Post on 03-Apr-2018
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Varnish&
Coatings
A Sappi Guide to Designing for Print:
Tips, Techniques and Methods for
Achieving Optimum Pr inting Results
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Issue three o The Standard examines ways that
varnish and coatings can be used as a design tech-
nique. Filled with practical and inormative tips, print
demonstrations, and a glossary o important terms,
The Standard serves as a bridge between the technical
and the creative. It is intended to be used as an
educational reerence tool, surveying techniques rom
the simple to the complex. Examples are provided or
visual comparison and as ood or thought when
considering design options. This edition o The Standard
showcases the versatile fnishes o McCoy, a premium
coated sheet brought to you by Sappi. McCoy is
part o the Sappi portolio o environmentally
responsive papers, which also includes Lustro Oset
Environmental (LOE), Opus, Somerset, and Flo.
Varnish &
Coatings
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Varnish and coatings do more than protect a
printed sheet from smudges, scratches
and fingerprints. They give designers the
ability to do on paper what online media cannot give tangible
depth, dimensionality and texture to images and words. Creative
use of varnish and coatings has the potential to transform the
viewing experience by appealing to multiple senses. You can evoke
a mood, convey an attitude, project energy or calm. You can
simulate the feel of concrete and silk. You can raise images off
the page or give the illusion of multiple layers. You can imitate the
look of practically anything, from plastic and metal to leather.
You can enhance reality by embedding scent into coatings and
by changing color through simple touch.
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Over the past five years, innovations in paper chemistry and
printing technology have led to the introduction of varnish and
coating effects that were not possible before. Most of these
techniques can be printed inline on a conventional press. The
availability of these amazing capabilities are prompting designers
and marketing strategists to rethink the role of print in advertising
and marketing communications. Creative professionals are asking
themselves what can be done more memorably on paper than
on a screen TV, computer monitor or cell phone? One answer
is to take advantage of the tactile quality and design possibilities
of varnish and coatings. Print allows designers and corporate
communicators to control how their message is seen and to
transcend the one click longevity of digital communications.
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Performance Comparison
Wt usig vais ad coatigs o potctio o as a dsig
tciu, p i mid tat ac as advatags ad imitatios.
Fo xamp, covtioa vais ca b appid om a gua
i uit o pss ad od tigt gistatio, but it aso dis mo
sow ta coatig ad ows ov tim. UV os ubatab
tuaoud tims ad suts i most catgois, but tpica costs
mo. UV aso sows mo gpitig, but w scatcs.
Pasct ma caus udsiab coo sits. Goss coatig mas
o ds bacs ta du coatigs, wic ma o ma ot b a
good tig. Cosid t tados ad wat is most impotat o
t job. Tis Pomac Compaiso is od as a ga guid
w vauatig ou coics.
4 McCOy SIlk
VArnISh AqUeOUS COATInG UV COATInG
Coo Sit
Cost
Dig Tim
Du lvs
Figpitig
Goss lvs
Ma-rad Tim
rccabiit
Scatcig
Spcia ects Avaiab
yowig
Pertinent categories are compared on Varnish and Coatings demonstration pages SCAle 1= ast 5 = most
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Sustainable and Recyclable
B ow, idust possioas udstad t impotac o
spciig FSC ad SFI ctid paps suc as McCo ad usig
vgtab-basd is, but t viomta impact o pocsss
suc as vais ad coatigs a ss amiia. A o t tcius
sow i tis boo a co-id ad o-toxic, ad do usig
igdits tat a ccab. Tis as og b tu o vais
ad auous coatig. It is aso tu o cut utaviot (UV) coatig.
UV coatig is cud ito a 100% soid b UV amps, a pocss
tat ass o voati ogaic compouds (VOC) ad is ofam-
mab. Uti ct, UV-coatd pit matias ad to b spaatd
om ot matias w ccig, but ow t ca b ccd
aog wit ot mixd wast.
McCOy SIlk 5
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6 MCCOY SILK
Available in gloss, satin and dull finishes, varnish is essentially
ink without pigment, so it can be run using a regular unit on the
press and hold exact dot-for-dot registration. A gloss varnish
deepens colors on a printed piece, while satin and dull finishes
reduce contrast. For overall protection and sheen, varnish is flooded
onto the entire sheet. One drawback of varnish is that it tends to
yellow over time, becoming most evident in unprinted areas.
Printers also have to use a spray powder to keep printed sheets from
sticking together while the varnish is still wet. This may leave a
faint residue. Still, varnish offers opportunities to elicit a variety of
dramatic design effects at a relatively inexpensive cost.
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8 MCCOY GLOSSSEE PAGE 4 FOR LEGEND
Varnish Inline Dull & Drytrapped Gloss Combination
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Varnish Inline & Drytrapped Gloss Combination
MCCOY GLOSS 11
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Varnish Inline Gloss & Dull Combination
SEE PAGE 4 FOR LEGEND12 MCCOY GLOSS
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Inline spot tinted satin varnishes
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Varnish Overprinted Satin Tint Combinations
Perfume
Bottles
MCCOY SILK 14
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Varnish Inline Satin & Drytrapped Tinted Gloss Combination
MCCOY SILK 15
Fish
Dre
ss
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Varnish Inline Gloss/Dull & Drytrapped Gloss Combination
Drytrapped
spot gloss
varnish on black
measurements
reverses out
of dull varnish
16 MCCOY SILK SEE PAGE 4 FOR LEGEND
Inline spot
gloss varnish
on body
& background
Conventional
four-color
process
Inline spot
dull varnish
on yellow
tape
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Varnish Inline Satin & Dull Combination
Inline spot dull
varnish in
background
Matte black,
process black
& match silver
tritone
Inline
spot satin
varnish
on dress
stripes
MCCOY GLOSS 17
Running spots of
dull and satin
varnish inline
helped to make
this X-ray of a
striped dress look
more skeletal.
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18 MCCOY GLOSS
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Coatings Inline Soft-touch Aqueous
20 MCCOY SILKSEE PAGE 4 FOR LEGEND
T
arantula
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22 MCCOY GLOSS
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This spread shows
four different ways
to use UV coat-
ings to make this
alligator look more
realistic. Above, to
heighten contrast,
the eye has a UV
gloss coating, the
tongue a UV gloss
varnish and the
skin a UV dull
varnish.
Spot gloss UV
varnish on tongue
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An anilox roller
with unevenly
dimpled micro-
cells is used to
apply UV coating
for a textured
look.
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The chess pieces
are visually
lifted away from
the board with
an application
of soft-touch
aqueous coating,
which gives the
pieces a slight
tactile quality.
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32 MCCOY GLOSS
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MCCOY SILK 33
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36 MCCOY GLOSS
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MCCOY SILK 37
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No Varnish
& inline
cnventinal
ur-clr
prcess
Dull Varnish
& inline
cnventinal
ur-clr
prcess
No Coating
& inline
cnventinal
ur-clr
prcess
Dull Aqueous
Coating
& inline
cnventinal
ur-clr
prcess
Gloss Varnish
& inline
cnventinal
ur-clr
prcess
Gloss Aqueous
Coating
& inline
cnventinal
ur-clr
prcess
McCoy Matte
This guide is designed t give u a direct cmparisn hw
dierent varnish and catings lk n the three paper fnishes
McC. Each cmbinatin causes subtle r smetimes ver
prnunced shits in verall clrs and intensit shadws and
highlights. Fr instance, running a glss varnish ver McC Glss
results in a dierent eect than, sa, a dull varnish n McC Matte.
The right chice depends n the pririties ur particular jb
the stle and subject the imager, the kind md u are
tring t create, and the wa u want the paper t eel when
readers hld it in their hands. It is imprtant t tell printers ur
paper chice earl n, s the can take that int accunt when
beginning prepress wrk.
38 McCoy SILK
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No Varnish
& inline
conventional
four-color
process
Dull Varnish
& inline
conventional
four-color
process
No Coating
& inline
conventional
four-color
process
Dull Aqueous
Coating
& inline
conventional
four-color
process
Gloss Varnish
& inlineconventional
four-color
process
Gloss Aqueous
Coating
& inline
conventional
four-color
process
McCoy Silk
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No Varnish
& inline
conventional
four-color
process
Dull Varnish
& inline
conventional
four-color
process
No Coating
& inline
conventional
four-color
process
Dull Aqueous
Coating
& inline
conventional
four-color
process
Gloss Varnish
& inline
conventional
four-color
process
Gloss Aqueous
Coating
& inline
conventional
four-color
process
McCoy Gloss
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No Coating
& inline
UV four-color
process
Dull UV Coating
& inline
UV four-color
process
No Coating
& inline
UV black
Dull UV Coating
& inline
UV black
Gloss UV Coating
& inlineUV four-color
process
Gloss UV Coating
& inline
UV black
McCoy Matte
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No Coating
& inline
UV four-color
process
Dull UV Coating
& inline
UV four-color
process
No Coating
& inline
UV black
Dull UV Coating
& inline
UV black
Gloss UV Coating
& inline
UV four-color
process
Gloss UV Coating
& inline
UV black
McCoy Silk
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No Coating
& inline
UV four-color
process
Dull UV Coating
& inline
UV four-color
process
No Coating
& inline
UV black
Dull UV Coating
& inline
UV black
Gloss UV Coating
& inline
UV four-color
process
Gloss UV Coating
& inline
UV black
McCoy Gloss
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52 McCoy Silk
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MCCOY SILK 57
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10%
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Sappi Fine Paper
North America
225 Franklin Street
Boston, MA 02110
www.sappi.com
1.800.882.4332
PRO-5646