Printing Knowledge + Pitfall Avoidance Guide — 17vis Original Release
——凹印、柔印、丝印、胶印、数码、水转印，一次说透
一个从印刷厂走出来、又回到设计桌前的人，坐下来跟你把印刷这件事聊透（给品牌方/客户的选择指南 + 给设计师的深度知识）
【上篇：写给品牌方/客户的避坑指南】
你不是要懂印刷，你是要知道怎么选工艺、怎么问报价、怎么不踩坑。
一、纸张尺寸：正度 vs 大度
印刷厂说的“正度”和“大度”，指的是全开纸的规格。
| 名称 | 全开尺寸 (mm) | 俗称 | 常见用途 |
|---|---|---|---|
| 正度 | 787 × 1092 | 正度纸、正开 | 国内传统规格，逐步淘汰中 |
| 大度 | 889 × 1194 | 大度纸、大规 | 国际标准规格，目前主流 |
为什么有这两种？ 787×1092mm是我国早年自行定义的规格，和国际标准不统一。现在大多数印刷厂都用大度纸，因为更省料、更通用。
二、常用开数：怎么把一张纸切成成品
“开”就是把全开纸切成若干等份。比如切成2份叫“2开”（对开），切成4份叫“4开”，以此类推。
大度纸（889×1194mm）开数表
| 开数 | 成品尺寸 (mm) | 裁切方式 |
|---|---|---|
| 全开 | 889 × 1194 | 不裁切 |
| 2开（对开） | 590 × 880 | 对折一次 |
| 4开 | 440 × 590 | 对折两次 |
| 8开 | 295 × 440 | 对折三次 |
| 16开 | 210 × 285 | 对折四次 |
| 32开 | 210 × 145 | 对折五次 |
注意：16开大度纸的成品尺寸是210×285mm，这是最常用的画册、宣传单尺寸。A4是210×297mm，印刷厂一般按285mm做，因为要留出血和修边。
设计师避坑：设计时如果客户说“我要A4大小”，确认他要的是210×297还是210×285。大多数印刷厂按210×285做，差12mm，排版时注意。
三、常用纸张种类
| 纸张种类 | 克重范围 (g/m²) | 特点 | 常见用途 | 避坑点 |
|---|---|---|---|---|
| 铜版纸 | 80-400 | 表面光滑、洁白度高、吸墨性好，分单面和双面 | 画册、海报、宣传单 | 遇潮易粘搭脱落，不适合长期保存 |
| 哑粉纸 | 80-250 | 无光铜版纸，不反光，更细腻高档 | 高档画册、典雅风格产品 | 彩色不如铜版纸鲜艳，更吃墨 |
| 双胶纸 | 60-230 | 伸缩性小、吸墨均匀、平滑度好 | 书刊正文、画报、信纸 | 不适合高精度彩印 |
| 白卡纸 | 190-400 | 坚挺厚实、平滑度高、挺度好 | 名片、证书、请柬、药盒 | 容易刮花，高档卡纸一般需要覆膜 |
| 牛皮纸 | 60-200 | 坚韧、耐水、黄褐色 | 包装、纸箱、文件袋 | 颜色单一，不适合彩印 |
| 灰板纸 | 300-3150 | 厚实、环保（再生废纸制成） | 精装书籍封面、礼品盒 | 表面粗糙，需要裱纸或覆膜 |
四、克重与厚度对照表
克重（g/m²）：每平方米纸张的重量。克重越高，纸张越厚，但不是绝对的——同样克重的不同纸张，厚度可能不同。
铜版纸克重与厚度
| 克重 (g/m²) | 厚度 (mm) | 常见用途 |
|---|---|---|
| 80 | 0.075 | 杂志内页 |
| 105 | 0.09 | 杂志内页、低档画册 |
| 128 | 0.11 | 画册内页 |
| 157 | 0.14 | 画册、海报（最常见） |
| 200 | 0.17 | 画册封面、明信片 |
| 250 | 0.21 | 明信片、名片、封面 |
| 300 | 0.30 | 名片、高档封面 |
| 350 | 0.37 | 名片、包装盒 |
| 400 | 0.45 | 包装盒、吊牌 |
白卡纸克重与厚度
| 克重 (g/m²) | 厚度 (mm) |
|---|---|
| 190 | 0.25 |
| 210 | 0.275 |
| 230 | 0.30 |
| 250 | 0.325 |
| 300 | 0.40 |
| 350 | 0.475 |
| 400 | 0.535 |
双胶纸克重与厚度
| 克重 (g/m²) | 厚度 (mm) |
|---|---|
| 60 | 0.08 |
| 70 | 0.09 |
| 80 | 0.11 |
| 100 | 0.12 |
| 120 | 0.15 |
| 160 | 0.18 |
| 180 | 0.22 |
| 200 | 0.24 |
| 230 | 0.28 |
五、艺术纸（特种纸）
艺术纸是经特殊工艺加工制成的纸张品种，具有独特纹理、丰富色彩及多样质感。
常用艺术纸分类
| 类别 | 特点 | 适用场景 |
|---|---|---|
| 珠光纸 | 珍珠光泽，表面有云母粉涂层 | 高档画册、贺卡、请柬、证书 |
| 皮纹纸 | 皮革质感，表面有压纹 | 书籍封面、名片、高档包装 |
| 刚古纸 | 英国刚古公司出品，有独特水印和肌理 | 高档名片、邀请函、证书 |
| 白卡艺术纸 | 白度高，表面可做各种艺术加工 | 明信片、高档画册、贺卡 |
| 硫酸纸 | 半透明，有磨砂质感 | 高档书籍扉页、包装内衬、设计图纸 |
| 环保艺术纸 | 含麻纤维、棉纤维等天然材料 | 高端艺术品复制、环保主题画册 |
国际高端艺术纸品牌
| 品牌 | 代表系列 | 特点 | 克重范围 |
|---|---|---|---|
| 哈内姆勒 (Hahnemühle) | Hemp Gloss Baryta | 60%麻+40%棉，无酸无木质素，博物馆级耐久性 | 305 |
| 竹尾 (TAKEO) | BIOTOPE GA-FS | 牛皮质感、坚实挺阔、亚光深邃 | 70-244 |
| 竹尾 (TAKEO) | ARAVEAL-FS | 风格细腻，手感柔软，印刷适应性高 | 81-233 |
| 法国Arches | Arches | 100%植物纤维，吸水性和色彩还原性好 | 250-300 |
六、三种印刷工艺，一张表看懂怎么选
| 你的需求 | 推荐工艺 | 理由 |
|---|---|---|
| 数量少（<200份）、急单 | 数码印刷 | 一张起印，当天可取，没有版费 |
| 数量多（>500份）、要求颜色好 | 胶印 | 颜色准、稳定、越印越便宜 |
| 塑料软包装、标签、纸箱 | 柔印 | 零食袋、饮料标、快递箱都是它 |
| 塑料薄膜、极大批量 | 凹印（滚筒） | 墨层厚、色彩饱和，但滚筒费极高 |
| 不规则曲面、头盔、玩具 | 水转印 | 能把图案包覆到任何形状 |
| 厚墨层、曲面、金属/玻璃 | 丝印 | 墨层厚、附着力强，适合特殊材质 |
| 大面积实色底 | 胶印 | 数码印大面积实色容易花 |
| 可变数据（二维码、编号、姓名） | 数码印刷 | 每张内容可以不一样 |
| 高档画册、奢侈品包装 | 胶印 + 烫金/击凸 | 有档次、有手感 |
| 打样确认 | 数码印刷 | 便宜、快，确认后再大批量印 |
七、报价不是玄学：为什么同样东西，价格差一倍？
不是报价乱，是你不知道报价背后绑定了什么。
1. 机器不同，价格不同
| 设备等级 | 代表机型 | 报价差异 |
|---|---|---|
| 入门级数码机 | 荣大、佳文 | 基准价 |
| 中端数码机 | 佳能、惠普 | +20%-30% |
| 高端数码机 | 富士施乐、柯尼卡美能达 | +50%-100% |
| 进口胶印机 | 海德堡、曼罗兰、小森 | 量大便宜，但开机费高 |
| 凹印滚筒 | 运城制版等 | 滚筒费几万到十几万 |
2. 油墨不同，价格不同
| 油墨等级 | 特点 | 报价影响 |
|---|---|---|
| 杂牌墨 | 颜色发灰、易褪色 | 便宜30%-50% |
| 国产主流（天龙、深日） | 颜色尚可 | 基准价 |
| 进口品牌（东洋、DIC、太阳化学） | 色彩饱和、耐晒 | +30%-50% |
3. 纸张不同，价格不同
| 纸张等级 | 特点 | 报价影响 |
|---|---|---|
| 杂牌纸 | 白度差、手感松 | 便宜20%-40% |
| 国产主流（太阳、晨鸣、金东） | 品质稳定 | 基准价 |
| 进口品牌（APP、UPM、日本王子） | 白度好、挺度高 | +30%-80% |
4. 报价公式
纸价 + 印前费用 + 开机费 + 印后费用 + 税率 + 送货车费 = 客户心理价
开机费：相当于最低消费，根据设备幅面、印刷难易程度、色数等会产生不同。凹印还有滚筒费，几万到十几万，但印到百万张后单价极低。
八、询价清单（直接复制发给印刷厂）
请提供以下信息，方便我比较报价：
- 用什么工艺？（数码/胶印/柔印/凹印/丝印/水转印）
- 用什么机器印？（品牌、型号）
- 用什么品牌的油墨？
- 用什么纸张？（品牌、克重、等级、是铜版还是白卡还是艺术纸）
- 成品尺寸是多少？（几开？）
- 是否含打样？（数码样还是上机样）
- 是否含送货？
- 废品率控制在多少？（缺数怎么补）
问清楚这8条，你收到的报价才有可比性。
九、报价潜规则：便宜有便宜的道理，贵有贵的道理
| 报价低的原因 | 可能的风险 |
|---|---|
| 用杂牌墨、杂牌纸 | 颜色差、褪色快、手感差 |
| 用老旧设备 | 套印不准、脏点、废品率高 |
| 减工序 | 少一道质检、少一层包装 |
| 低价抢单再增项 | 先报低价，后面加打样费、版费 |
| 报价高的原因 | 对应的价值 |
|---|---|
| 用进口设备 | 色彩准、网点细、稳定 |
| 用品牌墨、品牌纸 | 颜色好、耐久、手感好 |
| 工序完整 | 打样确认、质检、包装、送货 |
| 服务到位 | 文件检查、工艺建议、问题及时沟通 |
十、给品牌方的一句话总结
便宜的，是“印出来”。贵的，是“印好”。
选哪个，看你要的是“有”，还是“好”。
【中篇：写给设计师的一些经验总结】
你不是要懂报价，你是要知道设计稿怎么改、工艺怎么选、坑怎么避。
一、设计稿基本避坑
| 问题 | 正确做法 |
|---|---|
| 大面积实色 | 不要用数码印，换胶印或改设计 |
| 黑字太灰 | 大字 C30 M30 Y0 K100，小字 K100 |
| 白色忘了印 | 透明/深色材质上，单独做白墨层 |
| 小字重影 | 小字（<6pt）用单色黑或单色专色 |
| 跨页图被吃 | 中缝 3-5mm 不放重要内容 |
| 满版露白 | 底色拉出 3mm 出血 |
| 尺寸单位搞错 | 印刷厂用mm，不要用px或cm |
| 设计稿按A4做 | 先问印刷厂成品尺寸，大度16开是210×285，不是297 |
二、数码印刷
原理：≈ 大型激光打印机。硒鼓成像 → 转印 → 高温固化。
关键：碳粉是“粉”，不是“墨”。大面积实色容易不均匀。
| 适合 | 不适合 |
|---|---|
| 数量少（<200份） | 大面积满版实色 |
| 急单、打样 | 深色渐变 |
| 可变数据 | 超大LOGO实底 |
| 色条、小色块、文字 | — |
避坑点：
- 数码印大面积实色易有横向条纹（齿轮痕）
- 深色渐变容易断
- 实底色块不要太大
三、胶印
原理：印版→橡皮布→纸张。中间有橡皮布缓冲，所以叫“胶印”。
关键：印版贵，但越印越便宜。适合大批量、高精度。
| 适合 | 不适合 |
|---|---|
| 大批量（>500份） | 数量少（<200份） |
| 大面积实色 | 可变数据 |
| 高精度画册 | 急单 |
| 专色印刷 | — |
避坑点：
- 跨页图片中缝3-5mm会被装订吃掉
- 小字用单色，不要用多色叠（套印不准会重影）
- 要求看“上机样”，不要只看数码样
四、凹印（滚筒）
原理：印版滚筒表面雕刻凹坑，凹坑承载油墨，刮墨后压印到材料上。
关键：墨层厚、色彩饱和、层次丰富，是塑料薄膜软包装的绝对主力。
| 适合 | 不适合 |
|---|---|
| 极大批量（百万张级） | 短版 |
| 塑料薄膜（食品袋、洗衣液袋） | 改版频繁 |
| 卷烟包装 | — |
避坑点：
- 滚筒费极贵：几万到十几万，但印到百万张后单价极低。适合“一个产品卖三年”的包装
- 改版等于重做：滚筒雕刻是一次性的，改一次版相当于重新做一个滚筒
- 打样贵：凹印打样成本高，不适合反复试错
- 传统版辊网穴设计简单，印刷几十万次就磨损了。现代技术改进后，版辊可印上百万次
五、柔印
原理：橡胶/树脂版 + 网纹辊传墨 + 轻压印刷。
关键：你每天摸的零食袋、饮料瓶标、快递箱，大部分是柔印。
机器类型：
- 卫星式：各印刷单元围绕一个共用压印滚筒，套印准，但油墨干燥不良容易蹭脏
- 机组式：各单元独立，灵活性高
| 适合 | 不适合 |
|---|---|
| 塑料软包装 | 数量少（<5000份） |
| 不干胶标签 | 极高精度（<175线） |
| 瓦楞纸箱 | 高要求渐变 |
| 大批量、环保要求高 | 小字（<6pt） |
网纹辊：被称为“柔版印刷机的心脏”，采用激光雕刻陶瓷辊技术。网纹辊的网线数应与印版加网线数保持4倍左右的比例关系。
避坑点：
- 柔印小字至少6pt，最好8pt以上
- 柔印细线至少0.3mm
- 柔印渐变容易“跳”，跨度要大
- 网纹辊墨穴易堵塞，必须注意清洗及保养
六、丝印
原理：网版刮墨，油墨透过网孔印到承印物上。
关键：墨层厚、附着力强、能印曲面、能印特殊材质。
| 适合 | 不适合 |
|---|---|
| 曲面（塑料瓶、保温杯） | 高精度渐变 |
| 厚墨层、立体感 | 多色套印（套印不准） |
| 金属、玻璃、木头 | 极细小字 |
| 小批量 | — |
避坑点：
- 掉色问题：丝印是在产品上覆盖一层油墨，容易搓掉
- 套色不准：丝印手工上机，无法精确定位，套印不准是常态
- 无法印渐变：丝印是单色叠加，不能印网点渐变
- 小字易糊、细线易断
七、水转印
原理：将图案印在水溶性薄膜上，通过水压将薄膜图案包覆到物体表面。
关键：能包覆任何不规则曲面。
| 适合 | 不适合 |
|---|---|
| 不规则曲面（头盔、钓竿、玩具） | 平面（浪费工艺） |
| 小批量 | 极高精度 |
| — | — |
避坑点：
- 图案会拉伸：设计时要留余量，根据物体形状调整下水角度
- 水温需控制在20-30℃，低于15℃溶解慢，高于35℃提前溶解
- 深凹区域易形成气泡，需设计透气孔
- 避免尖锐棱角（≥90°直角），建议设计为圆角（R≥2mm）
八、UV数码印刷（塑料附着力）
原理：UV墨水通过UV灯瞬间固化，直接喷印在材料上。
关键：适合短版、打样、可变数据。
| 适合 | 不适合 |
|---|---|
| 短版塑料 | 大批量（成本高） |
| 打样 | — |
| 可变数据 | — |
避坑点：
- 塑料上附着力差：需要预处理——等离子处理、电晕处理、或涂底漆
- UV墨水在PP、PE等材料上容易脱落
- 白色要打底（深色材质上印彩色必须先印白墨）
九、工艺选择对照表
| 设计稿特征 | 数码印刷 | 胶印 | 柔印 | 凹印 | 丝印 | 水转印 |
|---|---|---|---|---|---|---|
| 大面积满版实色 | ❌ 易不均匀 | ✅ 很好 | ✅ 可以 | ✅ 很好 | ✅ 可以 | ❌ 不适合 |
| 深色渐变 | ⚠️ 可能断 | ✅ 好 | ⚠️ 容易跳 | ✅ 好 | ❌ 不能 | ⚠️ 会拉伸 |
| 色条、小色块 | ✅ 很好 | ✅ 很好 | ✅ 可以 | ✅ 很好 | ✅ 可以 | ⚠️ 会拉伸 |
| 文字 | ✅ 很好 | ✅ 很好 | ⚠️ 6pt以上 | ✅ 很好 | ✅ 可以 | ⚠️ 会拉伸 |
| 小字（<6pt） | ✅ 单色 | ✅ 单色 | ❌ 不推荐 | ✅ 可以 | ❌ 不推荐 | ❌ 不推荐 |
| 可变数据 | ✅ 强项 | ❌ 不能 | ❌ 不能 | ❌ 不能 | ❌ 不能 | ❌ 不能 |
| 不规则曲面 | ❌ | ❌ | ❌ | ❌ | ✅ 可 | ✅ 强项 |
| 塑料薄膜 | ❌ | ❌ | ✅ 主力 | ✅ 主力 | ⚠️ 可 | ❌ |
| 金属/玻璃 | ⚠️ UV可 | ❌ | ❌ | ❌ | ✅ 好 | ⚠️ 可 |
| 数量 <200 | ✅ 推荐 | ❌ 开机费高 | ❌ 制版费高 | ❌ 滚筒费高 | ⚠️ 版费低 | ⚠️ 膜费 |
| 数量 >500 | ⚠️ 单价高 | ✅ 推荐 | ⚠️ 制版费高 | ❌ 滚筒费高 | ✅ 可 | ✅ 可 |
| 数量 >5000 | ❌ 不划算 | ✅ 推荐 | ✅ 推荐 | ✅ 推荐 | ⚠️ 人工贵 | ✅ 可 |
十、给设计师的一句话总结
数码印适合：色条、小图、文字、可变数据。
大面积满版实色，请用胶印。
塑料薄膜、极大批量，找凹印。
塑料软包装、标签、纸箱，找柔印。
曲面、金属、玻璃、厚墨，找丝印。
不规则曲面、头盔、玩具，找水转印。
【下篇：报价逻辑与成本结构】
你不是要懂报价，你是要知道钱花在哪。
一、报价的核心公式
纸价 + 印前费用 + 开机费 + 印后费用 + 税率 + 送货车费 = 客户心理价
开机费：相当于最低消费，根据设备幅面、印刷难易程度、色数等会产生不同。
二、不同工艺的成本结构
| 工艺 | 前期费用 | 单价 | 适合批量 |
|---|---|---|---|
| 数码印刷 | 无版费 | 高 | <200份 |
| 胶印 | 开机费（几百-几千） | 低 | >500份 |
| 柔印 | 版费（几百-几千） | 低 | >5000份 |
| 凹印 | 滚筒费（几万-十几万） | 极低 | >50万份 |
| 丝印 | 网版费（几十-几百） | 中 | 小批量 |
| 水转印 | 膜费（几百-几千） | 中 | 小批量 |
三、纸张成本估算
大度纸单价 = 1.06 × [纸张克重/100] × [纸张吨价/10000]
举例：大度157克铜版纸，纸价7500元/吨时：
单价 = 1.06 × 1.57 × 0.75 = 1.248元/张
四、什么情况选什么工艺最划算
| 你的情况 | 推荐工艺 | 理由 |
|---|---|---|
| 印几百份画册 | 数码印刷 | 没有版费，单价虽然高但总量小 |
| 印几千份画册 | 胶印 | 开机费摊薄后，单价大幅下降 |
| 印几十万个塑料袋 | 凹印 | 滚筒费虽贵，但摊到百万张后几乎忽略 |
| 印几万个塑料包装袋 | 柔印 | 版费比凹印滚筒便宜得多 |
| 印几百个保温杯 | 丝印 | 网版便宜，适合小批量曲面 |
| 印几百个不规则头盔 | 水转印 | 能包覆曲面，小批量可行 |
【结尾：我十几年前就踩过的坑】
“我十几年前在印刷厂，第一次看到数码机印大面积蓝色底。印到一半，师傅关了机器，说：‘这活儿做不了。’
我当时不理解。
后来我离开印刷，去做设计、开餐厅、又回来。再进印刷厂，发现机器会自己调色了，废品自动剔除了，连二维码都是一张一个码。
但有一个道理没变：数码印适合色条、小图、文字、可变数据。大面积满版实色，请用胶印。
现在我做设计，看到客户发来的稿子是大面积实色，我会直接说：‘换工艺，或者改设计。’
不是不想做，是做出来你我都难受。
便宜的，是印出来。贵的，是印好。选哪个，看你要的是‘有’，还是‘好’。”
一个从印刷厂走出来、又回到设计桌前的人，坐下来跟你把印刷这件事聊透。
Printing Knowledge + Pitfall Avoidance Guide — 17vis Original Release
— Gravure, Flexo, Screen, Offset, Digital, Water Transfer Printing — All Explained Clearly
Someone who came out of a printing plant and later returned to the design desk sits down with you to talk through printing from start to finish.
(A Selection Guide for Brands/Clients + In-Depth Knowledge for Designers)
【Part 1: A Pitfall Avoidance Guide for Brands and Clients】
You don‘t need to understand printing. You need to know how to choose a process, how to ask for a quote, and how to avoid getting burned.
I. Paper Sizes: Standard vs. Large Format
When printers talk about “standard” and “large” sizes, they’re referring to the dimensions of a full uncut sheet.
| Name | Full Sheet Size (mm) | Common Name | Typical Use |
|---|---|---|---|
| Standard | 787 × 1092 | Standard paper, standard format | Traditional domestic specification, being phased out |
| Large | 889 × 1194 | Large-format paper, large format | International standard, currently mainstream |
Why are there two? The 787×1092mm size was an early domestic Chinese standard that didn‘t align with international norms. Most printing plants now use large-format paper because it’s more economical and universal.
II. Common Folding Formats: How to Cut a Sheet into Finished Pieces
“Format” refers to how many pieces a full sheet is cut into. For example, cut into 2 pieces is “2-format” (half-sheet), cut into 4 pieces is “4-format,” and so on.
Large-Format Paper (889×1194mm) Folding Table
| Format | Finished Size (mm) | Folding Method |
|---|---|---|
| Full Sheet | 889 × 1194 | Uncut |
| 2-format (half-sheet) | 590 × 880 | Fold once |
| 4-format | 440 × 590 | Fold twice |
| 8-format | 295 × 440 | Fold three times |
| 16-format | 210 × 285 | Fold four times |
| 32-format | 210 × 145 | Fold five times |
Note: The finished size of 16-format large paper is 210×285mm — the most common size for brochures and flyers. A4 is 210×297mm, but printers typically use 285mm to allow for bleed and trimming.
Designer Pitfall: When a client says “I want A4 size,” confirm whether they want 210×297 or 210×285. Most printers use 210×285 — the 12mm difference matters during layout.
III. Common Paper Types
| Paper Type | Weight Range (g/m²) | Characteristics | Common Uses | Pitfalls |
|---|---|---|---|---|
| Coated Paper | 80-400 | Smooth surface, high whiteness, good ink absorption; single or double-sided | Brochures, posters, flyers | Prone to sticking in humidity, not for long-term storage |
| Matte Coated Paper | 80-250 | Non-reflective, more delicate and premium | High-end brochures, elegant products | Less vibrant color than coated paper, more ink absorption |
| Offset Paper | 60-230 | Low stretch, even ink absorption, good smoothness | Book interiors, magazines, letter paper | Not suitable for high-precision color printing |
| Solid Bleached Board | 190-400 | Sturdy, high smoothness, good stiffness | Business cards, certificates, invitations, medicine boxes | Easily scratched; high-end cards usually need lamination |
| Kraft Paper | 60-200 | Tough, water-resistant, brownish-yellow | Packaging, cartons, file folders | Single color, not suitable for color printing |
| Greyboard | 300-3150 | Thick, eco-friendly (made from recycled waste paper) | Hardcover book covers, gift boxes | Rough surface, needs lamination or lining |
IV. Paper Weight vs. Thickness Reference Table
Paper weight (g/m²) : Weight per square meter. Higher weight generally means thicker paper, but not absolutely — different papers with the same weight can have different thicknesses.
Coated Paper Weight vs. Thickness
| Weight (g/m²) | Thickness (mm) | Common Use |
|---|---|---|
| 80 | 0.075 | Magazine interiors |
| 105 | 0.09 | Magazine interiors, low-end brochures |
| 128 | 0.11 | Brochure interiors |
| 157 | 0.14 | Brochures, posters (most common) |
| 200 | 0.17 | Brochure covers, postcards |
| 250 | 0.21 | Postcards, business cards, covers |
| 300 | 0.30 | Business cards, premium covers |
| 350 | 0.37 | Business cards, packaging boxes |
| 400 | 0.45 | Packaging boxes, hang tags |
Solid Bleached Board Weight vs. Thickness
| Weight (g/m²) | Thickness (mm) |
|---|---|
| 190 | 0.25 |
| 210 | 0.275 |
| 230 | 0.30 |
| 250 | 0.325 |
| 300 | 0.40 |
| 350 | 0.475 |
| 400 | 0.535 |
Offset Paper Weight vs. Thickness
| Weight (g/m²) | Thickness (mm) |
|---|---|
| 60 | 0.08 |
| 70 | 0.09 |
| 80 | 0.11 |
| 100 | 0.12 |
| 120 | 0.15 |
| 160 | 0.18 |
| 180 | 0.22 |
| 200 | 0.24 |
| 230 | 0.28 |
V. Art Papers (Specialty Papers)
Art papers are specialty papers made through unique processes, featuring distinct textures, rich colors, and varied finishes.
Common Art Paper Categories
| Category | Characteristics | Applications |
|---|---|---|
| Pearlescent Paper | Pearl-like luster, mica powder coating | High-end brochures, greeting cards, invitations, certificates |
| Leather Paper | Leather texture, embossed surface | Book covers, business cards, premium packaging |
| Conqueror Paper | British Conqueror brand, unique watermark and texture | Premium business cards, invitations, certificates |
| Art Cardboard | High whiteness, can be artistically processed | Postcards, high-end brochures, greeting cards |
| Parchment Paper | Translucent, frosted texture | Premium book endpapers, packaging liners, design drawings |
| Eco Art Paper | Contains hemp, cotton, or other natural fibers | High-end art reproductions, eco-themed albums |
International Premium Art Paper Brands
| Brand | Series | Characteristics | Weight Range |
|---|---|---|---|
| Hahnemühle | Hemp Gloss Baryta | 60% hemp + 40% cotton, acid-free, museum-grade durability | 305 |
| TAKEO | BIOTOPE GA-FS | Leather texture, firm and stiff, deep matte | 70-244 |
| TAKEO | ARAVEAL-FS | Fine texture, soft feel, high print adaptability | 81-233 |
| Arches (France) | Arches | 100% plant fibers, good absorbency and color reproduction | 250-300 |
VI. Three Printing Processes: A Quick Selection Guide
| Your Need | Recommended Process | Why |
|---|---|---|
| Small quantity (<200 units), urgent | Digital | Print from one copy, same-day pickup, no plate fees |
| Large quantity (>500 units), high color quality | Offset | Accurate color, stable, cheaper per unit at volume |
| Flexible plastic packaging, labels, cartons | Flexo | Snack bags, bottle labels, shipping boxes — all flexo |
| Plastic film, very large volume | Gravure (Rotogravure) | Thick ink layer, saturated color, but extremely high cylinder costs |
| Irregular curved surfaces, helmets, toys | Water Transfer | Can wrap图案 onto any shape |
| Thick ink, curved surfaces, metal/glass | Screen Printing | Thick ink, strong adhesion, great for special materials |
| Large solid color areas | Offset | Digital struggles with large solids — uneven color |
| Variable data (QR codes, serial numbers, names) | Digital | Each piece can be different |
| Premium brochures, luxury packaging | Offset + Foil/Embossing | High-end look and feel |
| Proofing | Digital | Cheap and fast — approve before mass production |
VII. Pricing Isn‘t Magic: Why the Same Job Can Cost Double?
It’s not that quotes are random — it‘s that you don’t know what‘s behind them.
1. Machine Type Affects Price
| Equipment Level | Examples | Price Difference |
|---|---|---|
| Entry-level digital | Rongda, Jiawen | Baseline |
| Mid-range digital | Canon, HP | +20%-30% |
| High-end digital | Xerox, Konica Minolta | +50%-100% |
| Imported offset | Heidelberg, Manroland, Komori | Low unit cost at volume, high setup fee |
| Gravure cylinders | Yuncheng Plate Making, etc. | Cylinder fees: tens of thousands to over 100,000 RMB |
2. Ink Brand Affects Price
| Ink Grade | Characteristics | Price Impact |
|---|---|---|
| Generic/recycled | Dull color, fades quickly | 30%-50% cheaper |
| Mainstream domestic (Tianlong, Shenri) | Acceptable color | Baseline |
| Imported brands (Toyo, DIC, Sun Chemical) | Saturated color, UV-resistant | +30%-50% |
3. Paper Brand Affects Price
| Paper Grade | Characteristics | Price Impact |
|---|---|---|
| Generic | Poor whiteness, loose feel | 20%-40% cheaper |
| Mainstream domestic (Sun, Chenming, Jindong) | Stable quality | Baseline |
| Imported brands (APP, UPM, Oji) | High whiteness, good stiffness | +30%-80% |
4. Pricing Formula
Paper Cost + Pre-press Cost + Setup Fee + Post-press Cost + Tax + Delivery Fee = Customer‘s Target Price
Setup fee: A minimum charge that varies based on equipment size, printing difficulty, number of colors, etc. Gravure also has cylinder fees (tens of thousands to over 100,000 RMB), but per-unit cost becomes extremely low at very high volumes.
VIII. RFQ Checklist (Copy and Send This to Printers)
Please provide the following so I can compare quotes:
- What process? (Digital / Offset / Flexo / Gravure / Screen / Water Transfer)
- What machine? (Brand, model)
- What ink brand?
- What paper? (Brand, weight, grade — coated, cardboard, or art paper?)
- What‘s the finished size? (What format?)
- Proof included? (Digital or press proof)
- Delivery included?
- Wastage rate? (How are shortages handled?)
With these 8 answers, your quotes become comparable.
IX. Pricing “Unwritten Rules”: Cheap Has Its Reasons, Expensive Has Its Value
| Why It‘s Cheap | Hidden Risk |
|---|---|
| Generic ink, generic paper | Poor color, fades fast, cheap feel |
| Old equipment | Misregistration, spots, high waste |
| Fewer steps | Missing quality checks, poor packaging |
| Lowball then upsell | Low base price, then added fees for proofs, plates, delivery |
| Why It’s Expensive | What You Pay For |
|---|---|
| Imported equipment | Accurate color, fine dots, stability |
| Branded ink and paper | Good color, durability, premium feel |
| Full process | Proofing, quality control, packaging, delivery |
| Good service | File checking, process advice, proactive communication |
X. One Sentence for Brands and Clients
Cheap means “printed.” Expensive means “printed well.”
The choice is yours: do you want “something” or “something good”?
【Part 2: Experience Summaries for Designers】
You don’t need to understand pricing. You need to know how to adjust artwork, how to choose processes, and how to avoid the traps.
I. Basic Artwork Pitfall Avoidance
| Problem | Correct Solution |
|---|---|
| Large solid color | Don‘t use digital. Use offset or redesign. |
| Black text too gray | Large type: C30 M30 Y0 K100. Small type: K100. |
| White forgotten | On transparent/dark substrates, add a separate white ink layer. |
| Small text misregistration | Small text (<6pt): use single-color black or spot color. |
| Cross-page image cut off | Keep important content 3-5mm away from the gutter. |
| Full bleed showing white | Extend background 3mm beyond trim. |
| Wrong units | Printers use mm — don’t use px or cm. |
| Design in A4 | Confirm finished size with printer first. 16-format large is 210×285, not 297. |
II. Digital Printing
How it works: ≈ Large laser printer. Drum imaging → transfer → heat fusing.
Key point: Toner is “powder,” not “ink.” Large solid areas are hard to keep even.
| Good For | Not Good For |
|---|---|
| Small quantity (<200 units) | Large solid color areas |
| Urgent jobs, proofing | Dark gradients |
| Variable data | Very large solid logos |
| Color bars, small color blocks, text | — |
Pitfalls:
- Large solids prone to horizontal streaks (gear marks)
- Dark gradients may break
- Avoid large solid color blocks
III. Offset Printing
How it works: Plate → blanket → paper. The “offset” comes from the rubber blanket.
Key point: Plates are expensive, but per-unit cost drops with volume. Best for large runs and high precision.
| Good For | Not Good For |
|---|---|
| Large quantity (>500 units) | Small quantity (<200 units) |
| Large solid color areas | Variable data |
| High-precision brochures | Urgent jobs |
| Spot colors | — |
Pitfalls:
- Keep important content 3-5mm away from the gutter on spreads
- Small text: use single color, not multiple colors (misregistration causes ghosting)
- Ask for a press proof, not just a digital proof
IV. Gravure Printing (Rotogravure)
How it works: Engraved cylinder surface with cells that hold ink; ink is transferred directly to the substrate.
Key point: Thick ink layer, saturated color, rich gradation — the dominant process for flexible plastic film packaging.
| Good For | Not Good For |
|---|---|
| Very large volume (millions of sheets) | Short runs |
| Plastic film (food bags, detergent pouches) | Frequent design changes |
| Cigarette packaging | — |
Pitfalls:
- Cylinder fees are extremely high: Tens of thousands to over 100,000 RMB, but per-unit cost becomes negligible at millions of sheets. Best for “one product sold for three years.”
- Changing the design means starting over: Cylinders are engraved once. A change requires a completely new cylinder.
- Proofing is expensive: Gravure proofs cost a lot — not suitable for trial and error.
- Traditional cylinder cells are simple and wear out after hundreds of thousands of impressions. Modern technology has improved this — cylinders can now print millions of times.
V. Flexo Printing
How it works: Rubber/photopolymer plate + anilox roller + light pressure.
Key point: Most of what you touch daily — snack bags, bottle labels, shipping boxes — is flexo.
Machine Types:
- Central Impression (CI): All printing units around a common impression cylinder — good registration, but risk of smudging if ink doesn‘t dry properly.
- In-line (Stack): Units are independent — more flexible.
| Good For | Not Good For |
|---|---|
| Flexible plastic packaging | Small quantity (<5,000 units) |
| Pressure-sensitive labels | Very high precision (<175 lpi) |
| Corrugated boxes | High-demand gradients |
| Large volume, eco-friendly | Small text (<6pt) |
Anilox Roller: Called the “heart of the flexo press,” laser-engraved ceramic rollers. The anilox line count should be about 4x the plate’s screen ruling.
Pitfalls:
- Small text: at least 6pt, preferably 8pt+
- Thin lines: at least 0.3mm
- Gradients tend to “jump” — use broad transitions
- Anilox cells clog easily — require careful cleaning and maintenance
VI. Screen Printing
How it works: Ink is pushed through a mesh screen onto the substrate.
Key point: Thick ink, strong adhesion, can print on curved surfaces and special materials.
| Good For | Not Good For |
|---|---|
| Curved surfaces (plastic bottles, tumblers) | High-precision gradients |
| Thick ink, dimensional effects | Multi-color registration (misregistration is common) |
| Metal, glass, wood | Extremely small text |
| Small batches | — |
Pitfalls:
- Durability: Screen printing leaves a layer of ink on the surface that can rub off.
- Registration: Manual operation makes precise registration difficult.
- No gradients: Screen printing applies solid colors — no halftone gradients.
- Small text tends to fill in; thin lines break easily.
VII. Water Transfer Printing
How it works: A图案 is printed on a water-soluble film, which is then applied to the object’s surface using water pressure.
Key point: Can wrap图案 onto any irregular curved surface.
| Good For | Not Good For |
|---|---|
| Irregular curved surfaces (helmets, fishing rods, toys) | Flat surfaces (wastes the process) |
| Small batches | Very high precision |
| — | — |
Pitfalls:
- Pattern stretching: Design with allowance; adjust the immersion angle based on the object‘s shape.
- Water temperature: control at 20-30°C. Below 15°C dissolves slowly; above 35°C dissolves prematurely.
- Deep concave areas trap bubbles — design vent holes (φ1-2mm).
- Avoid sharp corners (≥90°). Design rounded corners (R≥2mm).
VIII. UV Digital Printing (Adhesion on Plastic)
How it works: UV ink is instantly cured by UV lamps as it’s printed directly onto the material.
Key point: Great for short runs, proofing, and variable data.
| Good For | Not Good For |
|---|---|
| Short-run plastic | Large volume (high cost) |
| Proofing | — |
| Variable data | — |
Pitfalls:
- Poor adhesion on plastic: Requires pretreatment — plasma treatment, corona treatment, or primer.
- UV ink容易脱落 on PP, PE, and other non-porous plastics.
- White ink base needed: on dark or transparent materials, a white undercoat is required before printing color.
IX. Process Selection Reference Table
| Artwork Feature | Digital | Offset | Flexo | Gravure | Screen | Water Transfer |
|---|---|---|---|---|---|---|
| Large solid color area | ❌ Uneven | ✅ Good | ✅ OK | ✅ Good | ✅ OK | ❌ Not suitable |
| Dark gradient | ⚠️ May break | ✅ Good | ⚠️ May jump | ✅ Good | ❌ No | ⚠️ Stretches |
| Color bars, small blocks | ✅ Good | ✅ Good | ✅ OK | ✅ Good | ✅ OK | ⚠️ Stretches |
| Text | ✅ Good | ✅ Good | ⚠️ 6pt+ | ✅ Good | ✅ OK | ⚠️ Stretches |
| Small text (<6pt) | ✅ Single color | ✅ Single color | ❌ Not recommended | ✅ OK | ❌ Not recommended | ❌ Not recommended |
| Variable data | ✅ Strong | ❌ No | ❌ No | ❌ No | ❌ No | ❌ No |
| Irregular curved surfaces | ❌ | ❌ | ❌ | ❌ | ✅ OK | ✅ Strong |
| Plastic film | ❌ | ❌ | ✅ Strong | ✅ Strong | ⚠️ OK | ❌ |
| Metal/glass | ⚠️ UV possible | ❌ | ❌ | ❌ | ✅ Good | ⚠️ OK |
| Quantity <200 | ✅ Recommended | ❌ High setup | ❌ High plate cost | ❌ High cylinder cost | ⚠️ Low plate cost | ⚠️ Film cost |
| Quantity >500 | ⚠️ High unit cost | ✅ Recommended | ⚠️ High plate cost | ❌ High cylinder cost | ✅ OK | ✅ OK |
| Quantity >5,000 | ❌ Not cost-effective | ✅ Recommended | ✅ Recommended | ✅ Recommended | ⚠️ Labor intensive | ✅ OK |
X. One Sentence for Designers
Digital is for: color bars, small graphics, text, variable data.
Large solid color areas? Use offset.
Plastic film, very large volume? Go gravure.
Flexible plastic packaging, labels, cartons? Go flexo.
Curved surfaces, metal, glass, thick ink? Go screen printing.
Irregular curved surfaces, helmets, toys? Go water transfer.
【Part 3: Pricing Logic and Cost Structure】
You don‘t need to understand quoting. You need to know where your money goes.
I. Core Pricing Formula
Paper Cost + Pre-press Cost + Setup Fee + Post-press Cost + Tax + Delivery Fee = Customer’s Target Price
Setup fee: A minimum charge that varies based on equipment size, printing difficulty, number of colors, etc.
II. Cost Structure by Process
| Process | Upfront Cost | Unit Cost | Best Volume |
|---|---|---|---|
| Digital | No plate fees | High | <200 units |
| Offset | Setup fee (hundreds to thousands) | Low | >500 units |
| Flexo | Plate fees (hundreds to thousands) | Low | >5,000 units |
| Gravure | Cylinder fees (tens of thousands to >100k) | Extremely low | >500,000 units |
| Screen Printing | Screen fees (tens to hundreds) | Medium | Small batches |
| Water Transfer | Film fees (hundreds to thousands) | Medium | Small batches |
III. Paper Cost Estimation
Large-format paper unit price = 1.06 × [paper weight / 100] × [paper price per ton / 10,000]
Example: Large-format 157gsm coated paper at 7,500 RMB/ton:
Unit price = 1.06 × 1.57 × 0.75 = 1.248 RMB/sheet
IV. Which Process Is Most Cost-Effective for Your Situation?
| Your Situation | Recommended Process | Why |
|---|---|---|
| Printing a few hundred brochures | Digital | No plate fees — higher unit cost but low total |
| Printing a few thousand brochures | Offset | Setup fee amortized, unit cost drops significantly |
| Printing hundreds of thousands of plastic bags | Gravure | High cylinder cost amortized over millions of units |
| Printing tens of thousands of plastic bags | Flexo | Plate fees much cheaper than gravure cylinders |
| Printing hundreds of tumblers | Screen Printing | Low screen fees, suitable for small-batch curved surfaces |
| Printing hundreds of irregular helmets | Water Transfer | Can wrap curved surfaces, feasible for small batches |
【Closing: The Pitfalls I Stepped in Over a Decade Ago】
“Over a decade ago, when I was working in a printing plant, I saw a digital press trying to print a large solid blue background for the first time. Halfway through, the operator stopped the machine and said, ‘This job can‘t be done.’
I didn’t understand it then.
Later, I left printing, went into design, ran a restaurant, and then came back. When I returned to the printing plant, I saw machines that could calibrate their own colors, automatically reject waste sheets, and even print unique QR codes on every single piece.
But one truth hasn’t changed: Digital is good for color bars, small graphics, text, and variable data. Large solid color areas? Use offset.
Now, as a designer, when I see a client‘s file with large solid color areas, I say directly: ‘Change the process, or change the design.’
It’s not that I don‘t want to do it — it’s that neither of us will be happy with the result.
Cheap means ‘printed.’ Expensive means ‘printed well.’ The choice is yours: do you want ‘something’ or ‘something good‘?”
Someone who started in a printing plant, returned to the design desk, and sat down to talk through printing — clearly and honestly.