Five hacks when printing photographic images on uncoated paper

1. Perform ‘Under Colour Removal’ (UCR) on your files.
Under Colour removal (UCR) is a process whereby you eliminate overlapping yellow, magenta and cyan that would normally add to a dark neutral (black) and replace it with black ink only ie a ‘Full Black’. This is done during the colour separation process. Replace the coloured inks with black in shadowy or neutral areas to reduce the risk of mottling or a muddy look which can happen with excessive ink coverage.

2. Use the right colour profile.
Start with your images in RGB then convert to CMYK uncoated profile. Domestic printers work with CMYK and are therefore able to create a narrower range of colours.

3. Choose the right paper to match your imagery.
We know, we know, it seems so obvious but sometimes it’s still not considered. When reviewing your proofs, keep the shade of paper you’re actually printing on in mind eg if using a creamy white paper you may want to reduce the yellow (especially with skin tones). With a blue white paper you might want to take out some cyan. Proofs are often on a coated paper so consider this too. Best papers to use if printing lots of photography with skin tones is all papers really, but these kinds of images really lend themselves to blue-white uncoated papers.

4. Ask to see samples.
We have loads of samples on-hand. Some with specials, embellishments, specialty covers etc and if we don’t have it, we’ll find it! Let your paper specialist know the desired result you want and they’ll work backwards with you to find the best paper and print method. They really know their stuff when it comes to matching paper with imagery.

5. Print production is key.
This involves preparing the files as mentioned, checking the proof and also making sure that when on press, you consider some things eg you can make minor adjustments to colour and density but mostly this should be done in the pre press stage. And most importantly, allow for dry back. When on press, approve the sheet that comes off and then ensure you allow for dry back, so increase the ink pressure by about 10%.





A label fit for an ice bucket

Did you know we sell all sorts of sticky labels? Address, beer, wine, invite, closure and loads more. We’ve pretty much got labels for all types. One of our self adhesive ranges that’s exclusive to us is Wausau. It has loads of colours and finishes. Everything from metalised silver, gloss or matt, natural kraft, black vellum, eggshell, white or even fine mesh like texture finishes.

Wausau Estate #8 Vellum – Ever Opaque is our latest fave. An elegant, white face stock with a toothy, vellum finish used for prestigious wine, beer and spirits labelling. It’s a strong, durable, ‘wet strength’ label that maintains its opacity and adhesion (the fibres are less likely to separate so the integrity of the label is not compromised), even hours after immersion in an ice bucket. Say whaaaat?! The under laminate film stops the general creasing and bubbling you get with other uncoated labels. It also reduces the wet-out (transparent) look you can sometimes get. Winning!

If you find yourself working on a brief to create a boutique brew, wine or spirit label, Wausau Estate #8 Vellum – Ever Opaque now comes in SRA3 sheets for use on HP Indigo and Dry Toner presses (traditionally it’s a roll label product). Some pros of now being able to digitally print this label on a HP Indigo or Dry Toner press are:

– No minimum orders required so now you can do short runs.
– Cheaper in sheets than buying it as a roll.
– Come in both solid and split backs (if you need a special die cut, call us and we can sort out a manufacturing order).

If you’re one of our customers and have an ‘Adhesive Rolls’ swatch, check it out for some samples of the Wausau range. Or call you trusty rep for more information.












The Mohawk Maker Quarterly gives us the feels

This is issue #8 of the Mohawk Maker Quarterly, designed by Hybrid Design and brought to you by one of our eminent mill partners – Mohawk. This issue is particularly special because it combines the Strathmore range and also Curious Collection which is from the Arjowiggins mill (Mohawk are now the North American suppliers of the Curious Collection range which makes us rather happy because we’re the Australian ones!). Maker is always a gift to the senses, a showcase of high quality printed matter in what is an increasingly digital era. It’s a real print treasure and celebration of creative, hands-on makers of this world.

Mohawk stands by the fact that embracing the medium is just as important as the message in creating an experience and building an emotional connection and with this issue, themed ‘Feel’, this premise is taken to a whole new level. This quote from the publication says it all: “Customers don’t necessarily remember what you do for them as much as they remember how you made them feel.”

We love the eight distinctive papers combined with a killer print job (offset printed using conventional and UV inks). They’ve boldly and cleverly combined half sheets, textured papers with photography, metallic papers with artworks and a deckled edge. The print medium, in our eyes at least, creates ‘feeling’ like not many other mediums can. Colour, texture, visuals. Print has the power to create a lasting memory and give anyone who loves design, print and paper all the feels.

Cover – What’s firstly most striking is Olimpia Zagnoli’s beautifully bold pattern illustration that blends so seamlessly with the Strathmore Wove Riveria Rose (one of four Strathmore Heritage Collection colours introduced in 2015). We don’t sell it but can look to order it for you, just keep in mind there would be a minimum order amount. Read this blog post by Parse and Parcel for an excellent read and print production tip when printing on dark coloured papers. Mohawk hit the sheet with opaque white ink, twice, then used UV inks which dry instantly and don’t soak into the sheet so are much more punchy.


Medium Rare – Music fans online go-to is and they’ve just release a quarterly magazine – because there are some stories that just have to be told on paper. An online presence going offline. The travesty! Flies in the face of convention it does. The Pitchfork Review showcases the striking beauty of Curious Collection Metallics – Ice Gold, against vibrant images printed on Strathmore Premium Wove and Smooth – Platinum White. This is a fun spread. The half page looks rad.



Nature’s Calling – We stand by the choice to use uncoated papers for photography, as long as you prepare the files the right way and work with a printer that is willing to push it with you. A great example of how to make this combo work is the section on Kennett Mohrman which looks amazing on uncoated Strathmore Pastelle that has a felt finish. The mossy covered terrain appears as a double page spread printed partly on Strathmore Cambric that has a linen finish and the Strathmore Pastelle. Same photo across two different papers, one Platinum White the other Bright White. And geez it looks a-ma-zing! The photo is a beauty. So much depth and richness. The half sheet on Skin Curious Collection – Black printed with white ink even comes with augmented reality components.




Strathmore Archive – We absolutely love this double page spread called The Strathmore Archive. The team at Mohawk found all these swatches and print samples, boxed-up in their warehouse. Literally over 100 years of print design in America, discovered in some dusty boxes! The deckled edge. Swooooon.





Why Design Matters Another half sheet and mixed paper goodness combo that gives us the design feels. Strathmore Premium Cambric (a linen finish) with Skin Curious Collection – Black and a half sheet thrown in for good measure. A perfect backdrop for Alain de Botton’s article on how objects make us feel – how good design can assist us with becoming even better versions of ourselves. As one blog mentions, the mid century illustrations look awesome printed on the linen sheet, as does the cathedral printed with red ink on the black. Clever.

See more pics and another write-up here, via the Mohawk blog Felt & Wire.




The Movement – This is what the Maker does really well – covers some really talented champions of craft – small manufacturers, artisans, printers, designers and artists from around the world still using their skills in this so called age of the digital revolution. Our very own Australian brandDinosaur Designs even get a mention in this one! Other makers include Shelter Social Club, Penland School, Brothers & Craft, Sebastian Cox, Object and Totem and Adam Silverman. Plus there’s some more augmented reality to enjoy.

It is impossible to tell from this picture but the smart cookies at Hybrid and Mohawk have paired the photograph of this wooden sculpture with Curious Metallics – Ice Gold which literally has a gold shimmer finish. We’ve said it before and we’ll say it again. Clever.

And if this wasn’t enough for your senses, see more pics and another write-up here, via the Mohawk blog Felt & Wire.





Bijou property book by Hoyne (NSW)

Title: Bijou.
 Hoyne (NSW). 
 Keaykolour Black 300gsm (cover) Keaykolour Ultra White 170gsm (text).
Printing specs: High Build Spot UV on the entire outer and inner cover + copper foil logo on front/back
Print managed by: Green & Gold.

With the boom in property development seeing no sign of slowing down just yet, we bring you yet another stunning piece by Hoyne in NSW for the Bijou development. Led by developer MADE and SJB interiors, the former Bijou Theatre in Balmain is being adapted to create 29 apartments that will exude style and panache.

The whole of Balmain exudes a feeling of nostalgia and charm with its colonial sandstone buildings, Victorian institutions and small workers cottages set among leafy streets. The Bijou itself is a robust art deco building well recognised by locals.

The entire brand identity developed by Hoyne references the art deco heritage of the building in a contemporary style. And the campaign features a script reminiscent of retro movie credits and theatre posters that points to the building’s past life as a theatre and cinema. What’s old is new again.

Hoyne chose Keaykolour Original mainly for its texture. As Leesa from Hoyne adds: “This project was all about the art deco influences, so we wanted a paper that felt vintage but lush.” It’s a great pairing and another fabulous example of how the right paper complements the design.

We really do see a lot of property pieces come across our desk and it’s great to see considered pieces like this one. Some simple embellishments, great design, print and paper choices has set this piece apart from others we’ve had come across our desk. Kudos.









Beautiful product packaging by Lepaar

Title: 24k Precious Face Oil For Wise Women + Men.
 Lepaar (NSW) – Johanna + Christo Everingham. 
Knight Textures – Linen 2-sided 280gsm
Printing specs: Offset, CMYK + PMS + Pantone Blue 072U and Pantone 7579U.
Printed by: Lindwall + Ward, Marrickvile NSW (1c black offset + sealing varnish). Gold detailing + embossing: Goldcraft, Marrickville NSW.
Embellishments: Stitching: Christo Everingham. The 14k gold plated staple from: OOOMS design studio, Netherlands.

Talented much are the first two words that spring to mind when speaking to Johanna, one half of Lepaar (the other half is…her other half Christo!). Drawing inspiration from the Knight promotion we released many years ago, the Lepaar design duo set about creating the packaging for their 24k Precious Face Oil.


Good design comes from lots of places but without a doubt, a brand’s philosophy will shape how good the outcome is. Lepaar are out to design exquisite products and objects of quality, beauty and function. They work with the best manufacturers, craftsmen and materials. They’re also staunch supporters of Australian companies and goods, plus they’re opposed to today’s throwaway kinda culture. The ingredients for the face oil are organic, biodynamic and from ethical growers and producers. We picking up what you’re putting down Lepaar.

Time for us to hand it over to Johanna, who has shared some great insights into the process…

“Because of our focus on local business, Doggett’s has been our first point of call throughout our years as brand designers. It’s a family run paper house, based in Australia and I’ve had brilliant personal service all the way through from Nathan Doggett. Living in the same suburb and bumping into each other over coffee or at house parties helps!

The Knight range has always been my personal favourite. The stock is one of the nicest to print deep blacks on without actually using rich blacks. For this particular job, we picked Knight Linen  because it’s got a fabric-like stretchy quality to it which we needed to squeeze the bottle into the sleeve after stitching. The texture allows for stretch and handling without crinkling.


We know the stock, so did expect it to look and feel expensive and luxurious. Yet we were amazed by the richness of the black, given that we only printed 1c black, without extra screens. We did print offset rather than digital, which I believe made a difference.

We wanted the sleeves to be very avant-garde, expensive and luxurious looking, showing off the hand-made character of the stitching without making it look ‘crafty’. Our objective was beautiful, luxurious packaging that is not wasteful, has a collectors-item quality to it, is different and communicates the precious nature of the product.

We spend a long time sourcing packaging and found it tough trying to find someone who would produce small quantities in luxury materials and finishes in Australia, without much luck. Because we stitch all our products into paper packaging we ended up trying different versions of sleeves on the sewing machine one day, reluctantly cutting up my well-loved Knight promo which I consider a collectors item. It worked and looked stunning. Different and modern and rock ’n roll all at once.

The closure was a headache, until lateral thinking kicked in. We had stapled it just to see what it looks like closed, got the gold ink marker out and painted the staple. Bit of night time googling produced OOOMS, a dutch design co who had released 14k gold plated staples a few years back and Guido the owner was only too happy to send some our way. We love them and suggest to customers to reuse them as lapel pins or make earnings out of them.

We believe we have created packaging that conveys language – one interacting string of things that mix and match and talk to each other. In this case all the ingredients, inside and out, sing.”



Thanks Lepaar, our fellow paper obsessed customers. You’ve created truly beautiful and unique home grown packaging that we love, love, love.


Ligature Journal by Tiliqua Press and Billy Blue students

Agency: Tiliqua Press with students from Billy Blue.
Publisher: Felix Oppen.
Grange Offset 300gsm/110gsm.
Printed by: Seed Print Group in NSW.
Printing specs: CMYK Offset printed.

Every once in a while, someone dreams a little dream, yanks it out of the matrix, thrusts it into reality and watches it take shape. It’s a beautiful thing. This is the case with Felix Oppen, who recently launched the inaugural Ligature Journal, a publication made in collaboration with a bunch of hard working and enthusiastic students at Billy Blue College of Design.

If you’re looking for a fresh compilation of ripper content featuring local artists and student work that spans graphic design, illustration and photography, call off the search party. One of the many cool things about Ligature Journal is that every aspect is student managed from content to press checks to building the digital version. While some may be dismissive of a student magazine, it totally stands up on its own as a top shelf, relevant publication. This is exactly the vision Felix had for Ligature Journal – that it would add to the design and creativity discourse in Australia, New Zealand and beyond.

The team chose to release print and digital versions of Ligature Journal. Felix believes the future of publishing is to let each medium play to its strengths but work together. Smart. It is intended to be a tri-annual publication and you can already buy Issue Zero here.

The stock chosen for this work is Grange Offset 300gsm/110gsm, an economical, bright white uncoated paper which Felix says punches way above its weight and is regularly mistaken for a specialty paper. We agree that the print job looks bang-on, and we look forward to watching the development of the concept across future issues.





Pictured: Students reviewing layouts and the running order of articles, with Kuen Kam – the Billy Blue lecturer/mentor.



Pictured: At the launch, a very happy contributor, Neil Barnett (centre) and is partner, Vicki (left), with Neil’s article on raw food. Kuen Kam (right) is the Billy Blue lecturer/mentor for the students.

Kat Macleod interview: ‘Of romance in handwritten letters’

Article courtesy of desktop online.

Author: Gemma Pass
Date: 25 August, 2015

The last time I received a handwritten letter, I was about 16. A group of friends of mine and I would write countless pages of notes to one another detailing everything from the books we were reading, the boys we were crushing on, and the kinds of silly adventures our families were getting up to over the summer breaks. Even now, I still find letters filled with tiny grains of sand from a friend’s holiday in Ningaloo and wisps of Guinea Fowl feathers from a family friend’s farm in Southern W.A. All beautifully nostalgic and tangible reminders of our lives in that point of time.


In collaboration with Ortolan’s illustrator and designer, Kat Macleod and the lovely team at Ortolan studio, K.W.Doggett Fine Paper have created ‘Snail Mail‘, a beautifully whimsical stationery set that celebrates the idea of love letters, intimate notes and whimsical celebrations, while showcasing the versatility of Rives’ latest range. With shiny silver foil bugs, blind-embossed weeds and tiny die-cut snail bitten edges, the gorgeous set is sure to inspire people to send someone they love some snail mail.

desktop spoke to Kat about the new Rives range, her love of hand written notes letters, and the importance of paper stock in the design industry.

You recently worked on the illustrations for Rives’ ‘Snail Mail’ project by Ortolan celebrating romance and whimsy; do you think work like yours keep handwritten words relevant in the digital age?

At Ortolan, we think that handwritten notes and letters are always relevant! No matter what the occasion, a handwritten note will always feel so special, and so completely different to a text message or an email. When K.W Doggett briefed us to create a special piece to promote Rives, Holly Canham and myself saw it as a great opportunity to design an exciting new stationery set (we made another one for Rives a couple of years ago), we hope to inspire people to send someone they love some snail mail. Rives is such a beautiful paper stock, with the range of textures and subtle colour shifts. It felt like the perfect project to create a letter writing kit out of the beautiful paper.

In reference to the relationship between paper stocks, textures and ink, what do users gain from a tangible product of design that they don’t gain from a digital product, and which do you prefer?

I love both! I love digital design. It can be so flexible and easy to reach a wide audience instantly. And obviously I also really love to create a printed product that you can hold and feel. They’re very different outcomes.

Holly and I wanted to create an exciting experience for people when they open up the Rives envelope and discover all the different cards and papers within. The different paper weights and textures can only really be appreciated by holding the piece in your hands. And we’ve incorporated lots of special finishes that can only be reproduced in a physical product. Shiny silver foil bugs, blind-embossed weeds and tiny die-cut snail bitten edges should surprise and delight as you make your way through the set.


Did you used to write and receive handwritten letters as a child? Do you think children today who don’t would gain something from this experience?

I loved sending and receiving letters and drawings as a child. I had family overseas I wrote letters to, as well as at least two pen pals I wrote to regularly. I adored making special packages to send off to my friends and family, and it was so exciting to receive something unexpected in the mail in return. Kids today should definitely send and receive snail mail! My four year old son loves to ‘post’ drawings to his grandparents when we are visiting their place (by post, he just rolls up a drawing and sticks it in their letterbox). I genuinely think he loves the making and sending part of the process equally as much as he loves watching them open up the letter and basking in their enthusiastic reaction.

With acronyms and email, people are becoming less romantic and intimate in the way that they communicate to one another, what do you think about that and how do you think your work can help change that?

Time changes many things and communication seems to be one thing that’s changed so much in recent years with hand written letters less common and email, text and phone conversations the norm. I don’t think it’s a bad thing or less romantic as such, just different to what was. Perhaps receiving a hand written note or letter is even more special now that it’s less frequent.

Should the skill of hand-written typography and illustration design continue to be something that is taught and encouraged in schools and universities? Or should tablets and design software rule supreme?

Hand drawn illustration and typography are certainly still great skills to learn and explore, among many other crafts. Hand drawn marks and drawings are unique to the individual who makes them, I feel like there’s more opportunity to create unique work. Also, it is so inspiring to create something with a pencils or paints and paper and draw what comes to mind, embracing mistakes and exploring new ideas as they come.

The imagination is such a huge resources of ideas and new thoughts, it’s such an important skill to develop and creating things by hand is a great way to cultivate and express ideas. In saying that, it’s always important to know how to use software and it is so vital in our industry, but it’s nice to start on paper and see where it takes you.

Watercolour illustrations can often be hard to digitise, in the sense that their look and feel can be difficult to replicate. How did you overcome this for the digital range in ‘snail mail’?

I paint all my watercolour illustrations on paper and scan them it into the computer, I haven’t ever tried to replicate watercolour directly on the computer, I need to use my hands and brushes and water to create the marks! And I love all the natural textures and marks the brush makes. It just wouldn’t be possible to recreate that on the computer. When I scan my illustrations, I clean up the files in Photoshop to remove dust and any errors, but I tend not to alter them much once on-screen. I do however, love to layer them up with other illustrations. Many of the illustrations in the Snail Mail stationery set are created by layering my illustrations together.

Kat Macleod is a Melbourne-based illustrator and graphic designer. Her whimsical and dream-like illustrations have appeared in Chinese Vogue, Numero Tokyo and The Age. More of her work can be found here.


Curious Matter HP Indigo print test

StocksCurious Matter Désirée Red 270gsm and Adiron Blue 270gsm, Goya White 380gsm, Andina Grey 380gsm, Ibizenca Sand 270gsm and Black Truffle 380gsm.
Printed by: Press Print Digital (VIC).

We are crushing all over the Curious Matter range. It has so many attractive qualities, like its flashy colour palette, sandy surface that is rough yet surprisingly smooth to touch AND the fact it’s also compatible with offset, embossing, screen and even dry toner printing. A complete package really, well almost…

We’ve fielded lots of questions lately about the stock’s suitability across the HP Indigo platform as it is not guaranteed for use on these machines. So we ran a print test using opaque white ink and CMYK. The stock was Sapphire coated first and we are pretty chuffed with the result. As you can see it does work, we just had to find someone willing to push the boundaries with us on this one!


Printing specs:

  • Card 1: Goya White printed CMYK on a HP Indigo.

  • Card 2: Andina Grey printed two hits of CMYK on a HP Indigo, with four hits of opaque white ink.

  • Card 3: Désirée Red printed on a HP Indigo with six hits of opaque white ink.

  • Card 4: Adiron Blue printed on a HP Indigo with six hits of opaque white ink

  • Card 5: Ibizenca Sand printed CMYK on a HP Indigo, with four hits of opaque white ink.

  • Card 6: Black Truffle printed two hits of CMYK on a HP Indigo, with four hits of opaque white ink.

Speak to your printer about coating Curious Matter if you’re running a digital job as only certain printers have coating capabilities.

A bit about Curious Matter:

The Curious Matter range made by Arjowiggins, is all about the tactile experience of the paper. It’s sand-like yet silky feel (because of the potato starch it’s coated with) will see your paws all over it, rubbing it and exclaiming ‘wow, hmmm, what does that feel like?’. Available in rich bold colours in 270gsm and 380gsm, think invitations, annual reports, business cards, brochures, swing tags and much more. Enjoy!






Doggett x Justus Magazine

Title: Justus Magazine issue 4: ‘Wrapped in you’
Designer: Lindsay Smith from Eleven Eleven Design
Stocks: Strathmore Premium Wove, Super Smooth and Cambric, Skin Curious Collection,Rives Design,Buffalo Kraft, HannoArt Satin, Curious Metallics,Impact,Wild,Buffalo Board
Printing specs: Predominantly offset printed with foil, UV, spot colours, die cuts, reflectakote plus digital section printed on a HP Indigo
Printed by: Platypus Graphics (QLD)

Justus issue 4 is about to hit the streets and we’re super excited to say it features a knockout selection of our finest fine papers. It’s like our paper dreams have come true.

With unlimited access to print and embellishment techniques, the Justus story starts with a Tafeda embossed Buffalo Board slip case, followed by a pearl ‘snowflake’ like foil on Wild paper. Opening the first pages, it shows UV printing on Strathmore Super Smooth and then it rolls on from there. Spot colours, copper foils, a silver reflectakote, French folds, die cuts and more. There is definitely nothing minimalist about Justus issue 4. More is more.

Designed and edited by Lindsay Smith of Eleven Eleven design, Justus Magazine is created to celebrate (and show off), the talent within the Australian print, paper and design industry. It is made by us, for us. Just us. Issue 4 ‘Wrapped in you’ has a central theme of packaging and is printed by Platypus Graphics. Based in Brisbane these guys run a slick operation and their skill as printers, foilers and finishers is clear to see. I addition, there’s also a special HP Indigo section which highlights what these new machines can do and how our paper responds to the new digital techniques.

Your K.W.Doggett Fine Paper specialist has a copy to show you in their next studio visit but if you can’t wait til then, log on to Justus and subscribe for yourself. We look forward to bringing this beauty to market soon.
















Movember is almo-st over, donate now!

Title: Made in Movember 2014 campaign collateral
Agency: Urchin (VIC)
Stocks: Impact 135gsm, 190gsm, 300gsm,
Printing specs: Offset printed (mainly), gig poster printed digitally on a HP Indigo
Printed by: Madman Printing (VIC)

Ah Movember, the month where men start to morph into Boonie look-a-likes, creepy looking pool cleaners or in very unique cases, suave gentleman reminiscent of a 50s movie star (but it’s mainly the: ‘If I saw you in an alleyway I would scream’ kind of mo’s!). Our in-house team Hair of the Dog are growing facial patches like real troopers. We have the barely see them mo’s, the handle bars, the French chic versions and everything in between. Donate here if you wish.


Urchin, the studio behind the ‘Made in Movember’ design actually create a new campaign each year. As Tim Meyer from Urchin explains: “Re-designing the campaign direction each year is a core component of what makes Movember tick. We are raising very serious men’s health issues, so a new campaign each year also allows us to have fun and approach these causes in different ways without focusing on the negatives.”

We think it must be challenging but a whole lotta fun re-freshing the campaign year-to-year. Challenging because the team have to find a balance between theme, fun, message and health and this has to be done across 21 countries via print, web, video, advertising and products. Fun because it just is!

Collateral breakdown:

  • Postcards: Impact 300gsm
  • Campaign posters: Impact 135gsm
  • A2 health posters: Impact 135gsm
  • Party gig poster: Impact 135gsm
  • Health pocket guide: Impact 190gsm

(The campaign also included stubby holders, stickers, arm bands and a cloth bag to house everything).