Citipost print - The basics of print

the basics of print

Print The basics

Welcome to our basic guide to print, your essential companion to navigating the intricate world of print media.

Whether you're a seasoned marketer or just dipping your toes into the realm of print, this comprehensive resource is designed to demystify the process, empower you with essential knowledge, and help you unlock the full potential of your print projects.

From understanding different printing techniques to optimising designs for print, consider this your go-to handbook for mastering the fundamentals and achieving stunning results in your print endeavors.

If you require further information or clarification on any points please do speak to your Citipost Print contact or email us at printservices@citipost.co.uk

Types of paper

Paper can also be referred to as either stock, material or substrate.

How is it made?

Paper comes from trees! Trees are cut, bark is stripped off, and then the wood is broken into small chips. These chips are subjected to mechanical or chemical pulping to separate the fibres and remove the cellulose and other binders in the wood. The resulting wood pulp is mixed with a water based solution resulting in a thick porridge-like slurry.

Chemicals and compounds are added to increase the whiteness and smoothness of the paper. Once the water has been squeezed out, the paper is smoothed and dried. For coated papers a layer of fine powder (china clay) is applied to one or both sides of the paper. The paper then goes through large metal heated cylinders which polish the paper to increase smoothness and determine the final finish. The more intense the polishing, the shinier the paper.

There are two categories of papers:

• Coated

• Uncoated

Coated

Coated papers are available in a range of finishes from matt coated (matt, velvet, satin, silk), gloss coated (shiny) to cast coated (very shiny and is normally a single sided material).

Gloss

Hard shiny coating ideal for sharp reproduction and images and the ink dries well on this stock.

Matt

A lighter coating, resulting in a smooth, nonglossy finish, which retains its suitability for sharp colour reproduction. Makes text easier to read due to it’s low reflection.

To prevent the ink from rubbing or marking a seal should be applied to matt papers during the printing process.

Uncoated

Manufactured in the same way as coated papers, except they do not have a coating applied. They are bulkier than coated papers as the paper is not compressed as much during manufacture. Because uncoated paper is more absorbent, the inks sink into the paper fibres and spread slightly, this is known as dot gain.

This softer, more absorbent surface may cause dulling and darkening of natural ink colour during the litho process, however when digitally printing uncoated paper use has very little impact on colour reproduction.

Typical uses include newspapers and general stationery or creatively.

Uncoated papers are also referred to as offset papers and cartridge papers.

Recycled paper

(See p10 for information on recycled paper)

Simplified path of paper-making machine

Paper weights

Paper weight is specified as grammes per square metre (gsm) also written as gm2 or gm. So, 1m x 1m piece of 100gm paper will weigh 100 gms!

Typical material weights are: 80, 90, 100, 115, 130, 150, 170, 200, 220, 250, 270, 300, 350, 400gsm. NB: Not all papers are available in all these weights.

Technically, any paper weight over 170gsm should be called board.

Paper sizes

Paper sizes are always referred to in millimetres.

Always state height first, width second. UP the stairs... ALONG the corridor!

Example:

A4 portrait = 297mm x 210mm

A5 landscape = 148mm x 210mm

The term “pp” stands for “printed page”.

For example, a l etterhead is a 2pp.

A common confusion is to refer to a folded

A4 sheet as a 2pp, (or 2 pages) when in print terms, this is properly referred to as a 4pp

Printers have to use oversize sheets for printing. This allows for bleed and trimming.

Example:

To print an A2 poster, a printer would use SRA2 size sheets and trim top, bottom and two sides.

SRA2 = 450mm x 640mm

A2 = 420mm x 594mm

There are a number of different paper ‘series’ which use the ISO system for determining sizes:

‘A’ sizes are intended to be the finished job sizes.

‘RA’ sizes are to allow grip on the printing press.

‘SRA’ sizes allow for both grip and bleed.

‘B’ sizes allow for oversize formats.

Standard paper sizes

The ‘A’ series of standard paper sizes is based on the following principles:

• Format A0 has an area of one square metre.

• The height divided by the width of all formats is equal to the square root of two (1.4142).

• Format A1 is A0 cut into two equal pieces (ie the height of A1 is equal to the width of A0).

A Series (mm)

A0 1189 x 841

A1 841 x 594

A2 594 x 420

A3 420 x 297 A4 297 x 210

A5 210 x 148

A6 148 x 105

RA Series (mm)

RA0 860 x 1120

RA1 610 x 860

RA2 430 x 610

RA3 305 x 430

RA4 215 x 305

B Series (mm)

B0 1000 x 1414

x 1000

SRA Series (mm)

SRA0 900 x 1280

SRA1 640 x 900

SRA2 450 x 640

SRA3 320 x 450

SRA4 225 x 320

Paper and the environment

Choices

The two choices for an environmental aspect are:

Recycled paper FSC paper

What is recycled paper?

Whilst there is no official directive which defines recycled paper, it is common to classify papers which contain 50% or more recycled content as recycled paper. Recycled papers typically contain either 50%, 75% or 100% recycled content.

Why use recycled paper?

• It uses less energy and creates fewer emissions than paper derived from virgin pulp.

• It supports UK recycling companies and provides a market for UK paper waste.

• It reduces the amount of waste paper going to landfill. (PCW - Post-consumer waste).

• Bleaching is often required to achieve a whiter paper (as with virgin fibre). This is done using the relatively harmless hydrogen peroxide (also found in hair bleach and tooth whitening kits).

• As demand and supply increase, the difference in cost between recycled papers and non recycled papers is reducing.

What is FSC?

The best way to ensure that your paper is from a well managed source is to look for FSC* certified paper. This certification recognises well managed, sustainable and environmentally responsible production, from tree to finished product.

If a printer or your print management company is FSC certified then the end product can carry the FSC label ensuring that there has been no contamination between FSC and non FSC material. However, the chain of custody is broken if the manufacturing mill or print supplier is not FSC certified.

If recycled paper is specified, then it is much harder to prove the source of the recycled element is from FSC accredited sources.

The WWF provide a great resource on choosing sustainable paper called the Guide to Buying Paper and also a Check Your Paper global database of eco-rated paper products where you can check the environmental credentials of a paper.

*FSC: Forest Stewardship Council

For more information go to www.fsc.org

Imposition

When planning a print job, printers select the nearest available paper size to match the print area i.e. to print an A4 letterhead, we would plan four letters onto one sheet, which would be SRA2 size. Each sheet through the press gives us four letters. Multi-page brochures or unusual size jobs require careful planning to ensure we are getting maximum economy from the printing press. This process is called imposition. The two most common types of imposition are work and turn and sheetwork.

Work and turn: one set of plates which has the front and backs (i.e. for A4 leaflet, two fronts and two backs on one sheet). The job is printed one side, then sheets turned over and fed back through the press using the same set of plates.

Sheetwork: different plates for the fronts and the backs. i.e. to print an A4 leaflet which is printed 4 colours one side, and black on the reverse may mean we create five plates. Four are used to print the fronts in 4 colours, and then these are removed and a new set of plates is used to print the reverse.

Show-through

As well as deciding what type of paper to use (gloss, matt, uncoated, recycled) and what weight of paper to use (gsm) it is worth considering how the print will appear on the reverse of the paper.

For example, if we print a very dark image onto an 80gsm paper, and the reverse of the sheet is blank, there is likely to be a visual darkening on the non-printed side of the paper.

This is not marking or ink transfer. It is simply an optical effect of light weight papers. The thicker/heavier the paper, the less noticeable the effect of showthrough will be.

Digital papers

Whilst there are some restrictions on minimum and maximum thickness of paper when digitally printing there is still a wide range of different papers and colours which can be utilised some specialist to digital printing and some both litho and digital print compatible.

Repro, also called pre-press, is the term given to all activity prior to printing.

The printer needs to turn the artwork into a form which can be used on a printing press. So for conventional (not digital) four colour printing, we need to make a set of printing plates with all the colours split into the standard printing colours of cyan, magenta, yellow and black. We also need to have some form of colour reference, approved by the client, against which we can match colours and content when printing. This is the colour proof (also called contract proof).

Artwork format and design

The two most common artwork creation programs are Quark Xpress (.QXD) and Adobe InDesign (.INDD), both usually on a Mac platform. The recommended platform however is Adobe Indesign with images being managed in Photoshop and all vector images created in Illustrator.

Jobs are created using these creation programmes, with images, logos and fonts placed, and the job is then “collected for output” (this ensures the printer has everything they need to produce the job). Studios can supply files created in a print ready PDF format, which most printers prefer. This looks the same as a normal pdf file, except it contains the high resolution images needed for good print reproduction. One downside is that the printer cannot make last minute changes to the file, and would need the studio to resupply the file. Other considerations when designing pages are:

• Colour and tint styles should be kept to a minimum when used commonly throughout the product. Areas that track with each other will be consistent

if they have the same colour values.

• Due to folding variances, text, rules and colour banners may not align perfectly across spreads

• Avoid placing text or images with subject matter within 10mm of the spine area.

• Due to registration variances, fine lines and small or thin type should be produced from one process or PMS colour where possible.

• Overprint and knockout settings should be applied within the origination software and maintained when creating the PDF.

• Image resolution must be a minimum of 300dpi placed at 100% in Indesign (2400dpi for bitmap images)

• Image files saved as TIFFs rather than JPEGs

HD Colour Management

At some printers the pre-press department have Colour Managers and experts who do a lot more than artwork and get a job ready for printing but can add value to the job. They use software, innovative techniques and their expertise to create outstanding colour reproductions. They can advise on everything from photographic image resolution, tone and detail through to optimum screen rulings, proofing processes, ink profiles, paper choice, coatings and varnishes. The colour retouchers give consistency, sharpness and vibrancy and will advise on dot gain, dot shape and tack values. They can also work closely with the customer to achieve accurate colour matching to original artworks, paintings and swatches to achieving that close colour match which is so important in fashion, retail, fine art and luxury product marketing.

Proofs

There are various ways of transferring the artwork from designer/agency to the printer. Many printers now generally have an uploading portal which allows not only upload and viewing of files but also annotating and approval of PDFs over the web. The integrity of the proofing is much greater than on Acrobat, all fonts, colours and transparency are displayed exactly how the printer intends to produce the plates or print on the presses.

Uploaded pages can be placed automatically by the rules based automation engine in the workflow presenting you with a ripped view of

the page for approval within minutes of uploading. Replacement pages can be handled by the customer within the portal, unless the pages have already been approved.

Proofing

The fundamental purpose of a printer’s proof is to check and make any changes prior to the job being printed. This check will be for either content (words, layout and pictures) and/or colour accuracy.

The four key proofing options are:

Soft proofing/on-line proofing PDF proof

These proofs can be viewed and marked-up on-line. Adobe Acrobat reader version 8 and above offers this functionality, but requires the pdf proof to be sent in an open editable format (sent as an “attachment for review”). But as above an uploading portal is now available with most printers.

FOR

✓ Quick and cheap form of proofing

✓ Correct for content (if produced correctly –i.e. as a ripped pdf file)

✓ Ideal if changes are likely, as no materials wasted in production of pdf proofs.

✓ Easy to distribute via email for multiple approval.

✓ Additional ability to mark-up digitally, and track amendments and identify multiple user amends with a timeline.

✓ Proofs “posted” on-line can be viewed, reviewed and digitally signed in real time. It can help project management by identifying which people need to approve a proof, and by tracking their input.

✓ Integral to ripped file

AGAINST

× Not colour accurate, as colours will vary according to calibration of viewers screen.

Contract/Digital proofs

These proofs are created using high-quality digital printers. These proofs are colour accurate, and correct for content. Whilst the generic terms used here is “contract or digital proofs”, they are often named after the proprietary system used for output. e.g. Epson proofs, HP proofs, Iris proofs, Cromalin.

FOR

✓ Accurate for colour - preferred form of proofing for web offset printing.

✓ Relatively quick and cheap.

✓ No plates are required for digital proofs, so changes at proof stage are less expensive.

Wet proofs/scatter proofs

AGAINST

× Best suited for 4 colour process. Special colours will be an approximation only.

× Not able to represent effect of different papers on the finished job for instance if it is printed on an uncoated material (contract proof papers are mainly gloss/matt coated finish).

A wet, or machine proof uses the same print process, plates, inks and paper which is to be utilised for the finished job. This proof process was up until recently seen as the best and preferred method, but with the advances of digital proofing, there are often reasons to go the digital route now.

FOR

✓ Accurate for colour.

✓ Able to represent special colours and metallic inks.

✓ Will show how colours will look on uncoated or specialist paper.

✓ Multiple proofs at no extra cost.

✓ Can be printed both sides, and made up into dummy of finished product.

AGAINST

× The most expensive form of proofing

× Wasteful if changes are made, as plates have to be re-made.

× Will take longer than pdfs or digitals (typically 48 hours or more).

× Not appropriate as form of checking Web-Offset process printed work. ( see digital)

Book proofs

Digital and wet proofs can then be made up into fully bound book proofs if required. This shows the finished job with the printing and binding and can be helpful when the end client wants to see how the end product will look although this clearly adds more costs.

Approval process

It is important to check proofs carefully, concentrating on both content and colour. Write comments clearly on the proof (or make comments digitally) and supply back to the printer.

If you make changes to a proof and get a revised proof, a common error is to check only the areas of a proof you have changed. Other errors can occur elsewhere even if previously OK, so it’s essential to re-check and approve the entire proof.

Once a proof has been signed as approved to print, the responsibility for print content lies with the signatory. Whilst every effort is made to ensure no mistakes are made on the proofs, it is important that proofs are checked very carefully.

Printing processes

Litho printing Lithography works due to the basic principle of oil and water not mixing. It uses smooth plates.

The image to be printed is laser etched onto the surface of a thin metal plate. This process is known as Computer to Plate, or CTP. The un-processed plate contains an emulsion surface designed to accept water. When the image is burned onto the plate, this changes the emulsion surface, so the image will not become wet when dampening on the printing press.

The plate is affixed to a large cylinder on a printing press. Rollers apply water which sticks to the non-image area of the plate, but is repelled by the image area on the plate. This means that now, when the ink is brought into contact with the plate, it sticks to the dry areas, and is repelled (being oil based) by the wet area.

If this image was directly transferred to paper it would create a positive image,

but the paper would become too wet. Instead, the plate rolls against another roller covered in a rubber blanket, which squeezes away the water and picks up the ink.

The paper now rolls across the blanket drum and the image is transferred to the paper. Because the image is first transferred, or offset to the rubber blanket, this printing method is known as offset lithography.

Each colour has it’s own plate, so a 4 colour image would use 4 plates, each printing one after the other, usually in the following sequence - Black, Cyan (blue), Magenta (red), Yellow.

Sheetfed litho

Cut sheets of paper are fed one by one through the press. Suitable for short to medium quantities between say 1,000 and 1,000,000 copies. Presses have different maximum sheet size capacity, and number of printing units.

Heidelberg XL-106 litho presses at

Web offset litho

Continuous reels of paper are fed through the press. Suitable for medium to high runs, typically over 1,000,000 copies. Presses are different reel size capacity (diameter and width of one rotation of cylinder).

Typically, the majority of very high volume promotional and direct mail print is sheetfed process, whilst most consumer catalogues and newspapers use the web offset process.

There are sheet and reel fed print machines capable of matching conventional print at low to medium volumes.

Digital printing

Digital printing primarily uses an electrical charge to transfer toner or liquid ink to the substrate it is printed on. Digital process can be differentiated from litho printing in a variety of ways, including:

• Each impression, or copy, can be different, as opposed to making thousands of copies of the same image from one set of plates.

• The toner or ink does not absorb into the paper, but forms a layer on the surface which dries almost immediately.

• It generally requires less waste in terms of chemicals used and paper wasted, as the first copy is the same as the last.

Digital printing for proofs

Another application for this process is the generation of high quality digital proofs for colour sign-off (see REPRO). Examples of these are; IRIS proof, Digital Cromalin, AGFA, Kodak and Epson proof (all versions of the digital process).

Unique properties

No plates are required as the press images directly from file to paper. This means very quick set-up times, and therefore the digital process is usually considered for short-run print jobs.

HP Indigo 12000

Variable data print

There is another key benefit of the digital process: Variable Data Print (also Variable Digital Print) because the digital process does not use plates, it is possible to make each output unique. So for instance the press could print 1,000 leaflets with each leaflet carrying a different set of data/images.

This principle creates opportunities within the personalised communication, direct mail, and personalised books market, as the image which changes can be a name, address or the whole image.

On demand

Rather than storing printed products which may never be used and creating waste many companies reduce stock levels to offer a “just in time” print system. The very short lead-times in the digital process enable this system. The same principle applies for on-demand book publishing.

Digital printing (large format)

There is another key market for digital printing. A high proportion of all the large format, outdoor posters, and general point of sale and signage is now produced digitally. The traditional method of production for these items was screen-printing, which is still used for special effects, glitters and metallic inks (see below for more information on this technique). The digital process commonly used for large format printing is ink-jet, which is based on tiny droplets of liquid ink being fired from a printing head onto the substrate.

Due to the nature of the application (i.e. banners, building wraps, outdoor billboards, bus shelter signs, etc) the printing machine needs to be large, and so they are referred to as wide format, or large format printers.

They have a print width of between 17” and 125” and generally use a roll of material (either paper, canvas or PVC). Because the substrate is fed on a roll, these machines are capable of printing continuous lengths of 50m or more with CMYK plus white.

Large format printer

Screen printing

Screen printing is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.

Screen printing is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance. Ink is forced into the mesh openings by the fill blade or squeegee and by wetting the substrate, transferred onto the printing surface

during the squeegee stroke. As the screen rebounds away from the substrate the ink remains on the substrate. It is also known as silk-screen, screen, serigraphy, and serigraph printing. One colour is printed at a time, so several screens can be used to produce a multi coloured image or design.

Screen printing remains a key part of the point of sale process alongside digital and lithographic technologies as it allows special effects like glitter and metallic inks which are still key in creating eye catching displays on the high street - effects not yet possible through digital formats.

A few of the special effects available through screen print technology are: glitter, gloss & matt, fluorescent inks, mirror/reflective, pearlescent and metallic inks.

4 colour process

YELLOW (Y)

CMYK

MAGENTA (M)

BLACK (K)

CMYK (process colour) is the basis for litho printing.

95% of the colour spectrum can be reproduced accurately using a combination of these 4 primary colours.

For example, a photographic image containing millions of colours would be converted to a 4 colour image, with varying amounts of the basic 4 colours split into tiny dots. Each dot is 100% of one of the four colours, but the size of the dot varies. Four plates are then created,from which the litho image is produced. eg:

Close up detail of typical four colour dot pattern

CYAN (C)

Dot

Printing relies on the use of dots of different sizes to make an image. Lets say we want to print a vignette in magenta, using the standard 4 colour process system (fig 1)

Since the printer’s dots are either ON or OFF, they cannot print shades of colours like pink - it is limited to red or white. In order to simulate shades of pink, the printer uses round dots of differing sizes that, when placed beside one another at high resolution, trick the eyes into assuming that the area is pink (fig 2)

At this stage, we can make some decisions about the resolution of the job.

Because the print process breaks the image into a series of very small dots, we can vary the size of these dots. The smaller the dot, the more “photo-realistic” the print will be.

Printers use a measurement of the number of dots in a 1” square area, or lines of dots per Inch (LPI). This is also called the dot screen (if the centre of the dot is connected with the next dot, and the next etc, this makes up a screen).

Most general commercial print will print at 200 LPI, as this gives a good balance between speed, ease of printing process and quality.

It is possible to exceed 300 screen (300 LPI).

Stochastic screening

A plate screening process that converts images into very small dots (10 - 30 microns) of equal size and variable spacing. This method is also known as FM (frequency modulated). This method of printing can help projects that are prone to screen clash (moire pattern). With its random nature it also suits fine art images as it offers more of a photographic, continuous tone printed result.

Special colours

Also called:

• PMS colour

• Spot colour

• Pantone colour

Brands can have a special colour as part of their corporate identity.

Chosen from the Pantone Matching System (PMS) range (which also includes metallic colours), these colours are preformulated to ensure consistency.

When printing special colours, a printer needs to produce a specific printing plate for this colour, and set up the printing press to accommodate the special in addition to any other colours in the job.

Pantone also produce a swatch book which shows the nearest 4 colour process equivalent to the PMS colour.

Please remember if specifying a special colour, use the relevant Pantone book (coated and uncoated paper).

Digital proofing processes do not give a good indication of special colours and we would recommend wet proofs if colour is particularly important.

Quality

The final print quality depends on a number of factors, including:

• Quality of photography and artwork

• Appropriate proofing and approval process

• Surface and type of paper

• Quality and condition of printing press

• Skill of press operator (minder)

• Adherence to industry guidelines on colour management (ISO 12647 etc)

Pantone book

Finishing

Finishing Processes

Once the job has been printed, it then moves on to the next stage, which involves turning the flat sheets into the finished product.

This is a list of the most common finishing processes:

1. Trimming

2. Folding

3. Saddle stitching

4. Perfect binding

5. Thread sewing

6. Specialist binding

7. Case binding

8. Die cutting

9. Mechanical gluing

10. Gluing by hand (tape)

11. Laminating

12. UV varnishing

13. Embossing and foil blocking

1. Trimming

Printed sheets leaving the press are cut to their open flat size to remove unwanted bleed and trims. Guillotines trim paper or board in up to 560mm stacks.

The guillotine only cuts one side of the material at a time, and can only cut in straight lines.

Jobs requiring further operations will now be passed to another machine.

2. Folding

Flat trimmed sheets can be folded to their finished size on a range of specialist folding machines as well of course as hand folded items. The main folding techniques are below.

6 Page Standard Roll Fold

8 Page Concertina Fold

Parallel Map Fold

8 Page Right Angle Fold

8 Page Parallel Double Fold

12 Page Concertina Letter Fold

3. Saddle stitching

Saddle stitching is the process of binding folded sections (4, 8 or 16pp) over a saddle through the spine with a wire stitch. It has the appearance of a staple when finished, so can be mistakenly described as “stapling”.

In the same process, three edges comprising top (head), bottom (foot) and side (foredge) are trimmed to the finished book size.

For example, a 16pp A5 booklet could comprise of 2 pieces of A3, each folded in half twice, and then stitched through the spine.

Saddle stitching machine

4. Perfect binding

Identified by the square back (double crease) spine. Folded sections are laid one on top of the other. Spines are then ground off and the pages are glued into a separate creased cover. Useful when brochures have too many pages to be stitched or simply to give a different finish. Also perceived to have a higher value. (i.e. report and accounts or ‘art/ coffee table style’ brochures).

HINT:

The minimum capacity (thickness) you need to perfect bind a brochure is 4mm and the maximum thickness is 65mm

5. Thread sewing

Similar process to perfect binding, thread sewing or section sewing is the strongest form of book binding. Sections are sewn together with strong thread prior to being glued onto the square backed covers. Identified by the retention of individual sections when viewed from the top of the spine.

6. Specialist Bindings

Case binding or a hardback book. This is the most traditional binding method and can be created by hand or machine. There are different finishes to a case bound book:

7. Case Binding

Singer Sewn

Triple Glue Layflat Binding

Duplex Layflat Binding

8. Die cutting

Used for cutting non-parallel or nonstraight edges, this process requires a cutting die being hand-made into the shape of the finished job. This looks like a sheet of plywood with steel rules fixed to one side.

The die is made from the “cutter guide” supplied within the artwork file. Printed sheets are compressed one at a time onto the rules which cut the shape. Creases are formed by using blunted steel strips. Creasing is vital when folding material is heavier than 150gm, which tends to crack unless pre-creased.

Close up view of cutting die

Cutting die

Flat printed sheet

Sheet after die cutting

Finished job

9. Mechanical gluing

There are machines which can apply glue to flat printed sheets at high speed. These are generally adapted folding machines.

Different types of glue include:

• Re-moist (lick and stick)

• Removable (latex based glue)

• Cold glue (permanent)

Common uses:

• Application forms

• One-piece DM mailers

• CD slip cases

• Non-capacity wallets

10. Hand gluing

Hand gluing requires the trimmed and/ or diecut flat sheets being sent to hand workers who then use double sided tape to make up the job.

Reasons for hand glue:

• Heavy weight materials

• Complex shapes

• Multiple glues

• Small quantity

The downside to hand gluing, and any handwork for that matter, is that is is relatively slow, and therefore expensive. For print quantities larger than around 5,000, it is usually cheaper to use machinery for any post-print process.

However, hand-work is sometimes the only option for complex finishing. It is important to build in appropriate time in schedules for any non-mechanical operations. Your account manager will help with creating sensible timing plans for print production.

11. Lamination

A finish applied to both protect and enhance the finished job, lamination is a very thin film of plastic which is glued to the flat printed sheet.

NB - lamination can only be applied to the entire surface of the sheet (unlike spot UV varnishing).

There are two types of lamination, gloss and matt. Silk lamination is also available, but not widely used.

HINT:

Matt lamination can look very stylish on a solid black print, but be aware it is less durable than a gloss finish, and more liable to scuffing.

Laminating can render an otherwise environmentally sound print job non-recyclable, but there are films on the market which are more environmentally friendly.

An easy way to check if a printed sheet has been laminated is to apply pressure to the edge of the paper - it will resist tearing due to the strength of the film.

12. UV varnishing

Similar in look to gloss lamination but around 20% cheaper. UV varnish can be used as an overall finish, to protect and enhance print (e.g. consumer magazines).

It is also commonly used as a spot varnish effect for creative purposes. For example, to highlight a small photograph on matt paper.

Varnishing and laminating are often combined to good effect –e.g. matt lam and spot gloss UV.

13. Embossing and foil blocking

Embossing

Image can be raised (embossed) or sunk (de-bossed).

A metal die is created of the area to be embossed, and the die is then pushed at great pressure into the pre-printed sheet. This is done one sheet at a time (similar in principle to die cutting).

There is a limit to how much detail can be pushed into the paper, which is dependent primarily on the bulk of the paper/board.

Foil Blocking

Similar principle to embossing, with the addition of a very thin sheet of metal (foil) placed between the paper and the die.

The die is also heated, which enables a clean transfer of the foil onto the paper (hence process also called hot foil blocking).

Foil can be silver, gold or a range of other colours (there are even specialist holographic foils which can be used for creative effect).

Both these processes are relatively time consuming, and therefore more cost appropriate on short to medium print runs.

One common use for these processes is mainstream paperback book covers. These often combine both embossing/ debossing and foil blocking.

Sample of embossing

Sample of foiling

Direct Mail

What is Direct Mail?

Any job which has a personalised element allowing delivery by post, direct to the customer.

Data

Where does data come from?

List brokers

Supply acquisition or prospect names and addresses. This data can be selected from transactional databases or the electoral roll intelligently by using individual’s lifestyle or demographic attributes.

Data capture

Names of respondents to previous marketing campaigns, or returned mail matched to the mailing data and returned for client intelligence.

In-house

Businesses often hold their own data internally. Generally this will be mainly customer data. However, prospect data may be collated via company websites or other media.

When handling any personal data the General Data Protection Regulation (GDPR) needs to be complied with.

Data preparation

Cleansing

Name and address sense checking.

Dedupe

Checking for identical records, either at individual or household level.

PAF

Address enhancement using Royal Mail

Postcode Address File database.

Suppressions

Screening against Industry Standard Databases.

Deceased

Removal of mortalities

Goneaways

Individuals who no longer live at an address.

Movers

Linking goneaways to update data with their new address.

MPS

For acquisition mailings it is a legal requirement to suppress people who have opted out of direct mail.

Mailsort

Appending codes and sequences to reduce sorting by Royal Mail

PAF = Postcode Address File

TBR = The Bereavement Register

GAS = Gone-Away Suppression

MPS = Mail Preference Service

Data processing (d/p) requirements carry additional costs, generally charged at £x per 1,000 records.

These extra costs should in theory be offset by greater response rates due to better targeted mailing with less waste.

Personalisation

There are three main methods of producing personalised print:

• Laser printing

• Ink-jet printing

• Digital variable data print (VDP)

1. Laser printing

Start with a generic piece of literature (base stationery) eg. letterhead or leaflet.

Select a specific field from a database.

Merge with template as overprint.

Simplex = Personalised to one side of the piece

Duplex = Personalised to both sides of the piece

The base stationery comes into direct contact with toner and a heated element.

Benefits:

✓ High quality of the printing (typically 1200dpi).

✓ Unrestricted area of image.

✓ Speed of output (typically 8k - 10k A4’s per hour).

Disadvantages:

× Requires use of laser compatible paper.

× Paper range limited to 90gsm to 250gsm.

× Single colour (black) only.

× Maximum size of sheet is SRA3 (320 x450).

× Flat sheet printing only.

Common usage:

Letter mailings and light weight mailers.

Laser print can also be done as a continuous process. This uses the same printing technology, but rather than flat sheets being fed one by one, a continuous laser machine will feed a reel. This produces much faster printing (typically 12k - 14k per hour).

Laser printed job

2. Ink-jet printing

This process uses tiny heads to fire ink onto the material. This means that the base stationery does not come into contact with the printing head.

Benefits:

✓ Ability to print onto a greater range of materials.

✓ Can address onto already folded and finished printed pack and envelopes.

✓ Ink jet heads can be positioned on the end of a press, to create a fast personalisation process. This system is often called Scitex, or Kodak Print Technology.

Disadvantages

× Lower quality. Some machinery only 150-600 dpi

× Restricted area of personalisation.

× Common usage - postcards, polythene envelopes, one piece mailers.

× Slower than laser process and potential drying and scuffing issues.

3. VDP/digital print

As far as producing direct mail is concerned, digital technology is key in the production companies plant list. The beauty of digital printing is that you can personalise each and every document with text and pictures.

Benefits:

✓ Four colour personalisation.

✓ Variable images as well as copy.

✓ No plates, so low set-up costs.

✓ Makes low volumes affordable.

✓ Fast set-up.

✓ Good response rates and high ROI.

Disadvantages

× If producing a high print run its expensive compared to conventional print and laser.

× Slow for higher print quantities.

× Only as good as the quality and management of the data supplied.

VDP digitally printed job

Collating and enclosing

Once the letter and envelope have been printed, and the letter has been personalised all the items need to come together in a complete pack. This process is known as collation and enclosing.

It is normally done by machine, but on small quantities or unusual formats, enclosing can be done by hand. NBcertain envelopes can only be enclosed by hand (see Envelope section).

It is common for different items within the same pack to have personalised information. It is essential that there is no mixing, and so for larger quantities, cameras are used to read and match.

It is usual for the mailing house to supply an example of the finished pack prior to mail out. This is called SEP (Sample Enclosing Pack).

The job is then put into bags, with appropriate documentation (bagged and tagged), and then collected by the Royal Mail (or other postal providers – i.e. TNT Post UK, DHL, or UK Mail).

Envelope sizes

Envelopes are described using the ‘C’ size which relates to ‘A’ sizes.

Envelope styles

Envelopes can be window or nonwindow. They can have a strip-seal glue flap, or have a gummed flap which has to be moistened to seal.

Only wallet envelopes can be machine enclosed.

Pocket Shape

Wallet Shape

Self Seal Wallet

Diamond Flap

HINT:

Envelope printing

Envelopes can be printed in two ways:

Overprint

Literally take a pre-made envelope and feed it into a specialist printing machine.

Print can be no closer than 15mm from the edge of the envelope. Close print registration can be an issue due to limitations of the print process.

Conversion/bespoke

This involves taking a flat sheet or reel, printing the image, and the paper is then cut and glued into a finished envelope. This process is more expensive and time consuming than overprinting, but does mean your print can appear to run over the edge of the finished envelope. Also, envelopes printed as flat sheets give you the option to have a much wider range of finished envelope sizes, and size and location of the window. Also, you can use a specific paper including different coloured material if required (subject to suitability).

An envelope for direct mail should carry a PPI (postage paid indicia) which needs to be printed on the top right corner with a minimum of 5mm gap from the head and right hand margins; it should also be 20mm (minimum) in height. All mail should also include a return address.

Size of window = C mm x D mm.

Position of window = A mm x B mm – up from bottom, in from left

Paperwrap

An alternative to polywrapping or envelope enclosing is paper wrapping.

Using paper wrap for a mail campaign offers several benefits that can enhance the overall effectiveness and perception of your mail campaign. Here are some key reasons why paper wrap is a good option:

Eco-Friendliness

Paper is biodegradable and recyclable, making it an environmentally friendly choice. Using paper wrap can align your campaign with sustainability goals, which can be appealing to recipients who are environmentally conscious.

Professional Appearance

Paper wrap can give a more polished and professional look to your mail. It can be customised with branding, colours, and logos, making it a part of your overall branding strategy.

Protection

Paper wrap provides a protective layer for the contents of your mail. It helps prevent damage during transit, ensuring that your materials arrive in good condition.

Cost-Effective

Compared to other packaging materials, paper wrap can be a more affordable option. It often has lower production and distribution costs due to its lightweight nature.

Customisation Options

Paper wrap can be easily printed on, allowing for creative designs and personalised messages. This can help to grab the recipient’s attention and make your mail stand out.

Consumer Perception

Many consumers appreciate the tactile experience of opening a paper-wrapped item. It can evoke a sense of anticipation and delight, potentially increasing the positive impact of your campaign.

Regulatory Compliance

Paper wrap often meets cost saving, postal regulations more easily than some other packaging materials, reducing the risk of mail being delayed or returned due to non-compliance.

Quicker Speed to Market

Choosing to paper wrap your mail will enable it to reach the market faster than other enclosing methods. By choosing paper wrap, you not only contribute to sustainability but also enhance the aesthetic and functional aspects of your mail campaign, potentially leading to better engagement and response rates from your recipients.

Print specifications

Producing a print specification

In order to provide an accurate cost, print estimators need an accurate and clear brief.

1. Get as much detail as possible from your client/creative department, ideally with deadline and budget indication.

2. Try and obtain a made up unprinted dummy of the potential job, or example of previous job.

3. Produce a clear estimate request.

Example print request form:

Templates can help to prompt you into giving the right details.

You may need to make assumptions or best guesses to create a complete specification.

Always give the same details to all your suppliers, and when specifications change, don’t assume your previous best quote will still be the cheapest.

Supply

Direct Mail Campaigns

This section is aimed at supporting your mailing houses, printers or internal staff, better understand how to operationally work in the most productive way with Citipost Mail, from mail sortation, consumable requirements to booking mailing collections, we have covered it all.

1. Get to know us; customer touch points

There are several designated touch points within the Citipost Print business, each one has been designed to best support its function and the service we offer you.

Sales team

Your Business Development Manager is always on hand to ensure you have up to date rates and to help navigate you through the very best mail advice for your business. Sending Advertising Mail or Business Mail, great, they can guide you through the latest incentives which could help your business secure discounts to use on future mail campaigns. Want to expand your mailing reach or target new audiences? You Business Development manager is available to support you and guide you through the latest and best matched service offerings, helping you to get the very best out of your mail campaigns.

Client Services team

Your account will be managed by one dedicated Client Relationship Manager (with a secondary account manager available for holiday/sickness cover), they are your committed day to day contacts. They help you to plan your campaigns, deal with any concerns/ queries you might have and act as your voice and business ambassador with Citipost Mail.

The Client Relationship Managers work closely with all internal departments including the Service Delivery team, watching over your mail journey, from data to handover to Royal Mail, they have you covered.

Bureau team

Experts in data sortation, the Bureau team handle your mailing data sortation requests. Data is handled in a secure environment and in line with all GDPR requirements.

Data is only transferred through secure SFTP processes, and deleted from our systems as soon as it is no longer required (within 90 days). We can also provide our Citipost BBS software so data can be mailsorted and labels printed on your producers site.

Booking team

The Booking team specialise in managing your collection and consumable requirements. They work closely with our logistic partners, Client Services and the Service Delivery team to manage your physical mailing needs. They have long standing relationships with the majority of UK mailing houses and really understand what it takes to move mailings.

Service Delivery team

At the heart of our organisations success lies our dedicated Service Delivery Team. With a wealth of experience in the mail world and a commitment to excellence, they are the driving force behind delivering unparalleled services to

our valued clients. The Service Delivery team works in collaboration with internal departments, Royal Mail and our chosen logistic partnersto manage and monitor mail from collection, to processing to the handover to Royal Mail.

2. Our Mail Delivery Service Aim

Our delivery aims when handling pre-sorted mail:

Day 0 Day 2 Day 1 Day 3

The majority of your mailing is delivered into Royal Mail

Your pre-sorted mail is collected by out logistic partner and processed

Our delivery aims when handling unsorted mail:

Day 0 – Collection

Day 1 – Process

Day 2 & 3 – Handover to Royal Mail

Day 3 & 4 – Door drop with recipients

Royal Mail deliver majority of the mail to the Final Mile

Royal Mail deliver the remaining mail to the Final Mile

The remainder of your mail is delivered into Royal Mail

Please note that the above is a delivery service aim only. As DSA (Down Stream Access) is an untracked mail service we are not able to offer a day definite delivery and weekend handovers are not guaranteed, however we will work as astutely as possible to help you achieve your mailing goals.

3. How it all works

The process of mailing your letters with Citipost Mail is relatively simple

Step 1

Discuss your mailing plans with your Client Relationship Manager so they can offer the best advice to manage your campaigns.

Step 2

Use our Bureau service (or mailsort software) to mailsort your data and produce the container labels.

Step 3

Contact our Booking team with a complete Booking Form to schedule your mail collection and consumable deliveries.

Step 4

We arrange for your mail to be collected and handed over to Royal Mail.

Step 5

Our Finance team will invoice only after a mailing has begun to handover to Royal Mail.

4. How to book collections

The Citipost Mail Booking Form, should be completed to arrange collection of any mailings.

Once completed, please send a copy to our Bookings Team, they can be reached at Bookings@citipost.co.uk

If you require a next day collection for a standard mailing, your completed Booking Form should be sent to the Bookings Team no later than 12:30 the day before the required collection.

For larger mailings, we refer to these as KNP’s (Key National Postings), and advance notice is required when scheduling these types of collections as large volumes can directly impact the delivery network.

5. Key National Postings (KNP’s)

A Key National Posting (KNP) is generally defined as a mailing of over 1 million items or over 4,000 bags / bundles / trays. However, KNP’s can be also based on geographical bias, format & service, please use the below guide to determine if your mailing is a KNP:

If your mailing is a KNP, we will always require a minimum 4 week notice period to arrange consumable deliveries, collections and correctly forecast your campaign to Royal Mail.

– 1m

- 500k

– 250k

Colour Understanding the impact grid

This is a KNP and an advanced forecast should be provided, please contact your Client Relationship Manager to discuss further.

The mailing has a possible operational impact, and could be considered a KNP, please contact your Client Relationship Manager.

Not considered a KNP, no further action required.

6. Sending unsorted mail

Unsorted mail can be scheduled for collection in the same way as sorted mail, by completing a Booking Form and sending this to Bookings@citipost.co.uk

• The minimum volume for unsorted mail collections is 2,000 items, unless we are collecting them along with asorted element which is over 4,000 items

• All unsorted mail should be segregated from the sorted element to ensure this is handled accordingly

• All unsorted mail should be presented in Royal Mail trays, either on Pallets or within Yorks.

The Bookings Team will provide an Unsorted Tray Docket only once the final tray count has been provided to them. This docket will include your “P” reference, this ‘P’ reference is unique and identifies your booking and the billing customer.

A copy of this docket needs to be applied to each tray to ensure that we are able to process the mailing upon arrival.

Failure to attach a docket may result in a mailing being delayed until it can be identified correctly.

7. How to cancel or reschedule a booked collection

If you would like to cancel any collections, please do so no later than 10:00am on the booked collection day to avoid any potential cancellation charges. A collection can be rescheduled or moved by emailing Bookings@citipost.co.uk .

Please note: If the mailing you are rescheduling is Mailmark, and you reschedule an eManifest, the system will allocate a new Manifest ID. Please ensure the new Manifest ID is updated in the corresponding mail sortation output .TNT files.

Alternatively, send the new eManifest ID to bureau@citipost.co.uk by 13:30 on the day before any work is collected and they will update the .TNT files on your behalf.

Please ensure an eManifest is uploaded for every Mailmark posting.

8. How to book consumables for delivery

Consumables can be booked in the same way as collections, by completed the Booking Form and sending the completed form to Bookings@citipost.co.uk.

If your mailing is classed as a KNP please discuss your consumable requirements with your Client Relationship Manager at least 12 weeks before the mailing date.

9. Notice period for consumable deliveries

The notice periods required for consumables are detailed below: Please note that the below time frames are for out of peak times only. During peak periods the notice times for consumables may be extended, any changes to this will be communicated to you by your Client Relationship Manager.

10. Using our Bureau service for data sortation and bag/tray labels

Our Bureau service can be used to mailsort data and produce bag/tray labels which will be sent to the mailing house nominated on the Booking Form.

Alternatively, we can provide our Citipost BBS software, to allow the ability to Mailsort data and produce bag or tray labels onsite, if you would like to discuss this option, please get in touch with your Client Relationship Manager.

Using the Citipost Mail Bureau service, you can expect that:

Data

Mailsorted data will be returned within 24hrs of being submitted.

Bag/tray labels

Will be dispatched within 48hrs of data being submitted.

11. Contacting the Bookings or Bureau teams

Bookings

The Bookings team can be contacted by calling 0203 2600 259 or emailing Bookings@citipost.co.uk

Bureau

The Bureau team can be contacted by calling 0203 260 0206 or by emailing Bureau@citipost.co.uk

12. Using the forward dated mail (FDM) option

The Forward Dated Mail (FDM) option is a great way to filter your mailings into the processing depots earlier to achieve an optimum handover to Royal Mail on your selected release dates.

This works by collecting your mail days earlier than the handover to Royal Mail date, the mail is then routed to each corresponding depot and primed ready for processing the day prior to handover. With this tried and tested method we are able to achieve a larger day 1 handover to Royal Mail of your campaigns.

Your Client Relationship Manager will work with you to ensure your mailings are collected and released at the right times, if you mailing is in excess of 52 magnums, or 2000 bags / trays / bundles we ask that you look to use the FDM option.

13. Mail segregation requirements

Sorted mail should ideally be segregated for presentation, and to assist with this, the print file which our Bureau team creates will print out in geographical order by depot area. A new magnum will be required for each area, however, if the initial area has only part filled the magnum, one magnum for two areas will be accepted. If this is the case, please add the word MIX onto the consignment note/cage card.

The five post depot areas, which need to be presented separately, are as follows:

Bristol 822 Bolton 868 Belfast 835 Glasgow 845 Bedford 850

Segregating mailings to the above 5 depots is required for all mailings where they meet the following criteria:

1) Mailings of over 50,000 items

2) Mailings over 500 bags / bundles (per UCID, per day)

3) Any mailings being presented in trays

Please note that file ID’s can be mixed allowing you to essentially use less containers, however it is important that files with different handover dates are not mixed.

14. Minimum requirements for presentation in trays

It is important to understand the key drivers that lead to the effective use of trays and when these are an option to use.

When using trays for any mailing the following optimum criteria must be met:

Sortation 70 only Not available

Minimum tray fill 150 items minimum per tray Not available

Item weight

Collection Container

20g-30g ideally (this drives optimum container weight) Not available

Double stacked pallets

Not available

Segregation To depot level always Not available

Please note that the maximum tray weight that we can accept is 7.14kg, this is largely driven by the fact that 28 trays fit into a York and that the maximum York weight is 200kgs. Should you require our Bureau team to sort your data into trays and you can only fit a specific number of items in each tray, please advise them of this prior to the data sortation as they sort by weight fill as a default unless advised otherwise.

Should you wish to transfer your current posting from bags / bundles to presentation in trays, please do let us know 6 weeks in advance as we need to order an additional volume of trays from Royal Mail to meet your production demands.

If you have a mailing that sits outside of the above-mentioned parameters, please let us know and we will advise how best to present your mailing.

15. Consignment note (cage

card)

We will provide a sorted consignment note (cage card) for your use. This should be completed at mailing house level and a copy needs to be attached to every York / Magnum / Tray / Pallet ensuring the depot area is filled in. This allows us to clearly identify the mailing during transit and routing.

16. Reporting

Attaching a consignment note to each York / Magnum / Tray / Pallet is very important; failure to attach consignment notes may result in the mailing being delayed until this is identified.

Please discuss any reporting requirements with your Client Relationship Manager who will agree a schedule of works to ensure you have all information required.

Glossary of printing terms

4 Colour

Printing process for colour reproduction of pictures/ photographs etc. Colours are made up by using the 4 process colours: Yellow, Magenta, Cyan Blue and Black.

A sizes

Main series of finished printing trimmed sizes in the ISO international paper size range. See page 9 for specific detail.

Adhesive binding (also perfect binding)

Style of threadless binding in which the leaves of a book are held together at the binding edge by glue or synthetic adhesive.

Author’s corrections

Corrections made by the author on proofs, that alter the original copy. The cost of making such alterations is charged for, in contrast to printer’s errors or house corrections.

B sizes

ISO International sizes intended primarily for posters, wall charts and similar items where difference in size of the larger sheets in the A series represents too large a gap.

E.g SRA2 = 450 x 640

B2 = 500 x 700

Bespoke (envelope)

Process of making an envelope from a flat printed sheet, which is then die cut and glued etc to form finished envelope. See also Conversion (envelope).

Blanket

Semi-hard roller which transfers the print image from the plate to the paper.

Bleed

Printed matter which runs off the edge of the substrate. Because print cannot extend beyond the edge of the paper, the final cut goes through the image to create an illusion of bleeding off the edge. Standard bleed is 5mm.

Blind embossing

A print finishing technique where paper is compressed between two metal dies to create an indentation. This can can raised (embossed) or sunk (de-bossed). If the embossed area contains no print, this is referred to as Blind Embossing.

Block

See Emboss and Foil Block

Bulk

Relative thickness of a sheet or sheets, for example, a bulky paper and a thin paper both of the same weight display different bulk i.e. A 250gm uncoated paper will have more bulk (or thickness) than a 250gm gloss paper.

Burst binding

A type of adhesive binding in which the back of the book block is not sawn off, but is slit in place to allow glue to penetrate.

CMYK

The four standard process colours, standing for Cyan, Magenta, Yellow and Black.

C sizes

The C series within the ISO International paper sizes range which is mainly used for envelopes suitable for enclosing stationary in the A series.

C3 size – 324mm x 458mm

C4 size – 229mm x 324mm

C5 size – 162mm x 229mm

C6 size – 114mm x 162mm

Calendar rollers

Used in the paper-making process to increase smoothness and reflection of paper.

Case binding

The binding of printed books, which include leather, cloth and other forms of covering.

China clay

Material used as filler and also to smooth paper surface.

Colour proofing (contract proofing)

This term describes a wide range of techniques which have been developed to reproduce full colour images, prior to the actual print run; thus allowing the client, and printer to view the proofed result, prior to the actual print run. Proofing options are: PDF, Digital and Wet proofs.

Coated paper

Paper which has had a fine coating of china clay to fill and smooth the top and reverse sides.

Concertina fold

Also referred to a Z fold, paper is folded back onto itself, forming a Z shape in profile.

Continuous laser

Uses the laser printing process, but reels are fed in, rather than individual sheets.

Crop marks

Also called Trim marks, or Tick marks, these are added at artwork stage to indicate where the job will be trimmed.

Crease

An indentation in the paper which enables folding without cracking. Uses the die-cutting process.

CTP

Computer to Plate. Automated process to convert printing image from computer to metal plates using lasers.

DPI

Dots per inch. A measurement of image resolution.

Die-cutting

Used metal rules fixed into wooden form, to create complex shapes and creases into printed sheets, one at a time.

Densitometer

A device for measuring the strength of colour at a specific location printed product, either by reflected or transmitted light.

Digital

In printing terms, used to identify the digital print process, as opposed to other forms of printing - e.g. lithography.

Digital proof

A physical copy of the job, colour matched as near as possible to the finished result. For checking by printer and customer prior to print.

Downstream access (D.S.A)

De-regulation of the Royal Mail monopoly of UK postage enables third parties to provide mail services.

Drawn-on cover

A paper book cover which is attached to the sewn book by gluing the spine.

Dummy

A sample of a proposed job made up with the actual materials and cut to the correct size to show bulk, style of binding, etc.

Embossing

A print finishing technique where paper is compressed between two metal dies to create an indentation. This can can raised (embossed) or sunk (de-bossed). If the embossed area contains no print, this is referred to as blind embossing.

Ex-works

Used in estimating terms to indicate that NO delivery has been allowed in the cost.

FSC

Forestry Stewardship Council. Environmental body promoting best environmental practice from forest to doorstep.

FST

Stands for Fold, Stitch, Trim. Common finishing process for a multipage brochure. Carried out on a saddlestitching machine, which takes pre-folded sections, stitches with two wires and then cuts on three edges (head, foot and foredge) to complete. Also saddlestitch.

FTP

Stands for “File Transfer Protocol”. A simple way to log in to another internet location in order to retrieve or send files.

Finished size

The final size of the printed item after any folding, cutting or gluing processes have been completed. i.e. A4 letter folded twice would be A4 flat, 99mm x 210mm finished size.

Flat size

The open flat size of a print item. ie. an A4 letter with extra 100mm at bottom would be 397 x 210 flat.

Flexography

A relief process in which printing is done from rubber or plastic plates, on a webfed press using liquid inks.

Foot

The bottom of the printed item.

Foredge

The opposite side to the spine. The right hand edge if looking at a single sheet of paper as it is designed to be viewed.

Four-colour process

Colour printing by means of the three subtractive primary colours (yellow, magenta, cyan) and black superimposed; the colours of the original having been separated by electronic process. Also referred to as CMYK, and PROCESS colours or FULL colours.

g/m2 (gm/gsm)

Abbreviation of grams per square metre. A method of indicating the substance of paper or board (whatever the size of the paper/board or number of sheets in the package) on the basis of weight in grams per square metre. Also referred to as gm, and gm2.

Gathering

To place in their correct order the sections or sheets to make up a book.

Gravure printing

A process in which the printing areas are below the non-printing surface. The recesses are filled with ink and the surplus is cleaned off the non-printing area with a blade before the paper contacts the whole surface and lifts the ink from the recesses.

Guillotine

Machine used to cut paper to precise sizes. Only cuts in straight lines.

Heat-set drying

Drying a web or sheet of paper or board by passing it through a drying unit which forms part of the machine. Usually part of a web press.

Head

The top edge of the printed item.

Hot-foil blocking

A printing technique using very thin aluminium foil in a variety of metallic colours, commonly gold, silver, red and blue. The metallic foil is released from carrier base onto a substrate by the application of heat and pressure from a metal die which bears the image to be hot-foiled.

Ink-jet

A non-impact printing process in which droplets of ink are projected onto paper or other materials (i.e. polythene).

Insert

A piece of paper or card laid between the leaves of a book and not secured in anyway.

Laminating

The application of transparent plastic film, usually with a high-gloss finish, to the surface of printing matter to enhance its appearance and to increase its durability. Also Matt lamination. Same principle, but uses a matt finish film. Matt lamination is susceptible to scuffing.

Laser printing

Most common form of personalisation which uses a laser/toner/fuser to create a high resolution image onto paper.

LPI

Stands for Lines Per Inch. Used by printers to describe the fineness of the output image. The greater the LPI, the higher the resolution (commonly between 150 and 300 LPI). Also called the screen ruling of the job.

Letterpress printing

A process in which the printing surface of metal, plastic, photopolymer or rubber is raised above the non-printing surface. The ink rollers and the substrate touch only the relief printing surface. Almost completely superseded by ofset litho and digital print technologies.

Lithographic printing

A process in which the printing and nonprinting surfaces are on the same plane and the substrate makes contact with the whole surface. The printing part of the surface is treated to receive and transmit ink to the paper, usually via a blanket (see offset printing), the nonprinting surface is treated to attract water and thus rejects ink from the ink roller, which touches the surface.

Look-through/show through

The appearance of paper or board when held up against a strong light.

MPS (Mailing Preference Service)

An official body which registers the names and addresses of those who do not wish to receive unsolicited mail. The Mailing Preference Service regularly issues a list of these people in computer data format. Before a mailing list is sent, it can be compared to the MPS list and those not wishing to receive the mail can be excluded.

Mortascreen (also TBR)

Suppression file holding names of deceased.

Mailsort

A method of posting UK mail at a discount by sorting the addresses into postcode groups according to a complex list designed by Royal Mail. Mailsort is available as Mailsort 1 and Mailsort 2 (1st and 2nd Class equivalent) and Mailsort 3 (7 - 10 days delivery).

Offset printing

A lithographic method of printing in which the ink is first transferred from the image to an offset blanket and then to the stock.

Opaquing

Printing to the reverse of an envelope to reduce the show-through of the contents (usually uses flexographic print process).

Outer

Envelope into which all items are enclosed.

Overs

The quantity of unit production, for example, books and sheets, delivered to the customer above the net amount ordered. Also allowance to cover wastage.

Overprint (envelope)

Printing process where the image is printed directly onto pre-made envelopes (as opposed to conversion/ bespoke envelope).

PAF (Postcode Address File)

A datafile containing the exact address of every property to which post can be delivered. The program which uses the data can correct addresses, allocate postcodes and DPS suffixes. It can also replace existing addresses with the Royal Mail preferred address format.

Pantone (PMS)

A colour matching system. A ‘Pantone’ colour is one where the mixture of basic colours is based on a specific formula. Therefore the specification of one of the 1000+ Pantone colours will lead to consistency of colour from more than one printer/supplier.

Perfect binding

See adhesive binding.

Perfecting

Printing the second side of a sheet; backing-up. Some printing machines are set up to print both sides at the same time.

Personalisation

In Direct Mailing this term indicates that the letter/brochure/coupon or similar item sent out has been, in some way, made personal to the recipient. For example a letter addressed to ‘Dear ….’ or a coupon which has the name and address of the orderer.

Plates

Thin metal sheets which carry the image for one colour only. Wrapped around a roller on the printing press, the plate surface will carry the required print image, which pick up ink.

Pocket envelope

Refers to an envelope which has the flap on the short edge.

Portrait

An upright, rectangular artwork or photograph where vertical dimension is greater than the horizontal.

PostScript

A Page Description Language (PDL) developed by Adobe, which describes the contents and layout of a page. PostScript also serves as a programming language whereby the PostScript code is executed by a PostScript RIP in the output device in order to produce a printout or containing the page. Even your desktop printer uses PostScript to image your page.

Print finishing

When a printing press has completed the actual printing there are still a number of steps before the finished product is ready. Cutting to size, making up the sections in page order, stapling or perfect binding etc. The process is called print finishing.

Process colours (CMYK)

The four basic colours for printing halftone images. Magenta (red), Cyan (blue), Yellow and Black.

Proof

A version of a document or colour illustration produced specifically for the purpose of review prior to reproduction.

Recycled paper

Paper which has 50% or more recycled paper content in its composition. All paper contains an element of recycled pulp.

Register

The accurate placement of each colour on top of the previous one. Controlled by microprocessers on modern presses.

Reprint

Uses the same plates to print the job at a different time. NB - most printers re-make plates even for a reprint due to low cost of plates now.

Roll-fold

A folding technique in which pages fold into themselves, or roll. As opposed to Z or concertina fold.

Run-on

The additional cost to print further copies AT THE SAME TIME as the main print run. Much cheaper than a reprint!

Saddle-stitching

To stitch with wire through the back of the folded work. See also Stitch and FST.

Scitex

Personalisation heads which use ink-jet technology to personalise onto flat or reelfed sheets. Can be positioned after printing units on a press to create a fast in-line perso product. Now produced by Kodak (Versmark).

Screen-printing

Often called silk screen printing from the material formerly used for the screen. A stencil process with the printing and non-printing areas on one surface. The printing (image) area is open and produced by various forms of stencil. The substrate is placed under the screen and ink is passed across the top of the screen and forced through the open (printing) areas on to the substrate below.

Screen ruling

See LPI.

Seal

A printing process where a clear ink is applied to the inks to reduce scuffing and marking. Particularly used when printing heavy ink coverage onto a matt coated paper.

Section

A folded sheet of paper forming part of a book; sections are sometimes made of insetted folded sheets of four, eight sixteen or more pages.

Show-through

The opacity of papers causing printed image to be visible from the reverse side of paper on which it is printed. Increasing paper weight, or modifying design will reduce the effect of this.

Shrink wrap

Method of packing printed products by surrounding them with plastic, then shrinking by heat.

Side stitching (side-stab)

To stitch through the side from front to back at the binding edge with thread or wire. (See stabbing) i.e cheque book.

Spine

The edge of the printed product which is used to seal the pages to each other. Opposite side to the foredge.

Stabbing

To stitch with wire through the side of gathered work at the binding edge.

Stitch

See FST (fold-stitch-trim) Also - Twin wire stitch, saddle-stitch.

Stock/substrate

Generic terms used to describe the material on which the print is applied.

Stochastic screening

Also known as FM (Frequency Modulated) screening. With conventional halftone screening, the dot center pitch distance is constant. In the case of FM screening systems, the dots are randomly distributed to create this tonal change illusion. The greater the number of dots located within a specific area, the darker the resultant tone. The dots produced in this way are usually smaller than conventional halftone dots, resulting in improved definition.

The Bereavement Register (TBR)

This file is collected in collaboration with local government registrars, law firms, hospitals and funeral directors throughout the UK within 7 days of a death (see also Mortascreen).

TIFF

Tagged Image File Format, a file format for exchanging bitmapped images (usually scans) between applications.

Uncoated (paper)

Paper which has no coating, and therefore has a rougher surface, and is generally thicker than the equivalent weight in coated form.

UV varnish

Applies a coating which is then cured and hardened using ultraviolet light. Can be applied selectively, or as an overall effect.

Varnishing

Applied on press to seal or enhance image.

Vignette

This term usually refers to a single dot pattern that may start at 50% dot and gradually decrease to say 5% in a smooth graduation.

Virgin pulp

Pulp derived entirely from trees.

Wallet (envelope)

Envelope with flap on long edge. Enable the envelope to have items enclosed by machine, if flap is gummed rather than self-seal.

Web offset

Printing process which uses large reels, rather than cut sheets. Very fast print process, but slightly inferior output compared to sheet-fed. Can use heat to dry inks (heat-set web offset).

Window envelopes

Envelopes having an opening through which an address printed on an insert is visible.