OUGD504 MODULE EVALUATION.

1. What skills have You developed throughout this module and how effectively do you think you have applied them? 

The first brief in the module was Design for Print and whiles doing that I developed a deeper understanding of Commercial Printing methods and the possibilities. As well as learned how to prepare art work for sending to print. For my Print Manual I did an installation, which this time was in a larger scale and in a professional photography studio environment. I think now I understand the need of a photographer, a person that would be skilled enough to know lighting and how to act in a photo studio. Without the photographer I don't think any of the pictures would have came out right. 
The second brief was Design For Web in which we learned to code HTML and CSS. I found it fascinating because in the beginning I thought I won't be able to manage programming and web design. It seems it's not as complicated  as I thought it will be. I really enjoyed all the sessions and am quite happy with the final website about being bored. I know in the future this l;earned skill will be MOST needed. While going to the software inductions I learned the lesson of listening closely and paying attention to EVERY single word, because if you miss out anything - you most probably will end up mixed up. 

The third Brief was a united one Design For Print and Web. For this brief we had to choose one of the ISTD briefs and work on it by using printed and web designs. This probably was the one brief I enjoyed the most. Because it was something YOU had to choose, so most of us ended up choosing something either they have never tried or most likely really wanted to do. I understood the importance of narrowing down the given brief and exploring A BRIEF. Never before did I thought that an OPEN brief with no limits can be the most changing and confusing thing in the design world. 
2. What strengths can you identify in your work and how have/will you capitalise on them?

I realized that PERSONALITY is one of the things I want to show in my work. We have discussed this with John so many times and I think personality is one of my strengths. Showing it in my work while still fitting all the requirements is something I WANT to build on. This year I have decided to try and make every brief EXITING to myself and apparently it's a way harder thing that I thought it was but I will keep on trying to do so!  I think looking back on last year I have learned to keep my designs more consistent and feel more confident about my grids and layouts. I will keep on building on it. Last year i also told myself that I don't think I am any good at logo design. This year I think I am getting a bit better of understanding what a logo is and what it's not. I still think I'm pretty bad at identity creations but I can see a slight improvement. I also realized that I'm not as bad at learning to work with a new piece of software, which is always good for the future. 

3. What weaknesses can you identify in your work and how will you address these in the future?

TIME - I have no idea where it goes. Sitting in front of a computer - I realized that most of the time I HATE it and any creative process - I CANNOT start in front of the computer which probably isn't that bad.  Blogging - I thought I finally found a way of how to blog and enjoy, but than talked with Loraine and apparently I cannot do it that way, so back to not liking blogging again. Hopefully because this is a problem I will continue of looking for the solution. I can only work with one brief at a time - and this is really bad. This course forces you to work with at least 4 things at a time and I realized that I have a BIG problem. I can only be devoted to one thing at that time.I will try and work on this problem and manage my time better. Loraine said that I nee to pull myself together and take control!! - That is exactly what needs to be done. Applying myself more. 

6. Identify five things that you will do differently next time and what do you expect to gain from doing these?

1.Better time management. I really need to start a notebook with all the tasks in it. I used to have one and now that time was passing I stopped having them. I don't really know why that happened. But managing my time is one of the most essential things I need to do.
2. Organizing tasks that would not involve just ONE module or just ONE task. I need to get my head round working many different things at a time and being passionate about all of them. This involves time management as well. 
3. I used to research too much and wouldn't be able to STOP when it's needed. NOW - I research too little. (I can see it's only the extremes with  me). I don't know why I stopped researching as much. I used to research too much last year, I actually used to research so much I would forget to do designs at all. Now I don't spend much time at all researching, I feel my design quality has went up but informed designs have went down. I guess it all leads to blogging more.
4. Blogging - when is this not going to be a problem to me? I was never good at blogging and still haven't found a way to always work and blog. I might try having a notebook for every brief and writing things down and than scanning it and blogging it. It would be easier for me to do each brief in one blog post because than I can see the process myself and the development in one go, not scattered around and with many other blog posts. So confusing.
5. I would document more. I think my problem is that i do all this thinking and all this work and I don't record it or show it. The only way to solve this si to have a small journal for my thoughts so I could write down no matter where I am. 


5= excellent, 4 = very good, 3 = good, 2 = average, 1 = poor

Attendance - 5 
Punctuality - 3
Motivation - from 1 to 5 (fluctuating)
Commitment - from 1 to 5 (fluctuating with motivation) 
Quantity of work produced - 2
Quality of work produced - 3

ISTD. FINAL PRESENTATION BOARDS.

ISTD. TYPE FACTORY. DESIGN DEVELOPMENT.

From the first design try to the final logo. The development, color choice. Well, after comparing the first one and the final, I am pretty happy of the final decision.

OUGD504. DESIGN FOR PRINT. FINAL PIECE. PRINT MANUAL. ISSU.

After creating the logo I spend hours exploring possible 3D type versions but they didn't work as well. I did some billboard mock ups - the last one is more decent. I have never before mocked up anything as serious. So that actually let me improve on my Photoshop skills which I have forgotten for a while.

After the crit with Loraine and Simon (Mike, Ste, Nigel, Nathan) we discussed that I should go and visit some museums (that's what I did, look up my Design Context blog for some images). I also had to do WAY more work and start doing special design which I was really stuck with because I didn't have good quality pictures and than TOM helped me out by offering his place as a possible museum mock up. In his building in Greenhouse h had fantastic pipes and environment to build up my photo library for editing. (see on context blog as well)

OUGD504. WEB. BOREDOM WEBSITE

I haven't been blogging my web brief properly so I'm going to try and sum up what I did in this post. First of all we had to re-visit our summer brief and create a website about it. Mine was based around boredom. So I decided to make a simple website that would suggest you what to do rather than just be bored. I did more scamps than shown but in the mess of my room (at least recently) I lost them. I got some good feedback to my first proposal which I'm quite happy about. 

I took a simple concept of asking at the home page 'Are You Bored?' to make it more interactive people/users have to answer. If you say yes, it takes you to another page where you have the options of WHY (what is the reason of boredom) than when you click on it, it takes you to another page (separate for each reason) where it has a small example of what could you do and than in each of the reason explanation suggestion page you have a button that takes you to another page in order see more suggestions of what could you be doing now (the suggestions are quite funny and simple) for the last page I did a small gif that keeps changing when you open the page. Obviously I would have way more suggestions, but in this case I only did 10.

ISTD. RESEARCH. SPACE AND CONCEPT

I continued on researching into what previous submissions were and what have they done. Noticed that all of them did something with special design. In my opinion, non of them have a strong concept. Maybe 'strong' is not the right word 'changing' or 'different' might be better.

So because the 'Type Factory' is a non existing place. I started looking into empty spaces that i could use as my basis for the special design. The only problem is the quality. I cannot find good quality pictures. Might need to go and photograph some myself. Does anyone know empty buildings in Leeds?

The concept came fast and un-expected. Usually I spend days and days re-thinking the concept, but I think this one is pretty good and I can go further with it. I started looking what my type factory could be. FACTORY! The brief itself had an answered prepared. I started looking into factories and really appreciated the PIPES they had. PIPES - could be an amazing way finding system. So my concept was born from the name itself and let to pipes. Lets see what i can do with it. I also started looking into designing the logo and looked at some fonts.

ISTD. RE-WRITING THE BRIEF.FEEDBACK.

After re-writing my brief and specifying my audience it helped me to understand what am I aiming for and what the requirements are. It narrowed down what I have to actually do for the brief (before that it wasn't as clear, it basically said to create an identity for a type museum. We discussed the re-written briefs in a group and gave each other feedback. As you can see in the picture I was really upset (not really;). We discussed basic idea proposals we had, everyone seemed to like mine and told me to go for it. The initial idea is to create a way finding system and a logo for the 'Type Factory'.

After the discussion I looked at what previous entries have done.

OUGD504. PRINT MANUAL. THE CONTENT

IDEA.

My aim is to make print production manual easier to read to students.
More specifically Graphic Design Students. I am also hoping to make the
manual in two languages Lithuanian and English. You might wonder why? I
will continue to develop on this manual and hopefully one day I can get it
published in Lithuania because lithuania lacks books about design. Well there are
non really. The ones that exist are just pictures of 'nice' design examples.

I'm also hoping to make this brief more exiting to myself and others. So I'll try my
best in making it more fun. I already learned that you shouldn't take anything too
serious and I aim to put in my personality/identity into my designs while still
fitting the requirements of the brief.


'Things to remember and consider before sending to print'

I'm a second year graphic design student in Leeds College of Art and this is my take on the brief 'Print Manual'. Don't take
me for granted just because I'm a student (but don't take me too seriously), actually for all you graphic design student out
there this might be an easier way to process all the information around the print production topic. Who else can explain
all the important things to remember and consider before sending to print than a person that actually is learning all this
while doing this 'manual'?! (probably you can think of thousands of other more suitable people, like your grandma but...it's
worth a shot) So lets try and get our heads around this TOGETHER! We'll go trough color, format (substrate), stock, image preparation
production, print methods, finishes (folding and binding) and specials (varnishes, perforation). So prepare to learn all you need about
print production with your faithful and devoted Greta Madline. Don't worry it seems confusing at this point (and believe me
I know, because it seems confusing to me at this point) but we'll get trough this TOGETHER!

I think it's also important to mention that I decided to time myself and give this project no longer than 100 hours.
For those who got a bit critical about this, I just want to say that I'm not trying to deepen your understanding about print production
I'm just trying to introduce you (and myself) to the important and basic things of print production. If you're trying to deepen
you're understanding than I suggest you contact David Gaskell (my amazing roommate that makes my every single day more
interesting (and more exiting)  also my genius course mate (that one day IS going to become the most innovative and astonishing
graphic designers of the 21st century)

(non edited version)

PLAN.

color, format (substrate), image preparation 

production, print methods, finishes (folding and binding) and specials (varnishes, perforation).

05/11/12 4PM - 9PM

06/11/12 5.27PM - 

Color (installation, can I do it? will I fit to the deadline?) (DONE)

-RGB and CMYK (done)

+gamut (RGB, HEXACHROME and CMYK)

-Additive and Subtractive (done)

-Colour wheel (use pic from studio workshop or make my own small circle) (done)

+monochrome, complementary, split complements, triads, analogous, mutual complements, near complements, 

double complements

-Special-process colours (done)

+flourescents, metalic printing inks 

-Colour meanings in UK and Europe (leave it to this for now) (done)

-Colour fall (planing the incorporation of colour in a printed publication)

-Overprint (done)

-Monotone and duatone (do I need this?)

-Tints (done)

-Colour coding (done)

FORMAT.

-Stock

-Scale

-file formats

-Paper sizes

-ISO

PREPARATION.

-File sizes

-Resolution

-Tonal Images

-Overprint

-Print Order

-Chanels and plates

-Impossition (how the pages will appear)

PRINT METHODS.

-Lithography and CTP

-Wash print

-Silk-Screen Printing

-Letterpress

-Hot metal

-Thermography

-Lino-cut

-Flexography

-Monoprint

-Offset

-Screen Printing

-Rotogravure

(special)

-3D printing

-Four colour

-Hot Wax method

-laser printing

-Ecoprint techinque

-MetalFX printing

-Silkscreen

-AM screening

FINISHES.

-Binding

+Edition binding, Headband/tailband, Z-binds and perforated z-binds, open binds, Canadian and half 

canadian binding, japanese binding, informal or loose-leaf binding, capasity, animation (really?)

concertiana fold, french fold, roll-fold, perforated, burstbound, trimmed flush, cotton, gilded, 

saddle-stitching, singer-sewn, perfect binding, spiral bound.

-Embossing and debossing

-Die Cut

-Kiss Cut

-Filigree

-Types of perforation

-Spot varnish

-Foil blocking

-Matte lamination

-Varnish

-Spot varnish

COSTINGS. 

(contacting print studios)

Art Work

How to prepare work for sending to print

Grid

Grid should be thought in every graphic design course but if you are hearing this for the first time - I can honestly

suggest you go and research it! Basically what it is is just paralel or crossing bars/lines on the artwork. It might 

be one of the essential parts of design. Grid is such an amazing help while 

designing, it helps you set all of the designs in place and make it easier to navigate and design. Publications 

especially because you can set up a masters page and have you'r grid consistant troughout the whole publication, it will

not only improove your time of designing but keep consistancy trough the publication or any other artwork. 

Resolution

One of the first things to consider when opening a file in any of the creative software is the resolution

of images you might be using. There is quite a simple rule with this which doesn't even need much explanation

just memorising. For any printed images the resolution has to be no less than 300dpi (dpi = dots per inch).

Bleed

If you haven't been using bleed for your printed work, from now on as you will become aware of it - you need to 

start using it all the time. Bleed is the printed area outside of the art works margin after it's trimed. Why do 

we need a bleed? Well because it prevents any unprinted areas to eppear in your trimed work. Easy as that. Use the 

bleed. Even a small bleed of 3mm usually the snadart bleed for any printed art work. 

Margin

Margin is usually most needed when creating a publication tho many other art work might benifit as well. Margin

is the edge of the border. It's important to leave enough space from the edge of the paper (usually talking about 

bodycopy) so it would be easy and simple for the audiance to navigate and read trough it.

Crop Marks

One of the usually made mistakes is forgeting to put the crop-marks in. It's not really a big problem even before 

sending to print there is still an option of having the crop marks. It is a higly useful thing for printing. If you 

have a white backround, usually what tends to happen You crop it badly or are not sure of how it should be croped and

than  waste loads of time trying to figure it out. Well, now you know - COP MARKS.

File Size

Which file size should I save my art work? It's quite an often consideration. There are so many file formats out there 

that more than often it becomes really confusing. There are few possible options but it's always worth talking to the 

printer, they will tell you what file size suits them the most.These are the two main best file format fro print. There 

is always an option to save it as the original file format of the creative software you are using, let say you are suing 

inDesign, you can saqve it as an inDesign file, the only big problem with all of these formats is that you need to make

sure that the printers you are using HAS the software otherwise your art work might be modified while opening in a 

different creative software or even worser NOT open at all. 

TIFF (Tagged Image File Format) is an industry standard designed for the handling of raster or bitmapped images it also 

allows to edit, scale and manipulate the image after it has been saved as a tiff and placed to a program.

PDF (Portable Document Format) this is one of my most ofthen used file sizes. PDF allows you to embed fonts in a 

document, so type and layout both preview and print consistently wherever the file travels.

Imposition

Sounds like a really fancy thing but basically all it is is the arrangement of a printed pages of a publication in the

sequence thet they are going to appear when being printed.It's more like a visual guide for the designer so he could do 

the rest of cosiderations such as what stock which pages are going to be printed on and where could (if needed) the 

special colours go. 

7.40PM - 9.00PM 7/11/12

5.00PM - 9.00PM 8/11/12

3.OOPM - 5.57PM 9/11/12

Ref: 

http://wiki.answers.com/Q/Evidence_that_the_sky_is_not_blue

Ambrose/Harris 'Colour'

COLOUR THEORY. 

It's not as complicated as it sounds.

(short intro into the chapter)

First things first - no, the sky is not blue! The sky is the layer of athmospahere

and it's made of gases, when the gases interact with the light coming from the sun it creates the 

impression of colour. You must be wondering why am I telling you all this? Well there is a reason behind

this story (as tehre is a reason for everything else in life) - colour can create many optical 

illusions ones that can be intentional and ones that can be made by mistake. As a graphic designer 

your task is to understand colour in order to contol it when applying to your art work.

Prmary, secondary and teritary colours.

What need to be remembered.

Two types of Primary colours:

Additive colours are obtained by emited light.(red + green + blue = white)

Subtractive colours subtract light. (cyan + magenta + yellow = black)

                            [need to create an infograph explaining additive and subtractive colours]

Secondary colours are created from the primary colours in equal proportion. 

(additive = cyan, magenta and yellow)

(subtractive = red, green and blue)

Teritary colours are created by adding a secondary colour to a primary which is not allready present in

the secondary colour. (2:1, 1:2)

                            [create a colour wheel explaining how you combine to get the colours]

-monochrome

-complementary

-split complements

-triads

-analogues

-mutual complements

-near complements

-double complements

[Hands on] The easiest and more fun way to understand colour is to actually do things with it. 

Pick some objects or sheets of paper (from the colour wheel) and explore how they affect each other 

on a mutual backround. Take pictures as you go troughout the process and you will find yourself 

understanding how colour combinations affect each other and the backround which will help you  use 

colour in a more effective way. Consider placing objects in everyday surroundings.

Only by doing practical work - will you be able to control colour and understand the impact it has 

on your designs and the surroundings. Probably loads of you are just going to scip this, well it's 

your decision - I'm just trying to help you become not only more aware of the print production but a 

better designer as well. Believe me - COLOUR has such a hudge impact!

Hue, saturation and brightness

You need to know this.

Hue or colours are formed by different wavelights of light 

                            [pic of guine pigs]

Saturation and Chroma is the purity of colour. At maximum saturation colours the colour contains no grey 

so it becomes more vivid, opposite to low saturation colours which contain increasing amounts of grey.

                            [pic of guine pigs]

Value or Brightness refers to how light or dark the image is. 

                            [pic of guine pigs]

The meaning of Colour.

Oh YES, a whole chapter. 

Colour can be one of the bigest indicators of meaning. We learn about colour as children and believe me 

you don't want to loose this knoledge beacsue it takes so much effort to learn and teach. My niece is

3 years old now and she still sometimes can't tell the difference between green and blue.(I don't blame her 

sometimes I can't tell the diffenets between these two colours myself) last summer,

when I came back to Lithuania, I tried to teach her about colours and only then I realised how hard it is 

to explain colour to a person that has no idea WHAT that is. You think it's simple? Find a two-three

year old child and try it for yourself! You show a pencil and you ask "What colour is this", you'll probably

get an answer like "it's a pencil" or "green" (tho it's red) and even if you manage to teach all the 

colours of the pencils, than you take a green umbrella - it seems you spent hours just for nothing. 

When I was a child I was thought that the colours of our flag ment 'sun/hope, grass/life and blood/death and love'

(the last one is quite cheerfull). I'm sure you can allready tell what colours these are. Though if you're from a 

different cultural, social or religios environemnt the perception of colour can be slightly different 

from mine or any other persons. 

So how do you deal with colour? How do you use colour in an effetive and appropriate way? YOU LEARN!

You shoudld probably chalange yourself and do a self-driven research  and explore what meaning colour has in 

your cultural, social and religious environemnt. one thing is for sure I can't cover it all in this basic 

print manual. My aim is to compare two reagions: Western Europe  and Balcanic and Slivic part of Easter Europe, 

so you would understand what I mean. Why I chose these two regions? I lived in both, simple as. 

(ref: 'Global Graphics: Color', L.K. Peterson, Cheryl Dangel Cullen, USA, 2000, Rockport Publishers)

WESTER MAINLAND EUROPE

England, Scotland, Whales and Ireland

RED - symbolyses power and authority. Assosiated with reliability and visability. (London buses)

YELLOW - asociated with ruber. (found this quite amusing, apparently once the rubber was only available in yellow)

DARK BLUE - fear and confuseon. (traditional colour for Scottish sports teams)

GREEN - asociated with nature and positiveness. (nation of enthusiastic gardeners)

GOLD and PURPLE - asociated with roialty. (colours of the royal crown) 

BLACK - symbolyses death and mourning. Can also be seen as dignity or punk culture.

GREY - considered classy, traditional and tasteful. ( B.Brummel established the idea that grey clothing 

is sophisticated and elegant)

BALCAN AND SLAVIC PART OF EUSTERN EUROPE

Albania,Macedonia, Bulgaria, Romania, Bosnia, Herzegovina, Croatia, Hungary, Slovakia, Chech republic, Ukraine,

Moldovia, Poland, Belarus, Lithuania, Latvia and Estonia.

RED - is thought to have medical properties (red wool was used to relieve fevers in Macedonia)

BLUE - is seen as decrative colour.

WHITE - symbolyses neatness, intelligents and dilegence also asociated with magic (white linen was believed to 

have magical powers)

GREEN - symbolyses nature (50% of Latvia is covered with forests)

                                             [Just Have the colours next to the description]

CMYK & RGB

The serious stuff begins.

If you are a graphic designer and your still wondering which colour mode should you use while designing for

PRINT. From now on have this is your head (embaded in your memory) - there are four magical letters CMYK! 

ALWAYS CMYK for print! 

What You need to remember:

Printed images are created using three inks Cyan, Magent, Yellow and Black (CMYK)

[CMYK scheme]

There are other colour spaces that are used for different design procesess for example RGB is used for on screen 

(light) design the diference between CMYK and RGB are quite important as for RGB has a wider gamut (in simple 

language has a wider colour range (usaully brighter and more vivid colour). There is another not as knowned colour 

space which is Hexachrome that is a six-colour separation process which was developed by Pantone that can produce 

more acurate, vibrant and saturated colours for print.(You must be wondering what is Pantone? Pantone is a colour matching 

system taht helps you specify inks. It is higly usefull for designers and print makers. Actually it's like a 

language between the printer and the designer to get an acurate required colour).

[RGB and HEXOCHROME SCHEME]

Special-Process colour 

(ref: 'colour' Ambrose/Harris)

A special or spot colour is solid and is not created of dots as CMYK colours. These colours are also more richer 

and vibrant. Special colours also used to produce metalic tints and flourescent colours which are out of the 

standart gamut. Another thing to keep in mind that you will pay more for a spot colour but it actually makes a 

huge impact on the final piece. 

The vocabulary:

Flourescents are special colours taht are vibrant and cannot be produced using the standart four colour 

printing (CMYK)

Metalic ink are made with copper, zinc and aluminium pigments in order to produce copper, bronze, silver or 

gold colours that cannot be produced as standart process inks (CMYK).Metalic ink is higly reflective and can 

add a professional end luxorious feel to your designs.

OTHERS (?)

Tints - are basicaly different colour values of CMYK (Cyan, Magenta, Yellow or Black). They are very usefull to 

create the illusion of more colours. 

                                   [exaple of the same colour but different tints]

Colour coding system maximises the usage of each colour.

                                    [example of colour coding]

Halftoning is produced by using a line pattern rather than halftone dot. 

                                    [ex of halftone]

Colour layers can be used to combine or layer printed backround elemnts such as type and image. The suprint is one

of the techniques that print on top of each other as tint colours. Reverse out removes parts of flood colours and 

leaves white spaces in the chosen part of design. And least but not last, overprint that prints one colour over an 

other, usually darker colour over a lighter. You can use overprint to create new colours while only using few colours 

from CMYK. 

                                    [show examples]

Format

Think before you do

Format is an assential part of design. ormat can create meaning or complement the design, that's why it's

so important to consider format firstly before you even start designing. Always think about the audiance, 

what message needs to be delivered and how you are going to deliver it effectively. Format might be the answer 

some of the times. There are so many greate pieces of design that are knowned for their format more than the

contant or the design. Format can refer to texture and size of paper, large scale is always a good consideration

and of course different media. I cannot list all of the posible formats and media you can use for the design but 

what I could do is give the basics and you can start from there. Every design needs a different research into

posible formats.

ISO 216/269 specifies international standard (ISO) paper sizes used in most countries in the world today. 

It defines the "A","B" and "C" paper sizes.

 

A sizes - they are probably the most known stock sizes in the world

Size Height x Width (mm) Height x Width (in)

4A0 2378 x 1682 mm        93.6 x 66.2 in

2A0 1682 x 1189 mm        66.2 x 46.8 in

A0 1189 x 841 mm        46.8 x 33.1 in

A1 841 x 594 mm        33.1 x 23.4 in

A2 594 x 420 mm        23.4 x 16.5 in

A3 420 x 297 mm        16.5 x 11.7 in

A4 297 x 210 mm        11.7 x 8.3 in

A5 210 x 148 mm        8.3 x 5.8 in

A6 148 x 105 mm        5.8 x 4.1 in

A7 105 x 74 mm        4.1 x. 2.9 in

A8 74 x 52 mm        2.9 x 2.0 in

A9 52 x 37 mm        2.0 x 1.5 in

A10 37 x 26 mm        1.5 x 1.0 in

B sizes - it's a less common stock size but it's widely used in the printing world

         mm × mm in × in 

B0 1000 × 1414 39.37 × 55.67

B1 707 × 1000 27.83 × 39.37

B2 500 × 707 19.69 × 27.83

B3 353 × 500 13.90 × 19.69

B4 250 × 353 9.84 × 13.90

B5 176 × 250 6.93 × 9.84

B6 125 × 176 4.92 × 6.93

B7 88 × 125 3.46 × 4.92

B8 62 × 88 2.44 × 3.46

B9 44 × 62 1.73 × 2.44

B10 31 × 44 1.22 × 1.73 

C sizes - is used only for envelopes

       mm × mm in × in

C0 917 × 1297 36.10 × 51.06

C1 648 × 917 25.51 × 36.10

C2 458 × 648 18.03 × 25.51

C3 324 × 458 12.76 × 18.03

C4 229 × 324 9.02 × 12.76

C5 162 × 229 6.38 × 9.02

C6 114 × 162 4.49 × 6.38

C7 81 × 114 3.19 × 4.49

C8 57 × 81 2.24 × 3.19

C9 40 × 57 1.57 × 2.24

C10 28 × 40 1.10 × 1.57

Print Methods.

You don't need to learn it, just know it.

A rotary printing press is a printing press in which the images to be printed are curved around a 

cylinder. Printing can be done on large number of substrates, including paper, cardboard, and plastic.

 Substrates can be sheet feed or unwound on a continuous roll through the press to be printed and 

further modified if required (e.g. die cut, overprint varnished, embossed). Printing presses that 

use continuous rolls are sometimes referred to as "web presses".

Offset lithography uses a chemical process in which an image is chemically applied to a plate 

(generally through exposure of photosensitive layers on the plate material). Lithography is based 

on the fact that water and oil do not mix, which enables the planographic process to work. 

Offset printing is a commonly used printing technique in which the inked image is transferred 

(or "offset") from a plate to a rubber blanket, then to the printing surface. When used in combination

with the lithographic process, which is based on the repulsion of oil and water, the offset technique

employs a flat (planographic) image carrier on which the image to be printed obtains ink from ink 

rollers, while the non-printing area attracts a water-based film (called "fountain solution"), 

keeping the non-printing areas ink-free.

Rotogravure (Roto or Gravure for short) is a type of intaglio printing process; that is, it involves 

engraving the image onto an image carrier. In gravure printing, the image is engraved onto a cylinder 

because, like offset printing and flexography, it uses a rotary printing press. Once a staple of 

newspaper photo features, the rotogravure process is still used for commercial printing of magazines, 

postcards, and corrugated (cardboard) product packaging.

Wash Printing is a special technique that allows the most delicate of colours to be applied to a substrate.

It uses ink that has been heavily diluted in order to produce a flat colour that is more subtle than light 

special colours such as pastels. This wash is applied by the pre-printing the sheets with a flood colour 

of the diluted ink.

Silk Screen Printing (Screen Printing) imposes an image on to a substrate by forcing ink trough a screen that 

contains the design. It's not one of the most time efficient printing methods because it takes time for the screen 

to be prepared and the artwork needs to dry before applying a second colour, but screen printing allows

a different use of varied colours and adds that special feel of craft and to the work. 

Letterpress printing is a method of relief printing whereby an inked, raised surface is pressed against the subtrate.

It is one of the first commercial printing methods and the raised surface is usaully made by pieces of type put 

together. This printing method is not used as much these days.

Hot-Metal Printing also knowned as hot-type composition or cast metal is a process of creating type in lines of 

molten metal. It allows the production of large quantities of type in relatively inexpensive fashion. The metal characters

are movable so you can re-use them again and again. 

Thermography is an inline print finishing process that is used to produce raised lettering on paper subttrates.

Thermographic powder is deposit on to a sheet of paper while the ink is still wet. The powder sticks to the

wet ink, and fuses to it when the subtrate is passed trough an oven which leaves the raised surface with a 

mottled texture.

Lino-cut Printing is a low volume, relief-printing method in which an image is cut into a thin piece of 

linoleum that is inked and mounted on pieces of wood. The wood is than pressed against a sybtrate, and must be

re-inked for every impression.

3D Printing is quite a difficult process which is more than ofthen hard to get right. The backround layer 

has to be oversized, layers that will be on similar depth grouped together and the different combinations

of the art work must be exported to create the viewing angles.There are specific technologital machines 

created specialy for 3D printing. 

Eco-printing is a water basses printing process used to apply water to cloth. It uses relatively small 

quantities of plant material in a recycled dye-bath and requires such material as wool and silk. 

(non-edited)

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