Xerox 2000 Users Manual 2573 Section . Contents

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2015-01-23

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Table of Contents
Introduction
A new way to look at documents
An overview of the DocuColor 2000 Series Design Guide

1. Digital print
What is digital print?
Digital print workflow
Document creation
Prepress
Press
Postpress
Correction required?
What does digital print mean to you?
Benefits of digital print
Short runs
Just-in-time printing
Distribute and print
Variable information printing
Use of colour
Wrap-up

2. Image reproduction process
DocuColor 2000 Series technology
Printing stations
Digital Blanket
BeltNip fuser
TRACS
Precise Registration System
Decurling devices
Print speeds/productivity
Image size/paper size
Screens
Gamut
Process colours

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3. Designing documents
Design elements to discuss with your printer
Paper stock
Image considerations
Image area, bleeds and folds
Specifying colours
Choice of screens
Vignettes
Text
Solid blacks
Image mottle
Knockout, overprint and trapping
File formats
Resource collection
Creating PDFs
Dot gain
Design elements to avoid
Straight design elements close to the edge of the page
Large areas of solid colour
Coated stock and large white text on heavy background

4. Submitting jobs
Print submission
Compatible software
Printing overview
Print from Microsoft Windows and Apple Macintosh workstations
Print direct from a Digital Front End
Submit jobs via a PostScript Downloader Application
Submit jobs using an Internet browser
Submission of PDF Files for print
In summary

5. Selecting paper stock
Stock considerations
Digital printing process
Paper influences on print quality
Formation
Grain direction
Weight
Finish

DocuColor 2000 series design guide
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table of contents

Why paper doesn’t always work the way it should
Coated paper and offset
Coated paper and digital printing
Moisture and offset
Moisture and digital printing
Textured stock and offset
Textured stock and digital printing
Thick paper stocks
Coated papers
Paper stretch
Optical paper qualities that influence image quality
Shade
Opacity
Brightness
Reflectivity
Paper grades
Bond
Uncoated offset
Text and covers
Coated offset
Uncoated digital
Cover
Index or Bristol
Paper handling and storage
Wrap-up

6. Binding and finishing
Collating
Folding and scoring
Scoring
Types of folds
Binding
Saddle stitching
Side stitching
Edition binding
Perfect binding
Mechanical binding
Looseleaf binding
Finishing touches
Trimming
Die cutting

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Lamination
Varnish
Embossing
Shrink wrapping
Double-sided printing

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7. Applications by industry

7-1

Financial services
Consumer products
Hospitality
Professional services
Education
Health care
Public sector

Appendix 1. Microsoft Office colour charts

Appendix 2. RGB colour charts

Appendix 3. CMYK colour charts

Appendix 4. Pantone colour charts

Reference

Glossary

DocuColor 2000 series design guide
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Introduction
A new way to look at documents
One of the greatest advantages of digital colour applications and systems is that they
allow high-quality colour process printing to be produced in smaller quantities at a
higher frequency, as well as personally tailored printing to optimise customer interaction.
Digital printing technology changes the way we think about and create documents.
Limitless possibilities are now accessible for full-colour, near-offset quality printing
at a reasonable price.
Until recently, highly trained imaging experts working on expensive proprietary systems
typically performed most imaging tasks such as colour enhancement and image
manipulation. New technologies and desktop publishing applications have changed all
that, enabling designers to complete many of these tasks from their desktop computers.
The more knowledgeable you are about the imaging process from document creation to
output, the easier it will be to maximise your results. This guide offers suggestions that
will help you get the most out of your imaging applications when preparing files to
print on a Xerox DocuColor 2045 or 2060 digital colour press.

An overview of the DocuColor 2000 Series Design Guide
The DocuColor 2000 Series Design Guide has been written to provide you with all the
information you need to ensure you get the highest quality printed documents from the
DocuColor 2045 and 2060 with the minimum of fuss – every time. It is divided into
sections for easy reference.
•

Section 1 covers the topic of digital print, describing what it is, the workflow, and
the key benefits digital print offers designers and customers. Use this section to
learn more about digital print and what it offers.

•

Section 2 details the key attributes of the DocuColor 2000 Series. It examines some
of the technology used and details performance and printing characteristics. Use
this section to learn more about the capabilities of the DocuColor 2045 and 2060.

•

Section 3 provides guidance on how to design your documents to get the best
possible results from the DocuColor 2045 and 2060 and avoid design elements that
may cause problems. Use this section as a guide to ensure you design documents
that will result in perfectly printed documents every time.

0-1

•

Section 4 includes information on how to submit jobs to a DocuColor solution,
directly from software applications on Windows or Macintosh personal computers,
over the web, using removable media, or other means. Use this section to make sure
you get the job to the printer trouble-free every time.

•

Section 5 describes how to select the right paper to get optimum results from the
DocuColor 2045 and 2060. It includes a guide to all paper grades available in the
market today. Use this section to learn more about paper and to choose the best
paper for the job.

•

Section 6 provides information on binding and finishing – the final steps to ensure
a perfect, finished piece. Use this section as a guide to various binding and
finishing options available from your printer.

•

Section 7 examines different industry segments and identifies key applications, the
department or person responsible for that application, and the key benefits of using
digital colour print for that application. Use this section as a guide to finding
digital colour applications in different market segments.

•

Appendix 1 includes charts of Microsoft Office colours. Use this section as a guide
to how Microsoft Office colours are reproduced on the DocuColor 2045 and 2060.

•

Appendix 2 includes charts of RGB colours. Use this section as a guide to see how
RGB colours are reproduced on the DocuColor 2045 and 2060.

•

Appendix 3 includes charts of CMYK colours. Use this section as a guide to select
CMYK colours as they are reproduced on the DocuColor 2045 and 2060.

•

Appendix 4 includes charts of Pantone colours. Use this section as a guide to see
how Pantone colours are reproduced on the DocuColor 2045 and 2060.

•

The Reference section includes references to other documents and material. Use this
section as a reference to find more information on particular topics and issues.

•

The Glossary section includes definitions of digital printing terms. Use this section
to check words or abbreviations that may be unfamiliar to you.

If you have any suggestions on how this Design Guide can be improved, please send
your comments to DocuColor.2060@aus.xerox.com.

DocuColor 2060 design guide
0-2

Digital print

Digital technology has changed many facets of business and industry today.
Computing and communications technology has allowed companies to revolutionise the
manufacturing process – from producing goods and then hoping to sell them, to just-intime production, where products are sold first and then manufactured to order, reducing
waste, inventory and cost. It has also allowed them to produce products more in tune
with individual customer’s needs, moving from mass production to mass customisation.
Computing and communications technology has also allowed companies to gain access
to new markets. No longer are they tied to local markets, but instead can compete in
a global market.
Countless examples exist of how digital technology has changed the face of business
across all industries, from agriculture to information technology. Banks, for instance,
still provide banking and lending services, but have closed branches in favour of ATMs,
and internet and phone banking. The music and entertainment industry has seen the
appearance of CDs, DVDs and game boxes, and the disappearance of LPs and cassettes.
Still photography, video and television broadcasting is transitioning to digital. The way
people communicate now is by mobile phone, facsimile and e-mail – instant
communications to anyone anywhere on the planet.
Digital technology has also dramatically changed the nature of the document – a document
today can still be a sheet of paper or book, but is more likely to be an electronic file,
a spreadsheet, presentation, scanned image, or a clip with video and music. Computers,
desktop publishing applications, digital imaging and printers have allowed millions of
people to create documents on their desktop that used to take a team of people weeks
to develop.
Consumers today are more demanding. They know what they want and they’re not prepared
to wait. It’s no different in their demands for print: high quality, cost effective, and now!

What is digital print?
In simple terms, digital print is where information to be printed is submitted electronically
(ie, in digital form) to the printer, where it is imaged and the printed material produced.
There are numerous digital printing technologies available, including inkjet, electrophotography with dry or liquid toner, thermal transfer, ionography and magnetography.
Even traditional offset presses with direct imaging (or DI) are promoted as “digital presses”.

1-1

What truly distinguishes digital printing from traditional printing is the ability to print
every page differently. This is something that offset presses – including DI presses – cannot do. Offset presses can only print exact replicas of the same sheet, again and again.
The digital colour presses that dominate the market now – and for the foreseeable
future – are all toner based. They utilise electrophotography, either with liquid toners
(Indigo), or dry toners (IBM, Kodak-Heidelberg, MAN Roland, Xeikon and Xerox).
The market for colour print can be split into segments defined by run length and
specific applications. The suitability of different printing technologies to these
segments is as follows:

Segment/application
One-off and one-at-a-time publications
Customised/personalised documents
Vert short runs (<500)
Short runs (501-2,000)
Moderate runs (2,001-5,000)
Long runs (5,001-50,000)
Very long runs (50,001+)

Digital
colour
printing

Direct
imaging (or DI)
offset presses

Conventional
offset
printing

Yes
Yes
Yes
Yes
No
No
No

No
No
No
Yes
Yes
No
No

No
No
No
No
Yes
Yes
Yes

With the many benefits of digital colour printing (described later in this section), we
are seeing a strong swing toward shorter runs. The table below shows that in 1998, 28%
of all print volume in the US was short run, but in less than 20 years it is expected to
account for almost half of all print volume.

Ultra Short Run (1)
Very Short Run (2-500)
Short Run (501-2,000)
Moderate Short Run (2,001-5,000)
Moderate Run (5,001-10,000)
Average Run (10,001-50,000)
Moderate Long Run (50,001-250,000)
Long Run (250,001-750,000)
Very Long Run (750,000+)

1998

2000

2010

2020

8%
10%
10%
17%
14%
12%
11%
9%
9%

10%
13%
13%
15%
13%
9%
11%
7%
9%

13%
15%
15%
16%
11%
8%
9%
6%
7%

14%
16%
17%
16%
11%
7%
8%
5%
6%

100%

Source: Professor Frank Romano, Graphic Media Briefing, 29 March 2001.

DocuColor 2000 series design guide
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digital print

Digital print workflow
The entire process for the production of a printed document can be broken-down into
three phases: prepress (which includes all steps after the design is completed up to the
point where the job is printing), press or printing (the printing phase), and postpress or
finishing (all the steps required to finish the job after printing and before distribution).
Digital printing has greatly simplified two of these phases: prepress and press.
For an understanding of how digital printing has streamlined the production of printed
documents, it’s useful to compare it with the workflow associated with traditional offset
printing. The following discussion greatly simplifies the entire production process, but is
sufficient to highlight the major steps involved in each workflow. (See diagram page 1-4)

Document creation
The first step in the production of a printed document requires the creation of a design.
A concept is developed into a layout, followed by the preparation of text (writing,
editing, font selection and typesetting) and artwork and images (which can include
electronic illustrations, scanned photographs, digital camera shots or stock library
images). The document is then ready to be created, generally using a page assembly
program to combine the text and image elements.
Computers, software and digital technologies have already revolutionised the creation of
documents. Typesetting (the assembly of type into words and lines) used to be done by
hand. Illustrations were created by hand and photographs were always film-based. The
assembly of these text and image elements was a manual process, called pasteup, with
the end result being a camera-ready copy. Today, almost all documents are created
electronically, totally eliminating the need for these time-consuming and error-prone
manual processes.

Prepress
Once a document is created, it can be proofed (proofing is a simulation of how the job
will look when it is printed).
If you are having your job printed on a DocuColor 2045 or 2060, you can also run a
proof on the press which will show you how the job will look when it is run. This is
called a “press proof” (because it is proofed on the actual press) and will show you
exactly how the job will look when it’s printed.
If you are printing on a traditional offset press, a proof at this stage will only
approximate what the final result will look like. Fonts may look different (because

1-3

DIGITAL PRINT WORKFLOW

C
M
YK
CAPTIONS TO BE SUPPLIED

different RIPs are used) and colours will not match exactly. A proof can be produced on
a digital device (like a DocuColor printer or inkjet or dye sublimation system) or using a
photomechanical system (like Cromalin). The advantage of digital systems is that they
have a lower cost and quicker turnaround, and they better fit the digital workflow most
use today. However, photomechanical systems are still used where film is an important
part of the workflow.
If everything is acceptable with the proof, you can then approve the job and have it
printed. If, on the other hand, changes are required, the design needs to be edited and
the steps above repeated.
If the job is ready and is to be printed on a DocuColor 2045 or 2060, there’s no more to
do – the job can be RIPped and printed.
If the job is to be printed on an offset press, plates need to be produced for the
printing process. Traditionally, this involves the production of film from which the plates
are made. Prior to the introduction of digital solutions, this involved producing
photographic negatives or positives (film) of the camera-ready copy. Today, imagesetters
are used to produce film directly from electronic files. The film is then assembled and
light-sensitive plates (or image carriers) are exposed to visible light, UV radiation or
lasers in a photomechanical process to make the plates.
Newer technologies today allow printers to produce plates or image carriers directly from
electronic files. Called CTP (short for Computer-to-Plate) or DI (short for Direct Imaging
on a press), these technologies are designed to streamline the prepress requirements of
offset presses.

DocuColor 2000 series design guide
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digital print

Press
The job is now at the stage where it’s ready to be printed.
If the job is being printed on a DocuColor 2045 or 2060, the operator will have
calibrated the press earlier in the day and loaded the right paper. The job is then
RIPped (using the appropriate settings) and printed. It doesn’t matter whether you want
1 copy or a thousand, the process is the same.
On an offset press, the operator needs to set the press to make it ready for printing
(called makeready). This process can take anywhere from 10 minutes to an hour and
requires the use of a skilled operator. It can involve steps such as inking, dampening,
cleaning and loading plates. Once the press starts printing, it will take several prints
(sometimes hundreds of prints) for the press to settle and be adjusted correctly so that
it is matches the proof as closely as possible. These prints are called waste and are
thrown-away or recylced. Once the press is set and printing correctly, it will print exact
copies of the same image again and again.

Postpress
Once printing is completed, the job is ready to be finished. This can include tasks such
as trimming, folding, binding, packing and delivery to the customer.

Correction required?
If you’ve received your job and noticed that something’s not right (for example, the
address is wrong), you’ll need to reprint the job.

1-5

With the DocuColor 2045 and 2060, you’ll make the change to the file and re-submit the
job. The printer will re-RIP the job and print it. Done.
With the traditional offset process, you would also change the file and re-submit the job.
Now the printer will have to create a new set of film, new plates, set the press up again,
and then start printing. More steps for something to go wrong and more waste produced.

What does digital print mean to you?
New opportunities: added document value combining technology with your creativity.
New solutions: improved customer satisfaction and loyalty.
Cost reductions: elimination of print storage and distribution costs.
Speed: getting mission-critical information where it needs to be faster.
Focus: documents customised to your audience one-to-one.
Management: creative revisions and/ or reprints whenever and wherever needed.
Digital print is about you, the designer, combining your creativity with new print
technology to deliver more effective communication between business and customers.
Digital print is about getting improved response rates on direct mail, faster turnaround
for brochures, and minimising outdated material. It’s about time to market, reacting
quickly to changing market dynamics and capturing market opportunities – without
blowing the budget.

Benefits of digital print
There are four main areas where digital colour print can deliver real benefits: cost
effective short run printing, printing on demand, just-in-time, distributing documents
electronically and printing them locally, and targeting customers with personalised
content utilising variable information printing.

Short runs
The key strength of traditional offset printing is that once the press is set, it prints
long runs cost effectively. Recent developments with offset presses have been aimed at
reducing the set-up (or make-ready) time in order to make the presses more cost
effective at shorter runs. However, anybody wanting short runs of high quality colour
work has until recently had few choices – either pay a very high unit price, print many
more copies than required (most of which would be wasted), or accept that the work
can’t be done economically.

DocuColor 2000 series design guide
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digital print

The DocuColor 2045 and 2060 now allow consumers of print to have high quality colour
work printed cost effectively on short runs – anywhere from a one-off up to 2,000
copies. You no longer have to buy long print runs to drive unit costs down.
Because a digital press prints each page differently, you can even print one book at-atime in a single print run.
Examples of applications now possible with digital printing include:
•
•
•
•
•
•
•
•
•
•
•

Short run books
Limited run video covers and CD labels and jewel case inserts
Business cards
Conference, trade show or seminar publications
Test marketing material
Brochures
Newsletters
Annual reports for small companies or review copies for the board
Proposals
Market research reports, survey reports, environmental impact reports
Menus, invitations and greeting cards

With digital colour printing you can now print exactly the quantity you require, not the
quantity your printer wants you to buy.

Just-in-time printing
The just-in-time manufacturing process has revolutionised many industries, such as the
personal computer, whitegoods, brown goods and car industries. It reduces inventory and
eliminates wastage, leading to cost savings and improvements in productivity. Print buyers
want to share the same advantages, and digital printing delivers on these benefits.
The DocuColor 2045 and 2060 have markedly reduced prepress requirements, especially
in comparison with both DI and traditional offset presses (which require lengthy makeready work) as well as most other digital colour presses. This means that work can be
turned around very quickly – within the day, hours or even minutes. No other printing
technology can match the turnaround time of a digital press.
Combine the quick turnaround time with the short run economics of digital print means
that you can print on demand only what you require. Files can be stored electronically,
eliminating the need to store and retrieve paper documents. This significantly reduces
non-print costs associated with the storage, wastage and distribution of out-of-date
documents. Studies show that 30-50% of all printed material is thrown out unused.

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As the life cycle of products gets shorter and shorter, it means that with digital print
you will always have the latest, most up-to-date, accurate and relevant support material
and publications. It allows you to frequently update the content of your printed
material and print small batches of the latest version, avoiding the distribution of
incorrect or out-of-date material.
Examples of applications suited to the just-in-time advantages of digital printing include:
•
•
•
•

Manuals
Catalogues
Presentations
Conference and trade show material

• Brochures
• Financial reports
• Books

With digital colour print you will no longer print material just in case you need it, you’ll
print it when you need it, on demand, just in time.

Distribute and print
Traditionally, print buyers would order ample quantities of print to meet all foreseeable
needs, print it in one run, and then ship it to all those locations that required copies of
the publication. This process is time consuming, costly, and prone to delay, as
documents are shipped around the country or around the world.
With digital printing and the power of the internet, documents can be sent
electronically anywhere around the world and printed locally on a digital press at the
point of delivery. An editor can sign-off on a document in Sydney and have it printing
in minutes in Melbourne, London, Paris and New York. This eliminates delays in the
production process, reduces shipping costs, and ensures that up-to-date publications are
in the hands on consumers in a timely manner.
You can even version your documents to tailor them for regional readers
Examples of documents ideally suited to the distribute and print model include:
• Newspapers
• New product brochures
• Newsletters

• Financial reports
• Limited edition books

No longer do you need to print first and wait for it to be distributed, you can now
distribute your document instantly world-wide and have it printed locally without delay.

DocuColor 2000 series design guide
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digital print

Variable information printing
A unique characteristic of digital print is the ability to print every page differently. Not
only does this mean you can print a multi-page document (like a book) in a single print
run, but you can also personalise each sheet or page to an individual. It is achieved by
changing certain text (like name and address) and/or images on the page. This new
capability is called variable information printing (or variable data printing), which
people may also call personalisation, customisation or versioning.
Although this capability is not new (it’s been used for many years to produce bills and
statements), what’s exciting is that this capability is now available in full colour,
including graphics and images.
Personalised refers to a document that has been tailored to a specific individual.
Although it could be a simple mail merge, a personalised document may often have
unique combinations of paragraphs, pictures, and other information directly targeting
the individual.
Customised is used to describe any document that has been altered, in a sense
customised, to its audience. It is derived from a common document template with
different messages and content based on stated customer preferences.
Versioned or targeted lots is used to describe documents based on data-mining
techniques. Several versions of a document are created based on selection of target
criteria, such as broad demographics, psychographics or purchase history data. The
document appears personalised but is identical to that produced for other recipients
with the same profile. Catalogues, newspapers and manuals are good candidates for
versioning.
Variable information printing has allowed marketeers to target customers with specific
products and services, tailored to their individual needs. Companies can today leverage
the vast amount of information they possess about their customers with this capability.
It also allows companies to protect their most valuable strategic asset – their
customers. Communicating with each customer individually allows organisations to
solidify a direct, one-to-one relationship with their clients.
Marketeers can improve the investment value of mailings by utilising variable
information printing. Even by adding the simplest personalisation to a direct mail piece
– name and address – response rates can increase by 36% (1997 CAP Ventures report).
This is especially important in these days where marketeers are wanting to get closer to
their customers, have fewer dollars to spend, and are demanding measurable results.
Variable information printing is perfectly placed to meet these goals.

1-9

Use of colour
Colour attracts attention, increases impact, stimulates emotions, and touches us where
pure reason and intellect do not. Use of colour in documents improves understanding
and comprehension, helps organise data, and aids the reader in decision-making,
learning, retention and recall.
Numerous studies back the power of colour. Ronald E Green (The Persuasive Properties of
Color, October 1984) showed that colour sells products and services better by up to 85%
and provides savings in time taken to read of 70%. D Hoadley et al (Investigating the
effects of Colour, Fonts and Bold in Text Documents, January 1996) demonstrated that
colour increases understanding by up to 74% and recollection rates by up to 77%, and
reduces error counts by up to 55%. And Case and Company (Grasp Facts Fast with Color
Copying, July 1974) showed that colour increase reader motivation by up to 80%.
The benefits of colour apply to all documents. Add impact to presentations and
proposals, improve response times and response rates with direct mail and bills, increase
readability of statements and reports, and improve learning and recollection of training
material and manuals. Colour improves your company’s professional image and enhances
all types of documents.
Until recently, colour was too expensive to use in everyday applications. With the
introduction of Xerox solutions like the DocuColor 1250, 2045 and 2060, everyone
now has the ability to produce high quality full colour documents at an affordable
price – no matter whether you need one copy or a thousand.

Wrap-up
Economical short runs

Quick turnaround

Rapid response to market changes

Cost effective publications

High quality print for professional image

Reduced print inventory

Eliminate print wastage

Reduce print costs

Distribute and print

Print what you need, when you need

Documents always up-to-date

Personalised documents

Reprints on demand

One book at a time

Communicate with each customer individually

Affordable colour

DocuColor 2000 series design guide
1 - 10

Image reproduction process

The DocuColor 2045 and 2060 are digital colour presses with the ability to produce
superb print quality on a broad range of paper stocks. This section includes a
description of the technology that’s built into the presses that allows them to deliver
on their promise as well as providing information on some of the capabilities of the
DocuColor 2000 Series that will help you in designing documents for the press. This
includes topics such as size considerations, print speeds, available colours, print
resolution and screens available.

DocuColor 2000 Series technology
The DocuColor 2045 and 2060 were developed to meet the demands of customers for
extremely high quality print, production-oriented feeding and finishing, paper versatility,
and cost-efficiency.
Never before has a digital colour press come so close to offset quality so easily. The 600 x
600 x 8 dpi print resolution consistently provides users with sharp, clear text and vibrant,
true-to-life images. The untrained eye will find it difficult to tell the difference between
jobs output from the DocuColor 2045 or 2060 and those produced on offset presses.
The print engine houses the brains, heart and muscle that drive the DocuColor 2045 and
2060. It uses state-of-the-art, patented technology that ensures high image quality and
productive, reliable output.

Printing stations
Inside the DocuColor 2045 and 2060 there are four printing stations – one for each
process colour, cyan (C), magenta (M), yellow (Y), and black (K). Each station houses
extra-large cartridges that hold a mixture of dry ink and developer. A Xerox process
called Trickle Charge Development (the mixture of dry ink and developer) constantly
replenishes the print stations with fresh dry ink and developer, which ensures a more
consistent image quality over longer periods of time and through longer runs.
Xerox engineers found that with xerography, full-colour images come out looking truer
when the dry ink/developer is laid down on the blanket in an atypical order: yellow,
magenta, cyan, black. Placing the process colours on the blanket in this order, rather
than in the standard cyan, magenta, yellow, black used with offset presses, improves
the integrity and vibrancy of greens whilst maintaining that of the other colours,
including yellows, reds and blues.

2-1

Digital Blanket
Significant improvements in image quality can be attributed to the Digital Blanket used
in the DocuColor 2000 Series. The Digital Blanket passes under the four printing stations
where the image is transferred to the blanket. The four colours of the image are
assembled on the blanket – one on top of another in perfect register – and then
transferred to the paper in a single pass when the blanket passes under a pressure
roller. The uniform, flat surface of the Digital Blanket reduces image quality defects and
extends the range of stock that can be reliably supported.

BeltNip fuser
The imaged paper then travels toward the BeltNip fuser, crossing two vacuum transports
which keep stocks moving along smoothly. The BeltNip fuser is another technological
innovation that ensures each image is fused properly to the stock. It consists of a roller
and a belt that ensures stocks stay against the heated roller for the longest possible
time for a complete fix of the image. A long dwell time is especially important for heavy
stocks and jobs with heavy area coverage to fuse well, and to compensate for the
increased speed of printing of the press.
The BeltNip fuser also uses LOFT (Low Oil Fusing Technology), which reduces oil usage
to a fraction of previous generation printers. This enhances the appearance of final
output and reduces operating costs.

DocuColor 2000 series design guide
2–2

image reproduction process

TRACS
To ensure consistency from first print to last, the DocuColor 2000 Series utilises a
technology called TRACS (Toner Reproduction Auto Correction System). TRACS
automatically measures 16 levels of density and colour, and makes adjustments on the
fly. TRACS works by placing CMYK density patches directly on the Digital Blanket
between pages as they circulate through the machine. These patches are then read by
built-in auto density control sensors, and any quality adjustments are made on the fly.
The result is consistent and reliable colour from start to finish.

Precise Registration System
Important to total high quality output is image to page registration. On the DocuColor
2045 and 2060, stock is passed over three aligner transport rolls which de-skew the
stock by applying the appropriate amount of pressure based on the substrate’s weight
and size. A registration roll then centres the stock to the image on the Digital Blanket.
Centring the stock cuts down on sheet-to-sheet and front-to-back registration errors by
half. Two timing registration sensors also regulate the speed of the Digital Blanket
(which regulates the speed of the stock) for more accurate, more consistent image-toblanket registration and image-to-page registration.

Decurling devices
When dry ink is fused to paper, especially with heavy coverage, there is a natural
tendency for the paper to curl.
To eliminate curling, the stock passes through two of three decurling devices. The devices
look at the weight of the stock, the print coverage, and whether the job is simplex or duplex
(when the stock is duplexed, it passes through all three decurling devices). The devices
remove curl and produce flat, uniform output that runs smoothly through the press.

Print speeds/productivity
With very heavy or very light substrates, print speed must decrease to ensure quality.
With the DocuColor 2045 and 2060, the machine will always print at optimum speed in
accordance with the stock being used. The most popular stock weights are printed at
the maximum speed available.

2–3

Print speeds of the DocuColor 2060 are as follows (in images per minute):
A4
64 – 80 gsm:
81 – 135 gsm:
136 – 220 gsm:
221 – 280 gsm:

45 ipm
60 ipm
30 ipm
22.5 ipm

A3
30
30
15
15

ipm
ipm
ipm
ipm

SRA3
22.5 ipm
30 ipm
15 ipm
7.5 ipm

The DocuColor 2045 prints slower than the 2060. Print speeds are as follows
(in images per minute):
A4
64 – 80 gsm:
81 – 105 gsm:
106 – 150 gsm:
151 – 280 gsm:

45 ipm
45 ipm
30 ipm
22.5 ipm

A3
30
30
15
15

ipm
ipm
ipm
ipm

SRA3
22.5 ipm
30 ipm
15 ipm
7.5 ipm

The production speed of the DocuColor 2060, in single-sided sheets per hour, is follows:

64 – 80 gsm:
81 – 135 gsm:
136 – 220 gsm:
221 – 280 gsm:

SRA3

2,700
3,600
1,800
1,350

1,800
1,800
900
900

1,350
1,800
900
450

The production speed of the DocuColor 2045, in single-sided sheets per hour, is follows:

64 – 80 gsm:
81 – 105 gsm:
106 – 150 gsm:
151 – 280 gsm:

DocuColor 2000 series design guide
2–4

SRA3

2,700
2,700
1,800
1,350

1,800
1,800
900
900

1,350
1,800
900
450

image reproduction process

Image size/paper size
The DocuColor 2045 and 2060 accept standard paper sizes of A4, A3 and SRA3. They will
also accept non-standard paper sizes, from 182 mm to 320 mm in height, and 182 mm
to 488 mm in width.
The DocuColor 2045 and 2060 will print to within 4 mm of each paper edge. The following
table provides the imageable area for different paper sizes.

Paper size name

Minimum paper size
A4
A3
SRA3
Maximum paper size

Paper size

182
210
297
320
320

x
x
x
x
x

182
297
420
450
488

mm
mm
mm
mm
mm

Image area

174
202
289
312
312

x
x
x
x
x

174
289
412
442
480

mm
mm
mm
mm
mm

Screens
Screen ruling is a measurement of lines per inch (lpi) or number of lines (or rows) of
halftone dots printed per inch on the page. When an image has a high screen ruling,
the dots are printed close together, resulting in sharp colours and images. Low screen
rulings print dots farther apart, resulting in a coarser effect. High screen rulings are
typically used for higher quality output on less porous surfaces (eg, gloss coated stock),
while low screen rulings are used for more porous surfaces that are prone to dot gain
(eg, newsprint).
When you print in colour, the rows of CMYK dots are printed in individual screens. One
layer is used for each base colour (ie, one cyan, one magenta, one yellow, and one
black). These screens are then overlapped and printed to create the illusion of multiple
colours. Screens are angled, forming a symmetrical pattern called a rosette so that the
dots don’t print on top of each other. Your eye easily merges these patterns into smooth
colour gradations.

2–5

The DocuColor 2045 and 2060 use a calibrated 200 cluster dot screen, as default, to
achieve their crisp image quality. Four other screens are available (600 fixed line, 300
fixed line, 200 rotated line and 150 cluster dot) for specific customer effects. For
example, the 600 screen could be used for pages containing only text, the 150 cluster
dot could be used to ‘soften’ a greyscale image.
A highly magnified picture of the 200 cluster dot screen is shown below for three input
density levels.

PLEASE SUPPLY ORIGINAL PIC

The next section, Designing documents, provides examples of the different screens
available on the DocuColor 2045 and 2060, and recommendations for their use.

DocuColor 2000 series design guide
2–6

image reproduction process

Gamut
The gamut (or range of colours) that the human eye can see is much larger than the range
of colours that can be reproduced in a photograph, on a television or computer display, or
in print. Also, every device capable of reproducing colour has a different gamut. The
gamut of an RGB computer display is larger than the CMYK gamut of a DocuColor 2000
Series system, which in turn is larger than the CMYK gamut of an offset press.

The primary reason the gamut of a DocuColor 2045 or 2060 is broader than the CMYK
gamut of an offset press is due to the purity and vibrancy of the dry ink used in the
DocuColor.

2–7

Process colours
Process colours are produced by printing overlapping screens of cyan, magenta, yellow
and black. Since the DocuColor 2045 and 2060 do not print “spot” colour like an offset
press, you have the ability to mix and blend variations of CMYK to create virtually
limitless colour palettes. Refer to Appendix 3 for examples of some of the CMYK colours
the DocuColor 2045 and 2060 can produce.

C, M

C, M, Y

C, M, Y, K

Even though the DocuColor 2045 and 2060 cannot run spot colours, they can convert
Pantone colours into CMYK process colours on the fly during the RIP stage. Both the
Fiery and Creo RIPs will convert Pantone colours into process colours, but their
conversion techniques are slightly different. Please refer to Appendix 4 for examples of
how the Pantone colours are reproduced on the DocuColor 2045 and 2060.
The DocuColor 2045 and 2060 can match about 75% of all Pantone colours to within a
Delta-E (DE) of 5. DE is a scientific measurement of colour difference with a DE of 0
being a perfect match. For colour matching, a DE of 5 is acceptable, but anything
greater than 5 is usually rejected as being an unsatisfactory match. Offset presses using
process colours can generally match no more than 50% of Pantone colours.

DocuColor 2000 series design guide
2–8

Designing documents

Graphic designers today have a broad choice of mediums they can use to communicate
ideas and designs, including traditional print technologies – like litho, gravure or flexo
– or newer technologies, like the web, multi-media CD, or digital colour presses.
Every medium presents its own set of challenges for the design community. For example,
with offset presses you need to consider issues like sheet size, screening used, ink
density and dot gain. With the web, you’ll need to conform to recognised standards,
ensure links and anchors work, and that your fonts and images work. The more you
know about your medium, the better you are able to design for it.
This section will help you design smarter, sexier-looking documents without having to
endure the steep learning curve normally associated with new technologies and mediums.
Knowing what design elements work best on a DocuColor 2045 or 2060 will make it
easier for you to set up your files for optimum printing, streamlining the print process
and avoiding any last minute corrections. You should consider the issues discussed
below to ensure a smooth, trouble-free print run of the highest quality available from
digital printing today.

Design elements to discuss with your printer
Elements that need forward consideration with your printer

Paper stock
With printing, paper quality has a direct relationship to print quality. Therefore it’s
important you review Section 5, Selecting paper stock, before committing to a job.
The DocuColor 2045 and 2060 will print on a broad range of stocks: coated and uncoated
stocks, specialty stocks and transparencies. Paper weight can range from 64 gsm to
280 gsm and size can vary from 182 x 182 mm to 320 x 488 mm.
The most versatile stock for the DocuColor 2000 Series is the Xerox Colotech+ uncoated
range of stocks. They offer more forgiveness than coated stocks, which more readily
display any print artifacts such as oil streaking. Coated stocks are also more prone
to paper stretch when passing through the heated fuser roll, so bleed and design will
need to be carefully considered when using coated stocks. Due to paper stretch, it is
recommended to include at least 3 mm of bleed on all documents.

3-1

Image considerations
Whether your original image is a transparency, photographic print or digital file, the
image characteristics you start with will have a major impact on the end results. As with
any other high quality print medium, the lower the quality of your source image, the
poorer the quality of your reproduction. There is simply no substitute for quality images.
Most common layout programs (QuarkXPress, InDesign, PageMaker) can be used to
supply artwork for the DocuColor 2045 and 2060. They will work with all popular,
standard image file formats, such as EPS, TIFF, JPEG, BMP, etc. You can use CMYK or
RGB files – the colour management software in the Creo and Fiery RIPs will convert RGB
images into the CMYK mix required for the press.
In terms of image resolution, the same 300 dpi images used for offset are equally suitable
for printing on the DocuColor 2045 and 2060. As with any offset print run, images of
lower resolution can be used, with a compromise in ultimate image quality. On the other
hand, images with resolution greater than 600 dpi (the print resolution of the DocuColor
2000 series) will only waste processing time and will not give you better results.
The images on the opposite page will allow you to make your own judgement on image
quality, with images ranging from 300 dpi down to 72 dpi. If high image quality is not
your prime requirement, then using lower image resolutions will result in faster
processing time.

DocuColor 2000 series design guide
1–2

designing documents

300dpi

225dpi

150dpi

72dpi

3-3

Where offset has a total ink limit of around 350%, digital printing has a lower limit of
around 280%. This requires images to have UCR or GCR applied either at the time of
scanning, or when they are RIPped. If you scan images with UCR, do so with a maximum
ink limit of 280%. The Creo and Fiery RIPs used with the DocuColor 2000 Series will
automatically apply ink reductions to jobs when RIPping and limit ink to 280% (or any
other amount with the Creo). This ink reduction does not affect image quality.
Note that the total ink limit refers to the maximum amount of ink or toner in any given
area on the paper, such as in a black area. To calculate, add together the CMYK dot
percentage values in the darkest area in the image, eg, C96, M88, Y88 and K75 =
96+88+88+75 = 347%. The theoretical maximum is 400% (100% each of C, M, Y and K).

Image area, bleeds and folds
The maximum sheet size the DocuColor 2045 and 2060 will accept is 320 x 488 mm,
however this is a non-standard sheet size and not readily available (it must be cut to
order). SRA3 – 320 x 450 mm – is the most commonly used sheet with a maximum
image area of 312 x 442 mm.

A3 size
297 x 420 mm

Maximum image size
312 x 442 mm

SRA3 paper size
320 x 450 mm

The DocuColor 2000 Series presses will accept standard paper sizes of A4, A3 and SRA3,
as well as non-standard paper sizes from 182 mm to 320 mm in height and 182 mm to
488 mm in width. They will print to within 4 mm of each paper edge. The following
illustrations highlight the image area for different paper sizes.

DocuColor 2000 series design guide
3-4

designing documents

Minimum paper size
182 x 182mm

Image area
174 x 174mm

A4 paper size
210 x 297mm

Image area
202 x 289mm

A3 paper size
297 x 210mm

Image area
289 x 412mm

3-5

SRA3 paper size
320 x 450mm

Image area
312 x 442mm

Maximum paper size
320 x 488mm

Image area
312 x 480mm

Bleed is recommended to be at least 3 mm all around to allow for any front to back
image skew on the DocuColor 2045 and 2060 (which has tolerance of 1 to 1.5 mm).
Folding any stock can result in paper cracking on the spine, therefore it is recommended
that for best results, all sheets that are to be folded be run through a scoring unit. This
is especially important when printing areas of dark colour across folds (if the stock is
not scored, the paper cracks will show as white lines through the colour). See Section
6, Binding and finishing, for more information.

DocuColor 2000 series design guide
3-6

designing documents

Specifying colours
The DocuColor 2045 and 2060 print using process colours, ie, a mix of cyan, magenta,
yellow and black. You have the ability to mix and blend variations of CMYK to create
virtually limitless colour palettes. Refer to Appendix 3, CMYK colour charts, for examples
of some of the combinations you can choose.
Even though the DocuColor 2045 and 2060 cannot run spot colours, they can convert
Pantone colours into CMYK process colours on the fly during the RIP stage. Both the
Creo and Fiery RIPs will convert Pantone colours into process colours, but their
conversion techniques are slightly different. Please refer to Appendix 4, Pantone colour
charts, for examples of how Pantone colours are reproduced on the DocuColor 2045 and
2060. The DocuColor 2045 and 2060 can closely match about 75% of the Pantone range
of colours. Offset can generally only simulate around 50%.
It is always recommended to proof your jobs before printing and this would be a great
check of the colour reproduction. Because you are proofing on the same device as the
final output will be printed on, then you can be assured that the colours on the proof
will be accurate.
If total colour consistency is required from monitors to final output, it is recommended
that a colour management system like ICC profiles are used. The Creo and Fiery RIPs on
the DocuColor 2045 and 2060 support the ICC colour management workflow.

Choice of screens
The DocuColor 2045 and 2060 can use a variety of printing methods to screen your job
when printing. The main choice is between a 150 and 200 clustered dot screen, which is
like the rosette dot used in offset printing. Also available is a 200 rotated line screen,
and 300 and 600 line screen.
It has been shown that use of a clustered dot screen, either 150 or 200, can help
reduce any banding in solid areas. However this screen is then applied to the entire job
and may cause some cause some loss of fine detail in graphic or text areas.
When using graphics with fine detail, a 600 line screen can be used to great effect but
it will cause the appearance of pictures and flat tints to degenerate, making them look
unsmooth with possible banding.

3-7

600 SCREEN

300 SCREEN

200 SCREEN

150 SCREEN

600 SCREEN

300 SCREEN

200 SCREEN

150 SCREEN

Vignettes
Vignettes, blends, and gradients (all essentially the same – basically one colour
blending into another) are often seen in documents these days. That’s because it’s so
easy to create them – simply click on the appropriate dialog box in your application,
specify your colours, and go. Blends may print poorly on some digital presses which are
prone to banding. (Banding can occur because electronic charges or toner particles may
not always be evenly distributed.)
By taking the following items into consideration, you can be assured that the blend you
want comes out smoothly when it prints on the DocuColor 2045 or 2060.
Blends will print much more easily if they are made from process (CMYK), not Pantone
colours. If you want to use a Pantone colour, select it and convert it to process.
When you create a blend, make sure that the lightest area is no lighter than 5% of the
colour. If you try to blend down to 0%, the blend won’t be as smooth and may show
banding.
By increasing the percentage change in the blend (for example, blending from 5% to
80% of a colour rather than 30% to 50%), you will increase the number of available
shades that can be used to print the blend. A narrow range forces the use of larger
bands of tints, while a broader range enhances the blend’s smoothness.
Poor example of vignette (created in a Microsoft Office application)

Good example of vignette (created in Adobe Photoshop)

DocuColor 2000 series design guide
3 - 16

designing documents

Try restricting vignettes to smaller areas (less than 180 mm) rather than full page
vignettes.
Try adding “noise” to a raster vignette (eg, use the “Add Noise” filter in Photoshop).
Create vignettes in Photoshop rather than Quark Xpress for better quality blends.

Text
With the DocuColor 2045 and 2060, you can use both PostScript and True Type fonts.
You’ll notice that all text will appear sharp, even when using small point sizes.
Sans serif fonts will reproduce better than fonts with delicate serifs, especially when
reverse out white text is used. Below are some examples of composition size text using
a sans serif and a serif typeface.

11 point text on white background, 4 point line
11 point text on black background, 4 point line
10 point text on white background, 3 point line
10 point text on black background, 3 point line
9 point text on white background, 2 point line
9 point text on black background, 2 point line
8 point text on white background, 1 point line
8 point text on black background, 1 point line
7 point text on white background, 0.75 point line
7 point text on black background, 0.75 point line
6 point text on white background, 0.5 point line
6 point text on black background, 0.5 point line
5 point text on white background, 0.25 point line
5 point text on black background, 0.25 point line

4 point text on white background, 0.125 point line

4 point text on black background, 0.125 point line

3 - 17

4 point text on white background, 0.125 point line

4 point text on black background, 0.125 point line

Remember to always include full font families with your artwork as missing fonts will be
substituted.

DocuColor 2000 series design guide
3 - 18

designing documents

Solid blacks
Large areas of solid black can often appear washed out, whether printed on an offset or
digital press. Also, when overprinting text, underlying colours and patterns can show
through. To avoid these issues, use a black that has been mixed with other colours for
added punch. When designing your document, use a ‘super black’ (or ‘rich black’) such
as K100, C50, M40, Y40. Below are some ‘super black’ examples.

C:0% M:0% Y:0% K:100%

C:50% M:0% Y:0% K:100%

C:0% M:50% Y:0% K:100%

C:0% M:0% Y:50% K:100%

C:50% M:50% Y:50% K:100%

3 - 19

Image mottle
Uneven spotty ink or toner coverage, called mottling, can occur when printing large
solid areas of flat mid tone colours, especially one colour black. Paper choice can be
critical in avoiding this problem. For the DocuColor press, a good, smooth paper stock
should be used. See Section 5, Selecting paper stock, for more information. Avoiding
mid brown and green colours can help reduce this artifact along with the use of
different screens available with the DocuColor 2045 and 2060. If in doubt, please see
your print provider for further information.

Knockout, overprint and trapping
When printing shapes or type in colour, it is necessary to specify how the ink or toner
will be applied to the paper. When knockout is specified, the shape is printed by
eliminating all background colours, resulting in a pure colour against the paper. When
overprint is specified, the shape prints over whatever colours have already been printed.
This can result in a shift of colour due to overlapping ink or toner.

DocuColor 2000 series design guide
3 - 20

designing documents

Trapping is a technique in which adjacent colours slightly overprint each other to help
minimise the effects of possible misregistration.

The DocuColor 2000 Series presses have excellent plate to plate registration. For many
layouts, it is unnecessary to design for separations. However, if ‘separations’ are
specified, the Creo and Fiery RIPs will process individual plates, together with all
‘knockout’, ‘overprint’ and ‘trapping’ selections in your original file, and combine them
for the printing process.
If no ‘trapping’ has been selected, the Creo has a trapping function that takes place
during RIPping of a file. Please check with your print provider.

File formats
The Creo and Fiery RIPs of the DocuColor 2045 and 2060 accept PostScript, EPS and PDF
file formats for output. PostScript files should be created using a print driver supplied
by your print provider (a print driver specifically created for the DocuColor 2000 Series
with Creo or Fiery RIP). PDF files should be created at print or press quality. If you try
to use a screen quality PDF file, it will not contain enough resolution to print out at
high quality on the DocuColor 2045 or 2060 and images will appear pixilated.

Resource collection
Before submitting your artwork to print, make sure you have included all of the
necessary files, fonts and associated images (including fonts and placed images used
within an EPS file).
Creating PDF files can be a way of assuring all elements are included in a ready to
print file.

3 - 21

Creating PDFs
Acrobat PDF can be a very convenient format for delivering files to print – you simply
hand off the file without having to worry about including fonts, linked images, etc.
However, you have to make sure the PDF is made with the correct settings in ‘Distiller’
and that it is set up to run correctly from ‘Reader’ to the DocuColor 2045 or 2060.
Make sure to:
• Embed all fonts
• Leave colours unchanged
• Save the PDF as high resolution (minimum downsampling of 300dpi)
• Leave the file uncompressed
• Embed the profile for your output provider’s DocuColor 2045 or 2060, if available.

INCLUDE SCREEN GRAB OF ACROBAT WITH APPROPRIATE SELECTIONS
(PLEASE SUPPLY)

DocuColor 2000 series design guide
3 - 22

designing documents

Dot gain
Dot gain is the tendency for halftone dots to become larger and appear darker because of
wet ink spreading when it comes into contact with paper. It is a real issue with offset
presses and inkjet printers, but is not a problem with the DocuColor 2045 and 2060.

Design elements to avoid
The following are elements you should avoid in your designs for the DocuColor 2045 and
2060.

Straight design elements close to the edge of the page
Skew can be experienced of up to 1 mm in 420 mm (A3) on the DocuColor 2045 and
2060. When printing on the second side, this skew can grow to up to 2 mm in 420 mm
(A3) front to back. This is not the amount of skew you would normally expect, just the
maximum that can be expected. Keep this in mind when designing elements with straight
lines close to, and parallel to, the edge of a page – they could appear slightly off line.

3 - 23

DocuColor 2000 series design guide
3 - 24

designing documents

Large areas of solid colour
Large solid areas of colour will always present a challenge for a press, whether it is
offset or digital. The DocuColor 2045 and 2060 are capable of producing great results
when it comes to flat tints, however, particular colours – like C100, M70 – can show up
with banding in the solid area. Rather than avoid solid areas, a designer can add other
elements to the design, like text or graphics or even pictures, to ‘break the colour up’,
thereby minimising the amount of flat, solid area. Alternatively, you could introduce
noise, a background pattern or texture to the solid area, or use lighter colours. These
techniques will help disguise any banding that can occur on some colours.
The DocuColor 2045 and 2060 have proven to be very capable of handling large solid
areas of solid black, however faint oil streaking from the fusing process is more readily
visible in these areas. As with solids of other colours, designing to avoid large areas of
solid black on its own is a priority to achieve the best result possible. Use ‘super black’
for added punch (refer to the earlier topic Solid blacks for examples).
Long runs (say 1,000 sheets) of large solid only areas should be avoided as this can be
draining on the engine. Instead, break up the run with other work.

3 - 25

Coated stock and large white text on heavy background
When printing white text on a heavy background on gloss or coated stock, faint
ghosting may occur. What causes this is the BeltNip fuser maintaining an oil coating
when white non image areas are put through the fuser. On second side printing, this
non image area can be coated with extra oil causing a ghost image to become evident.
To avoid this, care should be taken when designing solid colour or black areas not to
use reversed (white) text. By putting in a coloured text, even of a light shade, can help
the fuser avoid the ghost image occurring.
Avoid large text on dark background. Instead, lightly tint or colour the text.

DocuColor 2000 series design guide
3 - 26

Selecting paper stock

With any print job, it’s important to understand that paper quality has a direct
relationship to print quality. No matter whether you’re printing offset, on a digital
press, or at home on an inkjet, this is, and always will be, the case.
Also, paper represents a significant proportion of the cost of a job, and can account for
between one-third and one-half of the final cost of the printed work.
You should therefore carefully select the paper that will give you the best results in
terms of quality, runnability and cost-effectiveness.

Stock considerations
When deciding on the type of stock to use for a job, the first, most obvious rule to
remember is that the better the stock, the better the results. Both productivity and print
quality suffer when flimsy, inexpensive paper is used. Using smooth papers with good
formation (uniform fibre distribution) will help you attain the best image quality. Well
cut papers with no ragged edges are recommended to maintain a dust-free DocuColor
2060 system. Contamination in the system over time can cause imaging problems.
It is also important to consider the application and how it will be used. Many internal
communications in the general office have fairly light ink coverage, so a lighter weight
paper will suffice. The graphic arts industry, on the other hand, produces a wide variety
of documents, including two-sided jobs with heavy ink coverage, which means a heavier,
more opaque media is needed to prevent show-through. Fortunately, the DocuColor 2060
handles a full range of stock types reliably and consistently.

Digital printing process
Every printing technology has its own set of issues when it comes to paper. With digital
printing, paper manufacturers must take into account issues like the interaction of toner
with paper, the need for paper to hold a charge as part of the electrostatic process, and
the heat and pressure the paper is subjected to during the fusing stage.
All digital printers today utilise an electrostatic process, where dry or liquid toner is
transferred using an electric charge. In printers that use dry toner, the toner used in the
xerographic process is heat-fused onto paper fibres. Fusing permanently adheres the
toner so that it won’t flake, scratch or peel. Rough paper stocks may be less desirable for
xerographic use as their texture may prevent toner from adhering to the paper’s surface.

5-1

Paper influences on print quality
Variables in the papermaking process can influence the quality and performance of the
finished paper. While some variables are controlled to create specific stocks, other may
result in imperfections.

Formation
Formation is how fibres are distributed on a sheet. Poor fibre formation can cause
mottle or uneven, spotty ink/toner distribution in images with high solid area coverage.
To gain insight into the formation of paper, hold a sample sheet up to a light. If the
paper has good formation, it looks even and consistent. If it has poor formation, it will
appear splotchy and uneven.
Well-formed, premium papers also feel better to the hand, and help create professional
quality results. Good fibre formation is especially important when documents include
photographs or have high ink coverage.

Grain direction
Grain direction is the orientation of fibres with respect to the long edge of the paper
and is a product of the papermaking process. For example, in an A4 sheet, the fibres of
a long grain sheet are parallel to the 297 mm dimension of the paper. The fibres of a
short grain sheet are parallel to the 210 mm dimension.
Heavy stocks fold most smoothly parallel to the grain. Folds against the grain may
cause paper to crack and appear lumpy and ragged. This is why printers prefer to fold
jobs with the grain.

DocuColor 2000 series design guide
5-2

selecting paper stock

Weight
This is a measure of the weight of paper or stock, in grams per square metre (gsm), and
is another important consideration in paper selection. Most office papers are around 80
or 90 gsm, and are normally used for correspondence.
Heavier sheets, used for covers and business cards, are often thicker because they
contain more fibres. These papers may sometimes be too thick or rigid to pass through
the paper path of the DocuColor 2060. They may also crack or blister when folded (even
when scored).
The DocuColor 2060 accepts paper between 64 and 280 gsm. This covers the vast majority
of requirements, from office applications to covers, postcards and business cards.

Finish
Finish is the smoothness or roughness of a paper’s surface. Finish may be controlled by
the surface pattern used as part of the basic papermaking process, by adding coatings,
and through the calendaring process which smooths and polishes the paper surface.
Paper is available in a variety of uncoated and coated finishes. Uncoated finishes range
from rough to smooth, where rough textures add dimension, while smooth finishes
enhance print quality. Coated finishes range from premium highly polished, high gloss
cast coated to a gloss, matte, and dull coated.

Why paper doesn’t always work the way it should
Although many papers are now designed for digital printing, most fine printing papers
were originally designed for offset presses. The following sections take a look at the
influence coating, moisture content and texture have on results.

Coated paper and offset
The high gloss papers used in magazines, brochures, and direct mail have long been the
choice of graphic designers and offset presses because the smooth, glossy finish has
reflective qualities which provide an optimum surface for photographs, colour
illustrations and text.

Coated paper and digital printing
Because many of today’s applications have moved from offset to digital, users are
beginning to demand fine papers for their digital prints. Although many offset papers

5-3

may be used in digital printing equipment, there are some limitations to the
performance of coated stocks with this technology. Coating materials used in the
manufacture of these papers can impact performance and reliability (ie, smearing,
blurring, stretching and flaking).

Moisture and offset
Offset printing is essentially a wet process where papers run at approximately 6%
moisture content. Although too little or too much moisture may affect image quality,
offset printing tends to be less sensitive to moisture.

Moisture and digital printing
Xerography used in digital printers is a dry process where papers run at about 4.5%
moisture content. If too much moisture is present, the heat of the fuser will draw out
the moisture, causing curl. If there is not enough moisture, static electricity becomes a
problem.

Textured stock and offset
With offset printing on textured stock, photographic images may appear dark or muddy.

Textured stock and digital printing
In order to duplicate or print fine lines and detailed images on digital printers, the
paper surface must come in close contact with the imaging drum for the toner particles
to adhere. If the paper texture is too rough, some particles may never come in contact
with the paper, and parts of your image won’t print. The result will be uneven printing
and loss of detail.

Imaging drum on rough surface

Imaging drum on smooth surface

DocuColor 2000 series design guide
5-4

selecting paper stock

Thick paper stocks
Image quality on recommended heavy weight stocks is often excellent, but cannot
always be expected to match the image quality on 100 gsm Colotech+ paper.
Degradation in image quality is more likely to occur as paper weight increases. The
rough formation of heavy weight papers increases the possibility of mottle with some
images, particularly those with uniform halftone areas (ie, flat tints). As humidity and
the moisture content of paper rises, the likelihood of mottle will also increase.

Coated papers
Coated papers have binders, adhesives, and pigments applied to their surfaces on one or
both sides. As compared to the benchmark 100 gsm Colotech+ paper, coated papers
provide improved image gloss, but will generally cause an increased likelihood of issues
like paper stretch, offsetting and mottle.
Coated papers are very susceptible to humidity. Image mottle is more likely to occur
when coated stocks are used, especially on side two of a two-sided job.
Ink coverage on electronic originals should be limited to a total of 280% (70% for each
colour). Higher toner coverage can result in poorly fused prints on coated stocks, and is
more likely on side two of a two-sided job.
Coated stocks – especially when duplexed – are best suited to shorter run lengths.
If using a coated paper that has not been recommended, first try a small quantity to
test its performance before committing to the job.

Paper stretch
When running two-sided printing applications, side to side registration may be affected
by the inherent paper stretch that occurs as the paper is heated through the fusing
stage of the printing process. Typical paper stretch for light, uncoated paper is between
0.2% and 0.6% of the paper size in the print feed direction. For coated materials, the
affect is as high as 0.9% of the paper size in the print feed direction. The higher the
weight of the paper the lower the resulting stretch. Cover materials, therefore, show low
stretch tendencies.
The DocuColor 2060 operator can make some minor compensation for paper stretch, but
thinner coated stocks are best avoided if image size or front to back alignment are
critical factors in a particular job.

5-5

Optical paper qualities that influence image quality
The performance of toner and ink are affected by the following paper characteristics:
shade, opacity, brightness, and reflectivity.

Shade
Paper shades may change the appearance of colour images because toner and ink are
applied in dot patterns (or screens) which allow a certain amount of the paper colour to
show through. Paper shade can also vary significantly among brands.
For example, while some white papers may be a true white, others may be more blue- or
yellow-white in appearance. Switching from a true white to a blue- or yellow-white
affects the colours and overall hues in the finished piece.
Select a true white paper for truer colours and more natural looking skin tones.

Opacity
Two-sided (or duplex) printing requires paper that is more opaque so that show-through
of images and text from one side of the sheet to the other isn’t a problem. A paper with
low opacity allows show through of images and text from one side of the sheet to the
other (eg newsprint). Opacity affects legibility, attractiveness, and quality.
For better results on documents with large amounts of toner or ink coverage, use papers
with higher opacity.

Brightness
When toner or ink is applied to brighter papers, images have higher contrast which
improves printability and quality.
Use brighter papers for best results with documents that contain complex graphics or
photos.

DocuColor 2000 series design guide
5-6

selecting paper stock

Reflectivity
When toner or ink is applied to a smooth surface, the resulting image is sharper because
the image is reflected back in a straightforward direction. Images resulting from toner
or ink applied to a rough surface are not as sharp because the image reflection is
scattered in several directions.
Select smoother, more reflective surfaces for sharper images.

Light/Image
How an image reflects on
a smooth paper surface

Light/Image
How an image reflects on
a rough paper surface

5-7

Paper grades
When you order paper, it’s important to know the differences between papers so that
you’ll know what to ask for. Professionals divide papers into large categories or grades
according to their end use, method of printing, and pulp content. The following tables
summarise the major grades available, as well as providing a digital comparison.
BOND
Type

Forms or register bond

Definition

• Business forms and computer paper. Designed for a forms press or
continuous feed pin hole fed printing system.
• Typically used by forms converters.

Weights

60 – 90 gsm

Standard sizes

Usually web rolls

Finish

Smooth, often with high bulk

Application

Pre-printed forms, invoices, statements.

Xerox equivalent

Blue Wrap 80 gsm

Comment

Surface best suited to simple forms work. Not suitable for halftone
reproduction.

Type

Xerographic, multi-purpose, laser, inkjet

Definition

•
•
•
•
•

Weights

70 – 90 gsm

Standard sizes

Folio sheets
Cut sizes

Finish

Smooth writing type surface. Sometimes treated for inkjet printing.
Tinted.

Application

General office communications, letterheads, forms, statements,
newsletters, reports, manuals, flyers, directories and leaflets.

Blue Wrap 90 gsm

Engineered for use in xerographic equipment.
Marketed for xerography, laser, inkjet, plain paper fax and press.
Smoother, brighter, sometimes heavier weights for laser printing.
Surface treated for xerography or inkjet printing.
Well balanced moisture content.

DocuColor 2000 series design guide
5-8

635 x 880 mm S/G
650 x 910 mm L/G
A4, A3
650 x 910 mm L/G

430 x 610, 450 x 650, 635 x 880, 650 x 910 mm
A4, A3

selecting paper stock

BOND (continued)
Xerox equivalent

Comment

Blue Wrap 80 gsm

635 x 880 mm S/G
650 x 910 mm L/G
A4, A3

Blue Wrap 90 gsm

650 x 910 mm L/G

Purple Wrap 80 gsm

Business 80 gsm

Performer 80 gsm

A4, A3

Symphony Tints 80 gsm

A4, A3

Surface not suited to high resolution image reproduction.
Ideal for spot colours.

UNCOATED OFFSET
Type

Book publishing

Definition

• Manufactured to a thickness (caliper) and selected when finished
document thickness must be controlled. Typically available in a
wide range of weights, finishes and shades. Engineered for offset
printing.

Weights

60 – 135 gsm

Standard sizes

Web rolls
Folio sheets

650 x 910, 640 x 900 mm
Some special sizes

Finish

Extra bulky, antique rough, smooth, machine, eggshell

Application

Books, manuals, some annual reports and look-alike newspapers.

Xerox equivalent

None available

Type

Offset opaque

Definition

• High grade papers with an opacity level that minimises showthrough, usually with smooth surface for halftone reproduction.
Traditionaly designed for offset printing.
• Re-engineered for xerography and digital printing.

Weights

80 – 135 gsm

Standard sizes

Web rolls
Folio sheets

635 x 880, 650 x 910, 640 x 900, 700 x 1000 mm

Cut sizes

A4, A3

5-9

UNCOATED OFFSET (continued)
Finish

Regular printing, smooth, vellum

Application

Books, brochures, calendars, catalogues, flyers, direct mail pieces,
manuals, newsletters, programs, annual reports, posters, technical
drawings, self-mailers, reply paid, speaker sheets, inserts, packing
slips, notices.

Xerox equivalent

XPrint 80, 90, 100 and 120 gsm A4, A3

Comment

Xerox grades developed for finer resolution image output. Well
suited to drawings and spot colour. 90 gsm and up recommended
for double sided printing to maximise opacity. Offset grades will
often suffer image deletions due to higher moisture contents.

Type

Commodity offset

Definition

• An economical paper typically with a lower brightness and opacity
designed for offset printing presses. Sometimes called budget offset.

Weights

80 – 135 gsm

Standard sizes

Web rolls

Folio sheets

430 x 610, 450 x 640, 635 x 880, 640 x 900, 650 x 910 mm
Cut sizes
A4, A3

Finish

Wove, smooth, bond style, linen embossed, laid, felt

Application

Annual reports, announcements, books, brochures, calendars,
catalogues, flyers, invitations.

Xerox equivalent

Quick Pack 80 gsm
Performer 80 gsm
Purple Wrap 80 gsm

Comment

Offset grades likely to suffer from high moisture content causing
deletions and post image curl. Not suited to finer resolution
graphics, but meets a price need for longer runs with simple text
applications. Papers with controlled moisture content and quality
finishing are recommended.

Type

Recycled paper

Definition

• Designed to meet environmental standards. Usually lower
brightness. Sometimes surface treated for inkjet printing.

Weights

80 – 90 gsm

Standard sizes

Folio sheets
Cut sizes

DocuColor 2000 series design guide
5 - 10

A4, A4 4 hole
A4, A3
A4

615 x 870, 650 x 910 mm
A4, A3

selecting paper stock

UNCOATED OFFSET (continued)
Finish

Wove, smooth, antique rough

Application

Annual reports, announcements, brochures, books, flyers, leaflets,
mailers, general office communications, letterheads

Xerox equivalent

Green Wrap 80 gsm 615 x 870 mm S/G, A4, A3
Green Wrap 90 gsm 615 x 870 mm S/G
Revive 80 gsm
A4

Comment

Xerox stocks developed to overcome traditional roughness and
dusting problems. Some grades could contaminate printing
equipment and increase wear that would degrade image quality.

Type

Cardstocks (boards)

Definition

• Heavier weight versions of the uncoated offset grades of papers.

Weights

140 – 350 gsm

Standard sizes

Folio sheets
Cut sizes

Finish

Smooth, machine, ivory, wove type, white and tinted

Application

Covers, menus, tabs, dividers, business cards, calendar headers,
showcards, point of sale cards, post cards, reply paid cards, folders.

Xerox equivalent

Green Wrap Cardstock 150, 200 gsm
Symphony Cardstock Tints 120, 160 gsm
Pastel Cardstock 150, 200 gsm A4

Comment

Grain direction should always be considered before selecting any
cardstock. Scoring is recommended for all work over 150 gsm. Low
moisture content of stock can affect finished scoring ability.

450 x 640, 640 x 900, 650 x 910, 760 x 1020 mm
A4, A3

A4
A4

TEXT AND COVERS
Definition

• Premium priced paper and covers typically with characteristics of
higher brightness, excellent formation, cotton content or textured
surfaces. Wide range of colours are often available and are a
favourite with designers looking for unique end results.

Weights

100 – 350 gsm

Standard sizes

Web rolls

Folio sheets

450 x 640, 640 x 900, 430 x 610, 635 x 880, 650 x 910, 635 x 965,
660 x 1016 mm

Finish

Linen embossed, laid, felt, wove, vellum, parchment, antique rough

5 - 11

TEXT AND COVERS (continued)
Application

Annual reports, announcements, art reproductions, books,
brochures, calendars, posters, labels, invitations, greeting cards,
quality apparel enclosures, menus, high quality advertising.

Xerox equivalent

None available

Comment

Often have textured surfaces that are difficult for toner to adhere
to evenly, resulting in a breakup of digital images. Offset grades
nearly always hold too much moisture, causing deletions, post
image curl and difficulty in double-siding with even print quality.

COATED OFFSET
Definition

• Surface is coated with a formulation of pigments and binders to
enhance surface quality and printing. They are chosen when high
quality printing and fine detail resolution are required.
• Typically specified for brightness and gloss level.
• Re-engineered for xerographic and digital printing.

Weights

90 – 160 gsm

Standard sizes

Web rolls
Folio sheets
Cut sizes

Finish

Gloss, matt, dull, satin, silk, cast, embossed

Application

Annual reports, art reproductions, brochures, calendars, catalogues,
directories, advertisements, direct mail pieces, manuals, financial
prospectuses, magazines, posters, display sheets, newspaper inserts,
labels.

Xerox equivalent

Colotech Imaging Matt 135,160 gsm
Colotech Imaging Gloss 135,160 gsm
Colotech Imaging Super Gloss 135,160 gsm

Comment

Prone to highlighting oil streaks. Lighter weights – 135 gsm and
below – may suffer either stretching or creasing. Offset papers,
with their higher moisture content, are more prone to these issues.
Feeding and paper transport may be difficult if papers are too
smooth. Poor base formation will induce image mottle in some
images.

DocuColor 2000 series design guide
5 - 12

430 x 610, 450 x 640, 635 x 880, 640 x 900,
650 x 910, 700 x 1000 mm
A4, A3, SRA3

A4, A3, SRA3
A4, A3, SRA3
A4, A3, SRA3

selecting paper stock

UNCOATED DIGITAL
Type

Xerographic, digital, laser, colour copy

Definition

• Especially enhanced uncoated surfaces for digital and laser
reproduction. Particularly suited to jobs with high colour image
quality needs.
• Very even, smooth surfaces to lift image gloss on the page.
• Strictly controlled moisture content and surface conductivity.
• Usually very high sheet formation characteristics.

Weights

90 – 280 gsm

Standard sizes

Cut sizes

Finish

Smooth, gloss, matt

Application

Books, manuals, annual reports, leaflets, mailers, annual reports,
posters, labels, calendars, menus, greeting cards, quality apparel
enclosures, presentations, advertising, covers, post cards,
directories, catalogues.

Xerox equivalent

Colotech+ 90, 100, 120, 160, 200, 220, 250, 280 gsm
A4, A3, SRA3
Colotech+ Gloss 140 gsm A4, A3

Comment

Specifically designed to ensure the smooth matt type surface will
lift toner gloss. Very high resolution output possible. Score stock
160 gsm or above before folding. Gloss version is an adapted
surface to offer similar output qualities.

A4, A3, SRA3

COVER
Type

Uncoated

Definition

• Uncoated cover to match bond papers, uncoated offset and text
grades.

Weights

150 – 350 gsm

Standard sizes

Web rolls

Folio sheets

430 x 610, 450 x 640, 510 x 635, 640 x 900, 650 x 910,
700 x 1000 mm
Cut sizes
A4, A3, SRA3

Finish

Smooth, machine, regular printing

Application

Folders, covers, menus, tabs, post cards, point of sale cards, tags,
tickets, labels.

5 - 13

COVER (continued)
Xerox equivalent

Green Wrap Cardstock 150, 200 gsm
Symphony Cardstock Tints 120, 160 gsm
Pastel Cardstock 150, 200 gsm
Colotech+ 160, 200, 220, 250, 280 gsm

Comment

Surface type and grain direction must be considered before selecting.
Moisture content in offset grades may cause deletions to second side.

Type

Coated 2 sided

Definition

• Designed to match coated offset papers.

Weights

150 – 350 gsm

Standard sizes

Web rolls

Folio sheets

430 x 610, 450 x 640, 510 x 635, 640 x 900, 650 x 910,
700 x 1000 mm
Cut sizes
A4, A3, SRA3

Finish

Gloss, matt, dull, satin, silk

Application

Folders, covers, menus, tabs, post cards, point of sale cards, tags,
tickets, labels

Xerox equivalent

Colotech
Colotech
Colotech
Colotech

Comment

Oil streaks can be highlighted with these stocks. Edge quality is
important in order to avoid contamination within machine and
cross contamination to high coverage image areas. Scoring required
for stock 160 gsm and above.

Type

Cast coated 1 sided

Definition

• Super premium gloss cover. Mirror finish is made by pressing
paper against a polished, hot metal drum.
• Surface tends to be hard and non absorbent.

Weights

150 – 350 gsm

Standard sizes

Web rolls

Folio sheets

430 x 610, 450 x 640, 510 x 635, 640 x 900, 650 x 910,
700 x 1000 mm
Cut sizes
A4, A3, SRA3

Finish

Very smooth, high gloss, mirror-like

Imaging
Imaging
Imaging
Imaging

DocuColor 2000 series design guide
5 - 14

Matt 135, 160, 210 gsm
Matt 250, 275 gsm
Gloss 135, 160, 210 gsm
Gloss 250, 275 gsm

A4
A4
A4
A4, A3, SRA3

A4, A3, SRA3
SRA3
A4, A3, SRA3
SRA3

selecting paper stock

COVER (continued)
Application

High quality covers, greeting cards, point of sale, posters,
postcards, business cards, menus, high quality advertising

Xerox equivalent

Colotech Imaging Supergloss 135, 160 gsm
Colotech Imaging Supergloss 210 gsm
Colotech Imaging Supergloss 250, 275 gsm

Comment

A4, A3
A4, A3, SRA3
SRA3

INDEX OR BRISTOL
Definition

• Lower priced uncoated heavyweight stock.

Weights

150 – 350 gsm

Standard sizes

Folio sheets
Cut sizes

Finish

Smooth, matt, ivory

Application

Reply paid cards, business cards, postcards, folders, covers, menus,
tabs, tags, tickets.

Xerox equivalent

Green Wrap Cardstock 150, 200 gsm
Symphony Cardstock Tints 120, 160 gsm
Pastel Cardstock 150, 200 gsm

Comment

Offset index grades not ideal for digital printing because they’re
usually too thick for the equipment to handle. Always consider
scoring. Poor formation likely to cause mottle and poor lightweight
tones. Toner adhesion on offset grades can be an issue.

450 x 640, 640 x 900, 510 x 635, 650 x 910 mm
A4, A3

A4
A4
A4

5 - 15

Paper handling and storage
Papers for digital printing are manufactured with a lower moisture content than offset
papers. For optimum printing, this controlled moisture content of paper needs to be
maintained.
Because paper absorbs or sheds moisture rapidly, it’s important to keep paper wrapped
in its moisture-proof packaging for as long as possible before use. Avoid opening a new
ream of paper until you are ready to use it.
Paper should be stored in a room that enjoys constant a temperature and humidity as
variations will induce changes in the paper. Ideally, paper should be kept in an airconditioned room maintained between 20°C and 23°C, and between 45% and 55%
relative humidity.
Always allow paper to acclimatise to the print room conditions at least 24 hours prior to
use for best results.
Paper should not have any paper dust that can contaminate the DocuColor 2060 and
cause artifacts in print work. Specify ream-sealed, mill-cut papers for optimum results.
If cutting paper before printing, ensure the paper is cut clean and free of paper dust.
Paper should always be handled carefully, with clean hands and only enough fanning of
reams to avoid sticking edges. Reseal open reams with tape and keep in a moistureproof container.
Always run paper in accordance with directions on the wrapper that state "Print side
first". This is important to minimise curl in the printing process.

DocuColor 2000 series design guide
5 - 16

selecting paper stock

Wrap-up
Paper has a direct relationship to print quality – the better the paper, the better the
results.
Specify paper that has been designed for digital printing.
Select paper that has good formation.
Use smooth or coated finishes for documents that have fine detail, shaded areas or
halftone images.
Select a true white paper for truer colours and more natural looking skin tones.
For documents with large amounts of toner or ink coverage, use papers with higher
opacity.
Select paper between 64 and 280 gsm.
Design jobs to fold with the grain.
Limit ink coverage to 280%.
Specify ream-sealed, mill-cut paper.
Keep paper sealed in wrapper until required.
Store paper in temperature and humidity controlled room.
Put paper is the same room as the DocuColor 2060 at least 24 hours prior to use.
Reseal open reams and keep in moisture-proof container.
Always handle paper carefully.

5 - 17

DocuColor 2000 series design guide
5 - 18

Binding and finishing

Outside of the commercial print world, a vital part of a document’s lifecycle is often
overlooked. Many people believe a document is completed once the pages leave the
printer, disregarding the finishing process altogether.
Yet advancements in binding and finishing processes are just as revolutionary as those
found in the rest of the printing marketplace. Documents are put together faster and
with more precision than ever before, keeping pace with the rate at which they are
produced by new digital technology.
Postpress operations generally follow a basic sequential order for finishing. Documents
are first collated, then folded, then bound and finally trimmed. After trimming, there
are other finishing options that can be performed for document protection or aesthetics.

Collating
Just after printing, postpress operators must ensure that all final pieces, including text
pages, tabs, inserts, etc. are placed in the appropriate position within the final document.
Collating a job refers to gathering signatures together in the correct sequence. Put
simply, it means ensuring that page 1 is followed by page 2, page 3, and so on.

Folding and scoring
There are many contributing factors to successful folding. Sheet size, for example, has
a bearing on the type of folding to be performed. Paper thickness or weight is another
important consideration. Some papers may be too thick or rigid to pass through the
paper path of the DocuColor 2060. They may also crack or blister when folded or scored.
The grain of the paper is another factor that affects the folding process. A paper’s grain
refers to the direction of the fibres with respect to the long edge of the paper. Paper
can be long grain (the grain runs
parallel to the 297 mm dimension of an
A4 sheet) or short grain (the grain runs
parallel to the 210 mm dimension of an
A4 sheet). Paper folds most smoothly
parallel to the grain, while folds against
the grain may cause paper to crack and
appear lumpy and ragged.

6–1

Scoring
Scoring is generally used when a fold needs to be made
against the paper grain, or when jobs are printed on middle
to heavy weight stocks that require folding. Scoring
involves a long blunt edged rule that presses firmly down
on a document, causing a crease in the paper. The paper is
folded over the crease, reducing the chances of cracking.
If possible, avoid placing an image where a fold is to take place, and try to design the
document so that the fold occurs in the direction of the paper grain.

Types of folds
A parallel fold means that the paper is folded parallel to the paper’s edge, no matter if
the fold is made parallel to the long edge or the short edge of the paper.

A right angle fold takes the parallel fold one step further. It simply means that a fold
falls at a right angle to the previous fold.

DocuColor 2000 series design guide
6–2

binding and finishing

An accordion fold is when two or more parallel folds are made in reversing directions.

Gate folds are useful for brochures and book covers because they create a pair of foldouts.

6–3

Binding
Saddle stitching
Saddle stitching is the most common and least expensive binding and is best suited to
low page count publications. In a saddle stitched publication, the signatures are opened
and straddled across a metal right angle plate called a saddle. In small quantities,
saddle stitching can be performed with a stapler, however it is most commonly
accomplished on high speed automated binding equipment. In this automated process,
wire is inserted into the paper, then bent and cut to length, leaving the document
looking like it has been stapled.

Side stitching
Side stitching is used when the bulk is too great for saddle stitching. The sections are
collated, placed flat under a stitching head, and the stitches (or staples) inserted about
8 mm from the edge. Side stitched books cannot be opened completely flat.

DocuColor 2000 series design guide
6-4

binding and finishing

Edition binding
The conventional method of bookbinding, producing "hardback" books. Signatures are
collated in sequence, endleaves pasted on the first and last signature, and then sewn
together. The book is then trimmed on three edges, the spine (or backbone) roughed up
and rounded (to lay flat when opened), and glue applied. At the same time, the covers
(or cases) are prepared separately. The book is then put into its case and pasted
together. After drying, a dust jacket may be added.

Perfect binding
Perfect binding is used to produce books without the expense of sewing and casebinding. The process begins with placing signatures in sequence. The spine is then
lightly ground to rough up the edges for better adhesion. An adhesive is applied to the
spine, the cover attached and the publication is three-edge trimmed. Examples of
perfect bound books include paperbacks, manuals and thicker magazines.

6-5

Mechanical binding
Mechanical binding includes an array of devices that can be used to hold a final
document together, including spiral binding, plastic binding, and coil binding. Holes or
slots are drilled or cut along one gutter edge and wire or plastic binding is inserted.
When opened, these bindings allow pages to lie flat. Some even allow for a full 360
degree rotation of the pages. Mechanical binding is often used for training manuals,
notebooks, calendars, and technical manuals.

Looseleaf binding
Looseleaf bindings include screw and post bindings and ring binders. They allow for
unlimited use of inserts and are ideal for manuals that undergo frequent updates. Pages
can be inserted and removed easily.

DocuColor 2000 series design guide
6-6

binding and finishing

Finishing touches
Trimming
Trimming is generally performed on a guillotine cutter after binding. Documents are
placed in the gutter, with the bound side away from the knife. The knife is lined up to
the desired edge of the document in position, and the knife cuts off the unnecessary
margin between the edge of the document and the edge of the paper. Three-knife
trimming machines trim the remaining non-bound edges of a publication. Trimming
brings the document to its exact pre-specified dimensions – the trim size.

Die cutting
The process of cutting specific shapes onto a page with sharp steel knives is called die
cutting. It can produce drama on the printed page and lure the reader onto the next
page to see the complete picture. It is also used for packaging applications where the
edges of the box contain specific angles for folding and gluing.

Lamination
Lamination is the process of covering a sheet with a thin layer of polyester (laminate)
to yield a strong and washable surface. Restaurant menus, for example, are laminated
for protection and washability. It is important, however, to make sure the document’s
paper and toner are compatible with the laminator. In some cases, the lamination
attracts the toner, so it looks like the text and images adhere to the laminate rather
than the paper.

6-7

Varnish
Another tool that can be used to protect documents from abrasion is varnishing. It can
also be used as a design tool to enhance a document’s appearance. Depending on the
desired effect, gloss or matte (dull) varnish can be applied to an entire document (flood
coverage) to give it a smooth overall finish, or specific portions of a page (spot
coverage) to highlight some parts of the document while de-emphasising others.
Whichever method is chosen, varnished documents are characterised by their depth of
colour, clarity of graphics, and crispness of text.

Embossing
Embossing creates a three dimensional image on the printed page. In this process, the
paper is pressed between two dies to raise a portion of the printed image. Embossing is
frequently found on greeting cards.

Shrink wrapping
The very final finishing option before documents are delivered is shrink-wrapping. This
process involves wrapping small quantities of the finished documents in a thin plastic
material using a heated shrink-wrapping machine. This is a simple way of keeping items
together and protecting them for shipping or storage.

DocuColor 2000 series design guide
6-8

binding and finishing

Double-sided printing
The DocuColor 2060 is capable of automatically duplex printing on up to 220 gsm
media. During automatic duplex printing mode the machine will make printing process
control changes during the side 2 pass, in an attempt to closely match the image on
side 1. These make printing process control changes are necessary because the paper
will be drier and hotter than it was during the first pass and therefore have different
electrostatic properties. Some gloss differential may still be visible, especially when
using heavy weight coated stocks
Use standard sizes: Design your printed pieces to take maximum advantage of common
sheet sizes. For example, think A4 or A3.
Use paper specifically designed for the equipment you’re using: For example, paper
designed specifically to optimise the performance of digital printing equipment may
significantly reduce waste due to jamming and offer a better surface for dry ink
adhesion.
Reduce basis weight: Heavier basis weight sheets cost more per sheet than lighter ones.
Lighter weight stocks will also reduce mailing costs.
Select the right paper for the job: Choosing the right paper is key. Consider factors such
as image quality, brightness, equipment choice, and end use (is folding required?). Then
select a paper that will ensure the best results.

6-9

DocuColor 2000 series design guide
6 - 10

Applications by Industry

Financial services
Banking, finance, securities, funds management, insurance, brokers, credit unions

Business graphics
Typical vertical application name

• “Red herring” draft prospectus
• Pitch book
• Deal book

Decision making role

•
•
•
•
•
•

Key benefits of digital colour printing

• Speed up turnaround time
• Improve quality
• Retain control

Investment banking
Global finance
Capital markets
Private placements
Corporate finance
Public finance

Presentations/proposals/reports
Typical vertical application name

•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Proposals
Customised proposals
Board packages
Outcome reports
Institutional daily equity reports
Private daily equity reports
Research reports
Market reports
Fund fact sheets
Fund reallocation projections
Claims analysis
Budgets
Overheads
Handouts
Inserts
Cover/spine
7-1

Decision making role

•
•
•
•
•
•
•
•
•
•
•

Marketing
Retail sales
CEO
Managing director
Research
Annuities marketing
Underwriting
Commercial lines marketing
Managed care
Finance
Treasury

Key benefits of digital colour printing

• Improve sales conversion rate
• Tailor document to an individual using
personalisation
• Ensure impact
• Enhance professional image
• Improve comprehension and action
• Build brand identity/recognition
• Increase security
• Speed up turnaround time
• Develop rapid response to regulations
• Reduce costs/contain costs
• Improve quality

Manuals
Typical vertical application name

•
•
•
•

Training
Agent training
Operations and procedure
Product and services marketing

Decision making role

•
•
•
•
•

Marketing
Retail sales
Training
IT
Managing director

DocuColor 2000 series design guide
1–2

applications by industry

Key benefits of digital colour printing

•
•
•
•

Speed up turnaround time
Target based on needs/features/services
Ensure consistency
Provide multi-lingual documentation to
improve understanding
• Reduce inventory/obsolescence
• Enable JIT delivery of print

Promotional materials
Typical vertical application name

•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Flyers
Danglers
Brochures
CD jewel case inserts
Video case inserts
Direct mail campaign
Counter cards/tent cards
Notices
Customer enrolment kits
Directories
Benefit booklets
Signage, posters, banners
Event notices
Tickets and passes to events
Invitation to fund raisers and events
Seminar/trade show material
Covers/spine
Postcards
Business cards
Customised internet response

Decision making role

•
•
•
•
•
•
•
•

Marketing
Relationship manager
Graphic arts
Public relations
Managed care
Underwriting
Corporate communications
Consumer relations

7-3

Key benefits of digital colour printing

•
•
•
•
•

•

Increase sales
Grow business, revenue and profits
Gain competitive advantage
Build brand identity/recognition
Improve response with targeted marketing
based on season, ethnic, demographic,
economic, geographic areas
Improve subscriber compliance and wellness
Improve response with targeted marketing
based on buying preferences
Facilitate micro-marketing
Build customer loyalty
Accelerate competitive response
Reduce inventory/obsolescence
Enable JIT delivery of print
Reduce costs/contain costs
Lower short run costs
Provide multi-lingual material to improve
response
Ease registration requirements

Typical vertical application name

•
•
•
•

Departmental
Human resource
Board of directors
Subscriber

Decision making role

•
•
•
•
•

Marketing communications
Corporate communications
Human resources
Consumer relations
Graphic arts

Key benefits of digital colour printing

•
•
•
•
•
•

Organise and classify information
Accelerate competitive response
Foster consumer education and awareness
Develop rapid response to regulations
Reduce costs/contain costs
Improve quality

•
•
•
•
•
•
•
•
•
•

Newsletters

DocuColor 2000 series design guide
7-4

applications by industry

Compensation and benefit booklets/directories
Typical vertical application name

• Cover/spine
• Booklet
• Entitlements and benefits booklets

Decision making role

•
•
•
•

Human resources
Employee services
Member services
Marketing

Key benefits of digital colour printing

•
•
•
•

Improve comprehension and recall
Improve customer satisfaction
Improve employee satisfaction
Speed up turnaround time

Notifications
Typical vertical application name

• Regulatory
• Treasury/interest/rate change

Decision making role

• Managing director

Key benefits of digital colour printing

• Speed up turnaround time
• Improve comprehension and action
• Reduce fines

Statements
Typical vertical application name

• Asset
• Portfolio
• Confirmation

Decision making role

• Asset management
• Investment banking

Key benefits of digital colour printing

• Tailor document to high net worth individuals
using personalisation
• Improve customer satisfaction
• Build customer loyalty
• Improve comprehension and retention

7-5

Consumer products
Manufacturing, industrial, retail, wholesale, consumer electronics

Catalogues
Typical vertical application name

• Product
• Parts
• Channel

Decision making role

• Marketing
• Catalogue sales
• Advertising

Key benefits of digital colour printing

• Speed up turnaround time
• Reduce inventory/obsolescence
• Improve response with targeted marketing
based on buying preferences

Promotional materials
Typical vertical application name

DocuColor 2000 series design guide
7-6

•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Point of sale
Flyers
Sell sheets
Danglers
Specifications
Brochures
Plan-o-grams
Price sheets
CD jewel case inserts
Video case inserts
Sale campaigns
Coupons
Notices
Counter cards
Event notices
Mock up packaging
Test marketing
Labels
Postcards
Exhibition brochures

applications by industry

Decision making role

•
•
•
•

Marketing
Advertising
Graphic arts/creative services
Public relations

Key benefits of digital colour printing

•
•
•
•

•
•

Increase sales
Grow profits
Build brand identity/recognition
Provide ability to change to demographic and
economic markets
Improve response with targeted marketing
based on buying preferences
Facilitate micro-marketing
Build customer loyalty
Accelerate competitive response
Reduce inventory/obsolescence
Lower short run costs
Provide multi-lingual material to improve
response
Provide stock flexibility
Ease registration requirements

Typical vertical application name

•
•
•
•
•

Direct sales channel
Human resource
Distributor/OEM
Shareholder
Technical bulletins

Decision making role

•
•
•
•
•

Marketing
Human resources
Employee services
CEO
Engineering

Key benefits of digital colour printing

•
•
•
•

Organise and classify information
Accelerate competitive response
Reduce costs/contain costs
Improve quality

•
•
•
•
•
•
•

Newsletters

7-7

Manuals
Typical vertical application name

•
•
•
•
•
•

Training
Operations and procedure
Product marketing
Service/repair
Distribution
Consumer (i.e. phone/internet banking)

Decision making role

•
•
•
•
•
•
•

Marketing
Training
Sales
IT
Service
Improve quality
Distribution/traffic

Key benefits of digital colour printing

• Improve print turnaround time
• Target based on needs/features/services
• Provide multi-lingual documentation to
improve understanding
• Ensure consistency
• Reduce inventory/obsolescence
• Enable JIT delivery of print
• Provide no-tear paper for service engineers

Notifications
Typical vertical application name

•
•
•
•
•

Decision making role

• Engineering
• Distribution/traffic
• Customer service

Key benefits of digital colour printing

• Speed up turnaround time
• Improve comprehension and action
• Provide colour-coding of diagrams

DocuColor 2000 series design guide
7-8

Change notice
Schematics
Technical bulletins
Tariffs
Consumer bulletins

applications by industry

Presentations/proposals/reports
Typical vertical application name

•
•
•
•
•

Proposals
Overheads
Handouts
Inserts
Cover/spine

Decision making role

• CEO/executives
• Marketing/sales
• Training

Key benefits of digital colour printing

•
•
•
•

Ensure impact
Enhance professional image
Improve comprehension and action
Build brand identity/recognition

Compensation and benefit booklets
Typical vertical application name

• Cover/spine
• Booklet

Decision making role

• Human resources
• Employee services

Key benefits of digital colour printing

• Improve comprehension and recall
• Improve employee satisfaction+

7-9

Hospitality
Restaurants, hotels, convention centres, travel agencies, advertising agencies, cruise
lines, tour operators

Promotional materials
Typical vertical application name

•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Conference materials
Flyers
Danglers
Brochures
Price sheets
CD jewel case inserts
Video case inserts
Sale campaigns
Coupons
Notices
Counter cards
Event notices
Labels
Postcards
Menus, placemats
Signage, posters, banners
Maps/directions
Business cards
Program of events
Customised internet response
Calendars

Decision making role

•
•
•
•
•

Marketing
Advertising
Promotions
Event planning
Graphic arts

Key benefits of digital colour printing

•
•
•
•

DocuColor 2000 series design guide
7 - 10

Increase sales
Grow profits
Build brand identity/recognition
Provide ability to change to demographic and
economic markets
• Improve response with targeted marketing

applications by industry

based on buying preferences
Facilitate micro-marketing
Build customer loyalty
Accelerate competitive response
Reduce inventory/obsolescence
Lower short run costs
Provide multi-lingual material to improve
response
• Provide stock flexibility
• Ease registration requirements
•
•
•
•
•
•

Compensation and benefit booklets
Typical vertical application name

• Cover/spine
• Booklet

Decision making role

• Human resources
• Employee services

Key benefits of digital colour printing

• Improve comprehension and recall
• Improve employee satisfaction

Presentations/proposals/reports
Typical vertical application name

•
•
•
•
•
•
•

Proposals
Research reports
Market reports
Overheads
Handouts
Inserts
Cover/spine

Decision making role

•
•
•
•
•

Marketing
Retail sales
CEO
Managing director
Research

Key benefits of digital colour printing

•
•
•
•

Ensure impact
Enhance professional image
Improve comprehension and action
Build brand identity/recognition

7 - 11

Manuals
Typical vertical application name

•
•
•
•

Training
Operations and procedures
Product and services marketing
Seminars

Decision making role

•
•
•
•

Marketing
Retail sales
Training
IT

Key benefits of digital colour printing

•
•
•
•
•

Improve print turnaround time
Target based on needs/features/services
Ensure consistency
Reduce inventory/obsolescence
Enable JIT delivery of print

Newsletters
Typical vertical application name

• Human resource
• Consumer

Decision making role

• Marketing communications
• Human resources
• Distribution

Key benefits of digital colour printing

•
•
•
•

DocuColor 2000 series design guide
7 - 12

Organise and classify information
Accelerate competitive response
Reduce costs/contain costs
Improve quality

applications by industry

Professional services
Legal firms, accountancy firms, real estate, travel, consulting firms, IT, peak bodies

Presentations/proposals/reports
Typical vertical application name

•
•
•
•
•
•
•

Proposals
Research reports
Market reports
Overheads
Handouts
Inserts
Cover/spine

Decision making role

•
•
•
•
•

Managing partner
Marketing
Sales
Research
Business operations manager

Key benefits of digital colour printing

•
•
•
•
•

Ensure impact
Enhance professional image
Improve comprehension and action
Build brand identity/recognition
Facilitate last minute changes

Newsletters
Typical vertical application name

• Human resource
• Client
• Contempories

Decision making role

• Marketing communications
• Human resources

Key benefits of digital colour printing

•
•
•
•

Organise and classify information
Accelerate competitive response
Reduce costs/contain costs
Improve quality

7 - 13

Manuals
Typical vertical application name

•
•
•
•

Training
Operations and procedures
Product and services marketing
Seminars

Decision making role

•
•
•
•

Marketing
Sales
Training
IT

Key benefits of digital colour printing

•
•
•
•
•

Improve print turnaround time
Target based on needs/features/services
Ensure consistency
Reduce inventory/obsolescence
Enable JIT delivery of print

Compensation and benefit booklets
Typical vertical application name

• Cover/spine
• Booklet

Decision making role

• Human resources
• Employee services

Key benefits of digital colour printing

• Improve comprehension and recall
• Improve employee satisfaction

Promotional materials
Typical vertical application name

DocuColor 2000 series design guide
7 - 14

•
•
•
•
•
•
•
•
•
•
•
•

Flyers
Brochures
Company profile
Professional profiles
Briefs
Client newsletters
Compliance updates
CD jewel case inserts
Video case inserts
Notices
Event notices
Postcards

applications by industry

•
•
•
•
•

Signage, posters, banners
Directories
Direct mail campaigns
Business cards
Trade show materials

Decision making role

• Managing partner
• Marketing
• Graphic arts

Key benefits of digital colour printing

•
•
•
•
•

•
•

Increase sales
Grow profits
Build brand identity/recognition
Disseminate information
Provide ability to change to demographic and
economic markets
Improve response with targeted marketing
based on buying preferences
Facilitate micro-marketing
Build customer loyalty
Accelerate competitive response
Reduce inventory/obsolescence
Lower short run costs
Provide multi-lingual material to improve
response
Provide stock flexibility
Ease registration requirements

•
•
•
•
•

Training
Operations and procedures
Services
Promotional
Certificate of achievement

•
•
•
•
•
•
•

Education
Primary, secondary, higher education

Course packs/manuals/booklets
Typical vertical application name

7 - 15

Decision making role

• Vice-chancellors
• School principals
• Department heads

Key benefits of digital colour printing

•
•
•
•
•
•

Reduce costs/contain costs
Reduce inventory/obsolescence
Enable JIT delivery of print
Accelerate learning, retention and recall
Improve print turnaround time
Target based on needs/features/services

Typical vertical application name

•
•
•
•
•
•

Council agendas
Research reports
Budgets
Handouts
Inserts
Cover/spine

Decision making role

• Vice-chancellors
• School principals
• Department heads

Key benefits of digital colour printing

• Ensure impact
• Improve comprehension and action
• Facilitate last minute changes

Presentations/proposals/reports

Newsletters/mailers
Typical vertical application name

•
•
•
•

School to home
Alumni
Employee
Community

Decision making role

•
•
•
•
•

Student administration
School principals
Vice-chancellors
Human resources
Alumni association

DocuColor 2000 series design guide
7 - 16

applications by industry

Key benefits of digital colour printing

•
•
•
•
•

Reduce costs/contain costs
Improve quality
Improve parent satisfaction
Improve student satisfaction
Improve employee satisfaction

Typical vertical application name

•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Flyers
Brochures
CD jewel case inserts
Video case inserts
Event/program notices
Postcards
Signage, posters, banners
Directories
Direct mail campaigns
Memory booklets
Yearbooks
Tickets and passes to events
Alumni solicitations
Invitations to fund raisers and events
Student catalogues
Athletic player cards
Covers
Calendars

Decision making role

•
•
•
•
•

Marketing department/corporate
School principals
Human resources
Vice-chancellors
Alumni association

Key benefits of digital colour printing

•
•
•
•
•
•

Attract new students
Lower short run costs
Reduce inventory/obsolescence
Provide stock flexibility
Ease registration requirements
Provide multi-lingual material to improve
response

Promotional materials

7 - 17

Other
Typical vertical application name

•
•
•
•
•

Student ID cards
Phone cards
Certificates
Diploma
Academic publications

Decision making role

•
•
•
•

Registrar
Vice-chancellors
School principals
Department heads

Key benefits of digital colour printing

• Lower short run costs
• Ease registration requirements
• Speed up turnaround time

Health care
Hospitals, medical practices, clinics, health funds

Course packs/manuals/booklets
Typical vertical application name

•
•
•
•

Training
Operations and procedures
Services
Promotional

Decision making role

• Administrator
• Public relations
• IT

Key benefits of digital colour printing

•
•
•
•

Improve print turnaround time
Accelerate learning retention and recall
Foster community education and awareness
Reduce costs/contain costs

•
•
•
•
•

Flyers
Brochures
Catalogues
CD jewel case inserts
Video case inserts

Promotional materials
Typical vertical application name

DocuColor 2000 series design guide
7 - 18

applications by industry

•
•
•
•
•
•
•
•
•

Event/program notices
Postcards
Signage, posters, banners
Directories
Direct mail campaigns
Tickets and passes to events
Invitations to fund raisers and events
Covers
Calendars

Decision making role

• Public relations
• Administrator
• Graphic arts

Key benefits of digital colour printing

•
•
•
•
•
•

Organise and classify information
Accelerate competitive response
Foster consumer education and awareness
Develop rapid response to regulations
Reduce costs/contain costs
Improve quality

Typical vertical application name

•
•
•
•
•
•
•

Board packets
Research reports
Budgets
Overheads
Handouts
Inserts
Cover/spine

Decision making role

• Administrator
• Department chief

Key benefits of digital colour printing

•
•
•
•

Presentations/proposals/reports

Ensure impact
Improve funding
Improve comprehension and action
Facilitate last minute changes

7 - 19

Compensation and benefit booklets
Typical vertical application name

• Cover/spine
• Booklet

Decision making role

• Human resources
• Employee services

Key benefits of digital colour printing

• Improve comprehension and recall
• Improve employee satisfaction

Newsletters/mailers
Typical vertical application name

• Employee
• Patient
• Community

Decision making role

• Human resources
• Administrator
• Department chief

Key benefits of digital colour printing

•
•
•
•
•

Organise and classify information
Improve employee satisfaction
Improve patient satisfaction
Reduce costs/contain costs
Improve quality

Typical vertical application name

•
•
•
•
•
•

ID cards
Business cards
Menus
Pre-op booklets
Home care booklets
Dietary booklets

Decision making role

• Human resources
• Print shop

Key benefits of digital colour printing

•
•
•
•
•

Other

DocuColor 2000 series design guide
7 - 20

Lower short run costs
Enable JIT delivery of print
Provide most accurate, up-to-date information
Ease registration requirements
Speed up turnaround time

applications by industry

Public sector
Federal Government – Armed forces
Key applications

• Pamphlets
• Versions of recruitment pamphlets/booklets

Key benefits of digital colour printing

• Reduce inventory/obsolescence
• Speed up turnaround time
• Foster community education and awareness

Local Council - General services
Key applications

•
•
•
•
•
•

Marketing flyers
Environmental brochures
Drug prevention brochures
Covers/spines
Polyester stock for repair manuals
Proofs/mock-ups

Key benefits of digital colour printing

•
•
•
•
•

Organise and classify information
Foster community education and awareness
Target based on needs/features/services
Reduce costs/contain costs
Improve quality

State Government - Department of Health
Key applications

•
•
•
•
•
•
•
•
•

Brochures
Child abuse pamphlets
Health in restaurant brochures
Aids brochures
Signage, posters, banners
Tent cards/counter cards
Public health notices
Pamphlets on disease control
Grants

Key benefits of digital colour printing

•
•
•
•
•

Organise and classify information
Foster community education and awareness
Develop rapid response to regulations
Reduce costs/contain costs
Improve quality

7 - 21

Federal/State/Local Government – Graphics reproduction print shops
Key applications

•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•

Colour covers for technical documentation
Colour covers for training materials
Signage, posters, banners
CD jewel case inserts
Video case inserts
Multi-lingual brochures
Newsletters
Public officials presentations
Business cards
Programs/events
Certificates
Constituent mailings
Postcards
City landmark books
Budget books
PC output applications
Covers and inserts for black and white jobs

Key benefits of digital colour printing

• Enable JIT delivery of print
• Organise and classify information
• Accelerate competitive response to
commercial offset
• Lower short run costs
• Reduce costs/contain costs
• Reduce inventory/obsolescence
• Provide multi-lingual material to improve
response
• Provide stock flexibility
• Ease registration requirements
• Improve quality
• Develop rapid response to regulations

State Government - Department of Labor
Key applications

DocuColor 2000 series design guide
7 - 22

• Newsletters
• Brochures
• Training materials (tests, overheads,
certificates, covers, video inserts, etc)

applications by industry

Key benefits of digital colour printing

• Enable JIT delivery of print
• Organise and classify information
• Reduce inventory/obsolescence

Federal/State/Local Government - Department of Roads
Key applications

•
•
•
•
•
•
•

Engineering change notification
Maps
Bid specs
Schematics
Litigation documentation
Expenditure reports
Project status reports

Key benefits of digital colour printing

• Organise and classify information
• Reduce inventory/obsolescence
• Increase retention/recall/action
• Enable JIT delivery of print

Federal/State Government - Department of Welfare
Key applications

•
•
•
•
•
•
•
•

Forms
Covers
Pamphlets
Multi-lingual materials
Workforce demographics reports
Job listings
Workbooks
Legislative and budget reports

Key benefits of digital colour printing

•
•
•
•

Organise and classify information
Reduce inventory/obsolescence
Increase retention/recall/action
Enable JIT delivery of print

7 - 23

Federal/State/Local Government - Department of Parks
Key applications

•
•
•
•
•
•
•
•
•
•
•
•
•

Brochures
Flyers
Postcards (including souvenir)
Maps
Events
Invitations/programs
Fund raising campaigns
Certificates
Newsletters
Signage, posters, banners
Tickets (security)
House rules and regulations
Seasonal information

Key benefits of digital colour printing

•
•
•
•
•

Increase sales
Foster community education and awareness
Build park identity/recognition
Provide ability to change to seasons
Improve response with targeted marketing
based on audience
Reduce inventory/obsolescence
Lower short run costs
Provide multi-lingual material to improve
response
Provide stock flexibility
Ease registration requirements

•
•
•
•
•

DocuColor 2000 series design guide
7 - 24

APPENDIX 1:

Microsoft Office colour charts
All Microsoft Office applications (Word, Excel, PowerPoint, Access, etc.) work in the RGB
colour space. The RGB gamut is much broader than the gamut of a process colour
printer or press. Consequently, many colours available in Microsoft Office applications
cannot be reproduced on a process colour device.
A common area of discontent with customers who use Microsoft Office applications is
the issue of colours looking different on their display and on the printed page, ie, the
conversion from RGB colours to CMYK colours. They usually do not understand colour
and how it is produced and/or reproduced.. A typical complaint is: "My PowerPoint
background is blue – why is it printing as purple?"
Microsoft Office applications utilise a common colour palette across all applications. It
consists of a basic standard palette of 40 colours and an extended standard palette of
143 colours (including a range of greys). Custom colours are also available (use the
charts in Appendix 2 – RGB colour charts – for examples of the custom colours
available).
These palettes are shown below and can be used as a guide to how the Microsoft Office
colours are reproduced on the DocuColor 2060. Due to differences between RIPs and
their colour conversion algorithms, individual DocuColor 2060 digital colour presses,
machine set-up (eg screening), RIP options, calibration used, environment, and papers
used and their condition, these charts should be used as a guide only. The following
charts may differ somewhat from the printed results you get on your DocuColor 2060.
Therefore it’s important that you make sure you print these charts on your DocuColor
2060, utilising your RIP, settings, calibration and paper to give to clients for colour
selection and matching.
Encourage your customers to have a copy of these charts near their computer so that
they can see how the colours they select in their application will be reproduced on the
DocuColor 2060.

1-1

The first chart below shows the basic standard palette of 40 colours available in
Microsoft Office applications. It also includes the additional standard colours used in
Microsoft Excel and Microsoft Chart for chart fills and chart lines.

Microsoft Excel standard "Chart fills" and "Chart lines" colours

Microsoft Chart standard "Chart fills" and "Chart lines" colours

DocuColor 2000 series design guide
1-2

microsoft office colour charts

The next chart shows the same colours with the name Microsoft uses for each colour.

Black

Brown

Olive
Green

Dark
Green

Dark
Teal

Dark
Blue

Indigo

Gray80%

Dark
Red

Orange

Dark
Yellow

Green

Teal

Blue

BlueGray

Gray50%

Red

Light
Orange

Lime

Sea
Green

Aqua

Light
Blue

Violet

Gray40%

Pink

Gold

Yellow

Bright
Green

Turquoise

Sky
Blue

Plum

Gray25%

Rose

Tan

Light
Yellow

Light
Green

Light
Turquoise

Pale
Blue

Lavender

White

Microsoft Excel standard "Chart fills" and "Chart lines" colours
Light
Turquoise

Plum

Dark
Blue

Pink

Yellow

Turquoise

Violet

Dark
Red

Teal

Blue

Microsoft Chart standard "Chart fills" and "Chart lines" colours

Red

Yellow

Bright
Green

Turquoise

Gray50%

Black

Blue

Pink

Teal

Blue

1-3

The next chart shows which of these standard Microsoft Office colours are out of gamut,
ie, those that cannot be reproduced on a DocuColor 2060. Because there are many
variables associated with colour reproduction, it is not possible to absolutely determine
whether a Microsoft Office colour will or will not reproduce accurately. Therefore the
following chart also highlights those colours where acceptable results may be achieved.
(Note that not all of these colours may be reproduced simultaneously.)

Black

Brown

Olive
Green

Dark
Green

Dark
Teal

Dark
Blue

Indigo

Gray80%

Dark
Red

Orange

Dark
Yellow

Green

Teal

Blue

BlueGray

Gray50%

Red

Light
Orange

Lime

Sea
Green

Aqua

Light
Blue

Violet

Gray40%

Pink

Gold

Yellow

Bright
Green

Turquoise

Sky
Blue

Plum

Gray25%

Rose

Tan

Light
Yellow

Light
Green

Light
Turquoise

Pale
Blue

Lavender

White

Microsoft Excel standard "Chart fills" and "Chart lines" colours
Light
Turquoise

Plum

Dark
Blue

Pink

Yellow

Turquoise

Violet

Dark
Red

Teal

Blue

Microsoft Chart standard "Chart fills" and "Chart lines" colours

Red

Yellow

Bright
Green

Turquoise

Gray50%

Black

Blue

Pink

Teal

Blue

Out of gamut colour - no close match possible
Close to out of gamut - acceptable colour match may be possible
Close colour match possible

DocuColor 2000 series design guide
1-4

microsoft office colour charts

The following chart shows the extended standard colour palette available in Microsoft
Office applications. It includes the names of the 40 basic standard colours where they
appear on the palette.

Dark
Teal
Blue
Teal

Aqua

Sea
Green

Sky
Blue

Indigo
Light
Blue

BlueGray

Turquoise
Pale
Blue
Bright
Green

Dark
Green

Light
Turquoise
Light
Green

Green

Lavender

White

Pink
Rose

Olive
Green

Light
Yellow

Violet

Tan

Lime
Dark
Yellow

Plum
Yellow

Gold

Orange

Light
Orange

Red
Dark
Red

Brown

Gray50%
White

Gray80%
Black

Gray25%

Gray40%

1-5

The last chart shows the same extended standard colour palette with out of gamut colours
highlighted, ie, those colours that cannot be reproduced on a DocuColor 2060. Because
there are many variables associated with colour reproduction, it is not possible to
absolutely determine whether a Microsoft Office colour will or will not reproduce accurately.
Therefore the following chart also highlights those colours where acceptable results may be
achieved. (Note that not all of these colours may be reproduced simultaneously.)
Remember that the DocuColor 2060 will reproduce more Microsoft Office colours than a
traditional offset press because of its broader gamut.
Dark
Teal
Blue
Teal

Aqua

Sea
Green

Sky
Blue

Indigo
Light
Blue

BlueGray

Turquoise
Pale
Blue
Light
Turquoise

Bright
Green
Dark
Green

Green

Light
Green

Olive
Green

Light
Yellow

Lavender

White

Pink
Rose

Violet

Tan

Lime
Dark
Yellow

Plum
Yellow

Gold

Orange

Light
Orange

Red
Dark
Red

Brown

Gray50%

Gray80%

White

Black
Gray25%

Gray40%

Out of gamut colour - no close match possible

Close to out of gamut - acceptable colour match may be possible

Close colour match possible

DocuColor 2000 series design guide
1-6

APPENDIX 2:

RGB colour charts
The RGB colour space (or gamut) is much broader than the gamut of a process colour
printer or press. Consequently, many colours available in the RGB colour space cannot
be reproduced on a process colour device.
A common area of discontent with customers is the issue of colour conversion from RGB
to CMYK, ie, the colours they see on their display and the same colours as they appear
on the printed page. Most customers who work in the office environment do not
understand colour and how it is produced and/or reproduced.. A typical complaint is:
"My PowerPoint background is blue – why is it printing as purple?"
The following charts can be used as a guide to how RGB colours are reproduced on the
DocuColor 2060. Each chart has a fixed percentage of red and a mixture of green and
blue in stepped increments.
Due to differences between individual DocuColor 2060 digital colour presses, machine
set-up (eg screening), RIPs, RIP options, calibration used, environment, and papers
used and their condition, these charts should be used as a guide only. The following
charts may differ somewhat from the printed results you get on your DocuColor 2060.
Therefore it’s important that you make sure you print these charts on your DocuColor
2060, utilising your RIP, settings, calibration and paper to give to clients for colour
selection and matching.

2-1

255
0

100

125

150

175

200

225

Green

Red = 0

100

125

150

175

200

225

255

Blue

DocuColor 2000 series design guide
2-2

RGB colour charts

255
225
200
175
150
125
100
75
50
25
0

Green

Red = 25

100

125

150

175

200

225

255

Blue

2-3

255
0

100

125

150

175

200

225

Green

Red = 50

100

125

150

175

200

225

255

Blue

DocuColor 2000 series design guide
2-4

RGB colour charts

255
225
200
175
150
125
100
75
50
25
0

Green

Red = 75

100

125

150

175

200

225

255

Blue

2-5

255
0

100

125

150

175

200

225

Green

Red = 100

100

125

150

175

200

225

255

Blue

DocuColor 2000 series design guide
2-6

RGB colour charts

255
225
200
175
150
125
100
75
50
25
0

Green

Red = 125

100

125

150

175

200

225

255

Blue

2-7

255
0

100

125

150

175

200

225

Green

Red = 150

100

125

150

175

200

225

255

Blue

DocuColor 2000 series design guide
2-8

RGB colour charts

255
225
200
175
150
125
100
75
50
25
0

Green

Red = 175

100

125

150

175

200

225

255

Blue

2-9

255
0

100

125

150

175

200

225

Green

Red = 200

100

125

150

175

200

225

255

Blue

DocuColor 2000 series design guide
2 - 10

RGB colour charts

255
225
200
175
150
125
100
75
50
25
0

Green

Red = 225

100

125

150

175

200

225

255

Blue

2 - 11

255
0

100

125

150

175

200

225

Green

Red = 255

100

125

150

175

200

225

255

Blue

DocuColor 2000 series design guide
2 - 12

APPENDIX 3:

CMYK colour charts
The DocuColor 2060 prints using process colours, viz. cyan (C), magenta (M), yellow (Y)
and black (K). You have the ability to mix and blend variations of CMYK to create
virtually limitless colour palettes. The following charts provide examples of mixtures
of CMYK that you can use to select colours.
Two types of sample charts are provided. On the left hand side is a chart with a fixed
percentage of yellow and a mixture of cyan and magenta in 10% increments (from 0%
to 100%). On the right hand side is the same chart with black added. For each
combination of cyan, magenta and yellow, 5%, 10%, 20% and 30% black has been
added.
Lighting conditions and surrounding colours will influence how you see colours. It is
therefore recommended that you view sample charts like these under standardised
lighting and use a white or neutral grey sheet of paper with a small square hole cut out
to view individual colours.
Due to differences between individual DocuColor 2060 digital colour presses, machine
set-up (eg screening), RIPs, RIP options, calibration used, environment, and papers
used and their condition, these charts should be used as a guide only. The following
charts may differ somewhat from the printed results you get on your DocuColor 2060.
Therefore it’s important that you make sure you print these charts on your DocuColor
2060, utilising your RIP, settings, calibration and paper to give to clients for colour
selection and matching.

3-1

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

0% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3-2

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

0% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3-3

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

10% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3-4

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

10% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3-5

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

20% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3-6

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

20% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3-7

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

30% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3-8

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

30% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3-9

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

40% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 10

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

40% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 11

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

50% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 12

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

50% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 13

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

60% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 14

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

60% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 15

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

70% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 16

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

70% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 17

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

80% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 18

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

80% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 19

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

90% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 20

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

90% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 21

90% 100%
0%

10%

20%

30%

40%

50%

60%

70%

80%

Magenta

100% Yellow

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

DocuColor 2000 series design guide
3 - 22

CMYK colour charts

30% Black
10% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

100% Yellow

Magenta

20% Black
5% Black

10%

20%

30%

40%

50%

60%

70%

80%

90% 100%

Cyan

3 - 23

DocuColor 2000 series design guide
3 - 24

APPENDIX 4:

Pantone colour charts
The DocuColor 2060 is not capable of printing spot colours. However, it can convert
Pantone colours into CMYK process colours on the fly during the RIP stage. Both the
Fiery and CreoScitex RIPs will convert Pantone colours into process colours, but their
conversion algorithms are slightly different.
Because the gamut of the DocuColor 2060 is broader than offset presses using process
colours, it can match about 75% of all Pantone colours to an acceptable level compared
with around 50% of offset presses running process colours.
The following charts show how Pantone colours are reproduced on the DocuColor 2060.
Each Pantone colour is split into two halves. The left half shows the Pantone spot
colour converted by the RIP. The right half shows the same colour using the Pantone
Solid to Process values (ie, the CMYK simulation values specified by Pantone for that
colour).
Due to differences between individual DocuColor 2060 digital colour presses, machine
set-up (eg screening), RIPs (and their colour conversion algorithms), RIP options,
calibration used, environment, and papers used and their condition, these charts should
be used as a guide only. The following charts may differ somewhat from the printed
results you get on your DocuColor 2060.
Therefore it’s important that you make sure you print these charts on your DocuColor
2060, utilising your RIP, settings, calibration and paper to give to clients for colour
selection and matching.

4-1

PANTONE 100

PANTONE 106

PANTONE 113

PANTONE 120

PANTONE 1205

PANTONE 101

PANTONE 107

PANTONE 114

PANTONE 121

PANTONE 1215

PANTONE 102

PANTONE 108

PANTONE 115

PANTONE 122

PANTONE 1225

Yellow

PANTONE 109

PANTONE 116

PANTONE 123

PANTONE 1235

PANTONE 103

PANTONE 110

PANTONE 117

PANTONE 124

PANTONE 1245

PANTONE 104

PANTONE 111

PANTONE 118

PANTONE 125

PANTONE 1255

PANTONE 105

PANTONE 112

PANTONE 119

PANTONE 126

PANTONE 1265

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4-2

PANTONE process colour simulation

Pantone colour charts

PANTONE 127

PANTONE 134

PANTONE 1345

PANTONE 141

PANTONE 148

PANTONE 128

PANTONE 135

PANTONE 1355

PANTONE 142

PANTONE 149

PANTONE 129

PANTONE 136

PANTONE 1365

PANTONE 143

PANTONE 150

PANTONE 130

PANTONE 137

PANTONE 1375

PANTONE 144

PANTONE 151

PANTONE 131

PANTONE 138

PANTONE 1385

PANTONE 145

PANTONE 152

PANTONE 132

PANTONE 139

PANTONE 1395

PANTONE 146

PANTONE 153

PANTONE 133

PANTONE 140

PANTONE 1405

PANTONE 147

PANTONE 154

PANTONE colour converted by RIP

PANTONE process colour simulation

4-3

PANTONE 1485

PANTONE 155

PANTONE 1555

PANTONE 162

PANTONE 1625

PANTONE 1495

PANTONE 156

PANTONE 1565

PANTONE 163

PANTONE 1635

PANTONE 1505

PANTONE 157

PANTONE 1575

PANTONE 164

PANTONE 1645

Orange 021

PANTONE 158

PANTONE 1585

PANTONE 165

PANTONE 1655

PANTONE 1525

PANTONE 159

PANTONE 1595

PANTONE 166

PANTONE 1665

PANTONE 1535

PANTONE 160

PANTONE 1605

PANTONE 167

PANTONE 1675

PANTONE 1545

PANTONE 161

PANTONE 1615

PANTONE 168

PANTONE 1685

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4-4

PANTONE process colour simulation

Pantone colour charts

PANTONE 169

PANTONE 176

PANTONE 1765

PANTONE 1767

PANTONE 182

PANTONE 170

PANTONE 177

PANTONE 1775

PANTONE 1777

PANTONE 183

PANTONE 171

PANTONE 178

PANTONE 1785

PANTONE 1787

PANTONE 184

PANTONE 172

Warm Red

PANTONE 1788

Red 032

PANTONE 185

PANTONE 173

PANTONE 179

PANTONE 1795

PANTONE 1797

PANTONE 186

PANTONE 174

PANTONE 180

PANTONE 1805

PANTONE 1807

PANTONE 187

PANTONE 175

PANTONE 181

PANTONE 1815

PANTONE 1817

PANTONE 188

PANTONE colour converted by RIP

PANTONE process colour simulation

4-5

PANTONE 189

PANTONE 1895

PANTONE 196

PANTONE 203

PANTONE 210

PANTONE 190

PANTONE 1905

PANTONE 197

PANTONE 204

PANTONE 211

PANTONE 191

PANTONE 1915

PANTONE 198

PANTONE 205

PANTONE 212

PANTONE 192

PANTONE 1925

PANTONE 199

PANTONE 206

PANTONE 213

PANTONE 193

PANTONE 1935

PANTONE 200

PANTONE 207

PANTONE 214

PANTONE 194

PANTONE 1945

PANTONE 201

PANTONE 208

PANTONE 215

PANTONE 195

PANTONE 1955

PANTONE 202

PANTONE 209

PANTONE 216

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4-6

PANTONE process colour simulation

Pantone colour charts

PANTONE 217

PANTONE 223

PANTONE 230

PANTONE 236

PANTONE 2365

PANTONE 218

PANTONE 224

PANTONE 231

PANTONE 237

PANTONE 2375

PANTONE 219

PANTONE 225

PANTONE 232

PANTONE 238

PANTONE 2385

Rubine Red

PANTONE 226

Rhod. Red

PANTONE 239

PANTONE 2395

PANTONE 220

PANTONE 227

PANTONE 233

PANTONE 240

PANTONE 2405

PANTONE 221

PANTONE 228

PANTONE 234

PANTONE 241

PANTONE 2415

PANTONE 222

PANTONE 229

PANTONE 235

PANTONE 242

PANTONE 2425

PANTONE colour converted by RIP

PANTONE process colour simulation

4-7

PANTONE 243

PANTONE 250

PANTONE 256

PANTONE 2562

PANTONE 2563

PANTONE 244

PANTONE 251

PANTONE 257

PANTONE 2572

PANTONE 2573

PANTONE 245

PANTONE 252

PANTONE 258

PANTONE 2582

PANTONE 2583

PANTONE 246

Purple

PANTONE 259

PANTONE 2592

PANTONE 2593

PANTONE 247

PANTONE 253

PANTONE 260

PANTONE 2602

PANTONE 2603

PANTONE 248

PANTONE 254

PANTONE 261

PANTONE 2612

PANTONE 2613

PANTONE 249

PANTONE 255

PANTONE 262

PANTONE 2622

PANTONE 2623

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4-8

PANTONE process colour simulation

Pantone colour charts

PANTONE 2567

PANTONE 263

PANTONE 2635

PANTONE 270

PANTONE 2705

PANTONE 2577

PANTONE 264

PANTONE 2645

PANTONE 271

PANTONE 2715

PANTONE 2587

PANTONE 265

PANTONE 2655

PANTONE 272

PANTONE 2725

PANTONE 2597

PANTONE 266

PANTONE 2665

PANTONE 273

PANTONE 2735

PANTONE 2607

PANTONE 267

Violet

PANTONE 274

PANTONE 2745

PANTONE 2617

PANTONE 268

PANTONE 2685

PANTONE 275

PANTONE 2755

PANTONE 2627

PANTONE 269

PANTONE 2695

PANTONE 276

PANTONE 2765

PANTONE colour converted by RIP

PANTONE process colour simulation

4-9

PANTONE 2706

PANTONE 2707

PANTONE 2708

PANTONE 277

PANTONE 283

PANTONE 2716

PANTONE 2717

PANTONE 2718

PANTONE 278

PANTONE 284

PANTONE 2726

PANTONE 2727

PANTONE 2728

PANTONE 279

PANTONE 285

PANTONE 2736

Blue 072

PANTONE 2738

Reflex Blue

PANTONE 286

PANTONE 2746

PANTONE 2747

PANTONE 2748

PANTONE 280

PANTONE 287

PANTONE 2756

PANTONE 2757

PANTONE 2758

PANTONE 281

PANTONE 288

PANTONE 2766

PANTONE 2767

PANTONE 2768

PANTONE 282

PANTONE 289

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 10

PANTONE process colour simulation

Pantone colour charts

PANTONE 290

PANTONE 2905

PANTONE 297

PANTONE 2975

PANTONE 304

PANTONE 291

PANTONE 2915

PANTONE 298

PANTONE 2985

PANTONE 305

PANTONE 292

PANTONE 2925

PANTONE 299

PANTONE 2995

PANTONE 306

PANTONE 293

PANTONE 2935

PANTONE 300

PANTONE 3005

Process Blue

PANTONE 294

PANTONE 2945

PANTONE 301

PANTONE 3015

PANTONE 307

PANTONE 295

PANTONE 2955

PANTONE 302

PANTONE 3025

PANTONE 308

PANTONE 296

PANTONE 2965

PANTONE 303

PANTONE 3035

PANTONE 309

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 11

PANTONE 310

PANTONE 3105

PANTONE 317

PANTONE 324

PANTONE 3242

PANTONE 311

PANTONE 3115

PANTONE 318

PANTONE 325

PANTONE 3252

PANTONE 312

PANTONE 3125

PANTONE 319

PANTONE 326

PANTONE 3262

PANTONE 313

PANTONE 3135

PANTONE 320

PANTONE 327

PANTONE 3272

PANTONE 314

PANTONE 3145

PANTONE 321

PANTONE 328

PANTONE 3282

PANTONE 315

PANTONE 3155

PANTONE 322

PANTONE 329

PANTONE 3292

PANTONE 316

PANTONE 3165

PANTONE 323

PANTONE 330

PANTONE 3302

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 12

PANTONE process colour simulation

Pantone colour charts

PANTONE 3245

PANTONE 3248

PANTONE 331

PANTONE 337

PANTONE 3375

PANTONE 3255

PANTONE 3258

PANTONE 332

PANTONE 338

PANTONE 3385

PANTONE 3265

PANTONE 3268

PANTONE 333

PANTONE 339

PANTONE 3395

PANTONE 3275

PANTONE 3278

Green

PANTONE 340

PANTONE 3405

PANTONE 3285

PANTONE 3288

PANTONE 334

PANTONE 341

PANTONE 3415

PANTONE 3295

PANTONE 3298

PANTONE 335

PANTONE 342

PANTONE 3425

PANTONE 3305

PANTONE 3308

PANTONE 336

PANTONE 343

PANTONE 3435

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 13

PANTONE 344

PANTONE 351

PANTONE 358

PANTONE 365

PANTONE 372

PANTONE 345

PANTONE 352

PANTONE 359

PANTONE 366

PANTONE 373

PANTONE 346

PANTONE 353

PANTONE 360

PANTONE 367

PANTONE 374

PANTONE 347

PANTONE 354

PANTONE 361

PANTONE 368

PANTONE 375

PANTONE 348

PANTONE 355

PANTONE 362

PANTONE 369

PANTONE 376

PANTONE 349

PANTONE 356

PANTONE 363

PANTONE 370

PANTONE 377

PANTONE 350

PANTONE 357

PANTONE 364

PANTONE 371

PANTONE 378

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 14

PANTONE process colour simulation

Pantone colour charts

PANTONE 379

PANTONE 386

PANTONE 393

PANTONE 3935

PANTONE 400

PANTONE 380

PANTONE 387

PANTONE 394

PANTONE 3945

PANTONE 401

PANTONE 381

PANTONE 388

PANTONE 395

PANTONE 3955

PANTONE 402

PANTONE 382

PANTONE 389

PANTONE 396

PANTONE 3965

PANTONE 403

PANTONE 383

PANTONE 390

PANTONE 397

PANTONE 3975

PANTONE 404

PANTONE 384

PANTONE 391

PANTONE 398

PANTONE 3985

PANTONE 405

PANTONE 385

PANTONE 392

PANTONE 399

PANTONE 3995

Black

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 15

PANTONE 406

PANTONE 413

PANTONE 420

PANTONE 427

PANTONE 434

PANTONE 407

PANTONE 414

PANTONE 421

PANTONE 428

PANTONE 435

PANTONE 408

PANTONE 415

PANTONE 422

PANTONE 429

PANTONE 436

PANTONE 409

PANTONE 416

PANTONE 423

PANTONE 430

PANTONE 437

PANTONE 410

PANTONE 417

PANTONE 424

PANTONE 431

PANTONE 438

PANTONE 411

PANTONE 418

PANTONE 425

PANTONE 432

PANTONE 439

PANTONE 412

PANTONE 419

PANTONE 426

PANTONE 433

PANTONE 440

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 16

PANTONE process colour simulation

Pantone colour charts

PANTONE 441

Warm Grey 1

Warm Grey 6

Cool Grey 1

Cool Grey 6

PANTONE 442

Warm Grey 2

Warm Grey 7

Cool Grey 2

Cool Grey 7

PANTONE 443

Warm Grey 3

Warm Grey 8

Cool Grey 3

Cool Grey 8

PANTONE 444

Warm Grey 4

Warm Grey 9

Cool Grey 4

Cool Grey 9

PANTONE 445

Warm Grey 5

Warm Grey 10

Cool Grey 5

Cool Grey 10

PANTONE 446

Warm Grey 11

Cool Grey 11

PANTONE 447
PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 17

Black 2

PANTONE 448

PANTONE 4485

PANTONE 455

PANTONE 462

Black 3

PANTONE 449

PANTONE 4495

PANTONE 456

PANTONE 463

Black 4

PANTONE 450

PANTONE 4505

PANTONE 457

PANTONE 464

Black 5

PANTONE 451

PANTONE 4515

PANTONE 458

PANTONE 465

Black 6

PANTONE 452

PANTONE 4525

PANTONE 459

PANTONE 466

Black 7

PANTONE 453

PANTONE 4535

PANTONE 460

PANTONE 467

PANTONE 454

PANTONE 4545

PANTONE 461

PANTONE 468

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 18

PANTONE process colour simulation

Pantone colour charts

PANTONE 4625

PANTONE 469

PANTONE 4695

PANTONE 476

PANTONE 483

PANTONE 4635

PANTONE 470

PANTONE 4705

PANTONE 477

PANTONE 484

PANTONE 4645

PANTONE 471

PANTONE 4715

PANTONE 478

PANTONE 485

PANTONE 4655

PANTONE 472

PANTONE 4725

PANTONE 479

PANTONE 486

PANTONE 4665

PANTONE 473

PANTONE 4735

PANTONE 480

PANTONE 487

PANTONE 4675

PANTONE 474

PANTONE 4745

PANTONE 481

PANTONE 488

PANTONE 4685

PANTONE 475

PANTONE 4755

PANTONE 482

PANTONE 489

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 19

PANTONE 490

PANTONE 497

PANTONE 4975

PANTONE 504

PANTONE 511

PANTONE 491

PANTONE 498

PANTONE 4985

PANTONE 505

PANTONE 512

PANTONE 492

PANTONE 499

PANTONE 4995

PANTONE 506

PANTONE 513

PANTONE 493

PANTONE 500

PANTONE 5005

PANTONE 507

PANTONE 514

PANTONE 494

PANTONE 501

PANTONE 5015

PANTONE 508

PANTONE 515

PANTONE 495

PANTONE 502

PANTONE 5025

PANTONE 509

PANTONE 516

PANTONE 496

PANTONE 503

PANTONE 5035

PANTONE 510

PANTONE 517

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 20

PANTONE process colour simulation

Pantone colour charts

PANTONE 5115

PANTONE 518

PANTONE 5185

PANTONE 525

PANTONE 5255

PANTONE 5125

PANTONE 519

PANTONE 5195

PANTONE 526

PANTONE 5265

PANTONE 5135

PANTONE 520

PANTONE 5205

PANTONE 527

PANTONE 5275

PANTONE 5145

PANTONE 521

PANTONE 5215

PANTONE 528

PANTONE 5285

PANTONE 5155

PANTONE 522

PANTONE 5225

PANTONE 529

PANTONE 5295

PANTONE 5165

PANTONE 523

PANTONE 5235

PANTONE 530

PANTONE 5305

PANTONE 5175

PANTONE 524

PANTONE 5245

PANTONE 531

PANTONE 5315

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 21

PANTONE 532

PANTONE 539

PANTONE 5395

PANTONE 546

PANTONE 5463

PANTONE 533

PANTONE 540

PANTONE 5405

PANTONE 547

PANTONE 5473

PANTONE 534

PANTONE 541

PANTONE 5415

PANTONE 548

PANTONE 5483

PANTONE 535

PANTONE 542

PANTONE 5425

PANTONE 549

PANTONE 5493

PANTONE 536

PANTONE 543

PANTONE 5435

PANTONE 550

PANTONE 5503

PANTONE 537

PANTONE 544

PANTONE 5445

PANTONE 551

PANTONE 5513

PANTONE 538

PANTONE 545

PANTONE 5455

PANTONE 552

PANTONE 5523

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 22

PANTONE process colour simulation

Pantone colour charts

PANTONE 5467

PANTONE 553

PANTONE 5535

PANTONE 560

PANTONE 5605

PANTONE 5477

PANTONE 554

PANTONE 5545

PANTONE 561

PANTONE 5615

PANTONE 5487

PANTONE 555

PANTONE 5555

PANTONE 562

PANTONE 5625

PANTONE 5497

PANTONE 556

PANTONE 5565

PANTONE 563

PANTONE 5635

PANTONE 5507

PANTONE 557

PANTONE 5575

PANTONE 564

PANTONE 5645

PANTONE 5517

PANTONE 558

PANTONE 5585

PANTONE 565

PANTONE 5655

PANTONE 5527

PANTONE 559

PANTONE 5595

PANTONE 566

PANTONE 5665

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 23

PANTONE 567

PANTONE 574

PANTONE 5743

PANTONE 5747

PANTONE 581

PANTONE 568

PANTONE 575

PANTONE 5753

PANTONE 5757

PANTONE 582

PANTONE 569

PANTONE 576

PANTONE 5763

PANTONE 5767

PANTONE 583

PANTONE 570

PANTONE 577

PANTONE 5773

PANTONE 5777

PANTONE 584

PANTONE 571

PANTONE 578

PANTONE 5783

PANTONE 5787

PANTONE 585

PANTONE 572

PANTONE 579

PANTONE 5793

PANTONE 5797

PANTONE 586

PANTONE 573

PANTONE 580

PANTONE 5803

PANTONE 5807

PANTONE 587

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 24

PANTONE process colour simulation

Pantone colour charts

PANTONE 5815

PANTONE 600

PANTONE 607

PANTONE 614

PANTONE 621

PANTONE 5825

PANTONE 601

PANTONE 608

PANTONE 615

PANTONE 622

PANTONE 5835

PANTONE 602

PANTONE 609

PANTONE 616

PANTONE 623

PANTONE 5845

PANTONE 603

PANTONE 610

PANTONE 617

PANTONE 624

PANTONE 5855

PANTONE 604

PANTONE 611

PANTONE 618

PANTONE 625

PANTONE 5865

PANTONE 605

PANTONE 612

PANTONE 619

PANTONE 626

PANTONE 5875

PANTONE 606

PANTONE 613

PANTONE 620

PANTONE 627

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 25

PANTONE 628

PANTONE 635

PANTONE 642

PANTONE 649

PANTONE 656

PANTONE 629

PANTONE 636

PANTONE 643

PANTONE 650

PANTONE 657

PANTONE 630

PANTONE 637

PANTONE 644

PANTONE 651

PANTONE 658

PANTONE 631

PANTONE 638

PANTONE 645

PANTONE 652

PANTONE 659

PANTONE 632

PANTONE 639

PANTONE 646

PANTONE 653

PANTONE 660

PANTONE 633

PANTONE 640

PANTONE 647

PANTONE 654

PANTONE 661

PANTONE 634

PANTONE 641

PANTONE 648

PANTONE 655

PANTONE 662

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 26

PANTONE process colour simulation

Pantone colour charts

PANTONE 663

PANTONE 670

PANTONE 677

PANTONE 684

PANTONE 691

PANTONE 664

PANTONE 671

PANTONE 678

PANTONE 685

PANTONE 692

PANTONE 665

PANTONE 672

PANTONE 679

PANTONE 686

PANTONE 693

PANTONE 666

PANTONE 673

PANTONE 680

PANTONE 687

PANTONE 694

PANTONE 667

PANTONE 674

PANTONE 681

PANTONE 688

PANTONE 695

PANTONE 668

PANTONE 675

PANTONE 682

PANTONE 689

PANTONE 696

PANTONE 669

PANTONE 676

PANTONE 683

PANTONE 690

PANTONE 697

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 27

PANTONE 698

PANTONE 705

PANTONE 712

PANTONE 719

PANTONE 726

PANTONE 699

PANTONE 706

PANTONE 713

PANTONE 720

PANTONE 727

PANTONE 700

PANTONE 707

PANTONE 714

PANTONE 721

PANTONE 728

PANTONE 701

PANTONE 708

PANTONE 715

PANTONE 722

PANTONE 729

PANTONE 702

PANTONE 709

PANTONE 716

PANTONE 723

PANTONE 730

PANTONE 703

PANTONE 710

PANTONE 717

PANTONE 724

PANTONE 731

PANTONE 704

PANTONE 711

PANTONE 718

PANTONE 725

PANTONE 732

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 28

PANTONE process colour simulation

Pantone colour charts

PANTONE 7401

PANTONE 7408

PANTONE 7415

PANTONE 7422

PANTONE 7429

PANTONE 7402

PANTONE 7409

PANTONE 7416

PANTONE 7423

PANTONE 7430

PANTONE 7403

PANTONE 7410

PANTONE 7417

PANTONE 7424

PANTONE 7431

PANTONE 7404

PANTONE 7411

PANTONE 7418

PANTONE 7425

PANTONE 7432

PANTONE 7405

PANTONE 7412

PANTONE 7419

PANTONE 7426

PANTONE 7433

PANTONE 7406

PANTONE 7413

PANTONE 7420

PANTONE 7427

PANTONE 7434

PANTONE 7407

PANTONE 7414

PANTONE 7421

PANTONE 7428

PANTONE 7435

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 29

PANTONE 7436

PANTONE 7443

PANTONE 7450

PANTONE 7457

PANTONE 7464

PANTONE 7437

PANTONE 7444

PANTONE 7451

PANTONE 7458

PANTONE 7465

PANTONE 7438

PANTONE 7445

PANTONE 7452

PANTONE 7459

PANTONE 7466

PANTONE 7439

PANTONE 7446

PANTONE 7453

PANTONE 7460

PANTONE 7467

PANTONE 7440

PANTONE 7447

PANTONE 7454

PANTONE 7461

PANTONE 7468

PANTONE 7441

PANTONE 7448

PANTONE 7455

PANTONE 7462

PANTONE 7469

PANTONE 7442

PANTONE 7449

PANTONE 7456

PANTONE 7463

PANTONE 7470

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 30

PANTONE process colour simulation

Pantone colour charts

PANTONE 7471

PANTONE 7478

PANTONE 7485

PANTONE 7492

PANTONE 7499

PANTONE 7472

PANTONE 7479

PANTONE 7486

PANTONE 7493

PANTONE 7500

PANTONE 7473

PANTONE 7480

PANTONE 7487

PANTONE 7494

PANTONE 7501

PANTONE 7474

PANTONE 7481

PANTONE 7488

PANTONE 7495

PANTONE 7502

PANTONE 7475

PANTONE 7482

PANTONE 7489

PANTONE 7496

PANTONE 7503

PANTONE 7476

PANTONE 7483

PANTONE 7490

PANTONE 7497

PANTONE 7504

PANTONE 7477

PANTONE 7484

PANTONE 7491

PANTONE 7498

PANTONE 7505

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 31

PANTONE 7506

PANTONE 7513

PANTONE 7520

PANTONE 7527

PANTONE 7534

PANTONE 7507

PANTONE 7514

PANTONE 7521

PANTONE 7528

PANTONE 7535

PANTONE 7508

PANTONE 7515

PANTONE 7522

PANTONE 7529

PANTONE 7536

PANTONE 7509

PANTONE 7516

PANTONE 7523

PANTONE 7530

PANTONE 7537

PANTONE 7510

PANTONE 7517

PANTONE 7524

PANTONE 7531

PANTONE 7538

PANTONE 7511

PANTONE 7518

PANTONE 7525

PANTONE 7532

PANTONE 7539

PANTONE 7512

PANTONE 7519

PANTONE 7526

PANTONE 7533

PANTONE 7540

PANTONE colour converted by RIP

DocuColor 2000 series design guide
4 - 32

PANTONE process colour simulation

Pantone colour charts

PANTONE 7541

PANTONE 801

PANTONE 808

PANTONE 871

PANTONE 7542

PANTONE 802

PANTONE 809

PANTONE 872

PANTONE 7543

PANTONE 803

PANTONE 810

PANTONE 873

PANTONE 7544

PANTONE 804

PANTONE 811

PANTONE 874

PANTONE 7545

PANTONE 805

PANTONE 812

PANTONE 875

PANTONE 7546

PANTONE 806

PANTONE 813

PANTONE 876

PANTONE 7547

PANTONE 807

PANTONE 814

PANTONE 877

PANTONE colour converted by RIP

PANTONE process colour simulation

4 - 33

DocuColor 2000 series design guide
4 - 34

Glossary
1/0

“One over zero” refers to printing with one colour on one side of a
sheet, leaving the other side blank.

2-up/4-up/8-up

The number of images printed on one side of a sheet.

4/0

“Four over zero” refers to printing with four colours on one side of a
sheet of paper, leaving the other side blank.

4/4

“Four over four” refers to four colour printing on both sides of a sheet.

6/2

“Six over two” refers to printing with six colours (four process colours +
2 spot colours) on one side and two colours on the other side. This is
common with specification sheets where full colour is required on the
front but only black and one accent colour is needed on the back.

Standard ISO cut sheet size of 841 x 1189 mm.

Standard ISO cut sheet size of 594 x 841 mm.

Standard ISO cut sheet size of 420 x 594 mm.

Standard ISO cut sheet size of 297 x 420 mm.

Standard ISO cut sheet size of 210 x 297 mm.

AM screening

Conventional “lined” halftone screening that breaks up the image into
regularly spaced dots of varying size to simulate the original image.

Anti-aliasing

A process that removes jagged edges from curves and lines (including
characters), producing smooth lines and edges.

APR

Creo Automatic Picture Replacement. An extension to PostScript that
provides for automatic replacement of low-resolution placeholder images
with high-resolution images. Similar to OPI.

Aqueous coating

A water based coating applied after offset printing, which gives a gloss,
dull or matte finish and will accept ink jet printing to add variable data.

Artifact

A repeatable defect in a printed image caused by some discrete element
in the printing system.

Backing-up

Printing the reverse side of a sheet that is already printed on one side.

Banding

Undesirable horizontal or vertical bands on a printed image.

Binder’s creep

A term used to describe how the gutter margin varies from page to page
when large signatures are folded and trimmed (the printed area moves
slightly with respect to other pages). Adjustments are made at the DFE
to correct for creep.

Bitmap

An image file consisting of a two-dimensional array (or grid) of pixels.
Also called a raster image.

G-1

Bleed

An image that extends to all four edges of a page. The extra amount of
the image that is printed on a sheet beyond the crop marks (the sheet
is then trimmed to size).

Calendered

Paper that has been passed through a series of stainless steel rollers
that produce a very smooth finish to the paper.

Calibration

A procedure to set equipment (such as displays, printers, presses, and
scanners) to a standard level to ensure predictable results.

Caliper

The thickness of a sheet of paper, measured in microns.

Chalking

Pigment dusts off of prints because the ink was absorbed too rapidly
into the paper (when printing on an offset press).

Choke

A form of trapping. A choke traps a light background to a dark
foreground. The lighter colour is spread inward slightly into the darker
colour to maintain the visual edge. See also spread.

Chroma

The vividness or dullness of a hue. One of the three characteristics that
describe colour (along with hue and value). Also called saturation.

CIELAB

A device-independent colour space in which three variables (L*, a* and
b*) are used to describe a colour. L* represents lightness, and the
chromatic axes are a* (the red/green axis) and b* (the yellow/blue
axis). CIELab defines the largest gamut or colour space.

CMM

Short for Colour Matching Module. A part of the colour management
system that connects together profiles to produce colour transformations
for a group of devices.

CMS

Short for colour management system.

CMYK

Short for cyan, magenta, yellow and black – the four printing, or
process, colours. They are the three subtractive primaries (cyan,
magenta and yellow), as well as black, used to enhance colour and
improve contrast.

Coated

Paper that has additional pigments and binders added to enhance the
surface quality and printability of the stock.

Collate

The ability of the printing press to assemble sheets in the correct order.

Collating

The process of gathering signatures together so that page 1 is followed
by page 2, page 3, and so on.

ColorSync

The colour management framework that is used in the Macintosh
environment.

Colour management
system

A software system that controls the transformation of colour values of
different devices to ensure consistent results between different devices.
Profiles are generated for input devices (like scanners and digital
cameras), displays, and output devices (like printers and presses). These
profiles tell the conversion routines of the colour management system
how to convert the colour values of one device to another.

DocuColor 2000 series design guide
G–2

glossary

Colour rendering
dictionary

A lookup table in PostScript that describes how to map colour from one
device to another. Also called CRD.

Colour separations

A full colour image broken down into a series of single colour images of
the primary printing colours. This is most often the four process colour
images (CMYK), but may also include spot or specialty colours.

Colour space

The range of colours that can be seen, displayed or printed. Also called
gamut.

Compression

A technique to reduce the size of image files, reducing storage and
transmission requirements. There are two categories of compression:
lossy and loss-less. Lossy compression means that some data is
permanently removed during the compression, leading to a loss of
quality (the degradation of quality is linked to the amount of data
removed). Loss-less files are larger, but retain all original image data.

Consumable

Any material, such as paper, ink or toner, that is used up (or consumed)
during the printing process.

Continuous tone

An image that has an unbroken range of intensities, as found in black
and white photographs. Continuous tone images have not been
screened, and contain gradient tones from black to white.

Contone

Short for continuous tone, an image that has an unbroken range of
intensities, as found in black and white photographs. Continuous tone
images have not been screened, and contain gradient tones from black
to white.

Contract proof

A proof made as a true indicator of the final printed product. It is used
to secure final approval by the customer before a job is printed.

Conventional angle set

In the colour separation process using AM screening, there are four
screens made of dots (one for each process colour). To avoid Moiré
patterns when two or more screen grids are combined, a rosette pattern
is used. To create this pattern, the four halftone screens must be placed
at different angles. The conventional angles are: Black at 45º, Magenta
at 75º, Cyan at 15º or 105º, Yellow at 0º or 90º.

Conventional printing

A common term for offset printing.

Copies per minute

A term commonly used with xerographic printing for measuring print
speed.

cpm

Short for copies per minute.

CRD

Short for colour rendering dictionary.

Creep

Crop marks

Lines printed in the margins of a sheet to indicate where the sheet
should be trimmed.

G–3

Crossover

Occurs when an image is printed on two adjacent pages in a publication
so readers perceive a single, unbroken image.

Customisation

A form of variable information printing. Used to describe a document
that has been customised to its audience. Generally a common
document template is used with different messages and content based
on customer preferences. See personalisation, versioning.

Delta-E

A scientific measurement for the difference between two colours. A
colour difference of 0 DE is a perfect match, 1 DE is defined as the
threshold of what is perceptible to the human eye, and 5 DE is
considered acceptable to print buyers.

Densitometer

A device used to measure light reflectance or transmission. Used for
calibration of a printer or press.

DFE

Short for digital front end. Also called RIP.

DI press

Offset press with direct imaging (DI) of plates digitally on the press.
Still a traditional offset press that offers reduced make-ready (or set-up)
times.

Die-cut

The process of cutting specific shapes onto a page with sharp steel
knives.

Digital front end

The platform that is responsible for job management, queue
management, raster image processing, and transfer of the image to the
print station. It encompasses the print service, the colour RIP, the
storage of Work In Process (WIP), RIPed files and fully automated
production services.

Digital printing

A printing system utilising electrostatic technology (where dry or liquid
toner is transferred using an electric charge). A characteristic of digital
printing is that every imaged page can be different.

Dot gain

The tendency for halftone dots to become larger and appear darker
because of wet ink spreading when it comes into contact with paper. It
is not a problem with digital or xerographic printing. Also called dot
spread.

Dot spread

Dots per inch

Used as a measure of addressability of a digital printer or sampling
resolution of a scanner. For example, the DocuColor 2045 and 2060 print
at 600 dots per inch.

dpi

Short for dots per inch.

Duotone

A two-colour halftone, usually printed with black and another colour.

Duplex

A form of double-sided printing. The printing press prints the first side,
flips the sheet, then prints the second side during a second pass.

DocuColor 2000 series design guide
G–4

glossary

Electrophotography

The image transfer system used in printers and copiers where images are
produced using electrostatic forces. Electrical charges are used to create
an image on a photoconductive surface to which toner is attracted. The
toner is then transferred and fused to paper.

Embossing

A process in which paper is pressed between two dies to raise a portion
of the printed image, creating a three dimensional image on the page.

EPS

Short for Encapsulated PostScript. A file format designed to transfer
PostScript information between compatible applications. It provides the
highest quality images available from a PostScript output device.
Includes a PICT component to allow it to be displayed on a screen and
to print on a non-PostScript printer.

Fan-out

Distortion of the paper on the press caused by wavy paper edges that
have absorbed excess moisture.

Finishing

A term used to describe the process a job goes through after printing is
finished and before the job is distributed. Examples include scoring,
folding, trimming and binding.

FM screening

A relatively new method for creating halftones. Stochastic screening
generates equal size dots that appear to be placed randomly. Advanced
algorithms are used to determine the optimum placement of dots so as
not to cause visual artifacts (such as moiré patterns). Registration on
press is slightly more difficult than with lined screens but the colours
can be very brilliant. The concepts of screen frequency and screen
angles do not apply with FM screening. Also called stochastic screening.

Folio sheet

A US size for sheets used in sheet-fed offset presses. Images are laid
out in printer spreads from which they can be later cut and folded into
booklets, brochures, and so on. Common sizes include 25” x 38", 20” x
26", 19” x 25” and 23” x 35”.

Form

A signature printed on one side only.

Formation

Describes how paper fibres are distributed on a sheet.

Four-colour

Printing with the four process colours – cyan, magenta, yellow and
black.

Full bleed

An image that extends beyond all four edges of a page. Because no
printers are able to print to the edge of a sheet, the edges must be
trimmed after printing.

Gamut

The range of colours that can be reproduce on a display or printer. Also
called colour space.

GCR

Short for Grey Component Replacement. A method for replacing equal
combinations of cyan, magenta and yellow with black.

Ghosting

The undesirable faint repetition of printed images. Can occur in offset
printing and digital printing.

GIF

Short for Graphics Interchange Format. A graphics file format widely
used on the internet because of its small file size.

G–5

Grain

Grain direction is the orientation of fibres with respect to the long edge
of the paper. For example, in an A4 sheet, the fibres of a long grain
sheet are parallel to the 297 mm dimension of the page (the pages of a
short grain sheet are parallel to the 210 mm dimension).

Graininess

Weak image (on an offset print) with a granular look caused by ink
becoming waterlogged and caked.

Grammage

The weight in grams of one square metre of paper (abbreviated to gsm).

Grey balance

The mix of cyan, magenta, yellow and black that produces a neutral grey
across the tonal range.

Gripper margin

The 10 mm lead edge of the sheet that is rendered unprintable by
grippers (the row of clips that holds a sheet of paper as it moves
through an offset press).

gsm

The weight in grams of one square metre of paper. Also called
grammage.

Gutter

The blank space, or inner margin, from the printing area to the binding.

Halftone

A continuous tone image that has been reproduced with groups of small
dots.

Halftone screen

To produce continuous tone images on a printing device, the image must
be broken down into a series of dots of various sizes and colours, called
a halftone screen.

Halo

The result when a dark coloured object knocks out a coloured
background that is composed of more than 30 to 70% of one toner
colour on a xerographic printer.

Hickey

A recurring, unplanned spot appearing on an offset printed image
caused by dust, lint, dried ink or paper stuck to the blanket.

Highlight

The lightest area in an image or photograph.

Hue

The name of colour, such as green, blue, purple or orange. One of the
three characteristics that describe colour (along with saturation and
value).

ICC

Short for International Colour Consortium. An industry body that has
been set up to create a common framework for colour management.

ICC profile

A file that describes how a particular device (eg, printer, display or
scanner) reproduces colour (ie, its gamut or colour space).

ICM

Short for Image Colour Matching. The colour management framework
that is used in the Windows environment. ICC profiles in the Windows
environment have a .icm extension.

Imposition

The positioning of individual pages on a signature (or press sheet) so
that after printing, folding and cutting, all pages will appear in the
proper sequence.

DocuColor 2000 series design guide
G–6

glossary

Impressions per hour

Impressions
per minute

The term most commonly used with offset printing for measuring print
speed. One impression can consist of multiple images on a large sheet
that will be cut into smaller sized sheets after being printed.
The term most commonly used with offset printing for measuring print
speed. One impression can consist of multiple images on a large sheet
that will be cut into smaller sized sheets after being printed.

In-line finisher

A finishing device, such as a folder or stitcher, that is directly
connected to a digital printer. Paper moves directly from the printer into
the finishing device.

iph

Short for impressions per hour.

ipm

Short for impressions per minute.

JPEG

Short for Joint Photographic Experts Group. An industry body that has
defined a standard for digital compression of image graphic files. The
file size is directly proportional to how much data is discarded.

Just-in-time printing

Documents stored digitally and then printed in the exact quantity
required at the precise time required.

Knockout

When printing a shape or type in colour, the shape is printed by
eliminating all background colours. This results in a pure colour against
the paper.

L/G

Short for long grain.

Lamination

A sheet covered with a thin layer of polyester (laminate) to yield a
strong and washable surface.

Lead edge

Feed edge of the paper.

Leaf

Consists of two pages (front and back of a sheet) in a comb bound or
wire bound book.

LEF

Short for long edge feed.

Lightfastness

The degree to which a printed page will resist colour changes when
exposed to light.

Lightness

The darkness or lightness of a hue. One of the three characteristics that
describe colour (along with hue and saturation). Also called value.

Lines per inch

A measure of resolution, especially with halftone screens. The number of
lines, or rows, of halftone dots per linear inch. See screen frequency.

Long edge feed

The longest edge of the paper is fed into the printer first.

Long grain

Paper in which the orientation of fibres is parallel to the long edge of
the sheet. For example, in an A4 sheet, the fibres of a long grain sheet
are parallel to the 297 mm dimension of the page.

Lookup table

A reference file used to convert images from one colour space to
another, such as converting RGB pixels into CMYK pixels for printing.

G–7

Looseleaf binding

A binding method that includes drilling holes into a paper’s edge to be
easily inserted into binders.

lpi

Short for lines per inch. See screen frequency.

LUT

Short for lookup table.

Makeready

All work required to set up a press for printing. This can include loading
plates, paper, ink or toner, as well as adjustments to the press. Very
little required in digital printing.

Mechanical binding

Wire or plastic binding inserted into holes that are drilled or cut along
one gutter edge of a paper.

Media

A digital printing or xerographic term used to refer to all types of paper,
transparencies, and other printable materials. Also called substrate or
stock.

Merge

Insertion of text or graphic elements into a printed document from a
database or other external file.

Metamerism

The tendency of colour to change with the light source in which it is
viewed.

Midtone

The range of tones in an image or photograph that are approximately
midway between the highlights and shadows.

Misregistration

Paper stretch, plate stretch, or misaligned plates can cause multi-colour
jobs to print out of register, resulting in slight gaps between
overlapping colours.

Moiré

An undesirable pattern caused by improperly aligned halftone screens in
process colour printing.

Mottle

A spotty or uneven appearance on prints, mostly in solid areas.

Off-line finisher

A finishing device, such as a folder or stitcher, that is located away
from a printer or press. Paper must be moved manually from the printer
into the finishing device.

Offset printing

A traditional printing process where ink is transferred from the plate to
a blanket to the paper.

Offsetting

In offset printing, the ink from one printed page does not dry properly
and rubs off onto the next page.
In digital printing, dry ink sticks to the photoreceptor belt or fuser roll
and is transferred to the next sheet.

On demand printing

Refers to printing where the printed documents can be printed and
delivered where and when required.

Opacity

The degree to which paper will allow images and text printed on side to
show-through to the other.

OPI

Short for Open Prepress Interface. An extension to PostScript which

DocuColor 2000 series design guide
G-8

glossary

provides for automatic replacement of low-resolution placeholder images
with high-resolution images.
Overprint

When printing a shape or type in colour, the shape prints over whatever
colours have already been printed. This can result in a shift of colour
due to overlapping ink or toner.

Page

One side of a sheet of paper. Both together are called a sheet or leaf.

Page description
language

A programming language used to describe how type and graphics should
be produced on a printer.

Pages per minute

The term most commonly used with digital printing for measuring print
speed.

Pantone

The common name for most widely used colour specification system for
special colours. It is a registered name of an ink colour.

PDF

Short for Portable Document Format.

PDL

Short for page description language.

Perfect

To print both sides of a piece of paper in one pass through a printing
press.

Perfect binding

Signatures bound together with an adhesive applied to the document’s
spine.

Personalisation

A form of variable information printing. A document that is tailored to a
specific individual. Variables could include text, images or other
information. See customisation, versioning.

PICT

A graphic file format used on Macintosh computers.

Pixel

Short for “picture element". The basic units of digital imaging, it is the
smallest point of a raster image.

PMS

Short for Pantone Matching System. A commercial system of spot colours
as distinct from CMYK or process colours.

Portable Document
Format

A file format modelled on PostScript that allows easy transfer between
computers and to printers.

Postpress

All operations in the print production process that take place after a job
is printed that are required to deliver a finished product to the
customer. This can include trimming, folding, binding, packing and
delivery.

PostScript

A page description language that is the industry standard for high
quality printing.

ppi

Short for pixels per inch. A measurement used when scanning images
and when images are displayed on a monitor.

ppm

Short for pages per minute.

G-9

Preflight

A step in the prepress process used to test every component of a job to
ensure it will print correctly. This can include fonts, image files and
links, colour gamut, etc.

Prepress

All operations in the print production process that take place up to the
point where the job is sent to the RIP of a digital printer (or where
plates are made for an offset press). It starts after the design of a job is
completed.

Press proof

A colour proof printed on the press used to check that the job is being
printed correctly.

Print engine

The part of the digital printing press that does the printing.

Printability

Describes how well a paper performs with ink on a press.

Process colours

The four printing colours – cyan, magenta, yellow and black (CMYK).

Profile

A part of the colour management system that contains the
characteristics of a particular device.

Proof

A proof is a good simulation of how the job will look when it is printed.
A proof can be made at any stage of the production process, from design
to final printing. A visual or rough proof allows the designer to confirm
the concept. A design proof allows confirmation of the layout, design
and text. A contract proof very closely simulates the final finished job.

Short for PostScript.

Raster image

An image or image file consisting of a two-dimensional array (or grid) of
pixels. Also called a bitmap.

Raster Image Processor

Generally shortened to RIP. In digital imaging, software and/or hardware
that inputs high-level page descriptions and outputs low-level data
streams that can be fed directly to a digital print engine. A RIP
translates PostScript commands into a bitmap that can be printed. The
term RIP is used both as a noun to describe the software/hardware and
as a verb to describe the process of translating the data.

A mark on the sheet used to check that a job is in register. When the
mark is overprinted by each colour perfectly, the colours are in register.

Registration

The perfect alignment of each colour layer on a page.

Resolution

The number of dots available to represent a graphics image. On a
display, resolution is measured in ppi (pixels per inch), while on a
printer it is measured in dpi (dots per inch).

RGB

Short for red, green and blue. These are the three primary additive
colours used in displays, scanners and digital cameras.

RIP

Short for Raster Image Processor.

RIP time

The amount of time it takes to RIP a file. Ineffective or improper page
layout work will cause extra RIP time.

DocuColor 2000 series design guide
G - 10

glossary

Rosette

The (acceptable) dot cluster formation that is created in four-colour
images.

RTP

Short for ready to print. A file that has been ripped

Runnability

Describes the ease with which paper moves through the printing press
or printer. A paper that performs well on the press (dust free, ideal
moisture content, no curves or waves, trimmed correctly, and troublefree feeding).

S/G

Short for short grain.

Saddle stitch

An automated method of binding where signatures are opened, straddled
across a metal right angle plate, and stapled using continuous wire.

Saturation

The vividness or dullness of a hue. One of the three characteristics that
describe colour (along with hue and value). Also called chroma.

Scoring

A way of folding paper using a long, blunt edged rule that presses firmly
down on a document, causing a crease in the paper. The paper is then
folded over the crease.

Screen

The lined screen through which images are photographed to create
halftones. Shooting through the mesh of a screen breaks an image into
tiny dots.

Screen angles

The angles at which the halftone screens are placed in relation to one
another to avoid undesirable Moiré patterns.

Screen frequency

How close the lines are in a screen measured in lines per inch. The
closer the lines of the screen, the smaller the dots, the more dots per
inch, and the crisper the image. In offset printing, the less the paper
absorbs and spreads ink, the finer the screen that can be used.
Newspapers use screen frequencies of 55 to 85 lines per inch. Most trade
publications use 85 to 110 lines per inch. Coated paper can hold dots
from a 200 line screen. With waterless printing, the paper can hold dots
with even finer screen frequencies, however, it is difficult for the human
eye to discern the difference in resolution above 200 lines per inch.

Screening

The breaking up of the contone image into a half-tone image for colour
printing. The finer the screen, the more dots per inch, the crisper the
image.

Scum

Areas on prints that should remain unprinted which take on ink in an
offset press.

SEF

Short for short edge feed.

Separations

A colour page split into its component colours (for example, cyan,
magenta, yellow, black and each spot colour). Each separation is used to
reproduce a particular colour for printing.

Shadow

The darkest areas in an image or photograph.

Sheet

A loose leaf of paper, printed or plain

G - 11

Sheet-fed press

A printing press, either digital or offset, that prints on cut sheets of
paper.

Sheets per hour

A term commonly used to describe the speed of binding and folding
operations.

Short edge feed

The shortest edge of the paper is fed into the printer first.

Short grain

Paper in which the orientation of fibres is parallel to the shortest edge
of the sheet. For example, in an A4 sheet, the fibres of a short grain
sheet are parallel to the 210 mm dimension of the page.

Short run

A run length on a printing press typically less than 1,000 copies.

Show-through

Printing on one side of a sheet that can be seen on the other side under
normal lighting conditions.

Signature

Both sides of a printed sheet that are folded to make up a section of a
printed piece. A greeting card is a good example – when opened fully,
the card is divided into quadrants.

Simplex

To print on one side of a sheet and leave the other side blank (digital or
xerographic printing term).

Spectrophotometer

An instrument for measuring colour in CIE colour spaces.

Spot colour

A colour printed with custom inks rather than process colours. The
colour is usually specified using the PMS or Pantone numbers.

Spread

A form of trapping. A spread traps a light foreground to a dark
background. The lighter colour is spread outward slightly into the darker
colour to maintain the visual edge. See also choke.

Spreads

Printer spreads are pages that appear next to each other so that after
folding and finishing, they are in the proper order. Reader spreads are
pages that appear across from one another in the final bound and
finished publication (ie, what the reader actually sees).

SRA0

Standard ISO cut sheet size of 900 x 1280 mm. The sheet size is slightly
larger than A0 allowing for bleed.

SRA1

Standard ISO cut sheet size of 640 x 900 mm. The sheet size is slightly
larger than A1 allowing for bleed.

SRA2

Standard ISO cut sheet size of 450 x 640 mm. The sheet size is slightly
larger than A2 allowing for bleed.

SRA3

Standard ISO cut sheet size of 320 x 450 mm. The sheet size is slightly
larger than A3 allowing for bleed.

Stochastic screening

A relatively new method for creating halftones. Stochastic screening
generates equal size dots that appear to be placed randomly. Advanced
algorithms are used to determine the optimum placement of dots so as
not to cause visual artifacts (such as moire patterns). Registration on
press is slightly more difficult than with lined screens but the colours
can be very brilliant. The concepts of screen frequency and screen
angles do not apply with stochastic screening. Also called FM screening.

DocuColor 2000 series design guide
G - 12

glossary

Stock

A term used to refer to all types of paper, transparencies, and other
printable materials. Also called media or substrate.

Streaking

Undesirable artifacts caused by linear irregularities in ink or toner
transfer.

Substrate

A term used to refer to all types of paper, transparencies, and other
printable materials. Also called media or stock.

Swatch

A sample book, usually of available printed colours (such as spot or
Pantone colours).

SWOP

Short for Specifications for Web Offset Publications. A set of standards
for offset printing that contains specifications for ink, paper, print
densities, etc.

Tail edge

The edge of the paper that is last fed into an offset press.

TIFF

Short for tagged image file format. A bitmapped graphic file format that
is widely used.

Tint

A tint is a lightened spot or process colour created by printing smaller
halftone dots of the base colour.

Toner

Particles used in the electrophotographic print process. They consist of a
resin binder, pigments (for colour), and a charge agent. Toners can be
dry or liquid.

Traditional printing

A common term for offset printing.

Trail edge

The edge of the paper that is last fed into a printer.

Trapping

The slight, intentional overlapping of the edges of print elements to
compensate for minor variations in registration. Used to eliminate white
lines between colours which may otherwise appear while printing.

Trim

The cutting of a printed job to the correct finished size.

Turnaround

The elapsed time between submission of a print job and receipt of the
final finished product.

UCR

Short for Under Colour Removal. A method for replacing equal
combinations of cyan, magenta and yellow with black.

Uncoated

Paper in which the printing surface is the paper stock itself.

Undertrapping

A condition that occurs on an offset press when less ink transfers to
previously printed ink than to unprinted paper.

Value

The darkness or lightness of a hue. One of the three characteristics that
describe colour (along with hue and saturation). Also called lightness.

Variable data

Data that changes from page to page in a digital printing operation
(also called variable information). See customisation, personalisation,
versioning.

Variable information

Data that changes from page to page in a digital printing operation
(also called variable data). See customisation, personalisation,
versioning.
G - 13

Varnish

A finishing process in which a coating, or varnish, is applied over the
printed area (or whole page) to protect it or enhance its visual appeal.

Vector

An image file that uses mathematical formulae to describe lines and
curves.

Versioning

A form of variable information printing. Several versions of a document
are created based on certain target criteria (such as demographics or
purchase history). Document appears personalised but is identical to
that produced for other recipients with the same profile. See
customisation, personalisation.

Vignette

An image in which colours blend smoothly and gradually from one to
another (usually from a lighter tone to a darker tone).

VIPP

Short for Variable-data Intelligent PostScript Printware. Xerox software
for printing variable data.

VPS

Short for Variable Print Specification. A variable print file format.

Web press

A printing press, either digital or offset, that prints on roll (or web) fed
paper.

Weight

The weight of paper or stock, measured in gsm (grams per square
metre).

Work-and-tumble

To print one side of a sheet of paper on an offset press, then turn it
over from gripper to back using the same side guide and plate to print
the second side.

Work-and-turn

To print one side of a sheet of paper on an offset press, then turn it
over from left to right and print the second side using the same gripper
and plate but opposite side guide.

Wrinkles

The uneven surface than can be caused by the drying of inks. Also,
paper creasing that occurs during printing.

Xerography

Another term for electrophotography. Derived from Greek for “dry
writing” and associated with Xerox.

DocuColor 2000 series design guide
G - 14

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Xerox 2000 Users Manual 2573 Section . Contents

2000 to the manual 6cf9fc77-8ae8-4854-876f-51507ff7b96d

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