Nova Era Barcelona is a Graphic Arts company set up in 1992, specialising in Photosetting, Offset, Digital Printing and Binding.
In 1996 we were the European pioneer working with Hexachrome and stochastic screening.
Another is printing work on porous paper (Munken, Freelife Vellum, Cocoon, Arcoset... etc.) to give photographs a broad chromatic range.
Working with CMYK using special software and inks (achieving colours similar to Hexachrome).
Specialists in RGB to CMYK conversion.
Colour proofs on offset printing paper itself and Eurostandard Digital Cromalin.
Nova Era works always with Sublima screening (reproduces images with higher definition.)
- Offset Printing Formats of 72 x 102 - 52 x 72.
- High Range Digital Printing Formats 32 x 46 cm.
- Hardback, Paperback, Staple Binding / Stamping / Perforation
Clients include Fundació A. Tàpies, Fundació Joan Miró, MACBA, CCCB, MNAC, Museu Picasso, Fundació CatalunyaCaixa... Designers / Artists Frederic Amat, Javier Mariscal, Peret, Satué, Mario Eskenazi, Albert Folch, Dani Navarro, Bendita Gloria...
Books / Catalogues by Cristina Iglesias, Fernando Bryce, Miquel Barceló, Ferran García Sevilla...
Photographers Manel Esclusa, J.M. Ferrater, Pep Bonet, Maria Espeus, Dany Virgili, Ricardo Miras...
NOVA ERA OFFSET PRINTING MANUAL
1. The most important aspect when starting out on a project is to open up a dialogue between Designer/Photographer/Client and the firm that will be executing the printing to:
a) Optimise costs (format that will make best use of paper, inks, type of gloss, photograph features, major colour casts and the choice of paper that is best suited taking into account content and photographic matter.)
b) Agree binding and finishing (essential for determining costs)
2. Nova Era always asks for open documents so as to check content and for any possible errors before starting the printing process (monitoring bleed, rich blacks … and text trapping; filtering all photographs and adapting them to each paper type)
3. All the photographs that come in to us have our proprietary profiles applied to them, adapting them to each paper type (coated, bulk, porous) and achieving an enhancement of up to 20% in low quality photographs.
4. We carry out all our work using Sublima screening, considered to produce the highest quality and image definition, making dots practically invisible and so avoiding problems associated with moiré.
5. Conversion from RGB to CMYK is done by applying our own profiles and free of charge to the client.
6. We specialise in Monochrome, Hexachrome and Hexachrome-emulating Software at CMYK prices (see www.novaerapublications.com).
7. We produce colour proofs using the same paper as the final prints in offset or Eurostandard Digital Cromalin
8. Quality control for the whole print run is carried out by the two technicians assigned to the client/designer from the start of the project and who have developed the profiles and understand the job, the most significant photographs and desired colour casts, gloss density and type, etc. These same two technicians are standing by the machine for every sheet of the run, executing adjustments and fine-tuning photographic output to the same demanding level as the client's.
9. It has always been our maxim that the best printer in the world can only ever produce an image that is as good as the CTP plate. That is why we have been perfecting our profiles over the last 14 years, so that, when we create a plate, it delivers a finish in line with our superior profile specifications.
10. Our highly sophisticated profiles and print-run quality control are what sets the Nova Era service apart!
PS WE WON'T LET PRICE GET IN THE WAY OF DELIVERING A FIRST CLASS JOB – LET'S TALK!!
Frederic Amat: Baro d’evel, ils sont apparus avant de naître. Parce qu’il y avait mes yeux de sept ans qui avaient vu le cirque américain. Ce cirque qui, pendant l’époque franquiste, faisait des tournées partout. Ce cirque où il y avait cet homme-canon. C’est ma première expérience du cirque : la capacité à voler. Les animaux aussi. Mais cela me donnait beaucoup de tristesse. Sauf quand cinquante ans plus tard, j’ai rencontré un cheval qui dormait sur scène et, là, c’est l’homme qui m’a donné beaucoup de tristesse. C’était Bonito, c’était Baro d’evel.
- Pages: 336
- Size: 24,5 x 24,5 cm
- Printing: Nova Era