Overprinting

Last updated
Knock-out
without trapping
Knock-out
with trapping
Overprinting
Comparison of a knock-out with and without trapping, and overprinting for perfect and imperfect registration. Rows are as follows:
The cyan (lighter) plate,
The magenta (darker) plate,
Result with perfect registration (some monitors show slight misalignment), and
Result with imperfect registration. Knockout trapping overprinting.svg
 Knock-out
without trapping
Knock-out
with trapping
Overprinting

Comparison of a knock-out with and without trapping, and overprinting for perfect and imperfect registration. Rows are as follows:
  1. The cyan (lighter) plate,
  2. The magenta (darker) plate,
  3. Result with perfect registration (some monitors show slight misalignment), and
  4. Result with imperfect registration.

Overprinting refers to the process of printing one colour on top of another in reprographics. This is closely linked to the reprographic technique of 'trapping'. Another use of overprinting is to create a rich black (often regarded as a colour that is "blacker than black") by printing black over another dark colour. [1] [2]

It is also the term used in the production of envelopes customised to order by printing images (such as logos) and texts (such as slogans) on mass-produced machine-made envelopes; the alternative way of producing such envelopes is to print "on the flat" and then cut out the individual shapes and fold them to form the envelopes.[ citation needed ] However the latter method is generally only economically viable for large print runs offering returns to scale.[ citation needed ]

Overprinting also refers to the printing of additional information onto self-adhesive labels and product packaging. "Best Before", "Use By" dates and batch codes are printed in situ onto product packaging as the items are packed. Generally thermal printers, ink jet printers or laser printers are used.

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Chromoxylography was a colour woodblock printing process, popular from the mid-19th to the early-20th century, commonly used to produce illustrations in children's books, serial pulp magazines, and cover art for yellow-back and penny dreadfuls. The art of relief engraving and chromoxylography was perfected by engravers and printers in the 19th century, most notably in Victorian London by engraver and printer Edmund Evans who was particularly good with the process, producing a wide range of hues and tones through color mixing. Chromoxylography was a complicated technique, requiring intricate engraving and printing for the best results. Less expensive products, such as covers for pulp magazines, had to be produced with few colours, often only two or three, whereas more intricate and expensive books and reproductions of paintings used as many as a dozen or more colors. For each colour used, a separate woodblock had to be carved of the image being reproduced.

References

  1. Craig, James; Scala, Irene Korol (16 May 2012). Designing with Type, 5th Edition: The Essential Guide to Typography. Clarkson Potter/Ten Speed. p. 98. ISBN   978-0-8230-8560-6 . Retrieved 29 September 2021.
  2. Cohen, Sandee (10 July 2012). InDesign CS6: Visual QuickStart Guide. Peachpit Press. p. 136. ISBN   978-0-13-300610-0 . Retrieved 29 September 2021.