Print Guide

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GuideBook00100

Williams Printing Company

Creating a job and getting it through the press and bindery can seem like a miracle attimes. Making sure the document size is right for the paper that is ordered, checking thefolds to be sure the brochure doesnÕt mark on the folder, creating a die line that fits theimage on the file, and checking the resolution of the images to be sure they donÕt look blurry or pixelated on the final printed piece are only a few of the things you must do toensure that the job you bring in is not a nightmare that costs you unnecessary headachesand money.

This guide is meant to help the designer or print buyer get through the process. There is asection specifically for designers, with instructions and suggestions for how to better create their files for printing.

First review the questions on the ÒCommercial Printing Cheat SheetÓ to be sure you arecovering all the bases. Read through ÒBckground Information,Ó 5 Steps to Printing Successthat should be followed to start the job. Review pages on folding dummies. Design and preparation sections on banding, resolution and Photoshop tips are particularly helpfulwhen the designer is setting up the job. ÒDesign with Printing in MindÓ will help you payattention to the pitfalls that can occur with digital files. Two other pages specifically withlayout: ÒPotential Layout Snafus,Ó and graphics: ÒGraphic Miss-takes.Ó For new ideas onpocket folders check out ÒPocket Change.Ó When you are ready to send the disk, refer toÒReady, Set, PrintÓ as one of the final checklists.

Keep in mind that this guide is no substitute for working closely with your sales rep andplant to help troubleshoot and predict areas of concern. Please feel free to copy and distribute any or all of the pages to your coworkers.

Director of TrainingWilliams Printing



Introduction

IntroTable of ContentsBackground Information

¥ 5 Steps to Printing Success

¥ Commercial Printing Cheat Sheet

¥ Offset LithographyA Definition

¥ PrepressSample Williams Workflow

¥ Imposition and Binding

¥ Design with Printing in Mind

¥ Build on a Good Solid Color

¥ Why Trap?

Pressing Issues¥ The Unvarnished Truth¥ Think Ink Drawdowns

Prepress Dilemmas¥ Potential Layout Snafus

¥ Graphic Miss-takes

¥ Resolution Rule of Thumb

¥ Battle of the Bands

¥ Photoshop in 4 Color

¥ RGB to CMYK

¥ Ready, Set, PrintFinalizing your print job before sending the disk

Cover All the Bases¥ ItÕs Always Smart to Include a Dummy

Dummy Making Service

¥ Pocket ChangeVariations to standard pocket folders

¥ Know when to Fold upSpecs on folding and scoring

Glossaries¥ Digital Prepress Terms

¥ Pressroom Terms

¥ Bindery Terms



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5 Steps to Printing Success

Where does a typical printing project begin? For all practical purposes the information gath-ering process starts at the end with the printing and finishing process. If youÕre new to print-ing, this guide will explain some of the technical aspects of designing for printing that youmay not have considered. If youÕre an old pro, it might remind you of some of theproduction steps we sometimes forget.

Step 1: Gather information from the printer

After you have clearly defined the type and scope of document you plan to produce, butbefore you begin composing a document file, you need to understand how yourcommercial printer will reproduce it. Different presses have different productionrequirements and each company has its own way of doing things. Even if the same shopacts as service bureau and printer, these are the first issues to address.

Reproducing Color If your project includes color, determine whether to use spot or processcolors and get the printerÕs recommendations for trapping them. Usually the printer takesthe responsibility for trapping.

Screen Frequency and Angle Screen frequency and angle settings will be necessary forjobs that include photographs or screens such as tints or grayscales.

Type of output Will the printer be outputting direct to film, plate or press? Sometimes youcan save time and money if you know ahead of time how to lay out the document prior tosending files to the printer.

Scanning Photographs If you donÕt have a professional quality scanner or if you are notexperienced using it, ask the printer about their capabilities for handling the photographs.If you do have a scanner, be sure to discuss what resolution you should be using to scanyour originals.

Type of Proof Required If you donÕt know what types of proofs are available, have your repshow you samples. Choose from digital or analog. Find out the benefits of either.

Press OKÕs are recommended for most jobs, especially the complicated ones. Ask yourprinter how this is handled and who will be there to assist you.

Binding and Finishing How will the job be folded and glued? Discuss the options availableat the printer and determine what their capabilities are inhouse. If you are designing apocket folder or a brochure with special folds, ask the printer if there is a certain way to setup the job electronically, such as reducing the panel size for a roll fold. In most cases, theprinter can provide samples for you to use as a guide.

Delivery specifications need to be discussed up front. How will the job be packaged?How many destinations will need instructions? Answering these questions before the jobis under a deadline can save many headaches later.

Step 2: Find out how your files will be output

Are you sending your files to an outside service bureau? Many times your printer canoutput the film or plates and provide scanning for you, avoiding that extra step in theprocess. But there are a few things you should know prior to sending your files.

Platform and Software Support First, determine if the platform you are working with is





supported Ð typically PC Windows or Apple Macintosh. Second, find out if the printersupports the software program you are using. All are adept at working with the mostcommon desktop publishing programs, such as PageMaker or Quark XPress, but findingsomeone to output Microsoft Word or Publisher or Lotus Ami Pro files may be a bit moredifficult. Lastly, be sure you and the printer are both using the same program version.

Equipment Profile Find out what equipment will be used to output your job. Make anyspecial notes about file setup for optimum output.

Font Availability The printer needs access to the same fonts used in your document file.You must supply copies of the screen and printer fonts. On rare occasions the printerÕssoftware may not recognize a newer or older version of the same font.

Compatible Characters Special characters (fractions, copyright marks, bullets, etc.) do notalways translate well from platform to platform. Find out what works and what doesnÕt.

Program Files versus Printer Files If you supply program files, the printer can open yourfile on their system in the program you used to create it, make adjustments necessary, andprint it to the imagesetter.

Linking versus Embedding Graphics Typically, it is best to link not embed the graphics inthe file. And, be sure to send an original of every graphic that is linked to the file.

Resolution Discuss the resolution necessary to reproduce the screen frequency, colorprocess, and photographs you have chosen.

Color Trapping Incorporating the recommendations of the printer, determine how to trapcolors and who will do it. It is usually easier to just let the printer handle the trapping.

Assigning Responsibility With all these issues to cover, it is important that you and theprinter are clear on who is responsible for what. If settings are incorrect, who pays to re-runthe document?

Finally, ask what you need to supply along with the document file Ð typically the printeroutput form (describing the files that you are sending), final color-separated laser printoutat 100% and a folded dummy representing the final printed piece. This will give the printerenough information about what the file should look like when printed.

Step 3: Set Up a Template

With the background information you gathered in Steps 1 and 2, youÕre ready to composea template. A template is a document file that contains the basic layout, paragraph styles,and as much of the information above as your program will allow you to include. Youshould save the document as a template before adding text and graphics so that next timeyou need a similar document, you can begin with the template rather than starting fromscratch.

Run a Test File If you have never worked with a printer before or if you are working a largeor complex document, you can save time and money by having the printer output testpages and proofs before you prepare the final document.

Step 4: Prepare the Document File

When the template is complete and tested, rename and save a copy to use as thedocument file.

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Name Your Files Name and number your files so that you and the operator can easilyidentify them. For example: the file AB_01_PM, uses company initials, followed by anumber for each document file, and a program reference (in this case PageMaker).

Do Your Housekeeping Remove unused graphics, remnant text, empty pages, and unusedcolors from your color palette. Clean up your layout, delete any items on the pasteboard.Be sure all imported graphics ÒfillÓ the picture boxes and all corners meet or overlap foradjoining boxes. For best results, donÕt rely on the visual appearance, but use themeasurement tools in the program.

Take Advantage of Preflight Tools Use any of a variety of utilities and add-ons, dubbedÒpreflight toolsÓ (PageMakerÕs Save for Service Provider and QuarkXPress Collect forOutput) to test print your document and to create a list of file information for the printerincluding the names of fonts used, the page size and orientation, the specified resolution,etc.

Check Your Settings Check all of the possible settings such as scaling, number of copies,resolution, screen frequency and angle, whether the images should be negative or positive,printed as composites or separations, and whether or not to include printerÕs marks.

And Most Important Be sure to double, triple and quadruple check the disk for any missingfonts or graphic files. Be sure all files are set up in the correct resolution for the job.

Step 5: Check the Output

Before you hand the final output over to the printer, review each of the preceding steps todetermine if it matches your selections. Check for output quality, density, scratches, andregistration of color separations.

Review a Final Proof Always review digital proofs or a proof of film negatives before theygo to press. It is difficult for even highly trained eyes to spot minute problems in negativeform. Remember that the printerÕs liability for mistakes typically ends when you walk outthe door with your output. Re-check your entire job in detail. Something as a simple as lineof type that breaks differently and eliminates a critical phone number can make or breakthe entire project.

These are just the basics Ð as you ask questions and discuss options, you can developyour own procedure for creating document files for a printing press. By taking the time tounderstand and document each step, you will save yourself and your printer valuable timeand money.For more information on printing, check these websites and resources:www.ideabook.com/printing.htmwww.dtp-aus.com/dtpstrt.htmlwww.adobe.comwww.scitex.comwww.kodak.comwww.printing.orgwww.piag.orgGRACSTET (a manual on General Requirements for Applications in Commercial OffsetLithography) Order a copy from www.gca.org.

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Commercial Printing Cheat Sheet

1. What is the job description? Brochure, Sell Sheet, Booklet, Promotional piece, etc.

2. How many need to be printed? Are there versions?

3. Will the job be printed on a sheetfed or web press?

4. What is the final delivery date? How flexible is this?

5. When will the disk or art be provided?

6. What is the finished size? Flat size? (e.g. Flat Ð 12.25 X 9, Finished Ð 4 X 9 folded).Pocket folders must be measured with flaps and glue tabs unfolded

7. What inks will be used? 4-Color Process, Process plus spot color, special inks?

8. Will an ink drawdown be needed to proof color?

9. Will a varnish be used? Spot or Overall? Will art be provided for the varnish?

10. Will the job need aqueous coating? Note: Most plants cannot spot aqueous

11. Does the job include folds? How many? Does it need to be scored? 80# Cover stockshould be scored

12. Will gluing be needed? (e.g. Pocket folders)

13. Can a standard die be used or will a custom die need to be made? Be sure die art is provided.

14. How will the job be bound? Consider saddle-stitch or perfect bind, spiral binding orgrommel stitching.

15. Will any outside services be necessary or can the plant finish the job in-house?Services such as Custom dies, perfect-binding and UVCoating must be sent outsidein some plants.

16. Do samples need to be sent to separate location(s)?

17. How will the job be delivered? Boxed, skidded, shrinkwrapped? What quantities?

18. Are they providing one delivery address or multiple addresses for shipping?

19. Will the client be coming to the Press OK? This is recommended for first-time jobs.

20. What type of proof(s) will they need? Consider randoms, digital, Matchprint, blueline,velox, laser, etc.

21. What type of disk are they sending? Be sure the plant can accept the type of diskthey have.

22. Is the job Mac or PC? PC jobs can cost double the price of a Mac jobs.

23. What software is the job created in? Quark and PageMaker are most widely used.

24. Plants do not accept Microsoft Word, CorelDraw or PowerPoint files for printing. Theywill have to be converted and cost a lot of money and time to produce.

25. How will images be provided? Is scanning needed?

26. What originals will be provided for scanning? Transparencies, slides and reflective artare accepted. Preprinted pieces will not reproduce well (e.g. magazine covers).

27. Are the photos labeled properly for cropping and sizing?



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An Explanation ofOffset Lithography

Lithography is Greek for Òwriting withstone.Ó But, the concept that water andoil donÕt mix is the most important aspectof modern lithography.

A printing plate is chemically-sensitized toattract ink only to the image area; water dampens the non-print areas to repel the oil-basedink. The image is then transferred from the plate to arubber blanket. The blanket transfers (offsets) the inkedimage from plate to the paper. This step ensures a cleaner, more precise transfer of theimage to the irregularity of the paperÕs surface.

In addition to image transfer, a press must move the paper with extreme precision andcleanliness. ÒPerfectingÓ presses print both sides by turning the sheet over between printingunits. Unlike other types of printing, offset lithography involves printing from a flat surface. A multicolor offset press has a separate printing unit for each color being printed. If, forexample, youÕre using process colors and one spot color (e.g. PMS, Toyo) in a print joband your commercial printerÕs press can handle five inks, a printing unit will be set up foreach ink Ð cyan, magenta, yellow, black, and the spot color. The paper will than passthrough each unit in succession. If the press handles fewer inks, your printer will print twoor three inks first, stop the press and change the inks, and then run the paper throughagain to print the remaining inks.

Lithographic or Offset printing works in the following sequence:

1. Platemaking Using a photographic process, a printer exposes the reversed image fromthe film separation (a negative) onto a flat plate with a light-sensitive coating, and thendevelops the plate. The image area of the plate Ð now a readable positive Ð is coatedwith a chemical that attracts ink but repels water. The non-image area is coated so itattracts water and repels ink.

2. Wetting The plate is mounted on a rotating cylinder on the press. When the press starts,the plate comes into contact with water rollers first. Dampening solution (water plusadditives) flows constantly from a traylike fountain through a series of rollers to the platecylinder. The last water roller wets the entire printing plate, except where the plateshave been treated to resist water.

3. Inking Next, the ink roller applies oil-based ink to the plate. Thick, greasy ink flows fromanother fountain through a series of vibrating rollers, which distribute the ink thinly andevenly. When the last ink roller contacts the wet printing plate, it smoothly distributes inkacross the water-resistant image area.

4. Offsetting The final roller is a rubber blanket, which is pressed against the printing plateand carries away a reversed inked image (the offsetting step). The rubber blanket hassome flexibility and gives slightly when pressed against paper, so the image can trans-fer evenly to both smooth and textured paper.

5. Printing In the last step, the paper passes between the rubber blanket and an impres-sion cylinder. The inked blanket cylinder with its reversed image presses against thepaper, printing the positive image.



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4. After Preflight (barring any problems), job is set up for Production byMac operator. This includes setting file totrim size, creating bleeds, discarding extracolors, and setting up for presslayout. APRs are placed after scans areapproved but before file is printed to aPostscript file for proofs

PS

2. File is copied to the file serverprior to working on it, leaving the

customer disk untouched. MacOperator Preflights files.

3. Color Lasers are reviewed by Macor P.C. for potential problems.

7. File is RIPped, trapped and sent forKodak Approval proofs

6. A Postscript file is sent to Brisquewith instructions on how to producethe job. Brisque imposes job usingPreps¨.

10. Film or plates are processedinline and checked for problems. Jobis sent for plates or down to pressroom to print.

5. File is printed to Postscript once the

randoms are approved.

8. File is reviewed for any trappingor image problems. File is onlyreripped if there were anychanges. A new proof is madereflecting changes.

1a. Images are scannedand randoms are sentfor approval. Files aresaved to the File Serverfor creationof APRs.

9. Job is exposedto film or plates.

Williams Prepress Workflow1. Disk File is received by Project

Coordinator and given to DigitalPrepress Specialist for Preflight



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Imposition and BindingImposition is the process of arranging thepages of a publication so that when thesheets are printing and folded for binding, the pages will be in the proper sequence.Individual pages are arranged on a largesheet called a flat, which is used to produceplates for the printing process. Each plateprints a single form, or impression, of theimposed pages. Two forms are printed back-to-back on a press sheet that is foldedinto a signature. The signature is bound withothers, if necessary, and trimmed to create a publication.

Imposition may be done manually or electronically. Manual imposition is a labor-intensive process where small pieces offilm separations are precisely arranged andtaped, or stripped, onto flats. Electronic imposition requires software, such as AdobePress Wise¨, that arranges the digital document into the proper formation.

Binding is the process of gathering folded signatures using one of several methods. In saddle-stitch binding, signatures are gatheredto form a common spine and then stitchedwith staples. Perfect binding involvesgathering groups of signatures, grinding thebound edge, and gluing the signatures at thespine into a one-piece paper cover.

When signatures are collated and folded forsaddle-stitch binding, the inner pages mayproject outward slightly. The printed areamoves slightly with respect to other pages.The more pages there are in a book the farther out the pages closest to the center ofthe book move with respect to the otherpages. This phenomenon is known as creepor shingling. If creep is not compensated forduring imposition, graphics and text in a multiple-page publication will appear to moveaway from the gutter Ð where pages meet atthe binding Ð in the first half of the book andtoward the gutter in the second half of the book.

Imposed 16-PageSignature

Inserted Signatures

Gathered Signatures

Creep occurs when the inner pages of asignature project outwards.

TrimmingCreep affects theprinted area duringbinding and trimming.

Binding

Saddle-StitchBinding

Folded Signature.

Perfect Binding

Design with Printing in MindStyle SheetsBe sure that fonts in Style Sheets are consistent with fonts in the document. Documentswith extra fonts in the Style Sheets will require fonts that are not used in the document.Fonts will show up missing during preflight. In Quark, Helvetica is the Default Style Sheet,you may need to change it to the font you are using. PageMaker uses Times Roman.

LayoutsEach page should be built as a single page to flat trim size. In other words, a 3 panelbrochure can fold to 3.5 X 8.5 but if the flat size is 8.5 x 11, the document should be created 8.5 x 11. The document is much easier to impose if it is set up that way. Bookletstyle documents should be set up as facing pages rather than one spread. For example, an 8.5 x 11 book should be set up as single pages and placed together in the document for double page spreads rather than creating an 11 x17 page to represent 2 pages.

ColorsIf you need to print a PMS color converted to 4 color process, be sure you check the SpotColor Conversion Guide. Some colors such as bright reds, 485 for example, do not convertwell. Large areas of dark colors, such as Reflex Blue, can be difficult to maintain smooth coverage and takes longer to dry. Metallics are also hard to dry and will require extra time.Keep in mind that most metallics are impossible to proof.

Picture Boxes¥ Be sure that picture boxes have a fill of White in them to avoid a Òlow resÓ appearance.

¥ Avoid using hairlines for frames or lines. Imagesetters cannot print them consistently.

¥ Avoid anamorphic scaling. (This is when the horizontal and vertical scales are different).

¥ Avoid using the clipping paths in Quark XPress; they will have a low res appearancewhen printed.

Font Issues¥ DonÕt apply font styles from the style menu or by using keyboard commands. This can

potentially cause problems when outputting the job. Always select the correct font, suchas Helvetica Bold rather than Helvetica Plain - bolded in the style menu.

¥ Avoid using type in Photoshop. The text is converted to pixels which can give theappearance of low resolution type. Keep text in layout programs such as Quark or vector graphics programs such as Illustrator.

¥ Text embedded in vector graphics programs such as Freehand and Illustrator should beconverted to paths for Freehand or outlines for Illustrator, except for very small text.This eliminates the need for sending that font with your job.

¥ Be sure to include the fonts for the graphics that could not be converted to outlines.

¥ Avoid building small type (less than 10 pt.) in screens or screen builds of a color(4 color process). Use solid colors to avoid registration problems. The same goes for

very fine lines. Use spot or simple process color combinations (2 or less colors suchas 100% Magenta and 100% Yellow for red.



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Graphics¥ Eliminate unnecessary points in vector drawing programs (Illustrator and Freehand)

and clipping paths in Photoshop. Unnecessary points add to processing time on the imagesetter.

¥ Crop, scale and rotate images in the graphics application whenever possible. This willshrink the file size of the image that is imported into the layout application (Quark orPageMaker), making it print more efficiently.

¥ Scaling a scanned image can compromise image quality. Upscaling lowers the resolution of the file. For best results, scan the image at the scale factor and import into the layout program at 100% or configure the adequate resolution for scaling(Multiply line screen x 2 x scale factor, e.g. 175 x 2 x 200% = 700 dpi for scannedimages sized at 200% in Quark.

¥ Large files complicate processing, so if reducing the image is necessary, usePhotoshop to do it. Then import the image at 100%.

¥ Always ask the printer for separation settings. Use these settings for converting RGBimages to CMYK in Photoshop before sending in your images. The Photoshop defaultsettings usually result in an image that is less than adequate. For example, the defaultsuse GCR settings and Williams Printing uses UCR settings.

¥ Set the resolution in Illustrator to the output resolution of the imagesetter before creating gradients. The default resolution is 800 dpi which is inadequate for high qualityprinting and may result in banding on press. (This may not be evident on the proof.)

¥ Create colorized images in Photoshop rather than Quark. Some systems cannot produce Quark colorized TIFFÕs. For best results, start with a grayscale image and create a monotone in Photoshop.



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Build on a Good Solid Color

Sometimes its more practical and less expensive to create a color using screen buildsrather than specially mixed PMS or other spot colors ÒScreen BuildsÓ are defined by theprocess of creating the illusion of a single, solid color with a combination of the fourprocess colors: CYAN, MAGENTA, YELLOW, BLACK. These can be mixed by means oftiny halftone dots in screens to reproduce most colors reasonably well. The key phrasehere is reasonably well. It is very important to remember that a screen build is utilizing inkpigments that are completely different from those used to make a true Pantone or PMScolor, therefore, there will always be a slight difference in the printed color.

Printer Pointers . . . Solid Reasoning¥ It is best not to screen build type (body copy). When in doubt, consult with your printer.

¥ Small type and rules reverse well from a solid ink, not so well from builds. Unless yourbuild has one color containing at least 100% solid ink.

¥ Screen-built type must be larger and bolder to retain legibility. Remember Ð it is createdusing screens of your process colors.

¥ Process color builds are very unpredictable on press. Do not use them if the job requiresa long press run. The colors could look different on different days.

¥ Large, page-covering builds are usually less smooth (mottled) in appearance.

¥ Large areas of dark color, especially greens and blue, print better with two coats or adouble hit of ink.

¥ Metallic PMS colors cannot be built from CMYK. They also donÕt look as metallic onuncoated paper due to absorption.

¥ You can have ÒCustom ColorsÓ created by ink companies very easily.

If you are not sure what a color will look like on a particular stock Ð because of paperchoice or the coating Ð ask for an ink drawdown on the stock. Then there will be no surprises on press!



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DonÕt Get TrappedLook at the graphic #1 to the right, why do youthink the Cyan circle and the Magenta rectangle donot meet?

Misregistration can be a result of the press or thepaper or both. Trapping can solve this problem.Trapping compensates for shifts on press when twoor more colors are printed together. Sometimes theydonÕt meet perfectly and the paper shows through. Atrap is added to give the colors an extra area to meet.

Traps are created by adding a stroke to the color tomake it print solid or overlap the other color. In the3 graphics containing a Cyan circle on top of theMagenta rectangle, #1 contains no trap at all and youcan see what happens, #2 the Cyan circle is set tooverprint the Magenta triangle which will mix the twocolors, and #3 Cyan circle has a trap added to it. Nowthe question of how to trap the two colors.

If the object color (the circle, in this case) is given astroke it is called a spread because it spreads over thebackground. If the background color, the Magenta rectangle, is given a stroke it is considered a chokebecause it chokes into the object. Usually it is a goodidea to expand the lighter color into the darker color .

As stated above, if the foreground color is set to overprint, the top color mixes with the color underneath. If the color is set to knockout, the foreground object will punch out of the backgroundcolor to avoid the color mix. #3 is set up to knockoutand trap, while #1 is set to knockout with no trap.

Look at the graphic at the bottom. What kind of trap doyou think is needed for the peach to trap into the bluebackground? How would you trap the green leaf?



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The Unvarnished TruthVarnish is both beautiful and functional. Varnish seals and protects large solid areas of inkagainst finger-printing, minor abrasions and scuffing. Varnish even offers limited protectionfrom moisture and spills. Varnish can also prevent a dark, heavily-printed page from offsetting or rubbing off on a facing white page. But letÕs not get too practical hereÐ varnish looks great! It adds depth and brilliance to colors, crispness to photos andenhanced tactile feel to paper. In truth, varnish can only marginally increase the glossinessof paper. But it can enrich the surface. Dull varnish adds a velvety touch to coated stock.And, contrasts between gloss and dull, or spot varnish and the paper, increase thedesignerÕs repertiore. As a member of the ink family, printerÕs varnish (nothing like thesyrupy stuff you brushed on your wooden deck last summer), can be tinted and used as awonderfully subtle medium for printing pale imagery or ghost effects.

Spot or Flood?Flood varnish covers the entire surface. Spot covers only selected areas Ð pictures, type,or pattern. Sometimes the varnish makes a nice pattern itself without color.Laying down varnish along with the other inks (wet, in-line trapping) is most economicaland usually quite satisfactory. Dry (off-line) trapping eliminates possible blurred edges andresults in the best final finish. Adding varnish offline to photos can make them seem to leapoff the page. This requires more time and money but may produce the quality you seek.

A Few Tips On Varnish¥ Dull varnish looks its very silkiest when applied to high-gloss stock.¥ Gloss varnish cannot render full-coated stock shiny.¥ Varnish on uncoated paper has a negligible effect.¥ Omit varnish on areas for handwriting or glue strips.¥ Spot varnish requires a plate on your multi-color job as you prepare your file.

Is there a difference between Aqueous Coating and Varnish?Aqueous coating is a coating that instantly seals the inks and requires no drying timebefore the next process takes place on the press sheets. Varnish is a coating that, likeinks, requires drying time. Also like inks, aqueous coating comes in a gloss finish and asatin/silk finish. Aqueous is typically done as an overall effect whereas a varnish can beused in specific areas for photos or graphic enhancement. Aqueous coating does notrequire an ink tower since the aqueous tower is separate from the ink. So if you are printing a job on a 6 color press and wish to varnish in line, you can only have 5 colors asthe varnish will use up one of the towers. On the other hand, if you are aqueous coatingthe job you can use all 6 colors.



Pressing

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Think Ink DrawdownsWhen should you request an ink drawdown?

An ink drawdown is created by the ink company to give an indication of the PMS or matchcolor ink. Drawdowns are required for all PMS and match colors that we run at WilliamsPrinting. To be as accurate as possible, the drawdowns can be done on the job stock.These drawdowns should be approved by the customer whenever possible Ñ or a personresponsible for the job. In the case of a PMS match on sheetfed, an internal OK will suffice;but on the web, a customer signature is required. These approved drawdowns must beplaced in the job jacket for the press.

Remember, a drawdown will be a very close match; but due to the method of pulling drawdowns, it will not be a perfect match. The drawdown is pulled on a proof press. Thispress does not use water. When printing on a production press, the ink mixes with thefountain solution we use to keep the plate clean and will cause a slight difference in theÒLOOKÓ of the ink. The fact that the drawdown hits only one blanket and on press it couldhit as many as five, will also have an effect on how the ink will lay on the paper.

Take special note when you are dealing with dull or metallic inks. The migration ofthe dulling agent or metallic flake will be different when printed on press versus pulled onthe proofing press. Again, the press prints an emulsion, a mix of ink and fountain solution.The proofing press prints just ink.

When formulating ink for a double hit, the drawdown should reflect the color that you wantto achieve. The ink should be made the same and the first ink printed should be run with athinner film than the second ink. This will ensure that any debris in the paper will be pickedup by the first unit and the heavier ink film on the second will hide it.

Also, any ink that is to be coated with either varnish or aqueous, must have half of thedrawdown coated.

Take caution when you are using dull or metallic inks. The migration takes time to occur.Therefore, the ÒlookÓ of the ink will be different when it is wet. The best match to the drawdown will be after the migration has taken place Ð usually about one hour after Ð printing. Drawdowns will be valid for about 6 months if kept in the folder. Anything over6 months should be done over on new stock.



Pressing

Issues

Potential Layout Snafus(Situation Normal All Fouled-Up)

Page Layout program is not prepress friendlyRegardless of platform, Mac or PC, stick to PageMaker (6.0 and up) and Quark XPress3.32 or 4 and you wonÕt hear from your service provider or printer. Using a program that ismade specifically for laser output or slide presentations is just asking for days and days ofprepress headaches. These programs do not have what is required to output film and colorseparations: MicrosoftÕs PowerPoint; Excel; Word and Publisher; Ready, Set, Go; Lotus123; just to name a few.

Page size incorrect.Pages should be set up so that they can be impositioned easily. Usually this means settingthem up at trim size. There are exceptions, of course, such as pocket folders and unusuallayouts and non-rectangular sizes. Do not set up a two-page spread on an 11 X 17 page.This file will have to be broken into two 8.5 X 11 pages.

Missing in ActionAge old problem: The printer gets the disk, and some of the fonts and graphics are notthere. If we could convince clients to use a Preflight program or at least QuarkÕs Collect forOutput, we have a better chance of getting those high resolution graphics. The fonts canbe a little tricky. And sometimes itÕs only the printer fonts that are missing.

Folds set up incorrectlyBrochures that require unequal panel sizes due to roll folding are an example of files thatneed special attention.

Bleeds not added to documentIf there is a background image in the document, there may not be enough image to extendthe document 1/8¬ all the way around. ItÕs best if the client sets it up with bleeds.

Phantom fontsSometimes a layout will show a missing font that hasnÕt even been used. A Quark featurecalled Style Sheets may be the culprit. Style sheets are like macros in Quark that allow theuser to define a typeface,style and format to one keystroke and use it throughout thedocument to reformat text. They are great for long documents. Sometimes a font getsassigned in a Style Sheet and doesnÕt get used in the document. The file still reports that afont is missing since the font is part of the document. It is best to eliminate all Style Sheetsnot being used. Another mystery font shows up when a font is used in a blank space or anempty text box. Just get rid of the box and the problem is gone!

Extra Colors in the documentSometimes the document arrives with all of the colors from the last 10 documents thatwere created. This can lead to potential problems with output. It is best to eliminate anycolors that are not being used.

Colors improperly definedThe culprit is usually a graphic that has been imported from Illustrator or Freehand, thoseprograms seem to have a whole separate color palette that comes right along with thegraphic. Check and make sure that like colors are named EXACTLY the same, otherwisemissing graphics will result or too many colors will print. For example 321 CV in Quark may



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be called 321 CVU in Illustrator. For best results, create and import the graphic into the layout before assigning color in Quark, then use the color that is brought into the colorpalette from the graphic.

Gradients created in QuarkÐDonÕtThatÕs it, just create the gradient in Photoshop at the correct resolution and itÕs fine.

Rotated, scaled and cropped graphicsMultiple graphic files that must be scaled and rotated in Quark are best manipulated in theoriginal graphics program and then imported back into Quark. Cropping a large image inQuark or PageMaker so that only a small amount prints does not eliminate the need toprocess the entire image. Crop it in Photoshop.

Keep silhouettes in PhotoshopA new feature in Quark 4 allows users to create clipping paths. Clipping paths or silhouettes should be created in Photoshop, not Quark. Quark clips according to the lowresolution preview file. Photoshop clips the actual high resolution image. Which one do youthink looks better?

Transparent picture boxes in QuarkIf there is no solid background behind an image, the image can pixelate and ÒappearÓ lowresolution on the proof.

Lines are too thin to printNever use the hairline option in Quark to define a line. This will print at a fraction of the output size. For example if the imagesetter prints 2540 dpi, the hairline will print 1/2540th.The minimum width should be .125 pts.



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Graphic Miss-takesVector-based graphics

Since the fonts used in the graphic does not appear in the font list of the layout program,they are often missed in the collection of the files sent to the printer. For best results, turnthe font into outlines in the art program.

Colors are not defined properly.Colors in Illustrator and Freehand can be named differently for the same color. Simplychange the name in the file or better yet, create the graphic, colorize it in the art program,import it into Quark (bringing the color into the Quark color palette), and use the color itimports for any lines or boxes used in Quark.

Equally important: Eliminate all unused colors in the graphic.

Low resolution gradients banding.For best results, create the gradient in Photoshop. Use the guidelines in ÒBattle of theBands.Ó If Illustrator or Freehand is used, be sure to set the Output resolution prior to creating any gradients. Keep the gradient to under 7¬. Blend only highly contrasted colors(100% to 0%). Set the ÒOutput ResolutionÓ prior to creating the gradient.

Spot color gradients that separate when imported into QuarkBe sure that a Spot color is never set to separate to white or black. These are both considered process colors. Instead use 0% of the color for white or a spot color black.

Embedded bitmap filesThe latest trend is to create the layout in Illustrator or Freehand and import the whole file,scans and all, into Quark. This can be dangerous. Quark will not tell you if there is amissing Photoshop file if it was first imported into the vector program before importing intoQuark XPress or PageMaker. For best results, reserve Illustrator and Freehand forgraphics and import images directly into the layout program where the link is maintained.

Low resolution filesStarting with the line screen multiply by 2. This is the proper dpi of the image. If it is scaled,figure that into it too. For example: 175 line screen jobs require images and graphics tohave a resolution of 350, for an image that is twice as large as the original art, multiply the350 X 2 to get a scan resolution of 700 dpi.

Jagged edged clipping pathsBe sure that the tolerance level is set to the highest number possible to create the leastamount of points in the path. The path may still have to be manually altered to smooththe silhouette.

RGB files appear in the Quark filesIf separated lasers are printed, this can be detected early. Do not send an RGB file to theoutput device. The separations will be unpredictable at best. Use the proper settings inPhotoshop. Check your Separation Settings (different for each printing company).

Banding or sharp edges in vignettesBut the vignette looks great on the screen! How many times have we been subjected toproofing on the screen? Vignettes are the little monsters that will stump us every time if



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they are proofed on screen. You cannot see colors under 5% on the screen. Two rules ofthumb when creating them: 1. Resolution of the file is a big issue here and can make orbreak a vignette, 2. The color is the key. If the vignette contains more than 1 or 2 colors,itÕs easier to clean them up. The edges must not be the same percentage of color. Forinstance, on a 4 color black vignette, stay away from even percentages such as 2% Cyan,Magenta, Yellow, and Black. This may require adjustments after the vignette has been created, but will guarantee that no sharp drop off will occur on press.



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Resolution Rule of Thumb

Resolution Factor

The scanned resolution of an image should be 2 times the Linescreen (lpi) used on thepress at 100% scale.

175 lpi x 2 = 350 dpi

at 100% of size of original

Scale Factor

If the image is scaled, multiply the scale factor also

175 lpi x 2 = 350 dpi x 200% = 700 dpi



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Battle of the BandsHelpful tips for creating better gradients

ResolutionBefore you even begin to create a blend or gradient or vignette, be sure the resolution ofthe file is up to par. In Quark XPress, you are limited to 300 dpi output, that is why it isalways better to create gradients in a graphics program, preferably Photoshop.

To check resolution in Illustrator, click on the File menu and select Document Setup. Checkthe Output Resolution, the number should match the imagesetter from which the file will beoutput. WilliamsÕ Dolev 800 outputs at 2540 resolution. It is important that this number ischanged before you create the gradient. That is what Illustrator uses to configure thenumber of steps used.

Photoshop files also need to be set to the dpi resolution before the gradient or vignette iscreated. This can be configured using the line screen for the job. Williams typically uses a175 line screen to print the job. So the files need to be created at 355 dpi. This numberwas the result of multiplying the line screen by 2. For best results, do not scale the gradientin a layout program, create it so that it can be imported at 100%.

ColorColor plays a big part in banding. For best results, blend from a high percentage to a lowpercentage color. Bands are more prevalent in lighter colors blending to each other.

Caution: To preserve your spot color separations, do not blend from a spot color to white.The graphics applications see white as a process color and will convert the spot color toprocess when the job is printed. Instead blend the spot color solid to 0% of the same color,this gives the appearance of white and your spot colors are safe.

LengthLong blends have a lesser chance of making it through an imagesetter. If you can keep thelength to under 7" banding should not occur (unless they are created at a low resolution). Ifyou must create a long gradient, break it up into 2 gradients, for example create a blendfrom 100% to 50%, then 50% to 0% in a separate blend.

Creating Gradients in Illustrator1. Create a new file in Illustrator.2. Under the File menu, select Document Setup.3. Change the Output resolution to 2540 (the output resolution of the imagesetter that will

print the gradient). It is important that this step is completed before creating a gradient.4. Select Gradient under the Object menu. Click New and name the gradient.5. Click on each triangle to define the colors in the gradient. For more than 2 colors, simply

click at the base of the gradient and another triangle will appear to be defined.6. Name the gradient. Click Radial or LInear for the type of gradient desired.



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7. Create the shape for the gradient. Click on the gradient selection in the color palette.8. Click on the new gradient to fill shape. 9. Use the Gradient Vector tool to change directions of the gradient in the shape.

Creating Gradients in Photoshop1. Starting with a new file, the image size box appears. Type in the resolution required.

This is 2 x lpi (lines per inch, linescreen) for the job. Note: resolution is very important incontrolling the appearance of banding. Check with your Account Representative to besure of the line screen.

2. Click on the foreground color swatch to define the starting color desired.3. Click on the background swatch to define the ending color of the gradient. 4. Click on the Gradient tool in the toolbox. Click and drag in the direction desired. 5. To change the attributes for the gradient, use the Options palette (under Windows

menu). Click Radial or Linear and select a different type of blend from the pull-down menu.



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Photoshop in 4 Colors¥ Set up computer and monitor for best viewing and efficient working conditions. A gray or

neutral background is best for the desktop.

¥ Keep a copy of Photoshop Prefs on a disk for backup.

¥ Set up Ink and Separation Setup for each printer you work with. Very important for RGBto CMYK conversion.

¥ Image size should be 100% of the final output size in Photoshop whenever possible.

¥ Resolution should be at least 350 dpi for optimum output. Stay at the high end whenscaling is a possibility. Remember the rule of thumb: 2 x Line Screen = Resolution usedfor Photoshop and/or scanned images.

¥ Save original documents with all of the layers intact. But pack up the layered file withthe flattened image for the printer in case of output problems.

¥ Save in TIFF or EPS formats only.TIFF with no LZW compression.One file EPS (do not check 5 channel) Do not Transfer Functions checked. Binary for Mac. ASCII for PC.

¥ Check for Highlights, not Specular Highlights. There should be at least a 3-5% dot inthe lightest light. The density should be no more than 30% overall.

¥ Check for Shadows to have a 90%-95% black dot maximum in them. Remember theDot Gain of 25%.

¥ Neutral Grays should be even in Magenta and Yellow with slightly more Cyan.Actions are great ways to automate repetitive tasks.

¥ Use Selection Tools liberally: Combine Quick Mask, Color Range, Magic Wand andPaths as needed.

¥ For Photo CD files: DonÕt use JPEG files, they donÕt have enough datawhen decompressed. Use Photo CD filter to import as highresolution. Import into CIELab for editing. Convert to CMYK aftercolor adjustments.

¥ Total Ink Density 320-340%Highlights 5C2M2YMidtones 50C50M6YShadows 85C80M80Y95K

¥ Gray Balance is the combination of colors that make up Gray.For example: 5C3M3Y = 5% Gray.

¥ Dot Gain describes the gain of black in the neutral tones.10-15% on Coated Stock.18-25% on Uncoated Stock.

¥ Look at overall color cast in Levels, then adjust them in Curves in theindividual separations.



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From RGB to CMYK?

RGB refers to the Red/Green/Blue color space that is used for monitor displays and TVs. Itcannot be used in printing except to preview images on the screen. RGB files must be con-verted to a color space that a printing press can understand, CMYK.

CMYK or Cyan, Magenta, Yellow , and Black are what make up all 4 color process. Colorimages must be converted to CMYK prior to printing them in order to get the image toprint properly. But there is a specific method for doing this. The designer must know theprinterÕs settings.

Converting images to CMYK can be a dangerous thing,ÉÉif you do not preset Photoshop first.

Photoshop contains settings that directly relate to how the job will be printed and thesesettings are not evident on the screen. Each printer can have different settings based onthe way their presses run. For best results, consult with the printer before separatingyour files to get the correct settings.

For Williams Printing, use the settings on the following page for Photoshop Color Settings.Caution: DonÕt use them for other printers, the results may be unsatisfactory. The monitor (RGB) settings are almost as important as the CMYK Setup.

How can you spot an RGB file?Open a Quark file and import an RGB image that has not been converted. Print separatedlasers to your laser printer. Look at the images on each separation. What is missing?



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Photoshop 5 Settings

To access these settings go to File and select Color Settings, choose RGB Settings andCMYK Settings.



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Ready, Set, PrintFollow these guidelines before sending print ready files

Separations suppliedThe more information that is sent with the job, the faster we can print it. Be sure to sendseparated lasers, so that you can be sure that your colors are separating correctly. Whenyou print separated lasers, print with Registration On so that the color tag is displayed atthe top of the page. Send a composite that is 100% size to check that the trim size is alsothe output size of the job. This will eliminate any extra time spent in changing the size ofthe document to fit the trim size.

PreferencesIf you altered any of the Quark Preferences, be sure to send us a copy of the QuarkPreferences or the job may reflow and not reflect some of the attributes that have beensaved to it.

Graphic FilesWe recommend changing fonts in art to outlines. If you do not wish to do this, be sure toinclude both the screen and the printer font for each font used in the graphic. For best results, donÕt embed Photoshop files in graphic (Illustrator or Freehand) files.Place the Photoshop files in Quark instead. Be sure the resolution of all of your images (Photoshop files) is 2 times the linescreenthat your job is printing. Be sure to figure in the scale factor also. Do the math,

linescreen x 2 x % scale = dpi of the file. Call your Project Coordinator to find out thelinescreen of the job.

Gradients and vignettesThe best program for creating vignettes and gradients is Photoshop. For best results, follow the guidelines for creating vignettes and gradients in ÒBattle of the BandsÓ and checkthe output resolution before sending the file.

Fonts suppliedSend us all fonts including screen and printer fonts for all styles including bold, medium,extra bold, and heavy. Remember fonts that are embedded in EPS graphics. Avoid usingthe style menu to stylize fonts. Instead, use the bold or italic version of the fonts to eliminate printing problems.

Document size vs. Trim sizeCheck the Document Setup to be sure that it matches the finished flat size of the printedpage.

BleedBleed is added by extending the picture box beyond the document size, not by making the document size bigger. Be sure to allow 1/8¬ beyond the crop marks for bleed.

ColorsIn Quark, check Colors under the Edit menu to be sure that colors are separating properly.Eliminate any extra colors in the document to minimize confusion. Colors separating shouldhave process colors turned on and Spot colors should have process colors turned off. Besure that colors used in imported graphics have exactly the same names as the colors inQuark or PageMaker, so extra color will not be added to the document resulting in extrafilm and plates.



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VarnishesSpot varnishes can be created by adding an extra color named Òspot varnish.Ó Apply it tothe areas that should varnish. HINT: varnishes can be created by duplicating the file, delet-ing items that do not varnish and apply Òspot varnishÓ color to the areas that do. You onlyneed to specify overall varnishes.

Die LinesCreate custom die lines in Illustrator or Freehand for best results. Import and use a ÒdieÓspot color in the document.



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ItÕs Always Smart To Include a Dummy!A dummy is described as a model of a work being published, indicating its general appearance and dimensions with text and illustrations pasted into place to direct the printer. Designers and editors often start with a dummy Ð sometimes thumbnails size Ð toexplore the best, most efficient format for job. Origami-like bouts of paper-folding oftenresult in brilliant solutions to presenting and placing the copy and visuals. Plus, this can beyour first sense of color impact if you are using non-white stock.

Clients see the first tangible indication that the job is actually being tackled. Booklet dummies can be slammed on the table to test heft and feel in the proposed stock and format. Art directors can be urged to Òkeep the cost down,Ó and traffic managers told tocheck mailing rates of the probable piece with a copy of the dummy. Clients can leave ameeting with a dummy and proposal to take back and review with their company. Printerscan look at the dummy and tell you if your idea will ÒflyÓ or not Ð whether the bindery foreman can REALLY fold that paper 7 times in 3 different directions and still have it lay flatand look great.

Printers need dummies to help them understand your specifications and design as theyprepare your job for printing. The Zip or Jaz disks seldom show the printer which way is up,or what folds where in the job.

PrinterÕs PointerA stack of laser proofs or xeroxes does not convey your plans clearly unless glued, tapedor stapled into a dummy. When it comes to dummies, you donÕt need to impress us Ð justshow us any old way you can, weÕll do the rest!



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Dummy Making ServiceThe most reliable way to evaluate qualities of texture, weight, substance and body is with apaper dummy. You can have your rep make dummies to your specs. Also, you can requestsuggestions on cost, quality, color and finish alternatives for comparison.



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1. Two PageInsert

2. Four Page,Single Fold

3. Six Page,Gatefold

4. Eight PageDouble Gatefold

5. Eight Page2 Parallel Folds

6. Six PageAccordion Fold

7. Eight PageAccordion Fold

8. Eight Page Broadside

9. Vertical or Upright

10. Horizontal orOblong

11. Cover, Flyleafand Signature

12. Signature with Single Gatefold Cover

13. Cover withTwo Signatures Inserted

14. Cover withTwo Signatures Side-by-Side

15. PerfectBound

Pocket ChangeLooking for some variations to the standard pocket folder, try these.



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Know when to Fold UpGet the specs on folding and scoring

Whether you are setting up a new job on your computer or writing up job specs to obtain aprinter quote, designers and buyers need to understand page sizes and folding.

Accuracy CountsFor starters, page or panel dimensions must be exact and folds must be sized to nestinside outer layers (see diagram). Since design elements usually acknowledge folds, foldplacement is critical when starting to work. Note that paper weight influences fold location Ðthick stock requires larger allowances.

Roll-Fold FormulaNote: Fold-in panels must be made narrower.

Know The ScoreWhen folding across (against) the natural paper grain, or with heavier paper, a sheet needsto be scored to fold well. Machine Scoring on the folder is for lighter stock (and is leastcostly). Litho Scoring is performed on the press, quite efficient for most jobs. LetterpressScoring is best for heavy cover stock.

Respect For SpecsYour printer needs to know the flat, opened, full-size of your job, as well as the finished,folded size. Express the reading dimensions first (e.g., 8-1/2 x 11). Also, folds are onefewer than panels: two-fold, three-panel, not three-fold, three-panel.



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Digital Prepress GlossaryADB Ð Apple Desktop Bus serial interface on the Mac used to connect input devices such askeyboards or graphics tablets.

Additive Primaries Red, green and blue lights that produce white light when mixed. Comparewith subtractive primaries.

Banding A visible stepping of shades of gray or color in a gradient or vignette.

Bezier Curve In object-oriented programs such as Illustrator or Freehand, a curve whose shapeis made up of lines and points described by a mathematical formula.

BPS Ð Bits Per Second describes the speed at which your modem communicates, e.g. 28,800bps is our modem speed.

Bit The smallest piece of information on a computer. Short for binary digit. ItÕs expressed inbinary numbers either 0 or 1, on or off.

Bit Depth The number of bits assigned to each Macintosh pixel. One bit is black and white, 8bits is 256 colors or grays, 16 bits is 65,536 colors and 24 bits represents 16.7 million colors.

Byte 8 bits. 1024 Bytes = a Megabyte, 1024 Megabytes = a Gigabyte, 1024 Gigabytes =Terabyte, etc.

Calibration Setting digital equipment to a standard measure for predictable results.

CCD Ð Charged Coupled Device The sensing devices most commonly used in desktop, flatbed scanners.

CD Rom A Compact Disk that supplies only Read-only memory. CDÕs store 649 megabytesof information.

Chip The most essential electronic component of a computer: a tiny piece of silicon with anelectronic circuit embedded in it. The processor and memory are chips that are stored onboards or DIMMs.

CT Continuous Tone, a file format used to describe a high resolution scan.

CPU Ð Central Processing Unit The main chip, or Òbrains,Ó found on the computerÕs logic (ormotherboard). Macintosh Quadras 700 and 950 are 68000 processors, while the PowerMacs(9500, 9600, etc.) use PowerPC chips 603 and 604 CPUs.

Color Correction Improving color; best done in scanning, but limited adjustment possible on thepress in makeready. Color correcting system work is normally a chargeable service provided bythe printer. Discuss your color expectations with your print rep prior to the scans being done toassure everyone is aware of what you hope to achieve.

Color Separation Converting a full-color image into the four primary ink colors by means ofhalftone dots.

CRT Ð Cathode Ray Tube The display technology used in virtually all desktop computermonitors and TV sets. Some portables use LCD displays.

DAT Ð Digital Audio Tape Typically used in backup, the information is compressed prior to writing to tape. The DAT tapes have a shelf life of 2 years.

Daisy Chain A hardware configuration in which devices are connected to each other (viacables). The arrangement of SCSI devices.



Glossaries

DCS - Desktop Color Separations A color file format which creates 5 files for each color image.Not the most reliable format for digital information. Usually in EPS format.

Density The degree of opacity of an image on paper or film.Digitize To turn something into digital data from analog information, such as scanning an imageto be used in a computer.

Digital Proof A process that makes prints based on a digital file. No film is generated for a digital proof.

Disk A thin round platter on which computer data is stored in either magnetic or optical form(hard disks, floppy disks and CD Roms).

Dithering A technique of filling the gap between two pixels with another pixel having an averagevalue of the two to minimize the difference or add detail to smooth the result.

Dot Gain An artifact resident on film, plates and printed paper in which the dots appear largerdue to exposure and absorption into the paper causing changes in color density and overalltone.

Dot Pitch The space between the pixels on a monitor. High-quality monitors have a dot pitch of.28 or less. A low dot pitch is necessary for finer detail.

DPI - Dots Per Inch Measure of resolution of a printer or scanner or the number of dots in 1square inch. The more dots the higher the resolution.

DRAM - Dynamic Random Access Memory RAM.

Drive A motorized device that reads information from and writes information to disks or tapes.

Drum Scanner Scanners that use a rapidly spinning drum to scan artwork wrapped around adrum; a scanning head moves down the length of the drum during the scan. Most drum scan-ners use a photomultiplier tub (PMT) to produce the highest quality of all scanners. See PMT.

Duotone A term for a two-color halftone reproduction from a one-color photograph.

Dye Sublimation Proof Inks are applied by transforming dry dye to gas, which is then fused topaper with heat creating a continuous layer of color (example: Kodak 9000, Rainbow 2730).

EPS Encapsulated Postscript. A file format used to transfer Postscript data between compatibleapplications.

File Format Usually used in graphics to describe how a file is saved (e.g. EPS, TIFF, Pict, Qxd,PM, etc).

Flatbed Scanner Scanners that use a CCD to scan images into the computer. The reflective artis laid flat on a glass. There are limitations on resolution and speed compared to a drumscanner. See also Charge-coupled Device.

ftp - File Transfer Protocol A set of conventions for determining how a file will be sent over theinternet.

Formatting Initializing a disk. The process erases all existing data on the disk.

GCR- Gray Component Replacement A technique used for adding detail by reducing theamount of cyan, magenta and yellow in chromatic or colored, replacing them with shades ofgray.

Gigabyte A measurement of computer memory that is equal to 1,024 megabytes.



Glossaries

Grayscale 256 Shades of gray in addition to black and white.

Halftone Converting a grayscale or continuous tone photo into a pattern of dots for output.

Halftone Proof Can be digital or analog proof. Digital proof does not require film. Analog proofdoes require film. An example of a halftone digital proof is the Kodak Approval whereas theMatchPrint is an Analog halftone proof.

High Density Disk A floppy disk that can store 1.4 megabytes of information.

Imagesetter the writing engine or device used to output an image at high resolution to film. See also RIP.

Ink Jet Proof Ink is sprayed onto the paper with jets to form random dots on the paper or substrate (example: Rainbow 4700, Iris).

Interface Describes the connection between devices, such as an interface cable or card, and isused to connect the computer to a particular device.

Initializing Setting up a disk to receive information. When a disk is initialized, the magneticmedia is setup into tracks and sectors and a desktop file and directory are created.

JAZ drive An external SCSI drive manufactured by Iomega that accepts 1 Gigabyte cartridgesor 2 Gigabyte cartridges, depending on the model.

Kilobytes A measure of computer memory, 1024 bytes or one document including 170 words.

Logic Board or Motherboard The plastic board at the base of the computer that holds everythingthat runs the Macintosh such as the processor, RAM and ROM

Login Establishing connection to the server, internet or BBS usually by entering a password.

Magneto-optical Technology that combines magnetic and optical techniques. Usually removablemedia.

Matchprint Produced from color separated film. Film is created and each color is exposed to itscorresponding carrier color. The carrier is then laminated to a single base material.

Megahertz A million cycles per second. Used to describe the speed at which a computerÕsprocessor operates.

Memory Another word for RAM. Most of its contents are lost when the computer shuts down,unlike ROM.

PCI - Peripheral Component Interconnect Processor that offers higher speed than Nubus and atlower power requirements. A PCI computer must have PCI cards installed in them, Nubus wonÕtfit.

Peripheral A piece of hardware thatÕs outside the main computer, e.g. hard drives, scanners orCD Players.

PMT - Photomultiplier Tube Scanners (Drum) A light source is moved in tiny increments acrossthe original. The reflected or transmitted light is sent through a photomultiplier tube, whichbreaks the light into itÕs RGB components. A board or software can be used to convert theanalog (light) information into digital, CMYK separations.

Pixel Tiny points of light across and down a computer screen. Measured in ppi or Pixels PerInch.

Port Sockets on the computer for plugging in cables for external devices. Also called a SCSI(scuzzy) port.



Glossaries

PostScript A computer description language that allows a programmer to create complex pagesusing a series of commands.

Print Spooler Software (and hardware) that intercepts a document on itÕs way to the printer,temporarily storing it on disk, until the printer is ready for it. The print spooler feeds the printerthe job while you work on something else.

Protocol A standardized set of rules (or language) for exchanging information betweencomputers over a network or modem. Appletalk is a network protocol and Zmodem is a file-transfer protocol for the internet.

RAM - Random Access Memory The chips in a computer that store most of the temporary system memory. It is stored in megabytes. Types of RAM (also called DRAM) include SIMM(single inline memory module) chips and DIMM (dual inline memory module) chips.

Removable Media Storage media that is not physically part of the computer. Included areSyquests, ZIPs, optical disks and JAZ disks, not to mention floppy disks.

Resolution Determines the quality of an image, either on screen, scanner or paper. Measured inppi, dpi and lpi depending on what medium the image is viewed. The more dots, pixels or linesthere are, the higher the resolution.

RIP- Raster Image Processor Intermediate device or software used to ÒrasterizeÓ computer dataor digitized art into dots. The output is measured in dots per inch or dpi. See also imagesetter.

Scaling Determining the proper size of an image to be reduced or enlarged to fit an area.

Server A computer that provides shared centralized resources: storage, printing, databases ore-mail to other computers on a network.

Silhouette An ÒoutlinedÓ image in which the background is removed around the subject.

Startup Disk The disk containing the System file and the Finder on the Macintosh. The C: driveon the PC.

Stochastic Screening A digital screening that converts images into very small dots of equal sizeand variable or random spacing.

Terminator A device that plugs into the last device on a SCSI chain to discontinue the electricalsignal from the other daisy-chained devices. TIFF Files Tagged Image File Format. A high-resolution bitmapped scan.

Video card A card installed in a PCI or Nubus slot to control the monitor. May have a graphicsaccelerator.

Video Port A port on the computer for connecting an external monitor. A video port is alsolocated on the video card and the monitor would connect directly with it. Most Apple monitors

do not require a separate video card.

Virtual Memory Memory created by ÒstealingÓ storage space from the hard drive. Photoshophas its own built in Virtual memory and doesnÕt work well when the MacÕs virtual memory isturned on.

ZIP drive An external SCSI removable drive manufactured by Iomega that accepts 100megabyte ZIP cartridges only.



Glossaries

Pressroom GlossaryBack Pressure The ÒsqueezeÓ between the blanket and cylinder and the impression cylinder.

Backing Up Printing the reverse side of a sheet already printed on one side.

Blanket A rubber surfaced fabric which is clamped around a cylinder to which the image istransferred from the plate, and from which itÕs transferred to the paper.

Bleed An extra amount of printed image which extends beyond the trim edge of the sheet orpage.

Chalking A term which refers to improper drying of ink. Pigment dusts off because the vehiclehas been absorbed too rapidly into the paper.

Chokes and Spreads Overlap of overprinting images to avoid color or white fringes or bordersaround image detail. Called ÒtrappingÓ in digital imaging systems.

Color Break In artwork and composition, to separate the parts to be printed in different colors.

Creep Slight movement of the blanket or plate on a press due to misadjustment; causes poorregistration.

Curl The distortion of a sheet due to differences in structure of coatings, from one side to theother, or absorption of moisture on an offset press.

Densitometer Quality-control device that measures optical density of ink on paper.

Dot Gain Enlargement of printed halftone dots due to paper absorption

Draw Down An ink sample spread on paper to evaluate printed color. Please note that theprocess used to create a draw down is done with the edge of a putty knife or spatula ÒdrawingdownÓ a small glob of ink to get a thin film of ink. It is not intended to emulate dots on paper aswhen the ink is printed. There is always the possibility of some slight variation because of thedifference in processes.

Fan Out Distortion of paper on the press due to waviness in the paper, caused by absorption ofmoisture at the edges of the paper, particularly across the grain.

Filling In Plugging A condition where ink fills the area between the halftone dots or plugs up thetype. Probable Solution: Apply lesser ink to the sheet of paper.

Fountain Solution A solution of water, a natural or synthetic gum and other chemicals used todampen the plate and keep non-printing areas from accepting ink.

Four Color Process Printing that simulates full-color hues and gradations with a series of fourprimary color halftone plates: Cyan, Magenta, Yellow and Black.

Ghosting Faint, undesirable repeats of printed imagery due to strong changes in ink coverage.Sometimes correctable by changing placement of image on press sheet or by adding specificcolor bars.

Hickey Imperfections or spots in the printing due to dirt on the press, dried ink skin, paper parti-cles, dust, etc.

Holdout A property of coated paper with low ink absorption which allows ink to sit on the surfacewith a high glossy appearance. Papers with too much holdout cause problems with offsetting.

Impression The pressure of type, plate or blanket as it comes in contact with the paper.

Impression Cylinder The cylinder on a printing press against which the paper picks up the



Glossaries

impression from the inked plate in direct printing, or the blanket in offset printing.

Ink Fountain A reservoir holding and dispensing ink within a printing press.

In-Position The process of laying out a job in the format which it will print on the press sheetprior to imaging the film. This has, for a large part, eliminated the need to hand strip jobs intoflats. It does guarantee registration to be accurate.

LPI-Lines Per Inch (screen).

Makeready All press adjustments preparatory to a print run: setting registration, balancing color, etc.

Moire Undesirable screen patterns caused by incorrect screen angles of overprinting halftones.

Offset The process of suing an intermediate blanket cylinder to transfer an image from theimage carrier to a substrate.

Off-line Equipment or printing steps not part of the primary press; varnishing is typical.

Overprint Printing over a previously printed area, i.e. type over a color area.

Perfecting Press A press that prints both sides of the paper automatically in one pass.

Picking Lifting of small patches of paper surface during printing, leaving ÒholesÓ or flaws. This isnot a good thing to happen!

Pin Register The use of accurately positioned holes and special pins on copy, film, plates andpresses to ensure proper register or fit of colors.

Press Sheet Paper sized and cut exactly to fit the press and job being printed.

Proof Any preliminary imaging of a print job including: laser, digital, analog, and press-proofs.

Register Marks Crosses, or other targets, applied to original copy prior to photography. Used forpositioning films in register, or for register of two or more colors in process printing.

Registration Precise alignment of images on a multi-color print job.

Screen Angles Angles at which the halftone screens are placed with relation to one another toavoid undesirable moire patterns.

Scumming A film of ink printing in the non-image areas of a plate where it should not print.

Self-Cover A booklet having a cover of the same paper as the text pages.

Sheetwise To print one side of a sheet of paper with one plate, then turn the sheet over andprint the other side with another plate using the same gripper and opposite side guide.

Stripping Assembling film negatives in proper page sequence and relationship preparatory toplate-making.

Trapping Refers to how much overprinting colors will overlap to eliminate white lines betweencolors in printing.

Work and Turn To print one side of a sheet of paper, then turn it over from left to right and printthe second side using the same gripper and plate, but opposite side guide.



Glossaries

Bindery GlossaryBinding The process of attaching loose sheets of paper into a book or other multipage document.

Conversion The process of creating a three-dimensional item from a flat piece of paper, e.g.envelope or box.

Mechanical (Wire-O, GBC, Spiral) Metal or plastic loops run through a series of punchedholes or slots along the binding side of a booklet. This can cost more than Saddle Stitching, but books lie flat or open 360¡. Also, you can mix stocks.

Perfect Bound The process of gluing text pages into a spine of the cover providing a nicesquare spine. Books need to be a minimum of 1/8" thick before adding covers. Some special techniques permit the book to open flat.

Saddle Stitching The fast, inexpensive, popular method that staple-binds books up to 60-80pages. Signatures are folded together and stitches (staples) are inserted along the fold.

Folding Machines form multi-page signatures, as well as simpler forms, from press sheets.Special attention must be paid to control slight variations caused by paper thickness.

Scoring and Perforating Mechanical scoring, or creasing, of pages heavier than about 60# coveris needed for good folds. Simple scoring and perfing can be done on the offset press. Heavier,complex situations call for letterpress or cylinder scoring in the bindery.

Collating Gathering Individual pages are collated, signatures Ògathered,Ó into final pagesequence prior to binding.

Drilling As the name implies, making holes in any printed piece. There are several differentsizes of holes that can be drilled. Be sure to specify the diameter of the size of the holeyou need.

Converting The process of taking a printed sheet and diecutting, folding, assembling andsometimes gluing it into a new format Ð for example: envelopes or boxes.

Diecutting The process of using shape steel rules to cut special or irregular shapes for labels,boxes, or to cut a printed sheet into a custom shape for final assembly. Example: A pocketfolder is diecut, scored, and the pockets are then folded up and glued to form the final piece.

Embossing A process where a metal die is created and used with a counter-die to be pushedinto the paper to create one or more levels of an image. The embossing is sometimes registered to a previously printed area. When it is not registering to any print, it is calledblind embossing.

Score To imprint a crease. It is advised to score a heavy piece of paper before folding it, inorder to avoid cracking.

Signature The name given to a sheet after it has been folded.



Glossaries

Director of TrainingWilliams Printing

