|
 Choice of substrates is often the exception to the rule when it comes to the print production knowledge of graphic designers. This anomaly is even more apparent with regard to students and recent graduates. Evidently the likes of Wernham Hogg have invested wisely in promoting their wares amongst future product specifiers.
Sadly, the gusto for exceptional materials is one of the earliest enthusiasms to wane under the pressures of commercial accountability: it's a tough enough job getting an impressive design to press, without complicating matters with creative use of materials. This does mean however that careful consideration of material can still distinguish a well-designed piece. A myth has arisen that digital print is suited to a wider range of substrates.
This is particularly interesting as for many years the opposite was held true. One of the key criticisms of digital print was always that the range of stocks was limited. This complete reversal of perception has been brought about largely by digital print companies' efforts to counter the argument. There are other important factors though. It is usually easier and cheaper to prepare a digital press for special stocks.
Furthermore, less of the precious material is wasted during job preparation. Specialist stocks are expensive. On a £100 pound digital job, paying £30 extra for something exceptional could be bearable suggesting 30% extra for a reasonable run litho job might require a cardiovascular team on standby.
A quality issue where digital print particularly lagged litho concerns textured stocks. Litho ink is more adept at seeping into crevices than toner. Xerox found an answer to this with technology developed for the iGen3. It features a device that uses sound waves to efficiently dissipate toner in three dimensions as it approaches the textured surface. So rather than using brute force to press the colourant in, which can lead to deterioration of image quality, it sort of nags it into place. The result often being better image quality than the litho equivalent.
An important consideration when deciding whether to use non-standard stock is the finishing requirement. This is an area where digital print workflows, particularly Xerox iGen3, have a huge advantage over litho print and finishing. It is easily possible to digitally print collated sets with mixed stocks. So heavy covers, translucent flysheets, etc. can be combined into a single job without having to undergo costly, often manual, collation.
While the true picture is that the range of substrates for digital print is not as diverse as that for litho, unusual digital stock is definitely more prevalent. Digital press manufacturers have partnered with paper mills to ensure that innovative substrates are readily available. They have developed materials to meet existing demands, like virtually indestructible polymer based paper. A favourite anecdote being that the ambulance service use this stuff because it is impervious to gore.
On another interesting tack, particularly favoured by Xerox, they have developed substrates to stimulate demand for digital print. There are a wealth of pre-formed folders, peel-off membership cards, pre-perforated coupons, etc., that are designed to provide a low-cost solution for items that would be very expensive to produce conventionally.
Related Articles:
| 
