What is Good

A example of a range of products all relating to a sport, this kind of gives me an idea of how to apply my design across a series of products

What is Good

I like the use of imagery within this piece of work, it directly relates to the sport aswell. I also like the orange acetate sheet with a olympic track moulded into it, it makes the book different from others. The colour scheme is very sport based, black, orange, reds and white.

What is Good Freestyle tips

Very usefull information i can use to basically build a leaflet or a book which will show different catching/throwing/trick tecniques. 

What is Good

An idea for packaging, i like the red and yellow coloured logo against the cardboard style packaging. The design is really simple but effective, it feels like it sits well on the packaging. I dont know if i like the metal chain thing coming out of the box but ok. The black type and logo seem to be weighted really well to work together.

Print task 4 - Specialist production

Package & Promotion

This is a box produced for nike by Progress Packaging. The materials used is Grey board, HD foam board. The processes used is litho print, foil blocking, laminate and routing.

Very simple design complimented by focussing on the stock's. The UV varnish makes the design sit up from the stock and gives it a different texture and look depending on how you view it. The bottom of the box has been made orange, this breaks up the overall design of the box and makes u wonder whats inside. 

Design for Print ISSUU

Open publication - Free publishing - More print

Design for Print - Commercial Costing

The main cost for digital print is the Toner inks which cost a lot more then the conventional inks used in  lithoprinting. There is no labor costs involved in digital print, its ideal for short print runs. Litho printing's cost goes down as the quantity of prints go up, this is mainly because the most expensive part of this process is setting up the machine with the aluminium plates and after the machine has been set up it can keep running.

Event Posters Waterproof and tear-resistant - ideal for outdoor use. For pubs, clubs, concerts, venues, sales promotions, window displays, bus shelters and so on. 720 dpi photo quality printing, single-sided onto matte white synthetic paper.
Quantity	A3	A2	A1
1 to 5 copies	£4.99 each	£8.99 each	£15.99 each
6 to 10 copies	£4.49 each	£8.09 each	£14.39 each
11 and over	£4.04 each	£7.28 each	£12.95 each

A6Sheet Size148mm 105mm Printed full colour litho onto 135gsm gloss paper

View or download artwork template

Printed full colour litho onto 135gsm gloss paper
Quantity	Full colour one side	Plus black on reverse	Full colour both sides
250	£26	£36	£36
500	£28	£38	£38
1,000	£31	£42	£42
2,500	£41	£53	£53
5,000	£55	£68	£68
7,500	£65	£80	£80
10,000	£78	£95	£95

Design for Print - Monotone, Duotone and tints

Using a combination of spot colours and tints it will allow you to use less colours within your design which brings down printing costs.

Spot colourone or more specially mixed colours as opposed as a result of a
CMYK or RGB mix.

Duotone
when a continuous tone image is printed in 2 or more spot colours – this
term is also generally used when describing tri and quadtones

Tints
In color theory, a tint is the mixture of a color with white, which increases lightness.

Spot Colour

Duotone

Design for Print - Preparing the file for the Printer

When the final design has been approved by the client and all the production work hs been completed, it is time to send the job out to the printer. The last thing you want is for an error to get through which means that everyone can point to you.

Image Checklist:

• All images must be CMYK-TIFF or CMYK-EPS format
• NO RGB, GIF, JPEG, BMP or PSD
• no redundant alpha channels
• No clipping paths except where they are really needed
• Bleed of 3mm
• If the images are linked rather than embedded, make sure you send the images to the printer as separate files

Text Checklist:

• Make sure printer has all the fonts needed
• Check for no surprise fonts you did not intend to use which can confuse and hold up print production

General Checklist:

• Check that any graphic elements you created are not outlined or filled with RGB.
• Check that any swatches you have added are specified as process rather then spot colour, otherwise they will want to output as a separate sheet.

(Getting it right in print - Mark Gatter)

Design for Print - Registration marks & ink trapping

Registration Marks

Registration marks are usaually added by the imagesetter when it prints out your film. You can easily create your own vector registration mark in illustrator and save it as a small four colour eps file. The registration marks are made up of all four process colours at a 100%.

The greatest difficulty arising from the use of rich black is in trapping with other elements. for an example a brochure that has a solid black cover with a line of white type running across it. If a rich black is used. there will be a regitration problem around the edge of the white type. It will probably have a thin cyan line visible along one edge and perhaps a magenta line on the other edge.

The following method works well to over come this problem, send the printer 2 copies of the final file. File 1, tell the printer to only run the black film. The second version is an exact copy of the first with one exception, a white outline has been added to the type, thereby forcing all four colours away from it.

Ink trapping

When an offset printed document uses more than one ink on the same page, each ink must be printed in register (perfectly aligned) with any other inks that it abuts, so that there is no gap where the different inks meet. However, it’s impossible to ensure exact registration for every object on every sheet of paper running through a printing press, so misregistration of inks can occur. Misregistration causes an unintended gap between inks.

You can compensate for misregistration by slightly expanding one object so that it overlaps an object of a different color—a process known as trapping. By default, placing one ink over another knocks out, or removes, any inks underneath to prevent unwanted color mixing; but trapping requires that inks overprint, or print on top of each other, so that at least a partial overlap is achieved.

Design for Print - PMS

The PANTONE MATCHING SYSTEM is the definitive international reference for selecting, specifying, matching and controlling ink colours. The PANTONE formula guide, a three-guide set consisting of 1,114 solid PANTONE Colors on coated, uncoated and matte stock, shows corresponding printing ink formulas for each colour, and the three-book set of solid chips provides coated, uncoated and matte perforated tear-out chips that can be used for quality control.

The digitally-created PANTONE Process Color System® chips and guides provide a comprehensive palette of more than 3,000 colours achievable in four-colour (CMYK) process printing. The PANTONE solid to process guide compares a solid PANTONE Color to the closest possible match in CMYK four-colour process that can be achieved on a computer monitor, output device or printing press. Other PANTONE Color Reference Guides for the graphic arts include metallics, pastels, tints, duotones, film and foil.

Retail
In 2001, Pantone launched its PANTONE TheRightColor™ division. By providing a universal and precise colour language along with technology solutions, TheRightColor focuses on developing solutions and technologies that enable retailers to build a colour standard infrastructure to improve the consumer's shopping experience and impact the vendor's bottom line across all distribution channels. TheRightColor solutions are based on the globally accepted PANTONE Textile Color System.

TheRightColor solutions enable retailers to reduce the number of returns due to inaccurate colour representation, as well as improve inventory tracking and replenishment strategies. In addition, the ability to monitor customer colour preferences enables upselling and cross-selling, allowing the retailer to sell more product per visit. Meanwhile, the use of PANTONE Color codes empowers the customer to more confidently coordinate and complement merchandise. More information is available at www.therightcolor.com.

 


The Pantone Matching System:
These are colours which printers can mix using the formula written under each sample in the swatch book. The formula is designed to give the same result every time, there are invariably slight differences between batches so its a good idea to ask the printer to produce a large batch for you and to keep it in storage if you are planning on printing a lot and keeping consistency. PMS can be mixed from a range of several standard colours which come straight out of the can, these include CMYK but can also include colours like Pantone green, pantone purple, pantone, orange, rubine red, reflex blue and others. Therefore, the range of colours it is possible to mix goes way beyond a range limited to combinations of just CMYK. Thus, when you are trying to match a PMS colour using CMYK inks you are very likely to run into just the same problem as when starting with an RGB colour.

Frisbee Contextual References

Sports packaging 

This is the current online range of packaging you can get for the ultimate frisbees. Its rather generic in design, although i do like the simplicity of the logo's and type on the frisbee. The open faced area allows you to actually see and touch the frisbee. 

Open faced packaging, very simple but it works well with he idea of recycling playing on the colour schemes and cardboard type stock. Open faced packing allows you to hold the actual frisbee but it reduces space to apply information about the sport and design.

Cheap plastic frisbee packaging. no real space to add design the main focal point is the frisbee artwork. 

I like the idea of incorporating a "how to play" guide within packaging of the frisbee, this would inform my audience more about the sport especially as its not very well known within the UK

i like the colour schemes and simplicity of designs.

I really liked the colour schemes and the style of imagery used, you can clearly see its the same brand but two different products due to the simple changes in colour and design. This is a good way to approach producing a range of frisbee packaging for the same brand but different sports.

Design for Print - Production methods

There are 4 types of print:

1. Rotary
2. Screen
3. Digital 
4. Pad

1) Rotary:

In this process the image printing plates are wrapped around a cylinder. This is an automated print process and material to be printed can be sheet fed or on a roll.

The 3 main types of rotary printing are: Offset lithography, Rotogravure, Flexography.

Litho

Etched aluminium plates wrapped around a cylinder transfer ink to an "offset" rubber blanket roller then to a print surface. Sheet fed or Web fed. This process is mainly used for high speed prints, it gives a good finish.

Gravure

Copper plates (with mirror image) transfer ink directly to print surface, usually on rolls. Advantage, plates are more durable and so are good for long print runs.

Flexo

A postive, mirror image rubber polymer plate, on a cylinder, transfers "sticky" ink directly to print surface. Usually roll feed.

Digital Printing:

The reproduction of images by translating the digital code direct from a computer to a material without an intermediate physical process. Ideally suited to short run or specials on a range of print media from paper to metal.

Screen Printing:

A printmaking tecknique that uses a woven mesh to support an ink blocking stencil.

Pad Printing:

A printing process that can transfer a 2-D image onto a 3-D object.

Design for Print - Stock Considerations

Coated:
Paper with a clay or other coating applied to one or both sides is coated paper.
Coated papers are available in a gloss, silk (sometimes called satin) or matt
finish and are used for projects requiring a fine finish, which is why coated
paper is sometimes referred to as 'art' paper. Coated paper generally produces
sharper, brighter images and has better reflectivity than uncoated paper.
Coated paper is used to print brochures, leaflets & posters and a wide range of
design for print formats, especially high volume print runs.

Uncoated:
Paper that does not have any kind of coating applied is uncoated paper.
Through not having a coating this stock is not as smooth as a coated page.
Uncoated paper is available in many different finishes, colours, and weights
and is generally more absorbent than coated paper. Premium quality uncoated
paper is used for business stationery, and commonly used in laser printers.
Uncoated stocks are also used as an alternative or in conjunction to coated
stocks in a wide range of design for print disciplines.Uncoated papers are
available in a range of finishes:

Wove:
Paper made on a closely woven wire roller or mold and having a faint mesh
pattern. Wove is a popular sheet for stationery and book publishing. Wove is a
premium quality paper with a uniform surface, not ribbed or textured like laid
paper.

Laid:
Laid paper is a premium quality paper with a textured pattern of parallel lines,
similar to hand made paper. Commonly used for business stationery.

Bond:
An economic, uncoated wove paper, often used for copying or laser printers. A
higher quality bond stock can be used for letterheads.

Weight of Paper:
It is normal practice to specify the weight of paper in GM or GSM
abbreviations for ‘grams per square metre’. This indicates the weight of paper
or other stock. For example a typical photocopier paper is 80gsm, a good
letterhead paper might be 120 gsm, a postcard would be about 300gsm.

As papers are graded by weight, one manufacturer's 150gsm paper may seem
slightly bulkier or thicker than a competitor's product. A paper's GSM rating is
a good guide to how 'thick' or 'stiff' the paper will feel but always ask for paper
samples if you're unsure. Card or 'board' as it is usually called in the industry is
sometimes measured in microns, a micron is 1000th of a millimetre

Bleed:

This prevents unwanted white borders around the edges of a printed
document. It is not possible to print all the way to the edge of the paper sheet.
To achieve this effect it is necessary to print a larger area than is required and
then trim the paper down. Bleed is an essential part of creating artwork for
print. A design will always extend or 'bleed background elements and images
beyond the edges of the document by an additional 3mm

Design for Print - CMYK v RGB

Monitors emit light, inked paper absorbs or reflects specific wavelengths. Cyan, magenta and yellow pigments serve as filters, subtracting varying degrees of red, green and blue from white light to produce a selective gamut of spectral colors. Like monitors, printing inks also produce a color gamut that is only a subset of the visible spectrum, although the range is not the same for both. Consequently, the same art displayed on a computer monitor may not match to that printed in a publication. Also, because printing processes such as offset lithography use CMYK (cyan, magenta, yellow, black) inks, digital art must be converted to CMYK color for print.

CMYK works in a subtractive manor, where to more colours you add the Darker the colour will eventually become, RGB works in a additive manor where the more colours you add the lighter colour you will eventually end up with:

RGB is a far greater range of colours available on screen, but the problem is a lot of these colours aren't able to be printed in CMYK as it lacks a large part of the colour spectrum.

It is always a good idea to check that the colours you have selected on screen is able to print out within the CMYK range as if left the software will automatically pick a colour close to the RGB range and replace it, leaving you with a completely different printed colour.

What is Design for print - 1 Paper Sizes

A Series 

In the UK, the commonest sizes of sheet are based on one called "A0", which covers a total of one sqaure metre and measures 851 x 1189 mm. This can be cut in half along the long edge to produce an A1 sheet, which is 841 x 594 mm. This can be cut in half in the same way to produce an A2 and so on. An A4 sheet is the standard letter sized sheet. Sheet thickness os nased on the weight of a 1 metre sqaure, therefore an A4 page could be 90 gsm (grams per square metre) or 130 gsm. which would be correspondingly thicker.

Printers need somehting slightly bigger than a standard A4 sheet to compensate for bleed and to add trim marks so there are additional size standards, based on the A series which include set amount of trim. An RA4 meassures 215 x 305 mm and allows for a very small trim.

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

The dimensions of the A series paper sizes, as defined by ISO 216, are given in the table below in both millimetres and inches (cm measurements can be obtained by dividing mm value by 10). The A Series paper size chart to the right gives a visual explanation of how the sizes relate to each other - for example A5 is half of A4 size paper and A2 is half of A1 size paper.

B Series

Size	Height x Width (mm)	Height x Width (in)
B0	1414 x 1000 mm	55.7 x 39.4 in
B1	1000 x 707 mm	39.4 x 27.8 in
B2	707 x 500 mm	27.8 x 19.7 in
B3	500 x 353 mm	19.7 x 13.9 in
B4	353 x 250 mm	13.9 x 9.8 in
B5	250 x 176 mm	9.8 x 6.9 in
B6	176 x 125 mm	6.9 x 4.9 in
B7	125 x 88 mm	4.9 x. 3.5 in
B8	88 x 62 mm	3.5 x 2.4 in
B9	62 x 44 mm	2.4 x 1.7 in
B10	44 x 31 mm	1.7 x 1.2 in

C Series

Size	Height x Width (mm)	Height x Width (in)
C0	1297 x 917 mm	51.5 x 36.1 in
C1	917 x 648 mm	36.1 x 25.5 in
C2	648 x 458 mm	25.5 x 18.0 in
C3	458 x 324 mm	18.0 x 12.8 in
C4	324 x 229 mm	12.8 x 9.0 in
C5	229 x 162 mm	9.0 x 6.4 in
C6	162 x 114 mm	6.4 x 4.5 in
C7	114 x 81 mm	4.5 x. 3.2 in
C8	81 x 57 mm	3.2 x 2.2 in
C9	57 x 40 mm	2.2 x 1.6 in
C10	40 x 28 mm	1.6 x 1.1 in

The dimensions of the C series envelope sizes, as defined by ISO 216, are given in the table below in both millimetres and inches

US paper Sizes

Size	Width x Height (mm)	Width x Height (in)	Aspect Ratio	Nearest ISO
A	216 x 279 mm	8.5 x 11.0 in	1:1.2941	A4
B	279 x 432 mm	11.0 x 17.0 in	1:1.5455	A3
C	432 x 559 mm	17.0 x 22.0 in	1:1.2941	A2
D	559 x 864 mm	22.0 x 34.0 in	1:1.5455	A1
E	864 x 1118 mm	34.0 x 44.0 in	1:1.2941	A0

ANSI (American National Standards Insitute) defined a regular series of paper sizes based around the Letter (8.5" x 11") format, with this becoming the A sizes and larger sizes being B,C,D & E. Surprisingly these ANSI standard sizes were defined in 1995 well after the ISO standard sizes.

Unlike the ISO standard sizes which have the single aspect ratio of 1:root2, ANSI standard sizes have two aspect ratios 1:1.2941 and 1:1.5455 which means that enlarging and reducing between the sizes is not as easy as with the ISO sizes and leaves wider margins on the enlarged/reduced document.