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4-1-1996
A Designer's guide to the evaluation of digital
proofs
Eric Lopatin
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Recommended Citation
A Designer's Guide
to the
Evaluation
ofDigital
Proofs
by
Eric S. Lopatin
A
thesis
projectsubmittedin
partialfulfillment
ofthe
requirements
for
the
degree
ofMaster
ofScience
in
the
School
ofPrinting
Management
andSciences
in
the
College
ofImaging
Arts
andSciences
ofthe
Rochester Institute
ofTechnology
April
1996
A
Designer's
Guide
to the
Evaluation
of
Digital Proofs
by
Eric
S.
Lopatin
Copyright
April 1996
School of Printing Management and Sciences
Rochester Institute of Technology
Rochester, New York
CERTIFICATE OF ApPROVAL
Master's Thesis
This is to certify that the Master's Thesis of
Eric Lopatin
With a major in Graphic Arts Publishing
has been approved by the Thesis Committee as satisfactory
for the thesis requirement for the Master of Science degree
at the convocation of
April 22, 1996
Thesis Committee:
Frank Romano
Thesis AdvisorMarie Freckleton
Graduate Program Coordinator
Statement
Regarding
the Reproduction
of:A Designer's
Guide
to
the
Evaluation
of
Digital
Proofs
I,
Eric
Lopatin,
hereby
deny
permissionto the
Wallace Memorial
Library
ofthe
Rochester Institute
ofTechnology
to
reproducemy
thesis
in
whole orin
part.Table
of
Contents
Abstract
IV
Chapter
One
Introduction
The
Statement
ofthe Problem 1Background
andSignificance
3
Reasons for Interest
5
Chapter Two
Background
Correcting
andChecking
6
Characteristics
ofDigital
Proofing:dots
vs.nodots
7Applying
Specific
Technologies
toAreas
ofProduction
8
Conclusions
10
Chapter Three
Reviewof
Literature
intheField
ofStudy
11Chapter Four
Statement
oftheProject
Goals
14Chapter Five
Methodology
15
Chapter Six
Results
andConclusions
21
Bibliography
Appendix A:
A Designer's
Guide
to theEvaluation
ofDigital Proofs
Appendix B:
Compilation
ofQuestionnaire Information for Rochester Area
Appendix C:
Chapter
Six Questionnaire Compilation
Abstract
Digital
color proofs and pre-proofs are usedby
graphic artists and commercialprinters
throughout the
prepress process.However
the
prepress processhas
undergone radical changes over
the
pastdecade due
to
the introduction
ofdesk
top
publishing
anddesktop
prepress.Alongside
ofthe
desktop
publishing
revolution has
come a multitude of newdigital
proofing
technologies
for
usein
this
ever
changing
environment.Technologies
including,
but
notlimited
to,
liquid
inkjet,
dye
sublimation,
continuousinkjet,
colorlaser,
andthermal
waxtransfer
printers
have
provided an entire range of coloraccuracy
and pricesuitability
to
many
oftheir
users.However
one needsto
be
ableto
understandthe
practicalapplications and
limitations
ofthese technologies to
make a suitable choicefor
aspecific prepress operation or
design
process.Therefore
ahandbook for
the
usersof
digital
proofshas been
createdfor
their
benefit.
The
underlying
structure ofthis
handbook
is
based
onthe
following
sixchap
ters.
The
first
chapter,
entitledCommunicating
withPrepress
andthe
Attributes of
Digital
Proofing,
contains multiple parts.Firstly,
it
containsinformation for
the
designer in
regardsto the
advantages anddisadvantages
of alltypes
ofdigital
output
devices. It
discusses
the
advantages whichdigital
outputdevices
may
ormay
nothave
over conventionalproofing
systems.Additionally,
ideas
such asthe
vantages anddrawbacks
of preproofers and proofersis
elaborated upon.Information
for
this
part ofthe
chapter was obtainedthrough
questionnaires
completed
by,
andinterviews
with printbuyers,
artdirectors,
and productionmanagers
from
advertising
agencies and prepress providersin
the
Rochester
area.
More information
for
this
section ofthe
first
chapterwas obtained throughvarious manufacturer's
literature,
printing
industry
reports and various periodicals.
Chapter
One
alsodiscusses ideas behind
the
application of color printers(preproofers)
anddigital
proofers.These ideas
addressissues
which pertainto
the
application of specificprinting
andproofing
processesto
specific phases ofthe
creative and production processes.Additionally,
discussions
regarding
proofing
costs, qualities,
and productionturnaround
time
may
be found
in
this
part ofthe
first
chapter.Information for
this
section ofChapter
One
was obtainedthrough
information
found
in
printing
andpublishing
relatedperiodicals,
aswellas
in
manufacturers'
literature.
Finally,
the
first
chapterdevelops
a systemfor
the
correction ofdigital
pre-proofsandproofs.
Multiple
groups ofideas
pertaining
to
the
correction ofdigital
outputare
discussed.
Some
ofthese
include
sections entitledDigital File
Tracking
and
Identification,
Evaluation
of
Design
Elements,
Evaluating
Colors,
Element
Positioning,
andElement
Dimension Adjustments. Information
for
this
part ofthe
chapter was obtained
through
the
evaluation ofpreviously
correcteddigital
contract
proofs andpreproofs,
as well asthe
interviews
andquestionnaires
mentioned
above.The
secondchapter,
entitledProofing
Typography,
displays
the
many
different
ways
that
printing
andproofing
technologies
affecttext type
anddisplay
typog
raphy.
Using
the
CD-Rom included in
the
back
ofthe
book,
onemay
view onscreen
how
the
following
technologies
affecttype
ranging
from
3
pointsto
72
points
in
size:liquid
inkjet,
large format liquid
inkjet,
phase-changeinkjet,
ther
mal wax
transfer,
dye
sublimation,
continuousinkjet,
anddye
ablation.Information
and samplesfor
this
chapter were obtainedthrough
printing
andproofing
system manufacturers andadvertising
agenciesin
the
Rochester
area.The Color Primer
andChapter
Three:
Proofing
for
Imagery
andColor,
containinformation
for
the
designer
whichmay
be
appliedto
proper evaluation of coloron color prints and
digital
proofs.The Color Primer
discusses
subjects such ascolor
space, the
additive and subtractive colortheories,
and common color measurement
tools.
Chapter Three
then
applies some ofthis
knowledge
in
its discus
sions of proper
lighting
conditionsfor
viewing
prints andproofs,
anddifferent
human
factors
whichinfluence
the
highly
subjective evaluation of alldigital
color output.
Information
for
this
chapter was gatheredusing
graphic arts andprinting
industry
related periodicals andindustry-wide
books
relatedto
colorand
its
reproduction.The
fourth
chapter,
entitledSubstrates
andDigital
Output,
educatesthe
design
er about
the
effects ontext,
imagery,
and graphics which occur whencreating
digital
prints and proofs on avariety
of papers.Various
paper surfaces such asgloss,
semi-gloss and matte surfaces are addressed.The
affects of colored paperon
imagery
and graphics are also elaborated upon.Additionally,
printing
andproofing
processes arediscussed
in
regardsto the
substratesthat
they
acceptfor
output.
Information
for
this
chapter was gatheredthrough
manufacturers'
litera
ture
and variousindustry
relatedbooks
andperiodical articles.The
Proofing
Process Supplement
was createdto
familiarize
the
designer
withall
currently
popularforms
ofdigital
outputtechnology.
The
process supplementdiscusses
the
imaging
processes usedby
the
following
digital
outputtechnolo
gies:
liquid
inkjet,
phase-changeinkjet,
thermal
waxtransfer, dye
sublimation,
continuous
inkjet,
anddye
ablation.Additionally,
the
supplement containsbrief
explanations
regarding screening
technologies.
Information
for
the
processsup
plement was gathered
through
manufacturers'literature,
interviews
with prepress providers
in
the
Rochester
area,
andinterviews
withtechnical
representatives
from
the
manufacturers ofdevices
which usethe
abovedigital,
color output
technologies.
Chapter
Five,
entitledImage
Fidelity,
simply
illustrates how
all ofthe
currently
popularprinting
andproofing
technologies
affect graphics andimagery.
Using
the
CD-Rom included
withthe guidebook, the
readermay
view magnified
and normal views ofprinting
and proof sampleimagery.
Information
notedby
the
readerin
the
proofing
process supplementmay
then
be
actively
appliedwhen
viewing
these
samples.Information
andsample printsfor
the
fifth
chapterwere gathered
from
several manufacturers andadvertising
agenciesin
the
Rochester
area.The
sixthchapter,
entitledThe Acceptance
of
Digital
Contract
Proofing,
discusses
a new
definition
ofthe
contractproofin
regardsto the
evolutionofdigital
proofing.
This
chapter providesideas for
the
designer,
artdirector,
and printbuyer
to
realize when
considering
the
use ofdigital
contract proofing.Several
questionsare raised
concerning
what requirements adigital
contract proof mustfulfill
depending
uponthe
areas ofits
application andany
agreementsbetween
the
designer
and prepress providerregarding
their
specificdefinition
of adigital
contract proof.
Additionally,
specific advantages ofdigital
contractproofs,
suchas their
ability
to
fingerprint
a press and/or pressrun,
arediscussed.
Finally,
adiscussion
pertaining
to the
education of all users ofdigital
proofing
technolo
gies
is
presentedto
aidthe
overall acceptance ofdigital
contract proofing.Information
for
this
chapter was obtainedthrough the
extensiveinterviews
ofleading
technical
and product oriented representativesfrom
the
manufacturersof
currently
useddigital
contractproofing
systems.Many
conclusionshave been
reached withthe
completion ofthis
guidebook.In
brief,
the
first
and most prominent conclusion whichmay be
reached statesthat the
acceptance ofdigital
contractproofing
lies
withinthe
education of alldesigners,
artdirectors
and printbuyers
aboutdigital
printing
andproofing
technologies.
As
the
use ofdigital
contractproofing
grows,
education andinter
est
by
all creative professionals will orientthem towards their
use ofdigital
proofing
systems.The
next conclusion whichhas been
reachedis
that
the
proper applicationofcolor printers and
digital
proofersis
of majorimportance
for
the
designer
due
to
the
addedflexibility
and rewards whichresultfrom
the
use ofdigital
color output
devices
throughout the
creative and production processes.Another
conclusion which
may
be
reachedis
that
the
display
ofproofing
andprinting
processeffects on
text,
graphics,
andimagery
servesto
directly
inform
the
creative professional how
these
elementsmay
be distorted
by
the
utilized outputdevice.
Knowledge
gainedby
the
creative professionalin
regardsto these
effectshelps
to
answermany
questionsregarding
print or proofquality
and proper outputdevice
application.Finally,
additionalknowledge
gainedby
designers
which pertainsto
properviewing
of all coloroutput,
colortheories,
colormeasurement,
andproofing
substrates
helps
them to
better
communicate withthose
prepress and print professionals
involved
in
the
production process.Chapter One:
introduction
Color
proofs are an essential part ofthe
link between
the
design
professional andthe
commercial printprovider.Over
the
pastdecade
color proofs and pre-proofswhich are
linked
to the
world ofdesktop
publishing
and prepresshave
evolvedto
provideboth
ofthe
above partieswitha method ofjudging
the
appearance ofan
upcoming
printed projectbefore it
arrives atthe
press.These
proofsmay
be
photomechanical,
orthey
may
be
completely
digital.
Today
digital
proofs arebeginning
to
obtainthe
high
quality
neededby
those
involved
with commercial publications.High
end systems such asthe
Kodak
Approval
generatehalftone dots
to
enablethe
viewer of a proofto
discover
moire
patterns,
diffuse
highlights
which appearto
be
specular,
plugging
of shadows,
and excess amounts ofany
ofthe
process colorsin
specificimage
areas.Aside
from
the
highest
quality
digital
proofing
systems,
otherlower
quality
andless
expensive systemshave
appeared as well.These
systems appealto the
widerange of
designers
and printers who cannot affordhigh-end
equipment.Several
are used as pre-proofs or proofs
directly
ahead of conventional systems such as3M's
Matchprint.
To
be
ableto
useany
range ofdigital
proofing
equipmentin
the
design
orprepress
process,
one mustknow
the
equipment'scapabilities,
how
to
evaluatethe
results of a specificproofing
system,
and what steps ofthe reproduction
STATEMENT
OF THEPROBLEM
According
to
the
information
above, the
statement of problemfor creating
the
guidebook entitled
A Designer's Guide
to the Evaluation
of
Digital
Proofs
may be
divided into
the
following
sections:1.
Which
types
of verification processes canbe
appliedto the
proceduresinvolved
withthe
interconnected
areas ofdesign,
prepress,
and pressrelatedapplications?
2.
What
types
of colorprinting
anddigital
proofing
systems arebest
appliedto
whattypes
ofdesign
and prepressoperations?3.
How
and when should pre-proofsbe
usedby
the
designer?
4.
If
adigital
proofis
intended
to
be
the
only
method ofproofing
ajob
before it
arrives onthe press, then
how
willit
affectthe
contractualBackground
andSignificance
Digital Proofing Acceptance
by theGraphic
Arts Industry
Ten
yearsago,
proofing
methods such asDuPont's
Cromalin
system weremerg
ing
into
the
graphic artsindustry
with a slow yetsteady
rate of acceptanceby
both
clients and prepress services.Today
these
film-based
systemshave become
conventional and customary.However
these conventional,
film-based
proofing
techniques
are nolonger
as practical asmany
users ofdesktop
publishing
tech
nologies would
like
them to
be.
Currently
graphic artistshave image
manipulation
techniques
andtypographic
possibilities which mustbe
observed much earlier
in
the
design
processthan
atthe
very
end,
before
a press runbegins. Digital
proofing
systems which offer a multitude ofimage
qualities,
coloraccuracy,
andprice ranges
have
providedboth designers
and prepress services withthe
possibility
to
economically correcting
mistakesbefore
costly
films,
processing
chemicals,
andproofing
materials areused(Seybold,
Color Proofing).
Side-by-side
withhigh
enddigital
proofs arethe
so called "pre-proof."These
lower
cost systemshave become
a practical method ofexperimenting
withlay
out possibilities which could never
have been
visualized underthe
cost offilm
based
proofs.In
additionto
accommodating
creativity,
many
ofthese
systemslet
graphic artists
test
overprints andtraps
(Hogg,
11).
Also,
if
adesign
mustbe
approved
in
morethan
one officelocation,
remoteproofing
sites canbe
setup
to
flex-ibility
that
digital
proofs areoffering
which conventionalmethods cannot.In
this
sense
they
have become
acceptedby
the
graphicartsindustry.
However
practicality
is
notthe
only
sense ofthe
industry
to
whichthey
mustappeal.
High
quality
commercialprinting
demands
precise coloraccuracy,
screenaccuracy,
andimage
fidelity
(Hannaford,
24-26).
Digital
proofing
systems are stillbattling
againstthese
demands.
On
extremely high
costjobs,
the
savingsdigital
proofing may
provide are exchangedfor
the
safety
andtrustworthiness
a conventional method assures
(Hogers,
18).
Although
many
clients stilldemand film-based
proofs,
they
areusing devices
such as
the
Iris 3024
inkjet
printerto
completeintermediate
proofs(Hannaford,
24-26). This
canbe
especially
true
whencertainjobs
require extensive correctionsor
"rounds
ofproofing"
(Hogg,
12).
In
additionto these
positivequalities,
many
digital
proofing devices
share arepeatability
factor
(referring
to
color andtonal
accuracy)
andfast
turnaround
times
whichthe
developing
processes,
film,
andlabor
requirements of conventional proofs cannot offer.All
ofthe
abovefacts
arecurrently
helping
the
graphic artsindustry
to
acceptdigital
proofing
as eitherintermediate
orcontract-based methods ofdetermining
what will appear on
final
press sheets.As
both
sides ofthe
industry
(designers
and
printers)
acceptdigital
proofing,
they
must also understandthe
variablesinvolved
such ascost,
flexibility,
anddependability.
To do
this
efficiently,
abridge
mustbe found
to
connectthe
designer
and commercial printer.As
they
on or near a press
including
checking
andcorrecting
proofs andusing
the
proper
proofing device
atthe
right pointin
the
creative and reproductionprocesses
they
can alsomutually
sharethe
benefits
of ajob
welldone.
Reasons
forInterest
The
personal reasonsfor
interest in
constructing
adesigner's handbook
for
the
evaluation of
digital
proofs are many.Within
the
pastfive
yearsit
has
been
observed
that
desktop
publishing
has
growninto
the
graphic artsindustry
through the
eyes ofboth
a graphicdesign
andprinting
student.It
has influenced
both
the
creative processes andthe
production processes.Every
graphic artistshould
have
the
experience one obtains as aprinting
student.As
the
worlds ofdesign
andprinting
persistin
merging
their
attributes throughtechnology
oneshould
know
as much as possible aboutboth fields
of study.The
writing
andresearch
involved
with the completion ofA
Designer's Guide
to the
Evaluation
of
Digital Proofs
has
provided a specific method with whichto
persistin
my
owngoal of
obtaining
agrowing
amount ofknowledge
aboutthe
major aspect whichChapter Two:
Background
Correcting
andChecking
Perhaps
themost valuableknowledge
graphic artists should obtainin
regardsto
color
printing
anddigital
proofing
is
the
ability
to
correct and checkthe
resultsof a pre-proof or proof.
In
the
pastmany
methods ofchecking
andcorrecting
halftone
orfilm-based
proofs existedsimply
onthe
basis
ofviewing
halftone
dots. However
only
afew digital
proofing
systems such asthe
Screen
dp-460
orKodak Approval
canprovide thisextremely
high
amount ofsophistication.It
wouldbe incorrect
to
statethat
the
lack
ofhalftone
dots
in
the
output ofother
technologies,
such asdye
sublimation printers or continuoustone
inkjets,
means
that
it
cannotbe
checked or correctedduring
the
creative or prepressprocesses.
In
fact,
continuoustone
output as wellmay
be inspected
in
many
ways
by
the trained
eye of adesigner,
artdirector
or prepress manager.One
ofthe
first
mostimportant
aspectsto
keep
in
mind whenchecking
a proofis how
the
proofing
method of choice simulates ordistorts final
printing
conditions(DiNucci,
10-11).
This includes
the
photographicquality
effectthat
continuoustone
printersdisplay,
over-saturationofcolors,
loss
of certain shades ofcolors,
and
loss
ofdetail
due
to
resolutionlimitations
of certain printers.Other
factors
to
be
aware of whichmay
needto
be
changed arecolorcasts,
mechanicalerrors,
hues
and overallbrightness
of objects orthe
entireimage,
sharpness,
andthe
such as
loss
of serifs andlight
orheavy
character weights shouldbe looked
after(Bann
andGargan,
12).
Comments for
correctionspertaining
to
any
ofthese
should
be
madeby
specifying
the
effect oneis
looking
for
suchas,
"this
appleshould not
be
as red."If
observing
adigital
proof withhalftone
dots,
one canalso
identify
moire patterns andfaulty
linescreens. In
additionto these
observations,
one can referto
the colorbar
printed onmany
pre-proofing devices
and alldevices
considered eligiblefor
contract proofing.Color
bars
indicate
eachprocess
color, two
coloroverprints,
and a neutralgray
swatch(DiNucci,
12-13).
All
ofthe
above considerations shouldbe
a part ofthe
routineinspection
of alldigital
color proofsby
both
designers
and prepress services.Characteristics
of
Digital Proofers:
dots
vs. nodots
As
mentionedin
the
section entitledDigital
Proofing
Acceptance
by
the
Graphic
Arts
Industry,
digital
proofing
technology
has brought
withitself
many
advantageous qualities
into
the
worldof graphic arts.They
offer a wide range ofimage
qualities,
coloraccuracy,
and affordability.Unfortunately
not alldigital
proofing
devices
offerthe
sameimage
characteristics.Only
afew
systems offer conventional
halftone dot
imagery.
These
systems,
such asthe
Kodak
Approval,
areextremely
expensiveapproximately
$245,000. The
question of whether or notdigital
proofs needto
containhalftone dots
is
the
subject of greatdebate
in
the
However
many believe
thatthe
factor
of"dots
or nodots"
should
be
overcome
by
communication andtrust
between
the
creative staff and prepress service.
"The
true
goal ofthe
proofing
processis
to
be
ableto
make predictions ofwhat will
happen
onpress"
(Seybold,
Color Proofing).
It
is
important
to
involve
designers in
the
production portion ofthe
job
sothat
they
may
alsolearn
to
compare
digital
proofsto
press sheets.The
experience of successduring
severaljobs
with
digital
proofing
is
the
key
to
overcoming
a newtechnology
whetherit
is
similar
to
conventional methods or not(Hannaford,
24-26).
Another
important factor
which arisesin
determining
the
importance
andvalue of
halftone dots
in
adigital
proofis
the
evergrowing
technology
of stochastic screening.
Stochastic
screening
canbe built into
the
softwarecontrolling
digital
proofers,
asin
Agfa's
CrystalRaster
technology,
while conventional proofing
methodshave
adifficult
time
coping
withthe
great number and small size ofstochastic
dots
(Hogg,
13).
Along
with all ofthe
abovefactors
and the savingsin
cost ofimaging
only
one set of
films before
press-time,
the
question of whether or not adigital
proofshould contain
halftone
dots becomes
asecondary
consideration.Applying
Specific Technologies
to
Areas
of
Production:
pre-proofs or proofsAnother
highly
important factor
graphic artists shouldbe
aware ofis
where andwhen certain
proofing
technologies
shouldbe
used.It is
important
to
know
the
difference
between
technologies
which are accepted aspreliminary
proofs andaddi-tion to this
knowledge,
the
different
uses of contract proofs and pre-proofsshould
be
noted as well.The
technologies
whichare most often relatedto
preliminary
proofsare as
follows:
thermal
wax printers: Tektronix Phaser220
electrostatic
devices:
Efi
Fiery
andCLC
desktop
inkjets:
Tektronix Phaser III
andHewlett Packard DesignJet 650C
color
laser
printers:QMS
MagicolorThe
technologies
whichmay
be
accepted as contract or near contractproofs are:
dye
sublimation printers: 3MRainbow
continuous
tone
inkjets:
Iris 3024
digital halftone devices:
Kodak Approvalplease notethat theaboveexamples weretaken
from
Hamilton,
60-61.The
aboveproofing
systems aredivided
into
their
corresponding
groupsfor
avariety
ofreasons.To begin
with,
many pre-proofing devices
cannotdisplay
colors,
image
fidelity,
andtypography
withahigh degree
ofaccuracy
or repeatability.
Two
ofthe
mostimportant
factors
which contractfeasible proofing
systemsmust exhibit are
highly
sophisticated color management systems andrepeatability.
Repeatability
refersto the
repeateddisplay
of colorquality
andaccuracy
which
has been
adjustedto
match a specificprinting
process.Color
management
high-end
proofing
systemsto
display
extremely
high
degrees
ofrepeatability
and
precisely
matchimage
colorsto
specificprinting
processes(Seybold,
Color
Management Issues).
As
mentionedabove,
it
is
important
notonly
for
the
designer
to
know
whichtechnologies
are accepted as whichtypes
ofproofs,
but
alsoto
notethe
different
uses of pre-proofs and contract proofs.
The
main usesfor
pre-proofs areto
judge
the effect of an overall color
scheme, to
check placements ofdesign
elements, to
check color
breaks
for
spotcolors,
andto
useanimage
generated ona pre-proofing
system as a placeholderin
design
comps.Some
ofthe
main usesfor
contractfeasible
proofs areto
judge
thequality
of colorreproduction, to
check registration
andflaws
in
screening,
and precise overall composition size(DiNucci,
4-5).
By
becoming
familiar
withthe
above and other proper uses of specificdigital
proofing
technologies
at certainlevels
ofthe
reproductionprocess, the
graphicartistwill
be
ableto
communicateideas
and opinions moreefficiently
and accurately
to
prepressdivisions.
Conclusions
Knowledge
which providesthe
graphic artist withthe
ability
to
check and correct
proofs,
determine
whichproofing
systems shouldbe
used at what stage ofthe
reproductionprocess,
andhave
confidencein
newproofing
technologies
is
an essential part of
the
communicationbetween
prepress service providers anddesign firms. This knowledge
willhelp
to
moreefficiently
completeevery
cycleof
the
reproductionprocessfrom
beginning
to
end.Chapter Three:
Review
ofLiterature
in
the
Field
ofStudy
Correcting
Color Proofs
Bann
andGargan's book
How to
Check
andCorrect
Color Proofs
has
severalhelpful
sections which can
be
appliedto
digital
proofing
as well as conventional methods.
The
knowledge
included
in
these
sections willhelp
the
designer
understandthe
limitations
ofthe
proofing
andprinting
processes as well aseffectively
communicate with the color
house
whatneedsto
be
corrected ona specific proof.The
first helpful
section providesthe
designer
with some standard rules pertaining
to the
mark-up
of color proofs.Perhaps
the
mostimportant
notionto
abide
by
whenchecking
proofsis
uncertainties should alwaysbe
explainedto
the
prepress service or colorhouse. If
oneis
notfamiliar
withthe
definition
of aproblem or
explanation,
it is
alwaysbest
to
ask questions.Another
factor
to
consider when
correcting
a proofis
to
be
as clear and concise as possible.The
lan
guage and
clarity
of comments should not present confusionto the
recipient ofthe
corrections.Ambiguous
comments suchas,
"make
greener"which
does
notexplain what
type
of greento
promoteor,
"improve
magenta"which
may
mean
increase
ordecrease
amounts ofmagenta,
may
cause more problemsthan
they
solve.The
nexthelpful
sectionemphasizesthe
designer's imperative
knowledge
ofwhich colors and
tints
may
ormay
notbe
reproducedusing
the
four
colorprocess.
Of
courseit is impossible
to
recognizeevery
out of gamut color specificto
a set ofinks
orpigments,
but
Bann
andGargan
stressthe
importance
oftint
charts and process color simulationsystems such as
those
availableby
Pantone.
These
charts and systems showthe
graphic artist which spot colors or range ofcolors
may
notbe
reproducedusing
process colors.Another
important
section refersto
afew
typographic
practices whichdesigners
are advisednotto
use.The
first
ofwhichadvisesto
reversetype
out ofas
few
colors as possible.Secondly,
small processcolor,
seriftype
on alarge,
solid color
field
is
extremely
tough to
proof or print.And
finally
it is
alsoimpor
tant
to
keep
thin
lines,
narrowrules,
andfine
type
in
a single color.A
Survey
of
Digital
Proofing
System Vendors
Within
the
document
Direct Digital Color
Proofing
by
Charles
Hogg,
the
chaptervendor
survey
questions addresses where andhow
certain colorproofing
systemvendors
believe
their
equipment shouldbe
used andwhy
proofsmay
ormay
notbe
accepted as contractfeasible
material.In
additionto
otherquestions, the
fol
lowing
two
are relatedto the
application of specifictechnologies to
areas ofthe
reproduction process:
1.
Please
explainthe
benefits
of yourdirect digital
color(DDCP)
proofing
products as an
intermediary
proofor a contract proof.2.
DDCP
is
not yetacceptedby
amajority
ofcustomers as contract proofs.Why
do
youfeel
that
is
the
case and what must changeto
allowfor
broader
acceptance?The
two
vendors questioned wereTektronix
andScreen. In
responseto the
first
question,
Tektronix
statedthat
its
phase-changeink-jet
and thermal thermaltransfer
printers were suitablefor
preliminary
proofs anddesign
comps,
whileits
dye
sublimation printers were suitablefor
pre-film or contract proofs.Screen
replied more stringently.
Its
dye
sublimationprinters,
such asthe
FP-600S,
incor
porate color
matching
softwares whichdo
notexactly
matchprinted page quality.
On
the
otherhand,
their
DP-460
andTC-P1080,
whichusehalftone
screening
technology
producethe
high
quality
standards andaccuracy
requiredby
contract
proofing
material.In
responseto the
secondquestion,
Screen
wasthe
only
participant.The
rep
resentatives at
Screen
feel
that,
"there is
alack
of confidence onthe
part ofthe
printer
to
believe
the
digital
proofing
device
can createthe
samequality
of proofas can
be
made with film."Another
reasonthey
believe
DDCP
is
being
acceptedslowly
is
that the
extremepricing
ofhigh-end
equipmentis
adeterrent
to
prepress
divisions. Although
this
high-end
equipmentis
morereadily
acceptable asa contract
proof,
many
prepress services cannot affordto
purchaseit.
The
final
reason
Screen
offeredfor
the
hesitant
acceptance ofDDCP
is
that
untilthe
graphic
artsindustry
realizesthe
increase
in
productivity
anddecrease
in
cost offeredby
digital
proofing,
it
willnotfully
embrace a newproofing
technology.
Chapter Four:
Statement
ofthe
Project
Goals
The
primary
goal ofthis thesis
project wasto
produce ahandbook
for
graphicartists
to
useduring
the
evaluation of a wide range of color prints anddigital
proofs.
However
a moredetailed description
of project goalsis
givenin
the
fol
lowing
five
statements:1.
To
providethe
designer
withtypes
ofverificationprocessesthat
canbe
appliedto
the
digital
proofing
proceduresinvolved
withthe
interconnected
areas ofdesign,
prepress,
and press relatedapplications
(checking
andcorrecting
proofs).2.
To
providethedesigner
withthe
knowledge
of whattypes
ofdigital
proofing
systems arebest
appliedto
whattypes
ofdesign
and prepressoperations.
3.
To
providethe
designer
withknowledge pertaining
to the
technologies
behind
allwidely
used colorprinting
anddigital
proofing
output
devices.
4.
To
providethe
designer
withbasic
colorknowledge
whichdirectly
relatesto
colorprinting
anddigital
proofing
applications.5.
To
inform the
designer
how
pre-filmfeasible,
digital
proofswillaffectthe
contractual relations
between
those
involved
withthe
design
andits
reproduction.
Chapter Five:
Methodology
The
methodology
for
this thesis projectmay
be broken
down into
the
five
sections
createdby
the
specific project goals onthe
previous page.1.
To
providethe
designer
withtypes
of verification processesthat
canbe
appliedto the
digital
proofing
proceduresinvolved
withthe
interconnected
areas ofdesign,
prepress,
and press relatedapplications
(checking
andcorrecting
proofs).Methodology:
In
responseto the
proposed problem ofproviding
designers
with methodsto
check and correct preproofs and
proofs,
a system of corrective symbols andideas
was assembled
(in
the
first
chapter).Within
the system,
several graphic symbolsare used
for design
element adjustments andcommentary
on general color problems. In
additionto these
graphicsymbols,
multiple groups ofideas
whichaddress areas such as
digital file
tracking,
evaluation ofdesign
elements,
evaluation
ofcolors,
and production noteshave
alsobeen included
in
the
system.Overall,
design
adjustments and correctionsregarding any
ofthese
areashave
also
been
markedasbeing
applicableto
preproofs and/or
contractviableproofs.Information
for
the
ideas
and graphic symbolsincluded
withinthis
preproofand proof evaluation system were obtained
by
evaluating
digital
outputfrom
various prepress providers and
advertising
agenciesin
the
Rochester
area.A
list
of
these
agencies andthe
personnel contacted withinthem
appearsbelow. Note
that these
agencies were used and questionedregarding
many
other areas ofinformation
which appearthroughout the
guidebook.Prepress
Providers
Quadra
Color
Express
Canfield
andTack
Rochester Empire Graphics
Tom
Pierce
Prepress
Manager
Andrew Kappi
Prepress Manager
John Meyer
Prepress Manager
Advertising
Agencies
Rumrill
Hoyt
(Saatchi &
Saatchi)
Hutchins,
Young
&
Rubicam
Wolf, Winterkorn,
Lillis
Karen
Carr
Print Buyer
Tom Barton
Art
Director
Dave Kochesberger
Buyer
2.
To
providethe
designer
withthe
knowledge
of whattypes
ofdigital
proofing
systems arebest
appliedto
whattypes
ofdesign
andprepressoperations.
Methodology:
In
responseto
the aboveproblem,
information
was gatheredregarding
the
mostcurrent usage of all
different
types
ofproofing
technology
mentionedthrough
out
the
guidebook.This information
servesto
explain whichtypes
ofproofing
technologies are
best
appliedto
which steps ofthe
creative and productionprocesses.
It
also explains whichtechnologies
are consideredto
be
more usefulaspreproof orientedsystems and which are considered
to
be
moreuseful as contract
proof oriented systems.This information
was retrievedfrom
variousindus
try-wide
periodicals and severalinterviews
withleading
technical and productoriented representatives
from
the
manufacturers ofthe
following
corporations:3M, Fuji, Kodak, Optronics,
IRIS
(Scitex),
andDuPont.
A
list
ofthese
contactsand
their
employersmay
be found in
the
methodology
section ofthe
sixth problem below.
3.
To
providethe
designer
withknowledge pertaining
to the technologies
behind
allwidely
used colorprinting
anddigital
proofing
output
devices.
Methodology:
Using
manufacturer'sliterature
asits
source, the
output processsupplement,
found
directly
ahead of chapterfive,
explainshow
each ofthe
mostpopular,
currently
usedproofing
technologies
work.In
additionto the
explanation ofhow
these
processeswork,
overeighty different
samples(found
onthe
CD-Rom)
dis
play
how
eachproofing
process affectstext
type,
display
type,
vectorbased
graphic
art,
and colorimagery.
4.
To
providethe
designer
withbasic
colorknowledge
whichdirectly
relatesto
colorprinting
anddigital
proofing
applications.Methodology:
In
responseto this problem, the
color primer andthird
chapter were created.The
color primer serves
to
inform designers
about colorissues
directly
relatedto
color
printing
anddigital
proofing.Issues
such asbasic
additive and subtractivecolor
theory,
colorspace,
color gamut ofthe
processinks,
andlighting
colorbal
ance are
discussed.
Ideas
for
the
subject matterin
the
color primer were suggested
by
the
answersto
multiple questionnaireshanded
to the
prepress providersand
advertising
agenciesin
the
Rochester
area.More
specific,
technicalinforma
tion
for
the
color primer was gathered through researchin
up-to-date,industry
wide periodicalarticles and
textbooks.
The
third
chapter addressesthe
above problemthrough
severaldiscussions
which pertain
to the
properlighting
conditions requiredfor
viewing
preproofsand contract proofs
in
the studio,
atthe
prepressprovider,
andduring
the
final
press run.
Other
discussions
include
elaboration uponthe
degree
ofsubjectivity
involved
in
the
viewer-to-proof evaluation process.Human
factors
which arisesuch as
memory
colors anddesign
elementinfluences
arediscussed.
Finally,
the
third
chapterinforms
the
designer
aboutthe
limited
process color simulation ofspot color
matching
systems.Ideas for
the
subject matterin
the third
chapterwere also suggested
by
the
answersto the
questionnaireshanded
to
Rochester
area
printing
and creative professionals.Technical information for
the third
chapterwas gathered
through
researchin
periodicals andtextbooks.
5.
To inform
the
designer how
pre-filmfeasible,
digital
proofswillaffectthe
contractualrelations
between
those
involved
withthe
design
andits
reproduction.
Methodology:
The information
whichanswersthe above,
evolving
questionis
containedin
the
sixth chapter.
As
mentionedearlier,
severalinterviews
withleading
technical
and product oriented representatives of
the
manufacturers ofdigital
proofing
systems occurred.
The
bulk
ofthe
information
andideas for
the
subject matter ofthe
sixth chapter originatefrom
these
interviews. The
manufacturers andtheir
representatives are
listed
below.
Manufacturer
3M
Corporation
Rainbow
Kodak
Approval
IRIS,
Scitex
Realist
and30xx
Series
Fuji
FirstLook
Optronics
Intelliproof
DuPont
Digital Waterproof
Representative
Nick Patricci
Wick
McCaleb
Stan Rosen
Richard Black
Andy
Katz
Martin
Redding
In
the
sixthchapter,
a newdefinition
ofthe
contract proofis
statedfor
the
designer.
Ideas
and questions(pertaining
to
this
newdefinition)
which areinvolved
in
the
agreementbetween
the
creative professional and print providerare stated and raised respectively.
Multiple
discussions
resulting
from
questionsregarding
the appearanceof and physical qualities of contract proofshelp
orientthe
designer
towards
his
orher
acceptance ofdigital
contract proofing.Additionally,
methods ofobtaining
experience withdigital
contractproofing
equipment are elaborated upon.
Finally,
the
sixth chapterhelps
to
focus
the
designer
onthe
idea
that the
key
to
the
industry-wide
acceptance ofdigital
contract
proofing
is
usereducation.Chapter Six:
Results
andConclusions
Conclusions
There
aremany
conclusions whichmay
be
reached withthe
completion ofthis
guidebook.
Throughout
the
compilationofthe
guidebook's practicalknowledge
for
the
creativeprofessional, the
following
conclusionshave been
reachedbased
upon
the
information
containedin
each ofthe
chapters.I.
The
introduction
of a colorprinting
device into
the
creative processlends
its
users greaterdesign
and creativeflexibility
throughout
the
creative and production processes.
n.
The
use ofconsistent corrective marks and evaluative commentsduring
the
correction of color prints anddigital
proofsis
abasis
for
excellentcommunications
between
the
creative professional and prepressprovider.
UI.
All
printing
andproofing
technologies
display
and/ordistort text,
imagery,
and graphicsdifferently. The
creative professional whois
knowledgeable
about whichtechnologies
display
whichprinting
characteristics
willhave
adefinite
advantagein
the
desktop
publishing
working
environment.TV.
Use
of color printers anddigital
proofersby
alldesign
groups andadvertising
agenciesis
increasing
daily.
Therefore,
designers
mustbe
educated about
their advantages,
disadvantages
and proper applicationsbased
on outputdevice
cost and quality.Ultimately,
the
design
firm
which
is
adept atusing
the
proper color outputtechnology
willbe
awareof
many
ofthe
same variablesdealt
withby
prepress providers.A
greater,
proper awareness of color output variableshelps
to
ease communications
between
creative professionals and prepress/printproviders within
the
desktop
publishing working
environment.V
Digital
proofing
is
being
successfully
usedat alllevels
ofthe
graphic artsindustry. Most
importantly,
designers
mustbe
educated aboutthe
newdefinition
of a contract proofto
sway
them towards the
use ofdigital
contract
proofing
andto
keep
them
orientedtowards the
cutting
edgeof
proofing
technology.
Eventually,
they
may
be
printing
a contract proofmore often
than the
prepressprovider.VI. More digital
contractproofing
technologies
have been introduced into
the
marketplacein
the
pastfive
yearsthan
conventionalproofing
tech
nologies
have been in
the
pasttwenty
years.In result,
the
acceptance ofdigital
contractproofing
willbe
slowedby
this
factor.
Furthermore,
the
acceptance of
digital
contractproofing
is
inversely
relatedto
the
quality
of
the
reproduction athand
acceptancewillbe
slowed mostin
the
production
ofhigh
quality
printing.Meanwhile,
the
greatest acceptance ofdigital
contractproofing
lies
withinthe
creation and production oflow
quality
printing.Recommended Areas
of
Further
Study
Within
the
guidebook,
there
is
muchinformation
pertaining
to
the
use of colorprinting
anddigital
proofing
by
the
designer
whichmay be
elaborated orexpandedupon.
Firstly,
asthe
acceptance ofdigital
contractproofing
is
continuously
growing,
in-depth
studiesregarding
the
areas ofits
acceptanceis
strongly
recommended.
Next,
newprinting
andproofing
technologies
arecontinuously
developing. Research
regarding
these
newtechnologies
is
also recommended.Another
area whichmay
be
studiedin
depth
is
the
increasing
use ofdigital
remote proofing.
Currently,
remoteproofing
has been limited
by
the
data
trans
fer
capacities ofthe
Internet
and other worldwide networks.As
the transfer
oflarge
amounts ofdata becomes less
costly, the
use of remoteproofing
willbecome
more and more common.Therefore,
research relatedto the
use ofremoteproofing
andthe
Internet
is
highly
recommended.Finally,
researchregarding
the
use of new
screening
technologies
in
digital
color outputdevices
is
also recommended.
Bibliography
DiNucci,
D. Color
Proofing
Guide. Agfa
Division,
Miles Inc.
Manufacturer's
Literature,
1994.
Bann, D.,
&
Gargan,
J.
How
to
check andcorrect color proofs.Cincinnati:
F&W
Publications, Inc.,
1990.
Hamilton,
A.
"Color
Proofing
Alternatives."Printing
Impressions
(April
1994): 60-61.
Hannaford,
S. "Digital
printing
closing
in
on push-buttonproofing."
MacWEEK
(April
1994): 24-26.
Hogers,
H.
"The digital
proof:how far
can youtrust
it?"Canadian
Printer (March
1994):
18, 20,
25.
Hogg,
Charles. Direct Digital Color
Proofing.
Alexandria:
Printing
Industries
of
America,
Electronic Prepress Section (August
1994).
Seybold
Report
onPublishing
Systems. Color Proofing.
Boston
(April
1994).
Seybold
Report
onPublishing
Systems.
Color Management
Issues.
A
Designer's Guide
to the
Evaluation
of
Digital Proofs
A Designer's Guide
to
theEvaluation
ofDigital Proofs
by
Eric S. Lopatin
INFINITE PRESS
Somewhere
neartheend
of
infinity.
Copyright
1996
by
Eric S. Lopatin
Cover design: Eric S. Lopatin
Allrights reserved.
No
part ofthisbookmay be
reproduced ortransmitted in
any form
by
any
means, electronic,mechanical,photocopying,recording,orotherwise,withouttheprior writ
tenpermission ofthepublisher.
For information
ongetting
permission
for
reprints andexcerpts,contactEric Lopatin
atInfinite
Press.NOTICE OF LIABILITY
The
information in thisbook is distributed
on an"As
Is"basis,
without warranty.
While
every
precautionhas been
takeninthepreparationofthe
book,
neithertheauthor norInfinite
Press
shallhave
any
liability
toany
person orentity
withrespectto
any loss
ordamage
causedorallegedtobe
causeddirectly
orindirectly
by
theinstructions
containedin thisbook
orby
thecomputersoftware andhardware
productsdescribed
in
it.
ISBN
0-00000-000-0Table
of
Contents
Introduction
4Chapter
1:
Cornmunicating
withPrepress
andthe
Attributes
ofDigital
Proofing
Advantages
andDisadvantages
ofDigital Proofs
andColor Prints
12
Advantages
andDisadvantages
ofAllDigital
Proofing
Technologies
12Advantages
Greater
Accessibility During
theApproval Process
13Speed
14Cost
ofConsumables
14Proofing
Occurs Before Films Are Made
15
Remote
Proofing
Sites
15
Conventional
Proofing
Bottleneck
16
Elimination
ofImagesetterVariables
inaCTP Workflow
17Registration
18
Press
andPrinting
Variables
18Substrates
19Disadvantages
Final
Film
Integrity
19
Raster
Image
ProcessorDifferences
20
Digital
File Corruption
20
Specific Advantages
ofPreproofs
andHigh-end Contone Proofs
21
Specific Disadvantages
ofPreproofs
andHigh-end Contone Proofs
23
Specific Advantages
ofHalftone
Based Digital Proofers
24
Ideas Behind
theApplications
ofPrints
andProofs
26
The General Application
ofDigital Prints
andProofs
26
In House Application for Design Studios Based
onCost
27
Balancing
Cost, Quality,
andTiming
29
Workflow
andDigital Color Output
32Single Source Workflow
35
Double
Source
Workflow: Advertisements
andEditorial
36
Where Has Digital Contract
Proofing
Been Accepted?
37Marks
andTheirDefinitions
38
Correction Groups
38
Group
1: Digital File
Tracking
andIdentification
Arrival
andReplacement Dates
ofImages
39
Media Formats
40
Listing
File Names
andLocations
40
Pre-created
DigitalFiles
40
Listing
Original
andCurrent
Imagery
File
Formats 41Noteworthy
Considerations for Restricted Four Color Process
Printing
41Group
2: Evaluation
of
Design Elements
Trade
andProduct
Symbols
42
Determining
Required Design Element Color
Accuracy
43
Type
andElement
Knock-outs
43
Pantone
Matching
System
andSpot Color Callouts
44
Examinationof
Photographic Image Elements
45
Group
3:
Evaluating
Colors
Verificationof
Corporate Colors
46
Matching
Previously
Printed
Samples
46
Screening
ofTrue
andSimulated
Spot Colors
47
Vignettes
48
Group
4: Design
Adjustments,
Labeling,
andClear
Handwriting
Pointers
andClear
Handwriting
49
Group
5:Element
Positioning
Object Movements
50
Adjacent Elements
50
Indicating
Element Overlaps
50
Flip
Orientation
of anObject
51
Group
6: Element Dimension Adjustments
Element Dimension Adjustments
51
Enlargement
by
Percentage
51Reduction
by
Percentage
51
Checking
Element Dimensions
52
General Color Statements
52Group
7:General Color Statements
Color Saturation Adjustments
52
Addition
andSubtraction
ofSpot Color
Intensity
53
Additionand
Subtraction
ofRed,
Green,
andBlue Color
Intensity
53
Lightening
andDarkening
Overall Image Appearance
54
Lightening
andDarkening
Highlights, Midtones,
andShadows
54
Group
8: Production Notes
Labeling
DesignDimension
Changes
55
Labeling
ofEnding
Press
Sheet Dimensions
56
Verification
ofBleeds
56
Stating
Number
ofColors
to56
Labeling
Proof PageNumbers
56
Trapping
Reminders
57
Group
9: Color Balance Issues for Prepress
Color Balance
Issues for Prepress
58
Chapter 2:
Proofing
Typography
How
theDifferent
Printing
andProofing
Processes
Affect Type
60
Text
Samples of
Color Printers
andPreproofers
Liquid Inkjet
61
Large Format Liquid Inkjet
63
Thermal Wax Transfer
65
Phase-change
inkjet at300dpi 66Phase-change Inkjet
at600
x300dpi68
Dye Sublimation
70
Color Laser
withHalftoning
73
Color Laser
withFixed
andVariable-dot Stochastic
Screening
76
Text
Samples
of
High-end Preproofers
andContract Viable Digital Proofers
Continuous Inkjet
78
Dye Ablation
80
Mixing
Type
andColor
80
Color
Primer
Additive Color
Theory
83
Subtractive Color
Theory
85
Color Gamut
89
CIE Color
Space
:"
91
Color Gamut
oftheProofing
Processes
ontheCIE Color Triangle
93
Common
Color
MeasurementTools
95
Chapter 3:
Proofing
for
Imagery
and
Color
Direct Effects
onImage
Quality
101Repeatability
andProofer
andPrinter
Maintenance
101Proper Lighting: An Essential Part
ofViewing
Proofs
andPrints
103
Metameric Colors
104Black
Body Theory
104