This technique incorporates the use of sharp steel rules in wooden die (form-chase) to cut the paper, producing a piece in which the paper may take on a different shape that becomes a part of the design.

Die cutting is a strong visual technique. A surprising shape and/or an unexpected cut-out will punch up a booklet or mailer and float it to the top of the pile. Perforating (die cuttings cousin) encourages a reader to tear off and mail your return card. All of these techniques work had on stiff sturdy paper.

A die cutting design can be straight, square, rectangular, circular or any specially designed shape. The cuts are made on a letterpress as a sharp edged steel die comes down on the paper and presses it into a flat, yet resilient, counter.

Basic die cutting is not expensive–roughly equivalent to the cost of adding an additional color of ink-provided you can work from a standard die. The cost of a custom die depends, obviously, on the design, and it is worth the trouble to find a pro to do it.

Die cutting is one technique that truly offers untapped possibilities. Just about any sheet can be die cut, from onionskin to 20 count chipboard. The only caution is to always consider the images on any adjacent pages of the piece. The edges of the die cut could produce some unwanted burnishing or an unintentional emboss during shipping or storage.

Although there are some cylinder models in operation, most die cutting is done on platen-or flatbed-presses. Feed can be either manual or automatic. Today’s high speed platen presses can die cut up to 9,000 sheets per hour.

Two types of cutting dies are used. One is the standard steel rule die. Die pattern usually laser cut from illustrator file.

The other type of die is known as a “hollow” die. It is a piece of steel, sharpened on one end, and pressed into an entire stack of whatever needs to be die cut. This technique can be less expensive and more efficient if the job warrants its use. The number of sheets that can be die cut at one time depends upon the individual piece of equipment used and the basis weight of the chosen paper.

The dies themselves are made from hand-cut samples or artboard. If the job is to be printed as well as die cut, an artboard can probably be used. The chances of realizing the proper effect using die cutting are greatly enhanced by contacting the die cutter early in the process. This is especially true when a job requires complicated folds.

Preparing the artwork

• Provide well line art file, camera-ready, line are, black and white-actual size.
• How to get the most out of the process.
• Avoid delicate or lacy patterns that tear easily, either on the press or in use, or placement within 1/4” of the paper’s edge. For delicate or lacy patterns laser die cutting is an option.
• Tight register between die cuts and printing is hard to hold, so allow leeway.
• In letterheads, avoid cuts that get in the way of the typed message, prevent the paper from going into the typewriter with ease, or cause filling problems.
• If die-cuts are too close or on the edge of the paper, creasing or tearing may result.
• Sharp points can turn out ragged. If used with another process, die cutting always comes last.
• Envelopes are generally converted after die cutting

Illustrating comp

• Use your trusty designer’s knife.

Improving your designs

• Too many die-cuts in a single sheet can result in a flimsy feeling letterhead.

Paper selection

• Papers with a consistent surface and cotton content make it easier to achieve crisp, sharp cuts, even on the most intricate pieces.
• 22-24 lb. And heavier paper provides more substance for the die-cut and a better feel in the finished product.
  
• Different papers and different printers will give varying results with die cutting, so don’t be hesitant to ask your paper distributor for advice on which sheets to use and your printer for samples of work done in their shop.

Evaluating proofs

• Should be cut clean with crisp, sharp edges.
  
• Die-cut should be as close to supplied art as possible.
  
• Are you getting the effect requested?

Printing color or process inks on colored paper

Printing on foil creates premium-coated paper results on uncoated paper by transforming the soft surface into a hard, white sub-surface.

Printing on foil may be tricky; applying litho inks can pull the foil from the sheet (foil picking).

Too much pressure by the foil stamper debosses the foil edge, which requires excessive use of cylinder pressure by the offset press in applying the process inks. This additional squeeze compounds the foil picking, too little squeeze by the printer means the ink won’t wrap around the foil edges.

The best ink for the job is special low-tack, fast-drying inks. Opaque matte white foil is best for the job.
Communicate early with the hot-die stamper and your color separator regarding printing on foil. Testing is recommended.