Experiments in inkjet colour tests for printmaking

The motivation for this research is based on how artistsmix and print colour by traditional means (painting andprintmaking) and how these differ from colour picker tools,slider bars and methods developed for digital printing, andwhether it is possible to incorporate both? Artists have been expert at mixing colour for centuries, yet although the artist and designer has access to a wide range of digital imaging tools and technologies, that on first glance, are dedicated to the creation of colour mixtures, the resulting colours are often disappointing. It appears that hardware, software tools and methods for digital printing are not necessarily suited to the specific requirements of the artist. In fact, they are toogeneralised to obtain a high degree of quality and too inflexible to allow artists to obtain precision and predictability. Based on existing hardware and software, the paper suggests alternative approaches to custom colour ink mixing and printing. Through the development of alternative ink colours specifically mixed for inkjet printing the paper demonstrates specially designedcharts for printing and double printing of custom mixed inks

A Designer\u27s guide to the evaluation of digital proofs

Digital color proofs and pre-proofs are used by graphic artists and commercial printers throughout the prepress process. However the prepress process has undergone radical changes over the past decade due to the introduction of desk top publishing and desktop prepress. Alongside of the desktop publishing revo lution has come a multitude of new digital proofing technologies for use in this ever changing environment. Technologies including, but not limited to, liquid inkjet, dye sublimation, continuous inkjet, color laser, and thermal wax transfer printers have provided an entire range of color accuracy and price suitability to many of their users. However one needs to be able to understand the practical applications and limitations of these technologies to make a suitable choice for a specific prepress operation or design process. Therefore a handbook for the users of digital proofs has been created for their benefit. The underlying structure of this handbook is based on the following six chap ters. The first chapter, entitled Communicating with Prepress and the Attributes of Digital Proofing, contains multiple parts. Firstly, it contains information for the designer in regards to the advantages and disadvantages of all types of digital output devices. It discusses the advantages which digital output devices may or may not have over conventional proofing systems. Additionally, ideas such as the vantages and drawbacks of preproofers and proofers is elaborated upon. Information for this part of the chapter was obtained through questionnaires completed by, and interviews with print buyers, art directors, and production managers from advertising agencies and prepress providers in the Rochester area. More information for this section of the first chapter was obtained through various manufacturer\u27s literature, printing industry reports and various periodi cals. Chapter One also discusses ideas behind the application of color printers (preproofers) and digital proofers. These ideas address issues which pertain to the application of specific printing and proofing processes to specific phases of the creative and production processes. Additionally, discussions regarding proof ing costs, qualities, and production turnaround time may be found in this part of the first chapter. Information for this section of Chapter One was obtained through information found in printing and publishing related periodicals, as well as in manufacturers\u27 literature. Finally, the first chapter develops a system for the correction of digital preproofs and proofs. Multiple groups of ideas pertaining to the correction of digital output are discussed. Some of these include sections entitled Digital File Tracking and Identification, Evaluation of Design Elements, Evaluating Colors, Element Positioning, and Element Dimension Adjustments. Information for this part of the chapter was obtained through the evaluation of previously corrected digital con tract proofs and preproofs, as well as the interviews and questionnaires men tioned above. The second chapter, entitled Proofing Typography, displays the many different ways that printing and proofing technologies affect text type and display typog raphy. Using the CD-Rom included in the back of the book, one may view on screen how the following technologies affect type ranging from 3 points to 72 points in size: liquid inkjet, large format liquid inkjet, phase-change inkjet, ther mal wax transfer, dye sublimation, continuous inkjet, and dye ablation. Information and samples for this chapter were obtained through printing and proofing system manufacturers and advertising agencies in the Rochester area. The Color Primer and Chapter Three: Proofing for Imagery and Color, contain information for the designer which may be applied to proper evaluation of color on color prints and digital proofs. The Color Primer discusses subjects such as color space, the additive and subtractive color theories, and common color mea surement tools. Chapter Three then applies some of this knowledge in its discus sions of proper lighting conditions for viewing prints and proofs, and different human factors which influence the highly subjective evaluation of all digital color output. Information for this chapter was gathered using graphic arts and printing industry related periodicals and industry-wide books related to color and its reproduction. The fourth chapter, entitled Substrates and Digital Output, educates the design er about the effects on text, imagery, and graphics which occur when creating digital prints and proofs on a variety of papers. Various paper surfaces such as gloss, semi-gloss and matte surfaces are addressed. The affects of colored paper on imagery and graphics are also elaborated upon. Additionally, printing and proofing processes are discussed in regards to the substrates that they accept for output. Information for this chapter was gathered through manufacturers\u27 litera ture and various industry related books and periodical articles. The Proofing Process Supplement was created to familiarize the designer with all currently popular forms of digital output technology. The process supplement discusses the imaging processes used by the following digital output technolo gies: liquid inkjet, phase-change inkjet, thermal wax transfer, dye sublimation, continuous inkjet, and dye ablation. Additionally, the supplement contains brief explanations regarding screening technologies. Information for the process sup plement was gathered through manufacturers\u27 literature, interviews with pre press providers in the Rochester area, and interviews with technical representa tives from the manufacturers of devices which use the above digital, color out put technologies. Chapter Five, entitled Image Fidelity, simply illustrates how all of the current ly popular printing and proofing technologies affect graphics and imagery. Using the CD-Rom included with the guidebook, the reader may view magni fied and normal views of printing and proof sample imagery. Information noted by the reader in the proofing process supplement may then be actively applied when viewing these samples. Information and sample prints for the fifth chapter were gathered from several manufacturers and advertising agencies in the Rochester area. The sixth chapter, entitled The Acceptance of Digital Contract Proofing, discusses a new definition of the contract proof in regards to the evolution of digital proof ing. This chapter provides ideas for the designer, art director, and print buyer to realize when considering the use of digital contract proofing. Several questions are raised concerning what requirements a digital contract proof must fulfill depending upon the areas of its application and any agreements between the designer and prepress provider regarding their specific definition of a digital contract proof. Additionally, specific advantages of digital contract proofs, such as their ability to fingerprint a press and/or press run, are discussed. Finally, a discussion pertaining to the education of all users of digital proofing technolo gies is presented to aid the overall acceptance of digital contract proofing. Information for this chapter was obtained through the extensive interviews of leading technical and product oriented representatives from the manufacturers of currently used digital contract proofing systems. Many conclusions have been reached with the completion of this guidebook. In brief, the first and most prominent conclusion which may be reached states that the acceptance of digital contract proofing lies within the education of all designers, art directors and print buyers about digital printing and proofing technologies. As the use of digital contract proofing grows, education and inter est by all creative professionals will orient them towards their use of digital proofing systems. The next conclusion which has been reached is that the proper application of color printers and digital proofers is of major importance for the designer due to the added flexibility and rewards which result from the use of digital color out put devices throughout the creative and production processes. Another conclu sion which may be reached is that the display of proofing and printing process effects on text, graphics, and imagery serves to directly inform the creative pro fessional how these elements may be distorted by the utilized output device. Knowledge gained by the creative professional in regards to these effects helps to answer many questions regarding print or proof quality and proper output device application. Finally, additional knowledge gained by designers which pertains to proper viewing of all color output, color theories, color measurement, and proofing sub strates helps them to better communicate with those prepress and print professionals involved in the production process

Test Targets 8.0: A Collaborative effort exploring the use of scientific methods for color imaging and process control

Publishing is both a journey and a destination. In the case of Test Targets, the act of creating and editing content, paginating and managing digital assets, represents the journey. The hard copy is the result or destination that readers can see and touch. Like the space exploration program, everyone saw the spacecraft that landed on the moon. It was the rocket booster that made the journey from the earth to the moon possible. This article portrays the process of capturing ideas in the form of digital data. It also describes the process of managing digital assets that produces the Test Targets publication

The development of multi-channel inkjet printing methodologies for fine art applications

This thesis contributes to the defence of the practitioner perspective as a means of undertaking problems addressed predominantly in the field of colour science. Whilst artists have been exploring the use of colour for centuries through their personal practice and education, the rise of industrialised printing processes has generated a shift in focus away from these creative pursuits and into the computational field of colour research. It is argued here that the disposition and knowledge generated by creative practice has significant value to offer developing technologies. While creative practice has limited influence in the development of colour printing, practitioners and users of technology actively engage with the process in ways that extend beyond its intended uses in order to overcome recognised shortcomings. Here consideration is given to this creative engagement as motivation to develop bespoke printing parameters that demonstrate the effects of colour mixing through methods alternative to standard workflows. The research is undertaken incorporating both qualitative and quantitative analysis, collecting data from visual assessments and by examining spectral measurements taken from printed output. Action research is employed to directly access and act upon the constant developments in the art and science disciplines related to inkjet printing, observing and engaging with current methods and techniques employed by practitioners and developers. This method of research has strongly informed the empirical testing that has formed this thesis’s contribution to fine art inkjet printing practice. The research follows a practitioner led approach to designing and testing alternative printing methods and is aimed at expanding the number of discernible colours an inkjet printer can reproduce. The application of this methodology is evidenced through demonstrative prints and a reproduction study undertaken at the National Gallery, London. The experimentation undertaken in partnership with the National Gallery has proven the ability to increase accuracy between colour measured from the original target and reproduction, beyond the capabilities of current inkjet printing workflows

AN APPRAISAL OF THE DEVELOPMENTS IN THE REPRODUCTION OF COLOUR IN COMPUTER PUBLISHING SYSTEMS

The plethora of coloured images that are reproduced in any printed media is facilitated through a variety of related processes that collectively constitute traditional printing techniques. The aim of this research is to appraise recent developments that have occurred within the colour prepress process. The colour prepress process involves the preparation of colour separated halftone films that are used in the production of offset lithographic printing plates. Over recent years the application of desktop publishing technology to perform many of the functions associated with the colour prepress process has raised a number of significant issues and debates. The reproduction of coloured images in the printed medium demands that certain fundamental criteria are adhered to in order to maintain professional standards of colour fidelity. Such criteria include: successful digital halftone production, the elimination of moiré patterns, and maintaining colour fidelity between the coloured original and the coloured reproduction. This research thesis shall therefore establish the principles and techniques involved in the reproduction of colour in a printed medium. It will also asses whether desktop publishing systems are able to facilitate successful professional colour reproduction by examining current debates that challenge the viability of desktop publishing solutions. Current debates concerning desktop publishing solutions are primarily concerned with assessing the value of Adobe PostScript level 2 solutions, computer interchange spaces for colour matching purposes, and rational supercell techniques that attempt to eliminate moiré patterns. The research also attempts to establish the validity of current debate findings by comparing them with statistics derived hom a questionnaire (undertaken as part of the research program) that seeks the opinions of system users on the effectiveness of their individual systems at processing and delivering acceptable colour separations

Test Targets 7.0: A Collaborative effort exploring the use of scientific methods for color imaging and process control

Test Targets is a culmination of teaching and learning that reflects quality and analytic aspects of printing systems and their optimization. The creation of the Test Targets publication is a total experience that reflects the innovation, problem solving, and teamwork of the diverse team of faculty, staff, students, and professionals responsible for its contents and production

The preservation and conservation of ink jet and electrophotographic printed materials

This research project has investigated the light fastness of ink jet and electrophotographic printed materials by the means of an extensive accelerated and natural ageing test programme. The effect of visible radiation of different wavebands on the deterioration of a selection of ink jet printed materials has also been assessed. The findings of the research indicate that all of the ink jet printed materials tested are sensitive to light and should not therefore, be put on permanent display. Most of the ink jet printed samples exhibited greater light sensitivity to the shorter wavelengths of the visible spectrum, than the longer wavelengths, with damage decreasing as wavelength increases. This relationship was not evident with the cyan and blue printed samples, which showed that their light sensitivity was determined by the spectral absorption characteristics of the printed patch. Some of the ink jet printed materials produced erratic fading rates on exposure to light. This phenomenon was attributed to either the occurrence of photochromism or the disintegration of the dye particles in the ink, but further testing needs to be conducted to gain a better understanding of this reaction. Other factors also influenced the light fastness of the ink jet materials, such as the type of paper employed for printing, ink concentration and ink combination. The electrophotographic printed materials were found to be more stable to light, although the yellow toner from some of the systems would show noticeable fading after approximately 65 to 325 years on permanent display (at 50 lux for eight hours per day). A range of basic conservation treatments was also been investigated and the results indicated that ink jet print materials are very sensitive to all forms of aqueous treatments. Finally, thermal/dark ageing has been performed on the digital printed papers employed in this investigation. The conclusion is that all of the papers are prone to yellowing in storage

Test Targets 10: A Collaborative effort exploring the use of scientific methods for color imaging and process control

Th ere are six papers that were written, peer reviewed, and published in Test Targets 10. Two papers focus on printing standardization and conformity assessment. Chung describes aims and tolerances specified in ISO 12647-2 and the use of color measurement and data analysis for conformity assessment. Urbain and Khoury describe data reception requirements in ISO 12647-2 and ISO 15930 and the use of a test pdf file to assess conformity of any pdf workflow. Test Targets 10 will likely be remembered as the publication that covers OBA (optical brightening agents). Two papers focus on OBA. Tian and Chung report the effect of paper containing OBA on printed colors and how such effect can be corrected using different mathematics. Sigg and Millward report the stability of OBA as a function of exposure to light over time. In addition, Gallery of Visual Interest shows side-by-side the visual effect of pictorial and synthetic color images printed on paper with and without OBA. Printing conformity is result-oriented and does not dictate the press calibration method used. The fifth paper, authored by Wang, compares the compatibility of two press calibration methods, TVI and G7, by means of gradation compensation and press run simulation. Printing conformity requires that correct inks and paper be used. Verifying that correct inks are used is outside the capability of a printer. Th e sixth paper, authored by Zhang, explores an alternative ink drawdown and ink verification method that could be implemented by printers. Test Forms is a regular feature of Test Targets. We are pleased to showcase pictorial color reference images, Roman 16 Reference Images, courtesy of Bundesverband Druck und Medien e.V. (bvdm), and many possible uses of these images for printing process control and for color management studies. For example, we can compare the appearance of an image printed from the supplied CMYK file with the image from a supplied RGB file that was converted to CMYK by a color management application

Barrier Polymeric Layers for Inkjet Prints Protection

Práce podává přehled o dostupných a využívaných metodách, normách pro testování a hodnocení světlostálosti barevných fotografií a tisků. Bylo provedeno porovnání jednotlivých platných norem a návrhů na hodnocení. Tato práce pojednává o ochraně inkjetových tisků pomocí lakování. Byl připraven lak kompatibilní s fotografickými médii. Připravená kompozice byla obohacena o UV absorbéry EVERSORB ve dvou koncentracích. Pro srovnání byly také testovány tři druhy komerčních ochranných fotografických laků. Výtisky se třemi barvivovými inkousty opatřené lakovou vrstvou, byly vystaveny jak urychlenému světelnému stárnutí v xenonové testovací komoře, tak urychlenému stárnutí v ozonové testovací komoře. Na základě měřených odrazových spekter byl vypočítaný objem barvového gamutu pomocí softwaru Volga. Byl sledován úbytek gamutů v průběhu světelného stárnutí i při expozici ozonem. Stárnutí vzorků probíhalo do ukončení testu, nebo do dosažení kritéria 30% úbytku objemu barvového gamutu. Také bylo pozorováno selhání recipročního zákona, které ukazuje na jistou nepřesnost při předpovědi dlouhé životnosti vzorků. Pomocí změny barvového gamutu byla posuzována ochrana připraveného laku před UV záření a ozonem. Studované vrstvy laků byly dále charakterizovány na prostupnost kyslíku a vodní páry.This paper gives a brief overview on the published and accepted standards and methods for colour photography and print lightfastness measuring and evaluating. A comparison of selected valid standards and evaluation suggestions has been made. The aim of this work was to protect inkjet prints by varnishing. Varnish compatible with photographic media was prepared. Composition was enriched by EVERSORB UV absorber addition in two concentrations. For comparison also three commercial varnishes were also used. Prints made with three types of dye-based ink sets proofed with varnish layer were exposed to accelerated lightfastness test in xenon test chamber as well as to accelerated gasfading test in ozone test chamber. Print gamut volume was calculated using measured reflectance spectra and VolGa software. The change in gamut volume during ozone and light induced ageing was monitored until the endpoint criterion was reached or test ended. Test endpoint was set to be 30% of gamut volume loss. A reciprocity law failure was observed, which indicates a lower credibility of long lifetime predictions. Gamut volume change was used to judge the effectiveness of UV and ozone protection provided by prepared composition. Gas transmission rate by carrier gas method and transmission of water vapour trough the studied varnish layers applied on calendered paper was determined.

Color logic: Interactively defining color in the context of computer graphics

An attempt was made to build a bridge between the art and science of color, utilizing computer graphics as a medium. This interactive tutorial presents both technical and non-technical information in virtually complete graphic form, allowing the undergraduate college student to readily understand and apply its content. The program concentrates on relevant topics within each of the following aspects of color science: Color Vision, Light and Objects, Color Perception, Aesthetics and Design, Color Order, and Computer Color Models. Upon preliminary completion, user-testing was conducted in order to ensure that the program is intuitive, intriguing, and valuable to a wide range of users. COLOR LOGIC represents effective integration of color science, graphic design, user-interface design, and computer graphics design. Several practical applications for the program are discussed