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Open up the possibilities of

Digital Embossing


Digital Embossing

A new and exciting Embellishment which gives printed work sensuality In a crowded market everyone is looking for the edge which says ‘look at me’. With Digital Embossing print you can now say uniquely more - not just look at me but touch me and experience print in 3D. As you look through this brochure we hope you will be inspired to think about print in a new dimension and realise the benefit that raised printing and textures can bring to your creative work. Digital Embossing will give your designs and promotions a dynamic edge which really will set it apart.

Our brochure is split into three parts - the effects, the technicalities and, at the end of the book, reference pages showing some of the textures which are possible. One thing we cannot show in a book designed for everybody is the power of one to one. Being Digital, every Embossed page can be different to every other page, making Digital Embossing not just sensual but absolutely personal. We hope that you will enjoy the excitement of new possibilities.


the effects //

LOW Lift Perfect for Patterns, Wonderful for Words Digital Embossing can be applied in a variety of different thicknesses depending on the effect desired. Low Lift is frequently compared with Spot UV varnish, although one touch of the samples opposite will tell you that this is a much more pronounced effect, changing the feel of the finished page, not simply the way it reflects the light. Low Lift is most commonly specified where the design calls for intricate patterns and smaller text to be embossed. As with every unfamiliar process best results are often achieved through experiments and experience, we are delighted to help at every step.


the effects //

high Lift The ultimate expression of Digital Embossing Undoubtedly the thing which excites most about Digital Embossing is the exceptional lift which can be achieved. At High Lift the coat applied is a massive 70 microns and this gives so much more to the print. Using High Lift it is possible to raise larger areas and also play with the artwork to give the impression of depth and deboss. With High Lift there really is an infinite range of creative possibilities.


the effects //

Textures and Braille Where Creativity and Practicality come to the fore By applying Digital Embossing selectively a huge range of patterns and textures can be produced to supplement and enhance the print below. Now you can not only see the fabric but feel it too. Many designers consider the ability to create textures as the most exciting aspect of Digital Embossing. At the back of this book we have produced a number of swatches showing some of the effects which can be achieved. And, of course, giving sensuality to print is a gift for the Visually Impaired. By using, Digital Embossing, Braille can be superimposed over print, making it accessible to everyone either generically or personalised one by one.

ACCESS FOR EVERYONE


designing for digital Embossing A Black separation for areas to be embossed is all that is required to achieve these startling effects If you have experience of creating for Spot UV then the design requirements for Digital Embossing will be an easy extension of what is already familiar. Even if you have never undertaken such a design before the requirements are far from onerous. Everything starts with the normal design, although keeping in mind the possibilities of Digital Embossing during the creative process may well serve to help in the evolution of a stunning finished piece. Once the base design is complete it is simply a matter of superimposing an additional

layer in black. We need 100% Black for Digital Embossing, the process will not work with shades of grey. Textures in Digital Embossing are formed with half tone dots in a process described on the following spread.

There should be no coloured elements on the Black separation when the preparation for Digital Embossing is completed.

We recommend saving the base design and working with a duplicate. Each element to be embossed then needs to be changed to solid black, either in the layup programme, such as Indesign, or the creation programme, such as Illustrator. Where an external programme is being used we also recommend making duplicates of these and then importing the revised version when complete.

We have prepared a tutorial video to show how to tackle ‘simple’ Digital Embossing which you can see at: www.youtube.com/watch?v=jmria-_RF98 or click on the QR code for instant access.


Creating Textures By making Photoshop Bitmaps it is possible to create an almost unlimited number of patterns and effects. These effects are best created in Adobe Photoshop.

STEP 1

STEP 3

Create a new Greyscale document which is much bigger than the area of texture required.

Convert the tint into a Bitmap. Again the swatches show the way the Bitmap has been produced to achieve each effect. The swatches we have produced show only a tiny selection of what is possible and we would encourage you to experiment.

STEP 2 Fill the document with a grey tint. The swatches on pages 14 and 15 all show the initial tint of Grey used.

STEP 4 Take the tint effect produced and paste it into the area to be tinted.

If you are interested to find out more about creating Embossing Textures we have prepared a tutorial video to show how to tackle ‘more complex’ Digital Embossing which you can see at: www.youtube.com/watch?v=jmria-_RF98 or click on the QR code for instant access.


Digital Embossing Swatches 1

1% BLACK, 100dpi Diffusion Dither

2

1% BLACK, 250dpi Diffusion Dither

3

3% BLACK, 100dpi Diffusion Dither

4

3% BLACK,250dpi Diffusion Dither

5

5% BLACK, 100dpi Diffusion Dither

6

5% BLACK, 250dpi Diffusion Dither

7

7% BLACK, 100dpi Diffusion Dither

8

7% BLACK, 250dpi Diffusion Dither

9

9% BLACK, 100dpi Diffusion Dither

10

9% BLACK, 250dpi Diffusion Dither

11

1% BLACK, 100dpi Pattern Dither

12

1% BLACK, 150dpi Pattern Dither

13

1% BLACK,200dpi Pattern Dither

14

1% BLACK,250dpi Pattern Dither

15

2% BLACK,10dpi Pattern Dither

16

1% BLACK,150dpi Pattern Dither

17

5% BLACK, 100dpi Pattern Dither

18

5% BLACK, 200dpi Pattern Dither

19

9% Black 100dpi Pattern Ditehr

20

9% Balck 200dpi Pattern Dither

21

1% BLACK, 100dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Round

22

1% BLACK, 150dpi Halftone Screen Freq: 500l/i, Angle: 45 Shape: Round

23

1% BLACK, 200dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Round

24

1% BLACK, 250dpi Halftone Screen Freq: 10l/i, Angle: 120 Shape: Round

25

1% BLACK, 100dpi Halftone Screen Freq: 150l/i, Angle: 45 Shape: Diamond

26

1% BLACK, 150dpi Halftone Screen Freq: 900ll/i, Angle: 45 Shape: Diamond

27

3% BLACK, 100dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Diamond

28

3% BLACK, 150dpi Halftone Screen Freq: 500l/i, Angle: 45 Shape: Diamond

29

3% BLACK, 200dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Diamond

30

3% BLACK, 250dpi Halftone Screen Freq: 10l/i, Angle: 120 Shape: Diamond

31

3% BLACK, 100dpi Halftone Screen Freq: 150l/i, Angle: 45 Shape: Ellipse

32

3% BLACK, 200dpi Halftone Screen Freq: 900l/i, Angle: 45 Shape: Ellipse

33

5% BLACK, 100dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Ellipse

34

5% BLACK, 150dpi Halftone Screen Freq: 500l/i, Angle: 45 Shape: Ellipse

35

5% BLACK, 200dpi Halftone Screen Freq: 200l/i, Angle: 45 Shape: Ellipse

36

5% BLACK, 250dpi Halftone Screen Freq: 50l/i, Angle: 120 Shape: Ellipse

37

5% BLACK, 100dpi Halftone Screen Freq: 150l/i, Angle: 45 Shape: Line

38

5% BLACK, 200dpi Halftone Screen Freq: 900l/i, Angle: 45 Shape: Line

39

7% BLACK, 100dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Line

40

7% BLACK, 150dpi Halftone Screen Freq: 500l/i, Angle: 45 Shape: Line

41

7% BLACK, 200dpi Halftone Screen Freq: 200l/i, Angle: 45 Shape: Line

42

7% BLACK, 250dpi Halftone Screen Freq: 100l/i, Angle: 120 Shape: Line

43

7% BLACK, 100dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Square

44

7% BLACK, 150dpi Halftone Screen Freq: 500l/i, Angle: 45 Shape: Square

45

7% BLACK, 200dpi Halftone Screen Freq: 10l/i, Angle: 45 Shape: Square

46

7% BLACK, 250dpi Halftone Screen Freq: 10l/i, Angle: 120 Shape: Square

47

9% BLACK, 100dpi Halftone Screen Freq: 200l/i, Angle: 45 Shape: Square

48

9% BLACK, 200dpi Halftone Screen Freq: 500l/i, Angle: 45 Shape: Square

49

9% BLACK, 200dpi Halftone Screen Freq: 10l/i, Angle: 120 Shape: Cross

50

9% BLACK, 250dpi Halftone Screen Freq: 20l/i, Angle: 100 Shape: Cross

51

9% BLACK, 100dpi Halftone Screen Freq: 30l/i, Angle: 45 Shape: Cross

52

9% BLACK, 150dpi Halftone Screen Freq: 50l/i, Angle: 45 Shape: Cross

53

9% BLACK, 200dpi Halftone Screen Freq: 200l/i, Angle: 45 Shape: Cross

54

% BLACK, 250dpi Halftone Screen Freq: 500l/i, Angle: 120 Shape: Cross

55

9% BLACK, 100dpi Halftone Screen Freq: 900l/i, Angle: 45 Shape: Round

56

9% BLACK, 150dpi Halftone Screen Freq: 20l/i, Angle: 70 Shape: Line

57

11% BLACK, 150dpi Diffusion Dither

58

11% BLACK, 150dpi Pattern Dither

59

11% BLACK, 150dpi Halftone Screen Freq: 50l/i, Angle: 45 Shape: Round

60

11% BLACK, 150dpi Halftone Screen Freq: 50l/i, Angle: 100 Shape: Diamond

61

11% BLACK, 150dpi Halftone Screen Freq: 50l/i, Angle: 45 Shape: Line

62

11% BLACK, 150dpi Halftone Screen Freq: 50l/i, Angle: 45 Shape: Square

63

11% BLACK, 150dpi Halftone Screen Freq: 200l/i, Angle: 45 Shape: Square


HARRINGTON GILL & ASSOCIATES LIMITED South East : 01279 310920

| London : 0207 375 0973 | Mobile: 07930 399013

E: info@hgaprint-design.co.uk

| W: .hgaprint-design.co.uk


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