docThe Naked Truth About Uncoated Paper
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The Naked Truth About Uncoated Paper
Ask Mohawk
The Naked Truth
About Uncoated Paper
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The Naked Truth About Uncoated Paper
A guide to printing on uncoated papers
01 Deconstructing the Myth
02 Continuous Tone: The Elusive Ideal
03 Dots and the Digital Age
04 Qualities to Consider
05 Think About the Ink
06 Where’s the Rub?
07 Success on Press
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03:
Ask Mohawk
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The Naked Truth
About Uncoated Paper
Dots and the Digital Age
Today most images are reproduced through digital rather
than photographic halftoning. Digital halftoning adds
precision, but still relies on dots, each designated ink or
no ink. The digital process allows for the creation of much
smaller dots and more various shades and gradations
Controlling Curves Without Diet or Exercise
Dot gain can now be controlled to a great extent in
digital pre-press through the use of “curves,” a set of
adjustments—usually proprietary to the printer—that
will accommodate for the natural dot gain caused by
different types of paper, equipment and images.
Proper curve adjustment leads to cleaner, crisper printing
with brighter highlights and more detail in the shadows.
Without proper curve adjustment, results can include
moiré or messy mottling, plugged or flat images.
The Naked Truth is one
of a series of print buyer’s
guides produced by
Mohawk Fine Papers.
A printer can print a test file with 100 tonal steps
representing gradations in shade from 1 to 100 and use
a loupe and densitometer to locate the values that created
the desired tones. For example, dot gain might cause the
50% tone to occur at the 45% value, giving the printer the
information to make the necessary curve adjustments.
A curve can then be built in the pre-press software—just
before the final run or sometimes in Adobe PhotoShop®—
to correct for the dot gain in a particular image on a given
press using a particular paper. Curves for coated paper
will be different than the curves for uncoated paper, so
the test should print on the paper of choice.
FOR MORE INFORMATION
Call 1 800 the mill or visit
www.mohawkpaper.com
Mohawk Fine Papers Inc.
P.O. Box 497
465 Saratoga Street
Cohoes, New York 12047
March 2006
DENSITOMETER:
Instrument that measures the
density of colored inks on paper.
It is typically used to determine
consistency in ink densities
throughout a press run.
01:
Deconstructing the Myth
05:
Once upon a time, choosing an uncoated paper to print
a job with photography or illustration meant taking some
risks on print quality. But no more. Innovations in papermaking, printing and ink technologies have made it possible
to deliver beautifully crisp printed images with the smooth,
rich feel of uncoated paper.
In the Beginning: The Birth of the Halftone
Printing innovations are best appreciated in the context of
history. With the dawn of photography in the 1830s came
the desire to print images and text on the same page in
volume. Developed about fifty years later, the halftone was
the “eureka!” solution.
Halftones use screens to cut continuous-tone images such
as photographs into tiny squares that form series of dots on
the conventional printing plate. In printing, ink is applied to
the dots but not to the spaces between them. The size and
angle of the screen controls the size and proximity of the
dots to create the desired shade. Larger, closer dots create
dense color because they allow less of the paper to show
through. As dots get smaller and farther apart, the color
gets lighter. Through an optical illusion, our eyes connect
the dots to create the effect of continuous tone.
Coated paper, which allows the ink to sit on top of the
coating instead of being absorbed into the fiber, was an
early solution to dot gain. Coated paper has its drawbacks,
though.The synthetic coating gives it an artificial feel in
contrast to the more natural feel of uncoated paper.
Coated paper typically comes in a narrow range of
colors—often only white and ivory—and limited surface
finishes such as satin, matte, dull or gloss.
Go for Effect
Different types of ink and methods of applying it can
produce great effects on uncoated paper.
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Hexachrome
Hexachrome is 6-color process printing, adding two
process colors (green and orange) to the traditional
cyan, magenta, yellow and black. Hexachrome inks are
brighter, cleaner and more vibrant than traditional CMYK.
Disadvantages would be higher ink and printing costs.
Duotones, Tritones, Quadtones
Duotones are two-color halftones that use two screens at
two different angles and two colors on two different plates,
to create more depth and contrast. In the case of black and
white images, a duotone might use two blacks instead of
two different colors.
01 Deconstructing the Myth
02 Continuous Tone: The Elusive Ideal
03 Dots and the Digital Age
04 Qualities to Consider
05 Think About the Ink
06 Where’s the Rub?
07 Success on Press
HALFTONE
Coated Curves
DUOTONE
Touchplates
Touchplates or bump plates use one unit of the press to
apply extra ink—often a fluorescent—only to those areas
of an image requiring a special “pop.” Photoshop or other
software programs are used to isolate touchplate areas
and then incorporate them into the image.
Quadtones use four screens at four different angles and
four colors (usually black, cyan, magenta and yellow) on
four different plates to create the crispest images in both
black-and-white and color.
PRINT DENSITY: The measure
of the amount of ink on the
surface of the printed press
sheet.
QUADTONE
Uncoated Curves
06:
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UNDER COLOR REMOVAL
(UCR): A technique used
to achieve color stability in
shadows through the reduction
or replacement of the cyan,
magenta and yellow inks with
a controlled amount of black.
The result is better detail and
improved trapping. If UCR
leaves the images weak, under
color addition (UCA) is used
to replace some of the color.
Screens
Higher line screens show more dot gain than lower line
screens because smaller dots grow more than larger ones.
Method
Waterless printing reduces dot gain by minimizing the amount
of ink that is absorbed by the paper. Ultraviolet (UV) printing
reduces ink absorption by curing (which dries) each layer of
ink as it is applied.
EFFECTS OF DOT GAIN
Halftones
Halftones may get muddy and lose detail.
Color
Colors change in separations and builds don't match swatches.
Tints
Screen tints darken.
Detail
Reversed or “knocked out” fine lines and serifs on type begin
to disappear. Spreads and chokes lose shape.
Paper Priorities
When specifying a paper for your job, think about the
following qualities:
Smoothness
In general, the smoother the paper, the crisper the
halftones. Uncoated paper delivers a more authentic
feeling smoothness than its coated counterparts. Different
degrees of smoothness are achieved in a process known
as calendering, the last step in paper making when the
paper is run through a stack of large steel rollers with
different surfaces. These rollers or calenders tighten the
fibers and smooth the paper. Common finishes for
uncoated paper, in order of increasing smoothness, are
eggshell, vellum, smooth and super smooth or ultra smooth.
Formation
Formation refers to the distribution of fibers within a sheet.
To check the formation, hold a sheet of paper to the light
and look for uniformity rather than clumps or clouds. Good
formation makes uncoated paper absorb ink evenly to yield
uniform solids and clear reproductions.
Side-to-Side Consistency
Finished paper technically has two sides: the “wire” side,
which comes in contact with the wires on the papermaking
machine, and the “felt” side, which does not. In some
papers, a color printed on the wire side will appear different
than the same color printed on the felt side. Better
uncoated papers have good side-to-side consistency.
Texture
Textures are embossed on paper after it leaves the papermaking machine to create effects such as linen or laid.
Textured papers are used to add tactile effect and visual
interest. Genuine felt papers tend to be more absorbent.
Linen finish papers by contrast have a harder surface and
better ink holdout.
Matte or dull varnishes are widely used on uncoated papers
for rub protection, but gloss and satin varnish are usually
discouraged because they can cause images to appear
uneven or mottled. Varnish darkens inks on uncoated
paper—making solid blacks blacker—but it will not provide
any other visual effect. If the project involves glue, you may
need to knock out or remove the varnish where the glue
is going to be applied. Check with the bindery department
to be sure.
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Brightness
A paper’s brightness is a function of the amount of color
and light the paper reflects. The whitest paper may not
always be the brightest. In general, brighter paper leads to
the appearance of sharper images because more light goes
through the ink and reflects back to the eye. Uncoated
papers tend to have less glare than coated papers.
Opacity
Opacity refers to the degree of “show through,” and should
be a consideration with any job that prints on both sides of
a page.
SPREADS AND CHOKES:
Similar to trapping (See section
06), these terms refer to the
overlap of overprinting images to
avoid white or colored borders
around details of images.
Conventional 4-Color Process
With Fluorescent Yellow and
Fluorescent Magenta
For uncoated papers, we recommend using non-leafing
metallic inks and applying dull varnish or dull aqueous for
rub protection. Always consult your printer for
their recommendations.
UV Inks
Conventional inks “dry back” or lose some intensity as they
change from wet to dry. Ultraviolet (UV) inks produce the
sharpest images because they dry or “cure” instantly under
ultraviolet lights on press, leaving little time for dot gain and
eliminating the need for a varnish or aqueous coating. UV
inks tend to be more expensive and can be used only on
specially adapted presses.
GRAY COMPONENT
REPLACEMENT: Gray
component replacement
(GCR, also known as achromatic
color replacement): a technique
using specialized software on
electronic scanners to remove
the graying or achromatic
component of combined
cyan, magenta and yellow
and replace it with black.
SEE CARDS
IN BACK OF
BOOKLET FOR
EXAMPLES
OF PRINTING
TECHNIQUES
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Fluorescent Inks
Fluorescent inks were formerly limited to screen printing, but ink technology now enables them to work on any type of
press in both duotone and full color processes. Semi-transparent and naturally bright, fluorescent inks increase the clarity
and brightness of images printed on uncoated paper. Fluorescent inks are not recommended for images of people because
they tend to make them appear too “hot” or sunburned.
Black (2x)
Vanquished with Varnish
Varnish, the most economical coating, is a petroleumbased sealant applied by a standard inking unit in the
press. It can be specified in satin, matte, dull or gloss and
applied on the entire sheet or in selected areas. Varnish
can be inline or “wet-trapped,” meaning it is applied over
wet ink on press, or it can be “dry-tapped” over dry ink
“offline” in an extra press run. Inline varnish needs as
much time to dry as a solid ink color.
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Shade
A paper’s color affects the way process colors reproduce on
it. Not all white papers are the same color. Warmer whites
contain more yellow, while cooler whites contain more blue
which will affect the appearance of the printed colors. The
printer may want to compensate for this possible color shift.
Where’s the Rub?
Heavy ink coverage on uncoated paper can sometimes
“rub off” at the touch of a finger or “offset” on the sheet
next to it in a post-press stack. Varnish, aqueous and
ultraviolet coatings will seal the ink to prevent rub-off.
Absent with Aqueous
As an alternative to varnish, a water-based aqueous
coating can be applied over wet ink from a special coater
tower. Aqueous has the advantage of sealing a sheet
instantly as it allows the ink to dry underneath. It is also
more environmentally friendly and won’t yellow the sheet
as varnish might. Aqueous is available in matte, gloss, satin
Before Uncoated Curves Adjusted
Types of Offset Press
Sheetfed presses tend to have less than web presses.
Qualities to Consider
Paper makers have been just as innovative as printers
in the past several decades. In response to market
demand, uncoated papers have gotten increasingly
smoother while offering a variety of colors, visual effects
and surface textures.
Co-Cure Inks
Co-Cure or hybrid inks can run on a conventional or
UV press. With a Co-Cure Press only some of the ink
towers have UV lamps. These lamps are moveable within
Enhanced Black
the press depending on which ink the printer wants to
A denser, richer black, achieved with two hits of black or
“cure” with the lamp. Towers without the lamps use heat,
process black applied over 50% cyan can add drama and
rather than light, to dry the inks. Co-Cure presses give the
contrast with a little extra investment.
printer the option of printing conventional or UV on the
Metallic Inks
same press. They are less expensive than a full UV press
Metallic inks use metallic powders, such as aluminum and
that has inter-deck drying units or UV lamps after each ink
bronze, mixed with the proper varnish base to create images tower. Drawbacks of Co-Cure presses include the time it
with metallic luster. The smoothest uncoated papers usually
takes a printer to change the press setting back and forth
deliver the best results. Metallic inks work in virtually any
from UV to conventional and the limit on the number of
printing process. There are “leafing” and “non-leafing”
drying units available.
metallic inks. Leafing inks which have metal flakes that rise
to the top of the ink mixture have a little more shine but
increased rub off. The metal flakes in non-leafing metallic
sink down with less rub off but a little less shine.
Tritones use three screens at three different angles and
three colors on three different plates to enhance the effect.
In the case of black and white images, a tritone might use
one black and two grays.
TRITONE
Paper
Different papers cause different levels of dot gain.
Uncoated papers absorb ink which tends to increase dot gain.
Think About the Ink
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When Dot Meets Paper: Not Quite the Perfect Match
When a dot or drop of liquid ink hits a sheet of uncoated
paper, its nature is to spread like a drop of watercolor
falling from a paintbrush onto an absorbent sheet. In
printing, this effect is known as dot gain. Regardless of
how precise a printer is in controlling the fineness and
angle of the screens, the paper affects the outcome.
If the printer doesn’t allow for dot gain, the ink can
over-saturate, making images darkened and blurry.
The Naked Truth About Uncoated Paper
A guide to printing on recycled papers
LOUPE:
A printer’s magnifying glass.
04:
CAUSES OF DOT GAIN
and dull, though matte or dull aqueous is recommended
for uncoated paper. It generally covers the entire sheet;
spot aqueous is available but may not be necessary. Like
varnish, aqueous creates no visual effect; its primary
purpose is to prevent rub-off.
Because aqueous is water-based, some printers will only
use it on 100 lb. text and heavier papers to avoid the risk
of curling edges.
When specifying aqueous, be sure it is compatible with the
pigments in the ink, as aqueous can cause some pigments
to bleed. The caution about mixing varnish and glue applies
to aqueous, too.
Yesterday with UV
Like ultraviolet (UV) inks, UV coating is dried quickly with
UV radiation. UV coating is applied by silkscreen, offline.
UV methods deliver the best rub protection and fastest
drying time, but they are also the most expensive.
UV can be used on smooth, uncoated papers, with
cover weights being the best candidates. Pre-testing is
recommended, as the paper needs to be sealed before
the UV is applied, and the coating will deepen the color
of the printed area. UV coating is usually specified in
gloss, although matte, dull and satin UV coatings are
available. Options include spot and overall coverage.
Match Silver
No Varnish
No Varnish
Gloss
Varnish
Gloss
Varnish
Dull
Varnish
Dull
Varnish
Gloss
Aqueous
Gloss
Aqueous
Dull
Aqueous
Dull
Aqueous
Gloss
UV Coating
Gloss
UV Coating
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After Uncoated Curves Adjusted
Adjusting Curves
Dot gain can now be controlled through the use of “curves,” a set of adjustments—usually proprietary to the printer—
that will accommodate for the natural dot gain caused by different types of paper. These adjustments can take place
in scanning or more frequently when the plates are processed.
02:
Continuous Tone: The Elusive Ideal
A photograph, painting or illustration that includes different
shades or gradations of color is said to have continuous
tone. The history of printing is a history of progress toward
reproducing continuous tone in mass quantities. We are
getting closer, but we’re not there yet. Most printing
processes still depend on the halftone’s binary distinction
between ink and no-ink portions of an image.
Finer Screens, Higher Resolutions
With halftones, the quality of the outcome—its ability to
fool the eye into seeing continuous tone—depends on the
size of the screen used to divide the image into dots.
Conventional halftone screens range in size from 60 lines
of dots per inch (lpi) to 600. Like threads per inch in
bedding, the higher the number, the finer the resolution
or detail of the image. Smaller screens in the 60-85 lpi
range have been commonly used in newspapers, where
the results can be grainy. With screens of 133 or more lpi,
the resulting dots are invisible to the naked eye. For high
quality printing on premium paper, 175 lpi is considered
the minimum standard line screen.
Stochastic Improvements
Over the years, more and more printers have given up
film in favor of a direct-to-plate prepress process. Directto-plate allows the printers to offer stochastic screening,
as well as conventional.
In the stochastic process, uniform-sized dots are placed
randomly. Stochastic screens are measured in microns
and refer to the size of the dot. Opposite to the system
of conventional screen measurement, the lower the
number of microns, the finer the resolution in the image.
STOCHASTIC: Arising from
chance; random.
MOIRÉ: The appearance of
patterns in an image caused by
incorrect screen angles.
Stochastic (20 Micron/380 lpi)
Conventional Line Screen (175 lpi)
With stochastic screening, the number of dots determines
the density of the color, in contrast to conventional
screening where color density depends on the size of
the dot.
Advantages of stochastic screening are:
• finer line screens (equivalent to 200 lpi and higher)
• easier and smoother tint builds
• ability to print more type out of screens
without sawtooth edges
• no risk of moiré in angled areas of images
• no rosettes in flesh tones
• reduced dot gain
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Getting on the Same Page
The two most important elements to a successful print job
are communication and planning. Once you’ve decided to
use uncoated paper, take these tips to get the best results
on press.
Before You Proceed
Ask your printer’s salesperson for samples showing the
specific techniques you will be using in your project.
Find out whether your printer has experience with the
type of stock you plan to use. Because communication is
the key to success, you should be comfortable with your
salesperson’s knowledge and understanding. Make sure
you choose a printer who can meet your expectations.
Choosing a paper
Mohawk papers are formulated to strike the delicate
balance between ink holdout and ink receptivity. Printers
choose Mohawk’s uncoated papers because they provide
superior ink holdout and are dimensionally stable. Given
the extensive range of uncoated papers on the market,
you should specify not just “uncoated,” but also the
manufacturer and the grade that reflect the quality
standard you expect. Discussing your paper choice with
your printer early in the process will help ensure that the
paper you want is delivered in time for your print date.
Mohawk Fine Papers recommends that you call your paper
representative early in the design process for assistance
in choosing an appropriate and available stock.
Disadvantages of stochastic screening include the printer’s
costs for special software and high-end plates as well as
for the research and development required to fine tune
the process for a particular press. Fine screens can also
create a challenge on press; when you push ink to increase
saturation in stochastic screened areas, you might see
very little movement or gain, but the inks can become
plugged and look mottled. Corrections may mean a return
to prepress.
Today many printers use both stochastic and conventional
screens, depending on the image. Either process can
provide excellent results on uncoated papers.
MOTTLED OR MOTTLING:
Having a blotchy, cratered
appearance similar to the lunar
surface. Mottling is a risk for
images that include big areas of
solid color.
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A 10-micron stochastic screen produces an image
equivalent to a 480-550 lpi conventional screen and a 2.0micron stochastic screen is equivalent to a 380-400 lpi
Line Screen Dot Pattern
60 DPI
120 DPI
SEE CARDS
IN BACK OF
BOOKLET FOR
PRESS CHECK
CHECKLIST
175 DPI
200 DPI
250 DPI
300 DPI
PAPER DUMMY: A paper
dummy uses the specified paper
and shows how the job will be
assembled during production.
Get a paper dummy at the
outset for any project involving
numerous pages. Make sure
to get a new paper dummy if
the page size, paper or job
specifications change.
Samples
Have you had a print job in the past that you just loved?
Or one that you didn’t? Send samples of print jobs that
have specific qualities that you want to repeat or avoid
to your printer.
Communication
Once you release your project, schedule a call with your
printer to discuss the job. Keep in mind that you are
buying a custom-made product. Your expectations should
be clearly defined in the beginning. Discuss critical areas
of your project and talk about the samples that you sent
showing the results you like and those you want to avoid.
Ask your printer for a production schedule that includes
dates for receiving proofs, returning proofs, press runs
and deliveries.
Inform the printer of your paper selection including color,
weight and finish. Your paper choice is relevant for
each department involved in your job, from prepress
through bindery.
Curves
Talk to your printer about curves. (See Section 02.) Most
printers have curve settings for coated, uncoated and
newer hybrid papers. Common targets printers use to
open up separations on traditional uncoated papers range
from 16% to 20%. Please note that these are targets only.
BULK: A concept of thickness.
Right: Two sheets of the same
weight can have different
thicknesses depending on
the finish.
The amount the printer adjusts the curves depends on
a variety of factors including:
•
•
•
•
•
•
Paper surface – Is it vellum or super smooth?
Type of press – Conventional or UV?
Blankets and plates
Screen types – Conventional or Stochastic?
Original image – Lots of shadows? Bright colors?
Your expectations – Are you looking for a sharp,
crisp print or a softer look?
Proofs
The best proofs are the ones your printer can match,
so you should find out which proofs your printer prefers.
In almost all cases the printer has “fingerprinted” the
equipment to the proofing system. Keep in mind that,
short of a press test, there is no proof that 100% replicates
the printing process.
Loose Color Proof
A printer who is doing scans will provide a loose color
proof that lets you compare the scanned color against the
original image. This step if especially important if you are
providing your printer with digital photography.
Digital Color Proof
Direct-to-plate printing uses digital proofs, rather than film
or blue lines, for composite color, type and position. Digital
proofs, also called “spin jets,” save time and money and
can sometimes be made on the actual paper you plan to
print on.
Press Okay
Take all final proofs, original art and ink drawdowns with
you to check against on press. Use at least a 12-power
magnifying loupe for close inspection. Above all, take
your time.
Ink Drawdown
This offline test uses the ink for your job on the paper
you’ve specified. Ink drawdowns are important when you
are using specialty inks, for a critical color match or to
see a double hit of color on your stock. This is especially
important if using a cream or colored stock. Make sure
you also ask for appropriate coating–varnish, aqueous
or UV–on your drawdowns, as these can affect your
ink shade.
This Demonstrates a
23" x 35" sheet folded
down to illustrate the
concept of paper bulking.
70# Text, Smooth Finish
70# Text, Vellum Finish
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The Naked Truth is one
of a series of print buyer’s
guides produced by
Mohawk Fine Papers.
For more information
Call 1 800 the mill or visit
www.mohawkpaper.com
Mohawk Fine Papers Inc.
P.O. Box 497
465 Saratoga Street
Cohoes, New York 12047
March 2006
