Not sure where to start? We hope this short instruction will help you out. Adding enhancements is less complicated than it seems. If you don’t want to botch the job and would rather save yourself the stress and time, here are a few things worth knowing before you get on with the task ahead.
Your instinct probably tells you that enhancements shouldn’t be applied along creases, hinges, crop marks and over the bleed. However, this isn’t entirely true as it all depends on what enhancements you want to have applied. While 3D varnish can’t be applied along a crease, there’s nothing stopping you from applying 2D varnish there.
Let’s say you want your book title embossed with gold foil. There’s no need for the title to be printed first then. If you have your graphics printed and foil is applied on top afterwards, it may turn out that an unwanted element of your graphics will be showing somewhere from underneath the gold foil. Why? Go to the next section to find out.
It’s good to remember that a machine (even the most perfect one) is just a machine. Slight shifts in registration (e.g. by approx. 1 mm) can happen irrespective of whether you’re dealing with hot-stamping, traditional spot varnishes or state-of-the-art digital technologies.
Now that you know that some enhancements shouldn’t be applied along your crop marks and you are also aware of possible shifts in registration, it’s time to take care of your margins. A 1 mm distance between the elements to be enhanced and your crop marks might not be enough; 3 mm is the absolute minimum here.
When designing a book cover, you have to be aware that, first of all, it’s not always possible to apply certain enhancements on a given substrate. Secondly, even if it’s possible, sometimes it might not be worth it. You can’t apply spot varnishes on canvas. On the other hand, spot varnishes can be used on elements first coated with glossy foils without any problems. It’s just that the end result can leave much to be desired: glossy on glossy isn’t the best of ideas. So before you decide on a particular type of enhancement, do some research to make sure that the substrate you choose will be suitable for the selected enhancement.
Well, the size of the graphics and texts that you wish to be enhanced does. These elements shouldn’t be too small. There are strict parameters that have to be kept in mind with regard to the parts of your publication to be enhanced using both the traditional and the 3D Touch technologies. Adhering to them will provide a guarantee of a high-quality end result. The parameters in question are set out in our guide; you can access it by clicking on the link at the end of this article.
The file with the chosen enhancements you send to the printing house should state the exact same sizing as the file containing your book cover design, while masks for individual enhancements should be positioned exactly where you want to see them on the printed cover. This way it’s clear what’s to be enhanced, and it also enables us to see where exactly the designer intended to apply a given enhancement. No time is wasted trying to make the masks for individual enhancement fit the print files. We can thus minimise the risk of making errors, where the simplest solution is to generate your final PDFs from one single file.
Save your mask files for individual enhancements as separate files. If you want to have two different foils applied, e.g. gold and silver, then each colour also requires a separate file.
This might seem like nonsense, but it’s nonsense on the surface only. Believe it or not, the innumerable superpowers that our technicians are gifted with don’t include mindreading. Foil colour, type of varnish, etc., are the information required when it comes to sending your files to us.
Are you not quite following? Having doubts? Are you not 100% sure how to do this? Just ask. A short conversation with someone competent can save you a lot of time and unnecessary work for you and the person that will be reviewing your files.
Helpful links: All details and useful tips can be found in our guide. If you’re still unclear on anything, contact our Customer Service Desk.
Graphic designer at Totem.com.pl. She writes because she enjoys it, but only when she isn’t busy drawing. Enthusiast of vintage furniture, she restores them to their original glory. Lover of cats, moths and the Moomins.
Your email address will not be published.
Save my name, email, and website in this browser for the next time I comment.
Your name and comment will be published on the blog. Your data will be controlled by Totem.com.pl. For details view our privacy policy.
Reading the earlier post, you had the opportunity to find out what openability of a book is and why it is so important. Today, we will discuss the issue of what really affects it. There are numerous factors that are at play here, and it is impossible to identify any one of them as the […]
The openability of a book is a bit like air quality: if it is good, we pay it no attention. However, if it leaves much to be desired, it becomes a source of our constant frustration. What does openability mean? The paradox here lies in the fact that we subconsciously know what this openability is, […]
Where do books come from? The most casual answer is that they come from the bookstore. Whereas in fact they are the product of the work of countless people that first create the content and then give it the required shape. So, what happens to a book before it lands on a shelf in a […]
We dealt with the end paper on our blog before. The post focused on one of the possible finishes and its aesthetic aspects. This does not mean that we have said everything there is to be said about the subject. In fact, there is so much more that can be revealed about this inconspicuous element […]
