 1.

Basic of DESIGN & GRAPHIC

A plan or drawing produced to show the look and function or
workings of a building, garment, or other object before it is made.
• Design is the creation of a plan or convention for the construction
of an object or a system
• Design is a work process which has a user perspective and drives
development based on your specific customers' needs.
• Design and Graphics, a specialized course in the mass
communication field, refers to the process of designing, editing
and representing a complex piece of information via the use of
graphics, charts, maps and other presentations tools, while
maintaining the value of the news.
• Graphics and design are essential components of news,
advertising, public relations and all strategic communications.
 2. The Elements and Principles of Design

The Elements of Design are:

Line, Shape, Form, Space, Value, Texture and Color
These are considered to be the “grammar” of art

The Principles of Design are:

Unity, Variety, Balance, Contrast, Emphasis, Pattern,
Proportion, Movement and Rhythm
These are like the “rules of grammar”; they form the
guidelines that artists follow when they combine the
various elements of design
 What elements do you see used in this

• Color (red and green)

• Shape (the outlines of
flowers and leaves)
• Line (the stems, the veins of
the leaves)
• Texture (smooth petals and
furry leaves)
 Line
In nature you can see lines in tree
branches:

In a curving river:
Or in a spiders web
 Edges of
buildings

winding roads
As you have seen, lines can have many qualities:
An artworks, straight lines generally suggest directness or clarity while curving
lines imply gentleness or movement. Vertical lines can give an artwork strength
while horizontal lines convey calmness and tranquility. Diagonal lines convey
action and energy—think of a lightening bolt or a falling tree. Very thick lines
appear strong while a thin line appears weak or delicate. Fuzzy lines imply
softness while smooth lines imply harder surfaces. Repeated lines can create
patterns, textures and even rhythms.
Horizontal
broken Vertical

diagonal
thin Thick
curved
 Lines can also be implied or real.
A real line is one you can actually see (Ex. A) while an implied line is the
suggestion of a line (Ex. B) An implied line may also be suggested by a
string of objects (Ex. C)
(A) (B) (C)
 Shape
Shape is a 2-dimensional object (it is flat) It has height and
width but no depth. Shapes can be either geometric or organic.

Geometric shapes ---circles, squares and rectangles are regular

and precise. They can be measured.
Organic shapes are irregular---seashells, leaves, flowers, etc.
 Texture
Texture is the tactile quality of a surface, such as rough, smooth, sticky, fuzzy, soft or
slick. Like line, texture can be real or implied. A real texture is one that can be felt,
such as a piece of sandpaper, a
woven mat, or animal fur. In an
artwork, real texture can be
created through thickly applied
paint, glossy glazes, and gluing
objects to the surface. Implied
texture is an illusion of texture
created by an artist. As you can
see below, this artist created a
sense of smooth water and prickly
grass.
 Space
In a 2-D work of art, space is limited Items farther
to the picture plane. By using color Objects away appear less
farther away detailed or fuzzy
and/or value you can make objects
appear to advance (come forward) are placed
or recede (go back) into space to higher on
the picture
create an illusion of depth. Objects
plane
with clear surface detail appear
nearer to the viewer than fuzzy or
plain objects. Also, an illusion of
space can be accomplished when
objects overlap or are placed higher
on the picture plane. Overlapping gives the
illusion of space too.
What principle(s) do you see used in these
pictures?
A plaid scarf

A glass skyscraper A plaid scarf

A flying bird

Unity, Pattern, Movement, Pattern, Unity, Contrast

Proportion Rhythm
Unity is the harmony produced by all the elements in a design .Unity refers to how
well the elements of a design work together. Visual elements should have clear
relationships with each other in a design. Unity also helps ensure concepts are
being communicated in a clear, cohesive fashion. Designs with good unity also
appear to be more organized and of higher quality and authority than designs with
poor unity.
Variety in design is used However, variety for the
to create visual interest. sake of variety is
Without variety, a design pointless. Variety should
can very quickly become reinforce the other
monotonous, causing the elements of a design
user to lose interest. and be used alongside
Variety can be created in them to create a more
a variety of ways, through interesting and
color, typography, images, aesthetically pleasing
shapes, and virtually any outcome that improves
other design element. the user’s experience.
Every element of a design—typography, colors, images, shapes, patterns, etc.—carries a visual weight.
Some elements are heavy and draw the eye, while other elements are lighter. The way these elements
are laid out on a page should create a feeling of balance.

There are two basic types of balance: symmetrical and asymmetrical. Symmetrical designs layout
elements of equal weight on either side of an imaginary center line. Asymmetrical balance uses
elements of differing weights, often laid out in relation to a line that is not centered within the overall
design.
One of the most common complaints designers have about client feedback often revolves around clients
who say a design needs to “pop” more. While that sounds like a completely arbitrary term, what the client
generally means is that the design needs more contrast.

Contrast refers to how different elements are in a design, particularly adjacent elements. These
differences make various elements stand out. Contrast is also a very important aspect of creating
accessible designs. Insufficient contrast can make text content in particular very difficult to read, especially
for people with visual impairments.
Emphasis is a strategy to get the viewer’s attention to a specific design
element. This can be in any form: a button, a website, or an image. The
purpose is to create something that will stand out from the rest of the
page. You can use different elements to highlight a specific part of your
design, like lines, color, positive/negative relationships, and many more
Patterns are nothing In design, however,
more than a patterns can also
repetition of multiple refer to set
design elements standards for how
working together. certain elements are
Wallpaper patterns designed. For
are the most example, top
ubiquitous example navigation is a
of patterns that design pattern that
virtually everyone is the majority of
familiar with. internet users have
interacted with.
 2.Proportion is the
sense of unity created
when all the elements
in a composition relate
well with each other.
Proportion is mostly
about scale and size
when two elements are
compared. For
instance, in art and
drawing, proportion is
important for the
elements to look
realistic. Proportion
doesn’t necessarily
1.Proportion is one of the easier design principles to understand. refer to the size of one
Simply put, it’s the size of elements in relation to one another. element but to the
Proportion signals what’s important in a design and what isn’t. relationship of two or
Larger elements are more important, smaller elements less. more elements.
Rhythm has more
complexity than the
Rhythm is usually hidden
previous principles of in works of art and is not
repetition and pattern. as obvious as the design
Repetition and pattern are principles of repetition
applied to the same
element throughout a and pattern. In the
design. Rhythm is the visual example below, the
tempo of a combination of diagonal lines aren't
elements when used
repeatedly, and with
arranged in a specific
variation, it gives the feeling pattern. Instead, there's
of organized movement. a repetition of the
elements with variations.
Movement refers to the way the eye travels over a design. The most important element should lead to the
next most important and so on. This is done through positioning (the eye naturally falls on certain areas of
a design first), emphasis, and other design elements already mentioned.

Movement can be created with rhythm when using a variation of an element repeatedly. Using
curved lines and diagonal lines creates more movement compared to straight lines. Use lines to
trace the path to the focal point
 3. Typography
• Physical form
• Letter form
• Aesthetic
• Classification
• Typography is the art and technique of arranging type to make
written language readable and appealing when displayed. The term
typography is also applied to style, arrangement, and appearance of
the letters, numbers and symbols created by process.
• Typography is the art of expressing ideas in printed form through the
selection of appropriate typefaces. The typographer (print design )
must determine how the manuscript should be expressed in type as
well as other details of reproduction and physical format.
Physical form
• Sonographic: Drawn, painted and fabricated letterform Calligraphic:
Freehand letters or art of beautiful writing Typographic: Letter character that
has developed by some mechanical system Letterforms

• A letterform, letter-form or letter form, is a term used especially in

typography, paleography, calligraphy and epigraphy to mean a letter's shape.
A letterform is a type of glyph, which is a specific
• Baseline: This is the line that sits at the bottom of capital letters or at the base of
the main body of lowercase letters.
• Median: This is the line at the top of the main body of lowercase letters.
• X-height: This is the distance between the baseline and the median.
• Cap height: This line is at the top of capital letters.
• Ascender: Some lowercase letters extend above the median and are called
'ascenders.' The ascender line is the top of their ascent.
• Descender: Like an ascender, some lowercase letters reach below the baseline and
are called 'descenders.' The descender line refers to how far down a descender
reaches.
The typographic page may be considered in terms of two
aesthetic qualities. The first of these has been called
“atmosphere,” “feel,” “impress,” “sense,” and other similar
terms. It is easier felt than defined, and it depends in large
measure on such things as the size of the block of type, its
placement on the page, the kinds of display letters used for
titles, running heads, and subheads, and the size of the
margins—all elements that in the hands of a competent
typographer create an expectation regarding the contents
(possibly even the purpose) of the page and lead to a sense
of the time of its production, its seriousness, and its
function.

The second aesthetic quality is that of colour, the darkness

or lightness of the block of type sensed somehow as a
whole rather than as a collection of individual letter forms
with substantive meanings. Colour is the result of letter
shapes, distances between letters and between words, the
amount of space left between lines, the inking of the type,
the printing process employed in making the impression on
paper, and the paper itself.
Color is everywhere. In our clothes, the sky, trees, flowers,
billboards designed to attract our attention, on the web and on
television.
 There are literally thousands of colors; from bright to dull
(intensity) and light to dark (value). Colors are powerful; they can
make objects seem to glow, to come forward and recede, or to
appear bigger or smaller.
Colors can also be symbolic, with meanings that change from
culture to culture. A color can symbolize an object or thing such as
blue for water and green for grass and the leaves of trees or it
may symbolize an emotion or idea, such as red for love, yellow for
fear and blue for sadness.
 Color is a property of light. When we say an object
is red, we mean that its surface absorbs certain
wavelengths of light that we call red, we
identify the object as red in color. If all wavelengths
of light are absorbed, we identify the color as
black, if all wavelengths of color are reflected, we
see white.
Color has 3 characteristics: hue, value and intensity. Hue is
actually the color we see—such as red. Value refers to the
lightness and darkness of a hue. For example, maroon is a
dark value (shade) of red and pink is a light value (tint) of red.
Intensity is the brightness or dullness of a color.
Red, Yellow and Blue are called Primary
colors (P)and are used to create the rest
of the colors on the color wheel.

When you mix two primary colors together,

you get a Secondary color (S). These
colors are Orange (yellow and red), Green
(blue and yellow) and violet (red and
blue)

And when you mix a primary and a

secondary color together you get an
Intermediate color (I). These are yellow-
green, yellow-orange, red-orange, red-
violet, blue-violet and blue-green
 Color Schemes

When two colors are located directly across from

each other on the wheel, they are referred to as
complementary colors. Artists often pair
complementary colors together because the
area where they meet seems to vibrate. You can
also lessen the intensity of a color by adding a
small amount of its complementary color.
A monochromatic color scheme makes use of only one hue
and its tints and shades. This scheme can produce
appealing pictures as you can see below.
An analogous color scheme is made up
of three or four colors that are adjacent
on the color wheel.

What set of analogous colors

are used in this example?
 Color Temperatures
Reds, Oranges and Yellows are warm
colors. They remind us of the sun or fire
and can add a feeling of excitement,
boldness or happiness to a work of art.
Warm colors make objects seem larger
and appear to advance in an artwork.

Greens, Blues, and Violets are cool colors. They

remind us of lakes, distant mountains, sky and
foliage.
Cool colors tend to be calm and restful. They
recede into the distance and make objects
seem smaller.
 Contrast

Contrast creates interest. In an

artwork, a strong contrast of light
and dark will draw a viewer into a
particular place in an artwork.
As will contrasts of rough and
smooth areas, warm and cool
areas, straight and curved lines, or
plain and patterned areas.
While embarking on the making of the layout, one needs to
understand the message and for whom it is intended. So the
following aspects become the points of study to facilitate the
job of making a layout. For an advertisement design is more
important to be successful than just beautiful. The design
must have balance, rhythm, emphasis, unity, simplicity,
preparation, harmony, line, shape and movement.
Whether the layout will stand alone like a poster or
compete with others in surrounding environment like in a
newspaper.
Types of Layout
A layout is the play in placement of given text and suitable images on a
given surface area. Layouts can be classified in three categories:
– Text Dominant
– Image Dominant
– Image and Text
Text Dominant: If there is too much or large text then it will have to be
text dominated. But from the layout point of view the headline could be
used in large display fonts occupying ore area if that creates the desired
effect.
Image Dominant: These layouts are seen regularly in our newspapers
and magazines, where a picture of a celebrity takes centre stage or the
product is shown in all its glory like in most automobile advertisements.
Image and Text: In these types of layouts, image and text are used in
equal measure, and given a balanced exposure.
 Layout Composition

The layout composition is easy to make if it is

based on a grid. A grid helps divided and use
the given space in an organised manner. A
grid is made after centre of interest is decided
depending on the requirement, for text if it is
primary in the case of books, in a book cover
text could be secondary and in case of a
magazine cover, apart from the title, the rest
of the text could be tertiary in importance. A
grid helps define the text box, the image box
and the gutter (space between text and image
boxes.) Let us take a closer look at how a grid
is made and how it works.
Colour in Layout : Colour is a very important factor in
an layout because it attracts attention. Since the
image reproduced is as good as real, and the nature
of properly and perfectly conveyed colour can be very
advantageous. Colour increases the degrees of
attention and invites more audience. It increases
memory value and layout efficiency, also creates a
pleasing, rhythmic movement of the eye. Colour has
emotional qualities.
Copy and Type : Reading the content of the
text, and understanding the message always
helps make a good layout. It is good, to think
seriously about the written text, which is
called copy in a layout. All the elements to be
included: headlines, subhead, text,
illustrations, logotypes, testimonials, order
forms and the rest.
2.Publication Design
Layout of a Newspaper
• Newspapers as you may have
observed have a typical
layout and the pages are
divided vertically into what is
known as columns. The
column size in different
newspapers also vary,
newspapers are generally
around eight columns of
4cms width each. The
divisions are made by line
spaces left blank between
two sets of texts, these are
called gutters.
 Layout for a Magazine
The page sizes are defined and
the print area is also fixed and
artwork or layout must adhere
to that. Notice that in all
newspapers and most
magazines, a kind of border or
margin is left outside of the
area of artwork, the matter or
text area is known as the print
area.
Layout for a tabloid
• A tabloid is a newspaper with a compact page size
smaller than broadsheet. The term tabloid journalism
refers to an emphasis on such topic as sensational
crime stories, astrology, celebrity gossip. Tabloid
format measures 432 x 279mm, or 17 x 11 inches
Layout for a book
• One of the most important elements of book layout
and design is the use of margin.. Running heads are
little lines of text in the top margin which provides
important information to the reader like book name,
chapter name and pad page number
 Layout for a print ad
• The layout is the way you put all the
elements together to create the final
ad.your layout needs a focal point-
usually the picture or headline- for
readers eyes to land on , then the
white space, graphic and text elements
should lead them through the copy to
company signature.
• Size & Shape – newspaper and
magazine placements fees are based
on ad size.
• Placement of the advertising is imp.
 3. Package design
• Packaging is an element of the buying experience that
most consumers probably don’t spend a whole lot of
time thinking about. It’s just sort of there. When they
do think about it, it’s often because it’s either really
effective at catching their eye or meeting their needs
or because they can’t figure out how to open
something or they become frustrated with unclear
instructions on the use of a product.
Packaging matters because it serves many purposes, both practical and
aesthetic:
• Physical protection—Packaging can protect products from mechanical
shock, vibration, electrostatic discharge, temperature changes and a
whole slew of other things that can occur between manufacture and
purchase.
• Barrier protection—Especially when perishable items are concerned,
packaging protects the product (and ultimately the consumer) from
oxygen, water vapour and moisture, dust, insects, germs, mold and other
elements that could ruin the quality of a product or spoil a consumer’s
appetite.
Seven tips for effective package design
1. Design the package with your market in mind: Theme,
colours, font and font size, word choice, pictures—
everything about your packaging should be geared directly
towards your target market. When your potential customer
sees your product, they should immediately identify with it.
2. Sell the benefits, not the features : Don’t assume people
will connect your product with their needs. Consumers
don’t buy a product for its features; they buy a product for
what it can do for them. Point out how your product will
save time, enhance their quality of life, deliver superior
safety, increase their productivity, or answer some other
need in their life.
3. Consider every square inch to sell your product : Think
outside (or inside) the box—literally and figuratively. See
every surface as an opportunity to communicate with your
consumer.
4. Include unpacking instructions: Don’t make your customers guess. Include
unpacking instructions on the packaging itself so someone knows exactly how to handle
your product and avoid injuring themselves or their purchase in the process.
5. Use pictures instead of words (when appropriate): Using universal symbols or easy-
to-interpret images will make your product more accessible to a wider market. The
easier you make it for people to understand what your packaging is saying, the more
likely they are to buy it.
6. Keep the whole experience in mind: Your packaging should encompass the whole
experience. Apple for instance, does an excellent job of designing a product’s packaging
down to the last detail—from the simplicity of the outside to the innovative touches on
the inside. The process of unpacking the product reinforces Apple’s image and their
customers’ experience leading up to using the product itself.
7. Put your product to the test: Concepts, mock-ups and focus groups are a necessary
part of product design. Testing the package design and how consumers react to it and
interact with it before mass development can save time and money in the long run,
ensuring your package achieves its goals and sends the intended message.
 4. Layout for a Web Banner
• A web banner or banner ad is a form of advertising on the
WWW deliver by an ad server. This form of online
advertising entails embedding an advertisement into web
page. It is intended to attract traffic to a website by linking
to the website of the advertiser
  1. Visuals
• Physical form
• Function
• Editing and ethics
• Visual design aims to shape and improve the user experience through
considering the effects of illustrations, photography, typography, space,
layouts, and color on the usability of products and on their aesthetic appeal.
To help designers achieve this, visual design considers a variety of principles,
including unity, Gestalt properties, space, hierarchy, balance, contrast, scale,
dominance, and similarity.
• Visual design as a field has grown out of both user interface (UI) design and
graphic design. As such, it focuses on the aesthetics of a product and its
related materials by strategically implementing images, colors, fonts, and
other elements. A successful visual design ensures that content remains
central to the page or function, and enhances it by engaging users and
helping to build their trust and interest in the product (and, consequently,
the brand). The realm of visual design houses a wealth of issues for designers
to bear in mind, ranging from the differences in cultural interpretations of
the color red, to proper use of whitespace, to universal taboos such as the
setting of red elements against blue backgrounds. It draws on a rich and
lengthy history of the production of aesthetically pleasing, successful work.
 2. Poster design
• A poster is a temporary promotion of an idea,
product, or event put up in a public space for
mass consumption. Typically, posters include
both textual and graphic elements, although
a poster may be either wholly graphical or
wholly text. Posters are designed to be both eye-
catching and informative
• The main function of a poster is to capture a
moving audience with a message. When
designing a poster, plan its design carefully. You
will have a short amount of time to attract and
hold your readers attention. Think about the one
aspect of the information that must convey the
message and plan your design around that.
 3. Logo design
Logo design is all about
creating the perfect
visual brand mark for a
company. Depending on
the type, a logo usually
consists of a symbol or
brandmark and a
logotype, along with a
tagline.
 4.Brochure design
• Brochure design is the service in which a document is
designed that advertises a business’ products or
services. Well designed brochures will attract a
company more customers and improve recognition
and trust in your brand.
These common types of brochures and flyers are categorized according to their print and fold format
along with their panel layout size.
1. Gate-Fold
• These brochures are used quite seldom because they are a little expensive than the traditional
brochure graphic designs. Hence, they are mostly printed for high-end marketing purposes. The
inward fold of this brochure makes it compact and easy to carry around. The brochure’s eight-
panel structure provides more space for graphic designs, illustrations, information, and images
of the product or service of your brand in detail.
2. Bi-Fold
• This is the most commonly used brochure type among companies. A bi-folded brochure is
created by folding the brochure into two equal halves. In this fold, the brochure has four panels
to display information- the front cover, back cover along with two internal panels. This brochure
is easy to hold like a book and skim through information. A booklet is an advanced version of the
bi-fold brochure where there are multiple pages added to the brochure making it appear more
like a mini magazine. This kind of brochure is excellent for companies that want to advertise
multiple products. It can also be used as restaurant menus.
• 3. Tri-Fold
• This brochure is exactly what the name suggests. It consists of three folded panels that provide
enough space to display information. It can be folded in many ways to optimize its functionality.
Horizontal folds for wider but shorter panels. Vertical folds for narrower but taller panels. Such
folds make the 6-panelled brochure a compact one, making it easier to read it and carry along.
 1. History of printing process
Printing is essentially the process of images and text reproduced through a
template or master form. If there is an invention so crucial and vital in the life of
humans, it has to be the ability to print. Through printing we are able to
produce in huge numbers magazines, newspapers, books, photographs,
leaflets and many other publications. It has played the grand and vital role of
promoting knowledge and literacy across the divide in basically any part of the
world.
 East Asia
• The history of printing is believed to start in East Asia, where the
woodblock printing technique of patterns, images and text
printing was highly in use. The technique started in China,
mostly as a way to print on textiles before the same was done
on paper. The earliest prints on cloth in China go back beyond
220 A.D. In contrast, Roman Egypt woodblock printing goes
back around the 4th century. By the 9th century, China had
started printing on paper with the first ever completed extant
printed book with its own date printed by 868 A.D., known as
the Diamond Sutra. More than 400,000 copies of Pictures and
sutra copies had been printed by the 10th century at a time
when the classics of Confucius were also in circulation. After
this development in China, printing spread into Japan and
Korea, where the Chinese logograms were used.
 Middle East
• In Arabic Egypt, block printing developed in the 9th and
10th centuries, mostly for amulets and prayers. Most of
them were not just printed on wood, but also on clay, lead
and tin.
Europe
• Block printing was the first form of printing to enter
Europe, mostly as a way of printing motifs on cloth and by
the 14th century, it was a common development. Mid 15th
century saw woodcut books and block books being printed
with both images and text, mostly carved on a single block
and were mostly affordable alternatives to books and
manuscripts printed on a movable printing method.
• Movable printing refers to the typography and
printing method that uses metal movable pieces
made by matrices casting with letter-punches
used for striking. The movable type of printing
gave the printing world a lot of flexibility in
contrast with block printing or hand copying.
The first movable printing type was created
about 1040, from porcelain, by Bi Sheng in
China. Porcelain broke easily and by 1298 C.E,
Wang Zheng had carved out of wood a durable
movable type.
• In 1230, metal type printing movables made of
bronze were invented in Korea such as the
bronze movable that published the
Korean Jikji in 1377.
• By 1450, the first modern movable printing
type was introduced by Johannes Gutenberg
in Europe,including crucial type casting
innovations founded on hand mold and
matrix. Gutenberg’s type pieces were created
uniquely from alloys of antimony, tin and
lead, which are still used today. After the
printing of the Gutenberg Bible in 1455 and
its low affordable cost, the superiority of the
printing press and movable type printing by
extension was established and spread around
Europe and across the world. All movable
printing types today derive from the
innovations of Gutenberg.
 Modern printing developments
• Other modern printing developments today worth
noting include xerography, developed in 1938, Inkjet
printing 1951, Laser Printing 1969, 3D printing 1984
and Digital Press in 1993. Inkexpress.co.uk offers a
whole host of modern solutions that cover a range of
areas.
 2. Basics of desktop publishing
• WYSIWYG
WYSIWYG is an acronym and stands for “What You See Is
What You Get.” This expression is used for Web
document creation systems (for example, HTML Editors)
and other formats such as image processing programs
that output the content on a screen exactly as it will be
displayed later on other user devices, such as a printer
or Browser.
 • HARDWARE & SOFTWARE
• Desktop publishing (DTP) relies on two primary hardware components:
1) a computer, supplemented by various input devices including
scanners and cameras, and 2) a printer that can produce high quality
typographical and pictorial output.

• Software used desktop Publishing are-

– Microsoft Publisher.
– Adobe InDesign.
– Coral draw
– QuarkXPress.
– Layout Designer.
 3. PAPER AND FINISHING
Paper finishing is the final step involved in the paper making process. As the
name suggests, paper finishing can be defined as giving final finishes to the
paper. Only after the finishing, the paper turns out to be rough or smooth. The
smoothness or roughness of paper can be done through different types of
paper finishing which are as follows:
• Varnishing: Shine and Shiny makes me look so Pricey!!! Varnishing is usually
for the wood but it can also be used on paper. When varnish is applied on
the paper, paper becomes smooth and it usually adds texture to the paper. It
is traditionally a combination of a drying oil, a resin and a thinner or solvent
and is very much used for high-quality books and magazines. The varnish
chosen is influenced by the type of product that has been printed.
• Spot UV Varnishing: Be Noticeable with the Spot UV Varnishing!!! . As the
name suggests, Spot UV Varnishing is that which can be utilized for
highlighting a particular spot or area on the complete paper. Out of all the
information available, if the writer wants to grab attention to a particular
portion then Spot UV Varnishing type of paper finishing is perfect for usage.
• Foil Stamping: Oh My God!! Being luring is so charming!!! . Foil stamping, also called
foil application is the usage of a metallic material put on to the print surface by
employing heat and pressure. This technique of foil stamping is often regarded as one
of the various professional methods of print finishing and it often adds a reflective
aspect to the printed material.
• Letter Pressing: Old but still gold for many!!! . Letter Pressing is the oldest and the
most renowned type of paper finishing. Some printers call it by the term debossing
and it is exactly opposite of Embossing. It is often used for pressing down or indenting
particular portions of the page. The surface of the printed material is indented in
order to create a 3D effect.
• Laminating: Protection is always better than being sorry!!!. Lamination or Laminating
type of paper finishing gives some sort of protection to the paper. It is a very sturdy
material and is water resistant. It offers thicker finish to the paper and is generally
expensive in rate. Laminating paper or paper products usually protects the paper
from getting faded, stained, creased, etc.
• Embossing: Feel the design with Embossing!!!. Embossing type of paper finishing
usually refers to raising parts of the page for prominence and texture. Images and
text can be accurately felt with this and is most commonly used for the wedding
cards.
 4. CONTEMPORRY PRINTING METHODS
• LETTERPRESS
Letterpress printing, also called Relief Printing, or Typographic
Printing, in commercial printing, process by which many copies of
an image are produced by repeated direct impression of an inked,
raised surface against sheets or a continuous roll of paper.
Letterpress is the oldest of the traditional printing techniques and
remained the only important one from the time of Gutenberg,
about 1450, until the development of lithography late in the 18th
century and, especially, offset lithography early in the 20th.
Originally the ink-bearing surface for printing a page of text was
assembled from individual types by a typesetter or compositor,
letter by letter and line by line. The first keyboard-
actuated typesetting machines, the Linotype and
the Monotype (qq.v.), were introduced in the 1890s.
• OFFSET AND DIGITAL
• Offset printing, also called offset lithography,
or litho-offset, in commercial printing, widely used
printing technique in which the inked image on a
printing plate is printed on a rubber cylinder and then
transferred (i.e., offset) to paper or other material.
The rubber cylinder gives great flexibility, permitting
printing on wood, cloth, metal, leather, and rough
paper. An American printer, Ira W. Rubel, of Nutley,
N.J., accidentally discovered the process in 1904 and
soon built a press to exploit it
• In offset printing the matter to be printed is neither raised
above the surface of the printing plate (as in letterpress) nor
sunk below it. Instead, it is flush with the surface of the plate;
thus offset is classified as a planographic method of printing.
• Offset printing, as a development of lithography , is based on
the principle that water and grease do not mix, so that a
greasy ink can be deposited on grease-treated printing areas of
the plate, while nonprinting areas, which hold water, reject the
ink. The offset plate is usually of zinc or aluminum or a
combination of metals, with the surface treated to render it
porous and then coated with a photosensitive material.
Exposure to an image hardens the coating on printing areas; the
coating on nonprinting areas is washed away, leaving wetted
metal that will reject ink.
• Modern offset printing is done on a press composed
basically of three rotating cylinders: a plate cylinder, to
which the metal plate is fastened; a blanket cylinder
covered by a sheet of rubber; and an impression cylinder
that presses the paper into contact with the blanket
cylinder. The plate cylinder first comes in contact with a
series of moistening rollers that deposit moisture in the
granulations of the metal. A series of inking rollers then
pass over the plate, and the ink is rejected by the water-
holding areas and accepted by the greasy image. The inked
image is transferred to the rubber blanket and is then
offset to the paper travelling around the impression
cylinder.
Thank You