Create special print finishes in InDesign

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In this guide I’ll talk about the processes I use when creating artwork in InDesign for special finishes such as varnishes, foil blocking, embossing and die cutting. Each finish has some best practice guides you should follow, but once you get your head around creating one you should be able to easily apply this knowledge to the other processes. 

• Create mixed inks with InDesign

To illustrate each print finish, I'll use an example of a cover I created for Computer Arts in collaboration with Celloglas, a specialist in decorative print finishes. At the bottom of each page you'll find a video showing each design being brought to life at the printers.

On this page I'll teach you how to create foil block designs in Photoshop. Use the drop-down above to find out how to tackle spot varnish (page 2), die cuts and folds (page 3), and embossing and debossing (page 4).

Foil blocking

Issue 232 features a diffuser foil, fluted emboss and a spot UV

It's always best to create the artwork for foil block printing as a vector. If that's not possible then you want the artwork to be a minimum of 600 DPI – this will help you avoid jagged edges and keep the foil blocking look crisp. Remember, you can’t achieve gradients or shading with a foil, so the artwork needs to be a solid colour. 

Generally, you'll get the best results when you're not trying to line the foil blocking up with a printed image, as paper stretch/shrinkage can cause the foil to misregister.

Best practices

• Avoid using any foil lines thinner than 0.5mm/1pt
• Leave at least 1mm space between the separate foiled elements to stop shapes bleeding into one another
• Don't try and align the foil to fine details such as small type (especially serifs) or thin lines
• When lining up the foil with a printed image, add a 1mm to the foil guide to allow for misregistration
• Large areas of solid foil can be tricky to get right and you may not always get the best results

Creating foil blocking in InDesign

The printed cover and the diffuser foil guide

I find the easiest way is to supply your foil blocking artwork is as a separate PDF file. I tend to design the document as a mockup, using a block colour to represent any foil elements, then add the foil block elements to my final print artwork. 

This means you can see the closest example of how the final printed product will look, and reduces the risk of any misregistration issues. It also means you have a mockup version ready to send to the printers.

• Finalise your design, with the foil block elements in a solid colour on a separate layer over the top of your print artwork
• Duplicate the page three times. One page will be your mockup, one will be the final artwork for printing, and one will be the foil block
• Delete the unwanted elements from the relevant pages, and save each version with the relevant name
• Open the files and delete the unwanted pages from each file
• In your foil document, change the colour to solid black, and check to make sure you've covered everything by turning off the black ink and looking in your Separations Preview panel
• Some printers may require you to set up a spot colour and work with one document. In this case, make sure the spot colour is set to Overprint (via 'Window > Attributes') so you don’t lose any of the detail underneath the foil block element

It’s always best to talk to your printers or finisher to check how they would like the file to be provided and for any special requirements. If you have any concerns, ask if you can send over an early example and get the professional's input.  

Next page: Spot varnish

Spot varnish

The great thing about spot varnish is that you can align it with various elements to really accentuate particular parts of the design. It also works really well when you're using it to add interest or a decorative element to a piece.

There are several different options out there for spot varnishes: gloss, matt, soft touch, rough touch, even glitter and scratch-off latex (as we used on our cover below). And you can create some really interesting effects when you mix two contrasting finishes together.

Issue 259 features a scratch-off silver latex varnish

How to

You don’t have the same limitations with spot varnish as you would with foil blocking, as a slight misregistration isn’t going to be so obvious. Like foil blocking, I find the best way to supply the artwork is as a separate PDF file. I use the method I did with the foil blocking, working over my final printing artwork.

If you're using a Photoshop file that's been placed in InDesign, make sure you're working with a solid black by setting the colour mode to greyscale in Photoshop. Again you can check the colour via the Separations Preview panel.

The printed cover and scratch-off varnish guide

Best practices

• Don't use spot varnish over areas that are to be folded, creased or trimmed or glued
• Very large solid areas of varnish may have a ‘pinholed’ appearance, which is not always possible to eliminate
• Mesh selection will vary depending on the image selected – the lower the number, the greater the volume of varnish/coating applied
• For the vast majority of ‘normal’ gloss UV screen work, a 150 mesh will be used
• Varnishes such as glitter require a coarse 21 mesh, and applications such as latex, need a 70 mesh

Next page: Die cuts and folds

Die cuts and folding

Issue 250 featured a die cut, and a spot UV with soft-touch laminate

As with foil blocking, for the best result you want to create your die lines as a vector graphic. I use solid lines for areas that need cutting, and dotted lines for the areas that need to be folded. Once again, you want to work over the top of your print document. 

When designing your artwork, remember you'll get the best results if you don't try to align the die to a printed image, as there is always the chance of a slight misregistration.

Best practices

The printed cover and die cut guide

There are some general rules of thumb to take into consideration when creating your artwork.

• Mark up die cuts with solid lines and folds with a dotted line
• Die cut holes need to be at least 4mm, and the lines at least 1pt thick
• Leave at least 2mm space between the die cut holes
• Remember, the more holes or the larger the holes, the weaker the paper/card will become
• Consider the shape of your die cut – be wary of anything that could easily catch and rip

If you're attempting to create anything complicated, it is always best to contact your printer/die cutter first. Every design has the potential for unforeseen problems.

Next page: Emboss and deboss

Emboss and deboss

Issue 262 features a spot UV, a matt laminate and an emboss

Although the terms are sometimes confused for one another, embossing and debossing are two different techniques. Embossing is when a design is pushed up into the paper so it creates a textured relief above the surface. Debossing is when an image is pushed down into the paper so it lies below the surface, creating an indentation.

You can create some great results by aligning an emboss or deboss with your artwork to enhance certain areas. Alternatively, a blind image embossed or debossed onto a solid colour can look very effective.

Best practices

The printed cover and the emboss guide

• Avoid embossing or debossing very fine lines, as this doesn't tend to work
• Try to leave around 2mm space between embossed/debossed lines
• You can create a double-layered emboss and have elements at different heights – just be aware that the more layers you add the weaker the paper becomes

Combining different finishes

Combining these different techniques can take a bit of thought and preparation. It’s good to know you can’t foil over a varnish, so if you want to use these finishes together remember to leave the foil area out of the varnish. Embossing and foil works well together, so long as you don’t over-complicate the design. Finally, if you're including multiple special finishes on one document, make sure you clearly name the PDFs to save any confusion.

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• The designer's guide to printing a poster
• The beginner's guide to giclee printing

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