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paperwork

the potential of paper in

graphic design

written by
nancy williams
designed by
williams and phoa
Phaidon Press Limited
Regent's Wharf
All Saints Street
London N1 9PA

First published 1993

Reprinted 1994
First paperback edition 1995
Reprinted 1997
© 1993 Phaidon Press Limited
Text © 1993 Nancy Williams _

ISBN
07148 2802 5 (hardback)
07148 3461 0 (paperback)

ACIP catalogue record for

this book is available from
the British Library

All rights reserved.

No part of this publication
may be reproduced, stored
in aretrieval system or
transmitted, in any form or
by any means, electronic,
mechanical, photocopying,
recording or otherwise,
without the prior permission
of Phaidon Press Limited.

Printed in Singapore
 contents paperwork

author's note 7 introduction

Pages 61 and 95 have been die- 11 paper qualities

stamped and creased, Readers
are invited to hand-finish these 33 surface effects
pages by manipulating or cutting
and folding as appropriate 61 manipulation

95 three dimensions

113 alternative materials

129 mixed media

152 terms and techniques

159 index
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introduction paperwork

Because of its ubiquity, paper is often taken for granted - even by

designers. This book is therefore long overdue. It is intended, through
international examples, to inspire all those who use paper - from
designers to printers and merchants - to encourage them to experiment
and to extend their boundaries by trying printing materials and
applications that they may not have considered before. While this is not
a manual - there are no instructions - every effort has been made to give
as much technical detail and guidance as possible. There is also
a section at the back of the book which should answer most questions
regarding the properties and limitations of different types of materials
and their suitability for various printing and finishing effects.

The first sheets of paper were made in China in about 200 BC;
since then it has become indispensable. Paper was originally intended
to be purely a carrier of images and scripts, but because of its natural
properties - strength, flexibility and durability - and its low costs, it
has subsequently been developed and exploited to produce a vast
variety of items from disposable clothing to loudspeaker cones.
However, the main use of paper continues to be as a surface on which
to record information.

In recent years there has been an encouraging increase in

experimentation with different sorts of papers and in the diversity of
techniques, both traditional and new, which designers apply to them.
Whereas in the past there may have been some resistance to this,
both printers and manufacturers are now becoming increasingly
accommodating. The result has been work achieved because of the
combined expertise of all concerned, and there is no substitute for
in-depth discussion between the various trades to ensure that every
avenue is explored while physical limitations are acknowledged.

For designers, choosing the right paper for a job should be just as
important as choosing the right typeface - both decisions are part of the
designer's creative input. However tight the brief, however demanding
or restricting the client, the choice of paper is generally the designers.
| feel that time spent finding the perfect stock for the job is personally
very rewarding because of the enhanced quality of the resulting project
and the satisfaction of a job well done. However important the concept
of a design, the execution is often what determines its success, and
at williams and phoa we pride ourselves in getting the details right - be it
in typography, colour or paper. Perfection may not be attainable, but it
is well worth striving for.
introduction paperwork

Sometimes, though, it is just not possible to get the paper you want;
many are made for specialist industrial uses and it can be difficult to
track them down or to have them made available for other purposes.
The production of this book was a case in point. We have not used
any unusual papers for the text pages - they are printed on a standard
stock which is particularly suitable for books. However, we had wanted
it to have a protective wrapping made of a particular silicone-covered
paper which is found on the back of tracing pads. Unfortunately this
proved impossible to obtain.

However, on other occasions perseverance pays off. Many paper mills

will, for instance, make batches of paper in odd weights or sizes, if a
large enough quantity is ordered. In the case of something like an
annual report, reducing the weight by a few grams could save a lot of
money both on the paper and on postage. Sheet size, too, can have
economic implications: if the only available sizes are inappropriate for
the design, the wastage can be so great that a fundamentally
inexpensive stock can prove uneconomical.

The speed at which paper mills reacted to the pressure of

environmental issues to review their methods and sources of pulp is
an indication of their current adaptability and willingness to respond to
designers' requests. The outcome of this has been a dramatic
increase in.the range of papers available. It is also encouraging to see
the resurgence in popularity of old crafts and skills including paper-
making and letterpress printing. Add to these the more modern effects
such as laser-cutting, and designers have a wider choice of both
papers and methods of manipulating them than ever before.

Nevertheless many designers steer clear of experimenting with

anything out of the ordinary and fail to venture further than a very
limited range of papers and run-of-the-mill techniques. It is, of course,
a trap which we all fall into now and again. But, as the illustrations
in this book show, those who are open-minded in their approach to
one aspect of design tend to be receptive to all sorts of influences and
ideas and do not impose artificial parameters on what they can and
cannot do. Consequently, some names recur in these pages as
producers of innovative work, and their designs will be found scattered
throughout the book because of their imaginative uses of many
techniques - binding, folding, cutting, embossing and so on.
introduction paperwork

For the sake of clarity the book has been divided into six sections.
Each one focuses on a particular aspect of design or range of
techniques from paper qualities and surface effects to mixed media.
However, although sometimes a piece of work was notable for only
one aspect of its design, in many cases the decision as to which
section a piece should go in had to be rather arbitrary. In fact, some
of the most exciting work which we came across was impressive
precisely because of its innovative use of a number of different
techniques and materials, and could have been included in several
sections. And not only was some of the work difficult to categorize; so
were some of the techniques which we look at: embossing, for
instance, has been treated as a surface effect, although it could just as
well have been in the section about manipulation, whereas binding
has been categorized as manipulation, although not everyone would
expect to find it there.

Some other points should be made about the selection of work

for this volume. First, the choice has been arrived at from submissions
received and research undertaken in many parts of the world, as far
afield as Japan and the USA. Indeed, work from Japan alone
could probably have filled an entire book. Inevitably, therefore, many
excellent examples have had to be omitted in the interest of variety
and clarity of presentation.

Second, the work which has been included might not necessarily be
considered outstanding in every respect: some pieces are primarily
interesting examples of a particular technique or approach. However,
all the projects shown, in one way or another, illustrate what can
be achieved by designers who do not take their basic materials and
craft skills for granted.
12 techniques

paper qualities

paper as artwork

graphic recycled
paper qualities paperwork

Choosing exactly the right paper can be what makes the difference 13
between a good and an exquisite job. The sheen, texture, colour
and weight of the stock can all enhance, transform or even dictate the
design. The tactile qualities of paper can be used in an expressive *
way: the dull surface of an uncoated paper could suggest sober
sophistication in a bank's annual report; a high-gloss art paper can
literally add gloss to a fashion retailer's brochure.

It is, however, easy to fall into the habit of specifying the same few tried
and tested papers over and over again, Knowing that the results will
be good, but missing the chance to create something stunning. Paper,
like colour, typography and design itself, is subject to fashion. Often
the stock or type of stock which first springs to mind as appropriate for
a job is just the one which is currently most popular. Nevertheless,
as we have said, designers are becoming more adventurous,
specifying papers which have not generally been used before, or using
familiar papers in imaginative ways. Printers, too, are becoming more
open to experimentation.

Unusual papers are not necessarily prohibitively expensive. Many,

however, are highly priced because they are shipped from abroad or
produced in a labour-intensive way. Japanese papers, in particular,
tend to be expensive but they can be so beautiful that it is well worth
considering how their use could enhance a job if the budget allows.
Nevertheless, there are various unusual papers which look expensive
but in fact are not - it is always worth checking the price before
assuming that a particularly attractive paper would cost too much.
There is, for instance, a seemingly extravagant hand-made paper,
Inclusion Florale, produced at the Richard de Bas Mill in France, which
has freshly-gathered flowers incorporated into the pulp, but is
surprisingly reasonable.

The production of such hand-made papers is undergoing a

renaissance, and for small commercial runs with adequate time in
their schedules it is sometimes feasible to have them customized for
specific needs. Flowers, pieces of ephemera or specially designed
elements can be added to the stock, or alternatively specially created
watermarks can be incorporated into the paper, perhaps strategically
placed to suit the design. The Christmas card made for Brian Delaney
Associates on page 29, uses a specially hand-made paper which
incorporates pieces of the previous year's cards in an effective
example of graphic recycling.
 paper qualities paperwork

14 As well as being used as part of the structure of a design, paper can

be turned into artwork, to be reproduced as an alternative to a more
traditional form of illustration such as photography, drawing or painting.
Graphic designers seeking to extend their means of expression
will often turn to paper, a medium with which they are obviously very
familiar, and use it to illustrate their print work. Among the visual
clichés which will no doubt continue to be used because of their
simplicity and immediate communicative effect are screwed-up paper,
paper aeroplanes and darts, and slashes and tears in paper.

Graphic recycling - the mixture of bits and pieces of old paper, print
and ephemera to create new artworks - is also popular with many
designers and illustrators. The juxtapositions possible with this sort of
collage can be very expressive, ranging from the humorous to the
sinister, as images and textures with very different associations are
mixed on the printed page or surface.

The following examples include work using machine-made, mould-

made and hand-made papers, papers which were specially made for
the project in question - some of the Japanese work is particularly
exciting and inspirational. For most jobs though, commissioning a
special stock, or making it in-house, will be out of the question.
Nevertheless, the extra time spent finding a standard stock
with exactly the right qualities, smooth or textured, matt or gloss,
will be well rewarded.

Recycling
Despite the recent surge of interest in recycling, there are still few
designers who exploit recycled paper's natural tone and texture and
use them excitingly as positive features of their design - evidenced by
the fact that recycling does not have a section of its own. Very often
the recycled stock chosen is so smooth and white as to be virtually
indistinguishable from some virgin paper - and sometimes it is not as
environmentally friendly as its 'recycled' label would imply.

Recycled paper will not be the right choice for every job; the pros and
cons of using it need to be considered beforehand. In its favour, of
course, are the environmental advantages, although these vary
considerably depending on how the paper was made and what went
into it. Generally speaking, however, any recycled paper is better
for the environment than a virgin stock because recycling causes
less pollution than making virgin paper, and it helps mitigate the
increasingly pressing problem of how to dispose of all the waste paper
we create. Also, paper which is self-evidently recycled signals a client's
concern for the environment very clearly. In addition, it can give a
natural, honest look to the work.
paper qualities paperwork

When choosing a recycled stock for environmental reasons, the 15

following points should always be considered. First, what proportion
of the paper is recycled? Usually some virgin stock is added to the
recycled pulp for increased strength, but this proportion varies from
stock to stock.

Second, what was the recycled element made from? In some papers it
is just 'millbroke’, the clean offcuts from the virgin paper-making
process. More environmentally friendly papers use pulp from 'post-
consumer waste’, paper which has already been used. As a rule
of thumb, paper made from post-consumer waste is unusually greyish
and flecked with ink particles, although this is not so if the pulp
has been cleaned. Third, if the paper is chlorine-bleached, this process
creates long-lasting toxic effluents; hydrogen peroxide-bleaching
is considered to be less harmful, but unbleached paper is best of all.

The various factors affect whether the paper is defined as recycled

or environmentally friendly. Much heated debate continues over which
of these is in fact more considerate of the environment.

The drawbacks of recycled paper are: that it is never as white as virgin

stock and that it tends to absorb the ink much more, leading to dot
gain. To get the best from it, these factors should be considered from
the start of the design process: half-tones and tints, for instance,
may have to be adjusted or avoided, along with very small type which
may be difficult to read against an off-white or flecked background,
especially once it has 'bled'. However, some of the new
‘environmentally friendly’ papers that have been released into the
market are exceptional and print just as well as standard stocks.

A common misconception is that recycled paper is bound to be

cheaper than virgin paper; however the reverse is often true. So before
specifying, it is always best to check.

Designers who work with recycled paper rather than trying to disguise
it can produce results which are just as aesthetically sophisticated as
anything done with virgin paper. Its muted tones and interesting
textures can become the highlight of a design if, for instance, they are
combined with inks of similarly subtle shades, or maybe contrasted
with a luminous ink. There is, of course, No reason why recycled and
virgin papers should not be mixed in the same piece of work. For
something such as an annual report, in which different sections need
to be easily identified, using a recycled stock for one part and a
contrasting virgin stock in another could be ideal. Other interesting
contrasts can be achieved by foil blocking recycled stock: the smooth
shine of the metal against the rough surface of the paper can give
an unusual feel to the work. However, it should be borne in mind
that paper which has been foil blocked or varnished cannot then be
recycled and so for clients who are using recycled paper for
environmental reasons these techniques should perhaps be avoided.
 paper as artwork paperwork

16 Interesting designs do not

necessarily require exotic
materials: this information pack
for the UK's Design and Art
Direction organization's student
awards has illustrations made
from ordinary brown paper
envelopes, an idea inspired by
the fact that the awards were
sponsored by the British Royal
Mail. By cutting and folding, the
envelopes have been made to
suggest a number of themes,
from magazine design to copy
writing. The cover of the
information pack has an
envelope which has been folded
to look like a pencil - the D&AD's
symbol - creating a visual link
between D&AD and the
Royal Mail.

designed by
Carter Wong, London
designers
Philip Carter, Philip Wong THE D&AD ROYAL MALL
STUDENT AWARDS SCHEME
art director 1987

Philip Carter
client
Design and Art Direction
 paper as artwork paperwork

The initials of this firm of 17

architects were created out of
folded paper, its sculptural look
conveying the three-dimensional
nature of their work. The paper
artwork was photographed for
reproduction on the firm's
letterhead, and the theme was
continued on a poster, the
folded paper representing the
head and shoulders of a
messenger.

designed by
williams and phoa, London
designer
Phoa Kia Boon
client
Nicholas Gill Associates
stock
letterhead: Mellotex matt
ultra white 155gsm
poster: Parilux matt 200gsm
 paper qualities paperwork

18 The multi-layered appearance of

the type and images in this
Apple Mac-generated design
has been emphasized by
printing some of the pages on
translucent paper so that the
type shows through to the
reverse side and overlays the
images behind it. The book,
called From the Eage, illustrates
work by architecture and design
students.

designed by
April Greiman Incorporated,
California
designers
April Greiman, Sean Adams
client
Southern California Institute
of Architecture
situat ion
Situ ation
 paper qualities paperwork

20 Designed to be easily updated,

this furniture company's price list
consists of an opaque inner
leaflet containing product
information, with a transluscent
wrap-around cover on which the
prices are printed

designed by
Lippa Pearce, London
designer
Harry Pearce
art directors
Harry Pearce, Domenic Lippa
client
Humber Contract Furniture
printer
Vitesse Printing
stock
wraparound: Zanders T2000
RO 145-155gsm
inner: Consort Royal Silk tint
170gsm
 paper qualities paperwork

Tracing paper has been used as

a metaphor in this brochure: the
designers say they wanted the
layered effect of the paper to

client
‘
Allman Associates un

stock
matt art paper 170gsm, Rives
satin transparent 140gsm
:‘i \ \ AVY

\
\ NY
en)
 paper qualities paperwork

The lightweight, semi- ‘than sollte entweder ein Kunstwerk sein

transparent stock used for this oder ein Kunstwerk tragen' (onewes)
book has been bound together
in French folds: each page
comprises two layers of paper,
creased at the edge. The inside
surfaces of the paper have been
printed and the resulting show- ter
Werte
Veremchers
munpestetton

through of shadowy shapes,

muted colours and type provides
an intriguing semi-abstract
background for the images and
words printed on top of the
pages.

designer
Jenni van Driel, Holland
printer
Drukkerij Rosbeek

Armroif
Emmy
1968
Lewrsum
van

.¢m
7,3
/Edelstan!
gotaitel)
(asegons!
MD
Riwimeeria
ussigniert
©
cm
 paper qualities paperwork

24 For this invitation, disguised to

look like a 1920s photograph
album, the designers wanted
stocks which enhanced the
illusion of antiquity. The inside
pages of rough card were die-
cut to hold the photographs,
and the cover deliberately
printed to look worn.

designed by
N & N, London
designer
Mark Owen
art director
Romanus Odiwe
client
N&N
printer
First Impression
stock
dust jacket: Wiggins Teape
Speckletone 104gsm
cover: Speckletone 216gsm
pages: Keaykolour 150gsm
 paper qualities paperwork

Based on the four seasons, this 25

lavish portfolio of limited edition
prints was designed as a
present for people attending the
Royal Gala opening night at
London's Chelsea Flower Show.
Covered in a hand-made paper
embedded with leaves and
flowers, and fastened with a TANSAY WIKRE

ribbon, the portfolio was New Speiares forLénlon

intended to be something which
people would want to keep.
Inside, the prints were tipped-in
to a blind embossed page,
letterpressed with the titles of
the images which were then
wrapped in lense tissue and
sealed with special labels.

designed by
williams and phoa, London
designers
Nancy Williams
Laura Heard
client
Olympia and York
printer
litho: CTD
letterpress: Hand and Eye
binders
Studio Bindery
stock
cover: Inclusions Florales
prints: Rivoli 240gsm
mounts: Somerset White
Textured 300gsm
tissue: Lense tissue

CORNWALL COLLEGE
LRC
 paper qualities paperwork

26 An ordinary, inexpensive stock

has been used to create a
sophisticated range of stationery
for fashion designer Koji
Tatsuno. The solid red ink
printed on the reverse of the
paper bleeds through to create
an unusual mottled effect.

designed by
Area, London
designers
Richard Smith, Cara Gallardo
art director
Yvonne Sporre
client
Koji Tatsuno
printer
Richard Harden Printing
 paper qualities paperwork

An envelope which is a good 27

example of the way in which the
unusual texture and natural
colour of a recycled stock can
be used to create a smart,
sophisticated design.

designed by
Akio Okumura, Japan
designer
Akio Okumura
client
Packaging Create
printer
Yaka Paper Manufacture
 graphic recycled paperwork

Embedded in the hand-made

paper from which this Christmas
card was made are a number of
Norwegian Spruce tree seeds:
recipients were instructed to
plant the card and watch the
trees grow. It is an idea which
simultaneously alludes to
recycling and Christmas trees,
and is highly appropriate for the
client, an environmental
organization concerned for the
future of West Africa's rain
forests.

designed by
The Partners, London
designers
Keren House, David Kimpton
client
Earthlife
Ppapermaker
David Stuart
printer
Royal College ofArt
stock
pulp and bracken
 graphic recycled paperwork

This is, quite literally, a recycled

Christmas card. The designers
tore up old cards and carefully
added shreds of them to the
pulp of the hand-made paper
from which the new card was
made, recycling both the paper
and the graphics.

designed by
Brian Delaney Design
Associates, London
designer
Jeff Willis
client
Brian Delaney Design
Associates
manufacturer
Nautilus Press & Paper Mill
stock
hand-made from 100%
cotton bedsheets and
previous year's Christmas
cards
 graphic recycled paperwork

30 The shapes which were die-cut

from the cover of this calendar
were collected by its designers
and made into a model of a
tree, reversing the usual
progression from tree to paper.
The resulting structure was a
three-dimensional illustration of
the theme of the calendar, chain
‘reaction, which explored the way
that one thing leads to another,
with particular reference made to
the environment. Underlining the
theme, the whole calendar was
printed on recycled stock.

designer
Trickett and Webb, London
client
Trickett and Webb/Augustus
Martin
printer
Augustus Martin
stock
speckletone recycled paper
and strawboard

V
 graphic recycled paperwork

32 Unwanted sheets of printed

paper were gathered from
printers’ floors and re-used in
this catalogue for an art
exhibition. The designers were
inspired to do this graphic
recycling by the gallery artists'
preoccupations with
deconstructing mass-produced
objects and putting them in new
contexts. The waste print was
overprinted, and collated with
text pages of recycled stock.

designed by
Imagination Design and
Communication, London
designers
Adrian Caddy, David Booth
client
Goldsmiths Gallery
pnnters
Litho-tech, Indepth, Merlin
Reprographics
surface effects paperwork
 2=: D

offset litho

os
surface effects paperwork

From scratch-and-sniff ink to foil blocking, the range of surface effects

that can be achieved on paper is enormous. Many of them, however,
seem to be neglected, for example embossing is seldom employed for
anything other than type or company logos. Whatever the effect,
however, it is important that the paper chosen is suitable: metallic ink
printed on to matt paper, for instance, will look dull because the
metallic particles sink into the surface of the paper and so are unable to
reflect light well.

Offset litho, although the most common method of printing, can give
surprising results. Luminous, fluorescent, thermally sensitive and
scratch-and-sniff inks are all available, and many manufacturers will
make up more unusual inks for particular jobs. Matt inks, for example,
which have better covering qualities on matt paper, can be mixed at
only a little extra cost. In general, providing ample time is available,
experimentation with unusual inks is well worthwhile. Ordinary materials
can be excitingly transformed, for example, a piece of seemingly plain
paper will change colour the instant it is touched if it has been printed
with thermal ink.

Letterpress, a technique undergoing a revival, is worth considering for

smaller print runs. The distinctive bite of the type into the paper and the
craft feel which it gives to the end result can make a good job look
particularly special. Hand-made and mould-made papers tend to give
the best results because they provide the greatest contrast in texture
between the lettering and its background, and allow the type or
‘fleurons' to sink firmly into the surface.

Silkscreen is ideal for large surface areas, and makes it possible to

print on board, fabrics, plastics and other unusual and awkward
materials which will not go through a litho press. It is an adaptable
process, and the thick spread of the ink can give rise to interesting
results such as smooth-looking ink surfaces directly on top of
contrastingly rough paper.

Embossing - another traditional technique - is still used frequently, but

its full potential is seldom explored. Embossed images are created
by pressing paper between a male and female die. Strictly speaking,
the term embossing only applies when the resulting image is proud of
the front surface of the paper; the reverse, when the image appears
sunk into the surface, is called debossing. (The rectangular areas sunk
into book covers or paper to take book plates or prints are described
as being plate marked.) There are two types of embossing die: the first
is an acid-etched photographically-exposed plate which gives a fairly
shallow impression, all at one level. The second, more expensive type,
is hand-engraved, which means that the results are only limited by the
skills of the engraver and the suitability of the paper.
surface effects paperwork

Choosing the right paper for embossed work is very important if

tearing is to be prevented and a reasonable depth achieved. It is the
length of the fibres in paper, not necessarily its weight, that determines
how deep an emboss it can take; consequently hand-made paper
is particularly suitable because of its long, randomly distributed fibres.
Embossing has its limitations, however; it does not show up when
faxed or photocopied, and embossed stationery may be flattened if
fed through a laser printer.

As with die-stamping the size of the dies is generally restricted to A4.

However, we have managed to track down one finisher in Scotland
who was able to emboss up to A2.

Die-stamping, a similar technique, is usually only thought of for such

traditional symbols as coats of arms and for company logos, but there
is no reason why it should not be used in more exciting ways. Being a
combination of embossing and gloss or matt coating, die-stamping
tends to work best on matt uncoated papers. That aside, the only
drawbacks with it are that it can require long lead times, and is subject
to size restrictions. However, the accuracy and detail that can be
achieved with die-stamping are phenomenal, making it very rewarding.

A less expensive alternative to die-stamping is thermography. This

technique uses a thickness of resin to imitate the embossing and the
gloss effect of die-stamping. Though once again this tends to be used
on logos, | have seen interesting examples of covers using a
combination of clear thermography and matt lamination

Despite the improvement of metallic inks, the only way to achieve a

shiny, truly metallic look on paper is foil blocking. It can also be
combined with embossing to provide a richer effect. Foils come in a
variety of standard finishes, matt, gloss and metallic, as well as more
unusual! ones from mother of pearl to wood grain. Although not as
expensive as some designers believe, once again there is a limit to the
size of the area which can be blocked and sometimes to the length of
print run possible, although, of course, several blocks could be used.

However strange or subtle the surface effect wanted, designers should

not take no for an answer. If the first supplier approached cannot help,
perseverance often pays off.
 embossing paperwork

Designed to look as though a 37

real wax seal has been applied
to the page, the logo on this
stationery is in fact an elaborate
trompe |'oeil. The result of a
large number of manipulation
techniques, the seal was
designed on an Apple Mac,
hand-engraved in silver, proofed
in black wax and photographed.
It was then printed in full colour,
ultra-violet-varnished and
embossed.

designed by
Bull Rodger, London
designers
Paul Rodger, Laurence
Grinter, Jonathan Cook TOR
eee
a

illustrator
Sue Sharples
engraver
John Snape
photography
Paul Bradforth
art direction “i

Paul Rodger
client
Paragon Vintners

al
egal
a
 embossing paperwork

A personal project by a
Japanese designer, the thick
paper used for this poster was
made using an old-fashioned
method. Layers of traditional
Japanese paper were apparently
pasted together, then covered
with a top sheet of Western
paper to achieve the white
surface; the result was
embossed and screen printed.

designed by
Kazumasa Nagai, Japan
 embossing paperwork

A combination of heavy 39
embossing and luminous ink
gives this otherwise simple
stationery a vivid, three-
dimensional look.

designed by
M Plus M Incorporated,
New York
designer
Takaaki Matsumoto
art directors
Takaaki Matsumoto,
Michael McGinn
client
Pen Plus Inc
printer
Continental Bournique
 embossing paperwork

On the cover of this brochure, designed by

designed for British Rail's in- Roundel Design Group,
house department of London
architecture and design, blind designers
embossing at two levels has Michael Denny, John
been used to create a pattern of Bateson, Chris Bradley
railway tracks. The theme has client
been continued inside, where British Rail, Department of
careful cropping of the pictures Architecture and Design
and unusually angled captions printer
hint at criss-crossing rails. Mapledon Press Architecture and Design forBritish Railways

The blind embossing on the design

cover of this brochure mimics Roundel Design Group,
the anti-slip pattern on the metal London
flooring of train footplates. The designers
brochure was designed for a Michael Denny, John
consortium of design, Bateson, Chris Bradley,
architecture and engineering Rachael Dinnis
companies which work for client
transport-related industries; the Transport Design Consortium
pattern would be familiar to its stock
readers. cover: Parilux gloss 300gsm
text: Parilux matt 170gsm
printer
Fulmar Colour Printing
 : ii:

Tree WO Sees,
ae setarintenler pabhatiyy al

re,

an

ie
 embossing paperwork

42 In this range of personal

stationery, the business card has
a dual role: when inserted into
the die-cut slits in the paper it
becomes the letterheading. The
smoothness of the card stands
out against the textured paper;
two blind embossed circles mark CHARLES OSBORNE
the place where the card is
inserted and look as though they
are holding it on to the page

designed by
williams and phoa, London
designer
Phoa Kia Boon
client
Charles Osborne
stock
card: lvorex smooth
paper: Zeta matt
 embossing paperwork

Although no ink has been

printed on this calendar, its
designers have differentiated
Sundays and holidays from the
rest of the week by using a
mixture of blind embossing
and debossing to create
contrasting type.

designed by
Akio Okumura, Japan
designer
Makoto Ito
art director
Akio Okumura
client
Packaging Create Inc
printer
Fuji Paper Enterprise
Association
 embossing paperwork

The random fibres of this hand-

made paper allow for a very
deep impression, a property
which has been exploited to the
full in this calendar. The
thickness of the paper and the
depth of the debossing and
embossing give it a three-
dimensionality which, combined
with its contrasting textures and
creamy colour, makes what is
fundamentally a simple object
seem like a precious artefact.

designed by
Akio Okumura, Japan
designer
Katsuji Minami
art director
Akio Okumura
client
Packaging Create Inc
printer
Packaging Create Inc
stock
hand-made
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 letterpress paperwork

The natural colour and texture of

the thick, pulpy card used to
create this portfolio have been
left unadorned, making them a
key feature of the design. Blind
debossing printing provides
subtle, minimal graphics.

designed by
Akio Okumura, Japan
designer
Shuichi Nogami
art director
Akio Okumura
client
Packaging Create Inc
printer
Asahi Seihan Printing
 foil blocking paperwork

The thick card of this concertina-

folded booklet has been deeply
embossed and foil blocked to
indicate both the shape and
surface texture of a shell. The
concertina-folded infill, which
opens out to three times the
size, is printed by an interesting
technique using vaseline
and alcohol.

designer
Irma Boom, Holland
printer
Drukkerij Rosbeek
 foil blocking paperwork

This New Year's card for 1980

exploits the reflective properties
of metal foil: when the card is
opened the circle and semi-
circle double to form the number
80. At 90mm x 90mm, it is an
unusually large area to be foil
blocked, and the circle and
semi-circle have themselves Halbjahr BO
Bruno & Ruth Wiese
been blocked on top of the silver New years Gi
Se ork SE salves 80

surface.

designed by
BK Wiese, Hamburg
designer
BK Wiese
client
Bruno and Ruth Wiese
printer
Bahruth, Reinbek
 letterpress paperwork

Casion, Baskerville and Gill 49

Sans, three quintessentially
English typefaces, were the
subject of this college project.
Printed letterpress, it is an
exploration of the aesthetics of
each font and the letterpress
process itself. Each section is
printed on a different stock,
chosen by the designer as being
the most suitable for that face.
Gill Sans, for instance, is on a
crisp white satin stock, which
complements its clean,
functional design, whereas the
older, serifed faces are on cream
coloured papers with more
textured, characterful surfaces.

designed by
Barbro Ohlson, London
client
Barbro Ohison
stock
Rivoli Natural 240gsm;
Arches Velin 270gsm;
Somerset White Satin
250gsm; Super Exelda
400gsm.
 letterpress paperwork

The use of thick, deckle-edged

paper, letterpress printing, and
etched illustrations protected by
sheets of glassine have given
this book about the environment
the appearence of a precious
artifact. The intensely-coloured
images bite into the surface of
the paper, giving them a rich
multi-layered texture which
contrasts with the smoothness
of the paper. Created as part of
a college project, it was a
collaboration between a
designer and an illustrator.

designed by
Barbro Ohlson, London
illustrations by
Shonagh Rae
stock
Somerset White Satin
250gsm
Over-production of cattle for h:

alternatr
 letterpress paperwork

52 A traditional use of letterpress

combined with die-stamping
onto a textured stock
emphasizes the subtle
indentation of the type. The brief
for the booklet, given to visitors
of the Tullich Lodge Hotel, was
that the design should reflect the
simple, traditional architecture of
the building. A die-stamped
copper motif, and the tartan
ribbon used to bind the pages
together, provide contrast with
the neutral, matt surface of the
paper.

designed by
Imagination Design and
Communication, London
designer
Lucy Richards
art director
Adrian Caddy
client
Tullich Lodge
printer
Baddeley Brothers
stock
cover: GB Flannel 217gsm
pages: GB Flannel 220gsm
 offset litho paperwork

The design of this stationery

range was inspired by the name
of the client, a furniture-making
company called Pearl Dot, and
the fact that each article of
furniture they make is inlaid with
a trade-mark pearl circle. Taking
this as their focus, the designers
printed the stationery with solid
colour on the reverse, leaving
a small white circle which shows
through to the front. Attention
was drawn to this by means of
four registration marks. The
colours and tones in which the
stationery was printed were
chosen to be reminiscent of the
dyeline (blueprint) paper on
which Pearl Dot's designs are
created.

designed by
Lewis Moberly, London
designer
Judy Veal
art director
Mary Lewis ¢
client , AL +i ut fe ag
: a *
Pearl Dot ‘ SS Bn Se tae es
printer aLerporoe|seni
‘PEA!
ee
om|
Hector Martin ee) ae |
stock
Kaskad Osprey 110gsm
 ms
ey:
 silkscreen paperwork

Transparent heat-sensitive
thermochromic ink was used to
cover the surface of this black
christmas card. When handled
or touched the seemingly blank
card transforms ‘before your
very eyes'. The ink changes colour
with the varying intensity
of heat and can be specially
made to take effect at pre-
determined temperatures.

designed by
williams and phoa, London
designer
Sarah McKenzie
printer
B & H Group
stock
card: Keaykolour 300gsm
envelope: Keaykolour 135gsm
 silkscreen paperwork

Pale)
 silkscreen paperwork

Opaque and transparent inks

were silkscreened onto
transparent drafting film to
create a multi-layered image for
this bold self-promotional poster.
With two of the inks printed on
to one side of the sheet, and
four on the other, careful
registration was essential, but
the transparency of the stock
was exploited to the full.
Silkscreen was chosen for the
strength and opacity of colour
it allows.

designed by
Giant, London
designer
Neil Smith
art directors
Alan Herron, Martyn Hey, Neil
Smith, Mark Rollinson
client
Giant
printer
Art-O-Matic
stock
drafting film
 tipping-in paperwork

Rather than printing the client's 59

logo directlyonto their
, the designers decided
to print it as a glossy, self-
adhesive sticker which could be
applied wherever needed. An
unusual and fun form of tipping-
in, both the colour and the
glossy texture of the sticker
provide a contrast with the
Paper
on which the stationery is
printed,
and this approach
allows the client,
asmall
translation company, to
‘customize’
each letter.

designed by
Bull Rodger, London
designer
Laurence Grinter
art director
Paul Rodger
client
Talking Europe
stock
Croxley Script 100gsm,
JAC Brilliant Gloss
self-adhesive label paper
 tipping-in paperwork

A mixture of traditional skills and

clean, modern design was used
to convey the range of possible
applications for the client's craft,
bookbinding. A small four-colour
tipped-in panel provides a
striking contrast of texture and
tone, facing a duotone
photograph printed full-bleed.
The thread-sewn, case-bound
book is a tangible example of
the client's work.

designed by
Silk Pearce, London
designers
Jack Pearce, Harvey Lyon,
Andrew Ross
art director
Jack Pearce
client
Hipwell Bookbinders
printer
Facsimile Printing Company
binder
Hipwell Bookbinders
stock
Wiggins Teape Countryside,
Wiggins Teape Opal
62 techniques

binding
3:E ;
die-cutting

folding
manipulation paperwork

The techniques covered in this section are often overlooked; for

example, cutting and folding are generally restricted to their most basic
functions, such as windows, folder pockets and fold-outs while
bindings are usually camouflaged rather than exploited.

Through the imaginative use of such simple techniques, however, a

two-dimensional sheet of paper can be dramatically transformed.
The effects achieved are often strongest when other printing
techniques are kept to a minimum, allowing the manipulation of the
paper to come to the fore.

Cutting and folding are not often considered as part of the designer's
repertoire, but they can be used very effectively. For instance, just one
edge of a brochure cut out of square can be used to add dynamism,
as can a fold that is not perpendicular. The advantage of finishing
techniques such as these is that they have to be done whether
conventionally or not, and therefore ‘playing’ with them adds little or
no cost to the job.

Die-cutting too can be an inexpensive and effective way of creating

visual impact. There are three methods: in the cheaper version metal
strips are bent to form the cutting edge, which imposes limits on
the detail which can be achieved. For instance, right-angled corners
will often not be perfect as the strips of metal may overlap or bend at
the corner. True die-cutters, which are more expensive, allow for more
intricate shapes as they are formed by acid-etching metal plates which
carry a photographic image taken from artwork. For really intricate
work, however, laser-cutting is the best technique as there is almost no
limit to the detail possible or the materials that can be cut. Laser-
cutting is, however, the most expensive method, although the cost
may now drop as the number of finishers offering this service is
increasing. It does, however, have a drawback: the laser beams leave
a burnt edge, which is noticeable to varying degrees depending on the
material which is being cut. As with any of these processes, it is
worth finding the best finishers for the job.
manipulation paperwork

Binding, the way that sheets of paper are fastened together or

otherwise attached, can become the focal point of a design and it is in
this area, almost more than any other, that designers are now using
their ingenuity. Eyelets, inter-screws, string and elastic bands have all
been used in various ways to bind together sheets of paper, often to
great effect. Specially commissioned binding devices, such as those
custom-made from metal, are becoming more common and are often
used to give a smart, urbane look to brochures and catalogues. On
the craft side, Japan has had its influence and on short runs Japanese
techniques which leave the binding exposed give work a beautiful,
hand-finished feel.

The following pages show a selection of examples where the

designers have exploited both the paper's potential and the basic
manipulative techniques in order to create work that is both
imaginative and original.
 binding paperwork

A stunningly simple idea, the

pages of this brochure are held
together by a rubber band. This
unusual binding allows the client,
an art consultant, to update the
Pages easily when new artists
are taken on. The client's high
aesthetic standards and low
budget have been met with a
design which uses basic,
inexpensive materials to create a
brochure which is extremely
sophisticated but does not
overpower the images of the
artists’ work.

designed by
Chrissie Charlton & Company,
London
designers
Chrissie Charlton,
Chrissy Levett
client
Sarah Guinan Associates
printer
BFS
 binding paperwork

66 Although perfect bound, every

page of this exquisitely produced
book of poems and
photographs can be folded out
to double its size revealing a
previously hidden image.

designer
Irma Boom, Holland
printer
Drukkerij Rosbeek
stock
coffee-percolator paper
=
 binding paperwork

The two parts of an extruded

aluminium binder slot together to
hold the pages of this property
brochure firmly in place.
Designed so that new pages can
be inserted, and different
combinations sent to different
clients, the binder has been
screen-printed with the name of
the development.

designed by
The Partners, London
designer
Peter Carrow
art director
David Stuart
client
Butlers Wharf
printer
Litho-tech

The binding of this brochure

for an architectural practice was
designed to take a number of
inserts.which were collated and
bound by staff, as required. A
simple but effective combination
of folds, staples and double
sided tape were used to
achieve this.

designed by
williams and phoa, London
designers
Nancy Williams, Albert Kueh
client
Roughton and Fenton
printer
CTD
stock
cover: Elephant-hide 260gsm
text: Parilux Matt 170gsm
 binding paperwork

This British-designed booklet 69

uses traditional Japanese
binding techniques to reflect
the nature of its content: step-
by-step instructions on how
to make an origami flower.

designed by
The Partners, London
designers
Wendy Poulton, Aziz Cami
David Stuart, Nick Wurr
Malcolm Swatridge
art director
Malcolm Swatridge
stock
Whatman Watercolour
 binding paperwork

70 The concertina construction

and free-standing nature of this
promotional piece was used to
reflect the fact that the client
was a major organiser of
exhibitions. As with most
concertinas, this was printed
in two sections which were
glued together.

designed by
williams and phoa, London
designers
Phoa Kia Boon, Sarah
McKenzie, Robert Mytton,
Tim Webb-Jenkins
client
Blenheim Group pic
printer
CTD
stock
covers: Rodacote
text: Consort Royal Supreme
Matt 250gsm

s
r rT OC CE srowee
"noe anre

WN
 binding paperwork

The triangular and heart-shaped 71

cardboard pages of this
brochure for a fashion designer
are presented in a flock-covered
slipcase, creating an odd
juxtaposition of colour, texture
and shape which was intended
to convey something of the
mood of the designer's latest
collection.

designed by
Area, London
designers
Richard Smith, Cara Gallardo
art director
Yvonne Sporre
Client
Koji Tatsuno
printers
silkscreen: Art-O-Matic
packaging: Albany Packaging
 cutting and folding paperwork

f2 Asked to create an invitation to

John Galliano's show which
would somehow reflect his new
collection, the designers created
an unusual, sculpturally shaped,
die-cut card. The combination of
its irregular shape, angled folds
and contrasting colours gives it
an intriguing appearance when
folded up to go in an envelope,
and would make it an interesting
object on any mantelpiece.
Despite its visual appeal it is a
simple design which would be
relatively inexpensive to produce.

designed by
Area, London
designers
Richard Smith, Cara Gallardo
art director
John Galliano
client
John Galliano
printer
Dot For Dot
 cutting and folding paperwork

In this distinctive stationery for a 73

food stylist, a dish of fresh
strawberries - one of the stylist's
raw materials - is turned into a
dish of carefully arranged and
styled fruits. On the compliments
slip, the effect is achieved by
flipping over the top of the
paper; on the letterheading it
happens when the letter is
unfolded. Both only require a
small amount of die-cutting and
folding to create what is a very
memorable visual identity.

designed by
Lewis Moberly, London
designer
Karin Dunbar
art director
Mary Lewis
client
Puff Fairclough
printer
Chater Press
 die-cutting paperwork

74 A mixture of die-cutting, folding

and sewing has been used to
create this poster. The designers
have abandoned the clichéd
rectangular outline in favour of
amore complex solution
An exhibition of
suggestive of the items on modern products
display at the exhibition which ‘od objects created
the poster is advertising. wath a traditional
Japanese aesthetic

designed by
Igarashi Studio, Tokyo
designer
Takenobu Igarashi
client
Takenobu Igarashi
printer
Nissha Printing Company

Octeber 6-Novernber 15. 1988

Creators Gatlery
Yurakucho Seibu, Tokyo
‘October 11-Dstober 18, 1989
internaticnal Design Centar
New York Center Two #210
October 25~Novembar 18.1989
Gollery 81. New York
November 2-Decamber 29, 1988
Gallary ofModern Art,LosAngeles
 die-cutting paperwork

In this greetings card, the 75

simplest of elements have
been combined to create a
satisfyingly complex design.
The mixture of die-cut letters
spelling the client's name,
overlapping process colours,
and a few folds, results in a card
which is an unusual mixture of
colour and shape.

designed by
Fred Troller Associates,
New York
client
Olympia U.S.A.
&o Ge,
uY2ly 39
Coee S 090
“9 ap
Be
 die-cutting paperwork

78 For this book containing the

lyrics of twenty songs by the
band New Order, the designers
were inspired by the Roman
numeral XX. While one of the Xs
has been die-cut into the front
cover, the second is revealed
when the cover is opened.
However, when the book was on
sale it was wrapped in clear
plastic on which an X-shaped
sticker had been fixed, so that
the XX was complete.

designed by
Pentagram, London
designers
Peter Saville, Brett Wickens,
Marc Wood
client
Warner-Chappell Music
 die-cutting paperwork

In this simple, powerful record

sleeve design, die-cut holes

the contrasting orange inner

sleeve inside. The design, done
in 1980 , was inspired Fé L. #. o £

asta cect VSDISI ISIS Io

Say and SMEEEOEERCE 4
a VMEECEOEEECFEESG
lar GUMEPIEIECIEIESh
WIOECEOELIEEEG
UEP EEEEEEF
UMEIEEEEBES SE
VaEPEEEERFES
OMEECERESFSIETS
DME EEFAAADT,
DMAEFEMFAASGA
 die-cutting paperwork

This promotional booklet for

a paper company uses
die- cutting to great effect. Each
spread promotes a different
property of the board, in this
instance moisture resistance.
The main element of each
illustration is a free-form die-cut
shape, which when pulled
back reveals a surprise.

designed by
The Partners, London
designers
Marita Lashko
Greg Quinton
art director
Aziz Cami
client
ISTD Papers
printer
Purley Press
stock
Pressboard 600gsm
 die-cutting paperwork

This calendar for a typesetting

company called Face uses die-
cutting to witty effect. The eyes,
nose and mouth have been die-
cut to reveal the date details.
This information is printed onto
disks which project from the
sides, creating the ears. The
disks are held in place with
eyelets which allow them to be
turned to change the dates.

designed by
Pentagram, London
designer
John McConnell
 die-cutting paperwork

82 In this first day cover book,

created to promote newly issued
stamps, die-cutting has been
used to mimic stamp
perforations so that the
illu&rations of the new issues
seem as much like real stamps
as possible. For a section about
stamps celebrating the work of
the crime writer Agatha Christie,
die-cut perforations were again
used, this time to imitate the
chalk lines which, in detective
stories, the police draw around
bodies.

designed by
Trickett and Webb, London
designer
Andrew Thomas
client
Royal Mail
printer
The House of Questa Ltd
 die-cutting paperwork

A play on the name of the client

company, POD, this calender
uses die-cutting to create three-
dimensional models of pea pods
filled with peas. Careful
alignment of the die-cutting and
the printing on both sides of the
sheet was necessary to make
the idea work.

designed by
Pentagram, New York
designer
Woody Pirtle
client
POD
printer
Williamson
 die-cutting paperwork

Here, die-cutting has been used

as a practical and aesthetically
appealing solution to a
packaging problem. The shape
of the woman's leg has been cut
out of the package so that the
colour and texture of the product
within can be clearly seen.
However, unlike many other
hosiery packs, the die-cut
window forms an integral part of
<=
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the graphic design. O
>=
—s
designed by
ae
Lewis Moberly, London
=
designers
David Booth, Mary Lewis,
>
wm
Lucilla Scrimgeour f—

art director = 8s
Mary Lewis =
fe
client
The Boots Company o~
Lu
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 die-cutting paperwork

The die-cut holes in this card

were strategically positioned so
that the lettering inside could not
be seen and the card appeared
blank. When opened, the hidden
message is revealed.

designed by
M Plus M Incorporated,
New York
designer
Takaaki Matsumoto
client
Knoll International
printer
CGS
 die-cutting paperwork

Half die-cut feminine curves and 87

copper plate, half resolute
straight edges and sans serif,
this personal stationery was
designed for a couple, each of
whom can use it a different way
up. If both are writing, the paper
can be folded so that their
names appear together.

designed by
williams and phoa, London
clients
Bukola French, Ivor French
stock
Mellotex Matt Super White
115 gsm
 die-cutting paperwork

Recipients of this calendar, a

promotion for the Face
Photosetting company, were
expected to participate in its
creation by folding out the die-
cut sections, and the holes left
by the fold-outs become part of
the images, as well as the
folded-out sections themselves.
A mixture of shadows and
colours printed on the back of
the card were used to create
the faces.

designed by
Pentagram, London
designer
John McConnell
client
Face Photosetting

©
—
 die-cutting paperwork

Designed for a caterer, this

stationery has die-cut ‘bites’
taken out of it, a simple but
humorous allusion to her work.
Die-cutting was used in an
equally humorous manner for the
client's moving card, in which
slots were cut to hold an
updated business card in such a
way that it looked like a removal
van. The inserted card, printed
with the company's new
address, could be removed and cats
Ane
mov
kept for reference.

designed by
Pentagram, London
designers
John Rushworth, Vince Frost
client
Celia Keyworth

Btephome <2 27x72

Fazict tie
 die-cutting paperwork

The expensive, but extremely 91

accurate, process of laser-
cutting has been used here to
create a pattern which is so
delicate it almost resembles a
swatch of fabric.

designed by
Igarashi Studio, Tokyo
designer
Yukimi Sasago
art director
Takenobu Igarashi
client
Axis
 folding paperwork

92 This stationery for a masseuse is »®

a simple visual pun on her
occupation. The typography, set
in the shape of a hand, seems to
be massaging the crumpled
paper to smooth it. Each sheet
of the paper, which was chosen
to convey something of the
texture and colour of ski In has to
be crumpled by hand before
being used.

designed by
Bull Rodger, London
designer
John Bull
art director
Paul Rodger
client
Nina Triggs
stock
GF Smith Colour plan
100gsm

~
 folding paperwork

At first glance this diary,

produced in conjunction with a
typesetter, a lithographer and a
printer, appears to be purely
typographic. Illustrations are,
however, hidden behind fold-
outs to excite the reader's
curiosity.

designer
Una, Holland
client
self-promotion
 folding paperwork

In this information pack for the

Student Awards run by the UK's
Design and Art Direction
organization, the file which
contains the information sheets
can be unfolded into a poster.
The image on the poster can be
seen in two ways: either as a
megaphone shouting out the
information, or as the lead in a
yellow pencil, the Design and Art
Direction Association's symbol.

designed by
Lewis Moberly, London
designers
Karin Dunbar,
Bruce Duckworth
art director
Mary Lewis
client
Design and Art Direction
printer
Chater Press
Pa
 three dimensions paperwork

Paper and card offer enormous potential for three-dimensional design. 97

Unfortunately this is rarely exploited in the West, perhaps for reasons
of cost - often this work requires laborious hand finishing. In Japan,
however, ingeniously intricate structures and containers are common.
Sometimes they are created from single sheets of paper or card folded
in such a way that there is no need for staples or glue, a mixture of
simplicity and complexity which gives them a unique charm.

The advantage of using folded paper or card structures for packaging

is that they can be very strong; when folded in certain ways a single
flimsy sheet can take on a remarkable rigidity, ideal for packaging.
Nevertheless, cardboard engineering, as it is known, is rarely used in
this area, other than in its most basic form, probably for
commercial reasons.

Designs which require a lot of work by hand may have to be sent

long distances to places where labour is cheaper. However, such
packaging can be a very efficient use of materials, which may make it
more popular as the rebellion against over-packaging grows.

Pop-ups, on the other hand, are becoming more popular especially in

greetings cards and books. The element of surprise when a two-
dimensional object is transformed into three dimensions generates
and maintains interest because of the viewer's interaction with it.
Because of the labour-intensive finishing which can be required, the
cardboard engineers who create these objects have to use their
skills to get the maximum effect from the smallest number of pieces,
avoiding glueing wherever possible, if the design is going to be
economical to produce.

As a material for sculpture, paper is not as popular a medium as it

was in the 1970s, and there are few people now who have the
necessary skill. Often too flamboyant, much of the paper sculpture
done today tends to verge on the kitsch. There is, of course, no
reason why it should; perhaps it is time to look at it again.

Because of its tremendous versatility, paper has also been used

for a very wide variety of products: loudspeaker cones, lampshades,
disposable clothing and even wedding dresses. Lloyd Loom,
the wicker-like furniture which became popular in the early part of
the century, is made of varnished twisted paper and many early
examples are still in use - a testimony to its durability.

We should not, then, assume that paper is disposable material only

suitable for ephemera: approached with an open mind, in the hands of
an imaginative designer, paper can be used to create almost anything.

The examples in this section have been restricted to those produced

by graphic designers. They do, however, demonstrate the way that
paper successfully lends itself to the third dimension.

il
i
 packaging paperwork

The thick, rough texture of this

packaging provides an
interesting contrast with the
smooth, shiny glassware it
protects.

designer
Akio Okumura, Japan
client
Kazu Jewelry Design Studio
printer
Packaging Create
 packaging paperwork

The robust, utilitarian box in

which this range of towels is
packaged can be transformed
into a display case by means of
its string fastening.

designed by
Akio Okumura, Japan
designer
Mikito Tanaka
art director
Akio Okumura
client
Uchino
printer
Taihei Printing
 packaging paperwork

100 A mixture of thick, flexible paper

and stainless-steel panels was
used to create a visually exciting
and suitably robust container for
earthenware products. The
dramatic contrast between the
soft, crinkly, matt texture of the
paper and the smooth, hard,
shiny steel makes this a
particularly tactile and intriguing
design.

designed by
Akio Okumura, Japan
designer
Akio Okumura
client
Seibu
printer
Packaging Create
 packaging paperwork

This range of unusually shaped 101

boxes was designed to take tap
fittings with the minimum of
wasted space. Each box was
constructed from only two
pieces of card, held together by
a series of ingenious folds, tabs
and slots.

designed by
Pentagram, London
art director
David Hillman
designer
Nancy Williams
client
Ideal Standard
stock
‘B' flute corrugated
 packaging paperwork

102 Textured recycled paper, metal

hinges, unusual fastenings and
blind embossed hallmarks were
combined to produce packaging
which would appeal to the
aesthetic sensibilities of the
designers and illustrators who
would be using this range of
pencils. The result is lavish but
subtle.

designed by
Newell and Sorrell, London
designer
- Derick Hudspith
art directors
Frances Newell, John Sorrell
client
Berol
 pop-up paperwork

Interest was added to this

moving card by the church
portico which pops up when the
card is opened. The designers,
who were their own clients on
this project, got their
ecclesiastical theme from the
architecture of their new studio,
which had formerly been a
church.

designed by
Keeble & Hall, London
designer
Imogen Davis
art director
Janine Hall, Chris Keeble
client
Keeble & Hall
printer
Taylor Bloxham
stock
Ikonorex Special Matt ieee
Ivory 250gsm
 pop-up paperwork

What might otherwise have been 105

a dull biology book was made
fun by the inclusion of a number
of pop-up and movable
illustrations, which very
graphically illustrate the workings
of the human body.

designed by
Pentagram, London
designer
David Pelham
client
Jonathan Cape

The head. You canthink of your boty am

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 products paperwork

106 The designers of this range of

stationery folders took a new
look at an old material, papier
maché, usually thought only
suitable for cheap, disposable
packaging. By dying the
newspaper pulp and mixing it
with beeswax, they created a
material which was evenly
coloured and waterproof,
resulting in a range with a
chunky, grainy aesthetic unusual
for such products.

designed by
Priestman Associates,
London
designer
Nigel Goode
art directors
Nigel Goode, Paul Priestman
client
Colourstyle
printer
Colourstyle
 products paperwork

108 Various paper qualities have

been exploited in the production
of these clocks. Both versions
are based on simple two-part
constructions, rivetted together.
Holes are die-cut into the front
surface to take the hands and in
the back to access the
movement. For one clock, the
smooth surface of a coated card
was silkscreened with metallic
and fluorescent inks; light falling
on its curved face is absorbed,
reflected and dissipated. The
calligraphic pattern on the
surface of the other clock was
embossed into heavily textured
watercolour paper to create a
smoothly ridged effect, and at
530mm x 370mm was the
largest area it was possible to
have embossed. The clocks
were presented in a one piece
corrugated carrying case.

designed by
williams and phoa, London
designers
Phoa Kia Boon
Richard Bonner Morgan
client
williams and phoa
printer
silkscreen: Art-O-Matic
embossing: Foil Ribbon and
Impact Printing
finisher
clocks: RHB Print Finishers
cases: Duffin Containers
stock
Keaykolour Bockingford Not
Coated carton board
Mounting board
Craft B flute
110 These clocks were developed to
answer specific briefs posed by
a variety of clients: a promotional
piece for Finsbury Dials, a
modern development in the City
of London; a gift to mark a new
identity for an architectural client
and a clock to emphasise the
importance of Leeds as a
financial centre. Once again a
variety of techniques were used
in their production.

designed by
williams & phoa, London
designers
David Baird, Laura Heard
Phoa Kia Boon, Nancy
Williams
clients
Norwich Union Insurance
Group, TTSP, Scope
printers
letterpress: Hand and Eye
silk screen: Art-O-Matic
finisher
RHB Print Finishers
stock
Coated carton board
Bockingford Not
Mounting board

FINSBURY DIALS
 sculpture paperwork

A satisfying combination of solid 111

cast iron base, elegant spiral
holder and delicate paper shade
provide a pleasing balance of
materials and textures in this
side-light.

designed by
Igarashi Studio, Tokyo
designer
Takenobu Igarashi
client
Yamada Shomei Lighting
materials
cast iron, washi paper
 sculpture paperwork

12 The three-dimensional effect of

the paper sculpture tower
inserted into this wine label for
La Tour Carnet brings an
otherwise low-key design to life.

designed by
Halpin Grey Vermeir, London
designer
Pierre Vermeir
client
Halpin Grey Vermeir
printer
M&M

SEASON'S GREETINGS

Chateau

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alternative materials paperwork
114 materials : + nots

cotton i ; rt

metal Mag

perspex

plastic

pve

rag oe SAA fic gc : ae a ; -.

wood
alternative materials paperwork

Although paper is incredibly versatile it is exciting to ring the changes 115

occasionally. Graphics can be applied to anything: cloth, plastics,
metal and rubber, for instance, can all be incorporated into designs.
Many designers are experimenting with the unexpected textures of
out-of-the-ordinary materials to create objects which surprise and
intrigue and so engage the viewer's interest.

Invitations, catalogues and corporate brochures made of plastic, metal

or even glass are now to be seen with unexpected regularity, as
well as designs for exhibitions, which, perhaps because they are semi-
architectural, have long incorporated the use of such materials.

Plastic paper such as Tyvek, Polyart and Dyverse, seemingly the most
obvious alternative to paper, is very seldom used. Apart from
envelopes it is rarely seen, although there must be uses to which this
strong, washable, virtually indestructible material can be put - it would,
for instance, seem ideal for manuals and children's books.

Since the 1950s when plastics were championed as being the epitome
of modernity there has been a backlash against them, but now graphic
designers are using them very creatively, experimenting with their
various textures and opacities and exploiting the purity of colour they
offer. With the exception of the plastic papers, most plastics have had
to be printed using either the silk screen or flexographic processes.
However, it is now possible to print plastic sheets using offset litho,
although the static build-up can create problems for the printer.

Metal is an alternative that is being used more and more and is

available in thin enough weights to be used for brochure covers and
business cards. Images can be applied by silkscreen or acid etching
and lasers can be used to cut intricate patterns into or through the
surface. In addition, surface effects such as verdigris can be created
py chemically treating the surface.

The use of cloth has mainly been restricted to book binding and
children's books, but there is no reason why it should not be used
more extensively on small quantities. For example Vylene, the fabric
used for stiffening collars and so on, is a stable synthetic material
which can, with reasonable care, be printed. Its advantage over woven
cloth is that the edges do not have to be finished off because its
bonded fibres prevent fraying. Its durability, flexibility and washability
are surely properties that could be exploited further.

With any of these materials the main problem is often finding a printer
or finisher with experience of them, or one who is willing to experiment.
The following examples show how worthwhile this experimental
process can be.
 cotton paperwork

116 Thin layers of gauzy cotton

attached to backings of recycled
paper make this poster,
brochure and card tactile and
eyecatching. Designed to
promote an exhibition of work by
a fabric designer, using a mixture
of screen printing and litho, they
are an example of very simple
materials and techniques used
to engage the viewer's interest.

designed by
Andrea Muheim, Bolzano
art director
Marco Philipp
printer
Reprof ag CH Gurtnellen
client
Muheim family
 metal paperwork

The corrugated cardboard 117

which protects this design is
usually used for packaging
bottles. Here it wraps an
aluminium folder containing
limited-edition prints, a tenth
anniversary present from a firm
of architects to its clients. The
two sheets of aluminium - a
metal chosen because it is the
traditional tenth anniversary
material - are held together by
two Philips screws, chosen
because the cross on the head
of one of them forms the
ampersand in the company's
name, engraved on either side.

designed by
williams and phoa, London
designers
Albert Kueh, Nancy Williams
client
Jestico & Whiles
printer
Litho-tech
metalwork
Respoire Architectural
stock
metal: aluminium sheeting
6 gauge
sleeve: expandable
corrugated board
prints: Consort Royal
Supreme Matt
 metal paperwork

118 Asked to design a catalogue

which could be easily updated,
M Plus M took a different route
from the usual solution of a ring-
binder and hole-punched pages.
Instead, the loose-leaf sheets
were presented in a smart and
tough anodized aluminium box,
screen-printed with the client's
name.

designed by
M Plus M Incorporated,
New York
designer
Takaaki Matsumoto
client
Comme des Garcons
printers
Nissha Printing, Saunders
Manufacturing

COMME des GARCONS

 perspex paperwork

Squares of vividly coloured see- 119

through perspex held in place by
contrasting rubber bands form
the cover of the brochure for
fashion designer Koji Tatsuno.
Removing the cover is like
Opening a present; inside, the
unbound pages are on a mixture
of stocks, ranging from dull
sugar paper to high-gloss silk,
printed with bright, atmospheric
images. The combination of
materials, textures, colours and
surfaces makes this unusually
exciting.

designed by
Area, London
designers
Richard Smith, Cara Gallardo
art director
Yvonne Sporre
client
Koji Tatsuno
printers
silkscreen: Art-O-Matic
litho: Dot For Dot
materials
perspex: Haymar Acrylic
rubber bands: Pentonville
Rubber
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 plastic paperwork

Filled with brightly coloured 121

liquid, these floppy plastic
invitations for fashion designer
John Galliano's show are
immensely tactile and difficult to
ignore. The graphics were silk-
screened on to the pvc bags,
which had to be robust enough
to survive sending through the
mail without leaking.

designed by
Area, London
designers
Richard Smith, Cara Gallardo
art director
John Galliano
client
John Galliano
printers/suppliers
bags: A& A Vacuum Packing
invitations: Art-O-Matic
labels: Richard Harden
stock
bags: clear rigid pvc
120 micron
labels: transtext self-
adhesive
 pvc paperwork

122 A simple but effective design of

bold silk-screened graphics on a
transparent plastic bag.

designed by
Signo, Milan
designer
Heinz Waibl
client
Bticino
 pvc paperwork

The clear plastic cover of this 123

brochure is filled with water and
coins. It is an unusual use of
materials, the result of a brief
which asked for a memorable
promotion for a property
development called The
Fountains. The idea was a play
on the tradition of throwing coins
into fountains for good luck.

designed by = = «
The Partners, London ins have captivated and
designer en hanted humnar'senses
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Five Oaks Investments ) 4

 rag paperwork

124 According to tradition,

anniversaries are associated with
special materials such as silver
and gold. It is less well Known
that the material for a second
anniversary is rag. Inspired by
this, design company The
Partners made a rag book to
celebrate its second anniversary.
A pastiche of the rag books
sometimes given to small
children, it is printed with brightly
coloured images illustrating
famous partnerships.

designed by
The Partners, London
designer
David Stuart
client
The Partners
printer
Planet Display
stock
100% cotton

Bill and Ben Jekyll and Hyde

 wood paperwork

“TQ, a furniture company which designed by 125

specialized in one-off pieces, Giant, London
needed a brochure which would client
demonstrate its craft skills to its TQ
potential clients, interior materials
designers. Given the small print Aircraft plywood, draw film
run, the brochure's designers
were able to experiment with
materials and techniques which
required hand finishing. The
result is a booklet which, like the
furniture it advertises, is mostly
made of wood.

Slices of wood from storm- designed by

damaged trees were turned into Giant, London
invitations for an unusual Alpine- client
themed Christmas party held by Giant
a design company. The text was
added by the designers
themselves, using a blow-torch
to heat up the specially made
embossing tool so that the
words were burnt into the
surface of the wood.
 wood paperwork

126 These three bi-monthly

calendars were hand-assembled
by the designer from a range of
materials including plywood,
paper, steel rods and washers. A
combination of the detail of the
graphics, the sculptural curves
of the plywood and the delicacy
with which the paper has been
cut and folded has given them
the feel of precious artefacts
despite the ordinariness of the
materials from which they have
been made.

designed by
Nick Bell, London
client
Peter Milne Furniture Makers
stock
Simulator 160gsm
Consort Royal Supreme Matt
135gsm
materials
birch-faced aeroply 1.5mm,
threaded steel rods, nuts,
washers
 wood paperwork

128 Made of ebony and cypress

wood, this puzzle was created
as a promotion for a furniture
company. The precision of the
cutting and finishing and the
texture and colours of the wood
act as visual and tactile
reminders of the company's
products.

designed by
Signo, Milan
designer
Heinz Waibl
client
Linea Legno
130 techniques

mixed
mixed media paperwork

As most of the individual techniques and effects which graphic 131

designers can use have been covered in the previous sections, there is
little to add here. However, as the images in this section illustrate, the
judicious combination of such techniques and media can lead to
exciting contrasts of texture, colour and tactile qualities which can
startle, intrigue or delight the viewer.

Interestingly, it appears that the designers who are most imaginative in

their use of different papers tend also to be those who are most open
to the possibilities of creating work which uses a rich mixture of
materials and effects. Consequently, many of the designers whose
work has been included in this section are those whose work can also
be found scattered throughout the book.
 mixed paperwork

132 By reconsidering a very ordinary

material, bubble wrap, the
designer of this calendar has
created an object which is
simple, functional and great fun.

designed by
Akio Okumura, Japan
designer
Takeshi Kusumoto
art director
Akio Okumura
client
Packaging Create
printer
Inoue Paper
 mixed paperwork

134 Wrapped in protective

corrugated cardboard, tied with
string and sealing-wax, the
packaging for this self-
promotional booklet on the
theme of music shows how very
basic materials can be used to
add fun to a project.

designed by
Benoit Jacques, Paris
= ied
emi tatram i’.y
client
Benoit Jacques
materials
corrugated card, string,
sealing-wax
 mixed paperwork

A self-promotional piece which 135

combines a wide range of
stocks and effects, including
blind embossing, tipping-in, foil
blocking and individual
numbering. On opening the
booklet, the viewer is surprised
by its torn pages, which appear
to be corners from letterheads
and are there as examples of the
designers’ work. To incorporate
these into the booklet, the pages
had to be hand-torn and then
sewn in.
Mankind OUR Riek ANMVERSASY
designed by
Bull Rodger, London
designer
Laurence Grinter PALE Rote:
art director
John Bull
client
Bull Rodger
stock
text: uncoated cartridge
135gsm
cover: coated cartridge
200gsm
 mixed paperwork

136 Hand-applied metal

reinforcements reminiscent of
those found on furniture give this
calendar a traditional craft feel at
odds with the modernity of the
minimalist graphics. The
calendar, packaged in a tube,
was made of Fabriano paper.
This stock was chosen because
of its ability to absorb moisture
from the atmosphere, so
that once unrolled it would
quickly flatten out.

designed by
clean, London
designer
Stephen A Taylor
stock
Fabriano Rosaspina bianco
220gsm
 mixed paperwork

Bubble wrap and corrugated 137

cardboard - typical packaging
materials - were used to
‘package’ this brochure for the
British Rail Parcels Group.
Designed both to raise _
awareness of the Group within
British Rail as a whole, and to
encourage new corporate
business, the brochure is an
example of very ordinary
materials being used in a witty
and attractive way.

designed by
Roundel Design Group,
London
designers
Michael Denny, John
Bateson, Darren Richardson,
Sarah Perry
client
British Rail Parcels Group
materials
single-sided flute board,
bubble-wrap, Consort Royal
Supreme Silk 200gsm
In this stationery range a number
of different techniques, including
blind embossing, die-cutting and
foil blocking, have been used to
achieve a rich visual texture.
Many items have been designed
using techniques which affect
both sides of the paper; the
business card, for instance, has
been punched with a hole which
links the company name on the
front to the designer's name on
the reverse.

designed by ,
Koeweiden Postma, Holland
client
Koeweiden Postma
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Pergenenenries
 mixed paperwork

140 Based on a line from W.B. Yeats'

poem Cuchulain Myths, and
influenced by the work of
Joseph Beuys, 'six mortal
wounds' is an elaborate self-
promotional mailer in which the
process of unwrapping the
packaging - which includes loft
insulation foam, drafting film and
cardboard - is as important as
discovering the contents. The
insulation protects a transparent
envelope, fastened with waxed
bookbinders' string and a fishing
weight. The envelope contains
smaller envelopes which
themselves contain cards
representing the 'wounds to
humanity’.

designed by
Nick Bell, London
designer
Nick Bell
client
Nick Bell
materials
envelope: Italian Ingres
Fabriano 80gsm
translucent wallet: Uno
drafting film
holding block: loft insulation
foam
block surround: corrugated
cardboard
wallet enclosure: lead fishing
weight, waxed bookbinders'
string
 mixed paperwork

The front cover of this book is a 141

piece of polished wood, the
back cover a wood-patterned
laminate; the two sides were
attached with a traditional cloth
quarter binding. The text pages
carry tipped-in images relating to
the copy. Created as a Self-
promotion, it celebrates the fifth
anniversary of a design
company, and is one of a series WHERE wooD
of such booklets. Each year's
book has been based on the
material which is traditionally
associated with that year's
anniversary.

designed by
The Partners, London
designer
Shaun Dew
client
The Partners
printers
CTD, Anderson Fraser
 mixed paperwork

142 The cover of this brochure for

two glass artists is a physical
reminder of the material they
work with. The glass of which it
is made has been etched with
the ‘fragile’ pictogram, and wire-
bound to the rest of the
brochure's pages.

designed by
Pentagram, London
designers
John Rushworth, Lorenzo
Shakespear
client
Radford & Ball
 mixed paperwork

144 The clear, colourless plastic

wrap-around covers on this set
of brochures for an architect
were printed using a mixture of
litho and silkscreen on the
reverse, with the name of each
building reversed out of the
photographic image so that the
white paper beneath shows
through. Inside the booklets,
technical drawings, computer-
generated images and almost
abstract photographs of details
of the architect's scale models
give an unusually impressionistic
view of his buildings. The text
pages were singer sewn along
the spine - an exacting task for
the finisher.

designed by
williams and phoa, London
designers
Phoa Kia Boon
Sarah McKenzie
client
Peter Foggo
printer
CTD
stock
cover: Huntsman mark
resistant 140 microns
text: Parilux matt white
200 gsm
x
\
 mixed paperwork

This range of stationery for a

lighting consultancy relies on
light for its effect. The back of
the letterheading has been
printed solid black - except for
the company's name which has
been reversed out in mirror iU & MORROW
writing. When the paper is held
to the light the name is
illuminated and appears the right
way round. The business ‘cards'
are in fact black-printed plastic,
with the company name left see-
through, and the other details
printed on the black surface in
black ink so that they only show
up when light hits the card from
a certain angle.

designed by
williams and phoa, London
designer
Laura Heard
client
Konu & Morrow
printers
Art-O-Matic
stock
letterhead: Mellotex Ultra
White 115 gsm
business card: Huntsman
mark resistant 220 microns
 mixed paperwork

An invitation to celebrate five 147

years in business. The outer
card was debossed to house a
musical mechanism which
played the tune ‘happy birthday’
when opened. The device was
triggered by a die-cut slot in the
blue insert which was tipped-in
to the outer card.

designed by
williams and phoa, London
designers
Nancy Williams
Phoa Kia Boon
client
williams and phoa
printers
Face
stock
Fabriano Designo
 mixed paperwork

148 In response to a brief from D&AD

and Royal Mail to reduce the
cost and increase the efficiency
of a briefing package for a
student competition, this
solution combined the functions
of an envelope, folder and loose
leaf instruction sheets into one
item. Tear-off strips top and
bottom converted the envelope
to the cover, into which the
instruction sheets were stapled.
A label with decorative stamp
perforations was applied to the
envelope.

designed by
williams and phoa, London
designers
Richard Bonner Morgan
Nancy Williams
client D&AD— 89
D&AD/Royal Mail
printers student awards
scheme
Fernedge
labels: Abacus
perforation
Harrison and Sons
stock
label: Super Flat Sam 80gsm
cover: Chipcote 600 micron
text: Trucote velvet 170gsm

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150 The aim of this self promotional

brochure was to reflect, as
accurately as possible, the
unique aspect and quality of the
original work that was
represented. In order to do so,
many techniques were used.
These included die-cutting and
creasing to recreate a three-
dimensional pack; die-cutting to
imply three coordinated letter
heads, and using punched holes
and folded paper inserts held
together with ribbon to represent
a concert programme. In
addition the foil blocked covers
of the loose leaf binding were
blind embossed to
accommodate the interscrews
which held the pages in place.

designed by
williams and phoa, London
designers
Nancy Williams
Phoa Kia Boon
printers
CTD
stock
cover: pressboard 600 gsm
text: parilux matt - various
weights
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 terms and techniques paperwork

152 This section comprises a comprehensive list of terms and techniques which Block Name for text pages without a cover/before binding.
are either directly or indirectly related to paper. Entries are listed alphabetically Blotting Highly absorbent paper used for soaking up excess liquids, e.g. ink.
and cross-referenced where necessary. Board General term for paper above 220 gsm encompassing numerous
grades, multi-ply, coated and uncoated.
‘A’ series International ISO range of paper sizes reducing from the largest, AO Body paper See Base paper.
(841x1189mm), by folding in half to preserve the same proportions at each Bolt Name given to the folded spine of a folio.
reduction. See Sizes of paper. Bond Uncoated paper generally used as writing paper.
Absorbency The degree to which paper takes up contact moisture, measured Bonding strength The extent to which fibres at the surface of the paper
by a standard test. adhere to one another and to the fibres below the surface. ~
Acid-free Free from acid-producing chemicals and, of more concern to fine Book paper General term for paper specifically made for book production.
artists than designers, acid-free papers are more durable and less prone to Book jacket General term applied to printed dust cover or wrapper on books,
yellowing than others. usually a high-quality coated grade.
Air-dried Paper dried by a current of warm air after tub sizing. Brittleness The extent to which paper cracks or breaks when bent
Air mail Extremely lightweight paper usually below 40gsm, used for stationery or embossed.
and book interleaves. See Onion skin. Brightness The amount to which a paper reflects white light.
All-rag paper Paper made from a pulp made of rags. Now also refers to paper Bristol board High-quality smooth board.
made of cotton linter pulp. Broke Damaged or defective paper often discarded during manufacture and
Antique A printing paper with a rough finish but good printing surface, valued usually re-pulped.
in book printing for its high volume. Available in laid or woven. Broken ream Part of a ream of paper left after use.
Archival paper A paper with long-lasting qualities, acid-free, usually with good Brush-coated Method of coating paper using oscillating brushes.
colour retention. Bulk The thickness of a paper measured by calliper, volume or ppi.
Artists original High-quality paper, often made from a rag or cotton furnish, Bulky mechanical Paperback books, office/store-cash/adding machine paper.
that simulates handmade paper but is made in a continuous process using a Burst A means to gauge strength of paper.
cylinder mould machine. Bursting Term referring to the separation of perforated sheets.
Art paper and board See Gloss art paper.
‘C’ series ISO envelope sizes, to fit stationery of A series dimensions.
‘B’ Series International ISO range of sizes designated for large items (wall See Sizes of paper.
charts and posters) and falling between A series sizes: BO is 1000 x 1414mm. Calender Set of rollers through which paper passes under pressure to impart
See Sizes of paper. a smooth finish. See Supercalender.
Backing up Printing the reverse side of a sheet already printed. Calliper The thickness of a single sheet of paper measured in millimetres,
Bank Lightweight wood-free writing and printing paper, 45-60 gsm, available microns or 1/1000 inch. A micron is 1/1000mm.
in tints, for correspondence, copy typing, multi-part sets (NCR). Carbon paper Base paper usually comprising a thin tissue or other lightweight
Banker Style of envelope with an opening on the long edge and a diamond- grade coated on one side with a mixture of carbon black or other colouring
shape flap. Described as either high-cut or low-cut depending upon the throat. agent and a chemical substance which acts as a carrier.
Base paper Paper before coating, also known as body paper or body stock. Carbonless paper Comprises a minimum of two sheets of paper: the
Basis weight The weight of paper in grammes per square metre. underside of the top sheet coated with a mix containing colourless dye in
Basket felt Paper with a weave-effect finish, used for heavy manilla papers. minute gelatin capsules, the underneath sheet coated with a mix containing a
Bible paper A very thin opaque paper for airmail, bibles, diaries, etc. special dye which turns blue when penetrated by the colourless dye. The
Blade-coated Refers to the steel blade which levels and controls the china application of pressure on the top sheet causes the gelatin capsules to break
clay coating applied to base paper. See Gloss art and Matt-coated paper. and the blue dye to appear on the sheet underneath.
Bleached mechanical Paper made of chemically bleached mechanical pulp, Cartridge Printing or drawing paper with good dimensional stability, high
sometimes called improved newsprint. Used for inexpensive, one or two- opacity and good bulk. Is prone to ink rub, but this can be prevented using
colour magazines. inks with a high wax content. Used for drawing paper, envelopes etc.
Bleed Additional margin allowed for pictures that go into the trim area. Case |n bookbinding, the covers of a hard-bound book.
Blind embossing Embossing without using ink to create a raised design in Cast-coated papers High-quality printing.
paper or card which is visible because of the shadow it casts, white and very Chain lines The watermark lines which run at right-angles to laid lines on the
dark stocks lessen the shadow effect. Not suitable for items which may be laid surface of the mould.
photocopied, faxed or laser printed. Chalking Term used in heat-set web offset when the ink does not key to the
Blistering Heavy coated stocks can blister if printed by heat-set web offset. surface of the paper and can be removed by rubbing.
The heat used to dry the ink causes the moisture in the paper to form blisters. Character The distinctive characteristics of a paper such as wove or laid.
 terms and techniques paperwork

Chemical pulp Pulp produced by treating wood with chemicals rather than into which the paper is pressed. In this case the recess of the die is coated 153
grinding it mechanically. Chemical pulp contains fewer impurities than with either oil or water-based inks. Metallic inks are sometimes polished by a
mechanical pulp, it is stronger, and produces paper which.is less likely to second hit without ink. Not recommended for laminated, varnished or cast
yellow when exposed to light. Papers made of chemically pulped wood are coated stocks. Traditionally used for crests and logos.
sometimes known as ‘wood-free’ papers. Dimensional stability The dimensional stability of a paper is the percentage
Cheque papers Chemically treated security paper, usually to specification, of elongation or shrinkage caused by a given change in the relative humidity
which may contain-watermarks and other security features against fraud. or moisture content in the air. It is a measure of the paper’s tendency
China clay A white refined clay used extensively in loading and coating mixes. to misregister.
Chipboard A cheap grade of board usually manufactured from lower grades of Discolouration Most papers tend to yellow as they age, particularly in a
waste paper and available unlined or lined on one or both sides. polluted atmosphere. Papers made from mechanically pulped wood will yellow
Chromo-coated Usually one-sided coated, high-quality gloss paper or board much more quickly and easily than those made of chemically pulped wood
for proofing, inserts etc. (wood-free). Cheap, coloured papers will fade in sunlight; more expensive
Cloth lined/centred Paper with a muslin/linen centre or backing used to ones may contain colouring agents resistant to this.
strengthen. Used for charts, maps, envelopes, identification bags, etc. Dot gain When halftones are printed, the dot on the paper will be bigger than
Coated paper Paper-coated with china clay or similar materials to give a the dot on the printing plate or screen. The amount by which is it bigger is the
smooth surface good for halftone reproduction. See Gloss art and Matt dot gain, and is dependent on factors such as the surface of the paper, the
coated papers. pressure used and the type of ink.
Cockling Wavy edges on paper caused by unstable atmospheric conditions. Double-coated Paper which has been passed through the coater twice.
Cold pressed (CP) The surface quality of a sheet of paper. See Not. DPI Dot per inch - used to describe fineness of a printer's screen - usually
Concertina fold Folded literally like the bellows section of a concertina. from 150 to 400DPI.
Conditioning Exposure of paper in controlled atmospheric conditions for Drawing papers and boards High-quality papers, either handmade or mould-
moisture equilibrium. made, often tub-sized and with an all-rag furnish.
Continuous stationery Stationery paper in perforated reel or folded Duplex papers and boards Two qualities or colours combined on the
automatic feed. paper machine.
Copier paper Lightweight grades of paper used in photocopying machines. Duplicating papers Unsized and semi-sized papers with a built-in quick-
Cotton fibre The soft white filaments attached to the seeds of the cotton plant. drying facility for use in the duplicating process.
Cotton fabric is made from the long fibres, leaving behind short fibres, called
linters, which can be used for papermaking. Cotton rags can also be turned Embossing Creating a raised surface pattern in paper or card by pressing it
into pulp for papermaking. See Rag. between a male and female metal die. For simple designs the die can be
Copperpliate printing Traditional process using a hand-engraved copper plate, photo-engraved; more complex patterns have to be engraved by hand, which
which is printed from using the intaglio method. Generally used for invitations iS more expensive. To prevent the paper splitting a non-coated stock with long
and business cards. or random fibres should be used. If the image is sunk into the page it can be
Cover paper and boards Used for catalogues, cards, booklets, etc. described as debossed. See Blind embossing.
Cross direction Across the web, at right-angles to the machine direction. Enamel paper High gloss-coated on one side.
Crown See Sizes of paper. Endpaper Strong paper used for securing the body of a book to its case.
Curling A curl can be caused by several factors: the difference in structure or Engine sized Chemicals added during pulp preparation to aid surface
coatings from one side to the other, moving it from one atmosphere to another ink resistance.
before printing, which may change its moisture content, or, by contact with the Environmentally friendly (See Recycled) A paper may be environmentally
process moisture during printing, e.g. during offset printing. friendly for any/all of the following reasons:
Custom-making Paper made specially to client specifications. - There is a policy of re-planting to replace those cut down to be pulped.
Cut size paper Small cut sizes for office stationery use. - No chlorine is used in the bleaching process. Bleaching pulp with chlorine
Cylinder-mould The type of papermaking machine most commonly used results in toxic effluents.
today in the production of mould-made papers. - High straw content, therefore less wood pulp needed.
- The papermaking process used is itself environmentally friendly - for instance,
Dandy roll Large cylindrical roller used on a Fourdrinier machine which the mill uses as little energy as possible, and minimises or cleans the effluents
impresses the watermark on to the paper. it releases into the environment.
Debossing See Embossing. Esparto Type of grass from North Africa with good papermaking fibre
Deckle edge The wavy, feathered edges of a sheet of handmade or mould- properties for smoothness in writing and printing papers.
made paper. Handmade paper has four deckle edges; mould-made has two. Ex merchant stock Papers obtained direct from a merchant's warehouse.
Die stamping This process is similar to embossing in that a femal die is used Ex mill stock Papers ordered through a merchant for delivery from mill stock.
 terms and techniques paperwork

154 Fastness Resistance of colour to fading. Gloss art papers These are highly calendered china clay or chalk-coated
Felt mark The rough surface of paper, dried naturally covered by felt. papers, with the following properties:
Fibres The basic structural material in all sheets of paper. Most papers contain - provide the highest-quality reproduction in terms of detail/definition
wood fibres, but fibres suitable for papermaking can be extracted from cotton, - the ink sits on top of the paper allowing it to dry quickly
linen, jute, Kozo, gampi, manila and many other materials. The longer the - minimal dot distortion/dot gain
fibres, the stronger the paper. - can reproduce fine screens up to 400 dpi
Fillers Substances which are added to the pulp to make a harder, more - inks often appear matt against the paper surface
opaque paper surface. - opacity and bulk not as good as matt paper because of calendering.
Fine papers High-quality papers. Gloss ghosting Effect caused by a combination of the paper quality and the
Finish A general term for the surface characteristics of papers and boards. amount of ink and varnish being carried, which can cause a yellow ghosting
Finishing Processes that the printed sheet goes through in order to produce on the paper white areas of the reverse side to a dense printed image.
the final item, e.g. creasing, die-cutting, binding etc. Also, in paper making this Grain The alignment of fibres in machine or mould-made paper, sometimes
term refers to the practices of drying, sizing and looking over sheets of paper called machine direction. Long grain or grain means that the fibres run parallel
after the papermaking processes are completed. to the longest side of a sheet; short grain, that they run parallel to the shortest
Flexographic Cost-effective printing technique used on rotary-fed production. side. Handmade paper has no grain as the fibres are distributed randomly. The
Fluorescent paper Dyed or coated with fluorescent pigments activated by UV grain of a machine or mould-made paper results in the following properties:
light to glow brightly. - The paper tears more easily along the grain
Foam-centred board Display boards for advertising, promotions etc. - It folds more easily and sharply along the grain: consequently folds
Foil blocking Technique of applying a thin layer of metal or foil to the surface of should be aligned along the grain
paper using a metal block, heat and pressure. It is the only way to achieve a - It is stronger and stiffer across the grain
truly metallic look with a smooth, shiny surface. Also provides an opaque - It expands or contracts across the grain - consequently, when
media when blocking light colours onto dark, or flat colour onto flecked stock. printing, the grain should run across the machine
Foil-lined boards Box making, labels, wrappers especially for food. The following are ways of assessing the grain direction in a paper:
Foil papers and boards Papers and boards with a metallic laminated surface. - Look at the packet label of the unprinted paper; in the UK the
Folding boxboard White lined boards made from a top-quality furnish, coated, second dimension of the sheet size indicates the grain direction. e.g.
impregnated or laminated with exceptional scoring and folding properties. 450 x 640mm is long grain; 640 x 450mm is short grain
Folio In book production, a sheet of paper which is folded to form pages, - Slowly tear the paper in one direction, then again at right-angles. The
always comprising multiples of 4. Also refers to pages number. See Signature. straightest tear will be the one in the grain direction
Foolscap See Sizes of paper. -Wet a sample of the paper. The axis of curl is in the grain direction
Formation The fibre distribution in a sheet of paper as it appears when held up - For board; flex a square piece in both directions. The stiffest will be
to the light. at right angles to the grain direction.
French folds/binding Term used to describe concertina-folded pages which Grammage (gsm/gm2) The weight of a single one metre square sheet of a
are bound at the spine. paper. It is expressed in grams per square metre (gsm or gm2).
Furnish The mixture of pulp and additives from which a paper is made. Greaseproof Translucent paper, with a high resistance to penetration by
Fourdrinier The name of a type of paper machine in which paper is made at grease or fats, produced by prolonged heating in the pulp stage.
high speed in a continuous web. Greyboard Board made entirely from waste paper; used in bookbinding and
packaging.
Galley proof Proof of setting before being made into pages, rarely used. Gripper edge Leading edge of paper as it passes though a printing press.
Gampi Used for papermaking in Japan, its thin, glossy fibres result in Gripper margin Unprintable blank edge of paper which is held by the grippers
translucent papers which are very tough. which control the flow of the sheet as it passes though the printing press.
Gate fold Describes pages which fold inward from a central page. Gummed papers Base papers web-coated with water-based adhesive.
Ghosting Normally seen when solids are printed with white out areas that Gusset pocket An open-end envelope with expandable sides.
appear as ghost images within the solid print. Gutter The blank space or printed area between pages which runs into
Glacine Transparent paper used for window envelopes, photo bags, the binding.
interleaving books, sweet packaging, etc. Is available embossed with intricate gm2/gsm Grams per square metre - see Grammage.
patterns and in rich colours.
Glazing The process of smoothing a paper surface, usually by running dried Handmade Paper made by hand.
sheets through steel rollers or between polished zinc plates. Heat-sealed Paper coated with an adhesive material that is activated by the
Gloss The light reflectiveness of the surface of a sheet of paper; a shiny or application of heat.
lustrous appearance. Hickeys In offset-lithography, spots or imperfections in the printing due to
 terms and techniques paperwork

such things as dried ink skin, paper particles, etc. Loading China clay, chalk and other minerals mixed in with pulp. 155
Hinges The sections of a cover adjoining the spine which are glued to the book Long grain See Grain
block in the binding process. -
Hot pressed (HP) Handmade or mould-made paper with a smooth surface Machine-coated Coating applied to base paper while on papermaking
achieved by passing sheets through hot, heavy metal plates or rollers. machine.
Hygroscopic Tends to absorb moisture from the air. Machine glazed Gloss finish on one side achieved by drying against large-
diameter heated cylinder.
Imitation art Paper highly loaded with china clay and gloss finish to give the Making order Minimum quantity for special making of paper.
appearance of coated art. Manifold paper Lightweight bank paper, less than 44 gsm.
Imperial See Sizes of paper. Manila paper Strong paper for envelopes and files, formerly made from hemp.
Imposition The way in which pages are arranged so that after printing and Matt-coated papers Papers with a matt coating of china clay or chalk,
folding they are in the correct order. between 12 and 22 gsm. Matt-coated papers have the following properties:
Index board Strong board usually made from chemical wood-pulp, having a - good opacity and bulk
smooth surface and being hard sized, for index cards and stationery. - better durability than art papers
India paper Very thin, high-quality, opaque rag paper often used for bibles. - the non-reflective surface enhances legibility of type
Ink jet paper Printing paper produced specifically for use with the ink jet - good for high-resolution images
printing process. - will take gloss varnish
Ink rub Problem which occurs when the ink has not adhered firmly to the - prone to ink rub because of unevenness of surface
surface of the paper. - the porous surface sometimes absorbs ink unevenly.
In line Describes any process, e.g. printing, drying, UV varnish, which is part of Matt uncoated papers These are made-from chemically processed wood-
a single pass through a printing machine. pulp, and have the following properties:
Intaglio Printing process which uses paper and pressure process to draw the - high opacity and bulk
ink from the recesses in an engraved plate. - more durable than coated papers
Interleaves Blank sheets or pages used to protect illustrations. - do not crack along fold lines
ISO sizes Formerly DIN sizes. International range of paper and envelope sizes, -can have problems with set off/ink rub
comprising A series, B series and C series. See Sizes of paper. - Slight dot gain because of absorbency
Ivory board Used for visiting cards, high-quality notices, tickets and menus. - colours look flatter than on coated stock
- do not take varnish well
Kozo Used for papermaking in Japan. Its long fibres result in very durable - sometimes require opaque inks
papers which retain their strength even when folded or crumpled. - take embossing and watermarks well
Kraft Glazed manila paper used for wrapping purposes with a high mechanical - maximum screen commonly used 150 DPI
strength. Also produced in white, called bleached kraft. - good for reproducing illustrations.
M weight Term used in the US for the weight of 1,000 sheets of any given
Label paper Wide range of paper grades coated on one side with adhesive. paper size.
Laid paper Paper that is made on a laid mould (as opposed to a wove mould). Machine direction See Grain.
If laid paper is held up to the light, closely spaced parallel lines can be seen. It Mechanical wood pulp Pulp produced mechanically, by grinding the wood,
is customary for these laid lines to run across the page’s width and the chain rather than by treating it with chemicals. The term is also used to describe
lines from head to foot. paper made of this pulp. Mechanical pulp is weaker than chemical pulp, and
Lamination Bonding two sheets, either of the same or differing materials to results in paper which is more likely to yellow if exposed to light. Gives cheap,
stiffen or protect e.g paper to board, board to matt/gloss coating. opaque papers used for newspaper, paperback books etc.
Lay Orientation of a sheet of paper through the printing press. MF Machine-finished: smooth surface obtained by on-machine calendering.
Laydown Indication of the position of an artwork on a sheet of paper. Millpack A term used for 100-125 sheets of paper. See Volume/quantity
Leaf fibre Leaf fibres, such as manila, can be used for making paper. However, of paper.
they tend to be short fibres, resulting in weaker papers. Mitsumata Used for papermaking in Japan, its long fibres result in strong,
Letterpress A relief form of printing, which takes the impression from a block glossy papers which are naturally insect resistant.
or typeset metal, using pressure. Moisture content Moisture in paper, expressed as a percentage of weight.
Litho Abbreviation. See Offset litho. Mould-made Paper made on cylinder-mould machine imitating handmade.
Linen Linen, which has long fibres, can be used to produce strong, fine
papers. Produces high-quality stationery paper. NAPM National Association of Paper Merchants.
Linters See Cotton fibre. Newsprint The cheapest printing paper, used to make newspapers. Has good
 terms and techniques paperwork

156 opacity and bulk, but a poor surface and low brightness. Entirely made of Press proofs In colour reproduction, a proof of a colour subject on a printing
mechanical pulp, it discolours easily. Unsuitable for screens finer than 100 DPI. press, in advance of the production run.
NCR No carbon required. See Carbonless paper. Progressive proofs (progs) Proofs made from the separate plates in colour
Not The slightly rough, unglazed surface of a paper (abbreviation of ‘not hot process work, showing the sequence of printing and the result after each
pressed’). Produced when a handmade or mould-made paper is repressed additional colour has been applied; helps identify problems.
without felts. This gives a surface finish between rough and hot-pressed. Proof Limited print run, taken from printing plates, usually on a flat-bed press,
to enable the work to be checked before printing.
OCR paper High-quality wood-free bond for optical character recognition. Pulp The main ingredient in the papermaking process, usually made from
Offset litho printing Offsets the right reading image from a flat, sensitised plate processed wood, cotton linters or rags.
on to a blanket cylinder before transferring to the paper.Process which uses
the property of oil on water, not mixing. See Sheet-fed and Web printing. Quire A British term for 25 sheets of paper, a twentieth part of a ream.
One-sided art High-quality paper coated on one side for book jacket covers. See Volume/quantity of paper.
Onion skin Extremely lightweight paper with a cockle finish. See Air mail.
Opacity The extent to which printing on the reverse of a sheet of paper shows Rag Cotton rag used as the principal raw material in the papermaking process.
through - the more opaque the paper is, the less likely it is that the printing will ‘Rag content’ describes the amount of cotton fibre relative to the total amount
show through. of material used in the pulp. The term is not widely used now, or is a misnomer,
Optical brightener Dye used to brighten paper by fluorescence to UV. as more and more high-quality paper is made not from rag but from linters.
Ozalid proof Dye-line print taken from film before printing plates are made. See Cotton.
Used as cheap alternative to printed proofs or to check corrections have been Rattle The sound produced by shaking a piece of paper. In general, the harder
made correctly. the rattle, the better the quality - although there are exceptions.
Ream Traditionally 480 sheets (equal to 20 quires of 24 sheets). Now taken to
PAA Paper Agents Association. refer to 500 sheets. See Volume/quantity of paper.
Pallet Wood base, holding specific quantity of paper. Recycled (see Environmentally friendly) ‘Recycled’ is a vague term used to
Particle gummed paper Base paper coated with remoisturable adhesive in describe a wide variety of types of paper. Very few papers are made entirely
small particles to ensure paper remains flat. from recycled fibres - usually a proportion of virgin fibres are added for
Part mechanical Paper containing up to 50% of mechanical pulp. strength, this proportion varies from paper to paper. The ‘recycled’ content of a
Paste board Used for high-quality heavyweight boxes for cosmetics and paper may include any of the following:
confectionery. - pulp left over from the previous batch of papermaking
PH The pH value is a measure of the strength of the acidity or alkalinity of a - pulp made from clean off-cuts from virgin sheets, Known as ‘broke’
paper. A pH of 0 is very acid, 14 is very alkaline, 7 is neutral. - pulp made from paper which has been printed on and used, then
Perfect binding Sections of a book are milled off along the bolt then notched collected, sorted and re-pulped. It is often assumed that this sort of
and glued together before drawing on the cover. Pages cannot be opened out ‘post-consumer waste’ is the basic ingredient of all recycled papers,
flat and can only be used satisfactorily on spines over 8mm thick. whereas some recycled papers, especially those which look very
Photographic proof Coloured proof made from film separations such as ‘clean’, have a very low post-consumer waste content.
chromalin matchprint, Fuji Color Art, etc. The environmental reasons for using recycled paper include the following:
Picking The release of surface fibres from paper during printing. - it uses half the energy and one third of the water of virgin paper
PIRA Printing Industries Research Association. - fewer chemicals are used, resulting in less effluent
Platesinking Debossing a sunken area on a page or cover to hold a tipped-in - paper and board form about a half of all domestic waste - disposing
picture or label. of our waste is becoming increasingly expensive and difficult.
Ply A layer of paper or board, joined to others for strength. The resulting paper Reel A continuous length of paper wound on a core irrespective of diameter,
or board will be described as 2 ply, 3 ply etc depending on the number of width or weight.
layers. Repro paper Paper with a hard sized coating and good absorbency character.
Pocket Envelope style with one side or centre seam, a bottom flap and Retree Paper with small imperfections at reduced price.
opening on the short side. Ribbed Paper finish traditionally used for heavyweight manila papers.
PPA Periodical Publishers Association. Roll coating applied by rollers, usually on machine.
Ppi Pages per inch - term used in US to specify paper thickness. Rough A term used to describe the surface texture of a sheet of handmade or
PPIC Pulp and Paper Information Centre. mould-made paper when it is left to dry naturally.
Presspahn Glazed board, extra hard-rolled and often friction-glazed, is Rub Can occur on matt coated paper when the peaks on the surface literally
extremely durable and moisture-resistant. Originally used for industrial get rubbed off or act as an abrasive and remove the print surface from an
applications, but useful for folders and covers. adjacent sheet.
 terms and techniques paperwork

Saddle wire stitched Correct term for binding using wire; has the appearance AS 148 x 210 A6 105 x 148 A7 74x 105 A855 x 74 A937 x55 157
of staples. Available in steel and copper, can be formed into loops on the spine A10 28 x 37 4A0 1,682 x 2,378 2A0 1,189 x 1,681
side for use in ring binders. B Series
Satin papers See Silk papers. Trimmed sizes falling between A sizes designed for large items, for instance
SC Abbreviation of supercalendered. See Calendered. posters.
Section See Folio. BO 1,000 x 1,414 B1 707 x 1,000 B2500 x 707 B3353 x 500 B4 250 x
Security paper Paper with features which make counterfeiting difficult. 353 B5 176 x 250 4B 2,000 x 2,828 2B 1,414 x 2,000
Self-adhesive paper Paper with a self-adhesive coating protected by laminate C Series
on one side and a good surface suitable for printing on the other. Envelopes and folders to take A series contents.
Self copy See Carbonless. C0917 x 1297 C1648x917 C2458 x 648 C3 324 x 458 C4 229 x 324
Self cover Cover using same paper as text pages. C5 162x 229 C6 114x 162 C7/6 81 x 162 C7 81x 114 DL110x 220
Set off Image from the wet side of the sheet marking the reverse side of the ISO Series untrimmed stock sizes
sheet above. Anti-set-off spray commonly is used to help prevent this. The untrimmed paper sizes of the ISO A series which are intended to be
Sheet Refers to a sheet of papers. The term ‘good sheet' refers to a sheet trimmed to A sizes after printing are made in the following additional
which prints well. denominations, used mainly in machine-made paper designations.
Sheet-fed printing Describes printing onto flat sheets as opposed to web The RA series (addition of an R to the A series) is for non-bled printing and
which is onto a reel. Is generally considered to be of higher quality than web includes approximately an extra 10-20mm onto the A size which is trimmed
printing because of the greater control of register. off after printing. The SRA series (addition of an SR to the A series) is used
Short grain Paper in which the grain is parallel to the shorter edge of the sheet. when printed work is bled off the edge of trimmed size and an extra 30-
Shoulder Top of the side flap on a wallet envelope. A critical design aspect for 40mm is allowed on the A size for trimming after printing is completed. e.g.
most inserting machines. A2 420 x 594 RA2 430 x 610 SRA2 450 x 640
Show-through The extent to which the image printed on one side of the paper Imperial sizes
is evident on the reverse. Imperial measurements were used in Britain from 1836 until metrication. The
Signature A printed sheet of paper that on folding becomes a section of a picturesque names given to the sheet sizes were derived from the
book. Also refers to the sheet once folded. See Folio. watermarks used by the old mills - different mills made different sizes of
Silk papers These fall between matt and gloss-coated papers and have some paper. Although machine-made paper is now sold in metric measurements,
of the advantages of both, such as: some of the more common Imperial terms, such as those listed below, are
-medium opacity and bulk still referred to especially for handmade paper.
- can give high-quality reproduction, with good definition of details Crown 508 x 381 Double crown 508 x 762 Quad crown 762 x 1016
- text printed on these papers reads well due to the low reflectivity of the Imperial 762 x 559 Half imperial 381 x 559 Double imperial 762 x 1118
surface. Foolscap 343 x 432 Double foolscap 432 x 686 Quad foolscap 686 x 864
Silkscreen printing In addition to paper, can be used to print a wide variety of The name for this paper derives from the fact that it used to have a
materials which would not go through the rollers of a litho press e.g. card, watermark of a court jester's hat.
plastic, fabric, metal. Good for bold designs, blocks of colour; less good for Smoothness The smoothness of a paper is essentially the flatness of its
delicate work. Can be problematic for very light papers (which will shrink after surface. It is not the same as ‘gloss’, which is an optical property.
printing) and uncoated stocks (which may take a long time to dry). Spread Describes two adjacent pages when opened out flat.
Singer sewn Industrial version of domestic sewing machine stitching, used for Straw For environmental reasons, straw is being used as an alternative to
binding and increasingly difficult to obtain. Usually stitches go though the book wood fibre in papermaking, although not yet on a large scale.
front but can, with skilled finishing, run along the spine. Stock A term loosely applied to papermaking material in all its stages but also
Sizing Treatment of papers during manufacture to make them less refers to the wet pulp before it is fed on to the paper machine.
absorbent/more water-resistant. Substance Weight of paper and board. See gsm.
Sizes of paper The |SO (International Organisation for Standardisation) series Supercalender Off machine calender stack of alternate hard and soft rolls to
of paper measurements is the only system of measurement used in the impart smoothness and gloss. See Calender.
machine-made paper trade, though its three denominations, A, B and C, are Surface finish The surface character of a sheet of paper, for instance, CP, HP,
not necessarily applicable to newspapers , books or some stationery items. Noi, burnished, hammered, etc.
The A series is used to denote paper sizes for general printing matter, B is Synthetic papers Papers made from synthetic material rather than natural.
primarily for posters and wall charts and C is specifically for envelopes.
Dimensions in millimetres: Texture The rough surface of a paper. Can be a natural result of pulp and
A Series processing or a contrived impression.
AO 841 x 1,189 A1 594 x 841 A2 420x594 A3 297 x 420 A4 210 x 297 Thermography Technique of sprinkling resin on to wet ink to produce a raised,
 terms and techniques paperwork

158 glossy surface after heating. Often used for logos on letterheads, it gives an and therefore translucent. Most watermarks are linear designs, but some -
effect rather like die stamping, but is cheaper. chiaroscuro watermarks - are made by putting a sculptured device into the
Thickness of paper See Calliper. mould to produce results such as the Queen's head found on British bank
Thread sewing Signatures of a book are sewn together before binding.in 8,16 notes. Watermarks are generally read from the right side of the paper.
and sometimes 32. This enables pages to be opened out flat. Web The reel of wound paper in its entire width at the end of a paper machine
Three-hole sewings Traditional alternative to saddle wire stitching, using a prior to splitting into smaller rolls or cutting into sheets. Also Known as
single thread in a figure-of-eight, which is increasingly difficult to obtain. mother roll.
Throat Gap between the scoreline and back flap of a wallet envelope. A critical Web offset A form of offset litho, this process prints and sometimes finishes in
design aspect for most inserting machines. one continuous pass onto a web of paper. When heat is used to facilitate
Thumb cut Shape cut from a pocket or wallet to facilitate access to contents. finishing it is called Heat set. This can lead to the subsequent expansions of
Ticket board Another name for pasteboard, although coated board can be pages when atmospheric moisture is absorbed. When combined with sheet
included in this grade. fed covers the Web text pages often protrude after trimming. It is generally
Tipping-in Sticking with adhesive, usually an illustration or photograph, onto a used for high volume work such as magazines and though it is poorly
page, often made of a different stock or material. perceived, dramatic improvements in quality have been made in recent years.
Tissue paper Very thin, lightweight paper for interleaving and wrapping. Weight Weight or grammage of a sheet of paper normally expressed in gsm.
Tooth Characteristic, rough texture of a paper surface. Window Aperture in envelope usually covered with glacine paper.
Top side Opposite of wire side, the side of paper away from the wire Wireside/wiremark The surface of the pulp in contact with the mesh during
during manufacture. papermaking.
Tracking Relative positions of pages that are inked in the cylinder rotation Wood-free Papers which are made of chemically pulped wood (as opposed to
direction and follow one behind the other. Therefore images in the same track mechanically pulped) are sometimes referred to as ‘wood-free’ papers.
cannot be treated separately in terms of ink feed. Wood pulp Wood pulp is made by chemically or mechanically processing
Triplex board Board made from three layers or lined on both sides. wood. Nowadays the majority of papers are made from wood pulp rather than,
Trim Area surrounding the page or image area. for instance, cotton/rag pulp.
Twin wire Papers and boards made from two separate webs on a twin wire Work and tumble To print one side of a sheet of paper, then turn the sheet
paper machine. over from gripper to back using the same side guide and plate to print the
Two-sidedness Term given to paper or board which exhibits different surface second side.
characteristics on either side of the sheet. Work and turn To print one side of a sheet of paper, then turn the sheet over
from left to right and print the second side using the same plate. The same
um Abbreviation of micron, 1/1000mm, used as a measurement of the gripper and lay edge are used for printing both sides.
thickness of a sheet of paper. Wove papers Papers made in wove moulds, as opposed to laid moulds. In a
Uncoated mechanical sc A smooth, supercalendered stock providing good wove mould the covering screen is made of woven wire, similar to the warp
halftone reproduction. A lightweight, cheap alternative to coated paper. and weft in cloth, and the resulting paper has no obvious markings.
Uncoated papers See Matt uncoated papers. Wrap-round cover Describes a cover which is not physically attached to the
UV varnish Matt or gloss protective coating which is harden using ultra-violet pages beneath, but held in place by the friction caused by ‘wrapping! it round.
light. Can be prone to cracking along the spine.
The author would like to thank the following companies for their
Vellum Paper made from the inner side of calfskin. The term is also used to contribution to this book. Acknowledgments to:
describe papers made from other materials which imitate real vellum. Art-O-Matic
Velvet papers See Silk papers. Baddeley Brothers (London) Limited
Volume Thickness of paper expressed as volume for book production. British Printing Industries Federation
Volume/quantity of paper R K Burt & Co Ltd
-Ream - 500 sheets, although traditionally it was 480 CTD Printers Ltd
- Quire - 25 sheets Estamp Publishing
- Millpack - 100 to 125 sheets Paper Power (creative paper engineering)
Virgin fibre Fibre used for the first time to make paper (i.e. not recycled). St Ives ple

Wallet Envelope style with two side seams and the opening on the long edge.
Watermark A translucent design in a sheet of paper that can be seen when it
is held up to the light. Watermarks are made by incorporating a raised device
into the mould when the paper is made so that that part of the paper is thinner
 index paperwork

A &A Vacuum Packing, 121 cardboard engineering, 97 Dyverse, 115 House of Questa Ltd, 82 159
Abacus, 148 Carrow, Peter, 68 Hudspith, Derick, 102
acid etching, 115 Carter, Philip, 16 'E' flute corrugated, 101 Humber Contract Furniture, 20
Adams, Sean, 18 Carter Wong, 16 Earthlife, 28 Huntsman mark resistant, 144, 146
aeroply, birch-faced, 126 cartridge paper, 135 Elephant-hide, white, 68
aircraft plywood, 125 Caslon typeface, 49 embossing, 35-6, 37-44 Ideal Standard, 101
Albany Packaging, 71 cast iron, 111 environmentally friendly, 14-15 Igarashi, Takenobu, 74, 91, 111
Allman Associates, 21 CGS, 86 expandable corrugated board, 117 Igarashi Studio, 74, 91, 111
alternative materials, 115-28 Charlton (Chrissie) & Company, 65 Ikonorex Special Matt Ivory, 104
cotton, 116 Chater Press, 72, 94 Fabriano Designo, 147 Imagination Design and Communication,
metal, 117-18 Chelsea Flower Show, 25 Fabriano Rosaspina bianco, 136 32, 52
perspex, 119-20 Chipcote, 148 Face, 147 Inclusions Florale, 13, 25
plastic, 121 Christie, Agatha, 82 Face Photosetting, 88 Independent Curators
PVC, 122 clean, 136 Facsimile Printing Company, 60 Incorporated, 81
rag, 124 clocks, 108 Fell Ribbon and Impact Printing, 108 Indepth, 32
wood, 125-8 cloth, 115 Fernedge, 148 inks, 35
aluminium, 117 cotton, 116 First Impression, 24 thermochronic, 35, 56
Anderson Fraser, 141 coated carton board, 108 Five Oaks Investments, 122 Inoue Paper, 132
Arches Velin, 49 coated cartridge paper, 135 flute board, 137 ISTD Papers, 80
Area, 26, 71, 72, 119, 121 coffee-percolator paper, 66 Foggo, Peter, 144 Italian Ingres Fabriano, 140
Art-O-Matic, 58, 71, 108, 119, 121, 122, collage, 14 foil blocking, 36, 47 Ito, Makoto, 43
146 Colourstyle, 106 folding, 92-3 lvorex smooth card, 42
artwork, paper as, 16-17 Comme des Garcons, 118 cutting and folding, 63, 72-3
Asahi Seihan Printing, 46 concertina fold, 153 French folds, 22 JAC Brilliant Gloss self-adhesive label
Axis, 91 concertinas, 70 Frost, Vince, 90 paper, 59
conditioning, 153 Fuji Paper Enterprise Association, 43 Japanese papers, 13
B&H Group, 56 Consort Royal Silk, 20 Fulmar Colour Printing, 40, 122 Jestico & Whiles, 117
Baddeley Brothers, 52 Consort Royal Supreme Mait, 70,
Bahruth, Reinbek, 48 117, 126 Gallardo, Cara, 26, 71, 72, Kaskad Osprey, 54
Baskerville typeface, 49 Consort Royal Supreme Silk, 137 119, 121 Kazu Jewelry Design Studio, 98
Bateson, John, 40, 137 Continental Bournique, 39 Galliano, John, 72, 121 Keaykolour, 24, 56
Bell, Nick, 126, 140 Cook, Jonathan, 21, 37 GB Flannel, 52 Keaykolour Bockingford Not, 108
Benoit Jacques, 134 corrugated cardboard, 137, 140 GF Smith Colour plan, 92 Keeble, Chris, 104
Berol, 102 cotton fibre, 29, 116 Giant, 58, 125 Keeble & Hall, 104
Beuys, Joseph, 140 Craft B flute, 108 Gibbons, Steve, 122 Kelly, Ben, 79
BFS, 65 Croxley Script, 59 Gill (Nicholas) Associates, 17 Keyworth, Celia, 90
binding, 64, 65-71 CTD, 68, 70, 141, 144, 150 Gill typeface, 49 Kimpton, David, 28
birch-faced aeroply, 126 cutting and folding, 63, 72-3 glass, 142 Knoll International, 86
Blenheim Group, 70 Goldsmiths Gallery, 32 Koeweiden Postma, 138
Bonner Morgan, Richard, 108, 148 Davis, Imogen, 104 Goode, Nigel, 106 Konu & Morrow, 146
bookbinders' string, waxed, 140 debossing, 35 graphic recycling, 13, 14, 28-32 Kueh, Albert, 68, 117
Boom, Irma, 47, 66 Delaney (Brian) Design Associates, Greiman (April) Incorporated, 18 Kusumoto, Takeshi, 132
Booth, David, 32, 85 13, 29 Grinter, Laurence, 37, 59, 135
Boots Company, 85 Denny, Michael, 40, 137 Guinan (Sarah) Associates, 65 laser-cutting, 63, 91, 94, 115
bracken, 28 Design and Art Direction (D&AD), 16, 94, Laub, Elisabeth, 77
Bradforth, Paul, 37 148 Hall, Janine, 104 leaf dishing weights, 140
Bradley, Chris, 40 Dew, Shaun, 141 Halpin Grey Vermeir, 112 Lense tissue, 25
British Rail, 40 die-cutting, 63, 74-91 Harden, Richard, 121 letterpress, 35, 46, 48-53
British Rail Parcels Group, 137 die-stamping, 36, 52 Harden (Richard) Printing, 26 Levett, Chrissy, 65
Bticino, 122 DinDisc, 79 Harrison and Sons, 148 Lewis, Mary, 54, 72, 85, 94
bubble wrap, 132, 137 Dinnis, Rachael, 40 Haymar Acrylic, 119 Lewis Moberly, 54, 72, 85, 94
Bull, John, 92, 135 Dot For Dot, 72, 119 Heard, Laura, 25, 146 Linea Legno, 128
Bull Rodger, 21, 37, 59, 92, 135 drafting film, 58, 140 Hector Martin, 54 Lippa, Domenic, 20
Butlers Wharf, 68 draw film, 125 Herron, Alan, 58 Lippa Pearce, 20
Drukkerij Rosbeek, 22, 47, 66 Hey, Martyn, 58 Litho-tech, 32, 68, 117
Caddy, Adrian, 32, 52 Duckworth, Bruce, 94 Hillman, David, 101 Lloyd Loom furniture, 97
Cape, Jonathan, 105 Duffin Containers, 108 Hipwell Bookbinders, 60 loft insulation foam, 140
cardboard, corrugated, 137, 140 Dunbar, Karin, 72, 94 House, Keren, 28, 69 Lyon, Harvey, 60
 index paperwork

160 M&M, 112 Parilux gloss, 40 Saville, Peter, 78, 79 Triggs, Nina, 92
M Plus M Incorporated, 39, 81, 86, 118 Parilux matt, 17, 40, 68, 144, 150 Scrimgeour, Lucilla, 85 Trucote velvet, 148
McConnell, John, 88 The Partners, 28, 68, 69, 80,122, sculpture, 97, 111-12 Tscherny, Carla, 77
McGinn, Michael, 39, 81 124, 141 sealing-wax, 134 Tscherny (George) Incorporated, 77
McKenzie, Sarah, 56, 70, 144 Pearce, Harry, 20 Seibu, 100 Tullich Lodge Hotel, 52
McLoughlin, Martin, 122 Pearce, Jack, 60 Shakespear, Lorenzo, 142 Tyvek, 115
manipulation, 63-94 Pearl Dot, 54 Sharples, Sue, 37
binding, 65-71 Pelham, David, 105 Signo, 122, 128 Una, 93
cutting and folding, 72-3 Pen Plus Inc, 39 Silk Pearce, 60 Unchino, 99 ‘
die-cutting, 74-91 Pentagram, 78, 84, 88, 90, 101, silkscreen, 35, 58, 115 uncoated cartridge paper, 135
folding, 92-3 105, 142 Simulator, 126 Uno drafting film, 140
laser-cutting, 94 Pentonville Rubber, 119 Smith, Neil, 58
Mapledon Press, 40 Perry, Sarah, 137 Smith, Nigel, 87 Van Driel, Jenni, 22
Martin, Augustus, 30 perspex, 119-20 Smith, Richard, 26, 71, 72, 119, 121 Veal, Judy, 54
Matsumoto, Takaaki, 39, 86, 118 pH, 156 Snape, John, 37 vellum, 159
matt art paper, 21 Philipp, Marco, 116 Somerset White Satin, 49, 50 verdigris, 115
matt inks, 35 Phoa Kia Boon, 17, 42, 70, 87, 108, 144, Somerset White Textured, 25 Vermeir, Pierre, 112
*Mellotex Matt Ultra White, 17 147, 150 Sorrell, John, 102 Vitesse Printing, 20
Mellotex Smooth Ultra White, 87 Pirtle, Woody, 84 Southbank Offset, 87 Vylene, 115
Mellotex Ultra White, 146 Planet Display, 124 Southern California Institute
Merlin Reprographics, 32 plastic, 115, 121 of Architecture, 18 Waibl, Heinz, 122, 128
metal, 115, 117-18 plywood, 125 Speckletone recycled paper, 30 Warner-Chappell Music, 78
Milne (Peter) Furniture Makers, 126 pocket POD, 84 Sporre, Yvonne, 26, 71, 119 Washi paper, 111
Minami, Katsuji, 44 Polyart, 115 steel rods, nuts and washers, 126 watermarks, 13
mixed media, 131-50 pop-ups, 97, 104-5 strawboard, 30 waxed bookbinders' string, 140
Monarch Press, 81 Pressboard, 80, 150 string, 134 Webb-Jenkins, Tim, 70
mounting board, 108 Priestman, Paul, 106 waxed bookbinders, 140 Wickens, Brett, 78
Muheim, Andrea, 116 Priestman Associates, 106 Stuart, David, 68, 124 Wiese, BK, 48
Muheim family, 116 Puff Fairclough, 72 Super Exelda, 49 Wiese, Bruno and Ruth, 48
musical mechanisms, 147 Purley Press, 80 Super Flat Sam labels, 148 Wiggins Teape Countryside, 60
Mytton, Robert, 70 PVC, 122 surface effects, 35-60 Wiggins Teape Opal, 60
embossing, 37-44 Wiggins Teape Speckletone, 24
N&N, 24 Radford & Ball, 142 foil blocking, 47 Williams, Nancy, 25, 68, 101,117, 147,
Nagai, Kazumasa, 38 Rae, Shonagh, 50 letterpress, 46, 48-53 148, 150
Nautilus Press & Paper Mill, 29 rag, 124 offset litho, 54-7 williams and phoa, 17, 25, 42, 56, 68, 70,
New Order, 78 recycled paper, 13, 14-15 silkscreen, 58 87, 108, 117, 144, 146, 147, 148, 150
Newell, Frances, 102 Reprof ag CH Gurtnellen, 116 Williamson, 84
Newell and Sorrell, 102 RHS Print Finishers, 108 tipping-in, 59-60 Willis, Jeff, 29
Nissha Printing Company, 74, 118 Richard de Bas Mill, 13 Taihei Printing, 99 Wong, Philip, 16
Nogami, Shuichi, 46 Richards, Lucy, 52 Talking Europe, 59 Wood, 125-8
Novak, Michelle, 77 Richardson, Darren, 137 Tanaka, Mikito, 99 Wood, Mare, 78
Rives satin transparent, 21 Tatsuno, Koji, 26, 71, 119
Odiwe, Romanus, 24 Rivoli, 25 Taylor Bloxham, 104 Yaka Paper Manufacture, 27
offset litho, 35, 54-7, 115 Rivoli Natural, 49 Taylor, Stephen A, 136 Yamada Shomei Lighting, 1114
Ohlson, Barbro, 49, 50 Rodacote, 70 terms and techniques, 152 Yeats, W.B., 140
Okumura, Akio, 27, 43, 44, 46, 98-100, Rodger, Paul, 21, 37, 59, 92 thermochronic ink, 35, 56
132 Rollinson, Mark, 58 thermography, 36 Zanders T2000, 20
Olympia and York, 25 Ross, Andrew, 60 Thomas, Andrew, 82 Zeta matt, 42
Olympia U.S.A., 75 Roughton and Fenton, 68 three dimensions, 97-112
Osborne, Charles, 42 Roundel Design Group, 40, 137 packaging, 97-102
Owen, Mark, 24 Royal College of Art, 28 pop-ups, 104-5
Royal Mail, 16, 82, 148 sculpture, 111-12
packaging, 97-102 rubber bands, 65, 119 tipping-in, 59-60
Packaging Create Inc, 27, 43, 44, 46, 98, Rushworth, John, 90, 142 Toller (Fred) Associates, 75
100, 132 TQ, 125
paper qualities, 13-15, 18-27 Sandy Alexander Inc, 77 tracing paper, 21
papier maché, 106 Sasago, Yukimi, 91 Transport Design Consortium, 40
Paragon Vintners, 37 Saunders Manufacturing, 118 Trickett and Webb, 30, 82
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