Interview with Gomer Press: Anthony Tomlinson
The Legends Journal interviews Anthony Tomlinson from Gomer Press on their work, involvement in the Legends project and career path so far.
About the Process
L.J. Can you explain the lithographic printing process and what sets it apart from other printing methods?
A.T. The lithographic or offset printing process begins with digital artwork provided by the publisher, designer, or sometimes the author. This artwork is processed through our prepress software, where we check for errors and provide proofs for approval. Once approved, the files are used to create plates—one for each colour—for every section of the book. The standard colours used are cyan, magenta, yellow, and black (CMYK), although we can also work with Pantone or other special inks.
These aluminium plates are mounted onto rotating cylinders, where the image area is inked, and the non-image area is kept free from ink by a thin film of water. The image is then transferred to a rubber blanket and finally onto the paper.
Our Heidelberg press uses UV inks, which are cured almost instantly by UV lamps on each unit of the press. This rapid drying process ensures the inks remain on the sheet surface rather than being absorbed into it, resulting in brighter colours and sharper images. This technology enables us to achieve outstanding image quality, even on uncoated materials.
L.J. How do you manage colour consistency and accuracy throughout a print run, especially on large-scale projects? How does colour play a role in B&W printing?
A.T. Our presses are calibrated to ISO/Fogra standards for both coated and uncoated substrates using Heidelberg software. During printing, sheets include colour bars containing swatches that are scanned with a spectrophotometer. The scans provide data on tonal values before and after processing, highlighting changes in dot gain. This information is used to create calibration curves for the plate setter, ensuring precise tonal adjustments.
Each sheet printed during a run also contains a colour bar that is measured by an inline spectrophotometer. The press operator can adjust settings in real-time to maintain consistency across the entire run.
In black-and-white printing, colour may seem unnecessary, but adding levels of cyan, magenta, and yellow creates a “rich black.” This deepens the black tone and adds saturation, enhancing solid areas and halftone shadows. These additional colours also allow for adjustments in warmth, creating greater depth and tonal variation.
L.J. What types of paper and materials do you work with? How do you recommend choosing the right paper and finishes for a project? What impact did the finishes on the Legends catalogue have?
A.T. Colours tend to appear brighter on coated paper, but many people prefer the natural texture of uncoated stock. UV inks improve results on uncoated papers, but the outcome will still be softer compared to coated materials. We offer a wide range of papers, including matt, silk, and glossy finishes, available in various weights (gsm) and thicknesses.
For customers unsure about their choice, we’ve created a paper guide featuring a 16-page section printed on six different paper stocks. This allows clients to see firsthand how images vary across different types of paper.
For the Legends catalogue, we used satin paper stock, which provided excellent image reproduction without the glare of glossy paper. Both the text pages and cover were printed on heavy-weight materials, giving the book a sturdy, high-quality feel. The spot UV finish on the cover highlighted specific design elements, such as the title, creating a modern and elegant effect.
L.J. What are some of the most challenging aspects of lithographic printing, and how do you address them?
A.T.One challenge with lithographic printing is the cost and time required for setup, especially for short runs. This involves creating printing plates, which can be expensive and time-consuming. To address this, we offer digital printing as an alternative for short runs or projects with tight deadlines, ensuring we can always provide a solution regardless of project size.
L.J. How do you collaborate with creatives such as designers, institutions, and artists to achieve the desired results?
A.T. Understanding what the creatives want to achieve is crucial, and clear communication is key to delivering a product they’re happy with, within budget and timelines. As a fourth-generation family-owned business established in 1892, we bring extensive experience to every project. This expertise helps us make informed decisions about materials, printing methods, pricing, and more, ensuring collaborative success.
About Your Role
L.J. How did you end up working in the printing industry? What attracted you to it?
A.T. After leaving school, I was eager to start earning, so I accepted a job at the same company my brother worked for. Initially, it was just about getting a job, but once I became involved in the industry and saw the incredible variety of products—packaging, wallpaper, newspapers, and more—I was hooked.
L.J. How did you learn about printing as a career?
A.T. My first role was as a trainee, rotating through departments and learning each stage of Anilox roller production. This sparked my curiosity about the wider printing industry. I researched extensively and completed several eLearning courses to deepen my knowledge. Over 25 years and four employers later, I’ve gained a wealth of experience in the field.
L.J. What is the most satisfying part of your job?
A.T. For years, I worked on manufacturing parts for printing presses without ever seeing the final printed products. Now, seeing a beautifully finished book and knowing how all the components came together feels incredibly rewarding. The most satisfying part, however, is receiving heartfelt feedback from customers, especially authors who have spent years on their projects. Their gratitude and excitement make the effort worthwhile.
L.J. What is the most challenging part of your role?
A.T. Before joining Gomer, I had little experience in customer-facing roles. Building confidence to interact directly with customers was a challenge, but I’ve learned that communication is key. Every customer I’ve dealt with has been kind and collaborative, which has made the learning process much easier.
L.J. Do you have a hobby or interest that led you to this field?
A.T. I’ve enjoyed designing websites for friends and family, restoring old photos, and creating prints and canvases in my spare time. I’ve also worked on business stationery for local companies, so my interest in design and printing goes beyond my professional role.
L.J. What was your first job after leaving school?
A.T. While studying A-levels in Computing and IT, I worked part-time in bars and restaurants. After finishing my studies, I started as a trainee in a prepress manufacturing facility, which marked the beginning of my career in the printing industry.
L.J. What advice would you give young people pursuing a similar career?
A.T. The printing industry offers diverse opportunities in design, marketing, engineering, sales, and more. Focus on what you love, whether it’s creating artwork, overseeing projects, or operating presses, and pursue relevant qualifications. This will help you secure a role that you’re passionate about.
L.J. What skills are essential for your role?
A.T. Working under pressure to meet deadlines, budgets, and goals is vital. However, effective communication is the most important skill for delivering excellent results and maintaining strong client relationships.
L.J. Do you have a favourite portrait from Zoë Law’s Legends series?
A.T. As a northerner and a Man City fan, I admire the portraits of Noel Gallagher, Alex Williams, and Colin Bell. Beyond their football achievements, Alex and Colin have done incredible work for the local community and charities.
Photographically, I’m drawn to the Sienna Miller portrait. Its strong composition, contrasting soft textures with rugged materials, and the simplicity of black-and-white create a striking image.
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Gomer Press – gomerprinting.co.uk
