Académique Documents
Professionnel Documents
Culture Documents
Understanding
Color
In a Digital Workflow
Kenneth F. Hoffmann
This copy for internal Xerox use only.
Understanding
Color
In a Digital Workflow
Kenneth F. Hoffmann
Digital Imaging & Publishing Technology
National Technical Institute for the Deaf
Rochester Institute of Technology
1999
Table of Contents
3. Conventional prepress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
4. Digital prepress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
5. Digital file output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
6. File to print options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
7. Choosing a print process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3. Bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4. Vector graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
5. Fonts are vector images . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
6. Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
7. Interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
8. Resolution rules for scanning . . . . . . . . . . . . . . . . . . . . . . . . 57
9. Output resolution, lpi, and gray levels . . . . . . . . . . . . . . . . . 58
10. File types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
11. File types and sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
12. File Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
2. Explain how project variables may influence cost, design, substrate, print
process, and binding.
3. Compare the steps required to print a job on a digital press and an offset press.
Key words to learn in this part: Part One: Color from Design
to Print
Turnaround time Substrate
Conventional prepress Digital prepress 1. Project planning and the
impact on design and
Preflighting Trapping
production
Imposition Proofing 2. Conventional prepress
Raster Image Processor Workflow workflow steps
Imagesetter Platesetter 3. Digital prepress work-
flow steps
Output device Digital printer
4. Comparison of digital
Computer-to-film Reverse engineering printing and offset print-
Computer-to-plate Offset lithography ing workflows
Computer-to-press Gravure 5. Factors in choosing a
printing process
Analog Flexography
Location
Reverse Engineering
Print production is a manufacturing process. Like any manufacturing process, production
needs to be carefully planned. Reverse engineering the print project means identifying the
exact production needs and timelines required before the project gets started in the produc-
tion sequence. Material specifications are determined. Specific press and post-press equip-
ment is identified and reserved for the project. Project cost estimates depend on accurate
planning and scheduling.
Digital prepress enables those with computer skills and Adobe Photoshop
knowledge of quality criteria to replace traditional pre- Adobe Illustrator
press crafts. The mouse has replaced the X-acto knife.
Adobe PageMaker
Adobe Acrobat
Design options developed
Adobe InDesign
All tasks done on computer.
QuarkXPress
Type created in word processing
Macromedia Freehand
KPT Bryce
Graphic images made on computer
Painter
Kais Power Tools
Photos are scanned: b&w or color
Plug-ins and XTensions
WACOM tablet, digital pen
Page layouts made on computer
PostScript, PDF,TIFF, JPEG
Lossy compression
Text & images combined on page
Lossless compression
RAM
Pages are digitally proofed
Internet
RIP options
Server
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Output
Device
Desktop network connectivity
Publishing among all devices imagesetter
Workstations Raster Image platesetter
Processor printer
(RIP)
Preflighting
The process of verifying that all graphic, page, and document files have been prepared follow-
ing all design and production specifications prior to file output.
Trapping
The overlap of adjacent image edges to allow for a registration tolerance between color units
on the (non-digital) printing press. Trapping software is used to alter the digital image files
per specific production requirements. Trapping is a production, not a design, responsibility.
Trapping can be performed by workstation application or RIP software.
Imposition
The positioning of page images on the press sheet to meet all press, finishing, and binding
requirements. Imposition is a production, not a design, responsibility. Imposition can be per-
formed by workstation application or RIP software.
RIP (raster image processor)
The RIP (raster image processor) is the computer for an output device that receives and
interprets the PostScript page description and drives the imaging mechanism in the output
device.
PostScript Output Device
Imagesetters are PostScript output devices which image films that are used in analog
platemaking workflows. A computer-to-plate platesetter makes plates off the press. A com-
puter-to-press platemaking system images the plates on the press printing unit. A digital
printer is a PostScript output device with a re-imageable image carrier.
Offset Lithography - printing from a flat plate, usually onto paper substrate, but can
print on some plastic films and even metal; sheetfed and web press configurations;
single and two-sided press configurations; web press often has in-line drying and
finishing operations.
Digital - includes toner and ink jet systems; usually printing onto paper, but some
systems enable printing onto polyester film; sheet fed and web configurations;
duplex printing capability on most systems; some systems have in-line finishing and
binding operations.
Flexography - printing from a soft compressible, raised image plate; can print on a
wide variety of web fed substrates including tissue, paper, corrugated board, foil,
metalized paper, and several varieties of plastic; fast-drying, fluid ink; can be config-
ured with in-line finishing operations.
Gravure - printing from a hard, recessed engraved-image cylinder; used to print
high volume products on a wide variety of substrates including paper, paperboard,
foil, plastic films, plastic laminates (e.g. Formica), and vinyl flooring; cylinders
can average 6 to 7 million impressions.
The factors used to select a print process include:
Type of product Quantity
Substrate Image quality requirements
Image variability requirements Cost per piece
Color requirements Turnaround time requirements
Finishing and binding requirements
Many of the print processes are competitive in the same product markets. For example, mag-
azines and catalogs may be printed by gravure, offset, and even digital printing processes
with quantity being the primary determining factor. Other products, such as plastic laminate,
are exclusively printed by only one process. Variable data can only be done by digital printing.
1. Identify the parts of the human eye and explain their role in color perception.
2. Identify visible light as a component of the electromagnetic spectrum.
3. Explain the concepts of light absorption and reflection.
4. Explain the concept of the temperature of light and the impact on color
perception.
5. Explain major physiological and psychological aspects of color perception.
include the skin when we get sun burns and sun tan. The lens of the eye focuses the light on
the retina, a light-sensitive surface around the back of the eye. The retina is made up of rods
and cones, which are the photosensitive cells. The rods and cones convert the light energy
into different nerve impulses. Vision is a function of light energy reaching the rods and
cones.
Did You
Know?
There are around 100
million rods in the reti-
na. Rods function in dim
The Rods and light conditions and pro-
duce monochromatic
Cones are on vision: white and black
the Retina, the and shades of gray.
consists of a wide range of wavelengths from radio waves to cosmic rays. This range of radia-
tion wavelengths is called the electromagnetic spectrum. Visible light is merely the compo-
nent of the electromagnetic spectrum that our human eye can perceive.
Long Wave Radio Television Microwave Visible Light X-Rays Cosmic Rays
wavelengths are absorbed and some of the light energy wavelengths are reflected When white
(sun) light strikes the flower petals, the object surface absorbs blue light and reflects green
and red light. We see the mixture of green and red light as yellow.
When red, green, and blue light reflects evenly (or nearly
so) from a surface, then we see that surface as white.
regions. Two gray squares may be objectively the same, but will appear different based on the
density or the color of the surrounding regions.
The magenta
patch surrounded
by light gray
appears darker
than the exact
same magenta
value surrounded
by dark gray.
Gradients and shades can often be perceived incorrectly. This is actually an even 20% black
positioned inside a larger gradient (90% to 10%).
The size of an
object affects
color perception.
Colors of larger
objects are more
easily distinguished.
Hue
The wavelength of light of a particular color in its purest state without any added black or
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white is called the hue. The hue in the main attribute of a color that distinguishes itself
from other colors. The name of the hue itself is a subjective term different in each lan-
guage that refers to an objectively measured wavelength of radiant energy. Hue is the per-
ceived color of an object. Here are some colors in familiar hues.
Saturation
The intensity of a particular hue is called saturation. Saturation refers to the value of a color,
the extent to which that color is made of a selected hue rather than of white. Saturation is
the property of a color that makes pale pink different from bright red. The scale for measur-
ing and describing saturation ranges from 0% to 100%. We often refer to a color with low
saturation as looking washed out. Saturation can also refer to the amount of grey in a
color. Less grey results in more saturation.
What is Green?
Few objects in nature either fully absorb
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ture, emotions, feelings with colors. We we refer to a color as being warm or cool we
mean an emotional or aesthetic quality, not the actual physical quality of the color or light. A
warm gray is somewhat reddish or yellowish. A cool gray has a blue or green color cast to it.
Cool colors, such as blues and greens, are seen as restful and quiet. They represent status,
background information, and work. They denote calming assurance and appear remote.
But, there are cultural differences. In France, red is associated with aristocracy; in Japan, yel-
low is associated with nobility and grace. Some holidays have strong color associations.
Valentines Day: red, pink. Easter: purple, white, yellow. St. Patricks Day: green. Halloween:
orange, black. Christmas: red, green.
Infants and young children choose bright, saturated colors. Adults prefer more desaturated
colors as they grow older. Blue is the most universally liked and recognized color, even
among those who are color-impaired.
Color 10,000 to 15,000; the sheetfed press only 5000 to 6000; and the web press
Compression can only deliver 2000 to 3000 colors. Nothing that we produce as a photo
or a printed sheet will ever exactly match the colors in the real world.
Vision is susceptible to sensory adaptation. There is a reduction in sensi-
tivity to stimulation as the stimulus persists for a period of time stay
Adaptation to out in bright sunlight, eyes become less sensitive; your eyes will take time
Stimulus to adapt to a sudden change such as entering a dark room. Likewise, there
is an increase in sensitivity when there is a lack of stimulation when in
a dark room for a while the eye becomes sensitive to very low levels of
light energy.
There are also physical differences in color vision: people see and describe
color differently per one's own sensitivity. Subjective differences may
People See and result from physical adaptation over time: production workers on day
Describe Color shifts may perceive color differently than the night shift crew. Describing
Differently color is difficult due to the lack of a standard vocabulary or set of terms to
explain visual differences a fact often overlooked in making color
approvals or describing color corrections.
Aging is a real factor. The need for increased illumination is greater as one
ages. A person at age 50 may need 50% more illumination than when
Aging is a Real he/she was age 20.
Factor
We cannot memorize color or tonal gradation: we can only compare color
under a standard light source. Color can appear unchanged even under
No Color different conditions. White and object colors that are part of a color scene
Memory may still appear the same under different lighting conditions what
appears as a white surface may in fact be a light gray when compared to
other white values. The eye focuses on contrast and context rather than
memory.
Color fatigue is the cause of the negative afterimage from over stimula-
tion. Stare at a color for a minute and quickly look away and you often get
Color Fatigue a negative (opposite color) afterimage floating, for a few seconds, in your
new field of vision. Color fatigue increases in effect when person becomes
tired or mentally exhausted This phenomenon will vary from individual to
individual but we are all affected and should be aware of the potential
when doing color evaluations. The negative afterimage from color fatigue
impacts the visual evaluation of color or hue.
Temperature of Light
Color temperature, measured in degrees Kelvin, is the temperature to which a black object
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must be heated to produce a certain color light. As an object is heated, it emits radiation of a
characteristic color. Color temperature is a system of numbers used for measuring the color
of light. The color varies according to its temperature which is measured in degrees Kelvin.
Candle light, at 1800K, has emitted radiation that is relatively red. 2900K is representative of
a tungsten lamp. At 4800K, light is relatively yellow. At 6500K the color of light is neutral
due to an even distribution of wavelengths. At 9300K, the color of light is relatively blue.
5000K is close to the color temperature of direct sunlight and is considered the standard
light temperature for viewing conditions during color evaluation for the imaging, publishing,
and printing industry.
This image
Kelvin appears as it
would under
Scale standard 5000K
color evaluation
The Kelvin Scale
and viewing
(abbreviated by
conditions.
the letter K) is a
system of absolute
temperature
invented by
William Thompson
Kelvin.The Kelvin
scale uses the
same degrees as
the Celsius (C) The color temperature of the viewing conditions will directly impact the
scale, but defines appearance of the photo, proof, or printed sheet being evaluated.
absolute zero
(0K) as the tem-
perature at which
all atomic activity
stops.
0Kelvin = minus This image
273.16Celsius. appears with a
Numerically, the greenish color
Kelvin tempera- cast as it would
ture is equal to under standard
the Celsius tem- fluorescent
perature plus 273 light viewing
degrees. conditions.
advantages of added color in documents. Color can add significant impact to a design. Color
can increase the effectiveness of print/media communication. Color can add interest.
Marketing studies have clearly shown that the use of color results in return rates significant-
ly higher than those for black& white printing. Sometimes the results with color images can
be ten or more times higher than black and white printing.
This illustration
may be consid-
ered as more
effective in color
than when in
grayscale.
Many magazine
advertisements
are printed in
grayscale and
are very effective.
Would this
nin g
poster be as
d ope
appealing and
interesting with-
gran
color?
go
cin
un
no
An
Overall, color is
proven to be a
more effective
communication
strategy than
grayscale or
black & white.
Research has proven that using color in business documents can have
measurable results. The following examples have been selected from a
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Color emphasizes critical information and conveys a sense of
professionalism
Color increases readers attention spans and recall by 82%
Color gains readership by 80%
82%
Color makes an impression that is 39% more memorable Color increases
Telephone listings printed in color can increase response by 44% readers attention
spans and recall by
People are more likely to pick up a full color piece of mail first. 82%.
Color Sells
Color helps sell up to 80% more
Color can improve brand recognition by up to 80% 80%
Color helps sell up
to 80% more.
Color reduces search time by as much as 80%
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People are 2.5% more likely to pay the full amount when it is
shown in color.
Color Clarifies
Color Sells
The Additive Color Model primary colors are Red, Green, and Blue.
Each of these three primary colors is one-
We see light. The additive color model builds third of the visible light spectrum. As the
color with light. Televisions and computer amounts (intensity) of RGB lights are varied,
monitors build color with the additive color new colors are made. A RGB monitor can dis-
model. The additive color model is often play millions of colors, all made from combi-
referred to as RGB Color because the three nations of only red, green, and blue lights.
The Subtractive Color Model ors subtracts one-third of the visible light
spectrum. Black is used as a correcting color
We see light. But, we do not print with light. to add neutral density to the colors. As the
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Printing systems use the subtractive color amounts (coverage area) of CMYK inks or
model by subtracting color from white light. toners are varied and mixed, new colors are
The subtractive color model is often referred made. A CMYK color mixing and printing
to as CMYK Color because the three sub- system can make millions of colors, all made
tractive primary colors are Cyan, Magenta, from combinations of only cyan, magenta,
and Yellow. Each of these three primary col- yellow, and black.
The Artists Color Wheel The colors on the color wheel are called
hues. They are divided into primary,
Perhaps, you remember a different color secondary, and tertiary colors. The left side of
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model from art class. Called the Artists Color the wheel (Yellow through Red-Purple) are
Wheel, this model shows red, yellow, and referred to as warm colors. The right side
blue as the primary colors. A color wheel is of the wheel (Yellow-Green through Purple)
a visual reference chart of colors. are called the cool colors.
that combines and emphasizes the RGB and CMY colors. Which are the primary colors and
which are the secondary colors depends on which model (additive or subtractive) is empha-
sized. The mixture of the primary and secondary colors are called Intermediate colors.
480
470
460
450 400-380
In 1976, in an effort
Yellow
to better refine color + b*
measurement,
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(-v*)
-b*
blue
L= 0
black
The Munsell Color System Called the Munsell Color Tree, the model
uses a vertical axis to represent the lightness
The Munsell Color System is a perceptual or value of a color, and the horizontal axis to
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color system that defines colors by hue, represent the chroma or saturation of a
value, and chroma. Introduced in 1913 by color. The purest color is located on the
Albert H. Munsell, and American artist and outer edge of the model. Ten hue regions are
teacher, used chips of color for visual refer- arranged in a circle around the brightness/
ence and identification. lightness value axis.
In the Munsell
color system,
the ten hue white
regions are
value
arranged so
red-purple 9
complement red
colors are oppo-
site each other. 8
hue
Munsell identi- 7 yellow-red
fied five main
hues: 6 yellow
chroma
purple- 4
Red (R), purple green-
Yellow (Y)
blue 5 6
8 yellow
Green (G) 10
Blue (B) 4
Purple (P) blue green
Five intermedi- blue-green
ate hues are:
2
Yellow-Red (YR),
Green-Yellow (GY)
Blue-Green (BG) 1
Purple-Blue (PB)
Red-Purple (RP) black
Steps in
between these hues are given a number from 1 to 10 preceding the letter, as in 5R or 4.5PB.
The value or lightness of a color ranges from 1 to 10, in perceptually uniform steps. The
chroma or saturation of a color also is arranged in perceptually uniform steps. The maximum
chroma differs for each Munsell hue, ranging as high as 15 for the yellows and 16 for the
reds. Neutral whites, grays, and blacks have a chroma of zero.
The three attributes of the Munsell color system hue, value, chroma are given in a
notation form HV/C. For example, the notation 7.5RP 8/10 would indicate a color 7.5 steps
around the color wheel from the red-purple, of medium-high brightness, and high saturation.
1. Identify and describe the function of the primary component parts in scanners
and digital cameras.
2. Explain the color concepts of process color separation.
3. Explain the basic procedures in preparing color images for best print quality.
4. Explain the role of the halftone dot and stochastic screening spot.
5. Explain how halftone and stochastic images are made in PostScript.
6. Explain the concept of dot gain.
measures the RGB color values of light that reflect off the image (for reflective photographs or
art) or shine through the image (for slides/transparencies). The scanner records those values
in an electronic file with data for each of the three RGB channels. As the image is measured,
each sample point is recorded as a separate pixel (picture element) comprised of the different
values of RGB light. The resulting bitmap of the pixelized image can be reconstructed on a
computer screen.
RGB-filtered, light capturing CCD elements. Wide range of devices for many
CCD's are semiconductor chips that convert markets and budgets
light into voltages or electrical charges.
Density ranges from 24-bit to
These electrical charges are analog, contin-
uous signals of varying intensity. The inten- 48-bit
sity is relative to the strength of the light Improved optics
that hits the sample point on the CCD array.
Improved user-friendly software
The signals are converted into a digital form
and sent to the computer for image display Reflection and transparency now
and file storage. on most scanners
Flatbed scanner CCD technology at the end 3D object scans on some models
of 1999 is a very mature technology. The
Dedicated slide scanners
high-end flatbed scanners register density
ranges that match or exceed drum scanners. Wide range of flatbed sizes
Once considered poor quality and slow
Increasing automation of scan-
speed compared to drum scanners, CCD
flatbed scanners are now the most widely ning process.
used scanners. Scanner resolutions, optics, High productivity levels of top-of-
software, consistency, and speed have all sig- line scanners
nificantly improved in recent years.
Disadvantages
Software controlling the flatbed scanners
today enables one to make scans without Diversity of market choices for
requiring a high level of color knowledge scanners can lead to purchase of
and expertise. scanner with capabilities which
either do not meet or exceed
Flatbed CCD color scanners today range needs of user.
from nicely capable home and office devices
costing under $200 to mid-range professional Current Market Status
scanners costing around $8,000 to high-end Rapidly increasing market share
professional scanners costing around
due to range of device features
$50,000. Quality, versatility, and productivity
and overall decreasing cost of
determine the cost and appropriate use.
highly-capable scanners.
tronic light sensors rather than film. Many digital cameras have unique camera bodies
designed especially for their digital purpose. Other digital cameras are built with camera bod-
ies that fully utilize the same lenses as conventional film cameras. Studio cameras use inter-
changeable conventional film and digital camera backs for total versatility and economy.
Cyan
Magenta Yellow
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C+M C+M+Y
blacK CMYK
original image
color corrected
sharpened
The three primary colors of white light are Red, Green, and Blue.
White paper reflects all three colors evenly.
Ink and toner act like a filter on the surface of the paper. Color layers each filter out (absorb,
subtract) some color from the reflection of light off of the paper surface.
Fast Factoid
The dye, magenta, invented in 1859, was named
in honor of Napoleon IIIs victory over Austria
at the Lombard town of Magenta, Italy.
printer varies the amount of cyan, magenta, yellow, and black ink/toner coverage by using
dots or spots, all with the same density.
We just learned that ink and toner act like a filter on the surface of the paper and that these
color layers each filter out (absorb, subtract) some color from the reflection of light off of the
paper surface. The size of the CMYK dots or spots of coverage determines how much RGB
light is subtracted from the reflected light.
The most common method for controlling ink coverage is the conventional halftone.
Screen Angles
In process color printing, each color halftone at made
with its dot pattern at a different angle.
B K=45
Screen Frequency
Screen frequency is the count of parallel lines or rows of dots per unit of measure: lines per
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inch or lines (lpi) per centimeter (L/cm). The higher the number of halftone dots per inch,
the greater the amount of image detail that can be rendered. The screen frequency is chosen
after considering print method, resolution, and substrate.
Dot Size
Halftone dot size is stated in terms of percent dot area the percentage of the area that is
covered by ink. Screen tints use the same terminology.
A binary digital printing system renders a halftone by controlling the placement of the printer
dots on the substrate. The size of the halftone dot is constructed point by point or pixel by
pixel. This is true of imagesetter films, printing plates, and laser printed sheets.
The resolution of the rasterized page is defined as pixels per inch or dots per inch. The entire
page is comprised of addressable pixels in a grid pattern (bitmap). Halftone dots are defined as
sections of the pages grid pattern; these grid sections for each halftone dot are called cells.
The total number of imaged pixels, divided by the total number of pixels in each halftone cell,
is the percent dot area for that specific halftone dot.
Below are simulated halftone cells with imaged pixels that are clustered to make the individ-
ual halftone dots.
Dot Shape
In conventional (photographic process) halftones, the halftone dot was made as light passed
through a halftone screen film. Dots grew outward, evenly from a center core. Halftone
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screens were made with round, elliptical, or square dot shapes at the 50% midpoint dot size.
Different shapes yield different results in varying print conditions. For example, round dots
are preferred over elliptical dots in web offset printing because of the potential for slight
stretching of the dot shape.
In digital halftone rendering with dots that are built pixel by pixel, the possible shapes are
many. With PostScript halftone rendering, each pixel at the output device resolution is
addressed and controlled. Therefore, a wide variety of dot shapes are possible. Screen fre-
quency, output device resolution, and screen angle are all factors in dot shape.
B C
Stochastic Screening
In conventional halftones, the dots are evenly spaced and vary in size. Stochastic screening
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uses same-sized micro dots that are precisely placed in a way that seems randomly spaced.
Stochastic screening will render a photographic image with much higher detail than conven-
tional screening because of the smaller image elements.
The algorithm (mathematical calculation) that controls stochastic screening dot placement
uses information about the image densities, output device resolution, and minimum dot size
(usually the printers resolution setting. The grayscale image density is recreated in print by a
seemingly random distribution of the imaged pixels. (see figures in the box below).
Many digital printers provide the option to render images in a photographic or continuous
tone mode. These printers use a method called diffusion dithering which, in effect, is very
similar to stochastic screening, rather than printing with the geometric grid pattern of con-
ventional halftones. The result is smoother images with higher amount of detail.
The terms photographic and continuous tone are actually misused since the printed images
are built with four toner colors (CMYK), each with consistent density. The photographic
images throughout this curriculum course book are imaged with a digital printer using the
photographic or continuous tone option.
the printed sheet is larger than the dot size on the offset plate. Dot gain is caused by four
major factors, some are more important than others depending on the specific situation.
- the inking of the plate: a dot with ink is slightly larger than a dot without ink
- the pressures of transferring the ink from plate to blanket to paper
- the absorption or spread of ink on the paper
- the color light spread within the paper (optical dot gain) makes the dot appear larger
than it really is.
Dot gain is inevitable; dot gain cannot be eliminated in offset printing. However, dot gain can
be calibrated and controlled. When dot gain is out of control (such as in the magenta ink on
the image below) then a color shift will occur.
Digital printing with toner spots does not have true dot gain. There is not a plate to compare
before and after dots. However, each digital printing device does have its unique print
gamut the range of colors which it can reproduce.
Compensated
ed into their subtractive counterparts (cyan, magenta, and yellow). In theory, equal parts of
cyan, magenta, and yellow would combine to subtract all light reflected from the paper and
result in black. However, due to printing papers, print conditions, and impurities present in
all printing inks, a mix of 100% CMY instead yields a muddy brown. In standard color separa-
tion CMYK printing, black ink or toner is used to add neutral density and increase the depth
of shadow colors.
In addition, many printers remove some cyan, magenta, and yellow in areas where the three
colors exist in equal amounts, and they add black ink. Prepress operators typically use one of
two ways to generate black in print: gray component replacement (GCR) or undercolor
removal (UCR):
With GCR, black ink is used to replace portions of cyan, magenta, and yellow ink in
colored areas as well as in neutral areas. GCR separations tend to reproduce dark,
saturated colors somewhat better than UCR separations do and maintain gray bal-
ance better on press.
With UCR, black ink is used to replace cyan, magenta, and yellow ink in neutral
areas only (that is, areas with equal amounts of cyan, magenta, and yellow). This
results in less ink and greater depth in shadows. Because it uses less ink, UCR is
generally used for newsprint and uncoated stock.
UCA (undercolor
addition) compen-
sates for the loss of
ink density in neu-
tral shadow areas.
This additional ink
produces rich, dark
shadows in areas
that might appear
flat if printed with
only black ink. This
option is available
only for GCR separa-
tions.
Increasing the UCA
amount increases
the amount of CMY
added to shadow
areas.
color. Images that you scan, photos that you make with a digital camera, and images that
you make on the computer using paint or photo-realism applications are bitmapped images.
Bitmapped images are resolution dependent. If a bitmapped image has the correct image cap-
ture resolution, and is prepared for the correct page layout size requirements, then the pixels
are not noticeable. If a bitmapped image has the image capture resolution too low, or is
enlarged after being placed on the page layout, then the pixels can become very noticeable
this is sometimes a desired artistic effect.
shades of grey. Color bitmapped images are made from thousands of pixels that are black,
white, and many different colors.
Did You
Original computer-generated images, such as those made with the appli-
Know? cations Painter and KPT Bryce3 (below), are also bitmapped images.
The size of a
bitmapped image
is often given in
two dimensions:
actual pixel width
by pixel height.
An image that is
3072x2048 pixels
will be 10.24
wide by 8.827
high when shown
at 300 ppi and
will be 42.667
wide by 28.444
high when shown
at 72 ppi.The
image detail does
not change.
pixel of a displayed image. The greater the number of bits used, the
A bit (contraction
greater the number of different colors a pixel can have. Each pixel in a
for BInary digiT) is
bitmapped image is given a color value based on the bit depth of the
the smallest piece
file.
of information in a
An image with a bit depth of one has only two color values: solid color digital system.A bit
and white. An image with two bits of information per pixel has four can either be a 1
possible values (22 = 4). An image with eight bits per pixel can have 256 meaning on or a
(28) values of the same color, or 256 different colors (Index color). A 24- 0 meaning off.
bit image has eight bits each for the red, blue, and green channels and Eight bits equals
yields 16.7+ million colors (256 x 256 x 256). one byte.
2 Bit
1 Bit 4 Colors
2 Colors
24 Bit
16.7 Million
Colors
8 Bit 8 Bit
256 Shades of Gray 256 (Index) Colors
(paths). Images made with applications such as Adobe Illustrator and Macromedia Freehand
are vector images. Object-oriented applications store the image as a list of drawing instruc-
tions that are complied from menu instructions and mouse movements.
F. When you
enlarge a vector
image, you will be
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the outlines of the font character. The font characters can be resized, scaled, angled, skewed,
and rotated without any loss of quality. The program mathematically describes the font char-
acter outline for the printer.
In the following example, the font GillSans Bold Italic is set at 36 pt. in each variation.
GillSans BI GillSans BI
36 point 36 point
Horizontal scale = 150%
Normal
GillSans BI GillSans BI
36 point
Skewed at 30
36 point
n s BI Vertical scale = 150%
GillSa
po in t I
36 ns B
Text box rotated 10
illS a
G int
a ns B I po
Text angled GillS 36
15
Horizontal
36 po int Text angled and skewed at 30
scale = 50%
books, articles, and even in product advertising. The terms dpi (dots), ppi (pixels), and spi
(samples or spots) are often interchangeably used for input or output device resolution. Lpi
refers only to halftone dot screen frequency. In effect, there are limited meanings: input
(scanning) resolution, output (imaging/printing) resolution, and halftone screen frequency.
Input resolution - how much data is sampled; defined as samples-per-inch (spi) and
pixels-per-inch (ppi) in most instances.
Output resolution - the absolute number of distinct points with which a system can render
a visible image: pixels-per-inch on a monitor, dots-per-inch on a digitally printed page.
Screen frequency - the number of lines or rows of dots per unit measure on a halftone
image: lines-per-inch (lpi) or lines-per-centimeter (L/cm).
Resolution and File Size
The input resolution of
an image has a direct
relationship on the file
size of the image. (fig. A) A
The width and height of
an image can be defined
in pixel dimensions.
Digital cameras and con-
tinuous-tone film
recorders most often
define image size in pixel
dimensions.
B
Monitor resolutions are
stated in pixel dimen-
sions: 640 x 480, 832 x
624, 1024 x 768
Kodak PhotoCD and
some CD-ROM digital
C
image files are stated in
pixel dimensions (fig. B)
The pixel dimension vs.
actual image reproduc-
tion size is directly relat-
ed to image resolution.
(fig. C)
throughout the image, the colors of which are based on neighboring pixels, providing a high-
er apparent resolution. Interpolation may be a function of the scanner software or may occur
in image manipulation.
Interpolation cannot add more detail information to a scanned image. Detail is determined at
the time of the original scan or digital image capture. Interpolation can help smooth jagged
edges in photos and line art when the image is enlarged because interpolation provides more
data points.
The formula for calculating the print- (1800 dpi 150 lpi)2 = 122 = 144 + 1 = 145 gray levels
able gray tones is: (1800 dpi 100 lpi)2 = 182 = 324 + 1 = 325 gray levels
number of gray tones = (dpi/lpi)2 + 1
(1200 dpi 100 lpi)2 = 122 = 144 + 1 = 145 gray levels
At any given printer resolution, there
is an inverse relationship between the (1200 dpi 120 lpi)2 = 102 = 100 + 1 = 101 gray levels
screen frequency and the number of
printable gray tones. (600 dpi 60 lpi)2 = 102 = 100 + 1 = 101 gray levels
Increase the halftone lpi and the (600 dpi 100 lpi)2 = 62 = 36 + 1 = 37 gray levels
number of gray levels will decrease.
Decrease the halftone lpi at the same printer resolution and the number of printable gray levels will
increase. Below about 1200 dpi, a digital printer cannot use conventional halftone screening and achieve
both smooth gray scale tone rendering and halftone dot rendering small enough to avoid detection at a
normal viewing distance.
Photoshop, TIFF, EPS, PDF, JPEG, GIF, PICT, PhotoCD and more. Each application has a
native file type. Files can be saved as PostScript and as Acrobat PDF.
What do these different file types mean? What is the need for, and impact of, all these file
types? How do you choose the right file type for your specific need and situation?
A Kodak PhotoCD
image file can be
opened in five differ-
ent pixel resolutions:
3072 x 2048
1536 x 1024 2048
768 x 512
384 x 256
192 x 128
Having five resolu-
tions allows for a
better match of file
and image size and
output requirements.
File Compression
Lossless
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With a lossless compression scheme no data is lost. Compression utilities, such as StuffIt,
CompactPro, PKZIP, WinZIP, and LZW, images or other types of data are copied in a way that
all original data is shorthanded to eliminate redundant segments of code. The resulting
compressed file size depends on the complexity of the data and can range anywhere from the
same size to a small fraction of the original.
Lossy
A lossy image file-compression scheme is one in which some of the color information is
thrown away when an image is saved. The viewer typically is unaware that lossy compression
has been performed on an original image file because the lost image data areas are
extremely subtle, and mostly unimportant to the human eye. JPEG is a lossy compression
scheme.
JPEG
JPEG (JPG) is a file format and a lossy
compression scheme developed by the
Joint Photographers Experts Group. An
image saved as JPEG retains most of the
images visual information, while com-
pressing the file by from 5 to 100 times
the size of the original file depending
on the file size vs. quality compromise
level that you choose.
When saving an image to the JPEG for-
mat you can choose from have several
different formats: Baseline (Standard),
Baseline Optimized, and Progressive.
Baseline Optimized retains more color
fidelity. Progressive produces a very
small file that can be placed in a World
Wide Web page. Progressive JPEG
images open on the Web by showing
successively more detailed versions
until the maximum resolution of the
file is reached.
Repeated JPEG save-open-save at high
compression levels will quickly flatten
an image resulting in noticeable detail
loss as shown in the images at the left.
Pierre-Auguste Renoir
This copy for internal Xerox use only.
artist
Part Six:
Using Color Within Applications
Why do we sometimes want more than merely CMYK? What is a color picker? What is a
spot color? What is the difference between a solid color and a process color? What are fac-
tors affecting your choices? Can a solid color really become a process color? Why are Hi-Fi
colors called Hi-Fi? What are the features of Pantone and Trumatch process color speci-
fication systems? How many different ink colors do we need and when do we need them?
for text, fills, shades, and lines. These specific colors are defined and selected with similar
tools perhaps with different terminology within different applications. These color
selection tools are generally called color pickers.
CMY
RGB K
o n e
n t
Pa Tru
ma
HSB tch
PostScrip
t
u ic kD r a w G DI
Q r
co lo
ce ss Spot color
Pro
There are two main factors that influence the way we work with color in our documents in
order to achieve our desired results: the application we are using and the final output device.
Applications vary in the processes they provide for selecting colors and in the way
that they transmit color to the output device. Some applications work best with the
RGB color model and others work with the CMYK model.
The type of output you intend for the document conventional printing, digital
printing, monitor display determines both the way you choose color as well as
the way you define the output/print settings. Some devices require CMYK, some
RGB, and some handle both models.
When you select a color for a part of your image or page, you need to know the requirements
for your specific job. This way you can plan for and get the best possible results.
Office applications, such as presentation, spreadsheet and word processing programs, do not
create these PostScript instructions by themselves; they rely on the printer devices to create
them. To display and print, these applications use QuickDraw with the Macintosh operating
system and Graphics Device Interface (GDI) with the Windows operating system.
Office applications use the RGB color model for the color monitor display. They often include
a palette with preselected colors. Some applications may allow you to add new colors to the
palette with a color picker.
With some office applications you are able to select colors base on hue, saturation, and
brightness, or even CMYK, but these applications always send RGB color data to the digital
printer. An exception is when a CMYK EPS file is placed in a document; this images is send as
CMYK data.
When working with the RGB color model for documents which are intended for print output,
remember that the RGB color space (gamut) is different than the CMYK color space of the
printer. When you print the document, out-of-gamut RGB colors are converted to colors that
your printing device can produce.
information that they send to PostScript printers or save in PostScript files. Adobe
Photoshop, Adobe Illustrator, Adobe PageMaker, QuarkXPress, and Macromedia FreeHand are
all PostScript applications.
PostScript applications enable us to specify and work with color in a variety of ways: CYMK,
named colors (Pantone, Trumatch), and, in some applications, RGB, HSB, or other color
models and libraries. Below, the QuarkXPress 4.0 Edit Color dialog box lists the color
models available in the color picker.
Generally, PostScript applications send color information to a printer as CMYK. With some
color printers, RGB images may be placed in the page being printed; the printers RIP will
make the necessary RGB to CMYK conversions.
When you create and choose a color, remember that the displayed version will likely appear
different on different color printers. You can get software utilities which enable you to print
color reference (swatch) sheets on each of the color printers in your facility. This enables you
to select accurate colors. These reference pages should be printed on a color printer which has
been calibrated for optimized print quality.
With many applications, the same color or nearly the same can be specified in more
than one color model. The two purples shown here are almost exactly the same when dis-
played on a monitor. Are they the same in print you be the judge.
Some colors cannot be matched between RGB and CMYK color models. These colors are not
common to both gamuts. Green is a good example. 100% green in the RGB color model
does not come close to matching green in the CMYK color model as made by 100% cyan and
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100% yellow.
Things To Do...
The best way to determine the exact colors printed by a specific printer is to simply print a reference
file. After the printer has been properly serviced to be in optimum condition, print a reference file of
color swatches.There are software utilities from Pantone and Trumatch as well as from RIPs such as
Fiery and Splash. By choosing colors from these reference charts, you can be sure of getting the same
results from your printer.
Caution: the reference charts will likely not match the monitor display.To match the monitor and print
output you need color management and calibration of the monitor to the output.
black (CMYK) can be combined to make a seemingly limitless palette of colors. The amount
of each process (CMYK) color is controlled by the percentage of area covered. We can omit a
specific CMYK color (0% = not used), or we may use a screen tint percent, or we may use a
solid (100%) coverage. In fact, however, the CMYK process color model does not enable the
printing of all possible colors. Sometimes solid colors are needed for a design.
Yellow = 27%
Purple Ink (simulated)
Black = 11%
Purple
Sometimes this is intentional that is the color of ink that will be used for printing that
part of the design. Sometimes, this is merely an error in the way that the color has been
specified within the application; a separate ink color is not intended. The opposite is also
true. A color may be created and the specification as a spot or solid color may have been
inadvertently omitted.
So, what is the problem?
When printing the job with conventional ink-based printing systems, if a color is specified as
a spot or solid color, then a separate printing film or plate will be imaged. Likewise, a color
that is not designated as a spot color my really be intended as a separate ink color. In this
case there would be a missing film or plate for the job.
However, in digital color printing almost all output is with CMYK toners or ink jet inks. With
digital color printing, all colors process and solid are printed in CMYK. Solid colors are
rendered in CMYK according to the color rendering software of the printer.
When solid colors are
rendered in CMYK,
some color matches are
on target while others
can be way off the
mark.
So, what is the solu-
tion?
Color selections should
be made with the print
method considered.
If the job will be printed
with a conventional
ink-based printing
method, then we need
to be sure that all color
specification meet both
design and production needs.
If the job will be printed with a digital color (CMYK) printer, then all colors should be made
as separated colors. If you have a printed color reference file (see page 54), then colors can be
selected from that print. Separated RGB and separated CMYK colors can be used, depending
on the specific document application and the digital printer.
High-Fidelity Color
As stated earlier in Part Two, the range of colors (gamut) of RGB and CMYK are both smaller
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than the gamut of visible light and are slightly different from each other. A method of
increasing the gamut for color printing is called high-fidelity (Hi-Fi). There are two very dif-
ferent methods for printing Hi-Fi color:
Pantone Hexachrome - This method uses six colors: enhanced CMYK plus a
special green and orange.
maxCMY (also called CMYK,CMY and seven color Hi-Fi) - This method uses seven
plates: two each for CMY plus black. Where the photo has colors outside the normal
gamut of CMYK, additional plates are used to print more CMY, as needed, on top of
the first printing of those colors. The double printing provides for increased color
saturation in the same way colors are deeper when we put a second coat of paint on
a wall. Since the additional CMY dots are printed on solid areas the same dot angles
and screen frequency are used.
DuPont recently has discontinued marketing its Hi-Fi color product, HyperColor, which used
the maxCMY seven-color model. Pantone Hexachrome as the dominant Hi-Fi model.
Scanner RGB
Monitor RGB
Offset CMYK
Offset Hi-Fidelity
Using Hi-Fi
Hi-fi printed pages often
look quite different from
CMYK pages, prompting
its use for the impact of a
different appearance.
Hi-fi printing is used in
packaging and catalogs
for improved product
color matching.
Hi-fi printing can replace
the need for 10-12 colors
for packaging and labels.
used by virtually every designer and printer and components are licensed into all PostScript
illustration, pixel-editing, and page layout applications.
Pantone does not make ink. Pantone specifies colors, in solid ink colors as well as process
colors, RGB Web-safe colors, and high-fidelity colors.
A key point to always remember is that the selection guides are exactly that guides. We
will not be printing with the exact same presses, inks, and on the same substrate so we can
never exactly match the colors in the guides. This is especially important when comparing
ink and toner printing systems.
A second point to remember is that the colors in the printed guides cannot be displayed
exactly on an RGB monitor. We can come close with color management, but even then we
need to be aware of the potential differences.
Pantone Hexachrome
Pantone Hexachrome builds upon a known color printing concept; adding any two colors
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to the CMYK process color printing system expands the color gamut by at least 20 percent.
The Hexachrome ink set includes a vibrant green and orange with a new enhanced CMYK ink
set that is purer than traditional CMYK ink sets.
As a result, Hexachrome can print all of the traditional CMYK colors plus 90 percent of the
Pantone solid colors. Hexachrome has a gamut that is larger than the RGB color gamut dis-
played on a monitor.
only given for process color, none for solid colors. Two swatch books are available, one for
coated paper and one for uncoated paper. Software utilities for printing color reference charts
are also available.
The pages on the Trumatch swatch book, and the columns in the dialog box are organized
by hue, saturation, and brightness characteristics.
Depending on the software application you are using, you need to verify the process color
versus spot color designation. Some application color pickers may not clear or retain the
selection, as needed, when the color model designation is changed.
The Pantone Process and Trumatch color libraries are correctly used as process colors.
The Pantone Coated and Uncoated color libraries are correctly used as spot colors.
Color Naming
Names for colors are added to a page layout document file in three ways:
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Color Management
Why is color printing so difficult? What causes the problems? When did color management
get started? Can color ever really be managed?
Consistent use of color standards will help prevent misunderstandings and mistakes in the
print production process. In this part you will learn the key issues in color management and
the solutions that are being developed.
except for ANSI (American National Standards Institute) safety, typography and the photo-
graphic industry standards for film density measurement and color viewing conditions.
The Digital Data Exchange Standards (DDES) group, formed by vendors of color electronic
prepress systems, recognized significant problems with the mix-and-match world faced by
printers at that time; color scanning, display, proofing, and printing were inconsistent and
without standards. This led to the formation, and ANSI accreditation, of the IT.8 committee,
which, in turn, led to the formation of CGATS. ANSI does not create standards, which in the
U.S. are voluntary. ANSI accredited industry groups create the standards. Two graphic arts
groups are:
Image Technology Committee #8 (IT8), formed in 1987, concerns itself with the
exchange of digital data between color electronic systems and peripherals; since
1994, a ;subworking group of CGATS. Three IT8 color reference targets were estab-
lished as standards in 1993.
The Committee for Graphic Arts Technology Standards (CGATS), established 1989.
This group acts as an umbrella group to assist with graphic arts standards.
The IT8 7.1 is used to
measure the values of
transmissive color
being read by a scan-
ner or other input
device.
On the IT8 7.1 trans-
missive color refer-
ence target are color
patches in six cate-
gories:
shadows
middletones
highlights
CMYK colors
RGB colors
skin tones and
frequently occur-
ring colors
read by a scanner or
other input device.
On the IT8 7.2 reflec-
tion color reference
target are color patch-
es in six categories:
shadows
middletones
highlights
CMYK colors
RGB colors
skin tones and
frequently occur-
ring colors
flow process begins with image capture. continues through rendering the image on-screen,
and output by digital proofing, digital printing, and preparation of plates for color printing.
All these systems function well independently, but color and visual perception are not pre-
cisely controlled. Without color management, the components of the color printing repro-
duction process do not match.
Color Predictability
The differences in color space (gamut) often leads to misunderstanding and concern because
This copy for internal Xerox use only.
ment is critical to the color management process. Three devices used for color measurement
each have different capabilities and purposes: densitometers, colorimeters, and spectropho-
tometers. These devices are available to measure transmitive or reflective color devices, as
appropriate. Devices are available to measure monitor color, printed color, and colors on film
emulsions.
Perceptive Mapping
In perceptive mapping, all or most of the colors
in the original color space are adjusted in a way
that maintains the relationships between the
colors. Since the human eye is more sensitive to
color comparisons and relationships than to
recognition of a specific wavelength, this
method of color mapping preserves these rela-
target gamut
tionships. Most people will not be able to notice
that the colors in the image have been adjusted.
In perceptive mapping, the colors in the
original (source) gamut are rescaled to
Absolute Colorimetric Mapping be within the target device gamut.
Colors already withing the target gamut
In absolute colorimetric mapping, all of the col- are also moved in order to maintain
ors in the source image which are outside the color relationships.
target gamut are lost. These out-of-gamut colors
are clipped on the gamut boundary. This map- source gamut
ping method may result in an image that seems
noticeably different than the original image.
Device Profiles
The first step in establishing and using a color management system is calibrating the input
This copy for internal Xerox use only.
device (scanner). Each scanner is different in how it recognizes color and may introduce
small color changes each time an image is scanned. When the calibration process is complete,
the information about the device is called a profile. This calibration process is also called
characterization.
Making a Profile
Characterization defining a device profile is not a complex procedure, but it does
require careful procedures. Here are the typical steps for making a profile for a scanner.
The scanner must be allowed to warm to full operating temperature. The color con-
sistency of the light source is dependent on the scanner being fully warmed up.
The scanner settings must be calibrated to the manufacturers recommendations. All
settings should be set for normal operating conditions.
Scan a reference target (IT8 7.1 for transmission, IT8 7.2 for reflection). Turn off
any settings for descreening, sharpness, or tone curve adjustment.
Record and compare the color values to the values of the colors on the original
target. The manufacturer of the IT8 target supplies the color value data with each
target.
CMS software enables one to compare the scanned color data with the supplied
color data in order to create a profile of the device. When the CMS software has the
device profile information, it will control any color shifts accordingly and yield
results that correspond to the original. The device color profile is described in terms
of the device-independent CIE color model, not RGB or CMYK.
After the color profile is saved, perform some scan tests to verify that the profile
yields desirable results.
Profiles for monitors and print output devices and presses complete the list of profiles needed
in a complete color management system. A monitors color output is measured using a col-
orimeter which attaches to the monitor and measures the actual colors. A profiles for each
printer is necessary. In some situations, such as sheetfed offset printing, different profiles are
needed for variables such as substrate and ink sets.
There are pre-made profiles that are available from device manufacturers. These profiles are
generic to a given model and often are valid and acceptable. However, these supplied profiles
may not match the performance of an individual unit.
CMS uses the device profiles to bring consistency and predictability to the color printing
workflow. Without CMS, color printing is haphazard guesswork.
The Apple
ColorSync control
panel enables users
to select a preferred
CMM or, by select-
ing Automatic, let
ColorSync use the
CMM specified in
each profile.
Color sells!
This copy for internal Xerox use only.
anonymous
Part Eight:
Digital Color Printing
Data in, printed sheets out is the commonly accepted definition of digital printing.What are
the technologies used? What are the market forces? What is the importance of variable data
printing? What is on-demand printing? What are the digital printing system choices?
Digital printing is forecast to grow rapidly over the next decade, taking work form conven-
tional printing processes and creating new market opportunities.
Objectives: at the completion of this part, you will be able to:
Xerography
Xerography (also called electrostatic printing and electrophotography) is a printing process
This copy for internal Xerox use only.
which uses electrostatic forces to produce images on the paper or other substrate.
Xerography typically uses an aluminum drum coated with a layer of positively-charged sele-
nium. Light passed through the document to be copied, reflected from its surface, or imaged
by a diode or a laser light source reaches the selenium surface. Areas exposed by light lose
their charge and do not attract the negatively charged particles of toner which are sprayed
onto the selenium surface and form an image of the document on the drum. A sheet of copy
paper is passed close to the drum, and a positive electric charge under the sheet attracts the
negatively charged ink particles, resulting in the transfer of the image to the copy paper.
Heat is then applied to
2. laser imaging
fuse the toner particles photoconductive surface
to the paper. of selenium
Factoid: Xerographic machines for full color copying became available in the 1970s.
Xerography Process
One does not need to be a physicist to
+ +
This copy for internal Xerox use only.
of tiny droplets of ink which form an image. Special coated papers are needed to result in
vibrant, saturated colors. There are two basic categories of ink jet printers: continuous ink jet
typical of high-speed production systems and drop-on-demand ink jet typical of desktop
and short-run units.
Continuous ink jet is based on a simple principle: a thin stream of liquid ink can be broken
up into a steady stream of uniform-sized droplets when subjected to high frequency vibration.
Modern continuous ink jet systems use piezoelectric crystals that produce hundreds of thou-
sands individual droplets each second.
The stream of droplets is controlled and directed by a charging electrode which deflects
unwanted droplets into a catcher and returned to the ink reservoir. Undeflected droplets fly
onto the moving substrate to form the image. Continuous array ink jet printers use one or
more arrays or groups of ink jet nozzles to achieve high printing speeds. A typical high speed
array has 240 nozzles per inch in a 4.25" array (1020 nozzles). Two adjacent arrays will cover
an 8.5" page size. Special coated papers are needed to result in vibrant, saturated colors.
Desktop and short-run wide format ink jet printers use drop-on-demand ink-jet printing. In
drop-on-demand ink jet, droplets are only formed when needed for the page image. The two
most common ink-ejection mechanisms are bubble jet and piezoelectric crystal. Both cause
ejection of a tiny droplet from an ink chamber, which is immediately refilled from the ink
reservoir to repeat the cycle as needed. Drop-on-demand is a relatively slow print technology.
deflector charge electrodes
Continuous ink jet piezoelectric crystals
substrate
ink reservoir
Two Drop-on-Demand ink jet types: piezoelectric crystal and bubble jet
piezoelectric crystal heating plate
nozzle nozzle
ink ink
ink reservoir chamber ink reservoir chamber
high offset
amount of sheets needed for the projected spoilage in the printing, finishing, and binding
procedures. The printing industry records a lot of data from many companies in order to
determine print run length patterns and projections. Paper making companies also use
similar data to project the amounts of various papers that will be needed in the future.
Variable Printing
Variable printing means that the individual pages can have different text and/or graphics.
This copy for internal Xerox use only.
Variable information from re-imageable image carriers results in variable printing, the
critical component of customized printing. Offset lithography has a fixed image plate and
cannot do variable printing every press sheet in the run is the same as the others. Printing
from fixed-image image carriers (e.g., offset plates) is called static printing
Variable printing itself has many variations: target marketing, variable versions, personalized
printing, customized printing, and one-to-one marketing. The market for variable printing
includes direct marketing (dont say junk mail), catalog marketing, and variable data print-
ing from a database. Why is everyone interested in variable printing? Value added and high
response rates!
Database Publishing
Database publishing enables customized, personalized, and variable printing a key market
influence on the growth of digital printing.
Often repeated quote:
The power of technology is in the hands of those who have the database.
Target Marketing
Versionalization: creating several versions tailored to the particular circumstances.
Individualization: creating a unique product based on an in-depth database of known
characteristics (not always recognized as such by the end-user).
Personalization: combines database and other marketing strategies to target specific
individuals.
Point to Ponder and Debate... Where does the data come from?
characteristics.
Print-on-Demand = short notice and quick turnaround
Print-on-Demand = short, economical print runs
Print-on-Demand is today mostly associated with digital printing
Print-on-Demand definition may include binding and finishing operations needed to
complete the job in the short turnaround time required.
numerous printer configurations and options for the business office graphics and the profes-
sional graphic arts industry markets. Often, the same configuration will serve the needs of
both markets. Customized configurations enable optimum cost, service, and performance.
Three broad categories of xerographic equipment include:
copiers (optical and digital, hardcopy scanner document input)
copier/printers (digital, hardcopy scanner and network document input)
printers (digital, network document input)
Each of these categories offer a wide range of devices from black & white to color, from low-
to very high average monthly print volume requirements.
Digital printers
Personal Publishers Creative Graphics are used to pro-
duce:
Creative and
1. intermediate
Office Professional
Office proofs for tradi-
Services
tional print
Vendors may processes.
Prepress and
have various Imaging Services 2. final proofs
products that are In-Plant
for digital print.
targeted for all or Printing Services
selected markets. Commercial Printers 3. final print
production out-
Various digital put of short to
front-end (DFEs) Quick Printers Data Centers medium run
and color man- lengths.
agement solu- In-Plant
tions are avail- Printing Services Digital color print systems range from 4 to
able, depending
100 pages per minute; from single-page
on the vendor.
Data Center cut-sheet sizes to continuous web feed.
There are simplex Services
Prices range from desktop printers under
and duplex print-
$1500, to low-volume network printers
ing and in-line Postpress and about $7000, to high-volume web printers
finishing options. Fullfillment Services at about $400,000.
There is an even greater number of systems, a number that is continually growing as new
production digital printing systems are developed and introduced. One needs to continually
review the industry literature and company web sites to learn about current systems.
Here is a brief list of companies, and their web site URLs, that produce and market black &
white and color production digital printing systems:
Xerox http://www.xerox.com/ digital black & white and color
Indigo http://www.indigonet.com/ digital color
Agfa http://www.agfahome.com/ digital color
Xeikon http://www.xeikon.be digital color
Oc http://www.oce.com/ digital black & white and color
IBM http://www.printers.ibm.com/ digital black & white and color
Heidelberg http://www.heidelbergusa.com/ hybrid digital offset
Scitex http://www.scitex.com/ ink-jet
Scitex/KBA http://www.karatpress.com/ hybrid digital offset
Growth of Color Digital Systems
1993 - NONE
First Xeikon and Indigo placements in 1994
First Xerox DocuColor 40 placements in
1996; by 1998 the DC-40 placements total
more than all others combined.
First Canon CLC-1000 placements in 1997
By 2005, projected to be 30,000 to 50,000
digital color systems placed worldwide.
A Color Triangles 29
Color wheel 28, 29
A/D Conversion 37
Subtractive color model 27
This copy for internal Xerox use only.
Absorption 14
Color Naming 76
Advantages of added color 22
Color Perception 15
Color Captures Attention 23
Color Picker 64
Color Enhances Productivity 24
Color reproduction 39
Color Improves Communications 23
Color Separation 33
Color Sells 23
Color temperature 21
B Colorimeter 83
Complementary colors 29
Bzier curve 51
Conventional Prepress 5
Bit depth 50
Bitmapped images 48 D
C Densitometer 83
Device Profiles 85
CCD 35, 36
Characterization 85
Charge-Coupled Device 35
Digital Cameras 36, 37, 55
Chester F. Carlson 88
Digital Color Printing 87, 96
CIEColor Models 30
Digital File Output 7
CMMs 86
Imposition 7
CMYK 27, 37, 38, 41, 44, 46, 64, 70
PostScript Output Device 7
Color and Emotion 18
Preflighting 7
Color Compression 20
RIP 7
Color Conversion 70
Trapping 7
Color Management 79
Digital Prepress 6
Calibration 82, 85
Digital Printing Markets 91, 95
Color Predictability 82
Dot Gain 45
IT8 79, 80, 83
Downsizing/Downsampling 56
Standards 79
Color Mapping 84 E
Absolute colorimetric mapping 84
Economics of Printing 91
Perceptive mapping 84
Electromagnetic radiation 12
Relative colorimetric mapping 84
Electromagnetic Spectrum 12, 13
Saturation mapping 84
Electrophotography 88
Color Models 25
Electrostatic printing 88
Additive color model 26
F J
File Compression 62 JPEG 59, 62
Lossless 62
K
Lossy 62
File to Print Options 8 Kelvin Scale 21
Computer-to-digital printer 8
L
Computer-to-film 8
Computer-to-plate 8 Language of Color 16
Computer-to-press 8 Brightness 16
File types 59, 60 Color family 17
Fonts 54 Color shades 17, 29
Hue 16, 17
G Luminance 16
Gamut 30, 71, 81, 84 Saturation 16
GCR 46 LZW 59
GIF 59
M
Gray Levels 58
Grayscale 49 Munsell Color System 32
H N
Halftone 41, 44, 57 Newton, Isaac 13, 28
Dot shape 41, 43
O
Dot size 41, 42
Screen Angle 41 Object-oriented images 51
Screen frequency 41, 42, 55, 58 Offset Lithography 9
Heidelberg 100 Optical dot gain 45
Hi-Fi Color 71
P
I Pantone 72
Indigo 99 Pantone Hexachrome 74
Ink Jet Printing 90 PDF 59
Continuous ink jet 90 PhotoCD 59, 61
Drop-on-demand ink jet 90 Photomultiplier Tube 34
PICT 59 T
Pixels 48, 49, 55, 56
Tertiary Colors 28
PostScript 43, 54, 59, 65, 66
This copy for internal Xerox use only.