• Check that all images placed in your document are updated and linked.
• Once a file has been placed, for linking reasons, it should not be renamed.
• Scan images as close to 100% of placed size as possible for best results.
• Scans should be 300 dpi for tones and 1200 for line art bitmaps.
• Embossing or foil stamping art should be Vector files.
• Grayscale and monotone images should have a 3% highlight and a 93% shadow.
• Duotones should be created in Photoshop
• All files should be in the correct colorspace—no RGB.
• Avoid such photo formats as PICT or GIFF.
• To insure all images and fonts are included, use the “Package” feature in InDesign or the “Collect” feature in Quark XPress.
• Avoid stylizing type in Quark (ie: italic or bold), the styles may be lost.
• PDFs should be created uncompressed, oversized with bleeds, crops offset by .125" (1/8"), all fonts and images embedded. 
• Westland’s preferred PDF Export settings for InDesign and Quark are available on request
• Create documents to size 1-up rather than floating or multiple up.
• Create perfect bound or wire-o-bound books in single pages with 4 sided bleeds (no spreads or facing pages).
• Pull bleeds to .125" (1/8") in final documents.
• Indicate or create varnish layers in file if spot varnish is desired. Westland Enterprises can create varnish files for an additional charge.
• Include a mock-up or laser printouts of your file.

Sharp steel rules are positioned in a wooden die (form) and are used like a cookie cutter to cut special designs and shapes out of the paper.

The die-cutting process offers precise edges and can render spectacular visual effects, or functional effects. Its reasonable price makes it an attractive design element for clients on a not so extravagant budget.

How to Prepare Artwork

• Provide well-defined art in file.
• Provide art in file at actual size.

How to Get The Most Out of the Process

• Consider how the letterheads will be fed into typewriters or printers.
• If die-cuts are too close or on the edge of the paper, creasing or tearing may result.
• Consult die-cutter when using delicate, lacy or unusual patterns.
• Sharp points can turn out ragged.
• If used with another process, die cutting always comes last.
• Envelopes are generally converted after die-cutting.

How to Evaluate Proofs

• Should be cut clean with crisp, sharp edges.
• Die-cut should be as close to supplied art as possible.
• Are you getting the effect requested?

Using a specially crafted metal die, heat, pressure and a counter die, this technique reshapes and remolds the paper.

Depending on the design, desired result and the strength and stability of the paper, the depth of these dies can be varied. To accurately indicate what you want to accomplish, use embosser’s modeling symbols (see chart).

Embossing not only can add texture and dimension to letterheads, it can also smooth out a paper’s surface, creating appealing contrasts.

How to Prepare Artwork

• Provide well-defined art in file.
• Finished embosses look slightly smaller than original art. Compensate by increasing the size of the art.
• Rules should be a 2 pt. thickness or more.
• Space type out a little more than normal to provide room for beveling to a greater depth.
• Indicate beveled edges or round edges.
• Drawing a side view or shading in a copy of a line drawing is also helpful for the die maker.
• If emboss is a picture, give the embosser both a line drawing and photograph of the object.
• For multilevel or sculpted dies use color coding to indicate various levels.

How to Get The Most Out of the Process

• For sharp detail or pointed edges on deeper embosses, the die maker must use bevel edges.
• Wrinkles and puckers could occur if designs are placed too close to the edge of the paper.
• Small elements placed too close together will not have sufficient room to form.
• Envelopes can be converted before embossing, unless the design cannot appear on the back.
• When combined with other processes, embossing is usually done last, since running through another press could flatten the emboss.
• If embossing is too high, it may be crushed by duplicating equipment.
• The heavier the weight of the paper, the greater the depth and sharpness that can be achieved.

How to Evaluate Samples

• Should have sharp, well-defined edges.
• Make sure the emboss is deep enough.
• Check for “halos” (shadows around the emboss).
• Hold paper up to light and check the back for ruptures or pin holes.
• The texture of the paper should not be eliminated unless called for in the design.

In this process, paper is printed with slow-drying rubber or oil base inks which are dusted with a resinous powder (dull, gloss or semigloss) while still wet. Excess powder is vacuumed off, and the sheet goes into a heat tunnel where the powder melts, fuses with the ink and swells to create a raised surface.

How to Prepare Artwork

• Provide details about the desired finished appearance.

How to Get The Most Out of the Process

• Some ink colors are more difficult to use than others. The heat and powders used in the thermography process may alter the color of lithographic inks. Consult with the thermographer to find the right ones for your design.
• A variety of different size powder granules are used by thermographers depending on whether they’re running heavy or light work.
• If the design must bleed, the final cutting can be achieved by die cutting. Guillotine trimming may crack the thermographed area.
• Keep thermography out of “fold” area.
• When using multiple processes, thermography is done last, with the exception of foil stamping.
• Break up large, solid areas to prevent blistering effect.
• Envelopes can be converted before thermographing. Flap and face can be printed at the same time.

Note: The thermographers should be told if the finished piece will be used in laser printers or copiers. Thermography may be affected by the heat fusion process.

How to Evaluate Samples

• Edges and lines must be crisp and clean.
• Lines should have a good raise.
• There should be a minimum of “orange peel” look.
• Check for raised powder in nonprinting areas.

First, a metal die (usually brass) is made from supplied art. These can be flat stamping dies or combination dies (stamping and embossing in one press run). Then, by heating the die to a specified temperature, the impression transfers a pigment coating from a roll of polyester carrier film to the paper.

Foils are available in many styles: metallic, dull and glossy colors; pigment, pastel, clear, shiny, satin, pearl, marble; even wood grain. All create a smooth opaque image in fine lines or solids, allowing the color, texture and finish of the paper to contrast beautifully with the design.

How to Prepare Artwork

• Provide well-defined art in file.
• Provide art in file at actual size.

How to Get The Most Out of the Process

• Leaf Stampers can pull samples of leaf or foil color on paper you have specified using any die they may have on press.
• Don’t design elements close together. Foils tend to “bridge” across narrow spaces.
• Avoid tight kerning and fine type (i.e. super condensed). They will fill in with foil.
• Stamping too close to the edge of a sheet without bleeding off the page may cause wrinkles or puckers.
• When using combination dies, the entire embossed image must be stamped (i.e. can’t just stamp highlights).
• Foils are repelled by heavy offset sprays, inks containing waxes, silicone or plastic, and varnished papers.
• Foils may appear darker or lighter on various backgrounds.
• Avoids using “dropouts” in a solid ink background. They require hairline register of foil stamping.
• When using stamping with other processes, stamping is done last.
• Envelopes are converted after stamping, only if an impression of the image is objectionable on the back of the envelope.

How to Evaluate Samples

• Check for feathering, color changes, scuffing and peeling.
• Stock should be sufficiently covered by pigment.
• Edges should be sharp and crisp.