- [Instructor] You can achieve some interesting results
by using special stock in your project.
But printing on colored stock
and ensuring reliable color may take
a little bit of extra work.
Now here's a really interesting project.
It's the cover from the Mohawk Maker Quarterly.
And this is an opportunity for Mohawk to showcase
some of the really interesting stock that they create.
Now at first glance this may look
as if there's some interesting artwork in the background,
and then there's this large rectangle at the top,
which has sort of a taupe background,
but here's what's really going on.
This is actually printed on
Mohawk Strathmore Wove in Riviera Rose.
That's the color of the stock.
Well then, how have they achieved the white areas
of the artwork and the bright greens and bright oranges?
Well, here's the whole story.
There's the paper stock, and here's how it builds up.
There were four hits of opaque, white ink.
That was the only way they could achieve
the bright color on top of it.
Essentially, they had to cover up the stock
with several coats of white paint,
if you want to think of it that way,
four hits of opaque white ink,
and then they could start putting down the color.
The fluorescent Pantone 802 C green,
the bright orange Pantone 804,
and then the Pantone 1805,
and there's the finished look once you add the Pantone 806.
I think it's really interesting to understand
how something like this is built from the ground up.
When you're dealing with colored stock,
there are some issues that you do have to consider,
light art, white art, as you saw in the example,
might require multiple hits of ink
to achieve sufficient brightness.
For example, on some of the fluorescent inks,
it might be necessary to have more than one hit of the ink
to get the brightness that you want.
And as you saw in this example, color areas,
especially on dark stock like this
might require a white underlay.
And as you saw, it might take more
than one coat of white ink to achieve what you want.
Images have to be modified to maintain color sometimes.
For example, if you're printing on cream colored stock,
but you have photographs of people,
that might make their faces look a little bit yellow,
unless you compensate in the image for what's going to happen
when that ink hits that paper.
And you might notice that bright artwork has
a chance to lose some brilliance.
Here, they did a wonderful job of maintaining it
with those four hits of white ink,
but if you're not prepared to add that to the job,
you might know that because there's interaction
between ink and the underlying stock,
really bright artwork might lose a little bit
of the expected color.
Metallic stock presents some interesting issues.
Color areas, again, will require opaque, white underlay.
And then images, again, may need
some modification to maintain color
On silver stock, maybe not so much,
but if you're using stock that has
a different color, say bronze,
well again, you might have to make
some compensation in your color images.
White ink, if you want white texts let's say,
is probably going to require multiple hits
to achieve the result that you want.
And then textured stock.
A front and back of textured stock
might have different textures,
so you have to consider which side you want to print on.
On an offset press, some inks might require multiple hits
because that textured stock is so absorbent.
Textured stock may require special press setup.
For example, the ink viscosity may need to be changed
in order to adhere down in all
the little valleys in the texture.
But textured stock is wonderful for processes
such as letterpress and embossing
because that thick texture really shows off the pressure
from letter press and from embossing.
Synthetic stock, surprisingly, is not
that challenging to print, but it has some neat features.
It's water resistant, it's tear resistant,
it resists chemicals and abrasion,
so it can be great for things like manuals
that are used in highly chemical environments.
And they're compatible with digital and offset presses.
Some examples of manufacturers of synthetic stock,
Teslin and YUPO.
The best advice, as it always is,
is to consult with your printer before choosing stock.
When you're choosing the stock for your project,
you want to make an informed choice,
but don't be afraid to explore the possibilities afforded
by interesting paper stock.
It can add wonderful dimension and texture to your design.