![]() ![]() Here, we’re looking at paper stock being added to the printer, the control centre (showing the fifth spot ink and C, M, Y, K inks) and the finishing unit showing stacked printed output. Printing begins, with a keen eye on ink flow rates at the control station. Each front colour plate is loaded and wrapped around the plate cylinder on the respective printing units on the litho printer. Two print passes are needed, one for the top of the sheet using front plates, and one for the back using back plates. Rollers supply water and ink to the Plate cylinder. Instead, the ink is transferred to a Blanket cylinder which is sandwiched between Plate and Impression cylinders and then pressed onto the fed paper. The term “offset” means that the Plate cylinder (housing a plate rolled around it) doesn’t come into direct contact with the paper to be printed on. The Affinity team all check these proofs carefully, and when we are happy we tell the printers to proceed with our print run.Įach printing unit contains several cylinders, the most notable being the Plate, Blanket and Impression cylinders. This unique white-cover workbook (bottom left of iMac below) is much sought after here at Serif HQ! We also receive a scatter proof of the cover (the sheets) along with an electronic PDF for on-screen proofing (on screen). Prepress is also responsible for proofing, which takes the ripped output as it would appear on the plate but, instead, creates a bound hardcopy print which is sent to us for proofing. “…we would always recommend a scatter proof produced on a litho press rather than trying to compare colour to that seen on screen.” Proofing “Not at all, but we would always recommend a scatter proof produced on a litho press rather than trying to compare colour to that seen on screen.” ![]() Although PDF/X4 itself can cause issues (everything is locked down and some systems don’t like it).” Should a user worry about CMYK colour profile choice? Also, flatten all PDFs – no layers, and of course embed all fonts.” CMYK and PDF/X4 all the way then? Complex Illustrator graphics cause massive issues-view in keyline to see complexity and flatten or convert to raster image to resolve. Convert PMS colours to CMYK-unless these are required as a special colour. “Ensure you use high-quality images and ensure you create bleed where necessary. Missing or incomplete cutter guides (when used).” What is the best advice you could give designers and artists if they plan to create artwork for print? With bound covers, single pages where spreads are required (with spines) when roll folded-we need spreads with allowance for roll folding (reduce each panel). “Poor Quality-low-resolution images, no bleed, no embedded fonts, spreads when single pages are required. We asked John, The ESP Operations Manager, about some tips when submitting artwork to prepress… What are the most common challenges you find with submitted print artwork? Imposed sheets from the ‘Elegance’ project Tips on preparing your artwork for print Ripping: The print job is then processed as a PDF in readiness for plate setting. Imposition: They then create imposed PDFs from our supplied PDF (see image below) to maximise print efficiency and minimise plate usage-less print time + less plates = less cost! Quality control: They check our PDF artwork for low-resolution images, CMYK colour space, colour profiling, and bleed settings. We send our finished artwork over to the Prepress team at ESP, who then perform the following tasks: Many thanks to them for lifting the curtain on the printing process and giving up their valuable time. The Affinity Workbook team dropped in on our print partner (ESP Colour, Swindon, UK) to see our German language Workbooks hit the press and find out how it is done. When the writing and art-working was complete (and signed off!), the next stage began-the print run. We also worked with some amazing photographers and digital artists from all around the world to bring you the rest of the projects-so a big thank you goes to Emi Haze, Timothy Poulton, Jordan Gaunce, Mark Ivkovic, Paolo Limoncelli, Bodo Bertuleit, Steven Randolph and Johny Åkerlund. Sean Power, from our QA team, worked through the book to check it was all up to scratch as well as checking all the downloadable content worked to follow along with the tutorials. Ian also worked on the art-working of the book, along with another of our creative team, Ian Upcott. Neil, along with Ian Cornwall from our creative team, directed the overall look and feel of the book. James also contributed a project to the book, as did our Art Director, Neil Ladkin. The Affinity Photo Workbook has been edited and written by our Head of Documentation Andy Capstick, with technical writing support from our in-house photo expert James Ritson. ![]() Jordan Gaunce's 'Grilled Cheese Pull' project featured in the Affinity Photo Workbook ![]()
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