These days, the gee-whizzes are usually reserved for the latest and greatest digital gizmo . . . a new Internet browser that reads lips as well as minds, the next generation of incription software that identifies registered users by their DNA, or the j ust introduced mega-bandwidth line that transmits billions of gigabytes of information in an instant.
But in our excitement over technological innovation, we shouldn't forget tried and true techniques that also can create a stir. So this month I'd like to discuss foil stamping, embossing and diecutting . . . three old faithfuls in finishing that I'm le arning lots about since joining with a company specialized in these processes.
Here, here! A printed piece with foil stamping demands notice-"Look here!". Recipients respond because a foil-stamped image adds punch and emphasis. And foil choices are remarkably varied. There are gold, silver and brass metallics, pe arlescent, patterned (wood grain, marble, etc.), and many pastel and matte options. There are also wilder foils, such as rainbow, prismatic and holographic, as well as transparent foils that tint the sheet.
Anything that can withstand heat or pressure can be foil stamped or foil embossed. The process is fairly simple: hot dies press a micro-thin plastic film containing metals or pigment onto a substrate, most often paper stock.
There are some things, though, to keep in mind when working on foil stamping projects: Coated paper allows metallic foils to shine at their best, while uncoated sheets tend to absorb some of the brightness. On the other hand, an uncoated, heavily-textu red sheet works best for foil embossing because embossing smoothes the surface of the paper where the foil is applied.
When stamped over inks and varnishes that contain waxes or silicon, foil tends to blister or bubble. Blistering also occurs if the area to be foil stamped is too large. (Most designers believe foil should be used only as an accent, anyway.) Additionally, foil stamping over UV coatings, lacquers and specific film laminations is virtually impossible. Rather, foil should be applied before these processes. Finally, if letterhead is to be run through a laser printer, you should use only certain recently dev eloped foils. Other, older varieties, may melt or damage the printer.
Of course the best way to prevent calamities is with advance planning. Bring your finisher into the picture as early as possible, letting us know of any questions or ideas you might have. We're always happy to consult on appropriate foils for jobs.
Above and below. Embossing creates a raised image, debossing a sunken imae. Either adds depth to the printed product, providing real impact.
With both procedures, the image is created when paper stock is pressed with a magnesium, copper or brass die. Single-level dies create one raised or depressed area on the page. For a multi-level image, a sculptured die provides a layered effect. Anothe r option for achieving three-dimensionality is a combined emboss/deboss process. The depth of a die ranges from 0.006" to 0.025", with anything at the deeper end requiring beveled edges to ensure the paper isn't cut. The wider the angle, the more three-di mensional the image.
The material a die is crafted from is a function of how it's used. For jobs that involve many reprints, the die should be made from copper or brass, both very durable. Copper and brass dies should also be used for detailed designs or heavy, textured stock. Magnesium (or mag) dies are a less expensive alternative, but they also don't last as long.
Paper stock is an important consideration. Soft papers are easier to emboss than hard stocks. Coated stock holds detail best, but the coating sometimes cracks if the die is deep. Also, embossing and debossing involve heat and pressure, which smoothes t extured stock. The contrast between a smooth, embossed image and the rest of the page is a striking and often desired effect.
If you're unsure about stock or artwork preparation, take my oft-repeated advice: consult ahead of time with your finishing house. A brief meeting of the minds saves everybody a lot of time, money and aggravation.
On the edge
. Products able to benefit from diecutting are as wide-ranging as your imagination: think of pockets on presentation folders, cards with curved overlaps, holes in bottleneckers, any type of packaging, etc.As discussed above, dies can be made from various metals, each with its own properties. Regardless, they're constructed in the same manner. Thin metal strips are shaped, embedded in wood and heat-tempered to withstand pressure. This die is then pressed into the paper to cut the desired shape, similar to how a cookie cutter works. Kiss-cutting is used to make labels and decals-cuts are made through the printed paper but not through the release paper on which the label is mounted.
The only real concerns with diecutting are to avoid intricate shapes, which add waste and complicate the process. Also, too many cuts can weaken the sheet. If highly detailed shapes are necessary, consider using a laser process instead of metal dies. T his is a newer procedure, producing impressive effects because lasers the size of pinpricks vaporize instead of cut.
Looking ahead
. Laser technology is just one of many innovations that will likely change not only the face, but the implementation of these time-tested finishing techniques. So stay tuned, I'll keep you posted on advances as they occur. In the meantime, don't forget to remember the obvious . . . foil stamping, embossing and diecutting can add pizzazz to projects.
Milt Vine is president of Seattle Bindery, a postpress house specializing in custom
tabs and presentation folders; folding and stitching; foil stamping, embossing and
diecutting; plastic spiral, Wire-OÒ and perfect binding. You
can reach Milt at 206/682-2558.
©1998, Seattle Bindery.