Behind the Scenes a Comparison Guide for Potlatch Papers

7/28/2019 Behind the Scenes a Comparison Guide for Potlatch Papers

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B E H I N D th S C E N E SA C O M P A R I S O N G U I D E F O R P O T L A T C H P A P E R S


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B E H I N D T H E S C E N E S

The A R T ofP A P E RA LOT GOES INTO PAPER BEFORE IT GOES ON PRESS. Perhaps tha t ' s a b i t obv ious ;s till , i t' s w o r t h r e m e m b e r i n g . A b l o c k b u s t e r p e r f o r m a n c e m a y s e e ma lm os t e ffo rt le ss w he n yo u ' r e in the au d i en ce , b u t tha t ' s on ly bec au se anam az i ng a r ray o f t a l en t is h a r d a t wo rk b eh in d th e scene s .I n t h i s i n t r i c a t e c h o r e o g r a p h y , b o t h t h e s t a r s a n d t h e s t a g e h a n d s h a v ei m p o r t a n t r o l es . W h e n it c o m e s t o p r i n t i n g p a p e r , t h e d e s i g n e r a n d t h ep r i n te r a re o u r s ta rs . Yet only w h en th e s tage is se t a n d th e p layers a rea ssembled can they t ru ly sh ine .T h a t ' s p a p e r ' s j o b . W i t h p a p e r , t h e k e y p l a y er s a r e sh a d e a n d b r i g h t n e s s ,su r face t ex t u re an d poros i ty . T he se a re a t t r ib u te s o f p ap e r exc e l l en ce .A n d they a r e se t o n a p la t fo rm of f iber , co a t i ng an d surface f in ishes , th ee l e m e n t s o f p a p e r m a k i n g . T h e i r c o m p o s i t i o n , t h e w ay t h e y a r e c o m b i n e dand app l i ed , de f ine pape r qua l i ty .At every s tage of papermaking , Pot la tch ba lances these components to c rea teu n i q u e c o a t e d a n d u n c o a t e d p r i n t i n g p a p e r s o f t h e v e r y h i g h e s t q u a l i t y .


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F I B E RF I B E R is T H E B A S I C B U I L D I N G B L O C K O F A L L T R E E S a n d , c o n s e q u e n t l y , p a p e r .S h ap ed l i k e d r i n k i n g s t raws , f i b e r s ' h o l l o w s t ru c t u re a l lo ws wa t e r an d e s s en t i a l n u t r i en t s to f low f rom the roo ts to the t ree ' s l ea fy c rown. The i r strength mtrnmammzs'ssszmc o m e s f r o m a c o m b i n a t i o n o f t h e i r c e ll u lo s e w a lls a n d a c o m p o u n dk n o w n a s l i g n i n , wh i ch ac t s l i k e g l u e t o h o l d t h e fi b e r s t o g e t h e r .W o o d f i b e r is p ro c es s e d i n t o p u l p an y n u m b e r o f ways. A t P o t l a t c h ,we 've rece n t ly inves ted a ha l f -b i l lion do l la rs in a mass ive m o de rn -

wood fibers are naturali z a t i o n p ro g ram o f o u r p u l p m i l l i n C l o q u e t , M i n n es o t a . A t t h e cylinders giued togetherby lignin.

ce n t e r o f t h e m i l l is o u r S u p e rb a t ch p u l p -c o o k i n g p ro ces s , a h ig h l ye f f ic i ent k ra f t p ro ce s s i n wh i ch s o li d w o o d i s co n v e r t ed t o p u l p t h ro u g h u n i fo r m l yc o n t r o l l e d c o o k i n g . T h e p r o c e s s r e n d e r s t h e m a x i m u m a m o u n t o f h i g h - s t r e n g t hf i b e r f ro m t h e wo o d .H er e , o u r s e l ec t h a rd w o o d an d s o ft wo o d a re r e d u ce d to u n i fo rm -s i zed ch i p s , wh i cha re co o k e d u n d e r p re s s u re t o s ep a ra t e t h e f ib e r f ro m t h e l i g n i n . (L i g n i n is t h e s tu fft h a t t u rn s p a p e r ye ll ow , j u s t as y o u r n ew s p a p e r w i t h t i m e d o es . ) O u r p u l p is t h e nw as h ed an d f i l t e r ed t o r em o v e t h e l i g n i n , b e f o re i t is b l ea ch ed t o t h e d azz l i n gwh i t en es s e s s en t i a l t o c r i s p , i n t en s e co l o r p r i n t i n g .B u t t h i s s t o ry t ak es p l ace b e fo re an i m p re s s i v e en v i ro n m en t a l b ack d ro p , i n wh i chi m p a c t s a r e c o n t r o l l e d , m i n i m i z e d a n d , i n m a n y c a se s , e l i m i n a t e d . S i m p l y p u t ,

FIBER: A CRITICAL REVIEWPremium papers are madefrom wood fiber, but allwood fiber isn't createdequal. And you cannotcreate the refined surfacesessential for fine printingwhen you start with thewrong fiber.

At Potlatch, we use aprecise blend of fibersfrom select northern hard-and softwood to m ake al lof our high-quality papersincluding Potlatch McCoyand Vintage.

During long, cold wintersand short , cool summers,these trees produceth e short, thin f ibers thatare ideal for making high-quality paper that's smoothand strong.

Microscopic view of uncoatedbase stock reveals flattenedfiber and open surface.


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G U I D Eto0pA


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S u p e r b a t c h is a " c l o s e d - lo o p " p r o c e s s , w h i c h m e a n s c h e m i c a l s a r e r e c o v e r e d a n dr e u se d . M e a n w h i l e , t h e l i g n i n a n d o t h e r w o o d so l i d s a r e b u r n e d t o r e c l a i m t h e i r e n e r g y .( A n o t h e r c o o l t h i n g is t h a t t h e S u p e r b a t c h p r o c e s s r e q u i r e s a b o u tt h e s a m e a m o u n t o f s t e a m as t h e o l d e r t e c h n o l o g y t o p r o d u c et w i c e t h e p u l p . )N o w , t h r o u g h y e t a n o t h e r innovationoxygen del ign i f ica t ionw o o d b y p r o d u c t s a n d c o l o r c a n b e f u r t h e r r e d u c e d b e f o r e b l e a c h -

Finished pulp is a pure,i n g . T h a t w ay , b l e a c h i n g c a n b e c o m p l e t e d i n le ss t i m e a n d w i t h bright white.f e w e r c h e m i c a l s t o m i n i m i z e e n v i r o n m e n t a l i m p a c t . (FY I: S ixy e a r s a g o , w e c o m p l e t e l y r e p l a c e d e l e m e n t a l c h l o r i n e w i th c h l o r i n e d i o x i d e i n o u rb l e a c h i n g p r o c e s s . T h e p u l p w e m a n u f a c t u r e is E C F, o r E l e m e n t a l C h l o r i n e F r e e .E v e n t h e m o s t s o p h i s t i c a t e d m o n i t o r i n g e q u i p m e n t c a n n o t d e t e c t d i o x i n i n o u rb l e a c h e d p u l p o r w a s t e w a t e r . )W h a t re su l t s is p u l p t h a t ' s s t r o n g , w h i t e a n d e x t r e m e l y b r i g h t . A t t h i s s t a g e , t h e p u l plooks a lo t l i ke co t t age cheese a wet , lumpy whi t e mass . But i f you look c lose ly , you ' l lno t i ce tha t , a l though the f ibe rs a re no longer r ig id , s t rawl ike tubes , they ' re s t i l l ho l low.A ll t h e b e t t e r f or m a k i n g w h i t e , o p a q u e p a p e r .W h y ? Be c a u se t h e se p e r f e c t l y h o l l o w f i b e r s r e f le c t l i g h t f r o m e v e r y su r f a c e , o ff t h eo u t s i d e su r f a c e s a n d i n s i d e t h e fi b e r w a l ls . P a p e r t h a t re f l e c t s l i g h t of fe r s g r e a t e ro p a c i t y a n d c l e a n e r , b r i g h t e r i m a g e s .

SHOW, RATHER THAN SHOW-THROUGHOpacity, like the red velvetcurtain drawn across thestage, keeps what's behinda surprise. Opacity measures the amount of l ightpassage through a sheetof paper. Good opacityprevents images printedon the other side of thepage from showing through.Higher opacity alsoimproves readability and

reduces eye strain.At Potlatch, consistent,uniform opacity is essential

to our fine printing papers.That's why we add carefullybalanced and, frankly, expensive pigments to our pulpbefore it enters the papermachine. Why? To increasethe number of reflectivesurfaces and fill in the voidsbetween fibers in the base

stock, which ultimatelydefines the color, strengthand smoothness of paper.That way, you control theshow with bright, smoothpaper that's incrediblyopaque. Ideally, you wanta sheet with high opacityand little show-through, toimprove readability, reduceeye strain and enhance thepower of your printed work.

Place the opacity guide undera sheet of printed papersitting on your desk. If yousee words coming through,your sheet has low opacitywhat's also known as highshow-through.


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B E H I N D T H E S C E N E SC O A T I N G SU N C O A T E D B A S E S T O C K H A S A N O P E N S U R F A C E f illed wi th t iny ho l es and th in ch an ne lsrea dy- m ade fo r soak ing up l iqu ids . Th a t ' s g re a t in a p ap er towel , bu t no t in a f ine pap er .E n t e r o u r h e r o , s tag e l ef t: A co a t i n g o f g rea t r e f i n em en t . C o a t i n g is l ik e a s o p h i s t i c a t edpr imer app l ied to the bare wal l s o f a s tage se t . I t makes poss ib le a l lt h e s p e c t a c u l a r s c e n e r y t o c o m e .It is co at i ng 's j o b to fi ll in th e low spo ts be tw ee n f ibers, cov er th eh i g h s p o t s a n d c r e a t e a s m o o t h , u n i f o r m s u r f a c e . S m o o t h a n dleve l fo r even l igh t re f lec t ion a nd un i f o r m in k films . T ig h t e n o u g ht o h o l d i n k o u t o n t h e s u r f a c e . A n d p o r o u s e n o u g h t o a b s o r bfoun ta in so lu t ion and ink so lven t , a l lowing ink to se t .T h e p o w er o f p a p e r r e st s o n i ts s u r f ace . W i t h o u t co a t i n g , h a l f t o n edo t s an d so l id l ines t ake on th e fuzzy , ra n d o m p a t te rn o f th e f iber .C o l o r t en d s t o we ak en an d d e ta i l s s o f ten . Th a t ' s b ec au s e u n co a t edp a p e r is p o ro u s an d ab s o rb s i n k i n t o t h e b a s e , s ca t t e r i n g l i g h t .P a p e r co a t i n g s a r e p rec i s e l y fo r m u l a t ed m i x t u r e s of c a l c i u mca rb o n a t e a n d c lay s u s p e n d e d i n a b i n d e r . Th e ex ac t m i x t u red ep e nd s on the way th e p ap e r is to be f in ished a n d the f inal brightness ach ieved . P igments a re mixed in a l iqu id b inder , wh ich b inds

Uncoated paper a sliceof the edge of a sheet.The top and bottomsurfaces are rough withopen spaces that will nothold out ink.

Coated paper again, aslice of the edge of asheet. The top and bottomsurfaces are muchsmoother with the coatingto hold ink dots on thesurface (see dots onnext page).

P A P E R S U R F A C E ' S A M A Z I N G T E C H N I C O L O R W A V E L E N G T H , O R H O W C O L O R W O R K SColor is a vital part of any performance, lending its vibrancy,contrast and richness tostage sets and costumes.And it's almost impossible toimagine a production withoutth e creative illumina tion ofth e lighting director.Here's how it works on thepage. Pure w hite lightsunlight, for exampleis composed of a full spectrum of

colored light. Neutral whitepaper reflects that total colorspectrum, whose individualcolors are determined by theirparticular wavelengths.Indeed, what m akes paperwhite is its reflection of red,green and blue light in equalamounts. That wh ite surfaceis then printed with processinks, which are transparentand come in cyan, magenta,yellow and black. These inks

act as filters on the papersurface, altering the light byabsorbing some wavelengthsand allowing others to passthrough to your eye. In colorscience, cyan absorbs orsubtracts red, magentaabsorbs or subtracts green,and yellow absorbs orsubtracts blue. So the hueyou see is more than itappears to be.

Subtractive color combinationsusing printing inks.


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t h e coa t in g pa r t i c l e s to th e base s tock in ju s t the r igh t pos i t ion to re f l ec t l i gh t an dprov ide opac ity . W ha t ' s m or e , our coa t in g b in de rs a re f l ex ib le en ou g h to a l low th ep a p e r t o b e n d , f o ld , s c o r e a n d c r e a se w i t h o u t c r a c k i n g .E a c h P o t l a t c h c o a t i n g is a n e x c lu s i v e b l e n d u n i q u e t o e a c h g r a d e a n d s u r f a c e .T h e p r o d u c t o f e x a c t i n g r e se a r c h a n d c o n s t a n t , e v o l u t i o n a r yi m p r o v e m e n t , o u r c o a t i n g s a d h e r e t i g h t l y t o o u r b a se s t o c k s w h i l es t r i k i n g j u s t t h e r i g h t b a l a n c e b e t w e e n p o r o s i t y a n d i n k h o l d - o u t .

Halftone dots spread intouncoated paper, softeningcolor while losing detail........

A S T A N D I N G O V A T I O N F O R I N K H O L D - O U T Ink can on ly de l ive rcolor a t ful l intensi ty when i t s i t s up on the paper surface , which iskn ow n as ink ho ld- ou t . H ow well ink stays on t he sur face is la rgelya fun c t ion of pa p e r poros i ty , o r pe rm eab i l i ty to ink , an d coa t ing .T h e p u r p o s e o f c o a t i n g is t o p r o v i d e t h e p e r f e c t su r f a c e f o rp r i n t i n g . T h a t su r f a c e m u s t b e t i g h t enoughfree f r o m h o l e s a n dc h a n n e l s i n t o t h e b a s e stoc k t o h o l d i n k p i g m e n t o u t o nthe sur face fo r in t ense co lor , c r i sp de ta i l and prec i se l ines andh a l f t o n e d o t s . A t t h e s a m e t i m e , i t m u s t b e p o r o u s e n o u g h t o a l lo wthe ink so lven t to pene t ra t e the sur face to se t the ink .

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Refined coatings hold inkout for intense color andcrisp details.

Neutral shade Cool shade Warm shade

SPOTLIGHT ON SHADE AND BRIGHTNESSWhat's the difference? Shadeis the uniformity of reflectedlight across the full spect r u m in essence, the colorof white. Brightness is theamount of light reflectedat one specific wavelength:457 nanometers.The terms are often usedinterchangeably, incorrectly.Shade determines howaccurately a color image isreproduced while brightness,

like the wattage of a lightbulb, enhances impact andcreates contrast. Thus, asheet with high brightnesswill make artwork andphotography pop. A sheetwith low brightness willdrain art of its intensity.Shade, we find, is not quiteso cut and dry. Shadepreferences can be quitepersonal. That's why Potlatclpapers come in a spectrum

Today, sheets that are bluewhite like Potlatch McCoywhich is an ultra bright bluewhite are more popularthan ever. McCoy's dazzlingblue white shade favorscrisp, cooler tones and, at96 brightness, it is nothingshort of brilliant.Yet neutral white sheets alscyield remarkably true colorreproduction. Reflecting all

the colors of light thatreach it, Vintage Velvetis an excellent examplea neutral white classic.All Potlatch papers are verybright. Whether warm, neutralor blue white, they reflectan extremely high percentageof the light that strikesthem to yield strong, richcolors and crisp details.


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S U R F A C E SA T T H I S ST A G E , O U R H I G H - Q U A L I T Y P U L P h a s m a d e i t t h r o u g h t h e p a p e r m a k i n g a n dco a t i n g p ro ces s e s . No w, t h i s s m o o t h , b r i g h t wh i t e s u r f ace i s r e ad y t o p o l i s h i ts a c t m u c hl i k e ac t o r s h o n i n g t h e i r c r a f t b e fo re o p en i n g n i g h t .F o r o u r m a t t e co a t ed p ap e r s , f in is hin g m ea n s t h e ap p l i ca t i o n o f a r e f i n e d , h i g h - s o l id sco a t in g . E nd o f s to ry . Bu t fo r m os t Po t la tc h pap er s , f in ishing fo llows th e ap p l ic a t i on o ft h e co a t i n g i n a f i n a l , s ep a ra t e s t ep ca l l ed s u p e rca l en d e r i n g .A s u p e rca l en d e r i s a s t a ck o f cylinderssome h igh ly po l i shed s tee l , o thers so f te r . Sof tro l l covers may con ta in co t ton , woo l o r syn the t ic f ibers . The two types a re se t in oppos i t ion to each o ther , wi th a s tee l cy l inder ro ta t ing aga ins t a so f te r cy l inder . The coa tedb u t un f i n i s he d p ap er is fed be tw ee n the se ts o f cy l inde rs an d g iven a f inal po l i sh .T h e l a t e s t a d d i t i o n t o t h e M c C o y f am i ly , h o w e v e r , is n e i t h e r c o a t e d n o r c a l e n d e r e d .T h e s m o o t h su r f ac e a n d s u p e r i o r f o r m a t i o n o f o u r n e w p r e m i u m u n c o a t e d t e x t a n dco v e r s h ee t owe i n s t ead t o a s p ec i a l p u l p an d f ille r fo rm u l a t i o n d e s i g n ed fo r o p t i m a lr e l i a b i l i t y a n d c o n s i s t e n c y t h r o u g h o u t t h e p r i n t i n g p r o c e s s .Po t la tch Premium papers a re ava i lab le in f ive d i s t inc t f in i shes : uncoa ted , mat te , ve lve t ,s il k an d g lo s s. T h e ch o i ce is u p t o y o u . F o r s p eci f ic r e co m m en d a t i o n s , p l ea s e r e f e r t ot h e c h a r t o n t h e n e x t p a g e .

I N N E R B E A U T Y V S . M E R E L Y S K I N - D E E PIn the paper biz, just like inshow biz, it 's im portant todistinguish smoothnessfrom surface gloss . Glossis an optical attribute thatmakes the surface appearshiny; smoothness is aphysical attribute that refersto the evenness of thepaper surface.

Smoothness is critical toquality print production asit determ ines how evenlyink sits up on the surface.Paper with a rougher, moreuneven surface keeps inkfrom laying flat. As a resu lt,th e printed image mayappear mottled or soaky,losing its detail.

Potlatch soft-finished papersare remarkably smooth andeven, but are not lustrous;they provide excellentink hold-out without gloss .Potlatch gloss paperscombine a smooth surfacewith a high gloss for uniformink coverage and light reflect ion. The result is brightercolor and sh arp, clear detail.

WCoated

Uncoated


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G L O S S A shiny gloss surface created by supercalenderingcoating pigments so they reflect light off the surfacein the same direction. The result is high reflectance forsubjects that require strong ink gloss retention, suchas the gleam of paint on a car, the sparkle of glasswareand the shine of chrome.

S I L K A soft-finished surface with m oderate paper gloss. Coatingpigments are oriented so that light scatter is controlled.Silk is best for printing subjects that have a tactile senseand require high resolution without high gloss, such aspeople and fine art. Silk also allows for smooth, flat, solidink lay and excellent readability.

V E L V E T A velvet surface tha t offers low to m oderate paper gloss.Coating pigments and binders are combined to create asurface that scatters light. The velvet surface is best forprinting images that need high resolution without high gloss,such as textiles, earth tones and il lustrations. Velvet alsoprovides high readability and a tactile feel .

M A T T E A smooth, level surface that is not supercalendered,so it scatters light and retains a soft, "toothy" feel .To create our matte-finished papers, clays, pigments andbinders are combined with the base stock to offer thelook and feel of uncoated with the print reproductionquality of a coated sheet.

U N C O A T E D An uncoated surface in a smooth premium text and coversheet finish that softens the image and enhances the tactilequality of the surface, adding dimension to fabrics, wood andother touchable materials. The paper is made with the idealcombination of fibers and fil lers to achieve good formationand surface, resulting in good print quality.

SURFACE OR SUBSTANCE: A TRADE-OFF

Paper is calendered for allfinishesexcept matte anduncoated. The calenderingprocess, however, carries aprice. Just as a launderedshirt flattens when pressed,so too does calendered

paper, causing it to losecaliper, or thickness. Asa result, paper that'scalendered is not as stiffor as opaque. Potlatchcompensates for theseeffects in our base andcoating formulations.

All premium Potlatchpapers meet our opacitytargets, no mattertheir f inish.

A supercalender is a stackof cylinderssome highlypolished steel, others softer.The two types are set inopposition to each other,with a steel cylinder rotatingagainst a softer cylinder.


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C O A T E D vs U N C O A T E DT H E C H O I C E IS Y O U R SUnder the glare of the spotlight,which paper will perform best?High-quality coated sheetswin raves for superior inkhold-out, minimal dot gain,and outstanding ink gloss,while premium uncoated papersearn accolades for warmth,richness and nuance of expression. One way to ensure topperformance all the time: Stickwith a quality company, whereyou can expect the best fromevery member of the troupe.


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B E Y O N DP A P E Rs o N O W Y O U ' V E G O T A B E A U T I F U L , br i gh t wh i t e she e t t ha t is i dea l ly su i t ed t o yo urp r o j e c t a t h a n d . N o w w h a t ?T h e s h e e r n u m b e r o f t h i n g s y o u c a n d o w i t h y o u r p r i n t e d w o r k b o g g l e s t h e m i n d .A f te r a ll , p r i n t i n g i s f o r c o m m u n i c a t i n g , w h i c h m e a n s y o u n e e d t o g e t y o u r w o r k i n t oo t h e r p e o p l e ' s h a n d s .W a n t t o c r e a t e a b r o c h u r e o r m a g a z i n e ? B i n d a b o o k ? S e n d a p i e c e o f d i r e c t m a il ? T h e nyou ' l l wa n t to kno w how to t r ans fo rm tha t f i ne f la t she e t i n to a t h re e-d im en s ion a l t oo l .On the pages t ha t fo l l ow, you ' l l find a t r ea su r e t rove o f i l l u s t r a t i ons a nd t i p s t o s parki d e a s a n d g u i d e y o u r d e c i s i o n s . B e c a u s e , a t P o t l a t c h , w e w a n t t o h e l p y o u m a k e s u r eeach p ro j ec t comes ou t r i gh t , on p ress , pos t -p ress and wel l beyond .

G O I N G W I T H T H E G R A I NEver notice how, when youtear an article out of thenewspaper, one direction ripsstraight and smoothly and theother way tears more jagged?That's because paper has anatural grain direction.During papermaking, fibersalign in the direction in whichthe Fourdrinier wire moves,which establishes the papergrain. The grain remainsno matter what finish getsapplied.Understanding grain directionis especially useful when

designing for folding andbinding, and it can work toyour advantage. Pages withthe grain parallel to thebinding lie flat, turn easilyand are less likely todevelop w aves.Paper grain and how itrelates to stiffness arealso important factors toconsider. To avoid sagging,the grain direction shouldbe perpendicular to thesupporting edge of displaycards, fi le folders andindex cards.

Tear and fold test

Paper tears straighter with grain

Paper folds more easily with grain


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S T A N D A R DF O R M ST O D A Y ' S M O D E R N P R E S S E S , w h e t h e r s h e e t f e d o r w e b , h a n d l e t h o u s a n d s o f p r e s ss h e e t s a n h o u r , a r a t e so f as t i t w o u l d b o g g l e t h e m i n d o f J o h a n n e s G u t e n b e r g , w h oi n v e n t e d m o v a b l e t y p e . A s su c h , t o d a y ' s p a p e r m u s t p e r f o r m . I n a ll s t e p s o f t h e p r i n t i n g p r o c e s s , i t m u s t a c t sm o o t h l y , c o n s i s t e n t l y a n d i n a m a n n e r t h a t ' s m o s t e f f i c i e n t t om e e t t h e r i g o r s a n d e c o n o m i c s o f a t e c h n o l o g i c a l l y a d v a n c e d p r i n t i n g p l a n t .M u c h o f t h i s e f fi ci en c y c o m e s f r o m p a p e r t h a t is sp e c ia l ly d e s i g n e d t o r u n b e a u t i f u l lyo n p r e s s , t i m e a ft er t i m e . A n o t h e r i m p o r t a n t i n g r e d i e n t is t h e p r e s s p r o f e s s i o n a l o rp l a n n e r , w h o e v a lu a t e s e a c h i t e m t o b e p r i n t e d a n d t r a n s f o r m s i t i n t o a f o r m a t t h a tm a k e s t h e b e s t u s e o f p r e s s r o o m o p e r a t i o n s .T h a t ' s w h y a t y p i c a l p r o j e c t , p r e se n t e d t o a p l a n n e r i n a d e s i g n e r ' s o r r e a d e r ' s l a y o u tr e s e m b l i n g t h e f in al p r i n t e d p r o d u c t , w il l so o n b e c o m e a c o l l e c t i o n o f f o r m s o r s i g n a t u r e s in t h e p r i n t i n g p l a n t . T h e s e t e r m s r e f e r t o t h e w a y p a g e s a r e p r i n t e d n o ti n d i v i d u a l l y b u t o n a s i n g l e , m u l t i - p a g e sp r e a d a n d , o n c e p r i n t e d , a r e f o l d e d t o g e t h e r .

How these pages a re se t up on the p ress i s ca l l ed an " i m p o s i t i o n . " A n i m p o s i t i o n i s t h ea r r a n g e m e n t of p a g e s o n a p r e s s f o r m t o e n s u r e t h e c o r r e c t o r d e r a ft e r t h e p r i n t e ds h e e t is f o l d e d a n d t r i m m e d . T h e i m p o s i t i o n l a y o u t v e ri fi es t h e p a g e s e q u e n c e ,m a r g i n s , tr i m s , f o l d m a r k s a n d c u t t i n g a n d sc o r e li n e s . I t a l so t a k e s i n t o a c c o u n t h o wt h e f in al p r i n t e d p i e c e is t o b e b o u n d .

PRESS PRIMERThe layout selecteddepends on the job'srequirements and thetype of press on whichit will be run. Let's examinesome of the press termsprinters use.

Sheetwise: A printing procedure in which a single sheetis printed front and back.Run through th e press onone side, the sheet is thenflipped and printed with adifferent image . The gripper,which is a set of metalfingers that holds the paperonto the impressioncylinder of the press, andguides remain the samein both passes.

Work and turn: More w idelyused than work and tum ble,this printing procedureprints one side of a sheetof paper, then tu rns it overfrom left to right and printsth e flip side using thesame gripper and plate butopposite side guide. Thisprocess saves plates andmake ready.

Work and tumble: Thisprinting procedure printsone side of a sheet ofpaper, then tu rns it overfrom gripper to back usingthe same side guideand plate to print thesecond side. This processalso saves plates andmake ready.


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Four-Page Cover9 " x 12", one up, two out work and turn

Four-Page Oblong3 V 2 " x 11", three out sheetwise

I GRAIN)

Six-Page Folderl 1 / ^ " x 11", upright, one up, work and tumble, two out

Eight-Page Booklet31/2" x 11", one up work and turn, two out

Twelve-Page BookletS 1 ^ " x 11", one up sheetwise

Twelve-Page Square Booklet7" x 7", one up work and turn, two out per sheet

C GRAIN)

Sixteen-Page Booklet6" x 9", work and turn, two out

Sixteen-Page BookletS 1 / ^ " x 11", one out sheetwise

Saddle-stitched projectsshould be designed with pagequantities divisible by four,because each sheet, oncebound, makes four pages.

For work that is to be perfectbound, the number toremember is two, comprisingthe back and front of thesheet. Above are sampleforms representing some

standard impositions. Counton your printer to determinethe form tha t's most appropriate for your project.


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B E H I N D T H E S C E N E SS C O R I N GN O , WE' RE NOT TALK I NG AN DR EW LLO YD WE BB ER HER E. S c o r i n g is w h a t you dow h e n , w i t h o u t a p a i r of sc i ssors handy , you fold a p i e c e of p a p e r b a c k and f o r t h , m a y b ee v e n r u n n i n g a f i n g e r t i p a c r o s s the f o l d e d e d g e .I n o t h e r w o r d s , to s c o r e is to c r e a se a s h e e t to fac i l i t a t e fo ld ing . It's espec ia l ly use fu lfor heav ie r t ex t -we igh t and all c o v e r p a p e r s . The t h i c k e r the p a p e r , the t h i c k e r thes c o r i n g r u l e m u s t be to c r e a t e a c l e a n f o ld t h a t al so w i t h s t a n d s c r a c k i n g .T h e r e are seve ra l types of s c o r e s, a m o n g t h e m S t a n d a r d R u l e or M a t r i x m e t h o d ,S t r ing ( s imi la r to W i r e ) m e t h o d and Cut S c o r i n g m e t h o d . T h o u g h t h e y d i f f e r in t h e i ri n d i v i d u a l m e c h a n i c s , e a c h m e t h o d d e l i v e r s a f i r m , c l e a n h i n g e .H e r e ' s how s c o r i n g w o r k s : A s t ee l ru le or s t r i n g is u s e d to c r e a t e an i m p r e s s i o n in thep a p e r . The s c o r e p r e s s e s the p a p e r i n t o a f o r m e r and, t h u s , a b e a d is c r e a t e d ont h e b a c k . (In the case of a cut s c o r e , the score s l ices l ight ly into the p a p e r b a se s t o c k . )T h i s i m p r e s s i o n and b e a d act as a h i n g e for the p a p e r to b e n d a r o u n d .I n g e n e r a l , the sc o r e t h a t w o r k s b e s t and p l a c e s the l e a s t a m o u n t of s t r a i n on the p a p e rc r e a s e is one in w h i c h the b e a d a rc s u p w a r d , r u n n i n g w i th the g r a i n . In o t h e r w o r d s ,a s c o r e d sh e e t w h e n l a i d f l a t and f a c e d o w n s h o u l d c o n t a i n a b u m p , not a dip.(See the i l l us t ra t ions be low. )A c l o se r e l a t i o n to sc o r e s are p e r f o r a t i o n s . F r e q u e n t l y s e e n on r e p l y c a r d s , r e c i p e s ora n y t h i n g t h a t is to be r i p p e d a p a r t , p e r f o r a t i o n s are the r e g u l a r c u t s i n t o p a p e r t h a tf o r m a p r e d e t e r m i n e d s e a m for e a sy te a r i n g . T h e y are m e a s u r e d by the n u m b e r of cu t sp e r i n c h . A p e r f e c t e x a m p l e is the O p a c i t y C h a r t , in the sec t ion t i t l ed F ibe r .

T O S C O R E OR NOT TO S C O R EIn general, youwil l want tochannel score if your stockis 100-lb. t ex t or heavier,or if the j ob 's he igh t /w id thratio is grea ter than 3 :1 .If your stock is 80-lb. t ex tand folds against the grain,ask your printer or binderfo r advice.

The score that works bestand places the leastamount of strain on thepaper crease is one inwhich the ridge bendsinward, running with thegrain. Simply put, a scoredsheet when laid flat shouldcontain a bump, not a dip.

Right(face down)

Wrong(face down)

\J uingesHinges

MinimumStretchv UMaximumStretch


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Standard or Matrix Scoring Rule MethodStandard rounded-edgecreasing rule

Sheet to be creased(face up)

Matrix

Fold stock so that "hinge" is formed with the depression outside

String or Wire Scoring Method"High" slug or 3 leads

Round face rule

Stock to be creased(face down)

Round face ruleString or wire

Tympan

Cut Scoring Method

Heavy board(face up)

Press platen

Sharp cutting rule(cut partway throughheavy board)

Inside fiber exposed

When it comes to scoring,a diagram says a thousandwords. As always, dependon a scoring professionalto select the method thatbest suits your projectrequirements.

Standard Rule or MatrixMethod: Used for a widerange of materials, from textto cover stocks, to makewhat's considered to be ahighly accurate score. Therule typically creates a 2 pointbead. "Matrix" describes aplastic channel, available inmany widths, into which therule is pressed. Its width isdetermined by the stockweight, with heavier papersuggesting a thicker channel.

String or Wire Method:Often recommended forlighter weight text sheetsup to 100 lb. text. Allowsscoring to occur on bothsides of the sheet in asingle pass, handy forreverse folds in projectswith multiple panels.

Cut Scoring Method:Suggested for heavy stockand boards. Slicing into thestock in effect weakens itsmemory, which allows forbending. One advantage isthe cut-scored sheet willremain flat when unfolded.A disadvantage? Becausethe score cuts into the basestock, a white stripe oftenresults, which can detractfrom the project's aesthetics.


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S T A N D A R DF O L D I N GF O L D I N G is A S S I M P L E as making a s ing le pa ra l l e l c rease ac ross a shee t o f pape r , l i ket h a t w h i c h f o r m s t h e s p i n e of a c o m m o n g r e e t i n g c a r d . C o m p l e x i t y c o m e s in w i th t h en u m b e r o f f o l d s y o u d e s i r e . F o r i n s t a n c e , o n e sh e e t w i t h t w o facesfront a n d backc a n d e v e l o p a n y w h e r e f r o m f o u r t o 1 6 f ac e s, o r p a g e s , a ll d e p e n d i n g o n t h e n u m b e ro f s t a n d a r d f o l d s y o u m a k e .Thankfu l ly , fo ld ing m ac hi ne ry ma kes th e jo b easy. H ere ' s how i t works : Us ing a buck letype fo ld ing m ac hi ne , the she e t is ca r r i e d by conv eyor be l t f rom an au to m at i c feede r ,a n d r o l l e r s f o r c e t h e sh e e t i n t o a n a d j u s t a b l e f o l d p l a t e . T h e r e , t h e sh e e t h i t s a s t o p ,b u c k l e s , a n d is t h e n c a r r i e d b e t w e e n t w o o t h e r r o l l e r s , w h i c h finish t h e f o l d i n g j o b .D e p e n d i n g o n t h e t h i c k n e s s o f y o u r p a p e r s t oc k , y o u m a y n e e d t o s c o r e t h e j o b b e f o r ei t is f o l d e d . C r a c k i n g is o f t e n a c h a l l e n g e f o r p a p e r s t h a t a r e f o l d e d . U s i n g b i n d e r s t h a ta r e f l e x ib l e a n d s t r o n g , P o t l a t c h c o a t i n g s a r e f o r m u l a t e d t o w i t h s t a n d c r a c k i n g . I ng e n e r a l , f o l d s a l o n g t h e p a p e r g r a i n r e d u c e c r a c k i n g .S o m e t i m e s a j o b w ill c a ll f o r m o r e i n t r i c a t e f o l d i n g , w h i c h m a y b e d o n e b y h a n d . T h e setypes o f fo lds , whi l e enhanc ing a p ro jec t ' s appea l , can grea t ly add to i t s ove ra l l cos t .M a k e su r e y o u f a c t o r t h e m i n .

INTO THE FOLDFolds come in two types:parallel and right angle. Thefolds you make before youput a standard-size sheetof paper into a businessenvelope are good examples of parallel folding ;two creases in the samedirection, ideally along thepaper grain .

A right angle fold is two ormore folds, with each foldat right angles from the onebefore it.To make clean fo lds, manyjobs require small variationsin panel size. While theymay look similar, individual

panels are sized at s lightdifferences to accommodate for paper thickne ss.It 's also wo rth rememberingthat th e more folds youhave, the lighter the weightof paper required. That'sbecause heavier stock maybuild up too much thickness

to roll into itself a numberof tim es , ov may requirewider scoring.To really understand folding,simply pull out a piece ofpaper and try making theseyourself.


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4-page 6-page 6-page 6-pagewith f lap

6-pageAccordion 8-pageBarrel roll or Roll fold 8-pageParallel fold

8-pageGate fold 8-pageMap 8-pageReverse map

12-pageLetter fold

12-page3 Parallel folds 12-pageBroadside 16-pageBooklet

Don't be offended if yourpaper merchant asks youif you'd like to see a paperdummy. You haven't justbeen insulted.

Instead, you're beingoffered a preliminary layoutmade from blank sheetsof paper, folded and bound,with the correct numberof pages and folds, inthe weight, texture andcolor you desire, to giveyou an accurate feel of thefinal piece.

Is it too stiff? Flimsy? Dothe folds work the way youwant? You'll want to payspecial attention to whatthe dummy shows you,as it may suggest amodif ication to your designor paper choice.

8-pageAccordion

8-pageBroadside

8-page 8-page 10-pageShort fold Die-cut Accordion

16-pageBroadside


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B E H I N D T H E S C E N E SB I N D I N GB I N D I N G is T H E U L T I M A T E S T E P , t he f ina l hurd le . Once aga in , you ' re faced wi th a l lk inds o f o p t i o n s t h o u g h , t ru th is , t hey m us t be we igh ed m u ch ea r l i e r in the des ig nproc ess , we l l be fo re you r p ro jec t goes to b in d in g . Your des ig n l ayout , p r in t in gm e t h o d s , f o l d i n g a n d trimmingand, not least of a l l , your budge tdepend on i t!T h e m o s t p o p u l a r b i n d i n g m e t h o d s i n c l u d e s a d d l e s ti t ch , s i d e w i r e s t it c h , W i r e - Oo r sp i r a l w i r e , p e r f e c t a n d c a se . I t ' s i m p o r t a n t t o c o n s i d e r y o u r c h o i c e s w e l l , b e c a u set h e b i n d i n g y o u c h o o s e w il l i m p a c t y o u r p r o j e c t ' s p e r f o r m a n c e a s w e ll a s i ts o v e r a l la p p e a r a n c e . T h i s b o o k w a s W i r e - O b o u n d f o r e a s e o f s t u d y a n d p r e s e n t a t i o n .Don ft forget! W he n d es ign ing a bo ok th a t is to be s ide -s t it ched , w i re o r pe r fec t bo un d ,check wi th your p r in te r so tha t you l eave ample space in the gu t t e r to a l low for theex t r a space req u i re d by wi re , ho le pu nc he s o r g r ind in g . O th e rwise , you ' l l l ose va luab lei n f o r m a t i o n o n t h e i n s i d e m a r g i n !

THE ADVANTAGES OF EACH BINDING METHODSaddle W ire Stitch: For anexample of saddle-stitching,pick up just about any magazine or catalog. With thismethod, pages are spreadopen at the center, then hungon a saddle to be stitched,or stapled, through the foldline at the spine. Ideal for projects with no more than about60 pages, depending on thesheet weight, this is the simplest and most

economical way to bind.Advantages: Allows the bookto lie flat for reading ease;can be bound with eithera self-cover or a separatecover; economical.Disadvantages: Page countmust be divisible by four,restricting number of pages;least flexible of all bindingoptions.

Side-Wire S titch: A usefulalternative for materials thatare too thick to saddle-stitch,this method passes wire fromthe front page to the backabout a 1/4" fromthe interior seam.Advantages: Useful whenused to reinforce perfectbound projects; accom modates multiple sheet weightsand sizes; offers single-sheetinsertion for flexible page

count; can enhance aesthetics for specialty pieces.Disadvantages: Preventspages from opening flat.Wire-O and Spiral: A methodin which pages and coverare held together by ametal coi l . Though moreexpensive than wire stitching, mechanical bindingsallow their contents to openwide and lie perfectly flat.


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Saddle Wire St i tch Side Wire St i tch

Spiral Wire

Case Bound Sewn

Advantages: Lays flat; pagescan be removed withoutdetect ion ; adaptable to different paper types; offerssingle-sheet insertion forflexible page count; bindingscome in a wide varietyof colors.Disadvantages: Expense;can detract from projectaesthetics.

Perfect: Most annual reportsand bigger ca talogs employthis attractive method, inwhich pages are assembledin groups, or signatures, andbound together with flexibleadhesive, then covered.Advantages: Accommodatesgreater number of pages andhigher page weights thansaddle-stitch; accommodatesmultiple sheet weights and

sizes; allows intermix ofstocks, provides clean,finished edge.Disadvantages: After pagesare collected into signatures,binding edge is groundoff to improve adhesion.Does not lay flat; crossoverimages and type may belost in the gutter.

Case or Edition: The conventional method used in mosthardcover books. Sheets arefolded into 16- or 32-pagesignatures, pasted with endleaves and sewn together.This process culminates ina hard cover, which ensuresdurability for years to come.Advantages: Provides perfectcrossover of images page topage; archival quality.Disadvantages: Most expensive binding method.


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B E H I N D T H E S C E N E SG L O S S A R YBalance: T h e a d j u s t m e n t o f p a p e rv ar i ab l es , a t t r i b u t es an d m ate r i a l ssuch as th ickness , weight , g loss ,p ig m en t s an d b in d er s t o ach i ev eth e b es t p o ss ib l e f i n i sh ed p ro d u c t .Base Stock: U n c o a t e d p a p e r ,created in the f i rs t s tep of the paper-m ak in g p ro cess o n wh ich co a t i n g i sa p p l i e d .Binder: T h e l i q u i d c o m p o n e n t o fcoat ing that serves to b ind thep ig m en t p a r t i c l es t o g e th er an d b in dthe coat ing to the base s tock .Blade Coater: An an g led b l ad e i nt h e p a p e r o r c o a t i n g m a c h i n e t h a tco n t ro l s t h e t h i ck n ess o f t h e ap p l i edco a t in g an d sm o o th s t h e su r f ace .Brightness: Th e am o u n t o f l i g h tref lected by a pa pe r samp le at aspeci f ied wavelength . (457 nm.)Calcium Carbonate: W h i t e p i g m e n tu sed as a f il le r an d co a t i n g p ig m en tin p ap erm ak in g . A n u m b er o f ty p esa re av a i l ab l e d ep en d in g o n p ar t i c l es i ze an d sh ap e .Cellulose: Mater i a l t h a t fo rm s th ecell walls of trees from which fiberis taken .Clays: Natu ra l , f i n e -g ra in ed , p l a t e l i k e wh i t e p ig m en t u sed as a co a t i n gp i g m e n t . A n u m b e r o f gr a d e s a r eav a i l ab l e d ep en d in g o n p ar t i c l e s i zeand shape, as wel l as br igh tness .Coating: A c o m b i n a t i o n o f b i n d e r san d p ig m en t s ap p l i ed t o p ap erwh ich d ef in es t h e co lo r an d c rea t esth e p r in t i n g su r f ace . Each co a t i n gis form ulat ed to matc h the f in ish .ECF Elemental Chlorine Free:C h l o r i n e c o m p o u n d s r e p l a c ee l em en ta l ch lo r in e i n t h e b l each in gp ro cess . Th e r esu l t is t h e sam eb r ig h t wh i t e p u lp , wi th n od e t ec t ab l e ch lo r in e l ev e l s .Fiber: The cy l indr ical cel l s o f t reesu sed as t h e p r im ary i n g red i en t i nm a k i n g p a p e r .Filler: Mater i a l ad d ed t o p u lp t o fillt h e v o id s b e tween f i b e r s .Finish: Th e f i n a l p ap er su r f acech arac t e r i s t i c s , m ain ly im p ar t edmechanical ly . Pot latch offers fourd is t inct paper f in ishes: Mat te , S i lk ,Velvet , and Gloss .Fourdrinier Table: The first stage ofa p a p e r m a k i n g m a c h i n e c o n s is t in go f a r ap id ly m o v in g , p o ro u s b e l twh o se p u rp o se i s t o g iv e t h e p ap eri t s in i t ia l fo rm at ion an d to remov ea h ig h p ercen t ag e o f t h e wa te r f ro mt h e p u l p .

Freesheet: Pap er f ro m wh o le wo o dfiber whic h has be en f reed of lign in .Gloss: An o p t i ca l a t t r i b u t e wh ichcau ses a sh in y ap p earan ce .Gloss Finish: Extra-smooth f in ishap p l i ed t o p ap er t o ach i ev e ev enl ig h t r e f l ec t an ce , i n k h o ld -o u t an duniform ink f i lms.Grain Pattern: Al ig n m en t o f f i b e r sroughly paral lel to the d i rect ion oft h e p a p e r m a k i n g m a c h i n e .Gripper: Metal f ingers that clampon paper and contro l i t s f low as i tp asses t h ro u g h a p r in t i n g p ress .Ground W ood: M e c h a n i c a l p u l p i n gprocess in which wood b locks arem ech an ica l l y g ro u n d in to p u lp .Also lower cost , rougher types ofp ap er , su ch as n ewsp r in t , m a d ewi th p u lp g en era t ed i n t h i s p ro cess .Al l Po t l a t ch p ap er s a r e g ro u n dwo o d f r ee .Halftone: Pr in t o r p r in t i n g p l a t e i nwhich detai l s and tone value of anim ag e a re r eco r d ed b y m e an s o ft iny dots of vary ing s ize, shape andproximity .Hardwood: Wo o d p ro d u ce d , g en era l lyby broadleaf, d ec id u o u s t r ees (wh ichlose their leaves in fall) such asasp en , m ap le , o ak an d b i r ch .H a r d w o o d s , p a r t ic u l a rl y n o r t h e r nsp ec i es , t en d t o p ro d u ce sh o r t , t h inf ibers , ideal for smooth papers .High-Solids Coating: Co at in g s wh ichare 6 5 % o r m o re so l i d s fo r su p er io rpr in tab i l i ty .Ink Hold-Out: Th e r es i s t an ce t o t h ef lo w o f i n k p ig m en t s i n to t h e p ap ersu r face . Go o d in k h o ld -o u t as su resu n i fo rm h a l f t o n e d o t s , i n t en se c o lo rand cr isp detai l s .Kraft Process: C h e m i c a l p u l p i n gp ro cess wh ich y i e ld s wh o le w o o df iber s an d is n o t e d fo r p ro d u c in gth e s t ro n g es t p u lp s . Th e wo rd"k ra f t " m ean s s t r en g th i n b o thG e r m a n a n d S w e d i s h .Lignin: T h e n a t u r a l s u b s t a n c ewh ich b in d s wo o d fi b e rs t o g e th erfo r s t r en g th .Matte Finish: Fin ish wi th goodsm o o th n ess , b u t wi th o u t g lo ss .Opacity: Th e o b s t ru c t i o n o f t h ep assag e o f l i g h t t h ro u g h a sh ee tof paper .Pigment: Refined mater ials , such ast i t an iu m d io x id e , ca l c iu m car b o n a t ean d k ao l in , u sed t o co lo r p ap er .W h i t e p i g m e n t s a r e c o m m o n l yem p lo y ed as f il le r s in p ap erm ak in gf in ishes and are the pr incipali n g red i en t i n co a t i n g m ix tu res .

Point: Th e b as i c m easu rem en t o fpap er th ickness , equal to 0 .001 inches.Polish: T h e a m o u n t o r d e g r e e o fg lossiness of paper f in ish .Porosity: Th e q u a l i t y o f p ap ersu r face . Un co a t ed p ap er s h av ev ery o p e n , p o ro u s su r f aces . Co a t e dp ap er s a r e m o re c lo sed o r t i g h twi th lower porosi ty . Porosi ty relatesto the deg ree to which th e surfa cewil l ho ld ink out .Pounds: Th e weig h t o f p ap er .Pap er i s so ld b y t h e p o u n d o rh u n d r e d w e i g h t .Reflectance: The ref lect ive qual i t ieso f a p ap er su r f ace . Pap er s wi th g o o dref lecta nce ref lect a h igh deg ree ofthe l igh t whic h s t rikes the m.Signature: The name g iven to apr in ted she et after it has be en fo lded .Silk Finish: A sm oo th sof t -f in ishedsu r face wi th m o d era t e p ap er g lo ss .Co a t in g p ig m en t s a r e o r i en t ed sothat l igh t scat ter i s contro l led .Smoothne ss : Th e d eg re e t o wh ich asurface i s reg ular or free f rom highand low spots .Soakiness: E x t r e m e i n k a b s o r b e n c yw h e r e i n k p e n e t r a t e s t h e p a p e rsu r face .Softwood: W o o d p r o d u c e d b yconiferous t rees such as Red an dJack pines. Typically, softwood treesh av e n eed l es wh ich d o n ' t d ro p i nA u t u m n .Solvent: So lv en t p o r t i o n o f p r in t i n gink which i s removed to al low inkset t ing to occur , and pr incipal o fl i thography. Oi l and water , o r inkand so lvent , do not mix .Supercalendering: Th e f i n al p ap erf i n i sh in g o p e ra t i o n i n wh ich c o a t edpa pe r i s fed bet we en a s tack of al ternat ing s teel and f iber ro l l s to bepol ished to var ious levels of g loss .Tightness: T h e d e g r e e o f o p e n n e s so r p o ro s i t y o f t h e p ap er su r f ace .The t igh ter the surface, the less inkan d in k p ig m e n t s wil l p en e t r a t e i n toth e su r f ace .Tradeoffs: T h e r e d u c t i o n o r e x p a n s io n o f o n e p ap er a t t r i b u t e b ecau seo r a t t h e ex p en se o f an o th er . Fo rexample, to ach ieve a h igh-g lossf in ish , th ickne ss wi ll be red uc ed .Velvet Finish: A u n i q u e P o t l a tc hf in i sh wh ere b l ad e-co a t ed p ap er i sp r o c e s s e d t h r o u g h a s u p e r c a l e n d e rt o d e v e l o p s m o o t h n e s s with am in im u m o f g lo ss .Weight/Basis Weight: T h e w e i g h to f p ap er p e r r eam o r p e r a sp ec i f i ed


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The P O T L A T C HPROMISEP O T L A T C H P A P E R S

are1 0 0 % GUARANTEEDI F F O R A N Y R E A S O N

you are N O T S A T I S F I E D with howO U R P R O D U C T P E R F O R M Son P R E S S ,W E W I L L REPLACE I T .


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P O T L AT C H S E R V I () EF or answer s t o p r i n t - r e l a t ed ques t i ons , ca l l ou r Gr aph i c Ar t s He lp l i ne a t 800 - 832 - 8966 .Vi s i t P o t l a t ch on t h e web f o r de t a i l ed p r od uc t i n f o r m a t io n a t w w w . p o t l a t c h p a p e r . c o m

P R I N T I N G O N S O F T F I N I S H E SS oft and i nv i t i ng , Si l k, Ve lve t and M at t e f i n i shed pap e r s have t he i r own se t o f p r o du c t i o n nee ds .

Th e ve ry su r f ace an d f in i sh qua l i t i e s t ha t m ak e t he m attractiveincluding t he i r good opac i t y ,b u l k , a n d r e a d a b l e / w r i t a b l e n o n - g l a r e surfacealso m a k e m a r k i n g a c o n c e r n .

Us ing i nks f o r m u la t ed w i th ha r dene r s , Te f lon o r scu f f r e s i s t o r s w i l l r educe t he p r ob l em .App ly ing du l l o r g lo ss va r n i sh ove r i nked a r ea s he lp s p r eve n t i nks f r om r ubb ing o f f on t o f ac ing pages .Var n i she s and m e ta l l i c i nks m ay l o se som e r e f lec t i ve qua l i t i e s .

PAPERCover: P o t l a t ch McCoy Gloss 120 - pound cove r .Divider tabs: Vin tage G loss 120 - pound cove r .

Text pages: P o t l a t ch McC oy Ve lve t 100 - poun d t ex t .COLORS

CoverOuts ide : S t and a r d f ou r - co lo r p r ocess w i th r ed t ou ch p l a t e , two h i t s m a t ch r ed , two h i t s b l ack ,

ove r a l l sa t i n aqueous coa t i ng .I n s ide : Two h i t s b l ack , two h i t s m a t ch r ed and t r i t ones cons i s t i ng o f two b l acks and m a tch c r eam ,

ove r a l l g lo ss aqueous coa t i ng .Divider tabs

F r on t s i de : S t anda r d f ou r - co lo r p r ocess , two h i t s b l ack , ove r a l l g lo ss aqueous coa t i ng .Back s i de : Two h i t s b l ack , two h i t s m a t ch r ed , ove r a l l g lo ss aqueous coa t i ng .

Color portrait comparisonS tanda r d f ou r - co lo r p r ocess , i n - l i ne spo t g lo ss and du l l va r n i shes .

Color still-life comparisonS tanda r d f ou r - co lo r p r ocess , i n - l i ne spo t g lo ss and du l l va r n i shes .

Black and white comparisonS tanda r d f ou r - co lo r p r ocess , b l ack and m atch g r ay duo tone , i n - l i ne spo t g lo ss and du l l va r n i shes .

Illustration comparisonS tanda r d f ou r - co lo r p r ocess , i n - l i ne spo t sa t i n and du l l va r n i shes .Solid color comparison

Two h i t s m a t ch r ed , m a t ch go ld m e ta l l i c , two h i t s m a t ch pu r p l e , two h i t s m a t ch b l ack .Dr y t r ap spo t du l l and g lo ss va r n i shes .

Uncoated vs. coated comparisonS tan da r d f ou r - co lo r p r ocess , m a t ch r ed , m a t c h go ld m e ta l l i c , f ou r - co lo r b l ack .

I n - l i ne spo t du l l and g lo ss va r n i shes .The art of paper/Beyond paper

S tan da r d f ou r - co lo r p r ocess , m a t ch r e d , du l l c r ea m t i n t va r n i sh , m a t c h g r ay.and spo t sa t i n va r n i sh .

PRINTINGSeparationsOr ig in a l t r an spa r en c i e s scan ned 200 l i ne f o r coa t e d pape r s , 175 l i ne f o r unc oa t ed p ape r s ,

w i th s t ochas t i c ye l l ow on a L ino type He l l 3900 scanne r . S epa r a t i ons f o r t he uncoa t ed pape r swer e ad ju s t ed t o com pensa t e f o r ga in on p r ess .

ProofingKodak Appr ova l D ig i t a l P r oo f ing S ys t em . Bar co t o Cr eo direct-to-plate i n t e r f a c e

f o r c o m p o s i n g a n d p l a t i n g .Presses

P r i n t e d o n 2 8 " x 40" He ide lbe r g CD 6 and 8 co lo r p r e sses w i th i n - l i ne coa t i ng .Inks: P r o c e s s i n k s , m a t c h i n k s a n d v a r n i s h e s - T o y o .

CREDITSF r o n t cover , d iv ide r s t age scenes , kn igh t po r t r a i t , f r enc h h o r n : Jo e P aczkowsk i , R ipS aw, Min neap o l i s .

I n s ide f r on t a nd bac k cove r : Je f f Co r win , S ea t t l e .B l ack and wh i t e dance r s : B i l l P he lp s , New Yor k .

Cinde r e l l a i l l u s t r a t i on : F r om The Thread of Life: Twelve Old Italian Tales b y D o m e n i c o V i t t o r i n i ,i l l u s t r a t ed by Mar y Gr an dP r e i l l u s t r a t i on 1995 by Mar y G r an dP r e .

R e p r i n t e d b y p e r m i s s i o n o f C r o w n C h i l d r e n ' s B o o k s , a d i v is i o n of R a n d o m H o u s e .

C o n c e p t , c o p y a n d d e s i g n :
http://www.potlatchpaper.com/http://www.potlatchpaper.com/

Behind the Scenes a Comparison Guide for Potlatch Papers

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