What if you've to write an article about the production of an high value added magazine cover but the cover itself is not produced at this stage?

Well, you need to think about CGI but – and that is the hardest part – you have to be able to understand each and every effect that will get used for that particular cover in prior to the production and be able to reproduce each decoration, each material, each pigment and varnishing to end up with realistic visualizations of the final product. In best case there should be no differences between the CGI-Version and the later produced real version.

To do so you need a lot of understanding about value added print production and those interferrences all materials and processes have on each other and you have to be able to rebuild that in your CGI programme.

All three images were rendered in a murder rsolution of 8000 x 6000 pixels to get the most brilliant end result possible. So your Hardware has also to be well equiped to render such large and detailed images with a lot of reflections, refractions, matt surfaces and transparencies in an adequate time.

The good thing about that job was, that I was also responsible for the print production and production management for that wrap-arround-cover and so the pieces came together in the right manner.

At the end, the results were breathtaking and the cover, the article and the illustrations were ready just-in-time. After finishing the print job I took my time to compare the final real-life-job with my renderings and I found only tiny differences. So this was a great and satisfying job in each and every sense.

The cover was produced at Bretschneider on Carta Allura from Metsä Board, Foils from Kurz with gorgeous tools from Hinderer & Mühlich (Hot Foil, Microembossing and Blind Embossing) , Pigments from Merck, Varnishes and Coatings from Weilburger and the fantastic Graphics Design from G.A.S.