Paper Standards

Paper Fundamentals
Printing Fundamentals
Digital Printing Fundamentals
International Standard Paper Sizes
Metric Conversion Charts

Paper Fundamentals

HELPING YOUR CUSTOMERS DECIDE ON PAPER

Paper selection considerations

Selection of the right paper for a company's various communication processes can be a very involved process that can provide significant rewards if done properly. For example, we at Grade Finders Inc. have a sample assortment of papers that we use to demonstrate to customers how they can select the best alternatives for a particular job. We show a color print done on four different papers that all look very much alike. However, one of the papers in our sample only costs $10,000.00 while the other three are approximately $20,000,00 for the same amount of paper. The services section of Grade Finders inc. can help you in your paper selection for all kinds of projects as we have over 12,000 brands of paper in our data base and a wealth of experience coming from our 40 years in business of producing paper buyers guides.

For the selection of letterhead, an excellent way to determine what to use is by collecting samples that have been mailed to you by various vendors, law firms, government agencies etc. In this way, you can show your customer a portfolio of ideas that are working. One enterprising company found a set of letterhead samples that were award winners, from a contest. Guess what! They almost exactly copied the one from the set that most effectively gave the appearance that they wanted to project to their customer base. The same thing can be said for business cards, invoices etc. What many companies do not know is that sample departments of paper mills are most agreeable to sending samples of their paper from which you can pick and choose.

Your customers are all different.

A company's identity drives the "representation" that the company needs to project. For example, a law firm wants to have a sophisticated look. A discount house does not want to project a look that suggests "expensive". By spending time with the customer and asking many questions about their likes and dislikes, you can eventually narrow down what will work for them. When you have come to a conclusion of what the customer would be fond of, put together your ideas, but beware of showing them too many selections. Armstrong Cork had an excellent training program for their retail sales people. They used the ACC abbreviation of their name to guide a message. They told their sales force to first ASK questions to narrow down the things that pleased their customer the most. Secondly, they said to CHOOSE a few of these selections, and lastly, they said to CONCENTRATE on one or two particular products. This solved the problem that many of their retail clerks had in showing so many products that the customers became confused and walked out of the store without purchasing anything. The same thing applies to paper selection.

Characteristics of certain papers that make an impact

Now that you have a handle on your customer's preferences you can provide samples of various text and cover stocks in different finishes, color, virgin or recycled grades etc. to find out those selections that are making the most impact. Choosing paper is in many ways a subjective process that involves responding to texture, color, look, and feel. You have a significant range of finishes and colors from bright white to very dark shades. Colors evoke feelings and affect how people perceive you. Rich, unique, and complementary color systems have personality and appeal for both designers and corporate clients. People respond to touch as well as sight. That's where basis weight and surface texture come in. Let your client handle a variety of basis weights in the 20-24 lb. writing range, as well as the 60-80 lb. text range. Also, let your customer sample a range of surfaces, such as laid, linen, smooth and vellum.

Paper selection - applications

Business Cards: Select a cover paper that coordinates with the surface and/or color of the paper used for the letterhead.

Direct Mail: Direct mail pieces receive a higher response rate when printed on eye-catching colors instead of white. A very important consideration in direct mail pieces is the weight of the stock. You don't want to lead your customer down the road on a stock that can easily increase his postage. Put together a sample of the mailing with all of the units that will be sent, and take it to the post office to be weighed. In this way your customer won't come up with a very unhappy surprise.

Newsletters: Here is a good time to collect various newsletters and select the best ones. Then come up with a few samples and show them to many people and get their reactions. It will soon become apparent which sample will make the best impression and impact.

Four color process vs. colored paper

You don't have to go to the expense of four-color process to get colorful, attention-grabbing results. If you start with colored paper as a base, then add just a couple of colors, you can use combinations, screens and duotones to produce a piece that looks like it's four or more colors. The difference can be dramatic.

Start with a colored paper that commands attention and expresses the feeling that you want to project. For example, yellow is bright and lively, whereas blue is calming.
Pick secondary colors that complement the paper and work well when combined. Remember that the color of the ink will be affected by the color of the paper underneath.
Combine colors to create another color. For example, red and blue make purple. Red and yellow would produce orange, while blue and yellow would make green.
Blow up your headlines and emphasize key words and type by using different colors. Keep your background color in mind in order to avoid poor readability.
Explore the endless possibilities for interest and variety that color halftones and duotones provide.

Be the professional for your customer

When you are the most knowledgeable vendor, your customer will not only respect your judgment and assistance, they will select you over competition many times, even if your prices are higher. If your customer requests a certain paper for his job and you think it is not available, and he or she finds out from your competitor that it is possible to purchase, you will lose their respect. It fascinates us at Grade Finders Inc. when a printing company tells us he or she is using a three year old edition of our Competitive Grade Finder or Paper Buyers Encyclopedia. They are leaving themselves open to the well-informed salesperson that always has our latest edition. Changes up to 35-40% occur every year, and now with our Online Updating System, mills and merchants are sending in new and deleted products every day. We now sell our directories with an Internet edition that continually changes from these updates. How great is that!

Other ideas to stand out over your competition

On many small- to medium-run jobs, the budget may not allow for four-color process, expensive photographs or sophisticated techniques. You can still create greater impact for the piece by keeping the design simple while using the paper itself as a design element. In this way, you can use a one- or two-color press to save printing costs. Though the cost for colored and textured papers may sometimes be slightly higher than standard white, the extra expense might be offset by lower design, pre-press and production costs. Use a colored paper that grabs attention and expresses the proper feeling. Pick secondary colors that complement the paper and work well when combined. Remember that the color of the ink will be affected by the color of the paper underneath.

POSTAL CONSIDERATIONS

Postal Classes

The United States Postal Service (USPS) offers several classes of mail. For direct mailers, the two most used are First Class and Standard. For additional information on all USPS services, go to www.usps.com.

First Class is the type used for personal mail at $0.39 per piece, up to one ounce. The USPS offers bulk mailers special discounts off that rate. The discounts are earned by sorting the pieces of mail into very specific sequences set by the USPS and complying with standards such as size, shape, printing and addressing. All First Class mail is either delivered to the addressee, including forwarding to new addresses, or returned to the sender with an indication of why the piece was not deliverable.

Standard Class, formerly known as Bulk Mail, can be sent for under $0.30 per piece, depending on factors such as the quantity, density (the number going into a particular geographic location) and, again, the level of presorting done by the mailer. Standard Class mail is not forwarded to new addresses or returned to the sender. It's discarded after one try at delivery. Address correction service is available and is a valuable method for keeping a database current. When you add a "address correction requested" endorsement, the post office will inform the mailer of the reason for non- delivery. This is a fee-based service. Non Profit is a form of Standard mail that allows qualified and certified charities and the like to pay an even lower rate per piece.

Postal Discounts

All postal discounts are subject to eligibility of the mailer, compliance with format requirements and presorting. Mistakes that may seem small can incur heavy increases in the cost of postage or even cause the mail to be rejected by the post office. For guidance, always contact the mailing compliance department at the post office location where the mail will be taken.

Postal discounts also depend on the accuracy of the mailing list. The USPS has several list cleaning steps that are required to qualify for some discounts. The goal is to not mail pieces that cannot be delivered. That saves money for the mailer.

NCOA (The National Change of Address file) is maintained by the USPS from a variety of sources, mostly the Change of Address cards people fill out at the post office when they move. Discounts require the mail list be updated with the NCOA, or some other processes, within six months prior to the mailing.

CASS (The Coding Accuracy Support System) is another requirement for some discounts. Among other things, CASS checks the list for valid addresses and ZIP codes, correcting them where possible or rejecting the address from the mailing.

Paying Postage

Beyond the First Class postage stamp, there are other means of paying and affixing postage.

Meter: Both First Class and Standard postage can be metered on the envelope or other mailing piece. The meter has to be "loaded" with postage in advance of metering. This can be done by phone and instructions on how to do this are enclosed on the postage meter.

Indicia: The indicia is printed on the face of the envelope (or other mailing piece) at the same time the rest of the printing (return address, logo, etc.) is done. It requires a permit from the USPS and must be printed to a strict format. With an indicia mailing, the total amount of postage for the mailing must be submitted at the time the mail is turned over to the post office. Forms must also be submitted at mailing, so always check with the post office early. The mailing must be mailed from the same post office location that issued the indicia.

Pre-cancelled stamp: This is an actual postage stamp, similar to the normal First Class stamp but with a very different design. It gives the mailing a more personal appearance while still providing a lower rate than First Class on both presorted First Class and Standard Class mail. Payment of postage for a pre-cancelled stamp is handled just like an indicia mailing.

Other considerations

Aspect Ratio: The USPS requires mail pieces to be of a specific aspect ratio. Simply put, they have to be sufficiently rectangular. More precisely, the length (the direction of the address is the length), divided by the height must be between 1.3 and 2.5, inclusive. The template entitled, "Letter-Size Mail Dimensional Standards Template" will help make the determination easier. Mail outside the limit may still be used but will incur an additional cost per piece.

Weight: Be aware of the total weight of the assembled package, especially for First Class mail. The additional postage for a First Class mailing that goes beyond one ounce is a very expensive procedure. Keep Standard Class mail under 3.3 ounces.

Tabs and Wafers: Many folded self-mailers require tabs to close the fold so it will feed through postal equipment without falling open. Always check with the post office in advance.

Check with the post office on mailings if you have any doubts on weight, size, thickness etc.: Always run questions and layouts past USPS personnel for approval. They're eager to help. They don't like to reject mail. But postal regulations change and may be subject to interpretation in some cases. Check the Postal Service Web site regularly for updated information and available literature: www.usps.com.

Window envelope considerations: Beware of "float" in the envelope address window. The post office will tap the submitted envelopes three times; down, left and right, and all of the address must remain visible in the window all three times.

Self-mailer and postcard formats

A flat piece of paper is a postcard; folded, it becomes a self-mailer.
Self-mailer or postcard may be no smaller than 3.5" x 5" in size. If either dimension is smaller, it will be rejected, even with additional postage.
The maximum size to qualify for the USPS postcard rate on a single card is 4.25" x 6".
Larger postcards cost more in postage, but can be a good investment because they stand out.
A self-mailer or postcard can be as large as 6.125" x 11.5". If larger in either direction, it becomes a "flat," which requires more postage and may have other requirements different from "letters."
There are minimum weights for postcard stock. Cards up to 4.25" x 6", must measure at least 7 pts. (.007 inch) in thickness. Cards larger than that must be at least 9 pts.
The paper must accept laser printing and handwriting for responses.
White paper is best; light colors may be allowed. Contrast between paper stock and type must be high enough for postal equipment to read it. When in doubt, check with the post office.
The printing inks must be laser-friendly.
Metallic inks are not usable for laser printing. Metallic inks create problems with electricity in laser printing.
Regular thermographic inks melt in laser printing. There are, however, special thermographic powders and curing methods that are safe to use.
All printed pieces to be lasered must be transported flat to the lettershop, not folded. The folding will be done after the lasering is completed.
The bottom edge of a self-mailer must be closed - either as the folded edge or with tabs (wafers) - in order to feed through postal equipment.

Envelope Mailings

The normal outside envelope is the #10 window.
A 6" x 9" or 6.5" x 9.5" window envelope can also work well.
Other sizes are possible, especially in large quantities, but be careful of inserting equipment limitations.
In large quantities, it is cost effective to print-and-convert, so most design options are open.
When printing directly on finished envelopes in small runs, check on the limitations of registration, coverage and bleed.
Outside envelope stock should be white or light in color.
Generally, no printing should appear below the top edge of the window.
The letter and reply form can be a single sheet (8.5" x 14", for example) with the reply form perforated at one end of the sheet.
With the letter/reply form combination, the letter can be personalized, too.
The letter/reply form combination requires a reply envelope.
#9 is the ideal size for the reply envelope with the preferred outside envelopes above.
The finished size of all pieces has to be one inch less than the width of the outside envelope for automatic inserting equipment.
The reply form should fit into the reply envelope easily by hand, without folding.
The reply form can be a separate piece.
Again, white paper is best for contrast where the address appears; light colors can work. Check with the USPS.
The printing inks must be laser-friendly. Metallic inks can cause problems.
If the reply card is not personalized in advance of mailing, provide fill-ins for the responder.
Allow only one personalized piece in the package. This avoids the need for expensive match mailing and reduce the potential for error and waste.
For mailings to go First Class mail, keep the total weight safely under one ounce.
Keep Standard Class mail safely under 3.3 ounces.
The mailings can be heavier, but at a much higher postage cost.

Reply Mail

Before printing any reply mail pieces, get USPS approval.
Business Reply Mail (BRM) refers to a reply card or envelope, designed and printed to strict USPS regulations, which does not require a stamp. A valid business reply mail permit number is required. The original sender pays a fee, plus postage for each reply that is received.
At least on the BRM format side, it's best to use white stock and black ink, but other combinations that provide sufficient contrast can work. Check with the USPS.
A Business Reply Card (BRC) is the self-mailer form of BRM. Rigid standards apply to the paper weight and color, the size and the printed BRM format.
Most of the requirements described in SELF-MAILERS and ENVELOPE MAILINGS apply to BRM too.

PRINTING PAPERS VS. IMAGING PAPERS

Modern imaging equipment places tough demands on the paper it uses. Different types of equipment require different paper qualities in order to achieve optimal image clarity and quality.

Papers for Color Copiers: Color copiers are truly outstanding machines with high speeds and excellent four-color imaging. Paper for color copiers must contain lower moisture content to withstand the intense heat used in melting and adhering toner to paper.

Papers for Inkjet Printers: Inkjet printers use small jets that produce ink droplets, which are sprayed directly onto a sheet of paper. Paper for inkjet printers must be formulated with just the right smoothness to allow the ink to absorb and not smear or run.

Papers for Laser Printers: Laser printers are generally found in the home office and business environment and are capable of producing exceptionally detailed images. Laser papers must be manufactured with a very smooth finish in order to run properly in a variety of laser equipment and must be able to handle even the finest detail. Since laser imaging also utilizes a heat process, the paper must contain lower moisture content than typical papers to keep images looking crisp and brilliant.

Papers for High Speed Copiers: Paper used in copiers must perform flawlessly. High-speed copiers produce a high volume of work in a short amount of time. A reliable copy paper must have the surface formulation to provide clear images and just the right smoothness to assure jam-free performance. Some examples of specially designed paper for high-speed copiers made to resist moisture and curling at the edges are Hammermill Tidal DM, Husky Xerocopy DP, Spectrum DP Copy, Domtar Copy, and Boise X-9.

Printing Fundamentals

PRINTING QUALITY

Ghosting: Ghost images are unwanted images, often faint, that appear in a printed piece. Mechanical ghosting is usually caused by conditions on the printing press and/or layout of the form, Gloss or gas ghosting is a chemical type of ghost. It is the transfer of a printed image from the front of one sheet to the back of another. Causes of gas ghosting include large solids printed on a backdrop form, large lifts in the delivery pile of a sheet-fed process, or backing up the first side too soon after it is printed. Gas ghosting can also result when the ink drying on the second side is accelerated or slowed down by fumes given off by ink on the first side.

Mottled: This refers to the spotty, uneven or non-uniform appearance of a printed surface. It is also used to describe a non-uniform distribution of fibers in the formation of a sheet of paper. There are several different kinds of mottle, including ink mottle, gloss mottle, back trap mottle and wet trap mottle.

Ink mottle describes a blotchy, cloudy appearance instead of a smooth, continuous ink film on the press sheet. Mottle patterns are random rather than symmetrical and occur when the substrate or the coating does not absorb ink uniformly. Ink mottle is usually a result of poor paper formation, high paper porosity, too much dampening, ink too strong and insufficient ink is being carried, or water interference.

Gloss mottle refers to a galvanized ink appearance caused by poor paper formation. Areas of fiber and non-fiber result in ink soaking into some areas and not into others.

Wet trap mottle is caused by the overprinting of one color onto another with tones and solids. Wet trap is most apparent in high-contrast colors such as blue. The printed sheet will show light and dark areas in the affected print solid or tone.

Back trap mottle is the irregular and unwanted variations on ink density caused by uneven absorption of the substrate and printing in succession onto blankets with no overprint ink. Four or more color presses generally show this problem.

Milking: Milking is the result of carbonate and starch depositing on the offset blankets. This is released from the surface of the paper.

Piling: Piling is described at the build-up of ink in the image areas of the ink rollers, plate, or blanket, which does not transfer. Uncoated papers "piling" is normally caused by filler and/or fiber mixing with the ink resulting in a putty-like substance. This putty-like material builds up in image areas and is forced to the edge of the image due to the rotation of the cylinders. This is known as "tail edge piling." Some piling can build in the entire image resulting in a breakup of the image totally.

Piling is normally the result of issues with both paper and ink. Paper that is dusty with low moisture or poor surface resistance can contribute to piling. Also, ink which is over-emulsified or at too high ink tack and fountain solution can add to the piling issue. One can work with an ink supplier to alter the ink to reduce the piling tendency. The printer may also try adding a percentage of isopropyl alcohol to the fountain solution.

POST PRESS PROCESSES

Post Press Processes - Embossing: Embossing is accomplished by pressing paper against a metal die under high heat. Embossing can be done with foil stamping at the same time. While most uncoated papers can be embossed, heavier papers allow for deeper and sharper embossing due to the thickness. When embossing different types of paper for the same job such as text and cover weights, it is important to have the printer work in conjunction with the die-maker. By having this coordination of resources, the die can be designed with the greatest flexibility required.

Post Press Processes - Foil Stamping: Foil stamping, also called leaf stamping, will create a smooth opaque finish that contrasts with the texture of the paper. Stamping films usually come in two types: metallic and pigmented. Metallic film stamps are cleaner on paper; however, pigmented films have a much wider selection of colors. While foil stamping is a fairly easy process, there are a few tips one should keep in mind.

If foil stamping over text, watch out for tight kerning and narrow spaces between design elements. Foil stamping can bridge letters if too close.
When stamping highly embossed papers, care must be taken to insure the correct amount of pressure is applied against the foil and paper. In order to insure a good transfer off the foil, extra pressure is needed to compress beyond the embossed ridges of the paper.
To avoid wrinkling, it is best not to stamp too close to the edge of the paper.
Be careful in stamping over paper that has been varnished, as the foil may not adhere to the paper.

Post Press Processes - Folding: How well a paper folds depends mostly on its weight and the direction of the fold. While folding lightweight papers is not usually a problem, heavier weight papers will need to be scored. Scoring is done on or off press by pressing the paper against a metal die or rule. This forms a "hinge" which helps relax the fibers and prevents them from pulling apart during the folding process. It is important to score so that the ridge- hinge is on the fold. This results in the paper being stretched less and the fold being stronger.

Folding with the grain will result in a smoother fold that will allow the publication to lay flatter when opened. Folding against the grain will result in a stronger fold but will cause the publication to "mouse trap" or close.

Post Press Processes - Scoring: Effective scoring techniques depend on the weight of the paper. Scores produced on letterpress provide better results on heavy weight text and cover sheets than those of litho scores or scores made on folding machines. The most effective of the letterpress scoring methods are rule and counter, wire and rule, and channel creasing matrix. Hot scoring will improve folding as well as reduce the possibility of cracking for difficult jobs.

Scoring problems usually occur when the scores are too narrow, too shallow, folded improperly, made with channels that are too wide, made with counters that are not registered, or made with paper that is too dry.

Here are a few guidelines that can help in avoiding these problems.

Scores should be made with the ridge or bulge inside the fold to ensure flatter folding and greater strength.
The score width should never be less than the caliper of the paper. Generally, the thicker the paper, the wider the score.
The end use must be considered when determining the width of the score. The width of the score must accommodate the bulk and caliper of the material inside the fold.
Scoring should be performed separately from folding and other finishing operations.
Scores should not be attempted on paper that has been dried out. It is important that sheets retain moisture introduced by fountain solution. Moisture can be retained by keeping the piece covered and minimizing the time between printing and scoring. If the paper has dried out, it may be reconditioned by running it through the press and analyzing fountain solution.

VARNISH AND AQUEOUS COATINGS

Varnish, aqueous coatings and UV (ultra violet) coatings are often applied to coated papers that are printed, for protection or to enhance the appearance. Coatings are rarely applied to uncoated papers for two reasons:

Uncoated papers absorb ink, minimizing scuffing and the need for protection.
Coatings provide little visual enhancement on uncoated stock, as it is absorbed into the paper rather than staying on the surface. Aqueous coatings, which dry instantly, are sometimes applied to uncoated papers to put a dry coating over the ink so that the paper may be turned immediately for backside printing or taken directly to binding.

Varnish

Is a petroleum-based ink without pigment and should be treated just like ink.
May be used in spot applications while maintaining tight registration.
It comes in gloss, matte and dull finishes.
It can be applied through any standard ink unit.
It can be applied in line to provide scuff protection, but the visual effect is not as dramatic as off line or dry-trapped varnish.

In line vs. off line varnishing

In line varnishing applies varnish on the same press as colors while the ink is still wet. As a result, the varnish and ink combine, minimizing the visual effect.

Off line varnishing applies the varnish during a separate pass through the press after the printing is dry. The varnish sits on top of the ink for maximum dramatic effect.

Budget and quality are the issues here. Because off line varnishing requires a separate press run and additional drying time, it's more expensive; however, the quality is better.

Aqueous Coatings

They are water-based, and they're more environmentally friendly than varnishes.
They offer visual results equal to or better than dry-trapped varnish.
They bring out more gloss with coated papers.
They dry clear, but may have a slight dry back effect. They can yellow slightly, but the effect is less than varnish.
They come in gloss, dull, satin and matte finishes.
They cover the ink and dry instantly. The sheet can be turned immediately for backside printing or it can go directly to binding.
They work best when applied by a press with a separate tower designed to hold the coatings.
They are usually applied to the sheet directly from a blanket, not a plate, in a flood application.
They may be applied from a standard ink unit if there is no coater on the press. However, this requires a different aqueous coating with a lower tack. The appearance of gloss aqueous applied from an ink unit is comparable to tower applications, but matte or dull aqueous does not work well.

Special care should be taken to ensure a good match between the ink and the coating. Alkalinity of the coating can affect some pigments used in inks.

UV Coatings

These require special application equipment.

They are dried by ultraviolet lights.

They are the most expensive of the three coatings.

They provide very high gloss for maximum visual effect.

They are used mostly for coated grades.

They should use inks compatible with UV coatings.

For best results, an aqueous coating should be put down first when applied off line. This does not apply if running on a press manufactured specifically for running UV inks.

Changing a Sheet's Finish with coating

Coatings are used for scuff resistance and to minimize fingerprinting, as well as to create visual effects. Coatings, as well as paper, come in a variety of finishes. The coating finish can be matched to the paper finish or the coating can be used to change the finish of the stock.

TYPICAL FILM OR PLATE IMPOSITIONS

Work and Turn: To print one side of a sheet of paper, turn it over from left to right and print the second side, using the same gripper and plate, but opposite side guide.

Sheetwise: The process of printing one side of a sheet of paper with one plate, then turn the sheet over and print the other side with another plate, using the same gripper and opposite side guide.

Work and Tumble: To print one side of a sheet of paper, turn it over from gripper to back, using the same side guide and plate to print the second side.

CUTTING CHART

Page sizes and number of pages that are available from specific press sheet sizes.

Size of Page	Number of Pages	Size of Press Sheet	No. Printed Pages
9" x 12"	4 8	25" x 38	4 2
9" x 12"	16	38" x 50	2
8½" x 11"	4 8	23" x 35	4 2
8½" x 11"	16	35" x 45	2
5½" x 7"	4 8 16	23" x 29	8 4 2
6" x 9"	4 8 16	25" x 38	8 4 2
6" x 9"	32	38" x 50	2
5½" x 8½"	4 8 16 32	35" x 45	16 8 4 2
4½" x 6"	4 8 16 32	25" x 38	16 8 4 2
4½" x 5 3/8"	4 8 16 32	35" x 45	32 16 8 4
4" x 9"	4	25" x 38	12
	8	38" x 50	12
	12	25" x 38	4
	16	38" x 50	6
	24	25" x 38	2

DESIGN FUNDAMENTALS

Choose a format: If a certain format isn't prearranged, choose the most appropriate one for conveying the message:

Factor in the desired visual effect
Consider how much text and art must by included
Include practical limitations such as the intended end use, the print run size, and the effect on mailing costs.

Select elements: The basic design elements are line, shape, type style, and texture. At least one element appears in every design, and all may be used in combination.

Lines

Organize a design
Bring together or separate elements
Lend decorative interest
Direct the viewer's eye
Create moods or feeling

Shapes can be attractive and can take many forms, including those created by lines, shading, blocks of text, photos, and illustrations.

Attract interest
Organize or break up the copy
Lead the viewer's eye

Type styles present different outlooks. For example, a display face is not likely to work well for technical material. Different faces for heads and body copy also can be used to stir interest. Type styles are used to influence the following:

Message
Audience
Design concept

Textures should support and not detract from the message. They can include:

Feel of the paper such as an embossed sheet
Engraved with raised surfaces

Contrast can give dramatic impact to a design. Begin by thinking in terms of opposites: large and small or black and white. Use contrast to:

Stimulate interest

Create a mood

Lead the eye

Support a text message

Balance organizes a design and is naturally appealing. Sometimes it's more effective to balance a design through asymmetry "intentional imbalance".

Digital Printing Fundamentals

DIGITAL PRINTING

Digital Printing requires no film or plates. Instead, digital information is fed directly onto the imaging units. Digital offers advantages for both commercial and office applications in speed, flexibility and customization unavailable with other processes.

Digital Technology

The range of technology varies greatly from the small, inexpensive home and office inkjet printer to high-speed commercial digital presses costing a half million dollars. There are many small inkjet or laser copier/printer manufacturers in the market, but as you move up in capabilities, the number of devices available decreases. At the top end, there are only a few players such as XeikonTM, Indigo®, Xerox®, IBM®, Canon and HeidelbergTM.

INKJET PRINTING

Inkjet technology is used today to image offset lithographic plates, as well as in home and commercial printers, color proofing, bar coding, etc. Inkjet has become more popular as its resolution and print quality has increased. Inkjet provides better color tone reproduction than less expensive laser technology. However, inkjet printers cannot create a halftone effect because they "spray" small droplets of ink, rather than producing a clean dot.

INKJET DIGITAL PRINTING

Inkjet printing technology uses jets of ink droplets driven by digital signals to print the same or variable information directly on paper without a press or copier type device. It has many desirable features for digital color printing.

Inkjet is less complex than other digital printing technologies.
It uses much simpler devices than other technologies.
It does not depend on light sensitivity, or lasers for imaging.
It can produce high quality prints.

Two basic types of inkjets are:

Continuous jet in which drops are generated continuously and deflected to produce an image.

Drop-on-demand in which a drop is formed and emitted to an applied digital signal.

Continuous jets have three types:

Charged drops are deflected electrically to form the image on the paper and uncharged drops are diverted to a gutter and are recycled
Uncharged drops go to the paper, and charged drops go to the gutter and are recycled
All drops are charged and are controlled by electric diffraction.

Solid ink/phase change printers use heat to melt solid sticks of ink, and the phase changed melted ink is converted to drops that are ejected using impulses from a piezoelectric crystal. The drops undergo another phase change from liquid to solid on contact with the paper. The system is supposed to print on any paper with print quality equivalent to laser printers at lower cost.

Industrial inkjet systems have been in use for printing variable information in packaging. A system has been developed for printing variable information in newspapers in single color at 1,000 feet per minute. A four-color system has also been developed that can be printed at 200 feet per minute.

Large format inkjet printers are used extensively to proof color content, register, and imposition iand for printing large displays for indoor and outdoor advertising. Two serious limitations of inkjet printing have been poor light fastness and water resistance of inkjet inks. New inks have been developed to correct both these conditions. Also there are inkjet inks for printing MICR, textiles, wall coverings and commercial signs and displays. Two other limitations of inkjet printing are slow speed and low resolution.

Drawbacks

Inkjet technology can require the use of unique papers since the ink is liquid. If a paper is highly absorbent, ink will penetrate quickly, resulting in low print density. If higher quality printing is needed, higher quality substrates are necessary.

Most inkjet inks are dye-based and fade over time. To keep the dye from fading when printing wide format for window or outdoor applications, the printed sheet should be ultra violet coated or laminated. Some new pigment-based inks last much longer than dye-based inks. With the increased use of digital photography, there is also increased demand for light-fast inks. Water fastness may also be a problem, as inks may smear and fingerprint easily.

LASER PRINTING

Unlike traditional light that radiates in all directions, a laser is a thin, intense beam of focused light. A laser copier or printer contains an electrically charged, light-sensitive drum or belt. When the information is received from the computer's printer driver, the laser exposes the charged drum or belt in the areas that correspond to the image areas. This forms an image out of many tiny dots. The more dots in a given area, the higher the resolution. The areas that are exposed by the laser become oppositely charged from the rest of the photoreceptor and will accept the oppositely charged particles of toner. The toner adheres to the drum or belt in those areas exposed by the laser and is transferred to the paper. The paper is then passed through hot rollers or some other heat device to "melt" the toner and bond it to the paper.

Since the substrate is exposed to high heat, it must contain lower moisture than a traditional printing paper. If the moisture content is too high, the heat will tend to curl the sheet. High moisture will also lead to poor toner adhesion, causing the toner to "block" or "ghost" when sheets are folded or stacked in piles.

Unlike inkjet printing, laser technology can produce screens such as halftones. Laser technology is also used today to create images on many of the newer CTP (Computer to Plate) systems. Lasers are also used in systems such as the Heidelberg Quickmaster™ or the MAN Roland DICOweb™ press, which image the offset plate/cylinders on the press.

The best way to print high-end inkjet or laser is through a Raster Image Processor. It can take the computer data and convert it to bit map data which the inkjet or laser can use more efficiently than digital data it receives via a printer driver.

COMPARING COSTS

Comparing pure digital "laser" systems to digital imaging offset presses produces interesting contrasts. Originally, laser digital printing costs were thought to be static, meaning the first print cost is about the same as the last. This is not exactly true. Ink on paper, however, does require make-ready charges making the first copies very expensive. As the run becomes longer, the cost goes down.

Offset printing can be competitive with laser digital technology, because Computer to Plate systems result in faster make-ready times. In this case, Computer to Press reduces make-ready time since all plates are imaged in registration with only minor adjustment needed.

ADVANTAGES AND DISADVANTAGES

Offset printing allows more control over color. In digital printing, the digital information controls the density of the colors being printed. Very little adjustment can be made. In offset printing, the printer has more leeway in making color adjustments on a broader scale.
Offset printing is capable of process and match colors.
Most digital printing equipment offers process colors only.
Offset is preferred for handling solid coverage and screens that have a tendency to streak and band when printed digitally.
Some digital printers and presses are limited in the kinds of paper stock you can use, because of inks and dyes used in the process. Some work better on coated and others on uncoated. Some require a special coating on the paper to produce the desired print performance.
Sheet size is also more limited with digital equipment.
Digital Printing is faster. There's no separate proofing, or film or plates, and little make-ready time is needed.
Offset presses that still use plates are more expensive and require time to make plates.
Offset requires a separate proofing process. With digital, the printing is the proof.

ADVANTAGES IN USING DIGITAL

Digital printing is excellent for personalized work, short runs (about 1000 impressions or less) and quick turnaround. As the quantities go up, digital generally becomes less cost effective.

PLATELESS DIGITAL COLOR PRINTING

A major difference between plateless and plate printing systems, besides the ability of plateless systems to print variable information from impression-to-impression, is the unit cost of printed products. In plateless printing, the unit cost remains approximately the same for any quantity of prints; i.e. the cost of 100 prints is about 100 times the cost of one print. In plate printing systems, the unit cost of prints decreases as the quantities increase.

DIGITAL LASER PRINTER COLOR PRINTING SYSTEMS

Laser printers started in 1978. Early systems had a low resolution of 300 dots per inch and lower. In 1989, a 600 dpi single color laser printer was introduced capable of printing 135 documents up to 11"x17" per minute. The first color laser printer came about in 1995, and since then a number of original equipment laser printers are being used by some manufacturers to produce digital color printing systems with resolutions as high as 1200 dots per inch.

DIGITAL COLOR COPIER PRINTING SYSTEMS

The first color copier used for digital color printing was shown in 1990 using a PostScript controller. There are three main types of systems.

One type uses new four-drum imaging engines that can print from 31 to 40 color pages per minute (one side) with 400 dots per inch resolution and 6 to 8 bits per pixel color print quality. .
A second system uses clusters of two, four, or six unit configurations of single color and four-color EP engines driven by a special server, RIP and OPI software. A unique feature of this system is its software that allows each unit to operate as a single output device. When the job is completed, the printed stacks for each unit can be combined to produce a properly collated product.
The third type uses modified single drum EP color copiers equipped with color servers. These have resolutions of 400 to 600 dpi and print 3-7.5 pages per minute.

International Standard Paper Sizes

The ISO paper size concept

In the ISO paper size system, the height-to-width ratio of all pages is the square root of two (1.4142 : 1). In other words, the width and the height of a page relate to each other like the side and the diagonal of a square. This aspect ratio is especially convenient for a paper size. If you put two such pages next to each other, or equivalently cut one parallel to its shorter side into two equal pieces, then the resulting page will have again the same width/height ratio.

The ISO paper sizes are based on the metric system. The square-root-of-two ratio does not permit both the height and width of the pages to be nicely rounded metric lengths. Therefore, the area of the pages has been defined to have round metric values. As paper is usually specified in g/m², this simplifies calculation of the mass of a document if the format and number of pages are known.

The A series of paper sizes based on these simple principles (See diagram):

The height divided by the width of all formats is the square root of two (1.4142).
Format A0 has an area of one square meter.
Format A1 is A0 cut into two equal pieces. In other words, the height of A1 is the width of A0 and the width of A1 is half the height of A0.
All smaller A series formats are defined in the same way. If you cut format An parallel to its shorter side into two equal pieces of paper, these will have format A(n+1).
The standardized height and width of the paper formats is a rounded number of millimeters.

For applications where the ISO A series does not provide an adequate format, the B series has been introduced to cover a wider range of paper sizes. The C series of formats has been defined for envelopes.

The width and height of a Bn format are the geometric mean between those of the An and the next larger A(n-1) format. For instance, B1 is the geometric mean between A1 and A0, that means the same magnification factor that scales A1 to B1 also scales B1 to A0.
Similarly, the formats of the C series are the geometric mean between the A and B series formats with the same number. For example, an (unfolded) A4 size letter fits nicely into a C4 envelope, which in turn fits as nicely into a B4 envelope. If you fold this letter once to A5 format, then it will fit nicely into a C5 envelope.
B and C formats naturally are also square-root-of-two formats.

The following table shows the width and height of all ISO A and B paper formats, as well as the ISO C envelope formats. The dimensions are in millimeters and US inches:

A Series Formats

A0	841 × 1189	33.11 X 46.81
A1	594 × 841	23.39 X 33.11
A2	420 × 594	16.54 X 23.39
A3	297 × 420	11.69 X 16.54
A4	210 × 297	8.27 X 11.69
A5	148 × 210	5.83 X 8.27
A6	105 × 148	4.13 X 5.83
A7	74 × 105	2.91 X 4.13
A8	52 × 74	2.05 X 2.91
A9	37 × 52	1.46 X 2.05
A10	26 × 37	1.02 X 1.46

B Series Formats

B0	1000 × 1414	39.37 X 55.67
B1	707 × 1000	27.83 X 39.37
B2	500 × 707	19.68 X 27.83
B3	353 × 500	13.90 X 19.68
B4	250 × 353	9.84 X 13.90
B5	176 × 250	6.93 X 9.84
B6	125 × 176	4.92 X 6.93
B7	88 × 125	3.46 X 4.92
B8	62 × 88	2.44 X 3.46
B9	44 × 62	1.73 X 2.44
B10	31 × 44	1.22 X 1.73

C Series Formats

C0	917 × 1297	36.10 X 51.06
C1	648 × 917	25.53 X 36.10
C2	458 × 648	18.05 X 25.53
C3	324 × 458	25.53 X 9.02
C4	229 x 324	9.02 X 12.76
C5	162 × 229	6.38 X 9.02
C6	114 × 162	4.51 X 6.38
C7	81 × 114	3.19 X 4.51
C8	57 × 81	2.25 X 3.19
C9	40 × 57	1.59 X 2.25
C10	28 × 40	1.12 X 1.59

Application examples

The ISO standard paper size system covers a wide range of formats, but not all of them are widely used in practice. Among all formats, A4 is clearly the most important one for daily office use. Some main applications of the most popular formats can be summarized as:

A0, A1	Technical drawings, posters
A1, A2	Flip charts
A2, A3	Drawings, diagrams, large tables
A4	Letters, magazines, forms, catalogs, laser printer and copying machine output
A5	Note pads
A6	Postcards
B5, A5, B6, A6	Books
C4, C5, C6	Envelopes for A4 letters: unfolded (C4), folded once (C5), folded twice (C6)
B4, A3	Newspapers, supported by most copying machines in addition to A4
B8, A8	Playing cards

Envelope formats

For postal purposes, ISO 269 and DIN 678 define the following envelope formats:

Format	Size [mm]	Content Format
C6	114 × 162	A4 folded twice = A6
DL	110 × 220	A4 folded twice = 1/3 A4
C6/C5	114 × 229	A4 folded twice = 1/3 A4
C5	162 × 229	A4 folded once = A5
C4	229 × 324	A4
C3	324 × 458	A3
B6	125 × 176	C6 envelope
B5	176 × 250	C5 envelope
B4	250 × 353	C4 envelope
E4	280 × 400	B4

The DL format is the most widely used business letter format. ISO 269 describes this abbreviation as "Dimension Lengthwise." Its size falls somewhat out of the system and equipment manufacturers have complained that it is slightly too small for reliable automatic enveloping. Therefore, DIN 678 introduced the C6/C5 format as an alternative for the DL envelope.

Metric Conversion Charts

The following charts and formulae are designed to help the paper buyer with converting UK/EU metric standard sizes and measurements into standard US sizes and measurements. These charts contain valuable information to ensure accurate and economical printing when graphic designs for printed pieces are created in one country and produced in another, or when the paper is imported/exported.

Basis Weights and Grams per Square Meter

Cover

	Pounds Per Ream	Grams Per Square Meter (G/M2)
Basis 20 x 26 (Factor 2.70)	50	135
	60	165
	63	170
	65	176
	67	180
	74	200
	80	216
	82	220
	83	225
	85	230
	89	240
	90	243
	95	250
	97	260
	100	270
	104	280
	105	285
	110	300
	118	320
	120	324
	126	340
	130	352
	133	360
	144	390
	148	400
	167	450

Standard U.S. Basis Weights and European GSM in BOLD.

Text

	Pounds Per Ream	Grams Per Square Meter (G/M2)
Basis 25 x 38 (Factor 1.48)	40	59
	45	67
	50	74
	55	81
	60	89
	64	95
	68	100
	70	104
	74	110
	75	111
	80	118
	88	130
	90	133
	98	145
	100	148
	105	155
	108	160
	115	170
	120	178
	135	200
	150	222
	191	283

Standard U.S. Basis Weights and European GSM in BOLD.

Standard Sheet Sizes

European Centimeters	U.S Equivalents Inches
45 x 64	17-23/32 x 25-3/16
50 x 65	19-11/16 x 25-19/32
51 x 65	20-5/64 x 25-19/32
57 x 73	22-7/16 x 28-47/64
61 x 86	24-1/64 x 33-55/64
64 x 88	25-3/16 x 34-41/64
65 x 92	25-19/32 x 36-7/32
65 x 100	25-19/32 x 39-3/8
70 x 100	27-1/2 x 39-3/8
71 x 101	28 x 39-3/4
72 x 101	28-3/8 x 39-3/4
72 x 102	28-3/8 x 40-1/8
U.S. Standards Inches	European Centimeters
8 1/2 x 11	21.59 x 27.94
8 1/2 x 14	21.59 x 35.56
11 x 17	27.94 x 43.18
12 x 18	30.48 x 45.72
12 1/2 x 19	31.75 x 48.26
14 x 20	35.56 x 50.80
17 x 22	43.18 x 55.88
17 1/2 x 22 1/2	44.45 x 57.15
19 x 25	48.26 x 63.50
20 x 26	50.80 x 66.04
22 x 34	55.88 x 86.36
22 1/2 x 35	57.15 x 88.90
23 x 29	58.42 x 73.66
23 x 35	58.42 x 88.90
24 x 36	60.96 x 91.44
24 x 38	60.96 x 96.52
25 x 38	63.50 x 96.52
26 x 40	66.04 x 101.60
28 x 34	71.12 x 86.36
28 x 40	71.12 x 101.60
35 x 45	88.90 x 114.30

Formula for Bulk/Grammage/Caliper

GSM = Grams per Square Meter
BULK = cm3 per Gram

Multiply (GSM x BULK) = Microns
Divide (Microns / 25.4) = Caliper

If you have the basis weight in grams/square meter and the bulk. The formula is:
gsm x bulk (cm3/g) = caliper in microns (then divide by 25.4 to get points)
(Example: 280g x 1.3 = 364 microns /25.4 = 14.3 pts.)

If you have the caliper and bulk and want to know the basis weight in grams:
Caliper in points x 25.4 to get caliper in microns, then divide by the bulk to get basis weight in gsm.
(Example: 12 pts. x 25.4 = 305 microns. The bulk is 1.3 305 / 1.3 = 235g)

If you have the basis weight in grams and the caliper in microns, divide the caliper by the basis weight:
(Example: 305 microns / 234g = bulk of 1.3 cm3/g)

This should cover all the methods of finding bulk, basis weight, and thickness. Please note that the bulk for every paper is different. Consult the mill to get technical specification sheet, which will list cm3 per gram.

Formula to Convert Price per Ton to CWT

Take price per Ton in U.S. $ and divide by 22.0458 = Price per CWT

Formula to Convert Price per MSF to CWT

Get the price the customer is paying per MSF
Multiply Grams (GSM x .2048) = LBS per MSF
Divide 1 Ton (2000 LBS / LBS per MSF) = Square Feet per Ton
Multiply (Price per MSF x Square Feet per Ton) = Price per Ton
Divide (Price per Ton / 20) = Price per CWT

Formula to Convert Price per CWT to Price per MSF

Take GSM and multiply by .2048 = LBS per MSF
Divide a Ton (2,000 LBS/LBS per MSF) = Square Foot per Ton
Price per CWT x 20 = Price per Ton
Take price per ton and divide by Square Foot per Ton = Price per MSF