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- Oh So Pretty: Punk in Print
- A Hatrick of PrintWeek Awards
- Pureprint to open New York office
- Inside The Fine Collection with G . F Smith’s Jo Pitts
- Colour Queen: One to One with Camille Walala
- Great news in the PrintWeek Awards
- Pureprint People: Aaron Archer
- Pureprint People: Natalie Cole
The Secret Behind Our Award Winning Print
Over the past 10 years Pureprint has won more high quality colour printing awards than any other printer in the UK.
At the centre of this excellence is our PureColourHD team of colour craftsmen who use their industry leading knowledge, innovative techniques and the latest technology to create outstanding colour reproductions with mesmerising detail and sharpness.
To achieve the best results requires a close collaboration between the creative and production teams. Our PureColourHD consultants will advise on everything from photographic image resolution, tone and detail through to optimum screen rulings, proofing processes, ink profiles, paper choice, coatings and varnishes. Our colour retouchers will work on your images with you to give consistency, sharpness and vibrancy and will advise on dot gain, dot shape and tack values.
They will also work closely with you to achieve accurate colour matching to original artworks, paintings and swatches to achieving that close colour match which is so important in fashion, retail, fine art and luxury product marketing.
Here are some examples of the award winning work from our PureColourHD team:
Dior by Avedon
Rizzoli, the eminent New York publishing house renowned for high-quality, illustrated books, asked Pureprint’s PureColourHD (PHD) team to reproduce the classic photography from the Avedon Foundation of Christian Dior’s work.
Close examination of the images showed there to be three colour hue groups - warm and cool monochrome and colour
The PHD team built tritone separations for the monochrome images to retain the warm or cool hues and most importantly to retain every subtle detail from the finest flesh highlights to the most smoky of shadow details.
Colour profiles were created and scatter proofs produced using 20 micron stochastic screening and halftone spot varnish.
A number of separation, screening, ink, paper and varnish options were proofed and the PHD team worked closely with the Avedon Foundation in New York and their agency, the book’s designers in London, through the pre press and proofing stages.
The Foundation and their agency were on press for a week with the PHD team passing the sheets all working together to get the absolute maximum results with no compromises resulting in a truly beautiful award winning book.
This stunning job was printed CMY with a special Dior blue, 2 dense blacks and a warm and cool grey on our Heidelberg XL-106 10 colour press on multiple papers including specialist papers from Japan including a lovely uncoated grey Takeo. The photography pages had a spot gloss varnish applied. It was then french folded and enclosed into a hand wrapped slip case with a anti scuff matt laminate.
Won the PrintWeek Awards Book Printer of the Year 2016
- Worked closely with the NY gallery
- Images adjusted channel by channel
- Special attention to grain direction
- Expertly colour-matched to Picasso originals
Working closely with the designers and the gallery in New York our PureColourHD Team took the images and converted for duotone and CMYK and into the ISO12647 colour space. The duotones were balanced for neutrality whilst the colour images needed the gamut protected. Next we scatter-proofed the images on the press and received comments from the gallery. The images were then colour adjusted channel by channel. Finally the complete book was proofed out on GMG Contract proofs and a full book dummy for the complex imposition.
Printed sheet-work on a Heidelberg XL six colour in CMYK and two specials. The end papers were printed on Colorplan in special blue. The text was printed a combination of CMYK and duotone on Essential Silk. High ink weights were used maintaining the colour match to the Picasso originals and adding depth to the duotones.
As with most case bound books, special attention was given to grain direction and this was even more important with the numerous throw-outs. The dust jacket was matt laminated on one side. Cases were made up of cornflower cloth over 2mm greyboards and matt white foil blocked on the spine. Gathered and thread sewn, the book block was cased in with rounded back with head and tail bands. The dust jacket was hand folded on.
- Over 55 hours of repro work
- Colour adjustments
- Double hit UV Varnish
- Four times through the press
- Special attention to logo clarity
With a huge variation in images, extensive repro work was required and over 55 hours of recreating backgrounds, cut outs and cleaning up of images were completed by our PureColourHD Team. We then colour adjusted the converted images and scatterproofed using GMG HP Proofs. A further stage of colour comments and retouching was completed before a final set of GMG HP proofs were approved and plates were made on a Kodak Trendsetter and Fuji Thermal high definition plates.
Printed sheet-work on a Heidelberg 10 colour in the first 16pp were printed black only with a special double hit UV Varnish on page 9 on Munken Pure and the text 17-116pp was printed four colour process and spot gloss varnish of Chromomat Club. Ink weights were run high to give extra lift and work with the varnish whilst preserving the fine detail of many of the pieces.
Thread sew text, fold and affix endpapers and trim book block, make up cases of Tele Legatoria number 2269 cloth over 2mm greyboards. White matt foil and clear gloss block front, spine and back cover. With the size of the the blocking area the blocks were split to achieve higher impression and was four times through the press, with special attention to the clarity of the Craft Council logo in the clear foil. Case bound with square back and two ribbon markers and head (red 369) & tail (blue 573) bands to match with the blue and red Colorplan.
The Folio Society
- Award-winning facsimile copies
- Described as “truly magnificent”
- Represents the height of our craft
We are honoured to have worked with The Folio Society on a range of projects showcased here. Each of them is exquisite and represents the height of our craft in being able to produce facsimile copies of this beautiful work.
The Temple of Flora job was the Winner of the Best British Book in the British Book Design and Production awards 2008. The judges commented, “This book is truly magnificent in its execution, production and finish. Big is beautiful, big is back”. The job measures 22 ½” x 18 ¼” and was limited to just 1980 copies and was the first ever full-size facsimile of the greatest English florilegium.
The Fitzwilliam Book of Hours was limited to just 1180 copies and is described by the Folio Society as “A magnificently illustrated medieval treasure in which every page is a masterpiece”.
The Music for King Henry was limited to just 500 copies and is described as, “A superb facsimile of the Royal Choirbook,” and “A magnificent visual tribute to the Tudor dynasty”.
Fine Art Catalogue – Halcyon Gallery
- 80pp with foil and blind deboss
- Tissue-wrapped with a printed carton
- Less than 28 days to complete
- Dedicated project management
- Experience and knowledge essential
Halcyon Gallery is one of London's premier privately owned galleries with two spaces in Mayfair.
Working closely with both the gallery and the designers, Alan Bates Design, an initial meeting outlined the scope of the project; an oversize A3 folder in a duplexed material with foil and blind deboss, 80pp of text making up the inner catalogue and wrapped in tissue and an outer printed carton. With less than 28 days to take from concept to reality, design, dummy, proof, print, finish, collate and pack, our experience, knowledge and project management was crucial.
Plain paper dummies were made of the text so that the outer folder dimensions could be mapped.
Dummies of the outer folder were then produced using a number of combinations of duplexed Colorplan and Colorlux, then embossed and foiled. The size of the debossed area needed the blocks to be split run to get the best results.
With photography now complete we produced wetproofs on PheoniXmotion and our colour manager compared them to the actual pieces taking detailed colour notes. The concept folders were approved and materials chosen and with only 10 days to secure the material and get it duplexed our relationship with the paper merchant was crucial.
Colour balancing and retouching, a further stage of wet proofing, by the end of the week the images were ready and supplied to the designers to produce the final artwork. The material for the folders arrived. Final artwork was proofed, the project team met and final amend notes were taken and executed.
Folding and collation of the 2000 copies took place on days four and five; wrapping the text in tissue paper, making up the folder, insertion of the text into the folder and finally making up the carton all had to be done on days five and six; this called upon all our resources to bring these final stages together so the fully packaged catalogues were ready for the launch and private view.