conversion ruler. If you are printing on the back of your card you want to plan on ordering no less than 1,000 business cards if commercially printed. Most online companies have a minimum order of 1000 when the business card is getting professionally printed. In digital printing there are no real minimums although 1 sheet (8 ½ “X 11″) contains 10 business cards and that would likely be the way your digital printer of choice would produce a digital business card.

Brochure printing is a practical process for any business. There are a large number of printing companies that compete for printing jobs, often getting a second or third opinion can often save, money, increase commercial printing quality and net you added extras that you would not otherwise have been entitled to.

Professional companies that provide brochure printing can be easily identified by one simple method…the people behind the scenes. If you are going to entrust a strange company with an important task such as the design and print of your company brochure then it would stand to reason that want to know more about the people you are dealing with.

Do yourself a favor and look for a contact phone number on their website. If it is hard to find or isn’t event available one might assume the same will happen with the printing order placed. When you find a phone number pick up the phone and dial it. At this point you may get a response from an automated attendant. To me I am not convinced yet! I WANT TO TALK TO A REAL PERSON. After all, you are going to be spending hard earned money here. The simple rule I have made is if I cannot speak to someone I will move on until I can find a real voice that can answer my concerns. If/ when you find a human that is willing to discuss your needs with you here are a few key questions to ask:

• Is printing done Litho or digital
• Does the price include artwork, if not can they accept a file from you? If the answer is yes than you need to find out the exact specifications that have for best setting up your file- ask them.
• What are the payment terms?
• What is the Guarantee; what If I don’t like what is printed?

These are just a few of the key questions you can ask to determine whether you want to do business with them. The answers and the way they reply can offer you some tell tale signs about your possible future. I suggest you really take the necessary time needed to make the right choice because once you make that choice and willingly give a deposit there is no turning back.

Most professional companies that provide brochure printing will usually exceed your brochure printing expectations. At the same time there are bad apples in every bunch. The purpose of your screening test is to quickly filter out the bad apples to avoid getting burned. Also consider what finishing capabilities are available to you such as bindery and mailing services. It is often the case that a brochure requires folding, tabbing, gluing and many other custom finishing possibilities that designers may build into the project. When you are ready to place an order you need to know the following basic information:

Details Of Your Brochure

STOCK: What type of paper? Thickness, color and finish

INK: What are the ink colors that are printing? Does the ink bleed? 4 / 0, 4/1, 4/4 or any special colors and protective coatings

SIZE: What is the final trimmed size? Most commonly 8 ½ X 11” is used for brochures

FINISHING: Will the brochure be flat or folded? Are there any custom operations such as perforating for tear offs? Make sure that you know what operations will be required to finish your order so you can clearly communicate this during the estimation stage

PREPRESS: Will you supply a digital file? Is the concept going to be completely developed by you? If so what it the best way to send the file for accurate reproduction? If not what is the fee to create the brochure?

QTY: How many will you print? With 4 color brochures the more you order the cheaper (Per unit) they will be. A good starting point for a real litho press is 5,000 8 ½ X 11”

By having your brochure is laid out in the right manner it will serve its readers well and likely provide a good response. Brochure printing can be very inexpensive when you stay within the realm of standards. It when you want customized brochures that it can get costly . You want to try and stay within the means of standard four-color printing as pretty well every brochure printing company is equipped well for this.

1 Way a Commercial Printer Will Print Your Order

This depends on the equipment the printer has. The scenarios below assume the printer has access to all machines.

11 X 17 ” Final Trim Size folds in 1/2

The company annual report design process is subject to a number of strategic, conceptual, annual, temporal, and regulatory constraints. The success and acceptability often lies in the designer’s ability to feed all channels of information into a suitable aesthetically pleasing graphic masterpiece. Having the fortitude to connect all phases of the project in the appropriate areas of design is what separates the ordinary from the extraordinaire.

Artistic Design

A professional graphic designer will also carry the knowledge of what is attainable in print and litho. This is a critical part of annual report design…not going outside of the realm of what can be illustrated from design to production. Designers should be allowed to think and process there own thoughts first, then a wiser person who knows a-thousand-and-one things not to do may be called upon if needed. Usually that is the team leader that is called upon. In the production planning stage, the printer assumes a significant role.

Commercial printing can make or break the entire annual report design effort, most designers say “quality and knowledge” is what they look for first in a printer. To do this, any printer we work with has to have a broad knowledge base about printing techniques, inks and papers, and alternative ways to get us where the project needs to go. To seek and find a printer that will be able to handle the occasional artistic temperament and to caution when all is not well with a job can make the difference with this complete process.

A two-sided, accordion fold report suggests the two sides of the seriousness of managing a successful business, and the funky ambience of the business itself. Sheet overlaps, shown here in green, were glued as whole pages to let the accordion open, be easily perused and read, without interruption.

I can recall once meeting with a professional, top dollar, Toronto based graphic designer. The purpose of the meeting was to discuss production of the annual report for a multi billion dollar corporation. The prototype had been created by the team of designers and it was absolutely beautiful. It was for a major Canadian based clothier. The concept was a cover of a business man standing wearing a classy business suit sold by the clothier. The image was printed in full CMYK colors, 2 metallic spot colors, foil stamped, UV coated, embossed and die cut.

To open the report you would open it from the center of the lapel the man was wearing by unlocking interlocking tabs of paper. Once the report was opened the internal pages were a combination of translucent and semi gloss coated litho paper stocks. The internal pages would open like an accordion in 3 sections. The 3 sections would be affixed to the inside panels once reader opens lapel cover.

In my years of being in the business this was the most detailed project I had ever seen. All other printing companies that had looked at this project provided every reason under the sun why this could not be produced. I sensed this was the case once we started talking. My approach was anything could be done, the question was how will we do it?

With that attitude alone I was awarded a $95,000 printing order that was actually produced by 11 different companies. This is what separates a mediocre thinker from a creative thinker. The mediocre thinker tells you why it cannot be done while the creative thinker finds a way to make it happen. When it comes to project management, the designer can be the orchestrater. The symphony of music can play truly creative sounds while the conductor offers just that magic touch to make it perfect.

Making The Cover

This task is not a painstaking one; make it top of your list of importance with your company annual report. Don’t worry if you run into a little trouble with how to design a book cover that is why you have a graphic designer. If you are just drawing blanks ask your designer to impress you with fresh ideas. Allow your designer time to research your company and key people that make the wheels turn. A surprising recent finding is people that frequent the average bookstore spend approximately eight seconds looking at the front cover and 15 seconds reading the back, According to “The Wall Street Journal”.

You have front and back cover that need to be included in planning and design! Don’t miss out on concept for the back cover, it should be more subtle than the front while providing extra interest such as company credits, milestones or maybe a mission statement. The natural order will be the front cover has stimulated the reader enough to look at the back cover, then open the report and review contents. Clearly, the one represented by the well-designed, 3D cover with a relevant image will influence you in a more positive way, and will more likely induce you to purchase that book. In order to wrap your report properly it needs the skills of an experienced graphic designer who has experience in book cover design. In so many cases, the designer’s thought processes are likely to be more valued, as well as ever recommendations they make. The fact is a number of designers can give a client a nicely designed annual report, rarely to readers see or consider all the good thinking that went along with that. If we attempt to breakdown the annual report designing process there are 2 basic steps:

1. Designer’s concepts (renderings) in rough form they are created for acceptance. Once the designer’s proposal has been approved the production work begins; bringing all of the different facets of design, art, and production into the picture.
2. Graphic Preparation- Once all approvals are in place it is now the graphic production team than must produce the mechanicals or finished digital artwork needed to go into production

Many good designers share the same view around clients, that is to be seen as more that a person doing a job. There is so much more to offer when a client sees the talent and skill employed by the designer rather than a set of hands.

In general designers will tell you that the most interesting and effective annual reports are (stylistically and strategically) from smaller, more entrepreneurial types of companies, here the designer delivers a one stop operation to the president/CEO. Illustrations in your annual report bring editorial insight to the challenges facing your industry today. For many design companies the belief is in tight designer control. These jobs must be tightly controlled, because they can so easily get out of control at any stage of the process resulting in accurate planning and estimating. Clients need to clearly understand what they are getting from the designer and when a deviation is made from the original game plan why extra charges are applied.

With projects such as annual reports it is often wise to look at from the delivery date backwards, this way you will know the drop dead line. If the project will take 6 weeks to produce then once you infringe on this window of time your client knows the clock is ticking and there is a chance the order will now be late. This is the main reason why tight designer control is important! Creating an annual report book cover isn’t as hard as it seems. There are many new programs, such as Adobe Illustrator that offer a sample gallery of cover designs that make help get the creative juices flowing. Here are a few example found in Adobe’s sample folders.

By understanding what will be involved in designing, writing, publishing and distribution of your annual report, you can put the proper building blocks in place to ensure all goals are met. Listening well is at the top of the “to do” list when gathering the information from clients. When you add that to the designer’s ability to think and process the information you have a magic recipe. In the initial meeting with the creative team and client it is best to use this meeting as information gather only and not to offer any solutions until you have taken it all back, brainstormed with your artistic team, discussed solutions and then return on the second visit with possible solutions.

Best Production Options for Printing Your Cover Design

Option A

Oblong Cover 1 up, 2 out Work and Tumble or 2 up, 2 out sheet wise oblong cover Stock: Cornwall Coated 1 side Ink: CMYK, 1 side (4/0) with protective coating Running Size: 20 X 26″ Finished Size: 12 X 9″ Finishing: Score and Final Trim

Option B

Four page cover 1 up, 2 out, work and turn or 2 out sheet wise upright cover. Stock: Cornwall Coated 1 side Ink: CMYK, 1 side (4/0) with protective coating Running Size: 20 X 26″ Finished Size: 12 X 9″ Finishing: Score and Final Trim

Having been in the print and litho business for 29 years I have had the joy of witnessing the revolution of digital evolution.

I have climbed the ropes in this industry

In 1978 I started as a clean-up man which involved sweeping floors, tables, toilets, sinks, you name it I kept it clean. At the same time I found myself obsessed with the entire printing process. I loved to interact with graphic designers, pre-press experts and pressmen. My interest was quickly noticed by management and I was offer a job as a guillotine cutter in the finishing department. This is a process where I would prepare paper, pre-press by back trimming stock if required or cut finished press sheets after they were printed. This was a great opportunity for me and I gladly accepted. I won’t bore you with all the details but over the next decade here are the positions that I became accomplished in:

• Press feeder- Kept the presses feed with paper and removed finish product into appropriate finishing department.
• Pressman- Perform set-ups and was responsible for my own printing unit.
• Stripper- I took my clothes off—Joking . This function in pre press has been completely digitized now. All stripping (imposing) is performed using programs such as Adobe Illustrator, Quark, Corel Draw plus many more. In the 80′s the way we used to do it was using chemistry to develop negatives which then had to be placed into a stripping mask prior to plate making. This would basically ensure that that image was burned in the proper position of each plate. We used to use a term of plate edge to 1st trim to determine where we would burn each image on a plate. Once the plate was burned we would use a developer solution that would create the lithographic plate the printing press would use.
• Graphics and Print- Although I did not have my own artist table I worked very closely with artists Roseanne, Virginia, Kim and Tim. I became a liaison from prepress to press in order to streamline production and maintain quality.
• Salesman- This is where I spent the remainder of my employed time in the printing industry. By far the most rewarding and challenging of my commercial printing career so far. During my 7 years in sales I won a few sales competitions and became top dog. Not that I am bragging, but when I have passion for my work I strive to become the best. If someone is better I will mentor them until I surpass them. At one point my employer said that they could not afford to cut me a check for earned commissions, even though all my clients had paid in full. I was a straight commission (15%) salesman at the time and if I did not sell I did not eat. My employer owed me a commission check for $9880.00 that they had already delayed for 2 weeks. It really left me with no choice
• Reprotech Print and Digital Media Services- I explored my options and had many attractive offers for employment elsewhere. After serious thought I could not help but thinking about taking my knowledge with me and starting my own business. In 1989 I started this business and have never looked back.

I thought I’d give just a little history so you can; hopefully understand that I write these articles out of passion for the subject. I want to talk about one of the most confusing areas in printing that has plagued the industry for decades. To this day, consumers of commercial printing still do not understand it. Even the most qualified salesmen in commercial printing have trouble offering an explanation for this!! Can you guess what I am going to say next? If you guessed paper weight (thickness) you got it. The reason that it is confusing is simple. The Americans! For some reason our big brother won’t make the transition to the European measure of paper. Why?

Paper Thickness Measurement Rant From the Eighties

Regular Sizes vs. Irregular Sizes

How Prices and “M” Weights Work

How Paper Thickness is Measured in the USA

Instead of answering why, let me try to explain how paper thickness is determined and measured:

First of all you always want to work within standard sizes that are available to avoid paying a premium for irregular sizes. The following table will be of help in figuring the advantageous size to buy.

REGULAR SIZES IN THE US BUYING TIPS

• 38 x 50″- If an irregular size in between 38 x 50″ and 36 x 48″ is required, use 38 x 50″ pricing. For example: 36½ x 48½” with the 10% differential added will cost more than 38 x 50″.
• Be aware of this 36 x 48″- The regular size 36 x 48″ is cheaper than an irregular 35½ x 45½”. 35 x 45″- If 32½ x 44½” is needed, you can use 35 x 45″ for the same price or slightly less.
• 28 x 40″- The 28 x 40″ is cheaper than any irregular size down to the next regular size. 26 x 40″- Any irregular size in between 26 x 40″ and 25 x 38″- will cost more than 26 x 40″. Use 26 x 40″ as a saving.
• 25 x 38″- Use the 25 x 38″ size as more economical than any size in between these two. 24 x 36″- Use 24 x 36″ as cheaper than any irregular size in between these two. 23 x 35″

So now we understand a little more about paper standards in the US we can determine as a general rule that an irregular size may cost us an additional 10% and that you may be better off wasting paper in many cases. Often, it is cheaper for the customer to order the next larger regular size.

How to Determine M weights

Use the trade basis weight to calculate the ream weight using three decimal places.

EXAMPLE: To calculate the ream weight for 80 pound overstock 7½ x 81/8″ : 71/8 x 81/8″ = 57.890 x 80 = 4631.2 520 = 8.906/500. For sheets 24 x 36, 864 square inches and larger, adjust the ream weight to the nearest whole pound and Multiply by two. EXAMPLE: Ream weight ” 149.4 adjusts to 149 pounds per ream And is doubled to make an M weight of 298. Ream weight ” 149.5 adjusts to 150 pounds per ream And is doubled to make an M weight of 300. For sheets less than 24 x 36″, 864 square inches down to and including 11 x 17″, 187 square inches, adjust the ream weight to the nearest half pound and multiply by two. EXAMPLE: Ream weight ” 73.24 adjusts to 73.0 pounds per ream and is doubled to make an M weight of 146. Ream Weight 73.25″ adjusts to 73.5 pounds per ream and is doubled to make an M weight of 147. For sheets less than 11 x 17, 187 square inches, adjust the ream weight to the nearest two decimal places and multiply by two. EXAMPLE: Ream weight ” 10.77 pounds per ream is doubled to make an M weight of 21. 54.

REAM WEIGHT AND M WEIGHT OF IRREGULAR SIZES

To calculate the ream weight of any sheet size multiply the sheet length by the sheet width by the basis weight and divide by the number of square inches associated with the basis weight, i.e. BOOK = 950 (25 x 38); COVER 520 (20 x 26); BRISTOL = 641.25 (22V2 x 28½); INDEX = 777.75 (25½ x 30½); TAG = 864 (24 x 36); BUSINESS PAPERS = 374 (17 x 22) EXAMPLE: To calculate the ream weight for 20 x 30 Basis 80# Cover: 20 x 30 x 80 ”Adjust results as outlined in calculation of M Weights. This will give the adjusted ream weight. To calculate the M-weight multiply the adjusted ream weight by two.

Is that Confusing or What?

The best way to measure paper thickness is ‘grams per square meter‘ (gsm) as the commercial printing industry in Europe does—it’s all about paper density. A very simple measurement can be applied to any size or thickness of 1 square centimeter weighing .XX grams…NICE!

A gift for my printing friends. Below I have prepared a list of the commonly used printing terms in commercial printing.

	ACCORDION FOLD Having folds like the bellows of an accordion, created by the paper being folded two or more times in a parallel direction.
	BACKING UP Printing the opposite side of a sheet, after the first has already been printed.
	BARREL FOLD When paper is folded two or more times in the same direction (sometimes called a wrap-around fold).
	BASIS WEIGHT The weight of a ream of paper (500 sheets) based on a standard size for each type of paper, which is: Book paper”25 x 38″, Cover”20 x 26″, Bristol”22 1/2 X 28 1/2″ or 221/2 x 35″, Index ” 25 1/2 x 30 1/2″, Business paper (including bond, ledger, mimeograph, duplicator and manifold) “17 x 22″, and Tag”24 x 36″. One ream of 25 x 38″, 80 lb. book paper will weigh 80 lbs. (Based on US paper Mills. In Eurpope a far better system is used…grms/ square centimeter)
	BLEED When the printed image extends to the trim edge of a sheet or page.

	BULK The thickness of a single sheet of paper, expressed in points. A point is one thousandth of an inch.
	CALENDERING When paper is passed between a stack of horizontal rollers, under pressure, to increase the smoothness and gloss of its surface and reduce its bulk.
	COLLATING Gathering or arranging printed sheets or signatures into the desired sequence, either by hand or by machine.
	FOLIO A page number; also the numbering of pages.
	FORM The positioning of positives or negatives ready for platemaking, sometimes known as a flat.
	FORMAT The final physical form of a printed piece, including size, design, type style, margins and printing requirements.
	FRENCH FOLD A sheet folded twice to make a 4-page folder, and usually printed on one side only. An example is a greeting card.
	GATE FOLD An outside page of a book folded so as not to extend beyond the edges. An additional fold-out like one would see in a magazine that has extended its cover. See page 10 for example.
	IMPOSITION The positioning of type pages, negatives or plates in proper relationship to each other, so that the pages will follow in sequence when the printed sheets are folded. The imposition is usually determined by the printer in consultation with the binder.
	INSERT A separate printed piece that is collated, tipped, or stitched into the binding of a book or magazine.
	LAYOUT A sketch or drawing of a subject which is going to be printed.
	MECHANICAL BINDING A method of punching holes near the spine of a book and inserting metal or plastic bindings so the book will lie flat when opened.
	MECHANICALS Art work and type proofs mounted in a camera-ready position.
	M WEIGHT The weight of one thousand sheets of paper, any size.
	OBLONG A book, catalog, or other printed piece bound on the short dimension.
	PAPER DUMMY An unprinted sample of a book or other printed piece, bound and presented in the correct size, usually using the desired grade of paper.
	PERFECT BINDING A style of binding in which all pages are trimmed at the binding edge and held together by glue. Large telephone directories, catalogs and most “paperbacks� are bound in this way.
	PRESS PROOF A press proof may be submitted to a client by a printer for color correction and copy O.K. It is an exact sample of the finished product in press sheet form.
	PROGRESSIVE PROOF Proofs of each individual plate showing each color to be printed separately and in combination, in the sequence they will run on the press.
	REPRO PROOF A carefully made proof of type matter on coated paper, which serves as photographic copy.
	RIGHT ANGLE FOLD Two or more folds at 90 degree angles to each other. See page 19 for example.
	ROUGH PROOF A rough example of what a finished product will look like.
	SADDLE WIRING, SEWING OR STITCHING A method of binding sheets by opening the sheets to the center of the fold and fastening all together by means of wire or thread. The folded sheets ride on a saddle while this type of stitching is being done.
	SALT PRINT Photographic copy of type and illustrations in position, generally not showing color break-up. Also called blue line, brown line, Fotoproof Ozalid, and Dylux.
	SCORING Making an indentation, generally in the heavier weights of paper, to facilitate cleaner and easier folding.
	SELF-COVER When the inside stock of a booklet also serves as the cover, and is usually printed on the same press sheet.
	SEWN BOOK A popular style of book binding, the signatures of which are gathered in sequence and sewn individually in 8′s, 16′s or 32′s. The sewing threads are visible at the center of each signature. Often called Smyth sewn.
	SHEET Represents two pages, for both sides of the sheet of paper.
	SHEET WISE When each side of a sheet is printed from a different plate or type form.
	SIDE WIRING OR STITCHING A method of binding sheets with wire from the front to the back on the side near the spine.
	SIGNATURE A folded, printed sheet forming a section of a printed piece or book. The number of pages in a signature is usually a multiple of four, and more often a multiple of eight. The word is generally omitted in specifications, as gathered or sewn in 16′s, etc.
	SLITTING The use of cutting wheels or knives on the press or folding machines to separate signatures into sections.
	SPINE (BACKBONE) The part of a book’s binding which connects the front and back covers.
	STOCK The material, paper or otherwise, which is to be printed.
	SUBSTANCE Alternative word for basis weight, used commonly when referring to bond papers.
	TIP-IN One or more sheets or signatures inserted and glued into a book or magazine, often on a different quality paper.
	WORK AND TURN When the same plate or form is used for printing both sides of a sheet, by turning the sheet using the same gripper, but opposite side guide.
	WORK AND TUMBLE When the opposite side of a sheet is printed by turning the sheet from the gripper to the tail edge, using the same side guide.

Color is light. Light is a form of energy and, according to theory, travels in waves. Light waves emanate from a source such as the sun, a light bulb, a white candle, etc. In any of these sources of light, there are many different wavelengths. Wavelength is measured from crest to crest in nanometers (billionths of a meter) or in mill microns (millionths of a millimeter). The visible spectrum range is usually considered to be between 380 mill microns and 770 mill microns and is part of the much larger electromagnetic spectrum.

In the seventeenth century, Sir Isaac Newton established that a beam of “colorless” light passing through a prism is refracted or bent into separate bands of colors. (Figure 1)

These are called the colors of the visible spectrum. Each color has its own wavelength. When all the wavelengths are combined in suitable proportions, they produce “white” light. All individual and combinations of colors are inherent in white light. We occasionally see this spectrum in nature in the form of a rainbow.

HOW WE SEE COLOR

All visible colors are contained in “white” or “colorless” light. Light energy travels in waves with each perceived color having a dominant wave length which differs from the wave length of any other perceived color.

The human eye acts as if it has “color receptors”. One set of receptors is sensitive to red wave lengths of light, a second is receptive to green wave lengths, the third is sensitive to blue-violet wave lengths. When the red and green receptors are stimulated we see yellow as shown in figure 2. The various colors of the spectrum are seen depending on the strength and mixture of wave lengths which strike our receptors.

We see colorless or white light when our receptors are stimulated equally. Color then is a sensation resulting from light energy impinging on receptors in our eyes which our brain interprets as being various combinations of red, blue and green.