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Raised Ink goes Digital

Posted by on Aug 1, 2013 in Blog, File Prep, Printing Tips |

“Raised Ink makes a tactile impression that stands out on marketing collateral, graphic design and any custom printed piece. Raised Ink is a cost-effective digital print solution giving both designers and marketers another tool to craft interesting collateral that achieves maximum response from a target audience.”
See Jodi Krohn’s blog post entitled “New! Raised Ink

Now I’m going to answer the Question, “But how do I do it?”
The Raised Ink part of the file should be constructed like a varnish as a spot color on its own layer set to overprint. The ink itself is a clear layer that prints right over the top pf the 4-color process art on the sheet. Watermark 1x puts down a single coat of Raised Ink. Emboss 50x cycles the sheet 50 times to build up a 50-coat thickness of ink.

Indigo Press manufacturer Hewlett-Packard tells us that, because of the risk of scratching or cracking, Raised Ink at the etch 15x, engrave 30x, and emboss 50x levels can only be line art or small type – no large areas or fills. Lines should be no more than 2.5 pt and font size should be no more than 12 pt. but we’ll test whatever you come up with.

At the Watermark 1x level the Raised Ink is 1 micron thick, same as the process color inks, and there are no limitations on placement or coverage. Watermark 1x essentially acts as a spot varnish.

Here’s how to achieve the effect in InDesign or Illustrator:

  • Make a new spot color and call it “Raised”. It’s going to print as clear texture on our digital press so it doesn’t matter what it looks like on your monitor – making it a bright visible color can help you see where the raised areas will be.
  • Make a new top layer called Raised Ink. If you’re putting the texture over colored art, select the art or type to be raised and copy it by Option-dragging it to the new layer.
  • Change the colors on that layer to 100% Raised. This is all or nothing, There’s no such thing as a screen of Raised, it has to be 100%. Vector art is your best bet, but if you want to use a pattern in Photoshop you could make it a bitmap and colorize it.
  • Select everything on the Raised Ink layer. Set both Fill and Stroke to Overprint in the Attributes panel.
  • To visualize the effect and to see if it will work correctly, turn the Raised separation off and on in the Separations Preview panel.
  • Raised Ink can only print on one side of the press sheet. The maximum image area is 11” x 15.5”. Only one level of Raised Ink can be used in a single press sheet.
The Dancing Woman is drawn by Oregon Artist Caroline Shirota. Contact info@premierpress if you are interested in Caroline’s limited prints.

Call or email us for samples!


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New! Raised Ink

Posted by on Jun 28, 2013 in Blog, News, Printing Tips |

Stunning Tactile Print Effect on our 7500S Indigo Digital Press

Raised Ink makes a tactile impression that stands out on marketing collateral, graphic design and any custom printed piece. Our new Raised Ink is a digital print technology that creates an effect similar to thermography with some very positive differences. The print quality is clear and clean without the powder residue of thermographic printing. Screen builds of any pms color can be printed. Color is not limited to a small pallet of standard ink colors commonly used in thermography. Moreover, the production process allows finer detail and specific placement of the raised areas—we can raise unique designated details within the printing and leave other areas flat creating an embossed look and feel. Create engaging contrast between flat and raised surface areas. Raised Ink is a cost-effective digital print solution giving both designers and marketers another tool to craft interesting collateral that achieves maximum response from a target audience.

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True White Ink

Posted by on Jun 20, 2013 in Blog, Design Tips, Featured, File Prep, Fun Printing Facts, Printing Tips, Why Print? |

Indigo Digital Printing

White ink is here. Digital printing is rapidly morphing into a quality creative marketing avenue. No longer quick and dirty–expect high-quality reproduction, G7 certified color accuracy and utilize creative substrate and ink options. Short-run, highly targeted and personalized print pulls some of the best marketing returns of all communication channels. High-quality design and reproduction is imperative to get the full value—maximum response—out of marketing campaigns. Quality, not quantity, characterizes results-driven direct marketing programs.

Now add white to the
design palette.

Create and design an entirely unique sensory experience. Pick a paper rich in color and use white ink for a message. Try a white halftone on black paper. Use clear synthetic papers with a white message or a white panel under a photo for a translucent but clear message. White on metallic substrates makes for a strong and bold presence. Alternatively, go for a soft look on a pastel paper or light metallic colored paper. Print labels, invitations, direct mail, corporate marketing, point-of-purchase, greeting cards, postcards, business cards and more.  (Flag is printed 4CP on Environment Desert Storm)

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Pantone+ CMYK Conversion Issue in CS6

Posted by on Apr 2, 2013 in Blog, Design Tips, File Prep, Printing Tips |

Pantone® and Adobe have made a fundamental change in the way color is defined in CS6, resulting in different – and unpredictable – CMYK builds if you start with the default spot colors and change them to process colors. The CS6 default Pantone+ spot colors are now defined as Lab values instead of CMYK builds. Pantone’s thinking is that the device-independent Lab color space is more consistent across a range of media – web to print, iPad to billboard, computer screen to silkscreen.

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Why G7 Master Certification?

Posted by on Nov 14, 2012 in Blog, Printing Tips |

Premier Press is proud to be in the elite group of printers with G7 Master certification. Why? Color identifies you. Color is your brand. You work hard to develop your image and it is important to protect your brand by getting color correct every time on every output device.

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Printed Color Goes Bad! CMYK vs. RGB

Posted by on Oct 31, 2012 in Blog, Printing Tips |


Monitors, digital cameras and scanners use RGB (red, green,blue) to produce color while the printing process uses CMYK (cyan, magenta, yellow, black). Each process blends colors to produce a full range of color. Some colors do not reproduce well in 4-color process. Color intensity and increase of the actual color gamut can be achieved by using special RIP settings and high intensity LED UV lamps to set inks instantly on a wide range of papers. 200 line screen is often considered a quality standard. Increasing the line screen to 240ls or 300ls can increase the range of color achievable on press. For a near-perfect color match, we can add a spot color or two to the job.


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Printed Color Goes Bad! EQUIPMENT & PERSONNEL

Posted by on Oct 30, 2012 in Blog, Printing Tips |

Equipment & Personnel Resources

Not all printing equipment is the same and not all press operators produce the same quality work. Digital presses range from a glorified color toner style copier to a “close-to-offset” quality with a liquid ink. Smaller offset presses do not have the extensive roller system to lay down ink evenly and generously as do larger presses. And the age of the equipment does make a difference. New technology, better systems and equipment with environmentally sustainable processes produce better printing on a wider array of substrates, more efficiently.


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Printed Color Goes Bad! COLOR REPRODUCTION

Posted by on Aug 17, 2012 in Blog, Printing Tips |

Color Reproduction

Crashing surf, brilliant sun, blue sky, mega-ripper riding a curl in your client’s brilliant orange board shorts—totally bitchin’ and jumping off your screen. Now translate that into a printed catalog cover.

Monitors transmit light, achieving the broadest spectrum of color and intensely displaying every detail from shadow to highlight. Printed color, on the other hand, is only reflected light and white paper is the brightest it gets. RGB color is translated to CMYK, which is most limited in true clean pigments, some blues and especially oranges; you could have a disappointed customer if you don’t apply some tricks of the trade. Use high resolution on press like a 240 or 300 line screen to increase the color gamut. Both I believe can provide stronger color than stochastic, but that is another good option for some kinds of art. Use UV inks. These inks are cured as each color is printed, keeping the pigments right on the surface of the paper and making the color richer and more intense. Spot color may be a good solution, especially if this season’s colors are hard to achieve with a CMYK build. Look at coating and stock options. Try using a soft touch coating instead of a satin or gloss coating. Soft touch reduces the glare caused by gloss coatings, yet doesn’t dull color like a satin or dull aqueous coating or varnish. True soft touch coating has a suede feel to it, is highly scuff resistant, and actually enhances images. It has a light-diffusing quality that enhances color while negating glare.

We know all this stuff. We can make it happen.


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Printed Color Goes Bad! RESOLUTION

Posted by on Aug 17, 2012 in Blog, Printing Tips |


Isn’t this image great? I found it on the web. And yes, it looks great on screen, however, printed color requires a much higher resolution. Image resolution is measured by the number of dots/pixels per inch. To produce rich detailed color on a printing press, generally 300dpi is recommended. An image used on the web is likely to be only 72dpi. The smaller size of the web file allows pictures to load quickly. But if you try to print a low-res image, the screen dots become more visible, ragged edges appear, image detail is lost, and color may look weak and washed-out.


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Printed Color Goes Bad! CALIBRATION

Posted by on Aug 17, 2012 in Blog, Printing Tips |


“Oh that, the monitor I bought 5 years ago came color calibrated.” Calibration should happen annually, at the very least, and monthly or bi-monthly if you handle critical color. This will help ensure the most accurate color match from screen to proof to press. Understand that individual printing companies have different press standards and types of ink, so your calibration settings may vary from company to company. Pick a company that produces color printing to your satisfaction. The highest level color standard in the printing industry is Gracol G7 certification. It is an international standard and printers must go through a rigorous color-match testing process to be certified. Color standards must be met annually in all steps of the process: prepress, proofing, and press. All equipment must pass the testing for a company to be certified. The goal is to ensure that print in Portland, New York, and Bangkok could meet a consistent printed color standard.

Accurate proofing is necessary for critical color. Color adjustments, enhancements and tweaks can easily be made at the color proofing stage, but not on press.

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