1435
`
`.~, -----------------------
`Computer-to-Plate:
`Automati ng the .
`Printing Industry
`
`~u
`lJ
`I
`
`by Dr. Richard M. Adams II
`and Frank Romano
`
`CUEru
`
`Technical Foundation
`
`,-'
`
`Petitioners' Exhibit 1010, pg. 1
`
`

`
`- - - - - - - - - - - - - - - - - - ,
`
`Computer-to-Plate:
`Automating the
`Printing Industry
`
`by
`Richard M. Adams II
`Graphic Arts Technical Foundation
`
`Frank J. Romano
`Rochester Institute of Technology
`
`Graphic Arts Technical Foundation
`PITfSBURGH
`
`Petitioners' Exhibit 1010, pg. 2
`
`

`
`Copyright 1996
`Graphic Arts Technical Foundation
`All Rights Reserved
`
`Library of Congress Card Catalog Number: 96-78325
`International Standard Book Number: 0-88362-191-6
`
`Printed in the United States of America
`
`Order No. 1435
`
`Reproduction in any form by any means without specific written permission is prohibited.
`
`Individual trademarks are the property of their respective owners. Product names are
`mentioned in this book as a matter of information only and do not imply endorsement
`by the Graphic Arts Technical Foundation
`
`Graphic Arts Technical Foundation
`4615 Forbes Avenue
`Pittsburgh, P A 15213-3796
`United States of America
`Phone: 412/621-6941
`Fax: 412/621-3049
`
`Table of Contents
`
`Section 1
`1
`2
`3
`4
`5
`6
`7
`8
`9
`
`Section 2
`10
`11
`12
`13
`14
`15
`16
`17
`18
`19
`20
`21
`22
`23
`
`Technology
`Introduction ............................... 1
`Press Trends ............................... 7
`Origination ............................... 15
`Raster Image Processing ................... .35
`Proofing ................................. .55
`The Image Carrier ......................... 75
`Quality Control ........................... 97
`Digital Workflow ......................... 115
`Return on Investment ..................... 127
`
`Platesetter Profiles
`Barco Graphics ........................... 135
`Creo Products, Inc ......................... 143
`Cymbolic Sciences, Inc ..................... 151
`DuPont ................................. 155
`Gerber Systems Corporation ............... 159
`Krause America, Inc ....................... 171
`Linotype-Hell ............................ 177
`Mi somex ................................ 183
`Optronics ................................ 187
`Presstek ................................. 195
`Scitex ................................... 199
`Screen .................................. 203
`Other Platesetters ......................... 209
`Comparisons ............................. 215
`
`Internal vs. External Drum Technology ...... 221
`Appendix A
`Platesetter Addresses ...................... 237
`Appendix B
`About the Authors ..................................... .239
`
`Petitioners' Exhibit 1010, pg. 3
`
`

`
`Chapter 1
`Introduction
`
`In April 1995, Scientific American Inc., Apple Computer Inc and its advertising agency BBDO /Los
`Angeles, and the publications printer RR Donnelley & Sons Co. produced 300,000 copies of a 200-
`page publication in its entirety with a computer-to-plate process. This was the first time an entire pub(cid:173)
`lication, including its advertisin~ had been completely without the use of film for web offset printing.
`In 1994 an Optronics PlateSetter was used at Publisher's Press in Florence, Ky., to produce the
`May 1994 issue of Sports Car International, the first glossy four-color magazine in the world printed
`on a web offset press from plates imaged entirely without film.
`"The pioneering efforts of Apple and BBDO/L.A.'s production and media departments have
`made this a first for the web-offset printing industry/' said Richard Sasso, associate publisher and vice
`president of production for Scientific American Inc. "We experimented with the basic technology in
`several editorial sections of previous issues of the magazine. But with Apple, BBDO ad RR Donnel(cid:173)
`ley's significant commitment to cooperation and communication, we are all able to confirm the com(cid:173)
`puter-to-plate technology'S viability for producing beautiful and more timely productions./I
`Computer-to-plate technology (CTP), or direct-to-plate as it is sometimes called, is a digitized
`printing process. Publishers provide all editorial and advertising content in digital form (either on
`disk or by sending the data over telephone lines) to printers who, in turn, produce electronic web-off(cid:173)
`set printing plates, eliminating all the traditional intermediate film-preparation stages.
`Sasso expects this process to benefit Scientific American in the following ways:
`• Improve print quality by using first-generation digital data to expose the plate
`• Potentially reduce prepress cbsts, by eliminating film from the process
`• Reduce production time giving advertisers and editors more time to develop content
`
`Apple Computer is the sole advertising sponsor of the special anthology issue of Scientific Amer(cid:173)
`ican magazine entitled The Computer in the 21st Century. Apple and BBDO /Los Angeles provided 21
`pages of advertising to the magazine in digital format that RR Donnelley then converted to Post(cid:173)
`Script file format.
`"We were intrigued with the concept of completely digital print production. Working with Sci(cid:173)
`entific American on the anthology issue gave us an opportunity to test the technology'S potential first(cid:173)
`hand/' said Mike Donne, vice president of worldwide communications and marketing services at
`Apple Computer. "We found that the efficiency and quality of this new printing technology, com(cid:173)
`bined with the magazine's fully-automated Macintosh publishing house, made this first-time experi(cid:173)
`ence a pleasurable one./I
`"Our media and production department found this first-time process to be smoother than antic(cid:173)
`ipated/' said Susan Kassman, print production supervisor for BBDO / Los Angeles. "As more publi(cid:173)
`cations embrace a digital production process, we anticipate it's just a matter of time before the
`
`Petitioners' Exhibit 1010, pg. 4
`
`

`
`2 COMPUTER-TO-PLATE: AUTOMATING THE PRINTING INDUSTRY
`
`INTRODUCTION 3
`
`systems, but there are a few below that. Digital plates started out about 50% more expensive than con(cid:173)
`ventional plates but that is changing.
`Three types of computer-to-plate printing systems are in use:
`• Plat:s or ~ag: carriers for gravure and flexography on which the images can be produced by
`etchmg Wlth high-powered lasers or electromechanical engraving devices.
`• High-speed light-sensitive plates for lithography with coatings that have light sensitivities on
`the order of litho film and that can be exposed with low-power visible lasers.
`• Non-~ght-sensitiv: p!ates for lithography with coatings on which images can be produces by
`heat (infrared) radIation rather than light
`
`The Market
`
`Computer-to-plate technology is relatively young in terms of shipments. Based on our best estimates
`there were 271 CTP systems installed in customer plants worldwide at the end of 1995. It is predicted
`that there will be 566 units worldwide at the end of 1996. And by the end of 2000, there will be 2 054
`systems in the world, about half of them in North America.
`'
`
`advertising industry universally supports digital delivery of ad material. Having worked with Scien(cid:173)
`tific American, we can all see how this process can save time in the future."
`Scientific American has been committed to the regular use of CTP technology since October 1994,
`publishing more than 60 million printed pages to date with the Mattoon, Ill. division of printer RR
`Donnelley & Sons Co.
`"Computer-to-plate printing for the web-offset process is a promising technology for the pub-
`lishing industry," said Bob Pyzdrowski, president of magazine services for RR Donnelley. "This new
`technology that we've implemented for Scientific American benefits publishers, printers, and advertis-
`ers alike with time-savings, efficiency, and quality."
`"As this new technology evolves, we face many challenges. Standards must be put firmly in
`place. Industry organizations such as Specifications for Web Offset Publications (SWOP) need to
`implement specifications for transporting digital data and proofing," said Sasso. "We've proven the
`technology works. Now all parties should work together to develop and embrace the techniques that
`will improve magazine publishing."
`Anyone who has been reading the trade press over the past two years, or has attended the most
`recent trade exhibitions, will be aware of the enormous interest in CTP. Potentially, investing in CTP
`can provide the following benefits:
`• Savings in supplies-film, carrier sheets, film chemicals, tapes, and adhesives
`• Savings in personnel-stripping, film exposure, retouching, and processing
`• Savings in equipment-film exposure, film processing, and processing
`• Savings in space of up to 50%
`
`And so, a market with roots back almost 20 years begins to have an impact on the printing and pub(cid:173)
`lishing industries.
`
`Computer-to-Plate Printing Systems
`
`The trend in printing is toward shorter run lengths, which means changing plates more often. CTP
`seems to be the primary method for conventional lithography to cope with the continuously growing
`demand for short-run printing and increased productivity. CTP means more than installing a plate
`imaging device. A CTP installation involves many additional devices and systems that enable the
`application of a digital workflow. New organizational and technological requirements are created
`(networking, storage and archiving, digital proofing, file transfer, preflighting), and it is important
`that each is thoroughly implemented in order for the whole system to operate efficiently. Imaging
`plates directly from computer files has been an approach to increased productivity in prepress and
`reduced makeready in the pressroom. Its time has come.
`What began in the late 1980s and early 1990s as a trickle has become a river. There are more than
`16 different engines sold by almost 40 firms with about 20 different plates. Some systems expose a
`variety of plates; some concentrate on one plate. CTP has now gone beyond confusion to a point that
`some consider maddening.
`You can quickly categorize the systems into eight or more-up, four-up, and two-up, although
`some systems can handle both four-up and eight-up. Then you can categorize them by dry or wet pro(cid:173)
`cessing. The wet processing can be water for the photopolymer plats or chemistry for the silver-based
`plates. Some of the dry processing requires a smidgen of water.
`These two categorizations get you into a reasonable ballpark in terms of comparison. We will
`assume that the system can produce 8-20 plates per hour (depending on size) from the time the file
`is sent to the RIP until the plates exit from the system. Price tags are still above $400,000 for eight-up
`
`Worldwide Computer-to-Plate Installations*
`(based on aluminum platemaking systems)
`Through
`1995
`79
`12
`170
`10
`271
`
`1996
`99,
`82
`290
`95
`566
`+295
`
`1997
`134
`142
`460
`140
`876
`+310
`
`1998
`194
`242
`590
`185
`1,211
`+355
`
`1999
`239
`372
`700
`230
`1,581
`+370
`
`2000
`299
`560
`980
`215
`2,054
`+473
`
`Newspaper
`4-up
`8-up
`16-up
`Total
`
`*projections by the Digital Printing Report
`
`Earliest Computer-to-Plate Systems
`
`The first comt:>uter-to-plate system was Lasergraph, an ablation system for making relief letterpress
`plates shown m 1974. The company was funded by Gannett, and only one system was ever installed
`to our knowledge. It was discontinued because letterpress was declining in use, and the lasers used
`for ablation (two CO2 lasers) used almost as much energy as it took to run a press.
`. ~e following two years witnessed the introduction of a number of other digital plate systems,
`mcludmg systems by EOCOM (now Gerber), LogEtronics (from LogScan, now Datrax by Crosfield),
`Dest Data .(Wall Street ]ouma!), Azoplate (Kalle, now Enco or Hoechst, acquired by Agfa), and Chemco
`(now Komca). All of these early systems, except the Crosfield Datrax and Gerber, have failed for one
`reason or another. Among the main reasons have been slow exposure speed of early plate coatings,
`and the slow development of complete pagination with trapping programs, plate imposition soft(cid:173)
`ware, and digital color proofing systems.
`
`Petitioners' Exhibit 1010, pg. 5
`
`

`
`4 COMPUTER-TO-PLATE: AUTOMATING THE PRINTING INDUSTRY
`
`INTRODUCTION 5
`
`Early Lithographic Computer-to-Plate Systems
`
`Ihese systems were used for making plates for newspapers and business forms. Ihe Wall Street Jour(cid:173)
`nal is produced on such systems in most of its 17 printing locations. The systems use satellite trans(cid:173)
`mission of digital data to Chemco Newsplaters, which record the newspaper pages on Polychrome
`Laserscan plates. The New York Times uses similar concepts for its national newspaper. Crosfield
`Datrax laser platemaking and facsimile transmission systems are used which can produce newspaper
`page images either on Lasermark films or plates.
`Early computer-to-plate systems were not capable of printing commercial lithographic pictorial
`quality, primarily because of the unavailability of plates. Ihe development of the 3M high-speed pho(cid:173)
`topolymer and the Nippon dye-sensitized photopolymer plates and upgrading of the Crosfield
`Datrax to a 150-line screen capability encouraged development of commercial or magazine computer(cid:173)
`to-plate systems. Business forms are being produced on Purup, Misomex, and Harris Digilabel elec(cid:173)
`tronic imaging systems by direct exposure of 3M Onyx plates or Mitsubishi Silver Digiplates (all
`polyester) by helium-neon lasers and printing on a press in runs up to 20,000 impressions.
`Ihe first printing process to use computer-to-plate (image carrier) digital printing commercially
`has been gravure using image carriers made on electromechanical machines. This was followed by
`flexography, lithography, and stencil duplicating.
`
`The Evolution from Phototypesetting to Plate setting
`
`As the printing industry applied phototypesetting, it laid the groundwork for today's platesetting.
`
`Computer to film. In 1978 Monotype introduced the Laserco~p, the first raster-based imagesetter. It
`was not, however, the first device to apply a laser for typesetting. Ihe abortive Photon laser typeset(cid:173)
`ter in 1976 had that distinction. Ihe term "imagesetter" did not become widespread until 1985 when
`Adobe Systems and Linotype-Hell adapted the Linotron laser system to PostScript. From its intro(cid:173)
`duction in 1981, the Linotron, as well as the Lasercomp, suffered from the lack of a page description
`language that could integrate text and graphics. From 1985 onwards, virtually every imagesetter
`incorporated a PostScript raster image processor (RIP). Imagesetters then advanced to two-up film,
`four-up film, and today eight-up and even sixteen-up film sizes.
`
`Computer to imposed film. Optrotech of Israel introduced an eight-up film imposetter in 1989. It was
`a device already in use for making semiconductor artwork and easily adapted for imagesetting. For(cid:173)
`tunately, the Linotronic 500 was a four-up machine and had been used by a Canadian printer with an
`interest in Ultimate Technographics. Ihe latter company developed the first imposition program, thus
`
`making an eight-up machine, dubbed an "imposetter," possible. Over time many suppliers developed
`imposetting devices, which paved the way for computer-to-plate.
`
`Computer to imposed plate. As film-based imp os etters evolved to larger sizes of output media, util- .
`ity software for automatic trapping and imposition evolved, as did digital proofing technology. The
`result was a digital infrastructure that was essentially in place when the first CTP systems were
`demonstrated in September 1993. But the genesis of CTP goes back before that time.
`
`The Variations of Computer-to Technology
`
`CTF
`
`Computer to Film
`
`CTIF
`CTP
`CTPP
`
`Computer to Imposed Film
`Computer to Plate
`Computer to Polyester Plate
`
`CTAP
`
`Computer to Aluminum Plate
`
`CTPoP
`
`Computer to Plate on Press .-
`
`CTPIC
`
`Computer to Plate Image Cylinder
`
`CTEP
`
`Computer to Electronic Printer
`
`CTECP
`
`Computer to Electronic Color Press
`
`Raster-based images etters, both capstan(cid:173)
`and drum-oriented
`Imposetters, 4-up and larger format
`Computer-to-plate, any kind of plate
`Imagesetters or irnposetters, outputting
`film or plate, or dedicated devices that
`only output polyester plates.
`Plates etters using internal or external
`drum, flatbed or curved approaches.
`Presstek technology presently integrated
`on presses from Heidelberg and Omni-
`Adast.
`Creo's developmental technology that
`involves spraying a material on a press
`cylinder and imaging it with thermal
`lasers.
`Includes all digital printout devices, mono(cid:173)
`chrome or color.
`Specifically involves high-end higher(cid:173)
`speed color printing systems.
`
`Who Will Implement the Various Computer-to Technologies
`Type
`Prepress
`Printers
`CTF
`100%
`40%
`CTIF
`20%
`20%
`CTPP
`5%
`CTAP
`30%
`CTPoP
`10%
`CTPIC
`10%
`CTEP
`60%
`CTECP
`20%
`
`40%
`30%
`
`Evolution from Phototypesetters to Platesetters
`Characters
`Line Art
`Photos
`Color
`•
`•
`•
`•
`•
`•
`
`Phototypesetters
`CRT phototypesetters
`Laser phototypesetters
`Laser imagesetters
`Laser imposetters
`Laser plates etters
`
`•
`•
`•
`•
`•
`
`•
`•
`•
`•
`•
`
`Imposed
`
`•
`•
`
`•
`•
`•
`•
`
`Petitioners' Exhibit 1010, pg. 6
`
`

`
`Chapter 2
`Press Trends
`
`Changes in sheetfed and web offset printing markets have been responsible for some modifications
`in sheetfed and web offset press design and operation. Both have directed their efforts at increased
`productivity and lower running costs. Sheetfed, with smaller sheets and shorter run lengths, has con(cid:173)
`centrated on faster makereadies and shorter changeovers. Web offset, with more durable plates and
`longer runs, has concentrated on higher speeds and waste reduction. In gravure, press developments
`are in smaller presses and wider presses with more automation and less manning.
`
`Press Automation
`
`More and more press functions are becoming automated. Many manual tasks, such as plate chang(cid:173)
`ing, are now being augmented or replaced by automated systems. Increased automation has a posi(cid:173)
`tive impact not only on makeready but also on the pressrun. Automation shortens makeready by 50%
`or more, enabling the press operators to mount plates quicker and to make adjustments in less time
`than if they were made manually. During the pressrun, automation allows the press operators to
`adjust ink/ water balance and register from a remote control console, instead of making manual
`adjustments to ink keys and ink ratchets, side guides, plate cylinders, and other press devices. In addi(cid:173)
`tion, automatic blanket washers allow press operators to wash blankets without stopping the press(cid:173)
`a critical production consideration especially with web presses. Automation can also result in
`decreased press crew sizes. Many of the sheetfed and web presses displayed at the DRUPA and Graph
`Expo '95 trade shows incorPorated one or more of the following features:
`• Automatic plate changers on sheetfed presses
`• Robotic material-handling at both the feed and delivery ends of the presses
`• Automatic washup accessories for the ink trains, blankets, impression cylinders
`• In-line densitometers and spectrophotometers
`• Automatic registration
`• Ink pumping and distribution systems
`• On-line pH and conductivity control
`
`Among the functions that are becoming automated, which vary considerably from press to press
`and from press manufacturer to press manufacturer, are adjustments to:
`• Pile, feedboard, and side-guides on sheetfed presses
`• Roll stand and web guides on web presses
`• Register
`• Delivery
`• Ink/ water balance
`
`Petitioners' Exhibit 1010, pg. 7
`
`

`
`22 COMPUTER-TO-PLATE: AUTOMATING THE PRINTING INDUSTRY
`
`ORIGINATION 23
`
`existing halftone, whether on film or paper, be it one B&W halftone film or four color separations. A
`halftone, when rescanned, tends to develop moire, an :interference p~ttern created by the :interaction
`of the two halftone patterns. To avoid moire, rescreening :involves scanning the work slightly out of
`focus to blur the dot pattern. Rescreening of halftones and color separations produces smaller files
`than copydot scann:ing.
`Two scanners on the market that do copydot scann:ing and rescreening of negative or positive
`film are the Eskofot scanner and the Linotype-Hell Topaz with the Copix option. Copix, controlled via
`Linotype-Hell's Linocolor scanning software, descreens filins using digital filters, then generates a
`CMYK data set from the scanned separations. A "Mixed Mode" enables the Copix to copy films at
`higher resolution than rescreening but with a smaller file size than copydoi: scanning. In Mixed Mode,
`the Copix descreens the CMY separations and combines them with a copydot black (K) separation.
`Digitized data can then be output in TIFF-CMYK or DCS, with optional JPEG compression.
`
`Software
`
`One of the keys to desktop publishing was the development of page layout software, computer pro(cid:173)
`grams for comb:ining type and graphics. Today, the creation of pages involves the use of potentially
`many different software programs for creating pages, making line-art illustrations and diagrams, and
`scanning halftones and color separations-not to mention professional prepress activities such as
`imposition and trapping.
`
`PostScript. PostScript is a page-description language developed and licensed by Adobe Systems, Inc.,
`for describing elements to be output on digital printers. PostScript is a device-:independent page
`description language; it can be used to describe output on any printer, regardless of its resolution.
`Other page-deScription languages, :including Hewlett-Packard's HPGL and Xerox's InterPress, have
`been developed for specific output devices. The device :independence of PostScript has enabled com(cid:173)
`puter platforms, software, and output devices from many different manufacturers to work together
`in creating digital pages. Adobe licenses PostScript to RIP and printer manufacturers; it does not need
`to be purchased by the user.
`When sending out PostScript files, make sure (where at all possible) that the whole file is supplied
`with the program it was created in, e.g., PageMaker, rather than in pure PostScript files, which need
`to be processed before they can be displayed on the screen. PostScript is simply just a long list of
`instructions that the connected RIP recognizes and converts :into pixel patterns which can be viewed
`by the human eye.
`A number of systems are available for handling PostScript files, such as Screen's Taiga, and Lino(cid:173)
`type-Hell's Signa Station package, which convert the PostScript file for editing, before reconverting
`back into PostScript, but be aware that this all takes time. It is much quicker, and easier, if the file is
`supplied in the program it was originally created in.
`A key feature of PostScript is its ability to handle both vector and bitmapped images. A vector
`image, as might be created :in Adobe Illustrator or Macromedia Freehand, is described by mathemat(cid:173)
`ical equations that determine the shape of lines. Vector graphic images are device-independent and
`scalable. Bitmapped graphics, on the other hand, have a specified resolution based on picture ele(cid:173)
`ments, or pixels, of specified bit depth (the bit in bitmapped), arranged:in an x-y coordinate system (the
`map :in bitmapped).
`
`Page layout programs. Page layout refers to the creation of pages and the elements on them. Typi(cid:173)
`cally pages include typography in headlines and body type. They may also include borders, rules, and
`shaded or colored backgrounds.
`
`Bitmapped vs. Vector Graphics
`Vector graphics, consisting of mathematically described points, lines, and arcs, are resolution
`independent and thus scalable without loss of quality. Bitmapped graphicS, on the other hand,
`have specified resolution and cannot be enlarged without "stairstepping," or pixelization.
`
`Vector-100%
`
`Vector-600%
`
`Bitmapped-100%
`
`Bitmapped-600%
`
`A basic distinction between page layout programs is batch versus interactive pagination. Batch
`mode is when the page layout program assembles a complete document from start to finish by
`importing a word processing document. The program adds as many pages as necessary to contain the
`document, applying specified styles to the type. Interactive page layout refers to a designer manually
`creating each page and positioning the content on the page.
`Page layout software can also be object-oriented versus :interactive. Object-oriented means that
`the user creates objects, such as text boxes and picture boxes, to hold the page elements like text and
`illustrations. Interactive means that these objects are placed freely on the page. Object-oriented pro(cid:173)
`grams make it easy to precisely control the position, size, and scaling of elements, whereas interactive
`programs are easier to use in batch-processing mode.
`Current page layout programs can import text from common word process:ing programs such as
`Microsoft Word, WordPerfect, MacWrite, and others, retaining the styles applied to text, headings,
`captions, and other elements. Page layout programs import graphics conforming to encapsulated
`PostScript (EPS) and tagged image file format (TIFF) specifications.
`Commonly the images imported into page layouts do not become part of the digital page layout
`document. To help reduce the size of the page layout file, they remain separate and are referred to as
`"linked graphics." The page layout program establishes a link to imported graphics and represents
`them with a low-resolution preview image on the screen. A common error :in transmitting digital files
`to an output service is to omit linked graphics, resulting :in the output of a low-resolution preview
`image in place of the high-resolution graphic file.
`
`Illustration software. Illustration software refers mainly to programs used to create vector-graphic
`artwork, including diagrams and logos. Leading examples are Adobe Illustrator and Macromedia
`Freehand. The advantage of vector graphics are scalability and small file size. Illustrations can be
`enlarged or reduced with no difference :in image quality. Using equations to describe graphic ele(cid:173)
`ments results in small file sizes, as compared to comparable bitmapped images.
`
`Petitioners' Exhibit 1010, pg. 8
`
`

`
`24 COMPUTER-TO-PLATE: AUTOMATING THE PRINTING INDUSTRY
`
`ORIGINATION 25
`
`A potential disadvantage of vector graphic images is that each point and line in the image must
`be processed by the raster image processor (RIP) on output. Early-model RIPs sometimes lacked the
`processing power to handle the many lines and points of complex vector graphics, but as RIPs have
`become more powerful they have become better able to handle complex vector graphics.
`Many vector-based drawing programs are able to import bitmapped images, including those in
`PIC!, EPS, ~nd TIFF formats. However, other than scaling, they are not able to perform image pro(cid:173)
`cessmg on bltmapped files.
`Vector graphics are saved in native (i.e., the program's own) format or, for importation into page
`layout software, in encapsulated PostScript (EPS) format.
`.
`
`~itmapped software. Bitmapped software is used primarily to make scans and do image editing, but
`It ~an also be ~sed to create artwork. Examples include Adobe Photoshop, Fractal Painter, and pro(cid:173)
`pnetary scanrung programs written for specific scanners. Bitmapped programs enable the user to
`"paint'~ a bitmapped graphic, using a variety of painter-like tool icons, including pencils, air brushes,
`:md p~t buckets. They also enable processing and retouching of scanned images, including chang(cid:173)
`
`mg the lightness, darkness, contrast, color balance, hue, and saturation of colors.
`A bitmapped program can typically handle various bitmapped image modes, including line art,
`grayscale, RGB color, and CMYK color. Recent developments include the ability to handle device(cid:173)
`independent CIE LAB color and Kodak's YCC Photo-CD format.
`Bitmapped software can save files in native format or in TIFF, EPS, or PICT format. Compression
`may also be a~plied to bitmapped images, including JPEG Goint Photographic Experts Group) to
`PICT and EPS Images, and LZW (Lempel Ziv Welch) compression to TIFF images.
`Scann~rs ~enerally include some form of software for operating the scanner from the computer
`and scannmg Images. Desktop flatbed and slide scanners typically ship with manufacturer-supplied
`~0;tware th~t works as ~ stand-alon~ ("SA") applic~tion or from within Adobe Photoshop as a "plug(cid:173)
`m (Adobe s. name for Its open architecture, meanmg other software developers can write programs
`tha~ work With Photoshop). Desktop drum scanners generally operate from proprietary software in
`whic~ the manufacturer offers unique capabilities for achieving professional-quality results. Exam(cid:173)
`ples ~clude Howtek's Aurora and Trident software, and Linotype-Hell's Linocolor software. These
`scannm?" programs save in standard TIFF and EPS formats, so files can later be opened in image(cid:173)
`processmg software.
`
`Imposition programs. Imposition programs process PostScript files from a wide variety of different
`layout .pro~ams. Presswise 2.0 from Aldus (now Luminous), for example, can process color-sepa(cid:173)
`rate.d file~ directly from PageMaker and QuarkXPress, and it is likely that other filters will become
`av~able m due course. Files have to be in PostScript format, or else valuable time is taken up in con-
`verting them.
`-
`Page arrangement has traditionally been visual and intuitive, but Ultimate's "Origami" sheet fold(cid:173)
`.
`mg progra~ can organize the required layout, using a mouse on screen. The program remembers all
`the rel~vant information such as page position, page numbering, page measurements, margins, footers
`~d trim to create the total page scheme. Such a program should also make provisions for the plate
`SIZes to be ~sed, the number of pages per plate, as well as print re-sizing for small format proof output
`and the shrinkage that will occur when the job is actually being printed. The program should also allow
`the u~er to easily <:eate their own register marks, signatures, print and cutting commands in the cor(cid:173)
`rect SIZe and location and to be able to position them precisely, via the keyboard. Trims and margins
`for pages, as well as the effects of binding and collation on the final job also have to be incorporated.
`There are a number of imposition programs available, including Ultimate's Impostrip, Lumi(cid:173)
`nous's (Aldus) Presswise 2.0, and Farrukh's Imposition Publisher. Imposition processing speeds will
`
`depend upon the amount of data involved. A text-only book job of eight A4 pages can be imposed in
`a matter of seconds, including all the register marks and instructions. Images, and colored images par(cid:173)
`sometimes up to an hour or more. Creating imposition schemes needs a
`ticularly, will take longer -
`comprehensive knowledge of the print process itself, as well as the finishing process.
`
`Trapping programs. CTP does away with a number of traditional jobs which were used to compen(cid:173)
`sate for the type of paper used, the inks and the particular press characteristics which cause unprinted
`areas on the finished sheet. These adjustments will now come under the area of trapping, which is
`needed when slippage between the process color images creates black or empty spaces in the finished
`print, creating an overall uneven impression.
`To compensate for this, either the inner image is enlarged or the outer image is reduced by a small
`amounh To do this electronically, the print process parameters have to be known and the correspond(cid:173)
`ing settings have to be available on the computer screen for the operator to able to make adjustments.
`Single-page trapping is available with Adobe Photoshop and QuarkXPress. But there are a num(cid:173)
`ber of add-on programs that will do multi-page trapping, including Luminous (formerly Aldus, then
`Adobe) TrapWise, DK&A Island Trapper, Rampage Trapit, and Scitex Autoframes, which are being
`joined by new programs such as Autotrap from DuPont/Crosfield and Ultimate's Technographics
`RipLink Trap. Use the fastest computer available to run the trapping program. Be aware that the oper(cid:173)
`ator not only needs specific knowledge of the print parameters, but also a certain amount of patience
`even with the fastest processors.
`
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