The Warren Standard How to Read a Press Sheet

7/29/2019 The Warren Standard How to Read a Press Sheet

1/36

krrenStanVolume FiveNo. One1998

HOW TOREADPRESSSHEET


2/36


3/36


4/36

To people outside our f ield,who simply look at picturesand only read words, it mayseem odd.

For us, however, pictures arenot passive; they are toolsused to convey ideas. Andthe ideas they convey areaffected by every shade,every nuance, and everydetail (or lack thereof) thatthey contain.

Appearing first in our heads,they show up on film (or on amonitor) and then on paper,and in that migration fromidea to reality, they aretrans form ed . Logically, the


5/36

degree to which we can control this processdetermines how close we come to realizingour ideas.

The craft of pr inting has a language a ll its ow n.The process demands reading images diligently,and learn ing to com municate so tha t others cansee the same things .

This issue of The Warren Standard is devoted tohelping bring more control to the process ofprinting images on paper. It is the culminationof a ll our experience in printing, combinedwith input and advice from the best technologistsin the prin ting f ield. If you've been reading presssheets for years, then we hope th is serves as auseful too l to help you teach o thers. If you feeltha t there are still some things you m ight learn,we hope this helps you to realize all of your bestideas on paper. Please read on.


6/36

-

I


7/36


8/36

THE BEST FIRST STEP IN PRIN TIN G AN Y JOB IS TOESTABLISH COM MUN ICATION WITH YOUR PRIN TEREARLY ON INTHE PROCESS. TAKE THE TIME TO TALKABOUT THE OBVIOUS ISSUES, LIKE YOUR SPECS FORTHE JOB, BUDGETS, AN D DEADLIN ES. BUT ALSO MAKESURE YOU TALK ABOUT SOME OF THE MORE INTERPRETIVE ISSUES, LIKE YOUR VISION FOR THE PIECE WHAT KIND OF IMPACT YOU W AN T, AND WHAT YOUWAN T THE TACTILE FIN ISHED PRODUCT TO FEEL LIKEIN SOMEON E'S HAN D.HAVE A DISCUSSION ABOUT YOUR IMAG ES. HOW CANYOU BEST ACHIEVE THE EFFECT YOU WA N T, AN D WHATARE REALISTIC EXPECTATIONS AS YOU MOVE FROM

TRANSPAREN CY OR DIGITAL FILE TO PAPER? WHAT AREYOUR OPTION S FOR SIZES OR TYPES OF SCREENIN GTECHN OLOGIES, AN D HOW W ILL THEY IMPACT THE FIN ALIMAGE? FIN D OUT IFTHERE ARE ANY PARTICULARCHALLEN GES THAT YOUR PRINTER AN TICIPATES INGIVING YOU THE EFFECT YOU WAN T.THERE ARE MAN Y FACTORS THAT CAN AFFECT THE IMAGESIN YOUR FIN ISHED PIECE. THE FOLLOWIN G SECTIONPROVIDES A BRIEF OVERVIEW OF THE MOST COMMONON ES. HOWEVER, SIN CE EVERY JOB IS DIFFEREN T, DON 'TSKIP THE IMPORTAN T STEP OF SITTIN G DOWN WITHYOUR PRINTER TO TALK ABOUT THE UNIQUE OPPORTUNITIESAN D CHALLENGES THAT YOUR JOB PRESENTS.

Shown here (not actual size), a35mm slide, 4x5" transparency,color print, and digital image.

TH E O R I G I N A LClearly, what you provide the printer to start with has the greatest impacton what you'll get back. The variables in originals include color balance,exposure, grain, sharpness, detail, the size of both the original and thefinished image, and, based on the type of film emulsion used, the level ofcolor saturation. Transparencies differ from prints in that a transparency hasa greater tonal range. In other words, the tonal range in a color print isalready compressed. The good news is that it is therefore easier to matchon press. Images that are created digitally vary widely in the amount ofdetail, or resolution, they contain, depending on the memory and qualityof the digital camera used.


9/36

Talk

Above, an Image separatedinto the four process colors.

COLOR SEPARATIONSColor separation is a highly complex, technical process that requiressignif icant technological ski l l and craftsmanship, and volumes of materialhave already been written on it . We've included a brief l ist of valuablereferences in the back of this book, if you'd l ike to do more reading.The variat ions in scanning that impact the f inal result are reso lut ion, tonecompression, color balance, contrast , screening methods such as tradit ionall ine screen or stochastic, and the number of colors (four vs. five or six oreven eight) into which the image is sepa rated.

Mechanical ghost

TH E D E S I G NIn addit ion to the characteristics of your images and the way you scan orseparate them , where you place them in the piece and what other designelements you include wi l l also have a signif icant effect on the printedresults. Because offset p rint ing involves physical ly p utt ing ink on paper,where that ink goes can have an impact on the things around it . Imagesthat cross over both pages in a sprea d, those that fo l low behind each otheron the press sheet, and del icate neutral photos in combinat ion with bright,satura ted, or dark ones can, i f not planned for, change the way your imageslook on press.An effect called mecha nical ghost ing can occur when ink is unevenlydepo sited in a part icular area. This can sometimes be caused by the layoutof the sign ature, but at other t imes i t is a funct ion of design. For example,a flat color border on four sides of an image will use up more ink on thetwo ve rt ical sides as it goes throu gh the press than on the top and bottomhorizontal ones . This can cause the vert ical port ion s to be l ighter tha nthe horizontal one at the far end of the border.Decisions that you make between special flat colors and screen tints forbackgrounds or type also need to be made with your color images in min d.Design elements or backgroun d colors that must be consistent from page topage can create problems i f it means com prom ising on the color images thatappear with th em . Virtual ly a l l of these issues can be avoided with advanceplanning, and are further confirmat ion of the need to communicate early inthe process.


10/36

TH E PAPER

The diagrams below illustratesaddle stitch and perfectbound signatures in bothconventional a nd color perfectformats. In the color p erfectversions, images precede andfollow duplicate images, sothat color can be maximizedfor that image withoutsacrificing quality on others.As shown, color perfectlayouts require moresignatures for the samenumber of pages.

Paper has an enormous impact on the f inal p rinted res ults of your images not only on their color, but on their sharpness, print contrast, level of gloss,and detai l . The variables that should be considered when choosing paperare: the brightness and whiteness of the unprinted stock; i ts smoothnessand f latness; the type of surface you w ant (gloss, dul l , si lk, ma tte, etc.); theprinted ink gloss (and how much it differs from the unprinted gloss of thesheet); and, obviously, the weight and opacity of the paper. It is always agood idea to look at printed samples of the paper you are considering as wel las unprinted samples, and it 's always a great idea to choose a Sappi grade.TH E S I G N A T U R EYour printer has various opt ions when he or she lays out your job on thepress sheet. The number of pages, the finished size, and the press size areal l importan t factors to consider. So are the types of images and your design.The printer must balance f inding the most eff icient and economical layout foryour job (one that wi l l use the paper and press t ime m ost economical ly) withone that avoids any problems with color cont ingencies on press. Some of thecommon choices for signature layout are diagrammed below.

Conventional Saddle S titch: 16-page form a s two right a ngle 8's.Form 1 front Form 1 back11

10

6

7

l

4

16

13

Color Perfect Saddle Stitch: 16-page form as two double-parallel 8's.Form i front Form t back Form 2 front Form 2 back16

16

l

l

4

4

13

13

14

14

3

3

2

2

15

15

12 | 5

12 5

8 9

8 ! 9

10 ! 7

io | 7

6 ! n

6 l i

Conventional Perfect Bind.Form i front

15

14

1 0

l i

l

4

8

5

16-page formForm I be

is two stacking 8's.ick

7

6

2

3

9

1 2

16

13

Color Perfect Perfect Bind:Form l front

8

8

l

l

4

4

5

5

16-page form as twoForm I back

double-parallel 8's.Form 2 front

6

6

3

3

2 ?

2 J 7

16 ! 9

16 9

1 2

1 2

13

13

Form 2 back

14

14

n

l i

1 0

1 0

15

15


11/36

Talk

DElD

Spot Gloss

Spot Matte

Overall Gloss

Overall Matte

n intedAqueous

A Q U E O U S A N D V A R N I S H C O A T I N G SCoatings and varnishes can not only protect a printed piece, they canenhance the images and add a level of tacti le richness not otherwisepossible. The opt ions for where and how you use these coat ings are almostendless. They include choices of finish, from high gloss to matte and du l l ,and techniques for application that range from flat coverage to halftoneand from clear to t inted.While varnishes are oi l -based, aqueous coat ings are water-based, whichmeans that they dry faster than varnish and don't yel low with age.Generally, they are used as an overall coating, since there are l imitationswith f i t and trapping.A C H E C K L I S TIn addit ion to the variables out l ined above, there are some other typ icalquest ions that need to be answered in your ini t ial discussions with yourprinter. We've com piled a brief check list.

Once the delivery date has been established, what is the interimproduct ion schedule?

When does the printer need the fi les and color artwork? Does the artwork need to be released before the electronic mechanicals

so the printer can begin separations? Does the printer have all of the fonts included in your piece? Will youneed to forward the fonts? What are the requirements for preparation of the electronic fi les? Does the piece need to be shrink-wrapped or require any other special

packaging that wi l l take addit ional t ime from the schedule? Does it have to match an existing product or another printed piece? Can the piece be printed in four color? What are the risks to the images

and any areas to be made from tints? Are there any crossovers that wil l present special problems? What kinds of coatings are desired or required, and will these

necessitate a second pass? Do the images being reproduced present any special di f f icul t ies

themselves? Does the layout of the book present any color conflicts? Does the layout present problems in terms o f running the kind of

color density you'l l need? Do these issues require running the job color perfect for more control

and better qual i ty? What does this do to your budg et and schedule?


12/36

-Mm,


13/36

1


14/36

1 2

IT IS FREQUENTLY A SOURCE OF FRUSTRATION FORDESIGNERS AND PRINTERS ALIKE WHEN THERE IS ANAS SU MP TIO N THAT A TRANSPARENCY CAN BE MATCHEDEXACTLY IN A PROOF OR ON PAPER. MORE THAN ANYOTHER ASPECT OF THE PR INTING PROCESS, THETRANSLA TION OF AN IMAGE FROM TRANS PARENCYTO PAPER IS FRAUGHT WITH MISUN DER STAN DING.

KNOWING THE PHYSICAL DIFFERENCES BETWEENTRANSPARENCIES, VARIOUS TYPES OF PROOFS, ANDPAPER AND INK IS CRITICAL TO ACHIEVING THEEFFECT YOU WAN T. EACH OF THESE ME DIU MS CREATESIMAGES IN DIFFERENT WAYS, AND THEREFORE EACHVARIES IN ITS ABILITY TO RECORD COLOR.

THERE ARE A VARIETY OF PROOFING MET HOD SAVAILABLE TODAY, AND EACH CHOICE IS SOMEWHATDIFFERENT. YOUR PRINTER HAS CHOSEN THEPROOFING M ED IUM THAT WORKS BEST WITH IN HISOR HER WORKFLOW SYSTEM, AND COMES THECLOSEST TO ILLUSTRATING WHAT THE PRINTEDRESULTS WILL BE. IN BOTH ANALOG AND DIGITALPROOFING METHODS, LOW-END SYSTEMS ARE USEDAS AN INEXPENSIVE DOUBLE-CHECK FOR COLORBREAKS, AND HIGH -END S YSTEM S ARE USED FORCOLOR APPROVALS. NONE OF THEM, HOWEVER, CANDUPLICATE THE FINAL RESULT PERFECTLY.

PROOF TYPESListed below are the most commonly used proofing systems, with a briefdescript ion of each.SINGLE-COLOR PAPER PROOFS i .e., blueprints or bluelines, are usedto check copy, type, size and pos it ion of al l images, artw ork, pagin at ion, etc.PRESS PROOFS use paper and ink as a medium, and are literally printedon an offset press. Press proofs also allow viewing of the images on thepaper stock on whic h they wil l ultima tely appear. Because they are moreexpensive and t ime-co nsum ing to pro duce, they are generally used onlywhen the effect cannot be simulated off-press.ANALOG PROOFS are generally lam inates, which are made by expos ingl ight-sensit ive material through f i lm.DIGITAL PROOFS are created using a variety of tech nologies.Dye-sublimation and laser ablation proofs use either light (laser) or heat(thermal) to transfer material onto a carrier. Inkjet proofs are made byspraying small droplets of colored l iquid direct ly onto paper. Electrostaticproofs are created by affixing charged particles of powder directlyonto paper.


15/36

ListenTONE COMPRESSIONOutdoors, on a sunny day, the ratio (ordifference) between the lightest tone wecan see and the darkest can be as highas 1,000 to 1. For exam ple, that meansthat between the l ightest part of a cloudand the darkest area of black, there is arange of 1,000 to I . That's what our eyesperceive.To put things in perspective, fi lm andphotographic paper reduce this ratio toloo to I , and usually much less. Halftonescreening, separat ing, and print ingreduce it stil l furtherto a maximumof 20 to 1.This reduction is called process tonecom pression. Literal ly, i t is the n umberof tones that remain in the f inalreprodu ction o f an image that createtona l range. Of the factors that determinetonal range, two are cri t ical ly important .The first is the difference between thebrightness of the unprinted paper and themaximum ink density. These become thetwo ends of the range, since no highlightcan be brighter than the paper on whichit 's pr inted , and no shadow can be denserthan a sol id black.Althou gh compression is a factor in thereproduction of every photograph, i tseffects can be minimized. When usingduotones, t r i tones, and quadratones,which produce extremely deep shadowswith mult ip le impressions of ink, you canincrease the midtone detai ls within thetona l range. The same principle a ppl iesto four-color process work.The second factor is screen ruling. Thefiner the line screen, the more dots animage contains and therefore the greaterthe number of tones you can create, aslong as the resolution of the scannedimage is high enough to begin wi th .

While we cannot replicate here what your eye can see in nature, we havedemonstrated the impact of tone com pression in the same ratio that it occursas described in the text.


16/36

A1 GREEN \1 BLUE GREEN i0*

\ /\ 7

\ BLUE / / M\ C 1\ % VIOLET\ / % %1 *1 ^U- - - ^

h

\%x

\

"""

PURPLE^ i

+ m m m m m -

;

1

;;

^- """

WHITE

*

" T - ^ ^

14

k.YELLOW ^

VORANGE

___ ^ , ^^L^H^H

;

PINK

m "l t-

"" *"

""

"""< ''"


17/36

COMPRESSION CHARTThis i l lustra tion, called a compression chart, is a graphic represen tationof the color reproduction capabilit ies of photographic f i lm, a computermo nitor, and a printing press. Each of these m ediums creates color in adifferent way. You can see tha t the transparency is capable of reprodu cinga greater color range than either the m onitor or the press. And, some colorsare more easily reproduced than othe rs. This is just one of the ways that thedifferences between original and reproduction can be quantified, helpingboth understanding and communicat ion.In some cases, where more exact fidelity to the transparency is crit ica l,images can be separated using more than the normal four process colors,or an ad ditiona l bump color. As dem onstrated below and on pages 18 and19, a special match red was used to enhance portions of this image.

:mftp %; *

/

Photographic FilmMonitorPrinting Press


18/36

i 6

M A R K I N G UP A P ROOFOften, it isn't possible to be in the same room withyour printer when going over color proofs. I f youaren't in the same room , at least make sure that y ouare in the same kind of room . I t's essent ial that y ouand your printer are viewing the originals and the

proofs in a control led and consistent l ight ingsi tuat ion. A "color room," with l ight boxes, overheadl ights, and wal ls that meet the specif ied 5000KA N S I * standards, is cri t ical when discussing orlooking at color long distance. The environment in

colors ?i &*


19/36

Listenwhich color is viewed can change it dramatically, asyou can tell by looking at the same image undernatural and fluorescent light.In addition, how well you articulate the correctionsyou're looking for determines whether or not you'll

get the changes you want. As we know by now,things like "match the chrome" don't really give theprinter much to go on. Here, we indicate some of themost common requests, in language that the printercan understand and execute.

AJULXL m ose. JUrfcu*- , ope** uf>>


20/36


21/36

. i

iy!

\


22/36

2 0

THE PRESSROOMYOU'VE APPROVED THE COLOR PROOFS, SIGNED OFFON A BLUEPRINT, AND YOU'RE IN THE PRESSROOMREADY TO ROLL. BY THIS TI M E, IF YOU AN D YOURPRINT SALESPERSON HAVE COVERED ALL THEBASES AND MADE THE NECESSARY CHANGES ANDCORRECTIONS, THE PRESS OK SHOULD BE FAST,FUN, AND UNEVENTFUL.

START BY ESTABLISHING RAPPORT WITH THE PRESSM A N . HE IS THERE BECAUSE OF HIS EXPERTISE INUNDERS TANDING THE CAPABILITIES OF THE PRESSHE'S RUNNING, AND HOW TO GET WHAT YOU WANT ONPAPER. MORE THAN LIKELY, HE KNOWS MORE THANYOU DO ABOUT HOW TO RUN COLOR AND MAKECHAN GES, SO DO N'T BE AFRAID TO ASK H IS ADVICERATHER THAN TELLING HIM HOW TO DO THINGS.

STEP BY STEP TO APPROVALMake sure you have al l the m aterials y ou ' l l need on han d, such asblueprints, f inal color proofs, and any addit ional back-up materials.THE READER SHEET First, make sure you have a "read er she et. " This isa makeready sheet that is not for f inal color, but can be used for proo fingcontent .On the reader sheet, look for copy changes that were made on the bluep rint ,design elements, and the posit ion of art and type. Also, check paper weightand finish to make sure they are correct.

The photo above is norm al,the one to the right illustratesa hot spot on the baby's cheek.


23/36

SeeBroken Type

SHEET TWO This is your op po rtun ity to check print qual i ty. Is the colorright? Are the flesh tones realistic? Is it in register? Does the type havecrisp edges with clean knockouts? Check for hot spots, broken type,scratches, and dirt .

Reverse type shou ld not "fill in ."It should be clean and consistentin weight, with type printed onwhite paper.

Does thetype havecrisp edgeswith cleanknockouts?

Doestypecrispwithknoc

>thehaveedgescleankouts?

Take your t ime on this sheet . Don't t ry to do e verythin g at once. Take stockof your overal l imp ression , and then study each eleme nt. Use a printers'loupe to check traps and registrat ion. Compare the sheet to your colorproofs and, understanding that they wi l l probably not match perfect ly,make sure that the effect is the one you w ant . S peak to the pressman oryour salesperson about your concerns and make adjustments together.Take a moment and try to look at the proof as if you've never seen theoriginal . That 's the way yo ur audience wi l l see i t .As a rule, it 's always be tter to tel l the printer wh at you w ant, or what youwa nt to change , rather than te l l ing him how to do i t . For example, you cansay that an area " looks too red," and let the printer decide what the causeof that is. I f you tel l him to take red ou t, you may f ind out w hen i t 's gonethat the problem was actual ly that there was not enough blue or yel low. Letthe printer use his expert ise to solve problems. And keep in mind that i t 'salways be tter to make a series of small shi f ts rather than b ig ones.Ask the printer to take a dens itometer reading , so that yo u have a basel inereading to start wi th . Densitometers measure the amount of each color thatyou are runn ing, and the readings are taken from the color bars at intervalsacross the length of the sheet to check color consistency.

This printers' loupe has a wx magnification.


24/36

2 2

SUBSE QUEN T SHEETS Always number the sheets as soon as you gett h e m . Check for the improvements that youVe discussed with the printer,and compare the new sheet w ith the last one.Ask for new densitometer readings to compare the c olors, since some colorsmay shift as they dry.Double-check any tints or neutral areas for shifts in color, or unevenness incolor, within a t int area or within the same image, especially for a crossover.Check match (f lat) colors against drawdowns or previous sheets.Don't be afraid to fold or cut the sheet so you can lay the images next toeach other from sheet to sheet .Check crossovers for color and alignment.

When a double pageimage is not the centerspread, the two halveswill likely not be togetheron the press sheet. Thisis called a crossover. Caremust be taken to matchthe two halves as theywill appear when bound.It is best to cut eachsheet so you can line upthe image in its finishedform to check it for colorand alignment. 3Confirm wh ich areas wi l l have protect ive c oat ings.Check the consistency of density and color on type or othe r repea ted designelements. (Check for consistency from page to page and sheet to sheet on

subsequent ok'd sheets within the same job as wel l . )Have a sheet ruled to confirm how it wil l fo ld , perforate, and t r im . Makesure al l the margins are correct . Check the p osit ion of the back-up w henyou're running the second side of a sheet .Ask to have a sheet folded and tr imm ed to size.Check for hickeys.

Hickey


25/36

SeeTake another fresh look at the whole sheet. Make sure the changes you'vebeen making in one critical area haven't impacted other parts of the sheet.Look at it from an angle; you may catch something you hadn't seen before.Take additional densitometer readings: magenta and cyan should be aboutequal. Yellow should be weaker. Black should be the heaviest.SIGN IN G OFF When you like it, sign it. Keep an ok'd sheet to bring backto your office. On a multi-form job, yo u'll want to have all your ok sheetsavailable at press to compare with the current press form.Ask the printer to record densitometer readings, then to run 500 or 1,000sheets and check the color again. You 'll be able to see how images clean upand color "settles in ." M odern presses are designed to run fast, and you w illgenerally see a much cleaner sheet once the press gets up to speed.Congratulate yourself and go on to the next form.


26/36

These three squares check graybalance in va rious tonal ranges,specifically quarter tone, midtone,an d three-quarter tone.

O

For each of the three process colors,these bars are used to check thesmoothness of gradationsin thiscase, from 3% to 97%.

This series of squares is created byrunning solid process colors over eachother. 100% cyan an d 100% yellow creategreen, 100% yellow and 100% magentacreate red, an d 100% magenta an d 100%cyan create purple. They are used tocheck the solid traps. Trapping has twomeanings in the printers' world. Onerefers to the fit or position of two areasof color, and the other refers to the waythe ink trapsor lies over or under theother colors. These bars, while they wouldindicate registration, are used to isolatethe ink lay.

t The color bars represented on these pages have been customizedby a commercial printer. These color bars include elements fou ndon a standard color bar as we ll as additional elements created bythe printer to maximize the testing equipment.

J! 5=


27/36

THE COLOR BARThe color bar is a guide for the printerused to check density, registration,color balance, and trapping. While it takes up very little space on the sheet,each element in the color bar serves a purpose, and it is packed withimportant information. The bar extends along the tail edge of the sheet asit goes through the press, so that readings can be taken along the entirelength for consistency.

When the overall balance of magenta, cyan,and yellow is correct, the combined colorscreate a neutral gray. In this square, 50%cyan, 41% magenta, and 41 % yellow are used.

Bars with patterns in them , called slurtargets, are used to check for ink slurring ormovement of the sheet, blanket, or plate onpress. There is always one pe r color, sinceeach needs to be considered separately.

These squares are made from solids andscreens of the same color at 100%, 75%,50%, and 25%. The printer uses this areato ensure that the dot gain measures arewithin a ce rtain level of tolerance. Pleasesee the glossary for more details.

Resolution lines (you'll need your ownprinters' loupe to see them) replicatevarious resolutions from 3600 to 200.These allow the printer to check theresolution ability of the film, proof,plate, and press.cc-;Ccccc


28/36

2 6

o

>-H>As you stand in front of a printing press that may be bigger In some instances, your subject matter may be completelythan your house, it can be startling to realize just how delicate unforgiving. When you are printing subtle colors or grays, asa process this is. The smallest shifts or variationsanywhere this demonstration shows, even a 4% variation in dot gainalong the processcan have enormous impact on the page. from one sheet or one part of a sheet to another creates

havoc. It 's important to understand going into a job that these


29/36

See

subtleties are simply m ore difficult to control, and lessforgiving, than other types of subjects.Quadratone, or four-color black and white images, are also easilyimpacted by very slight shifts to the gray balance.


30/36

2 8

The same point can be made in this com parison of a neutral ordelicate image with an extremely saturated one. In the neutralphotograph the 4% shifts to the gray balance shown heremake a significant difference.


31/36

See

In an image m ade up of strong, saturated colors with nocritical gray balance, these same shifts in color balance canhardly be noticed.


32/36

30

500ol< LightingLight measuring 5000 degrees Kelvin (the colortemperature of bright daylight) . A componentof industry-standard viewing condit ions forinspecting transparencies, comps, proofs, andpress sheets.

Color BarsPatches of solid, patterned, and t inted inkson the tail edges of press sheets. These qualitycontrol devices permit the measurement ofvariables such as color balance and registrat ion, t rappin g, print density, dot gain, and slur.

PlateCylinderBlanketCylinder

ImpressionCylinder

Aqueous CoatingA water-based alternative to varnish for protecting and enhancing p rint . May be applied in-l ine(on press) as a gloss, satin, or dull coating.Fast-drying, durable, and n on-yellowing.BlanketThe rubber-coated pad covering the intermediatecylinder of a l i thographic press. An inked,reversed image is transferredor offsetfromthis blanket cylinder, resulting in a right-readingimpression on the press sheet.Blueprint (proof)A one-color photographic proof for checkingdesign elements and page position. Ensurescorrect folding , tr imm ing, and other binderyoperat ions. C ommonly called bluelines, orsimply blues.Brightness/ShadeA descriptive characteristic of color, brightnessalso refers to the amount of light reflected fromthe surface of paper (or ink). A measure of acolor's va lue, shade also describes the processof darkening a color by adding black or acomplementary color.Bump ColorAlso known as touch plate. Adds a specialcolor, or accents a color within a specificimage area, for reaching optimal color m atch.Commonly used to achieve bright reds.CMYK/Process ColorAcronym for the four-color process modelfor printing via four separate plates. Theprocess-color m ethod allows wide-spectrumreproduction by mixing ink combinations ofthe three subtractive primaries cyan, magentaan d yellowplus black for increased tonecontrol . Overprint ing these transparent inkscreates the optical illusion of full color.Color BalanceThe combination of process colors used toreproduce the colors of an original image orobject. Process colors are in balance whenperceived as true to the original, with noundesirable casts or incorrect hues.

Color PerfectAn imposition format used to increase theprecision of critical color match by eliminatingin-line color compromises. Forms includeduplicate pages imposed to run behind eachother on the press sheet for improved colorcontro l .Color ProofsN on-printed reproductions of color artproduced by printers to closely approximatefinal printed color.ContrastThe differences in tona l gradation betweenan image's highlight and shadow areas thegreater the range, the higher the contrast.Crop (Crop Marks)The port ions of an image to be reproduce d, asindicated by vertical and horizontal corner lines.CrossoverArtwork (image, text, or screen tint) thatcontinues across to the facing page of apubl icat ion.CylinderPart of a system of large rollers on an offsetlithography press. The plate cylinder transfersan image onto the blanket cylinder, which isthen offset onto a press sheet passingbetween the blanket and impression cylinders.DensitometerA photoelectronic device for measuring thereflection densities of print (or the transmissiondensit ies of f i lm).DensityAn image's opacitya measure of which determines the relative thickness of ink on press.Dot GainHalftone dot growth causing darkened tonesand colors, as well as reduced shadow cont rast . Mechanical dot gainthe amount of inkabsorbed into the body of a sheetis affectedby f i lm, plate, and press processes, as well asby paper and ink selection.


33/36

Glossary

Gripper edgeGripper margin

DrawdownA method of proofing inks for special colormatches, whereby a thin sample layer of ink isdrawn down upon the surface of a specif iedsheet for evaluation.DuotoneThe technique of reproducing a black-and-whitephotograph as a tonally enhance d, two-colorhalf tone.Felt & WireBy contacting the paper machine's felt blanketrather than the wire during papermaking, asheet's top , or felt side, results in a sm ootherprinting surface than its opposing wire side.FolioPage numbers in publishingevens on theleft, odds on the right.Gray BalanceThe halftone dot values of cyan, magenta,and yellow requ ired to produce a neutral gray.Used as a quality control measure forachieving proper color balance.Gripper EdgeThe leading edge of a sheet, held by metalgripper "f ingers" during offset printing.The gripper margin allows the sheet to passthrough the press without affecting theimage area.GutterThe combined inner margins of a publication'sfacing pages.HickeysPrint defects caused by foreign matter on theblanket or plate. Often appear in areas of solidink coverage as dark specks surrounded bylight rings of non-printed stock.ImpositionPage arrangement into signature layo uts,as defined by factors such as number ofpages, press size, sheet size, and binderyconsiderations. Ensures correct sequ entialassembly when printed and bound.MakereadyProcedures required to prepare a press forprinting. Includes al l adjustments necessaryto produce a satisfactory press sheet for thecustomer from mounting and packing platesto ink control and image register.

Match ColorIn printin g, the duplication of a specif ied colorby using either multiple process colors orspecial f lat colors. Match colors may bedefined by supplied samples or by numbersfrom color matching systems.MoireUnacceptable visual patterns within half tonesand screen tints caused by misaligned screensor imprecise register. Also caused by opticalpattern confl icts between images and half tonedots, as well as between halftone screens andprescreened pieces.Mott leThe result of uneven ink absorption on poorlyformed paper surfaces, this spotty variation incolor or gloss appears most often in largesolid or t int areas.Off-lineProduction operations conducted out-of-process rather tha n in-line (on-press), suchas die-cutting or the application of specialcoatings via dedicated equipment.Offset SprayA dry spray of powdered starch at deliveryend of press used to separate freshly printedsheets with a fine layer of particles, thusallowing the ink to dry and avoidingundesirable offsetting.OffsettingA print quali ty problem where wet ink froma freshly printed sheet is transferred to thesheet above or below it in the delivery pile.Also called offset, or setoffOpacityA paper's translucency, or the degree to whichit minimizes print show-through from theopposite s ide. Also describes the degree towhich an ink covers a substrate (or other inks).Paper GrainThe alignment of fibers along the directionof flow in papermaking. In grain-long paper,fibers run pa rallel to the sheet's length, whilegrain-short follows the wid th. G enerally, registration is easier to control, folds are cleaner, andbinding stronger when running with the grain.PassThe passage of a press sheet through allprinting units.


34/36

32

/ 1 'f ' '(Wf'

Gripper edgeWork-and-tumble

Gripper edgeWork-and-turn

Register/Register MarksPrecision print alignment relative to the edgeof the sheet, and to co rresponding graphicelements ( including separat ions). Smallcross-hair targets on mechanicals and filmhelp to ensure accurate register on flats,plates, and press sheets.Second Pass/Dry PassThe extra passage of a sheet through thepress for additional color impressions orcoating applicat ions.ScuffingUndesirable print abrasions caused bysurface wear or rough handling. Particularlyproblematic in packaging, scuff ing may beminimized with scu ff-proof inks, varnishes,and other coatings.SheetfedA press accommo dating individua l sheetsrather than the paper rolls required ofhigher-volume web presses. Sheetfedpresses facilitate makeready and minimizepaper spoilage, and the feeder mechanismaccepts a wider range of paper stock.SheetwiseAn imposit ion method ut i l iz ing different platesfor each side of the press sheet. The sheet isturned over for printing the back side on a second pass, without changing the gripper edge.SignatureA folded sheet of paperprinted on bothsidesfor use in a publication. Signatures areproduced in four-page increments, up to 64pages. In common practice, the term also refersto any press sheet to be folded and bo und.SlurA printing defect caused by movement of thesheet, blanket, or plate on press, resulting inelongated, blurred (or slurred) ha lftone dotsand fine line distortion.TintsScreen tints are created by specifyingpercentages of solid (or flat) ink colors.Lighter, less dense colors and shading effectsmay be simulated by this uniform pattern ofdots, similar to halftones. Tint also refers tothe changing of a color's hue by adding coloror extender to the ink.Units (On-press Printing Units)Self-contained color stat ions on mult i-color

presses. Each includes a separate inkin g, dampening, and printing system for a single processor special color, varnish, or other coating.VarnishA clear-coat liquid sealer that overprints inkand paper to protect against scratches andscuffing, increase longevity, and enhanceimage appearance and impact. Can be glossor dul l .Wash UpThe process of cleaning ink and dam peningsolut ions from press components (such asplates, rollers, and fountain s), for chang ingcolors or preparing for a new print job .Work-and-tumbleA press imposit ion using the same plate forprint ing both sides of a press sheet, where thesheet is tumb led end-to-end for second-passprint ing on the back. Because the gripper edgeis changed and press adjustments m ade, thismethod is rarely used when precise registeris critical.Work-and-turnAn imposit ion method ut i l iz ing the sameplate for print ing both sides of a press sheet,where the back-up, or second side, is printedby turning the sheet overfrom left to right.This method provides better register thanwork-and-tumble by maintaining the samegripper edge.

COLOR SEPARATIONS REFERENCE LIST AGFA. A Guide to Color Separation: Digital

Color Prepress Volume Two. Los Ang eles, CA.Anderson L ithograph, 1995.

Field, Gary G. Color and Its Reproduction.United States. Graphic Arts TechnicalFounda tion, 1992.

Green, Phil. Understanding Digital Color.United States. Graphic Arts TechnicalFounda tion, 1995.

Romano, Frank J. Pocket Guide to DigitalPrepress. United States. Delmar Publishers,1996.

Southw orth, Miles and Southworth, Donna.Pocket Guide to Color Reproduction,Communication and Control, 3.1 Edition.United States. Graphic Arts Publishing, 1995.


35/36

PRODUCTION NOTESP R I N T I N GPrinted in the USA on 6-color an d 8-color 40" presses at8,000 impressions per hour. Electronic mechanicals weresuppl ied .T YPO G RAPHYN ews Gothic BT Light, Roman, and Bold; Meta Plus N ormal,Medium, an d Bold; and Bureau Grotesque Three Seven.PHO T O G RAPHYThe photographs in this book are the work of Eric Meolaas part of an extensive personal project and forthcomingbook, sponsored by Kodak, entit led The Last Places onEarth. Shot in Burm a, N ew Guinea, and Africa, theyrepresent Eric's lifelong interest in disappearing cultures.All images were scanned at 175 line screen.P A P E R A N D I N K S E Q U E N C EStrobe Gloss Cover ioolb./27ogsmOutside covers: Black, cyan, magenta, yellow, specialmatch blue, and spot gloss varnishInside front cover: Black, cyan, magenta, yellow, andoverall gloss varnishInside back cover: Black, cyan, magenta, and yellowStrobe Gloss ioolb./i48gsmPage 1: Black (40 % screen of cyan under s olid black)and spot gloss varnishPage 2: Black (40% screen of cyan under solid black),magenta, yellow, and overall gloss varnishPage 3: Two hits of cyan (40% screen of cyan under solidcyan) and overall gloss varnishPage 4: Black, cyan, magenta, yellow, and overall glossvarnish (40% screen of cyan under solid black for copy bar)Page 5: Black, cyan, magenta, yellow, and overall glossvarnishPages 6, 7, 8, 26, 27, 28, and 29: Black, cyan, magenta,yellow, and spot gloss varnishPage 25: Black, cyan, magenta, yellow, and spot glossvarnish (40% screen of cyan under solid black)Page 30: Black, cyan, magenta, and yellowPages 31 and 32 : Black, cyan, magen ta, yellow, and sp otgloss varnishStrobe Silk ioolb./i48gsmPage 9: Black, cyan, magenta, yellow, spot glossvarnish, spot m atte varnish, spot t inted gloss varnish,and spot aqueous coating

Page 10: Black, cyan, magenta, yellow, and overall glossvarnish (40% screen of cyan under solid black for copy bar)Page 11: Black, cyan, magenta, yellow, and overall glossvarnishPages 12 ,16,17 , 20, and 22 : Black, cyan, magenta, yel low,and spot gloss varnishPage 13: Black, cyan, magenta, and spot gloss varnishPage 14: Black, cyan, magenta, yellow, and overall glossvarnishPage 15: Black, cyan, magenta, yellow, special match red,and spot gloss varnishPage 18: Black, cyan, magenta, yellow, special match red,and overall gloss varnishPage 19: Black, cyan, magenta, yellow, special match red,and overall gloss varnish (40% screen of cyan under solidblack for copy bar)Page 21 : Black, two hits of cyan (40% screen of cyanunder solid cyan in copy blocks), magenta, yellow, andspot gloss varnishPage 23: Black and spot gloss varnishPage 24: Black, cyan, magenta, yellow, and spotgloss varnish (40% screen of cyan under solid black)Strobe Gloss is available in 8olb./n8gsm andioolb./i48gsm text ; 8olb./2i6 gsm, i oo lb . /270gsm , andi2olb./325gsm cover.Strobe Dull is available in 8olb./n8gsm andioolb./i48gsm tex t ; 8o lb . /2 i6gsm , ioo lb . /270gsm , andi2olb./325gsm cover.Strobe Silk is available in 8olb./n8gsm andioolb./i48gsm text ; 8olb./2i6 gsm and ioolb./27ogsmcover.


36/36

c /)D

saDDiThe word for f ine paper

The Warren Standard How to Read a Press Sheet

Documents

Transcript of The Warren Standard How to Read a Press Sheet