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PRINT BIBLE & Setup Guide

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PRINT BIBLE & Setup Guide C Y . REA ED T E IV P E S . A Y F L F D O N R E I D R A F B PRINT & SET-UP BIBLE L O E C E . CONTENTS INTRO / HOW IT WORKS - - - - - - - - -3 INK COVERAGE - - - - - - - - - - - - - - - - -17 APPLICATIONS - - - - - - - - - - - - - - - - -4 INK COVERAGE CONT. - - - - - - - - - - - -18 INKS / COLOURS - - - - - - - - - - - - - - -5 GRADIENTS - - - - - - - - - - - - - - - - - - -19 METALLIC GOLD - - - - - - - - - - - - - - - - 6 TEXT / TYPE - - - - - - - - - - - - - - - - - - -20 OVERLAY - - - - - - - - - - - - - - - - - - - - -7 STENCILS - - - - - - - - - - - - - - - - - - - - -21 PAPERS - - - - - - - - - - - - - - - - - - - - - - 8 STENCIL FORMATS - - - - - - - - - - - - - - -22 PREPARING FILES + GLITCHES - - - - - - -9 IMPERFECTIONS - - - - - - - - - - - - - - - -23 COMMON PROBLEMS - - - - - - - - - - - -10 SUSTAINABILITY - - - - - - - - - - - - - - - - -24 FLATTENING FILES - - - - - - - - - - - - - -11 PRCING - - - - - - - - - - - - - - - - - - - - - - 25 A3 LAYOUT - - - - - - - - - - - - - - - - - - - 12 QUOTES + EXTRA SERVICES - - - - - - - -26 CARD + FLYER LAYOUT - - - - - - - - - - - -13 TURN AROUND - - - - - - - - - - - - - - - - 27 TRIMMING OPTIONS - - - - - - - - - - - - -14 AMENDMENTS + PROBLEMS - - - - - - -28 NAMING FILES - - - - - - - - - - - - - - - - - 15 TERMS + CONDITIONS - - - - - - - - - - -29 OPACITIES - - - - - - - - - - - - - - - - - - - -16 PRINT DISCLAIMER / VISITATION - - - -30 THE RISOGRAPH: IONAL S The RISO works by trans- AT H N IP R P forming your artwork into a E IN It looks like a photocopier T G N stencil. Your chosen colour N E and moves as fast as one, I X T drum is then inserted into the but works as a screenprint- D A * riso machine, and the stencil er; using rich spot colours Y G P N I R T I and stencils to create tactile N is wrapped tightly around it. and vibrant prints, afforda- bly and with little impact to Paper is fed flat through the our environment. T ! machine, passing under the IN GLASGO rotating drum, which trans- H O W WHAT WE DO: I T fers your artwork onto the W W ? DROP BY & COLLEC O paper at high speed. Masters of the A3; RISOTTO R K S produce vibrant prints for a range of clients, from leading Stencils are made art organisations to bands and specifically for each drum brands; quickly, & creatively. and are non transferable. Years of gathered experience, coupled with in-house produc- One colour is printed at a tion allows RISOTTO to offer time, and multicoloured bespoke services with a strong prints are created by focus on design. switching out drums, then So, whether you’re looking to over printing; passing the print an art edition, master a paper through the RISO technical print challenge, or get again and again! posters pimped up - get in touch! Risograph printing was originally designed for high-volume printing in places like offices, WE PRINT A3 schools & political parties, but in the last 5 years, it has undergone a resurgence with cre- The riso is an A3 printer - so everything is sent on A3 sized atives adopting the process because of its stencils, and printed on A3 paper. Finishing services can quick and colourful results at affordable prices. be applied to create some of the following applications: The riso was designed to bridge the gap be- tween cheap and expensive print methods (from the photocopy to offset/litho), which makes it ideal for quantities of 1–2000 prints, APPLICATIONS become most cost effective at 25+ prints. POSTERS + FLYERS BUSINESS CARDS The process is great for graphic art ART PRINTS + EDITIONS (vector based work), typography, and illustration, MENUS + PLACE MATS but also works wonders across painting and photography, using variations of CMYK. PROGRAMMES + MAPS FOLDED CARDS + ENVELOPES PAPER BAGS + WRAP TAPE COVERS + VINYL INSERTS STICKERS + SWING TAGS ZINES + PUBLICATIONS For jobs that will require finishing services - TRIMMING / BINDING / FOLDING / COLLATING - we can either offer some services in house, We can fold A2 paper and feed it through the machine manually - but only for otherwise it will be over to you to take the small print runs. Extra costs and limitations apply, so get in touch to find out more! A3 prints onto another specialist to be finished. INKS GREEN 354U BURGUNDY 235 U WARM RED U TEAL 321 U YELLOW U AQUA BLUE 312 U The RISO inks produce a unique texture, resulting in a hand-printed and tactile finish. The inks are soy-based and non-tox- ic, which means they can take longer to dry. The ink sits on the surface of the paper and can there- fore be prone to smudging if han- dled a lot (like newspaper). All inks are unique to the riso pro- FEDERAL BLUE 294U HUNTER GREEN 342U VIOLET 265 U MEDIUM BLUE 286U ORANGE 021 U PURPLE 2685 U cess and colours produced cannot be represented on the web or through digital print (especially our fluro and metallic inks!) giving you a unique print results. We therefore cannot colour match, but can offer advise on how you could work around this. Print samples are sent out regularly, as it is important that customers can see and feel the print results in the flesh before printing for the first time. BLACK U GREY 403U FLURO YELLOW U FLURO PINK 806 U FLURO ORANGE 805 U METALLIC GOLD We update our swatches regularly so ask us for the most up to date swatches available. INSTALL OUR ADOBE INK SWATCHES TO EXPERIMENT WITH ALL THESE GLORIOUS COLOURS IN SWATCHES YOUR ARTWORK FLUORESCENT INK! FLUORESCENT INK! FLUORESCENT INK! SPECIAL INK! SPECIAL INKS - METALLIC GOLD Unlike the other riso inks, Metallic Gold prints great on black and dark paper, as well as white. It has a thicker consistency and higher opacity - so keep this in mind if using it in overlaid artwork. As we have a two colour machine, we print two layers together in the same pass. The image below shows artwork printed in black + Metallic Gold ink. The layers were printed with the gold underneath - but the results look as though it’s ontop. This is how the metallic gold behaves when printed/layered with another colour. If you want to avoid this, and let the other ink stand out; you could potentially knock out areas where the gold overlaps, or reduce the gold percentage to 40-50%. GOLD LAYER PRINTED UNDER BLACK Switch on the ‘MULTIPLY’ effect in the Transparency tab when designing in adobe to see a mock up of how it will PAPER + INK OVERLAY print, and download our swatches to integrate our pallet into your workspace for further experimentation. Riso inks have a translucent quality that work well when 00% 00% overlaid and blended with other 1 1 inks. Many more colours can be + = achieved this way. WARNING When producing prints with multiple colours/heavy cover- age, unwanted marks can occur by the feed tire, picking up ink from the previous print, and transferring it onto the next sheet of paper being fed. These marks can be difficult to remove. We therefore recom- mend no more than 4 passes, or 2 when using heavy coverage or darker colours. TOP TIPS Use a rubber to remove any tire marks or unwanted smudges. Layout: Leave one area (either Examples of orange ink printed onto top or bottom) of A3 sheet clear various papers. Please note that ink or with little coverage. colours can change depending on what paper they’re printed on. WHITES: ALTERNATIVES: COLOURS: Cream: 80gsm Cairn White: 120, 320gsm Canary Yellow: 80, 160gsm PAPERS Vintage Maroon: 120gsm Bright Yellow: 80, 160gsm Cyclus: 100, 140, 200, 250, 350gsm RISO inks print well on most uncoated Vintage Light Maroon: 120gsm Peach: 80, 120gsm papers, as it can be absorbed onto the Context Natural White: 150gsm Pink: 80, 160gsm surface and allowed to dry (unlike print- Marlmarque: 300gsm Munken Lynx: 120gsm, 300gsm Salmon: 80gsm ing onto coated or trace papers). Loop Granite: 120gsm Lilac: 80gsm Newsprint: 65gsm Purple: 120gsm Loop Milkweed: 120gsm Classic: 80gsm BESPOKE PAPERS Dark Purple: 120gsm WEIGHTS If you have a particular Cairn Straw Cream: 320gsm paper request, and the Super Smooth: 120gsm, 330gsm Med Blue: 80gsm Generally 80gsm - 250gsm quantities are high, we Pale Blue: 80gsm is the standard weight can order it in for you. Context Ivory: 100, 270gsm Cairn Eco Kraft: 170, 270gsm Sky Blue: 120gsm bracket that the riso will For lower runs (under Cairn Eco Grey: 140gsm respond well too. 250 A3 sheets), we Pale Green: 80gsm ask that you organise drys We stock tested papers at your paper inde- INDIAN: Cairn Dark Grey: 120gsm Green: 120, 160gsm pendently, as this often 60gsm - 350gsm but these Forrest Green: 120gsm works out more cost can be a little tricky at times Charcoal: 100gsm Loop Sandstone: 120gsm effective. Dark Grey Glitter: 120gsm as they are prone to sticking Hairy: 120gsm to the stencils or jamming, We’d prefer to test a Context Sage: 250gsm Iceberg: 80gsm new paper first, so etc. We are happy to use please send us a few Splat 1: 300gsm Steel Grey: 160gsm them for shorter runs, and sheets so that we can Metaphor Cream:120gsm with low ink coverage. ensure ink drys well, Tan: 120gsm & the machine feeds it Splat 2: 200gsm smoothly. Metaphor Hairy:100gsm Blood Red: 120gsm Petal: 300gsm Red: 80, 120gsm When ordering, add Parchment Melon: 90gsm an additional 15% Tangerine: 80gsm extra to the required Tinsel: 100gsm Download our A3 Paper quantities to cover any Parchment Pink: 200gsm Scans to mock up misprints. Mute: 300gsm FLURO: artwork and make your Our UK suppliers Parchment Grey: 200gsm Fluro Orange: 80gsm paper choices. include: GF Smith, Hairy: 120gsm Fluro Yellow: 80gsm Remember - you’re welcome Fenner, Paperback, & Parchment Blue: 90gsm Antalis. We carry Fibre: 100gsm to mix and match! extensive sample books Fluro Pink: 80gsm in our workshop. Dye: 270gsm Colorset Nero: 170, 270, 350gsm Fluro Green: 80gsm BESPOKE PAPERS If you have a particular paper request, and the quantities are high, we can order it in for you. For lower runs (under 250 A3 sheets), we ask that you organise your paper inde- pendently, as this often works out more cost effective. We’d prefer to test a new paper first, so please send us a few sheets so that we can ensure ink drys well, & the machine feeds it smoothly.
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