PDF Printing and Publishing
`
`Arteveldehogesch9ol '
`
`iiifilfliiiimin
`
`222.14
`.
`98/169.8
`PDF Printing and Publishing :
`
`·THE NEXT REVOLUTIO~ AFTER GUTENBERG
`· ~ -The definifive · gulde to Adobe Acrobat J.o
`
`I
`
`• Mattias Andersson • William Eisley ·Arnie Howard·
`·Frank Romano· Mark Witkowski·
`
`Micro
`Publishing
`Press
`
`AGFA+
`
`PETITIONERS Ex. 1010, p. 1
`
`

`

`PDF Printing
`and Publishing
`
`The next revolution after Gutenberg
`
`Mattias Andersson
`William Eisley
`Arnie Howard
`Frank Romano
`Mark Witkowski
`
`Rochester Institute of Technology
`
`Foreword by John Warnock, Chairman, Adobe Syste1
`Afterword by Michael Jahn
`
`EGON Hogeschool
`lndustrieweg 228, 9010 Mariakerke
`
`1111111111111111111111111111111111111111
`98/169
`222.14
`PDF Printing and Publishing :
`
`A Publication of
`Agfa Division, Bayer Corp.
`
`Bookstore distribution by
`Micro Publishing Press
`Torrance, CA
`
`EGON MEDIATHEEK
`INDUSTR!EWEG 228
`9030 MAR!AICERKE
`09 I 216 36 11
`
`PETITIONERS Ex. 1010, p. 2
`
`

`

`PDF Printing and Publishing
`
`The next revolution after Gutenberg
`
`Mattias Andersson
`William Eisley
`Arnie Howard
`Frank Romano
`Mark Witkowski
`
`Micro Publishing Press
`2340 Plaza Del Amo, Suite 100
`Torrance, CA 90501
`(310) 212-5802
`
`Copyright 1997
`All rights reserved.
`Reproduction in any form without specific written approval of
`Micro Publishing Press is forbidden.
`
`First Printing: March, 1997
`
`Printed in the United States of America
`
`ISBN 0-941845-22-2
`
`ii
`
`.( -:
`
`~,-_
`
`PETITIONERS Ex. 1010, p. 3
`
`

`

`INTELLECTUAL l.IROPERTY
`
`To retain some semblance of readability we omitted
`trademark information for all products mentioned.
`Here is the list:
`
`Adobe, the Adobe logo, Acrobat, the Acrobat logo,
`Acrobat Catalog, Acrobat Capture, Acrobat
`Exchange, Acrobat Distiller, Acrobat Reader, Acrobat
`Search, Adobe Accurate Screens, Adobe Type
`Manager, Adobe Type Set, Adobe Illustrator, Aldus,
`ATM, the ATM logo, Display PostScript, PageMill,
`the PageMilllogo, Photoshop, the Photoshop logo,
`PrintMill, Pixelburst, PageMaker, PostScript, and the
`PostScript logo are registered trademarks of Adobe
`Systems Incorporated.
`
`Agfa, the Agfa rhombus, Agfa Balanced Screening,
`Agfa, Mainstream, AgfaType, AccuSet, Alliance,
`Alto, Arcus, Avantra, ChromaPost, Chromapress,
`Chroma Watch, Chroma Write, Cobra, CristalRaster,
`DuoProof, FotoLook, FotoTune, Horizon,
`IntelliTrack, LUTGen, MultiStar, OptiSpot,
`Photo Wise, ProSlide, Python, QuickLink, SelectScan,
`SelectSet, Setprint, Star, Taipan and Viper are trade(cid:173)
`marks of Bayer Corporation or its affiliates, which
`may be registered in certain jurisdictions.
`
`Apple Talk, EtherTalk, ColorSync, Image Writer,
`LaserWriter, Mac, Macintosh, Macintosh Quadra
`and Quick Time are trademarks of Apple Computer,
`Inc. registered in the U.S. and other countries and
`AppleScript, Power Macintosh, Power Book,
`QuickDraw, System 6, System 7 and True'JYpe are
`trademarks of Apple Computer, Inc.
`
`Ethernet is a registered trademark of Xerox Corp.
`
`Freehand is a trademark of Macromedia Corp.
`
`HP, Laser Jet and PCL are registered trademarks of
`Hewlett-Packard Company.
`
`IBM and OS/2 are registered trademarks of
`International Business Machines Corporation.
`
`Kodak is a registered trademark of Eastman Kodak
`Company.
`
`Linotype, Hell, Optima, Helvetica, Palatino, Times,
`and Univers are registered trademarks and HQS
`Screening, LinoPress, LinoServer, Linotype Library,
`RT Screening, are trademarks of Linotype-Hell AG
`and/ or its subsidiaries.
`
`Microsoft and MS-DOS are registered trademarks
`and Windows, Windows 95 and Windows NT are
`trademarks of Microsoft Corporation.
`
`Novell and NetWare are registered trademarks of
`Novell, Inc.
`
`Open Windows, Sun, SunOS, are trademarks of Sun
`Microsystems, Inc.
`
`Post-It is a registered trademark of 3M.
`
`Scitex is a registered trademark of Scitex Corp.
`
`Solaris is a registered trademark of Sun
`Microsystems, Inc.
`
`SPARCstation is a registered trademark of SPARC
`International, Inc., licensed exclusively to Sun
`Microsystems, Inc and is based upon an architecture
`developed by Sun Microsystems, Inc.
`
`UNIX is a registered trademark in the U.S. and other
`countries, licensed exclusively through X/ Open
`~ompany, Ltd.
`
`QuarkXPress and QuarkXTension are registered
`trademarks of Quark, Inc.
`
`All other company and brand and product names
`are trademarks, registered trademarks or service
`marks of their respective holders. And if we inad(cid:173)
`vertently missed anyone, any word with a capital
`letter is probably a trademark of somebody's.
`
`lll
`
`PETITIONERS Ex. 1010, p. 4
`
`

`

`AcKNOWLEDGMENTS
`
`General
`
`Personal
`
`John Warnock, Dianne Eckloff, Eric Bean and
`Jennifer Polanski at Adobe Systems, Inc.
`
`Peter Broderick, John Harrison, Paul Verwilt
`·
`and Rick Littrell at Agfa.
`
`The gifted Peter Miller who designed the cover
`and some of the illustrations.
`
`Maureen Richards and everyone at United
`Lithograph.
`
`The irrepressible Michael Jahn of 4Sight.
`
`Larry Warter of Fuji Photo Film who con(cid:173)
`tributed material and input on standards.
`
`Mohan Kumar Dhandapani for being Mohan
`Kumar Dhandapani.
`
`Daniel Wallin, ColorCraft AB.
`
`Professor Frank Cost for his unique insights
`and great conversation.
`
`RIT Campus Safety for checking on us during
`those 2am sessions.
`
`Jim Cavuoto and Richard Romano at Micro
`Publishing Press.
`
`The gang in the RlT Electronic Prepress and
`Publishing Laboratory, especially Chris Hahn
`and Peter Muir and all their "labbies."
`
`Hal Gaffin and Bill Birkett of the RIT School of
`Printing for theii support.
`
`The people who hooked up our RlT ID and
`debit cards to the coffee and junk food
`machines.
`
`GTS Graphics in City of Commerce, CA, who
`output the film for this book on an Agfa
`Avantra 44 imagesetter.
`
`I would like to thank Arnie, Bill, and Mark for
`their patience with switching the keybord set(cid:173)
`ting back to US after I had left it on Swedish,
`and teaching me when to use have and has.
`Without the lectures from Frank Cost I would
`not have gotten the sparkling thought of how
`PDF can be used as the future of electronic pub(cid:173)
`lishing.
`-Mattias Andersson
`
`Summing up three months of intense labor into
`three sentences is tough, but here goes . . .
`Thanks to: my mother for believing in me and
`giving me the chance, Phil & Jim for my sanity,
`and finally Frank Romano for the opportunity
`to work with Arnie, Mark & Mattias. Working
`with such a diverse group of talent was a great
`learning experience.
`
`- William Eisley
`
`First, to Frank Romano for the opportunity. To
`Michael for getting us started, seeing us
`through, and finishing it off. To the Gang of
`Four, for being such good guys. And to my fam(cid:173)
`ily ... To Mindy, for your spirit and enthusiasm
`which have always been and inspiration. To
`Mom and Dad, my role models, my best friends,
`my heroes, ... for all you are and all you do.
`-Arnie Howard
`
`I would like to thank my parents, family and
`friends who's love and support have given me
`the values and drive to make me who I am
`today. To the other members of The Gang of
`Four, thanks for making this project so great.
`And to Frank Romano ... thanks a million!
`-Mark Witkowski
`
`lV
`
`PETITIONERS Ex. 1010, p. 5
`
`

`

`TABLE OF CONTENTS
`
`Foreword ................................... vi
`
`Fiveword ................................... vii
`
`1. POST-GUTENBERG TO PosTSCRIPT .................. 1
`
`2. AN INTRODUCTION TO PDF ..................... 19
`
`3. PRINT-RELATED PROCESSES & ISSUES ............... 31
`
`~
`
`4. DIGITAL WORKFLOW ENVIRONMENTS .............. 45
`
`5. CREATING PDF FILES .......................... 77
`
`6. USING PDF FILES ............................. 119
`
`7. PDF MARKErs & WoRKFLows .................. 159
`
`8. THE DIGITAL MARKEr ......................... 177
`
`9. THE IDEAL DIGITAL DOCUMENT ................ .183
`
`Afterword ................................. 193
`
`Index ..................................... .197
`
`v
`
`PETITIONERS Ex. 1010, p. 6
`
`

`

`FOREWORD
`
`Adobe Systems is known for developing soft(cid:173)
`ware that lets users easily create the most visu(cid:173)
`ally rich documents. One of the most complex
`challenges I've faced in 35 years in the software
`industry is devising technology for communi(cid:173)
`cating these documents electronically, as well
`as on paper.
`
`Leading-edge printers, prepress service
`providers, and imaging companies recognized
`the enormous potential of PDF and soon began
`using it to streamline their workflows and cut
`costs. And today, PDF is poised to become a
`standard for communicating information on
`the Internet.
`·
`
`Adobe's groundbreaking PostScript technolo(cid:173)
`gy-the basis for the desktop publishing revo(cid:173)
`lution-inspired a fresh approach to the prob(cid:173)
`lem. Instead of attempting to electronically
`replica~ documents from their original author(cid:173)
`ing applications, as earlier industry efforts had
`done, Adobe looked to the printing stage of the
`document creation process. Soon after the
`introduction of Adobe PostScript, practically
`every desktop computer on all major operating
`systems contained a PostScript driver for out(cid:173)
`putting documents to print. So why not con(cid:173)
`vert docunients to a new electronic format at
`the output stage, using the virtually universal
`Adobe PostScript language as the basis? Then,
`with cross-platform viewing software, anyone
`could easily access even the most visually rich
`content, no matter what application had been
`used to create it:
`
`Portable Document Format (PDF) is the real(cid:173)
`ization of Adobe's unique approach. PDF
`allows you to electronically communicate even
`the most visually dazzling document, free from
`the constraints of operating systems and appli(cid:173)
`cations, without sacrificing its look and feel.
`
`As the novelty of the World Wide Web fades,
`corporations, publishers, and designers want
`to take advantage of the Internet's potential to
`accomplish basic business goals, such as
`attracting customers, making information read(cid:173)
`ily accessible, and enhancing productivity.
`More sophisticated users demand a more ele(cid:173)
`gant method for delivering information on the
`Internet. The ease of use, universality, and
`unmatched visual quality of PDF position it
`with H1ML as the ideal solution for communi(cid:173)
`cating ideas on-line.
`
`Meeting the challenges of printing and elec(cid:173)
`tronically communicating visually rich docu(cid:173)
`ments has been one of the most satisfying
`accomplishments of my career. Today, the vast
`potential of the Internet has brought Adobe(cid:173)
`indeed, the entire business world-to a new
`crossroads. PDF has led Adobe to exciting new
`places we never expected to visit. And I am
`confident that exploring the possibilities of
`PDF will make the future just as exciting.
`
`John Warnock
`Chairman and Chief Executive Officer
`Adobe Systems Incorporated
`
`vi
`
`PETITIONERS Ex. 1010, p. 7
`
`

`

`FIVEWORD
`(it comes after a foreword)
`
`Everything starts with an idea.
`
`But then someone has to make it a reality.
`
`In the Fall of 1996 I taught the graduate-level
`class called "Trends in the Graphic Arts."
`During that class I described how the new
`version of Adobe Acrobat (now called 3.0)
`was going to change the world of digital
`printing and publishing. During a visit by
`Richard Benson, dean of the Yale School of
`Art and Peter Broderick, of Agfa, I mentioned
`that a team of students and myself were
`working on a book on the subject.
`
`Agfa said that they were developing new pre(cid:173)
`press workflows that integrated the Acrobat
`PDF and were interested in sponsoring the
`work. One thing led to another and Jim
`Cavuoto at Micro Publishing Press agreed to
`publish the book and four students suddenly
`were about to become published authors.
`They are:
`
`Mattias Andersson
`William Eisley
`AmieHoward
`Mark Witkowski
`
`They took Acrobat 3.0 apart and put it back
`together. The result is a book that tells you
`how to use 3.0 for high-end printing and
`publishing and describes the evolution and
`application of new workflows. They did all
`this while working towards their Masters of
`Science degrees at the same time.
`
`They worked tirelessly to meet the deadlines
`and produce a work that would really matter.
`They travelled to conferences in Florida twice
`(during the winter?) and to Massachusetts
`(during the winter!).
`
`Our goal in this book has been to explore the
`application of the Adobe Acrobat 3.0 PDF
`and especially its place in new workflows
`that automate the printing and publishing
`industries. We are truly appreciative of Agfa
`and their continuing support of industry edu(cid:173)
`cation. This book is only one small part of
`their many publications and programs.
`
`It has truly been a team effort and I am very
`proud to be one of the five authors who madE
`this book a reality.
`
`Frank Romano
`Melbert B. Cary Jr. Distinguished Professor
`of Graphic Arts
`School of Printing Management & Sciences
`Rochester Institute of Technology
`
`vii
`
`PETITIONERS Ex. 1010, p. 8
`
`

`

`CHAPTER 1: POST-GUTENBERG TO PosTSCRIPT
`
`PosT-GUTENBERG To PosTSCRIPT
`
`The title of this book was not created lightly. The Adobe
`Portable Document Format is the next revolution after
`, Gutenberg.
`
`Good old Johann Gutenberg did not invent printing. The term
`and the concept existed before he did and was practiced at the
`same time he lived. Playing cards and other materials were
`printed from carved blocks of wood.
`
`Gutenberg assembled a system, from presses and ink to move(cid:173)
`able type. The result was mechanical or automated writing, as
`one of his un-signed colophons stated. This became the mecha(cid:173)
`nism for improved information dissemination, the growth of
`knowledge and the development of western civilization. Not
`bad for a goldsmith.
`
`Gutenberg invented a method for communicating more infor(cid:173)
`mation, in a more timely fashion to more people than ever
`before. And that's what the PDF does. With Version 3.0 it
`extends its franchise into high-end printing while maintaining
`its lead in document transmission and viewing.
`
`1
`
`PETITIONERS Ex. 1010, p. 9
`
`

`

`m;Ii PRINTING AND PUBLISHING
`
`Cave drawings, hieroglyphics, Gutenberg bibles, and glossy
`magazines are all information containers. Although the form of
`each container is radically different, the end purpose is the
`same-to share and distribute information and ideas.
`
`Today, we call these information containers-documents. To
`have value, these documents and the information contained
`within them must be easily shared and distributed.
`
`Until Gutenberg and his invention of movable type, documents
`were only available to the elite because they were so valuable.
`A book or bible might take years to be painstakingly hand
`copied by a monk or scribe. The ability to share documents with
`a ~arge number of people was just not a possibility.
`
`Movable type changed that. Mass production of books allowed
`for a wider spread of information; Similar to the automobile
`mass production revolution of the 1900s which made cars
`affordable to huge numbers of people, books were beginning to
`become a commodity, not a rarity. This revolution continues
`today. From movable type, to phototypesetting and imageset(cid:173)
`ting, to 16-page computer-to-plate signatures, the publish(cid:173)
`ing/printing industry strives for faster and more effective ways
`of mass producing documents.
`
`In the Beginning
`As document creation evolved into computerized forms, docu(cid:173)
`ment composition was primarily limited to proprietary Color
`Electronic Prepress Systems (CEPS). These systems, produced
`by companies such as Linotype-Hell and Scitex, were not only
`expensive but difficult to use. Another drawback to these pro(cid:173)
`prietary systems was the difficulty or impossibility of cross plat(cid:173)
`form file transfer.
`
`The Revolution
`March 21, 1985 marked the date when easy, economical digital
`publishing became a reality. On this day Apple, Aldus, Adobe,
`and Linotype unveiled a working typesetting system with an
`open architecture. It was based on the Macintosh Plus comput(cid:173)
`er, which was one of the first personal computers with a
`Graphical User Interface, GUl. The output was made with
`
`2
`
`PETITIONERS Ex. 1010, p. 10
`
`

`

`CHAP1ER 1: PosT-GUTENBERG TO PosTScRIPT
`
`either a laser printer, the Apple Laser Writer, or a high resolution
`imagesetter, Linotronic 300, from Linotype. Both output devices
`operated with a new Page Description Language (PDL), called
`PostScript from Adobe. The typesetting front end utilized soft(cid:173)
`ware from Aldus PageMaker, which was a graphic-oriented
`page layout program operating on the Macintosh.
`
`The strength and importance of this prepress system was that
`several graphic arts industry vendors worked together on an
`open-architecture system that would be available to everyone at
`a fraction of the price of a CEPS system. During the years after
`the introduction of the new system based on the PostScript page
`imaging model, more and more printer and imagesetter manu(cid:173)
`facturers implemented PostScript into their output systems.
`
`Further developments in the prepress industry have produced
`devices for scanning, page assembly, and output which are
`compatible with the desktop publishing system based on Post(cid:173)
`Script. As a result of these combined efforts, digital workflows
`have been able to significantly speed up prepress production
`and related turnaround times.
`
`Today, anyone with a computer can be a publisher. The pub(cid:173)
`lisher can choose from a wide range of applications, typefaces
`and output devices all speaking the same tongue, PostScript.
`
`A Little About PostScript
`The idea for PostScript began in 1976 as a Computer Assisted
`Design (CAD) language called Interpress at Xerox's Palo Alto
`Research Center. When Xerox abandoned the project, John
`Warnock and Chuck Geschke left and formed Adobe in 1981.
`Their first product was PostScript.
`
`PostScript's power lies in the fact that it is a device-independent
`programming language. This means that the same PostScript
`file can be output on any device regardless of its resplution. As
`a programming language, PostScript can support any level of
`graphic complexity. Loop routines can be set to define extreme(cid:173)
`ly complex patterns and objects.
`
`While looping capabilities are a boon, they can also be a bane.
`
`3
`
`PETITIONERS Ex. 1010, p. 11
`
`

`

`. . PRlNnNG AND PUBLISHING
`
`Phototypesetters
`Character-based typesetters on film
`or photo paper.
`
`CRT phototypesetters
`Character, line art and some photo
`using cathode ray tubes for higher
`speeds.
`
`Laser phototypesetters
`Character, line art and photo output
`via lasers.
`
`Laser imagesetters
`Character, line art and photo in
`color primarily to film -
`capstan or
`drum based.
`
`Laser imposetters
`Character, line art and photo in
`color for imposed flats of 4-up, 8-up
`and more pages.
`
`Laser platesetters
`Character, line art and photo in
`color for imposed polyester and alu(cid:173)
`minum plates.
`
`Laser imaged on-press plates
`Character, line art and photo in
`color for imposed plates in registra(cid:173)
`tion on press.
`
`PostScript Interpreter
`Parses and interprets Post'script
`codes and operators.
`
`Display List
`A list of all of the objects on a page.
`
`Rasterizer
`Builds the page from the list of
`objects in the Display List and cre(cid:173)
`ates a page bitmap for the output
`device.
`
`4
`
`PostScript files could contain loops that take two hours to
`process without ever placing a single mark on a page. Another
`boon/bane is PostScript's flexibility. Aside from syntax rules,
`the format of PostScript is very unstructured. There are an infi(cid:173)
`nite number of ways to write code to perform the same task.
`Some of these ways are extremely efficient and others are not.
`
`This relationship is best seen in the way some software applica(cid:173)
`tions generate "good, RIPable" PostScript data and other soft(cid:173)
`.Ware generates "poor, problematic" PostScript data.
`
`Due its unstructured nature, PostScript is an extremely page(cid:173)
`dependent page description language. Page-dependence means
`that the entire file must be interpreted prior to imaging a single
`page. As a result, the individual pages described within a Post(cid:173)
`Script file cannot be easily extracted from that file. In other
`words, an object, like a circle, placed on the first page of a doc(cid:173)
`ument, may not be described by the PostScript code until the
`end of the file. The unstructured nature of PostScript and its
`page dependence leads to a very unpredictable file format.
`
`ARIP
`In a sense, the RIP, or raster image processor, is really the
`PostScript programming language compiler. It interprets the file
`and "executes" its commands which are to draw objects on a
`page. A RIP is the essential element in any form of raster-based
`imaging which includes computer-to: paper, film, plate, cloth,
`plastic, metal and perhaps epidermis. The end result of ripping
`is a bitmap for the entire image that tells the output engine
`where to place dots.
`
`The RIP performs three functions:
`1. Interpretation of the page description language from the
`application program
`2. Display list generation
`3. Rasterizing (making the bitmap)
`
`Almost every imaging device available today is a raster
`imager-using dots to build text, lines, photos, etc. Thus, every
`imager must, out of necessity, have a RIP, whether it is a lowly
`desktop printer or a giant computer-to-plate (CTP) system. And
`
`PETITIONERS Ex. 1010, p. 12
`
`

`

`CHAPTER 1: Post-GUTENBERG ro PostScRIPT
`
`every RIP is just a little bit different. Many are based on Adobe's
`design, with some additional features, and some are legally
`derived from public information on the PostScript language.
`These have been called PostScript clones. Most of the small or
`home office market is domiri.ated by Hewlett-Packard's PCL
`printer language, a PostScript wanna be.
`
`When you send a document to a printer the RIP does its job and
`out come the page or pages. But today's digital workflow is
`much more complex and multiple rippings are often the norm.
`In a CTP workflow, the document might be ripped to a color
`printer for color proofing, ripped to an imposition proofer,
`ripped to a remote proofer, and finally ripped to the platesetter.
`In most cases this involves four different RIPs and four different
`imaging engines. And four chances for variation.
`
`Over time, two paths to RIP development took place by:
`• Adobe licensees
`• Adobe clones
`
`In both cases, the RIP includes a core set of functions based on
`a PostScript interpreter. From there developers have added
`increasing functionality. Here are some of them:
`• More efficient graphics handling
`• More efficient picture handling
`• Halftone screening with different dot structures, angles,
`and algorithms
`• Stochastic screening
`• Trapping
`• hnposition
`• Statistics and other reports
`
`RIP Evolution
`The PostScript page description language was developed to
`communicate the appearance of text, graphical shapes, and
`images to raster-based output d~vices equipped with a
`PostScript interpreter. PostScript has become predominant in
`the computer printing world because of its device-indepen(cid:173)
`dence. Device-independence means that the image (the page to
`print or display) is defined without any reference to specific
`device features (printer resolution, page size, etc.). A single page
`
`5
`
`PETITIONERS Ex. 1010, p. 13
`
`

`

`.a!li PRINTING AND PuBLISHING
`
`description can be used on any PostScript-compatible printer
`from a 300 dpi laser printer to a 3,000+ dpi imagesetter or plate(cid:173)
`setter. In our opinion, another reason for its success is that it
`supports high-end printing. Computer-to-plate and digital
`printing as we know them could not have developed without a
`standardized page description language.
`
`Most applications that can print to a PostScript printer also let
`you "print'' to a file. Printing to a file means that the application
`(or the computer running the application, with the help of a
`PostScript driver) converts the job data to PostScript commands
`and saves it as a file instead of transmitting the code to a print(cid:173)
`er. You can download the file to any PostScript printer to print
`the file. Downloading is different from printing in that no data
`conversion (from job data to PostScript) takes place, the file is
`merely sent to the printer. This allows you to directly send
`PostScript streams to printers, without opening any application
`program. Most computer platforms have a variety of PostScript
`downloaders available.
`
`PostScript Printer Description Files
`Each application usually creates and stores files in its own inter(cid:173)
`nal format, not PostScript. When you print a job, the application
`uses a PostScript driver to translate its data into PostScript.
`Depending on what computer or application you use, the print(cid:173)
`er driver could be installed as part of the application, or, more
`commonly, the printer driver is installed in the System folder for
`any application to use.
`
`PostScript is device independent ... to a point. When you print,
`you print to a specific printer that has very specific features such
`as certain resolutions, page sizes, minimum margins, choice of
`paper trays, etc. Although the PostScript driver can send the
`PostScript job to any printer, it can't specify a tabloid page for a
`printer that does not have a tabloid tray, for example. To access
`features specific to the printer, PostScript uses PPDs (PostScript
`Printer Description files) which are stored in the System folder.
`
`Some printer-specific information that a PPD might include:
`• Input paper trays
`~ Page size definitions
`
`6
`
`PETITIONERS Ex. 1010, p. 14
`
`

`

`CHAPTER 1: PosT-GUTENBERG TO PosTScRIPT
`
`• Print areas for each page size
`• Output paper trays
`• Duplexing (double-sided printing)
`• Default resolution
`• Resolutions available
`• Black and white or color output
`• Halftone screening functions
`• Default screen angles
`• Screen frequency combinations
`• Custom screening definition
`• Default transfer functions
`• Default font
`
`QuarkXPress also uses another file to relate printer-specific
`information: a Printer Description File (PDF), which is not to be
`confused with the subject of this book, the Portable Document
`Format, also a PDF. (Silly, isn't it?) QuarkXPress uses data from
`both the PPD and PDF to generate PostScript for output.
`
`At print time, you select the PostScript output device and select
`a PPD (and a PDF in QuarkXPress).lf you later want to print the
`same job to a different printer, all you need to do is select a dif(cid:173)
`ferent printer with a different PPD.
`
`PostScript Interpreters and RIPs
`When the RIP receives the PostScript file for processing, it needs
`to convert that file to bitmap data. PostScript printers, whether
`300 dpi laser. printers or 3,000+ dpi platesetters, need a
`PostScript interpreter to translate the PostScript code into the
`bitmap data needed to print or image the page. Raster data
`prints a page as a pattern of tiny printer dots or spots. To place
`these dots, the RIP maps out the page as a grid of spot loca(cid:173)
`tions-this is called a bitmap. Any specific spot can be defined
`or located by its address based on x,y coordinates. To image a
`page, the output engine either images a spot or does n:ot-zero
`or one, on or off. Data of this type is called binary, because only
`two values are used.
`
`Bitmap data is what the output engine or recorder needs. But
`PostScript really describes pages not as a table of spots, but as a
`series of mathematically described shapes or objects. It takes a
`
`7
`
`PETITIONERS Ex. 1010, p. 15
`
`

`

`- - - - - - - - - -ED PRlNn:NG AND PUBLISHING
`
`PDF, PPD and PDF: What is what?
`
`Printer Description File - PDF
`Extra information about the printer that
`QuarkXPress uses.
`
`Printer Description File - PPD
`Information about the printer.
`
`----~
`----1 ----------------------- "'& ----------
`
`~ --------
`
`PostScript printer driver
`Makes the transformation
`from the operating system
`graphics functions into
`PostScript
`
`8
`
`PETITIONERS Ex. 1010, p. 16
`
`

`

`CHAPTER 1: PosT-GUTENBERG TO PosTSCRIPT
`
`PostScript File
`Includes the same infor(cid:173)
`mation that would be
`sent to a PostScript
`printer
`
`Acrobat Distiller
`Application that interprets
`PostScript data and builds
`a Portable Document
`Format file
`
`Portable Document
`Format-PDF
`A device-independent
`document format
`
`~.~
`II.? I
`
`PostScript
`RIP
`
`Imaging
`device
`
`Printed
`copy
`
`9
`
`PETITIONERS Ex. 1010, p. 17
`
`

`

`PRlNnNG AND PUBLISHING
`
`Dots and Spots and Pixels
`Most imaging recorders today use a
`laser. The laser creates a SPOT
`whose size is based on the resolution
`of the recorder. This is the basic
`laser SPOT and its width is mea(cid:173)
`sured in micron-thousandths of an
`inch.
`
`Over in the printing world pictures
`are reproduced on printing presses
`as patterns of halftone dots. These
`are clusters of black that fool the eye
`into perceiving a level of gray. Thus
`a DOT should refer to a halftone
`dot. But many of us use the terms
`dot and spot as though they were
`the same.
`
`It takes a bunch, maybe 10, of the
`laser SPOTs to make a halftone
`DOT.
`
`SPOTs are on or off, black or not
`there. PIXELS are generated by
`video monitors or some specialized
`recorders and they are SPOT!l with
`varying levels of energy. A PIXEL
`can be 100% dark or at some per(cid:173)
`centage of gray. Thus Red, Green
`and Blue PIXELs can be combined
`at varying levels to display a pic(cid:173)
`ture.
`
`Once again the term PIXEL is often
`used for SPOT or DOT. But now
`you know the difference.
`
`10
`
`lot less data to describe a page by its shape, size, and location
`than by listing the state (on or off) of each individual pixel in the
`image. The PostScript interpreter converts the PostScript code
`to a list of objects. Then it rasterizes the objects to create the
`bitmap for actual outputting. The resolution of the output
`device determines how many spots are needed to image a page.
`
`PostScript Level 2
`Since the introduction of PostScript in 1985, Adobe and other
`developers have created extensions to the PostScript language.
`Color extensions were added in 1988 to better support printing
`color images. PostScript Level2 was announced in 1990, and it
`integrated the original PostScript with all previous language
`extensions, and added new features. Included in PostScript
`Level2:
`• Color separation: Lets a user send a full-color job, not
`already separated, to the PostScript Level 2 interpreter
`which converts the one-page color job into four files: one
`for each process color (cyan, magenta, yellow, and black).
`• Composite fonts: Type 1 PostScript fonts can encode 256
`distinct characters but a typical Japanese font has over
`7,000 characters. The composite font technology includ(cid:173)
`ed in PostScript Level2 supports these larger fonts.
`• Data compression: Network transmission is a large per(cid:173)
`centage of the actual processing time for a job. PostScript
`Level2 supports several data compression schemes, such
`as LZW, JPEG, and RLE. Jobs sent over the network are
`sent in a compressed format, then decompressed by the
`PostScript interpreter. The amount of data transmitted is
`reduced, speeding up the network transmission portion
`of the job.
`
`Hardware and Software RIPs
`There are so-called hardware RIPs and software RIPs. The dis(cid:173)
`tinction is not always clear. Initially all RIPs were proprietary,
`with a CPU, disk, RIP software, and related hardware enclosed
`in a cabinet and attached to an imaging recorder. There was no
`monitor and no keyboard, although a keypad and LCD panel
`on the recorder did allow some level of interface. You connect(cid:173)
`ed your network to the RIP and away you went. Then someone
`decided that they could sell you the RIP software and you could
`
`PETITIONERS Ex. 1010, p. 18
`
`

`

`CHAPTER 1: POST-GUTENBERG TO PosTSCRIPT
`
`install it in your own computer. Usually they supplied a special
`computer board and cable to connect to the imager. The latter
`approach was called a software RIP.
`
`Configurable PostScript Interpreter (CPSI)
`CPSI (Configurable PostScript Interpreter) from Adobe is the
`basis for many RIPs from many vendors. It is guaranteed to be
`fully PostScript Level 2-compatible since it comes from Adobe.
`Developers can set it up to generate output for specific output
`devices, such as imagesetters, color proofers, laser printers,
`high-speed printers,