Comic Booklet Printing for Mumbles Chapter 2 by Bob Nutts

A4 Booklets
4pp Cover onto 170gsm uncoated
16pp Text onto 150gsm uncoated
Black & White print throughout
Trimmed, collated and wire stitched

This spec is a sweet spot for black-and-white comics: heavy enough to feel like a “proper” object, but still easy to flip quickly — which is exactly how readers tend to consume punchy illustration-led books.

“The edition was really well printed by you guys so I’d like to use you again.”

Mumbles Chapter 2 is the kind of black-and-white comic that rewards close looking — hugely detailed, fantastical illustrations where every line matters. We printed it on a crisp white uncoated stock so the deep black strokes stay sharp, while the white space does the job of “spotlighting” the best bits against those dense, shaded backgrounds.

If you’re planning something similar, it’s worth reading our wire stitching set up guide (/resource/wire-stitching-set-up-guide/) and our booklet printing guide (/print-booklet-guide-how-to-print-a-booklet/) before you export your PDF.

About the Graphic Novel

This is an A4, staple-bound comic booklet aimed squarely at comic lovers — especially anyone drawn to black line illustration and oddball, imaginative character work. The artwork style is busy in the best way: heavy texture, tight hatching, and confident cartoon lettering that feels hand-made rather than clinical.

That’s exactly why the material choice matters here. Uncoated paper keeps the whole thing feeling direct and “drawn”, and it helps those blacks sit cleanly without turning the page into a glare-fest under overhead lighting.

Want to get a quick price for printing upto 20 graphic novels or comics? Start with our Instant Quote Calculator

Design Details

The standout here is contrast. The paper is doing a lot of the heavy lifting: that crisp white uncoated base gives maximum separation between the fine linework and the shaded, intense backgrounds.

A few things we love (and you can see it across the spreads):

• White space as pacing: the eye gets pulled to faces, hands, and lettering first — then you fall into the texture.
• Dense backgrounds without muddiness: the uncoated finish keeps it readable and tactile, instead of glossy and distracting.
• Hand lettering that stays sharp: perfect for comics where the “voice” is in the mark-making.

The Client’s Print Journey

This was a repeat run — the creator came back for a second edition after being happy with the first. We priced it, checked the preferred file delivery route, then handled a quick production flow:

• files sent over via transfer,
• we confirmed a black & white conversion,
• final PDF proof was approved,
• then it went straight onto press.

On delivery, there was a courier hiccup (left without a signature, outer box damp), but the books arrived safe — and we stayed responsive and straight with the client about what had happened.

If you want the same smooth proof-to-press process, see how our print journey works or send your files via Ready to Order

How Ex Why Zed Helped

• Paper guidance: uncoated + crisp white was the right call for high-detail line drawings.
• Preflight + proofing: we pushed a clean final proof link and made sure the booklet would trim correctly before it hit the queue.
• Format that suits the content: wire stitching keeps it flexible in the hand — ideal for quick re-reads and showing people your work without fighting the spine.

Takeaways for Your Next Comic Booklet

• If the art is line-led, pick uncoated. It keeps the marks honest and helps avoid glare while you’re reading.
• Let white space do some of the storytelling. It’s not “empty” — it’s contrast, pacing, and focus.
• Staple binding is your friend for short comics. It flips fast, sits nicely on a desk, and doesn’t add bulk.
• Export as pages, not spreads, for stitched booklets. It saves time at preflight and reduces pagination errors.