• Measurements are given as height x width.
• All live copy must be kept within the type area; this includes all text, image, keylines and keycodes.
• Type Area Only specs on broken space ads are designed to sit within the Type area of the whole page.
• Broken space ads that bleed are designed to centre the type area within the ad space.

 

Delivery Requirements

Sunday Life Magazine requires all material to be sent in via Quickcut.All advertisements submitted via Quickcut will be converted to PDF files using the guidelines created by 3DAP. These guidelines are published at the web site www.3dap.com.au. For more information on Quickcut and delivery please contact Quickcut on 02 9949 0500 or at www.quickcut.com.auWhen ads are received via Quickcut our Advertising Co-ordinator will check all messages that accompany the ad to ensure that it is acceptable. They will also output a positional proof to ensure it resembles the supplied client proof. Our team of Imaging Specialists is also on hand to check the colour within the files, and to ensure that the reproduction of the supplied creative will be to the expectation of the client proof.Booking Number
There are a number of mandatory fields that must be entered prior to acceptance of your ad by Quickcut. One of these fields is the booking number. Please contact your Advertising Co-ordinator to obtain the booking number for your creative.

Storage and Repeats
Please do not send ads more than 4 days prior to the advertising delivery deadline. Fairfax will store digitally supplied material for a period of three months. Repeat ads may be co-ordinated with Advertising Co-ordinator using the booking number relevant to the required publish date, however, it is advisable to resend the advertising material for each schedule to ensure that you run the material you require.

 

Print Specifications

Process	Computer to Plate. Four colour process
Screen ruling:	133lpi
Dot structure:	Round
Screen angles:	Cyan	15 degrees
	Magenta	45 degrees
	Yellow	90 degrees
	Black	75 degrees
Print Sequence:	Black, cyan, magenta, yellow

 

Proofs

Proofs should provide an accurate representation of the intended print result and are necessary for us to ensure colour accuracy on press. For this reason, Fairfax will only accept 3DAP compliant proofs. If you choose not to supply a digital proof, Fairfax cannot be held responsible if the printer result varies from what the client has approved. To produce adequate digital proofs we require 3DAP approved digital proofs (see www.3dap.com.au)To assist the publisher and the printer in achieving the best possible print result, we recommend that certain procedures be followed to ensure that the digital proof complies with the Fairfax endorsement.1. It is essential that the PDF file used to create the proof is the same one that is supplied for reproduction. The file name and date the file was saved should be included on the proof which should be printed at 100%.2. Correct viewing conditions should be used when viewing proofs, transparencies and original copy. For accurate colour and tonal value perception, International Standards state that lighting of 5000K (ANSI standards PH 2.30-89) should be used for viewing and have a colour rendering index (intensity) in the high 90s. The viewing surrounds should be a glare-free neutral gray. The influence and effect of daylight when viewing material can also dramatically alter how colour appears.3. To ensure the accuracy and consistency of proofs, it is essential that the calibration of equipment used to produce proofs is monitored and kept within the manufacturer's guidelines.4. In order to verify the accuracy of data transfer and/or interpretation, each proof must have a 3dap endorsed control strip at the top of the page to allow for measuring using a spectrophotometer. With identification of what proofing system used and your company logo included.5. If you would like further information, please call James Hawkes, Colour Manager, Magazine Operations (02 9282 3618, jhawkes@mail.fairfax.com.au) or contact your proofing vendor/supplier to obtain information about the calibration and settings for your proofer colour profile. It is essential to follow the recommendations for setup and quality control of the proof engine to provide a Fairfax compliant proof.

Colour Guidelines

Spot Colour
This is achieved by using the four colour printing process (i.e. PMS colours must be broken down into CMYK process).

Process Colour
Colour specified in percentages of cyan, magenta, yellow and black.

Dot Gain
Dot gain is not a fault of web offset printing, but rather a characteristic. The dot gain can to some extent be accommodated in production but there are some things, outlined below, that can help:

• All material should compensate for dot gain of up to 15-20% in the 50% dot area. Ensure midtones are lighter and have more contrast to compensate for the above dot gain.
• Highlights can also muddy if there is a black dot visible, which will also gain on press. The first printing highlights should be:

	C	M	Y	K
First printing highlight	3%	2%	2%	0%
Midtones	Allow for up to 15-20% dot gain
Shadow	Range from 265-285%

Under Colour Removal
Under Colour Removal (UCR) is a function which reduces the amount of cyan, magenta and yellow in the neutral shadow areas and replaces them with black. This helps minimize ink set-off and also improves contrast and shadow detail.
Correct settings on the scanner for the black tone curve is critical. A conventional commercial separation program contains a full range black printer, affecting the majority of the tonal range. In comparison, separations for Sunday Life magazine should contain a short range black printer. For best results, the first black dot should be introduced around the midtone region (50%) and gain tonally towards the shadow stopping at 90%. A short range black is necessary to keep important subject colours clean, vibrant and truer to the original.
We suggest using a skeleton black starting at 50% and ranging to 90% in the shadow end.
Shadow areas in skin tones should use either cyan or black - not both. Magenta and yellow in skin tones should be around 25-35% each.
The amount of shadowing should be kept to a minimum, especially with dark, muddy or dirty colours that have a tendency to fill in on press.

Grey Balance
Maintaining Grey balance throughout the separation is extremely important for quality four-colour reproduction.
Separations without neutral Grey's will reproduce with perceivable colour casts on press. As a general rule for magazine reproduction, Grey balance requires slightly more cyan relative to less amounts of magenta to yellow.

Four Colour Mono Images
Four colour mono images have a tendency to reproduce with colour and tonal shifts and often the result differs to the original proof. We suggest using an achromatic, or GCR, set-up. Increasing the use of black and reducing the other three colours will result in a more neutral image that will reduce the risk of tonal and colour shifts on press.

Total Saturation
The total saturation for process colour material should range from 265-285%. This helps compensate for dot gain and allows for maximum shadow detail with minimum ink set-off.
Saturation exceeding 285% will not result in darker shadows on magazine stock. It simply leads to excessive set-off and causes shadow areas to plug; thus reducing printed shadow detail.
Any single colour not intended to print solid should not exceed 80%.
We recommend that large areas of black be at least two colour (100% black, 60% cyan) or four colours.

Colour Correction
In addition to addressing colour casts in an original, colour correction takes on greater meaning in complimenting the inks and the stock used. Colour correction should be utilized in all colour separations generated for magazine reproduction. The main purpose of colour correction is to reduce the underlying colours that tend to dirty the desired result on improved newsprint stock.
Significant improvement in reproduction quality can be obtained by keeping images clean and bright through minimizing contaminated colours. For example, taking yellow out of blues, magenta out of greens, cyan out of yellows and so on without sacrificing detail to obtain clean colours, which significantly increases the quality of the reproduction.
These colour techniques and recommendations will produce cleaner, brighter images and can be applied to any kind of creative without the need to sacrifice mood. Following these recommendations will provide the best opportunity of reproducing colour on press.

Separation Table
The Magazine Separation Table located in the Downloads section of our web site is not suitable for this product.

 

Typefaces

San serif typefaces are the best choice for reproduction. They reproduce easily with desired readability. Typefaces with thin or delicate serifs and strokes should be avoided. Extremely fine strokes can drop out, while thick strokes can plug on the press. Because of the ink and stock relationship, small type tends to lose definition on the press.
Coloured type or solid backgrounds can print using a single colour at 100%. Should a second or third colour be required, these extra colours should be limited to 95%, keeping within the total ink limit of 285%. This will allow the ink to trap on the press and result in a consistent and balanced printing.
For legibility reasons, consideration should be given when attempting to reproduce type as a light screen tint. For best results, avoid screening type styles with a fine to medium weight and those with serifs.
For optimum results it is suggested that type not overprint a background screen (tint or ghosted image) greater than 30% visual density. This allows for dot gain and provides necessary contrast between text matter and the background image.

Typefaces in Reverse

• Typefaces in four colours should be sans serif and bold, no smaller than 12pt.
• Type with serifs or screens, reversed out of a four colour image or colour, should be 12pt or greater in size, otherwise the material will not be accepted. This allows for slight variances in register while maximizing legibility.
• Any reverse type should be limited to two colours maximum. For contrast and readability, reverse type should not be positioned within screened areas less than 50%, or in yellow or other light coloured backgrounds.

 

Line Art

Minimum width 0.125mm (0.005 inch) with a maximum of two colours overprinting.
Avoid line art less than 1 pt.

 

Disclaimer

Whilst internal production processes may verify that material is within specifications the onus is firmly on the tradehouse to supply material within specification. It is also a requirement of our specifications that advertising material be delivered on time so quality checking procedures can take place. Late material is liable to incur additional production costs.
John Fairfax reserves the right to refuse any material that does not meet the Fairfax specifications.