April Meeting Recap

Digital Techniques:
Achieve dynamic tones on press

The expression "anything is possible" may apply to what we do on press but only if you are armed with the right knowledge and expertise. While it's fairly easy with computers to create special effects, translating them to press is challenging to say the least.

The first thing your success depends on are the curves used by the printer. These are determined based on subject matter, inks and paper. For instance, metallic colors need to be treated different than pantone or cmyk. Clients typically supply heavy metallic dutones, which produce blacks that are anything but rich. In order to compensate for this, the printer can take
color out of the blacks. But they have to be watching for this before going to press.

Another trick some printers utilize when dealing with duotones is
making the color (other than grey) in a dutone "longer" so they can grey the ink on press if needed therefore making it appear "shorter". But again, this is something that needs to be altered before you are on press.

According to George Wolden, VP of Manufacturing at Lithographix, "tri-tones make transitions look smoother than duotones". So if this is important, create your design using tri-tones instead of duotones.

Something else to discuss with your printer is dot shape. A square dot produces an optical gain in the shadow end. A round dot produces an optical gain in the mid-tones. While a chain or elliptical dot produces nice vignettes.

Tinted varnished can greatly enhance duotones or tri-tones. You may also want to consider using a gloss varnish to enhance highlights or a dull varnish to emphasize shadows.

Perhaps the most challenging issue with printing special effects is the proof. It is difficult to create a proof that replicates what you will see on press. The overprint characterization that we experience on press will never be duplicated in a proof, where we get 100% trapping. According to Dick Presley, Senior Technical Engineer for Kodak Polychrome Graphics, "springing for a press proof is still the only way to really see what you will get on press".

In the end, if you're trying something tricky, consult with your
printer before you design the piece and then work with the best printer your budget can allow. Only then, will your vision become a reality.