see PDF file - Komori

Silver
Matt varnish
through trial and error and from the people I worked with.
Fundamental to becoming a printing director is learning the
limits of expression with four-color process using sheetfed,
web offset and gravure presses. This is the basis, and of course
this varies with different papers, so a PD must also have a sense
of the limits of each printing paper. When four colors are not
sufficient for the graphic expression, we consider using a special
color. But adding a special over four colors, for example, can
result in dullness. In such cases, it is necessary to reduce the
density of the 4C inks and use the additional special color to
balance them out. Naturally, when the special color ink makes
the colors more intense and vivid, there is no need to bring
down the 4C densities. The only way to acquire this sense is
through experience.
Could you explain for us the process of producing Komori’s
calendars?
Aoyagi: In the past, Komori’s calendars were a series of original
creative works by graphic designers. Three years ago, though, the
direction was changed and the natural environment was chosen
as the overall theme. We held brainstorming sessions to decide
what the best means of expression would be — photographs or
illustrations or something else. For Komori, the ideal calendar
is beautiful and artistic rather than functional. For the first
calendar in the new series, we worked with the animal photos
of Mark Laita. For 2013 we used Joel Sartore’s photographs.
We had to decide which photos from about a dozen or so
would be best for showing added value printing techniques
and the possibilities of the new H-UV curing system. With an
ordinary calendar, the designer selects the photos to be used
and special printing treatments follow from that selection. In
Komori’s case, we had to select photos to illustrate specific
printing techniques and achieve a balance between visual
appeal as we saw it and the possibilities of added value printing.
This was a very difficult point — the balance of images and
printing techniques.
Another challenge was the difference between the effect we
anticipated a given printing technique would produce and the
actual result when we did test printing. Some effects can only be
confirmed by test printing. The drip-off technique with H-UV,
for example, was very effective but it took some reorientation
on our part to get it right.
We also had to take into account the Komori corporate
identity. Since Komori is a printing press manufacturer, we
had to create a calendar that would project strength. The
design had to show not only beauty but also the capabilities
of print technology. It had to communicate to users around
the world that these print effects are achievable with a Komori
press. And Komori’s calendar had to be executed at a level
befitting Komori — a press maker — as well as us — the printing
company. Everyone has likes and dislikes when it comes to
images and that is unavoidable, but we felt that if people looked
at the calendar and said, “I don’t like turtles, but that printing
technique is terrific,” or “I wonder how that was printed,” we
would be satisfied.
Cover
January–February
March–April
May–June
OP varnish Coater
Red
Matt varnish
OP varnish (pearl x 2)
Matt varnish OP varnish (patterned)
Coater
Green Matt varnish
OP varnish Coater
Komori On Press
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