Click here to send us your inquires or call (852) 36130518
 
Quilon Diocese.............to serve in Holiness & Justice
HISTORY

CATHOLIC PRESS & BOOK DEPOT



BISHOP

About us: Established in the year 1942 and run by the Diocese of Quilon, Catholic Press is one of the largest independent commercial multicolour printers with extensive prepress, printing and binding services. Our Press is equipped to operate round the clock and is generally able to cope up with urgent print production requests. Our client list is extensive and more important, long established. It includes universities, educational Institutions, banks, building societies, government agencies, national and international companies & associations etc.

Our Products: Our Press is equipped to produce an extensive range of general printing requirements such as annual reports booklets, book covers, brochures, calendars, catalogues, corporate publications, prospectus, posters, magazines, leaflets, registers etc.

Our Prepress unit:Our Prepress unit consists of latest, powerful and state of the art Apple Mac G5 & Windows Workstations running the latest software's available.

Press unit: Our Press is equipped with a dynamic range of equipments and machines to provide prompt and neat printing work. We are equipped with one Demmy Size Komori 2 colour Printing unit. One Double Demmy Size HMT Invicta single colour unit. 1 Crown size Auto print Mini Offset Single Colour unit, fully automated Pasting and Gluing Machine, Stitching Machine, Semi-Automatic Cutting Machine etc.

PRIESTS
PARISHES
SAINT
STRUCTURE
INSTITUTIONS
MINISTRIES
RELIGIOUS
NEWS
STATUS
CONTACT
HOME

Other information's available at our site: A detailed report on how to submit artwork to our printing press is included.A glimpse of various process during prepress and post press production is also given in details.

Artwork: While submitting artwork to our printing press please make sure to follow the guidelines given below to avoid u8nnecessary confusions.The first step in the printing process is often the most problematic and time consuming. From developing initial designs to supplying artwork, there are a few fundamental principles one should follow.

Be conventional: An essential part of the printing process is the compatibility of creating suitable artwork. If the designs are developed in a clear, conventional way, they'll behave, as they should during the reproduction process.

Be clear: When supplying the digital artwork make sure you give all the information used to create it to the prepress unit

Be compatible: Make sure that the computer systems and software used in the design and typesetting process are able to communicate with the software's on our side.

Preparing your artwork: The following guidelines should help you produce quality page make-up and avoid many potential problems. If you have any more specific questions about the applications, images and fonts you're sending us please call 0474-2796098.

Page make up guidelines:

•  Wherever possible, use one of the supported applications: In Design, PageMaker, Photoshop, Corel Draw & Illustrator. •  Supply pages at the correct finished page size. •Incorporate blank pages where appropriate � for example, Inside Front Cover and Inside Back Cover. •  Arrange the pages in the correct running order: Front Cover to Back Cover, unless you're supplying the Cover as a Spread. •  When designs overlap the page edge, leave a bleed of 5mm. •  Make sure you create your supplied proofs from the final saved files of the pages.

Font guidelines:

•  Remember to supply both screen and printer fonts for all type used in your designs. •  Supply any fonts that are embedded into your image files. •  Avoid applying menu styles to fonts, eg. Using �Garamond' emboldened in the menu, when you should use �Garamond Bold'.

Image guidelines:

•  Ensure that all linked images are supplied, as used on the pages. •  In most cases you should supply images in Cyan-Magenta-Yellow-Black (CYMK) not Red-Green-Blue (RGB) •  Use a simple file naming system, avoiding characters such as! ( ) / \ + $. •  Scanned continuous tone images should be at a minimum of 300 dpi, and at the correct magnification . •  Scanned linework images must be at a minimum of 1200 dpi, and at the correct magnification .•  Duotone images are not recognized by our printing press. •  If supplying Desktop Colour Separation (DCS) files, save in a Non Composite format. •  Wherever possible, simplify your vector artwork by removing unwanted detail or points. •  When supplying complex images generated from layered files, make sure you supply the layered files, as last minute corrections may be required.

Supplying your file:

Application files:

•  Collect all the required resources for your application files (images, fonts etc), either by manually grouping everything into one folder, or by using Flight-Checking software, which automatically collates the necessary resources from your files. •  Supply a set of laser proofs, output at 100% with trims, from your final saved files

  Acceptable Media formats: Disk / Media transfer, CD-R & CD-RW, DVD, 3.5�floppy disks, E-mail transfer

E-mail catholicpress@asianetindia.com

Selecting Screen Values:

tScreens are measured in dots per inch (dpi) and the screen rulings used depend on the material being printed. Generally, the higher the quality the higher the screen ruling. During the reproduction process each colour is screened at a specific angle to avoid patterns appearing in the subject matter (moiré). Screenless or �stochastic� reproduction creates images using random dots.

Although high screen rulings i.e. 200 dpi and above are excellent for very fine detail their use can lead to greater colour variation within a production run. This is especially true with work consisting of large areas of flat colour tints and we recommend that for general commercial work 130 dpi will give cleaner and more consistent results. Four-colour process work except on uncoated papers is generally reproduced at 150 dpi and above. Examples of 150 and 200 dpi in process work are illustrated together with 130 and 200 dpi flat tints. If you have any doubt about specifying screen rulings always consult your printer prior to proceeding with your origination

Paper: In most instances, paper and board account for the largest single cost in any printing budget. There seems to be an almost bewildering variety of materials and finishes to choose from. So to get the best value and the results you want, it's well worth familiarizing yourself with the industry; how it works and what's on offer.

Weight of Paper: Paper is categorized according to the weight of a sheet measuring 1 metre x 1 metre. This weight, known as grammes per square metre (GSM or GM2), is a universally recognized classification. Paper usually runs from 40 to 170 GSM, once above 170 GSM the material becomes Board.

�When ordering materials, remember to ask your printer to confirm their availability and place your order well in advance.'  

Finishes of Paper: Paper and board are available in two forms, Coated and Uncoated: Uncoated materials are often referred to as Bond or Offset. Coated materials are named and costed according to the type of finish: Matt, Satin, Silk, Art and Gloss. The difference between Matt/Satin/Silk and the Art/Gloss qualities is that the latter have been �Polished' to create a glossy appearance. This effect is achieved by compressing the paper between a series of rollers, which gradually smooth the surface � this is known as �calendaring'.

There are a great many different finishes and effects that can be applied to paper and board. Various colouring dyes can be added at the pulp stage and �special effects' e.g.

Printers and Paper Merchants are pleased to supply samples of the materials that are available.

Please note that coated materials can cause ink-drying problems. You should ask the printer whether the printed surface should be sealed with a varnish coat to prevent ink from smudging � see the following printed-paper samples.

The lithographic process works because oil and water do not mix. The printing plate has a water attracting background, with water repelling image areas. The printing press first rolls the plate with water, which only adheres to the non-image background. Due to natural repulsion from the water, the oil-based ink that is then applied can only stick to the remaining water free image areas. This ink is then transferred to the blanket cylinder, then offset to the paper as it is transported between the blanket and impression cylinder � leaving a print of the image of the paper.

Full-colour images: When printing a full-colour image, each unit prints one colour, Cyan, Magenta, Yellow, Black, and/or a special colour sometimes with a sealer varnish.

Duotone images: Duotones are images that are produced using 2 colours and provide greater subtlety than can be achieved by single colour halftone printing.

Process & Spot Colour Working: There are two methods of colour reproduction commonly used: process colour and spot colour. The difference between these two methods is the number of colour separations required to reproduce each colour.

Process Colour: Process colour working uses four inks: cyan (C), Magenta (M), Yellow (Y), and black (K) to reproduce the whole spectrum.

Spot colour: Spot colour-working uses different ink for each colour � with each one given its own individual printing plate. This process is most often used when process colour doesn't give a precise enough result. In particular, when you need a very specific colour � eg. For a corporate logo. It also helps reduce colour variation when printing over a large area. Ask your printer for advice about critical corporate colours. Bear in mind, however, that each additional spot colour requires an extra plate, ink and printing press unit, which adds to the cost of printing.

Finishing: The final �Finishing' stage covers the many processes that follow the press work, these include: cutting, folding, collating, stitching, gluing, drilling, counting � and finally packaging the stock.

Saddle stitching:In the production of booklets including magazines, multi-page leaflets and small catalogues, the document is assembled by saddle stitching. The sections are inset inside one another to build up the complete booklet. Wire staples are then used to fasten the product together. Once stitched, the booklet is passed through the trimming blades and cut to the correct size. The whole process is referred to as �gather, stitch and trim' or more simply as GST. The recommended maximum thickness (measured through the spine) for saddle stitched documents is 5 to 6 mm depending on the weight of the paper and cover material used.

Perfect binding:When binging documents that are thicker than the maximum recommended for saddle stitching, perfect (adhesive) binding can be used. Pages are collated in the correct sequence, the spine is then prepared to accept a thin layer of adhesive and finally the cover section is �dawn on' to create a spine for the document. Further refinements can be made by collating and then sewing the sections together before applying the adhesive and cover. This �thread sewn� method of binding gives a strong, high-quality finish.

Speciality finishing:Die cutting, gloss/matt laminating, gluing and machine making of wallets and folders are all tasks that are carried out as part of the binding and finishing process.


© 2005 ++ Quilon Diocese++. All rights reserved
Top