Varnishing Act: A How-To Guide
By Debora Toth, Project Editor -- graphic arts online, 12/1/2000
When Wilmington, Mass.-based commercial printer Quebecor World Acme was presented with a 46-page booklet from Sappi Fine Paper showcasing the paper manufacturer's Strobe and Lustro Dull Cream lines of substrates, the printer knew it had a challenge on its hands. The booklet, called Idea Exchange, explores ways not only to protect the printed surface using varnish techniques, but to add depth, dimension, and interest as well.
"The challenges were exceptionally high to print this book," says Fran Canzano Jr., president of Quebecor World Acme's New England group, which used six- and eight-color 40MAN Roland sheetfed presses to print the book. "Sappi wanted to present a number of different techniques on every page. No printer would pick this many techniques for one project."
Introduced in September, the Idea Exchange book is the first in a new series that builds on a decades-old graphic arts library of ideas in Sappi's Boston-based corporate office. It is also a continuation of a series of how-to books from Sappi known as the Warren Standard.
"In the new Idea Exchange booklet, we wanted to go from the easiest techniques to the most difficult," explains Sappi director of advertising Corby Saunders. "We segmented the book into utilitarian, basic, and difficult techniques. We had to choose the images that would best show off the varnish techniques."
Planning began well in advance
For six months prior to going to press, Quebecor World Acme's pressroom personnel, customer service representatives, designers, and prepress staff worked closely with Sappi to nail down the details of the project. Once Quebecor World Acme got the go-ahead, production of the piece went very quickly, says Canzano.
"You don't build a structure without a plan," he explains. "We had all of the problems out of the way before we began to print."
Unique application
The book's cover, printed on Strobe Gloss 100-lb. stock, provides an example of the piece's unique use of varnish. The cover, which looks like the skin of a ripe orange, was printed through the first pass with black, cyan, magenta, yellow, special match orange, matte black, special match black, and a 20% opaque white tinted spot gloss varnish.
The second pass applied a 10% opaque white tinted halftone and spot dull varnish along with a halftone and spot gloss varnish. After the cover was printed, Quebecor World Acme debossed the dark areas of the image to add physical dimension to the recessed dimples of the orange peel. Halftone gloss varnish on the highlights then visually enhanced the orange's wet, juicy appeal.
Since September, tens of thousands of the first Idea Exchange on varnish techniques have been printed and distributed through Sappi's direct mail list as well as its own merchants.
Achievable results
"Oftentimes, paper mills produce capability pieces that a run-of-the-mill printer can't do, or a print buyer can look at but not be able to achieve insofar as effects are concerned," says Canzano. "The important aspect of this piece is that it's achievable."
