Letterpress in a Clamshell: Designing for Tabletop Printing | Kimberly Costa | Skillshare

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Letterpress in a Clamshell: Designing for Tabletop Printing

teacher avatar Kimberly Costa, Brand Kits

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 3m)
    • 1. Preview

    • 2. Introduction

    • 3. Why Design for a Tabletop Press

    • 4. Discussing Our Project

    • 5. Area: The Main Concern

    • 6. Key Element: Paper

    • 7. Key Element: Placement

    • 8. Key Element: Form Size

    • 9. Key Element: Color

    • 10. Our Project: Designing a Greeting Card

    • 11. Finalizing Files

    • 12. Final Thoughts

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About This Class

Not all presses are created equal!

Tabletop presses especially. With a smaller footprint than some of their cousins, tabletop presses are perfect for small studios or in-home use. However, most of these presses use a bottom hinged or 'clamshell' platen design to generate impressions. This mechanism is not capable of high impression pressures and is better suited for compact and lightweight printing forms.

For this reason, we must pay special attention to the way we design when printing on a tabletop press. Keeping this limitation in mind and knowing how to effectively work around it to achieve a good impression is what this class is all about.


Meet Your Teacher

Teacher Profile Image

Kimberly Costa

Brand Kits


Hi there!

I'm Kimberly Costa & I run a small letterpress studio called Honizukle Press where I print with my C&P Pilot, Charlotte. She's a beautiful century old press that makes me smile every time we're together.

I left the NYC Animation industry in search of work that involved more illustration & less computers & ended up freelancing as a graphic & web designer, working on a computer, go figure!

It wasn't until I stumbled upon a job as Art Director of a small greeting card company that things began to take shape & I quit my job shortly after, took a few workshops & started my own studio. Now I spend time printing and hanging out with my two little boys, my sweet rescue dog, Laila and my college sweetheart.

I'm happy t... See full profile

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1. Preview: let it presses something that brings me so much joy. There's nothing quite like watching an idea come to life from paper toe, finessing it in the computer, sending out for plates and then watching it actually come to life on paper, color by color as your printing, a feeling it's so fantastic, and it's never been more accessible two people than it is today. So many people are excited about letter press, and it's experiencing quite over liable. In this class, we will be concentrating on designing a greeting card. We're gonna go through a couple of key concepts that will help you to think about how you're designing your being card and how it's gonna look when it's printed. 2. Introduction: Hi. I'm really excited that you decided to join us in this class. I wanted to start out by first telling you just a little bit about myself. I'm originally from Costa Rica. I grew up in Miami, and I moved to New York to get a B F A. In animation. When I graduated, things changes a little for animation. And so I ended up having to make my own path. I ended up doing flash animation, and I spent sometime in the animation scene in New York. And then I moved away from that. I started doing graphic and Web design, and that eventually led me to stationary design. Once I started doing stationary design, I came across that oppress, and I was hooked. It was beautiful. You could feel it. You can see it. I mean, it's just amazing. And I'm sure, you know, because you're here, it is just something that really, you know, captures you. So I decided I'm gonna get a press. I knew that I had to do it. I did everything a little bit backwards. I acquired a press first, and then I was left trying toe. Look for some kind of class that I could take because I wasn't able to get this press work , Unfortunately, or fortunately, I ended up taking a course where I learned to print. But on a Vander Cook press banner, cooks are cylinder presses and the there is no issue with, um, pressure like there is with a tabletop press. So I was left to really just, you know, read up what I could try to ask as many people as I could and just learn from experience. It's that experience that I've taken and decided to put into a small class where I could show you the concepts. The idea is the things that I've done wrong or right and help you design for these presses because these air the presses that are sitting in people's homes now and these are the presses that are readily accessible to print on, and they're also kind of tricky. So I hope you enjoy it in the next video. I'm gonna tell you why it's important to design for table top 3. Why Design for a Tabletop Press: did you know that tabletop presses are often called clamshell presses? That's because they're hinged at the bottom and they close like this like a little clam show. That's also why they're tricky to print on, because the pressure is not evenly distributed across the printing area. So you have to get smart when you're designing to print on these presses. And that's exactly what I'm gonna teach you. When you're talking about a Platen press, the area that gets the most pressure is gonna be the middle and towards the bottom, and you get your former by putting them on a chase. The chases, a frame that holds coins and furniture that help keep the base in place. So once you have the base in place, you have a plate that sticks onto your base, and you're able to move this base around this area again, always keeping in mind that the most pressure is usually around the middle and towards the bottom. In the last video, I told you about how I learned to print on a Vander Cook press. They're fantastic presses, but it is nothing like printing on a table top press. So what ended up happening to me is I, um spent some time and money getting plates for designs that did not work well on my press . So once I finished this workshop, the designs that I haven't printed on the Vander Cook I was left print on my own in my little tabletop press. One of them was this one. I spent some really frustrating hours on this design. While it's really nice, I love this design. This is not a particularly deep impression, and these are not very solid either. This is a nice deep impression that you can feel, But you know, this is because this is a big area for the restaurant. So why should we design for table top presses? Because these presses were made to print in a smaller setting. And with that convenience come limitations that we have to keep in mind in order to make our designs work well within these parameters. When we learn to do that, we know what to expect and can easily achieve that coveted deep impression in our own designs. Next up will be talking about our project designing a letter press greeting card 4. Discussing Our Project: in this class, we will be concentrating on designing greeting card Greeting cards are actually perfect for the tabletop press, because I'm can focus in on limited color palette, um, a limited amount of forms or text. And that's exactly what you need. When you're designing for the tabletop press, you have Teoh focus in on your design, and so we're going to go through a couple of key concepts as we go through the class. That will help you to think about how you're designing your greeting card and how it's gonna look when it's printed for this section. I want you to concentrate on what you'd like to design. So essentially, just work on sketches, ideas, concepts. Maybe you want design a Christmas card or Mother's Day card birthday cards. Maybe you just want to thank you card to have on hand. I want you to think about that stuff, design it and don't worry about how it's gonna print right now. We're gonna go through some concepts, and after you watch those videos were going to sort of try to distill our design into something that will print well on the press. In the next video, we're going to get into the main concern that we have when we're printing on a table. Top press 5. Area: The Main Concern: in this video, we're gonna be talking about the main concern, which is the area, and the area is twofold. It's the area of your design in the area on the press, the printing area, which I've been discussing throughout a lot. So essentially the area, the printing area, it's what is going to determine whether you get a good impression or good in coverage or not. So you have to be smart when you are designing so that you can take advantage off your printing area, use it smartly. That is going to determine whether your design is successful or whether it doesn't have to necessarily fail. But whether it's gonna look spongy, which you might want, or if it's gonna not have such a deep impression, which again you might want. There are designs that you can, um, create, which call for, you know, um, less impression, because you want a bigger area. Just because you don't have a deep impression doesn't mean you didn't do it on purpose. What we're trying to achieve with this class is that whatever you end up with after you print is what you intended to do. So if you end up with a design that is larger and not as deep. It's because you intended it to be that way if you end up with a design that smaller and has a very nice steep impression, is because you intended it to be that way. So that is what we're trying to achieve with this class intention. As long as you know the limitations of the press and you designed properly and smartly, then your intention will come through in your printed design. So for your Platon press, you're going tohave a chase, and it's basically a metal frame. You can see better illustrated, and this one it is surrounded by your coins, which you over operate with a queen key, and those help keep your furniture in place and the furniture will help keep this base in place. The base holds your plate the plate of sticky, and it will stick on to your base. Basically, you can move this base around. You can do the same with, ah, bigger base war medium size base. It depends on what you're doing, what size form you need, and typically, if you have a smaller form, you should try to use a smaller base because again the area affects the pressure. So the smaller areas you have, the better it is for the press. The two things that were concerned with in terms of the printing area are the impression that you're going to get, and how will the tank is going to cover your paper? Generally speaking, the smaller the area, the better impression you're going to get in. In turn, the better the ink is gonna cover that area as well. Now there are four key elements to keep in mind when designing for table top printing in order to take advantage of the printing area. Those are paper placement, form, size and color, and we'll be discussing those in the next few videos. 6. Key Element: Paper: the first key element we need to think about when we're designing for table top printing is paper paper is gonna make a big difference in the type of impression that you get. There are lots of different types papers and some papers are specially engineered for letter press these air usually softer and more pillowy. And they take a really nice deep impression when it comes to paper. You have lots of choices. What you're gonna want to do is think about what it is that you were doing first. What is your project? Is it uh, greeting card? Is it? A business card is a postcard. Is it a bridal shower? Invitation of birth announcement? You want to think about what it is that you're working on and then make a decision on your paper, for example, For my business card, I knew that I wanted sick paper that could handle the impression that this large, solid area was gonna make um, for this baby announcement. I knew this was gonna print well, but I knew that I was gonna have a large solid, and I knew it was gonna be spongy, but I wanted to make sure that it's still made enough of an impression. Um, for greeting cards you tend to stick towards Ah, thinner. I'm sheep. Not like the £220 Kaletra. This is 100 and £10 metre because you want to be able to handle it, and you want to be able to stuff it into an envelope. Um, so these are a few other papers that I have here on my studio, and these are things blocking for has nice tooth to it. And if your project calls for something like that, it's gonna look good with this kind of texture on it is something you might want to consider. Arturo is the same. It has a nice texture. Baki Fort Hood's mawr of a pronounced texture. But Arturo, I believe, offers more colors. It comes in grey and soft, white and blues. And this green pH I believe, um, this is Mohawk. Super fine. It's really, really smooth. This is color plan. I knew that for this postcard. I wanted to have ah colored paper, and I knew that I wanted it to be light. I wanted this area to be a larger area, and I didn't want a deep impression because I wanted to have something that was gonna, you know, not I have an impression come through on the other side because people are gonna right here . So for me, color plan really worked well. And color plan is a great option because it comes in a myriad of colors. Um, this again is letter on its one of the preferred papers for a letter press because it takes such a good impression. And this one it comes in three colors, comes in Flores and white and pearl. And then it comes in a crew also, which is like a cream here color as well. So before you decide, I'm just gonna you know, go ahead and design for whatever Think about what your project is, think about what application it is, and then decide on your paper accordingly because your paper will make a huge impact on what kind of impression you're gonna get. Your paper is the first element that helps make a good impression. Think about what it is that you are working on, what your design calls for and choose well up. Next, we're gonna discuss the placement of your design 7. Key Element: Placement: Welcome back in this video, we're going to be talking about placement. Placement usually refers to the placement of your plates on the base and in so doing, the policemen of the form on your paper. Technically speaking, if you're only designing, you're not gonna have control over where your form goes on the press, but your printer will, and they usually try to put it towards the middle or the bottom. Like I explained to you in the last video, that's where these press get the best pressure. This pressure is concentrated here in the middle. This is where you should try to always keep your forms so that you get that the best pressure. That's why placement is so important. And that's why you should always try to keep in mind. That area is the main concern. It doesn't matter what elements we talk about. It always ends up coming back to this printing area. That is the main concern. When you're talking about printing on a Platen press in terms of you and what you do have control over, try to keep your designed the placement of your design towards the middle of your design. The base is what holds your plate so you will attach your plate. It's sticky and it will stick to the base. Then you can get, and you can then press it. Typically, you get the most pressure towards the middle and bottom of the press. With this, um, form. It's not going to make much of a difference because it's a small form, has small little areas, so that's not gonna affected so much. But you can essentially move your base around the chase and make sure that you're at an area where you're getting the most impression for your design. So if you're able to keep your designs simple and still get across what you want to get across, then by all means do that. If you are OK with spongy solids and not as deep impressions on certain areas, then you know you can also experiment with that kind of stuff. Basically, in my experience, I've played around with a lot of stuff. There are things that I want to have printed very deeply. I know I want to be able to feel it and, you know, holding and touch that compression and there are things where I know I want to print on a thinner paper and I'm not too concerned about the impression I just wanted to have a spongy feel like I wanted to be different. So as long as you know you want to achieve, then you can say, OK, I wanna design for this or that. That is what we're focusing on. Make sure that you know exactly what you want to achieve and then designed for that. Although you might not have direct control over the placement of your forms on the press because you're not printing them, um, knowing that placement affects your impression and you're in coverage will help you make informed decisions. It will help you say, I want this to have a really good impression. I'm gonna keep it towards the middle of the design. Knowing that placement affects your impression in your in coverage will also help you make informed decisions about paper size. Um, there different types paper. Like I said before the Argyle Christmas card that I designed, I happened to luckily design it for a four bar card, so that ended up helping me a lot in terms of being able to print it on the table top press because it's a smaller design. If it's bigger, the area gets bigger, and so again you lose the pressure. And also, sometimes I've done it before. I'm thinking, Oh, I want this big, you know, design or whatever. And then what ends up happening is it doesn't even fit on your press. It doesn't fit on your chase. You have to start now, going crazy, flipping it around and doing all of these things on the press just to get a design that truthfully you should have thought about before getting it on to plates and on the press. That's happened to me a lot. This class is about really thinking about before you go to press, really thinking about when you sit down and say, I want to do a Christmas card. I want these elements in it. I wanted to have this kind of stuff, but I want to make sure that it prince well on my machine. And so I'm going to spend the extra time sitting here thinking about what to dio with these elements so that I can get the best impression in the next video. We're going to talk about one of the most important key elements, so stay tuned 8. Key Element: Form Size: form size is probably the element that is most directly related to how well your designs going to print. Generally speaking, you can keep these two as guides for yourself. The bigger your forms, the more area they take up and the harder it is to get a good impression. The smaller your forms, the smaller the area and the easier it is to get a good impression. As we discussed earlier, your main concern is area. The printing area and form says is directly related to this again. You don't always wanna have a deep impression. So bigger form size doesn't always equate to a better letter press card or a letter. Press a poster. Whatever you're printing, it just means you're gonna get a sponge, your print. And if that's what you want, then that's OK. As long as you know that's how it's gonna print and that's what you're designing. Then it's good. So this is an example of a pretty big form. It's pretty big on the base itself, and usually when a plate warps like this, you know you're in trouble because that means that this is very dense, and so it is gonna be tricky different. They are tricks to print these on the press. We're not gonna get into those in this class, but this can be done. You just have to be really smart about it. So this wasn't done by mistake. I knew that it was gonna be tricky to do, but I wanted to do it. And so this is the outcome. How This, as you can see, though, it's still not as deep as thes smaller areas. I got a nice, you know, um, even coverage. And I designed it on purpose to have these little specks so that it works with the fact that it's not gonna print so well, This is what the smaller plate for this looks like. This will print super deep because it's really small. Same goes for this side. These you can see the impression is very, very, very deep. It looks great, but there's a lot to be said for this. Even though it's not a deep impression, it looks really nice. And it works well because I designed it that way. That's what I meant for it to do so as long as you know, you know about form size, you know this is super tiny. This is really big. But you know what they're gonna dio. Then you know what you're doing when you're printing, it's important to know that solids aren't the only forms that could be problematic. Um, sometimes you design an area, a larger area that's made up of little forms. Just because they're small doesn't mean that they're gonna print Well, if you group them all together, if they're all in a cluster, they're gonna make a larger area like this. This plate has a lot of little forms in it, but together they make a pretty large area. So what this means is this plate is going to be difficult to print on the table top press. Um, again, when I designed it, I knew this was the case. I knew I also wanted to print on a different color paper, and I knew I didn't want such a deep impression. This is a postcard. So I didn't want the impression to go on to the other side of the page. So I wanted it to be sort of a kiss impression, Very soft impression. I'm want there to be good in coverage, but not the impression so much So there was intention there. I knew that doing this was gonna not produce a deep impression, but that's what I wanted. So again, intention is really important. When you're designing for the tabletop press. As long as you know I don't want this toe print so deeply. It's gonna be a postcard. Then you know you can design something that's bigger. It will be okay. The same goes for these areas. The ones that I mentioned are with smaller forms that still create a larger area. These print, Well, because they're small forms and they're pretty spread apart. The area is not so big. This one, for example, that showed you before. This is a pretty, pretty dense plate again. You see the curling. That means it's gonna, you know, be a little pain to print. But I knew that going in. I knew that I didn't want it to have a big impression. I wanted to keep it clean in the back. So that's difference between a lot area covered in small form and but no more open area covered in small forms. In the end, it all comes down to the size of your area again. Your design area versus the printing area. As long as you understand that this is the main concern and that this is what you have to be intelligent about when you're designing. Then you will make informed decisions. You will make the right decisions for your project, and that is gonna ultimately produce the results that you want. It's gonna help you a lot when you design and definitely save you a lot of frustration. When you're printing next up, we're gonna discuss another main element that will help you with impression and in coverage , so stay tuned. 9. Key Element: Color: Welcome back and this video we're going to discuss the final element in our class and that is color. Color plays a huge role next to form size in terms of giving you a good impression. And in coverage, the best way that color is able to assist you with that is by breaking down forms. For example, let's say you want a design, a card that has to red balloons like this. Your chances of getting a good impression are greatly diminished because you have two big red balloons. But if you are smart and you say you know what, I want a red balloon and I want a yellow balloon. Guess what? Now you're printing the red balloon first, and then you're printing feel a balloon. So that means that the area that you have on the press at one time is diminished. You have a red balloon that is going to go on the press ones, and then you're gonna print the yellow balloon so your area is going to be cut in half, and that means you are going toe really increase your chances of getting a good impression . This break up of color applies toe everything, Not just big, solid areas. It applies to like smaller areas as well. Like I said with the displayed, if I had wanted to, I could go on in here and said, Well, I want, you know, a couple of these things to be a different color that would greatly increase the chances of me getting a better impression. I wanted this entire thing to be one color. I wanted to be a very soft impression because I wanted to be a postcard. But again, you always have that option. So when you are designing, you have to think, Okay, I do want a big solid, but you know what? I'm gonna have one that's one color, and I'm gonna have another one that's different color. And again, if you put together with placement, then you're gonna say, I'm gonna keep him towards the middle. The's big areas and I wouldn't have text or smaller areas towards the outside in a different color. So this is when these kind of things start to come together, and also then you start to think, okay, when you sit down to design, I'm going to grab, um, my sketchbook work on this design. I know. I want this to depressed really nicely. I want there to be a deep impression. What kind of paper use? I can use Electra. I can use, you know, Arturo the's air papers that are gonna help you. Um, Savoy. These are papers that are engineered to work well with letter press. And so you're gonna get a nice impression. But these are things that you already know beforehand. And so you say Okay, this is what I want to work with. Then let's say, for example, my postcard. I knew I wanted to work with a light, um, weight of color plants. I wanted it to be green the paper and I wanted to print one color with a large area and I wanted to be a postcard. That's another way. Color helps. I used the colored paper so that in itself helped the design. I wanted to show you an example of this break up of color on a design here in illustrator Let's take the design for my postcard. The one I've been talking about. I mentioned to you that I wanted this designed to print very softly on ah colored paper. So I left this as one solid form that was gonna print on the color plan. But what if we wanted to make another version with different paper and I wanted a deeper impression? What I would do here in that case would be first Ah ah, I would break up the color. So since this design is still dense, we can take, you know, these different little forms and make them different colors so that we could get a better impression. So let's take the color off of this first say we're printing on a white sheet and have already set up, um, a little palate for myself, and I want to work with someone to be using these three colors. Then we're just going to go in here and start taking, you know, different items to color. So I want while the pens to be this, uh, read her peach. Rather, I'm gonna take all the racers and do the same. Another one. And here's another one. Here's another pen, and I'm gonna take these little spiral paperclips that I drew. Make those red to not read peach. Sure, I'm gonna miss a few. They're hiding everywhere, So let's hit that for now. Then I want to take all the pencils, all the pencils, and make them green. I want to dio thes two cards and green and these are notebooks. It's still notebook too, And grain and let's see, I think Oh, I want these envelopes in the peach. I'm gonna select just a couple little things. I want the hearts to be peach. I want this big note card to be green. I think now what I want to do is I want to make the rest blue to see how it looks. So I want to do is I'm gonna take this green and select the swatch that I have picked out already. Now all that stuff is blue. But I want to go in here now and select a couple of things like I want the lines on these notebooks to be green Just a little different. I don't want everything to just be one color. Number one. You want the highs on this card to be a different color as well, making peach and may see I want actual running to be in green. I think that's nicely balanced. I wanted this little piece to be a different color. Let's make it blue. Okay, so I think that works. No. What? I'm gonna dio toe show you how we would break up the color or I'm sorry how we would separate thes Rima copy and PC's. We're gonna do it three times because we have three colors. Clumps. Let's do that. It's copy this one. Let's get this out of here. So now we have these three. And in order to show you the break up of color, what I'm gonna do is I'm gonna make these other ones white. So we're gonna keep the peach. We're gonna say these air gonna stay white. He'll still be there, but you won't be able to see them. So that's just the peach gonna go here. I'm gonna keep the green. We're gonna get rid of the peach and the blue. That's just the green. And then we're gonna take just blue. So we're gonna take these two and make him wait. So here you see how taking a design and breaking it down into three colors will give you three different forms that have much more open space and so will help you to get a better impression. This is not that dense anymore. Maybe even this I might get rid of these whoops and color them here instead. Where was the scissor? There's a scissor and the other says that was there. You may break it down like that has Blue has much more area than the other two. So this is how you end up breaking it up so that your design has a nicer, deeper impression. If you're adamant about having a large area in your design or solid, you should definitely consider color to aid you in that process. Letterpress banks are transparent, and so you're always going to have some of the paper show through the lighter the color, the less evident that IHS. So as you can see in this design, there's a large area that is very dense with small forms. But because I printed it with a very light meant that in coverage looks a lot better than it would had I chosen, say, a red like this. The spread. While it's not that bad, it's spongy in spots. A dark color isn't something you necessarily want to use. You can see that with the blue. It's not that obvious, so you have to use color intelligently. This solid area I knew I wanted to print a large solid toward the edge of the paper. I designed it with yellow in mind. I knew a light color would be better than trying to print it with a dark color like this big elephant. Even though the coverage is pretty even all around, it's still spongy. You can see the paper coming through. You just have to really think about what you want to do. When you have big areas, you might want to break them up or use color to your abandonment. It will help you out a lot. You have to think about all these things before you go to print because it saves you time, money, tons of frustration. Trust me, So color is another important towards actually a huge tool. It was another way that color could help. Your design is by saying you know what I want the screening card to be one color. How can I add more interest to it? You know what? I get a different colored envelope boom ah, pop of color that now makes your card stand up because you do have to colors, it's just in the envelope. When you start to think about color in this way, it really starts to help you become a better designer as well, because you're thinking of different ways to solve a problem. Essentially, the problem is you have a small press that can only handle a certain area of pressure. You want to make sure that your design looks good, and you also want to make sure that it's not gonna cost you an arm and a leg to produce it . As you know, every color with letter press has to be run separately through the press. So as you get smarter, you start to say, You know what? I'm going to keep this card as a one color card, but I'm gonna add another pop of color with an envelope. Um, you can also say, you know what? I want this to be a two color card, but I'm gonna use a colored paper in the background, and then you can add even more color with another different colored envelope. The possibilities that color opens up when you are designing are great 10. Our Project: Designing a Greeting Card: Now that we've covered our four key elements, hopefully you'll have a better idea of what things you should keep in mind when you're designing your car. So what we're gonna do now is we're gonna go back to our sketches, and our ideas are research that we did for that card. Take those and start thinking about what we're gonna do with this project. Ask yourself questions. Like do I want to to this card? Maybe if you dio you're gonna wanna print on Arturo. No, I don't. I want it to be a smooth paper, and I want a deep impression. So I'm going to go with Petra. But I want a warmer feel, so I want to print on pearl paper instead of fluorescent Wait. All of these things are things that we've learned and that you should apply to your design to make sure that it works. Well, where is your design? Gonna fall on? The press is gonna full in the middle. Are you going to get the best impression? It can't fall in the middle because I'm designing something that requires to be off to one side. OK? Are you able to move your paper down to towards the bottom, More towards the middle. All of these things keep them in mind while you're designing. And maybe for this class keep your design simple so that you're able to get a good result. So now that I've finished up my sketching and my ideas Ah, use an app called scanner Pro and I use It's a scan. My drawing. I like using the scanner app versus taking a picture because it actually comes in looking more like a drawing than, ah, photo. And it's a lot cleaner as well. As you can see, I've already placed it in here. But if you don't know how to place an item an illustrator, you just go file place and the new search for your file drops it in here. And I've also already, um, made my little balloon in the interest of moving quicker. Ah, this is the most important element off the design for me. That and the actual fun. So what we're gonna do is I set this already to be the size of the card that I want. I wanted it to be a four bar you can see in my notes wanted the broom, the balloon to be read. And so I've set this up that way already, we can move our balloon and here for now and then we can work with the text. I knew I wanted to work with PNE Pro. Now, I'm not sure about the size just yet, but let's do that. And then wishes I wanted it to be. And Mrs Eaves another one of my favorite funds. So, um, again, I'm not sure what size I wanted to be just yet. They can play around a line on make sure they're centered. Now these two are centered that sometimes I like to just center things optically because, you know, I didn't like that space being so close. So even though maybe it's not exactly centered, your I kind of like that better Or at least mine does. So I had said I wanted this to also be read. Yeah, I think we're gonna make this green. So it's taking shape. No, I have these little dots. This is usually the part where you just start playing around copying and pasting and moving stuff around. Usually I have Teoh copy and piece of bunch and then start moving them around, have to start trying to fit stuff in. And then what I might do is could be a bunch. Have them set up somehow. And then I'll use that bunch to make the green can move it in, start setting it up around it. See, you know what we like. This one's obviously like to close. Then we can, like, tried a start saying what these are gonna look like in green. Obviously, we're gonna move these around differently. I might want some of these to overlap, so But I definitely don't want toe look the same. So we'll have to play around, move them around however we like. And again, this is just the fun part seeing what you like, what works So we'll do that till we get it to a place where we like it. So now we've got the design the way that we I want it. I played around with ease until I got, um just right the way I want him house to meet the text bigger. I think it fills out nicely, and I'm actually pretty happy with this design. I know what's gonna print on. Think I wanted to print on Pearl, um Elektra instead of just white, so it's gonna have a warmer glow. But this is what ends up coming up from these sketches. It's nice to see how your ideas then transform into something that will end up on your printer and you'll be able to hold this at some point. 11. Finalizing Files: Now that we have a design that we wanna work with, I'm gonna show you how to break up the color so that we can get this design ready for plates. Basically, we already separated the design into the three colors that we want to print. And as I mentioned before, with letter press, you have to separate each color into a different plate because each color has to run on its own. On the press, you have to run red. Then we have to run the green, and then we have to run the yellow. So we have to make three plates. Basically, we're gonna do the same thing that we did on the previous video and separate this. So I have these in different layers already, except for this one. But we do want to make sure that each piece, for example, the green we want to make sure it's with the green. So we're going to be on this layer. We'll keep all of the green on this layer can label that green. The yellow is all on here now, and here's a red. We can lock these layers so that we're only working with the elements that are on that layer. So we're gonna copy and paste in place. Move it over. Then we're going to go to the green layer Copy paste in place. We'll move this down here and then can, well copy paste in place and will went down here. So these were the three plates that we're gonna work with. What we have to do now is make sure that return these to 100% block. So we have two options of doing this can go right here in turn it to black. I usually do it this way because I can just set into 100% black there. I switched it or you consent it. I believe this is 100% black as well. This is why I prefer doing it the other way. Because that targets the color this targets shapes and it turns. This was a line and now we turn it into a shape and it messed it up. So let's hit on Dio. I will hit the block this way and then this one we can do this week. There's no lines. So now we have the elements that we need to make our place. Well, then open a new file. Let's make it a letter size files that we know everything fits. I will copy these into it. I would group thes so that we know everything that should be the same color is staying together. So we move this. That's one. Please. This is another plate, and this is the last place. And when you send off a file for plates, you can usually, um, group everything that you want to send out together so that you get Ah, nice big file that you will then cut down. Typically, you don't want your filed to be bigger. Then you need because you pay for all that extra space. So this was our plate. We would let's make it smaller on this side as well. Do that. Now it's important to note that ah, lot of people print with, um guides for registration. I don't usually I will certainly get into that. Maybe in another class. But if you are gonna play with registration, that when you would have to dio is create your crop marks in here, for example, probably take them off this file 10 marks and then what you do is when you cut each section you bring For example, we're doing red. Bring it into this file. Let's do it again. You would take all of that red and turn it into file. This way will group it turn the red off. Well, the crypt crop marks aren't on the red layer, so we'll take green. Now let's take the crop marks. Move them here where they're supposed to be Now we can do that. You can take green moving back here again. My group at first. No, we move it down Well again. Tell it to make everything 100% black and the last one will be Yes. Yellow still looked. Take the crop marks. Move it over here, group it and then because I'm a little seedy, I would wanna do that. It also helps when you're cutting the police. Now, as you can see this well, really make your plates big. You're gonna be spending more money on these, which is part of the reason why I don't really use crop marks. But this is another way of doing it. If you want to use the crop marks as your registration, what you do is once you print, you make sure that you hit these crop marks in every section. These are the ones that have to align, and then your design will register together the other way. You have to just be, you know, a little more careful and get a little more creative. That's usually how it print. There's no right or wrong way. That's just the way that I do it either way. This is how you break up design to get it ready for plates. So now it's ready to be sent off to Europe. Late Maker in the next step will be to receive it and print your design. So this is what my card ended up looking like, and I hope you couldn't see that the impression is there. The balloon looks good. The dots certainly look good. And the birthday the impression is good and the design and they're coming together pretty nicely 12. Final Thoughts: Now that you have a finalized file, you're ready to send it away for plates. Once they arrive, you're ready for the printing process. And hopefully this will make it a lot easier on you. Once you're going through the motions to get this to work well on the press, if you don't have a press, you're gonna be sending it out to your printer. They're gonna take care of getting the plates for you. I really hope that you've enjoyed this class. I hope that you're able to take away a lot from the key elements that we've discussed. I hope that you're able toe keep a lot of this stuff in mind when you're designing. Think about the paper that you want to print on. What people should you print on? Um, think about the colors that you're gonna work with. Think about the placement of your design on the press on your paper. Think about the form size. Should you break those forms, uh, pinto. Different color so that they're easier to print on the press. Keep all these things in mind and together with your intention, because that is really what is important. It's not the impression or the swingy nous. It's whether you wanted to have it there. Did you intend on having your card look like this? If you did, then you have achieved your goal. Then you're gonna be successful.