Tag Archives: brochure

WE Love Dust!

17 Dec

We are privileged people.

Those cool creative dudes at I Love Dust asked us to produce their iconic showcase book and here it is:

A beautiful A5 portrait piece with die cut slipcase.

We used Colorplan Ebony for the cover and slipcase, and Mohawk Options PC100 for the text.

Printed CMYK throughout, at 225lpi, the book portrays a stunningly vibrant reproduction of the amazing I Love Dust craft.

The cover has a very splendid skull graphic that we foiled in gloss black and metallic gold.

We have very limited samples that we would be pleased to show you, please get in touch if interested . . .

This really is a fantastic design piece – obviously supported by beautiful print.
That’s what we do you know!


Just over 2 weeks left!

22 Sep

Hi All

GF Smith Promotion

Just a quick reminder about the GF Smith Draw . . . your last entry date is 16th October so that‘s just over 2 weeks before the promotion closes.

We have had a great response so far – almost 60 draw numbers are now allocated – keep them coming!

If you would like any more info, please do get in touch.

CP

Enviro News

22 Jul

Hello all

Sorry I havent been in touch for a while – hope all is well where you are!

New Plate System

I thought you’d like to know that we have just upgraded our plate system!  ‘zzzzzzzzzz’ I hear you cry!

We think it’s pretty good news as we are saving 550kwh Electricity, 90 ltrs of harmful waste chemicals and a wopping 8980 litres of water . . . and this  is just a monthly calculation.

The new Agfa plates are still able to hold a 1% 300lpi dot too so quality is, as always, the dog’s doodahs!

Do you use 9 Lives?

A New Enviromental Benefit Statement has just been launched by Arjowiggins Papers and PaperCo.  (I can see the ‘zzzzzzzzz’s’ again!)  It’s a very factual and possibly a more meaningful statement than the various symbols available and you can print onto jobs using any of the 9 Lives range. See below:

We print a fair bit of work on 9 Lives so obviously we will be happy to help with the statement creation should you want to use something like this. It doesnt cost anything and could look really great on Annual Reports etc.

It would be great to get your feed-back on this please – is this something that is important to you/your clients? Please do let me know.

Creep!

30 Apr

Hello all!

So, what is ‘creep’ ?

(yes, we all know of the Radiohead song and that weird bloke over there . . .)

and how do we get over the issues?

(This is a long one but I hope it helps!)

Creep occurs in saddle-stitched jobs (See Top Tip below though) where the sections/page spreads within the cover naturally move away from the spine. See this pic . . . exaggerated for effect:

When trimmed flush, the page margins are affected as the pages within get gradually narrower.

With saddle stitched jobs (especially those chunky beasts), although the finished article looks lovely and flush, the inner pages are actually smaller. Quite simply, if you grab a saddle-stitched job and pull out the central 4pp section,  you will see how much smaller it is from the ‘finished size’ of the job:

Unless creep is compensated for’ it can have a major impact on the margins and page layout.

Creep Allowance (sometimes called ‘shingling’ or ‘feathering’)

There are essentially THREE methods of creep allowance and the amount applied will vary and depend on the number of pages and the thickness of material:

– Manual Adjustment

– Page Offsetting

– Page Scaling

The next image shows a typical CENTRE SPREAD page layout that has had NO allowance made. Indications are shown where the page will be trimmed and the affect is has on the design:

Manual Adjustment

This is a very arduous procedure where, using a creep calculation factor, elements of the design are moved inwards, away from the foredge in tiny increments. Another way to put this is that each of the outer page margins will have to be manually tweaked. The closer the page is to the centre of the book, the bigger the adjustment is required. (This creates ‘progressive margins’) The example shown is a 56pp job so – Page 1 and 56 – will need a margin increase of 0.18mm; page 2 and 55 will need 0.36mm; page 3 and 54 – 0.54mm; page 4 and 53 – 0.72mm and so on in incremental multiples of the creep factor 0.18mm.                           Complicated? Hell yeah!

So where did we get the 0.18mm ‘creep factor’ from??

The Creep Factor is worked out as follows: Divide total number of TEXT pages by 4. Then multiply this number by the paper thickness (BUT, we also need to consider the ‘fold loss’ too. Another complicated issue but we find by adding 50% to the page thickness works very accurately.)  56pp divided by 4 = 14. Paper thickness 0.121mm PLUS 50% = 0.18mm. 14 x 0.18m = 2.52mm. 2.52mm is the TOTAL creep factor but adjust the margins progressively by 0.18mm. Don’t forget to ‘allow’ for the Cover – if your cover is a 300gsm, 0.28mm thick board, then your initial TEXT margin should start off ‘plus’ this amount . . . IGNORE the 50% fold loss. So if your initial margin is 5mm, you should make it 5.28mm and then apply the text creep adjustment from there. You do not need to adjust the cover margin. It can be left at your initial 5mm, for example.

You’ll be really pleased to know some printers (like good old Dayfold of course) have automatic methods to allow for creep.

Creep Allowance by Page Offsetting

Page offsetting works by ‘the system’ moving page elements inwards progressively. While this works well for the outer margin elements, there is a fundamental problem as the image above demonstrates.

Creep Allowance by Page Scaling

This is really effective:

Page Scaling works by ‘the system’ reducing the page elements in size horizontally. It is a tiny scaling, yes, distortion if you like but it is barely noticeable if at all. The ‘spec’ shown in the image above is pretty extreme to emphasise the effect. This is the system that we use at Dayfold and we never have any issues at all with ‘over-distortion’. It works extremely well and is so much better than both Page Offsetting and the highly complex and laborious Manual Method!

TOP TIP: If your job is Section Sewn/Case Bound or Burst Bound then creep WILL occur here too (within the sections) so again, it may need to be compensated for. Creep in small, thin sections will be quite minimal, so you may ‘get away with it’! However, if the stock is fairly thick or the pages are folded/sewn as more than 8pp sections, then creep allowance should be considered. On these occasions, it is certainly worth leaving any creep adjustment to the printer as you may not know how they plan to fold the job – ie whether they are folding as 8pp or 16pp sections for example.

TOP TIP: If YOU have manually adjusted your work, you must tell your printer (otherwise, they may apply one of the above ‘system’ methods . . . on top of yours!)

It’s highly unlikely that your printer will manually adjust for creep gratis. It is a very timely job so if they don’t have a method of adjustment like the above, it will be down to you to fix, or perhaps you should give us a bell 😉

I hope this is useful – as usual, please do get in touch if you need help or clarification.

With thanks to Matthew Robinson, Dayfold’s pre-press guru, for his help with this.

Best

CP

Centrefold 5 Launch Party

2 Apr

Centrefold 5 “Vintage”.

“An echo, an influence, from Sgt. Pepper’s to The Pistols.”

We were very pleased to be involved in this 5th issue of fashion and photography magazine Centrefold.

The official launch of this highly regarded publication was just a few days ago . . . of course we went along!

A great launch party indeed. Buzzing with fashion guru’s, designers and marketers, photographers, stylists, models and even some chaps from Dayfold and GF Smith!

This fantastic event, organized by 405 Communications (a highly experienced PR, events and marketing Agency to the fashion industry), was held at the Hoxton Pony on Curtain Road, EC2A. (Thanks to Suzanne and Harriet for these pics btw)

The guys at Bombay Sapphire Gin mixed up Centrefold Champagne cocktails – mmm – nice!

So what is Centrefold and why  were we keen to get involved?

Edition 5 designed by Tom Lardner, Centrefold is a bi-annual publication that showcases collections of fashion photography promoting designer brands, stylists and hair & make up artistry.

We print and produce a lot of work for the fashion trade so it was a great opportunity to be a part of this successful and well known publication. We love getting our teeth into gorgeous printing onto lovely papers too – it’s what we do best you know!

It is an A3 portrait format, 4pp cover, 160gsm and 64pp text 115gsm Accent Glacier White Smooth (a lovely uncoated sheet from GF Smith of course). Gorgeously printed CMYK throughout, this was simply finished as a loose-leaf, unstitched magazine, following the heritage of it’s predecessors.

If you would like to see a copy, please do get in touch.

Back to ya soon with some interesting help with ‘Creep’ . . .

CP

‘High Build’ Spot UV Varnish!

6 Mar

We have all seen spot UV varnish right?   It’s been well done and dusted indeed  – still classically nice if used well but what of HIGH BUILD UV VARNISH?

“What’s that?” I hear you ask . . .

Well, it is extremely similar to conventional Screen printed spot UV (there are other methods but screen printed UV, in my experience gives the best results) but the screens that are used are made much much coarser so therefore more varnish is squeezed  through.

This then makes the UV coating about twice the density/thickness than normal.

This gives a nice tactile result and also really increases the contrast, especially if used like this example. (Design – Bond and Coyne) A nice rich black background (good use of the LBB of course!) with complimentary PMS limey green. Matt laminated, then high spot UV to the rest of the text.

Imagine using this on images of water droplets or bubbles maybe.  It would really bring them to life . . . but hey, I’m not a designer so I am sure you creative people would make much better use of it.

As with normal Spot UV, there are limitations . . .  avoid fine detail and be aware of possible ‘movement’ with tight register work.

If you have any questions or would like to see a sample of High Build Spot UV, then as usual, please get in touch and I’d be happy to help.

ttfn . . .

COURSE is fine!!??!!

27 Jan

Fine screen litho is great but a really nice design feature, for the right project,  is to use course screens . . . .

As you are probably aware,  ‘The Way of Dayfold’  (TWoD!!) is printing at much higher screens than the standard (it’s a historical, fine art thang!). This finer screen process gives fantastic results and produces more clarity and detail than the norm . . . got to be a good thing eh??

However, printing with courser screens can also give nice results.

War on Want Annual review front

This is a job that has been printed at 85lpi  YES 85!!!!! its almost like printing with p’taters!!

close up of front cover

The nature of this job really lent itself to printing this way.

As you would expect, it’ printed on an uncoated stock . . . 9 Lives Offset – 100% PCW recycled – PaperCo

inner spread

CMYK throughout. A5 format, 20pp.

pic close up

The use of different screen resolutions could help ‘add’ to a project . . . the shots here don’t show the ‘courseness’  in its best light –  if you would like to see a real copy of this or other course screen projects, or even examples of ‘TWoD’, please let us know. (chris@dayfold.com)  TTFN!!