tag:blogger.com,1999:blog-39850091681790296902024-03-05T21:58:10.885+05:30Print Experts Asia PacificBest practices, colour management, standards and other technical issuesEditor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.comBlogger17125tag:blogger.com,1999:blog-3985009168179029690.post-38716897384153367792014-05-17T09:21:00.000+05:302014-05-17T09:22:14.281+05:30If you weren’t there, you missed it<div style="margin-bottom: 0in;">
I could easily write that if you missed
Metpack and interpack in Essen and Dusseldorf respectively, you don’t
have to worry — your wonderful trade magazine will bring you
everything that happened there. Alternatively, I could suggest you
spend hours on YouTube trying to catch up or figure out what was
interesting. However, the fact is that if you weren’t there you
missed it and try as we may we cannot recreate the experience for
you. The bigger problem is that there were many prospective packaging
buyers who actually missed you — they were looking for Indian
monocarton, corrugated and flexible packaging suppliers and who for the
most part — were not there at all.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Amongst the film, label and packaging
suppliers Uflex, HTW Jindal, Chiripal, Dhiman Systems, Manaksia,
Huhtahmaki, Positive Packaging, Maharshi and Sodaltech were there so
flexible packaging, caps and closures, labels and a very committed
supplier of specialized kraft cones, tubes and trays did good
business. However many of the other Indian packaging suppliers who
did not enjoy being on the second floor in Hall 7 at the last
interpack decided to forego the expense this time. Perhaps wisely,
they retreated but if the issue was cost and visibility they need to
sort it out by getting together as successfully as the Turkish
packaging suppliers did this time. Exhibiting together and separately
they upheld a single branding theme proclaiming ‘Turkey is Ready.’
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The turnout at Metpack and interpack
from South Asia was quite large this time. Of course the Indian
filling and sealing machine manufacturers are admired around the
world and they were there with new machines and technologies.
Visitors from South Asia included senior personnel from pharma and
food processing companies who already have in-house packaging plants.
And most interesting were the medium sized companies that were
firming up their diversification plans — either to enter can
manufacturing or to tie-up with joint venture partners in new
segments and geographies.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
interpack is large and has specialized
areas — most visitors go there to address a problem in a particular
area of the packaging workflow or to learn about a new technology.
Like the exhibitors, the visitors are very focussed — both know
what to look for and recognize it when they see it. The rest of the
time is spent on learning and networking — and drinking beer.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<br />
<div style="margin-bottom: 0in;">
This issue begins our coverage of
Metpack and interpack 2014, triennial fairs that Packaging South Asia
is covering for the third time. For us it is both a learning and
networking experience and although we go there with our own list of
tasks, we do learn a couple of new things each time. Part 2 of our
review and some of our learning will appear in the June issue of
Packaging South Asia in which we hope to share a bit more of what we
could learn at these two interesting and successful shows.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<i style="background-color: white; color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20.799999237060547px;">Naresh Khanna</i><span style="background-color: white; color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20.799999237060547px;">, May 2014 issue </span><i style="background-color: white; color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20.799999237060547px;">Indian Printer and Publisher</i></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-22618046952947902852014-05-07T10:06:00.002+05:302014-05-07T10:07:49.614+05:30Proofing as a concept for building and monitoring quality<div lang="en-GB" style="margin-bottom: 0in;">
<i>Proofing is part of the
culture of modernity. In the previous century, the attitude of many
Indian offset printers was: “Why do it?” However, even with
single color offset machines, it made all the difference between the
majority of printers and the award-winning, color-proficient and
profitable printers. Nevertheless, it was a challenge to match a wet
single color ‘progressive proof’ with all its overlays to the
final printing.</i></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<i><br /></i></div>
<div lang="en-GB" style="margin-bottom: 0in;">
In the late 1970s and the
early 1980s, to Indian offset printing came scanners, imagesetters,
densitometers and 4-color presses that printed wet on wet and the
awareness – if not universal acceptance of printing a quality
control strip on the tail of the sheet for both measurement and
visual evaluation. The same era saw the introduction of flatbed proof
presses in India. First came the FAG proof press and then a bit more
economically Dainippon Screen and eventually Chinese-made machines
got into the industry. These were single color machines that provided
analog progressive proofs.
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
The masters of good
flatbed proofs (including progressive proofs) were the prepress trade
houses such as Unique, Comart, Jasra and Supressa and Express
Colourscan. Flatbed proofs battled it out with the DuPont Chromalin
proofs that were quick and easy to courier with a set of films but
which did not satisfy everyone. Some publisher printers proofed all
the ads on a flatbed proof press and then sent a letter to each
advertising agency saying that they could not be responsible for the
end result and thus successfully circumvented the very idea of ‘a
contract proof.’ Needless to say the very idea of a contract proof
is a kind of holy grail in printing that at least in India is rarely
achieved.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
The digital inkjet
proofers arrived in the 1990s and many of the ad agency guys of still
wanted progressive proofs, lamenting that they could not see the
final dot or flower pattern of their favourite screen ruling on the
final proof. There were digital methods that showed the actual
screened dot such as the Kodak Approval system but this was in most
cases, an expensive system for the Indian environment.
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
Ultimately the inkjet
proofers won the day simply for ease of use and their price
performance and also because of the huge improvements in software and
inkjet proofing media that could actually match multicolor presses
that were fingerprinted. This trend also benefitted greatly from the
use of computer to plate (CtP) devices that created first generation
dots on the plate with the possibility of improved dot gain curves
for plate exposure based on press fingerprinting.
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
One of the huge
contributions of CtP was that a printer could output a first
generation quality control strip on every plate rather than having to
compromise by using a contact film strip that often did not even
register. Moreover, color management as a concept took hold as the
software began to work and densitometers were replaced by
spectrophotometers and variations in color began to be measured in
Delta E’s.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<span lang="en-GB">Thus in the first
decade of the 21st century we arrived at the contemporary age of hard
copy proofing (while soft proofing on super calibrated press-side
monitors is still the next big thing.) </span>
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
However, there are still
two type of inkjet prints being produced. A simple color print which
is also called a concept proof and used sometimes just to visually
establish the placement of the appropriate pages on a folded
signature. And then there is the proof print. Quite often a color
print is mistakenly treated as a proof print.
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
However, the key
difference is that a proof print is output on a high quality printer
using a RIP or software that is calibrated with a reference. The
reference may be a global standard such as GraCol or FOGRA or an
in-house standard based on fingerprinting the installed multicolor
presses. Such prints can also also be certified to match the
reference standard within specified tolerances.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<b>Epson</b></div>
<div lang="en-GB" style="margin-bottom: 0in;">
Epson’s inkjet printers,
by and large, have become the de-facto proofing output devices in
India (as well as globally). However, each industry segment has its
own proofing requirements and the printer model, the software and the
proofing medium have to be chosen accordingly.
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
Epson has 4, 8 and
10-color models to choose from. The 4-color printers are normally
recommended only for newsprint. Generally newspapers like to create
proofs using one-bit output files on the same newsprint that they
print their dailies. They can choose the Epson T-3070 a 24-inch wide
printer which just about covers two broadsheet pages. Or they can
choose a 17-inch printer to proof a single broadsheet page at a time
but the only printer available in this size is the 10-color Pro 4900
which is more expensive than the 24-inch T-3070.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
Commercial printers need
an 8-color inkjet printer to cover the wider gamut that they can
produce on coated papers and they often choose between the 24-inch
wide Epson Pro 7890 and the 44-inch Pro 9890. For commercial and
packaging printers who need to proof Pantone colors and other special
and brand colors, it is recommended to use 10-color printers to
improve the oranges and greens. These are the 24-inch Pro 7900 and
the 44-inch wide Pro 9900 devices from Epson.
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
For those in the board,
label and flexible packaging segment who need to have proofs that
include metallics and also to be able to proof on flexible film
substrates, there is the extremely effective 24-inch Epson Pro WT
7900. In this category, increasingly there is competition for Epson
from both Roland and Mimaki who also promote their inkjet machines as
short run label printing devices. It is important to keep in mind
that all hard copy proofs need to use media that is generally
supplied by the manufacturer, although some high volume printers use
high quality paper which they have effectively calibrated and matched
to their in-house and other standards.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
Most packaging buyers
often insist on proofs on the same media that will be used for the
actual pack. This is somewhat difficult to achieve with inkjet
printers as special coated media is needed for the inkjet printer to
actually perform to spec. The solution sometimes is to use the Kodak
Approval system which actually outputs on a special foil which is
then laminated on the substrate to make a proof that incorporates the
substrate or laminate that will eventually be used. Inkjet proofs
such as those done on the Pro WT 7900 on special films can also be
laminated to appropriate materials.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<b>Software</b></div>
<div lang="en-GB" style="margin-bottom: 0in;">
Another question is what
is the best software for each of these applications? Mumbai Epson
dealer and color expert Himanshu Desai says, “Although I have a
clear bias, I would vouch for ORIS. However, on a more neutral note,
what is needed is any software that can achieve a proof resulting in
a Delta E of less than one. The software should also handle spot
colors and allow selective color correction. Finally, it should be
both user friendly and user configurable.”</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
</div>
<div lang="en-GB" style="margin-bottom: 0in;">
We will continue our
discussion of proofing and color management in the next issue but
there are a number of software providers that have their strengths
and which can be chosen on the basis of features appropriate for your
application, price and local support. These would include, GMG, CGS,
Alwan Systems, Color Logic, <span style="color: black;"><span style="font-family: Times New Roman, serif;">Système
Chromatique</span></span> and several others that are
now used not just for proofing but for the standardization of the
entire workflow. Similarly, new proofing substrates and inks
especially for metallics are being continually released that broaden
the possibilities of inkjet hard copy proofing. In subsequent issues,
as in the past, we will continue to discuss quality, proofing, color
management and standardization issues.</div>
<div lang="en-GB" style="margin-bottom: 0in;">
<br /></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<i style="background-color: white; color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20.799999237060547px;">Naresh Khanna</i><span style="background-color: white; color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20.799999237060547px;">, April 2014 issue </span><i style="background-color: white; color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20.799999237060547px;">Indian Printer and Publisher</i></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-17894593545791049752014-03-27T11:24:00.000+05:302014-03-27T11:24:10.130+05:30Seven pillars of wisdom -- an update on print quality standardsThe question, whether process control data or color
characterization data should determine printing aims and tolerances, has come
in the forefront of ongoing efforts to develop universal print quality
standards. And it looks like it is dividing those involved more than ever.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
While the general secretariat of TC 130, ISO’s technical
committee in charge of graphic technology, has shifted from Germany’s national
standards organization DIN to the Standardisation Administration of China, its
working groups met several times over the past twelve months. The most
controversial discussion was and still is the relationship between the ISO
12647 and ISO 15339 sets of standards. WG3, the TC 130 working group looking
into processes and metrics, is increasingly polarized between those primarily
interested in the continual development of the ISO 12647 process control
standard and those moving towards the process-independent ISO 15339 standard
first drafted in 2010.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ironically, both sets of standards apply to the separation
and printing of our traditionally four process colors CMYK, relevant for full
color reproduction mainly in commercial offset and publication printing,
whereas packaging, signage and industrial decoration printers increasingly
apply larger and specific color gamuts, not just by adding spot colors and
special inks but by converting the three or four process colors into PMS as
well. These applications require tightly controlled color management, proofing
and monitoring procedures. But standards?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At any rate, a long awaited update of the ISO 12647 set of
standards has been finalized. The offset and proofing parts, ISO 12647-1
through 3 as well as 7 and 8, have been published in December 2013. Parts 4, 5
and 6, for publication gravure, screen and flexo, are to be published shortly.
Corresponding Fogra characterization sets and ICC profiles will be developed
and released over the coming years. No agreement could be reached on the image
quality measurements required for a separately planned standard for digital
printing, ISO 15311. As a consequence, this project has momentarily been
downgraded to the status of a prospective standard or, in ISO language, a ‘technical
specification.’ </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Discussions on ISO 15339, the standard-to-be for printing
from digital data across multiple technologies, are a bit in a limbo as well. A
majority of WG3 participants, mainly the Germans and their European allies, is
opposed to linking characterization data to press calibration and criticizes
the substrate correction approach and tolerances proposed so far. The Americans
decided to push ahead for their part and published their own standard, CGATS
21, largely reproducing the ISO 15339 specifications. New proposals for a
three-part adaptation, including principles and procedures, a minimum set of
reference characterization data, and a link-up to ISO 12647 specifications, are
currently under scrutiny.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What all these standards have in common, is their emphasis
on printing conditions. For ISO 12647, a printing condition is a set of primary
process parameters describing the conditions associated to a specific output
process, including the printing process, substrate type, ink, screening,
surface finish, and printing sequence. The specifics of colorant descriptions
(color gamuts) and tone value increase (dotgain) targets correspond to the
different printing conditions. For ISO 15339, printing conditions are target
references based on color characterization data defining the intended
relationship between digital input data and the average achievable color gamuts
in print.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
ISO 12647-2, for sheetfed offset and web heatset, was
slightly amended in 2007 to reflect advances in paper and ink developments
enabling improved color gamuts. The standard’s present revision defines new TVI
curves for periodic (AM) screening, TVI targets corresponding better to the
characteristics of CtP plates, a better description of gray balance, and a
standard method for processing non-standard substrates. The five paper types
(PT) in the old standard have been replaced by eight printing substrates (PS)
and their correlating colorant descriptions (CD), covering most common paper
types in offset production.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ISO 12647-2:2013 Eight Printing Substrate Categories:<o:p></o:p></b></div>
<div class="MsoNormal">
<b><i>PS1 / CD1 Premium Coated</i></b>, with one gamut for matt, silk and gloss
coated wood-free paper; replaces PT 1 and 2 of the old standard, and the Fogra
39 dataset.<o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS2 / CD2 Improved Coated</i></b>, for MWC and Improved LWC, not covered in the
old standard; will replace Fogra 45. <o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS3 / CD3 Standard Glossy Coated</i></b>, for standard LWC in heatset;<b> </b>corresponding
to PT3 and Fogra 46.<o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS4 / CD4 Standard Matte Coated</i></b>, for LWC and MFC in heatset; not covered in
the old standard; Fogra 41 has been used for this type of paper.<o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS5 / CD5 Wood Free Uncoated</i></b>, for uncoated paper in sheetfed and heatset;
corresponds to PT4.<o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS6 / CD6 Super Calendered Uncoated</i></b>, for SC paper; not covered in the previous
standard; Fogra 40 has been used for this type of paper. <o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS7 / CD7 Improved Uncoated Newsprint</i></b>, for<b> </b>improved newsprint in heatset
presses; not in the previous standard but covered by the Fogra 48 dataset.<o:p></o:p></div>
<div class="MsoNormal">
<b><i>PS8 / CD8
Standard Uncoated</i></b>, for
standard newsprint in heatset, currently covered by Fogra 42. </div>
<div class="MsoNormal">
<br /></div>
<b>Seven pillars of wisdom</b><br />
<div class="MsoNormal">
The ISO
15339 standard defines achievable color gamuts in printing conditions ranging
from offset or gravure printing on premium coated paper to coldset printing on
newsprint, while adding an extra large gamut for digital printing and special
applications. Acknowledging that there is significant overlap of process,
substrate and ink combinations, a choice was made for intermediate gamuts
representing seven widely used printing conditions, defined by reference
characterization data specified in the standard. The standard includes a method
to change the data in case the printing substrate
to be used has a color that differs from the reference printing condition.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Because these data are to be used as the
reference for any printing process, they are not aligned with TVI and trapping
settings associated with a specific process. According to the draft standard,
they need to be ‘middle-of-the-road’ values representing a compromise between
all processes: ‘in effect, virtual printing on a virtual printing system.’ The
seven characterized reference printing conditions (CRPC) proposed for the ISO
15339 standard have been adopted in the USA as their own CGATS 21, and the
initial datasets and profiles have been made available for testing on the CGATS
and ICC websites, respectively. (<a href="http://www.npes.org/programs/standardsworkroom.aspx">http://www.npes.org/programs/standardsworkroom.aspx</a>
and <a href="http://www.color.org/registry/index.xalter">http://www.color.org/registry/index.xalter</a>)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<b>ISO 15339 Seven Reference Printing Conditions</b><br />
<div class="MsoNormal">
<b><i>RPC0 (CGATS 21-2-7)</i></b> <b><i>Extra Large</i></b>,
for digital printing, special inks, and potentially other large gamut printing
processes.</div>
<div class="MsoNormal">
<b><i>RPC1 (CGATS 21-2-6)</i></b> <b><i>Premium Coated</i></b>,
large gamut using sheetfed offset or gravure; corresponding to GRACoL #1-2
coated paper types.</div>
<div class="MsoNormal">
<b><i>RPC2 (CGATS 21-2-5)</i></b> <b><i>Publication Coated</i></b>,
for magazine publication printing; corresponding to SWOP #5 coated.</div>
<div class="MsoNormal">
<b><i>RPC3 (CGATS 21-2-4)</i></b> <b><i>Super Calendered</i></b>,
for general printing on super calendered paper.</div>
<div class="MsoNormal">
<b><i>RPC4 (CGATS 21-2-3)</i></b> <b><i>Premium Uncoated</i></b>,
for utility printing on matt uncoated paper.</div>
<div class="MsoNormal">
<b><i>RPC5 (CGATS 21-2-2)</i></b> <b><i>Heatset News</i></b>,
moderate gamut for heatset or similar printing on improved newsprint.</div>
<div class="MsoNormal">
<b><i>RPC6 (CGATS 21-2-1)</i></b> <b><i>Coldset News</i></b>,
small gamut for coldset, flexo or letterpress printing on newsprint.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Although some experts argue that creating color characterization
sets for reference printing conditions would be easier than developing
process-specific press targets, and could thus be more accessible for printers,
others are more concerned with the different output results of the standards
existing so far. Harmonization of printing aims between the different
standards, each with their own and conflicting approaches, still appears to
have a long way to go. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Substrate corrected colorimetric aims (SCCA) for new and
non-standard paper categories, with or without optical brighteners, also remain
an unresolved question. Standards may be useful for equipment and material
manufacturers, as well as for print buyers, but they have to be reasonably and
reliably applicable for printers as well. A group of paper manufacturers
heavily involved in the development of the ISO standards itself, comprising
Norske Skog, Sappi, Stora Enso and UPM, commented: “We develop papers for
customers, not for standards.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the meantime, who can blame the printers who apply their
own standards – mostly with device link profiles, standard software, and the
rule-of-thumb Delta-E 3 trick. Nevertheless, some 2,800 printing houses and
1,000 individuals worldwide have had the output quality of their printing
processes certified one way or another already. Some of these certifications or
qualification proofs are referring to the ISO 12647 series, such as RIT’s PSA
scheme, the Process Standard Offset, Digital and Gravure (PSO, PSD, PSG)
procedures of Fogra, Ugra and its European partners, Japan Color and equipment
suppliers like Heidelberg, Esko and X-Rite. The majority, more than 65%, refer
to less ‘universal’ standards and specifications such as SNAP for coldset,
FIRST for flexo, and IDEAlliance’s SWOP, GRACoL and G7, all largely based on
CGATS standards and guidelines developed in the US.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Ron Augustin</i>, March 2014 issue <i>Indian Printer and Publisher</i></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-43592932702288775272013-11-10T10:48:00.000+05:302014-03-27T10:49:12.235+05:30NPES and IDEAlliance colour management program<div style="margin-bottom: 0in;">
An instructional and certification
program for colour management best practices for use in the pressroom
is being organized by NPES and IDEAlliance on 15 and 16 February 2014
in New Delhi. The trainer for this two-day course is Steve Ballinger,
director of training of IDEAlliance USA.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The objective of this two-day workshop
is to impart knowledge and understanding of colour management to
printers and printing professionals. At the conclusion of this
course, all participants will be given the opportunity to take a
Color Management Professional – Printing certification examination.
All successful candidates will be awarded the Color Management
Professional(CMP) for Printing certificate by IDEAlliance.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The Color Management Professional for
Printing program is designed as an easy to understand instructional
guide to basic colour management principles for establishing
benchmarks for consumables, lighting, instruments and output devices.
It explains the importance of choosing a target reference condition
and how to benchmark press performance in order to determine and
verify tone reproduction and plate curves in the pressroom. The
two-day course covers topics such as optimizing press production and
strategies for maintaining press calibration. Applying the principles
of the CMP-Print program will assure a consistent colour managed
workflow that adheres to industry specifications and standards.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
There are a very limited number of
seats available for this very reasonably priced program and members
of IDEAlliance India will get preference in admission and also
benefit from a discount on the fees. For more information about the
course and registration please contact Vinod Vittoba, director, at
NPES India at +91 9818278460 and eMail – <a href="mailto:vinod@npes.in"><span style="color: black;">vinod@npes.in</span></a>
or Komal Singhal of IDEAlliance India at +91 9873844739 and eMail –
<a href="mailto:komal@ippgroup.in"><span style="color: black;">komal@ippgroup.in</span></a>.
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IDEAlliance
based in the United States is a not-for-profit trade association of
more than 1300 member companies. In April 2013 it announced a
significant expansion of its global operations, with the addition of
International Affiliates in Europe and India.<b>
</b>IDEAlliance-Europe and IDEAlliance-India join current
International Affiliates in China, South Korea, Mexico, and Columbia,
expanding IDEAlliance’s growing influence in the worldwide
development and adoption of media production standards and best
practices.
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On becoming an International Affiliate for IDEAlliance, Naresh
Khanna, editor of the trade magazines <i>Indian Printer and Publisher</i>
and <i>Packaging South Asia</i> as well as director for Ipp Services,
Training and Research, commented, “IppStar is keen to bring
<a href="http://www.ippstar.org/best-practices.php"><span style="color: black;">IDEAlliance’s
colour management training and G7 certificate programs</span></a>
to India. These programs will forward our work in the improvement in
colour reproduction and quality standards of a vibrant print and
packaging industry. Our organization is fortunate to enjoy the trust
of the graphics arts community in a region where there is still
double digit growth in print and packaging, and where brand owners
are becoming increasingly demanding.”
<br />
<br />
International Affiliates promote and develop IDEAlliance programs
for their local networks of technology and service providers, as well
as offer individualized member services and benefits. David
Steinhardt, IDEAlliance President and CEO, commented, “The work of
IDEAlliance is global because media production is global. The demands
of international business requires IDEAlliance to communicate and
train in different languages and build specifications and best
practices for a worldwide platform. IDEAlliance commits to meet the
diverse needs of a global membership through its Affiliate partners.
We welcome their support in advancing media production.”<br />
<br />
There are three levels of membership in IDEAlliance India – for
individuals; for small and medium companies; and, for large
companies. For membership information and benefits please contact
Komal Singhal as above.<br />
<br />
<i>Krishanu Dutta</i>, November 2013 issue <i>Indian Printer and Publisher</i>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-6588843570361580042011-12-23T10:16:00.001+05:302011-12-23T10:16:51.836+05:30Blogs are time consuming<div dir="ltr" style="text-align: left;" trbidi="on">
It's true that blogs take up a lot of time. And that's why some of the graphic arts sites pay people to write blogs. I have considered this as well and it's not a bad idea but if we did implement this the price per entry would have to be something that corresponded with our economy -- with the price of things in India. Since blogs work across boundaries our Indian rates and Indian currency may be deemed a very small reward or even motivator for people from across the world to share their ideas.<br />
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Maybe we could get into some other kind of currency such as 'bitcoins' which I read about in a magazine a few months ago. Bitcoins are a kind of eCurrency and are being traded in United States and I suppose you could look it up on google and figure it out and even get rich. I do think that we Indians have a talent for this kind of stuff and we seem to have the time assets and mental assets to conjure value out of nothing. Even our companies have done well with carbon credits which are an environment currency that is tradable.<br />
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While the above comment has turned into a bit of an aside or tangential early morning contemplation, the real purpose of this blog is to inform and update the printing community about technology in general and standardisation in particular. There is a bit of news on this front.<br />
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Dr Rajendrakumar Anayath, Venkataramana Rotti and I have been talking to some of the faculty at RIT and one of the students there about a survey they want to do to asses the Indian printing industry's interest and knowledge in colour process printing standards and certification. We have decided to help this student Lekha Lokhande, in her project, which will also hopefully yield a serious and objective idea about where our leading printers are, and how they see the future in respect to colour print standardisation and certification.<br />
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The survey will take place largely in January 2012 and we should have results by March. I encourage the Indian technical experts to encourage the leaders of the print community to take part in this exercise. Taking part does not mean you agree or approve -- the survey questions I think have room to reflect your views even if your view is that standardisation is unnecessary or too expensive or simply a pipe dream.<br />
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On the other hand, for those of you who see the need for standardisation and certification this is a chance to revive your knowledge and to show your interest by taking this survey. We at IPP with our two magazines and with IppStar plan to revive the discussion with articles in the magazines and on our websites. By the way, I meet young second and third generation printers every week who seem to very excited by ideas that take the industry forward in a scientific and objective way. They are keen to build processes in the plants and to educate their human resources. And this is why I am optimistic about the colour standards movement and discussion that has been slow to take root in our printing industry.<br />
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As some of you know, we conducted the Monsoon Summits on the 12647-2 standard in Delhi, Mumbai and Chennai in July 2009 -- during the monsoon rains. Then we held a meeting during the Pamex exhibition in January 2010 when some of us decided that we had to build a technical advisory group so that we could begin talking to the Bureau of Indian Standards and this would allow us to participate in the TC130 group of the ISO which is working on the standard and developing it further.<br />
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The idea was 'to get inside the tent' instead of criticising the standard from outside. It took us a while and with the efforts of Parshav Jain and Venkataramana Rotti we were able to participate in the BIS meetings on the print industry. I confess that I went to very few meetings even after roping Tarun Chopra into attending some of them. Rajendranath Anayath also attended at least one meeting. Parshav went abroad to study further, but Tarun and Venkat have attended some of the BIS meetings. The attitude of the BIS is very friendly and emphathetic but the printing industry by and large apart from these individuals, has been too busy to take part. I am of course putting this more politely than I normally do.<br />
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In the meantime, Venkataramana Rotti has attended several of TC130 meetings which take place around the world. He has done this at his own cost without any financial support from anyone so now one Indian technical person takes part on behalf of all of us, in this important activity. I won't say anymore. In any case, now this standards survey is taking place driven by an Indian student at RIT and the RIT faculty. This could be a time to revive our standardisation movement. As a first step let's take part in the survey and then, let us keep our thinking caps on and take our industry forward not in the little steps and struggles that we are individually making and have to make every day, but also toward some collective action and goals. End of sermon and Merry Christmas.<br />
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<i>Naresh Khanna</i> editor@ippgroup.in</div>
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<br /></div>Editor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-18511937505449898562011-12-07T19:38:00.000+05:302011-12-07T19:38:05.571+05:30How can the Indian packaging industry be greener?<i>“Change management is always difficult, but industry has to lead, especially if there is no law that insists on change for the better.” – Vijay Gupta of Siegwerk India</i><br />
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Mostly, most of us do not think. We tend to repeat cliches and slogans that put us in a helpless situation in which we are always waiting for the other guy (or the government) to do something. Thus it was refreshing to talk to Vijay Gupta who admitted that industry has to lead on environment, health and safety issues. Well some of you might say Gupta or the ink company he leads has a ‘vested interest’ in talking about environment – that he wants to sell more expensive ink. Well you would be wrong.<br />
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First of all, many of you already happily buy his ink and indeed inks from the other excellent ink companies who have state of the art plants within India – DIC, Sakata, Huber-Micro, Flint, Toyo and others. All of these companies manufacture safer and more environment friendly inks than we generally buy in India. Unfortunately neither packaging buyers are insisting on greener and safer inks, nor is the government able to go into the entire gamut of complex technical, social and administrative issues which it needs to address to come up with a total cradle to grave packaging life-cycle program. The industry associations are also on the defensive about issues which are indefensible instead of coming up with a plan or a solution in which the end-users, the packaging converters, the suppliers of equipment and consumables and the government can apply their creativity and their extensive assets.<br />
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Secondly, come out of your denial of facts. Stop denying that what we do every day has intense environmental, health and safety implications. Packaging uses the overwhelming majority of paper, paperboard, plastics and films consumed in India. Fact – The Indian packaging industry will use more than 7.5 million tonnes of paper and paperboard and more than 5 million tonnes of plastics and films in the 2011-2012 financial year (Source: IppStar Indian Print Industry Survey 2011; www.ippstar.org). In comparison to the rest of the world this is not a huge amount in per capita terms. This is precisely why we could be one of the greenest packaging industries and countries in the world. But take a look at the garbage strewn everywhere; at the lack of separation of various waste materials; at the almost total absence of collection and waste recycling systems.<br />
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Thirdly, act now. Use sustainable materials as much as you can. Convince your customers to lightweight and to use materials that can be separated for recycling. When environment-friendly fountain solution concentrates and recycling systems are available in India why not use them? When process-less or low chemistry plates are available, why not use them? When low-chemistry processing and recycling systems are available why not use them? When low solvent inks are available in India why not use them? When solvent recovery systems are available why not use them? When sustainable forest sourced paper and paperboard is available why not offer to use these at least for customers who can be persuaded? And then no matter what materials you are using right from the oil for the lubrication of your machines to your film and plate chemistry to the water for dampening solutions – these are the wastes in your factory and it is your responsibility to reuse, recycle and reduce these – to treat and ultimately dispose these not in some drain or nala but responsibly. There is a lot you can do and are already doing. Speak out and send me an email about what you are doing at editor@ippgroup.in.<br />
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Naresh KhannaEditor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-6490584901292960452011-12-05T12:18:00.000+05:302011-12-05T12:18:18.941+05:30The colour management movement in India needs to accelerateOver the past few years IppStar has tried to focus the Indian print industry's attention on colour management and standardisation. As some of you recall we together with Satish Nayak and Gretag-Macbeth (which later became part of X-Rite) did the colour management certificate course in Delhi and Chennai for which the main faculty was Paul Lindstrom of Digital Dots. <br />
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Then in July 2009 we conducted the Monsoon Summits in Delhi, Mumbai and Chennai to discuss ISO 12647 colour process standardisation. Other organisations such as Kiran Priyagi's GATE and the Heidelberg Print Media Academy have also been doing work in this area. However, as of now I only of four organisations in India that have actually achieved 12647 certification. Of these two are in prepress including Color Dot and Hemanshu Desai's organisation in Mumbai. The other two that I know of are in packaging -- Janus in Baddi and Sai Packaging in Bengaluru. I do know of one more ogranisation which is trying but met ran into some temporary technical challenges.<br />
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One achievement of sorts is that the Indians are finally at least taking part in the TC130 meetings. First a few of us got involved with the Brueau of Indian Standards because that is essential if we want to attend international meetings such as the TC130. Although I confess that I have missed all of the recent BIS meetings but the most persistent of all us has been Venkat who is now with HT-Burda. He has at considerable cost taken part in the BIS meetings and has also attended several of the TC130 meeting abroad.<br />
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Thus one could say the movement for colour standardisation is slow, sporadic and still dependent on extreme efforts by a few individuals. Our group including IppStar is planning to help RIT to do a survey soon on the colour standardisation issue. So, friends, let's see if we can get this going.Editor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.com1tag:blogger.com,1999:blog-3985009168179029690.post-81993782083050615902011-09-14T18:03:00.000+05:302011-12-19T18:05:25.639+05:30Best Practice Guide for Web Offset Printers 2<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Indian Printer and Publisher</i> has been
serialising chapters from the <b>Best Practice Guide for Web Offset
Printers</b> since February 2010. This is a well-illustrated how to
manual produced by the Web Offset Champion Group for both heatset and
coldset web offset printers. Meant for the pressroom, the guide has
been dealing with paper grades, roll handling, auto-paster and
splicer characteristics, splice patterns, and splicer and make ready.
The Web Offset Champion Group consists of Aylesford Newsprint, Kodak,
manroland, Megtec, Muller Martini, Nitto Denko, QuadTech, SCA, Sun
Chemical and Trelleborg.
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The first chapter that we had carried
in 13 installments was Roll to Web Processing. From March 2011 we
have been printing the second chapter from this guide — Web Break
Prevention and Diagnosis. So far we have carried the sections on
Economic impact of web breaks, Web break analysis, Web break, web
wander and shift, Creases and wrinkles, Detection and control, Web
breaks in relation to production system and Web tension. The present
issue carries the section on Ambient press environment. Our
subsequent issues would carry the sections on Web breaks and
mis-splices related to paster/splicer, infeed and web guide, Ink and
dampening, Printing units, Heatset drying system and air turns, Chill
roll stand, Folder, and Roll and paper diagnosis.</div>
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This guide developed with the help of
IFRA, aims at achieving a splice efficiency of over 99%. A valuable
tool to reduce wastage in the reel room and the press room, the guide
also discusses reel storage and runnability issues. Make sure your
subscription is up to date so that you do not miss any of the
subsequent instalments of the Web Break Prevention and Diagnosis
Guide. You can order multiple copies of <i>Indian Printer and Publisher</i>
at special rates by writing to subscribe@ippgroup.in.</div>
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<br /></div>Editor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-57260289063638783482010-04-13T16:09:00.004+05:302010-04-13T16:37:48.327+05:30Standardisation -- Getting inside the tent<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8dejFY56wP7vCHBKs5UnZQfWRbQGqr6Rur7WHjGVp5-Rhq8C4RK6-twnJSpF3sH6j5sqFhjba8qJAAjdRJGf7EDGMBikasOA36Z080uxK9u1MmieZBXKxGRWPObHgeDqAlGnSScG0r9g/s1600/tent.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 320px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8dejFY56wP7vCHBKs5UnZQfWRbQGqr6Rur7WHjGVp5-Rhq8C4RK6-twnJSpF3sH6j5sqFhjba8qJAAjdRJGf7EDGMBikasOA36Z080uxK9u1MmieZBXKxGRWPObHgeDqAlGnSScG0r9g/s320/tent.jpg" alt="" id="BLOGGER_PHOTO_ID_5459573799788193218" border="0" /></a><span style="font-size:100%;">IPPStar has made attempts in the past year such as the Monsoon Summit in Delhi, Mumbai and Chennai (July 2009) and the first proposed Technical Advisory Group meeting on January 2010 in Delhi to create awareness and discuss with Indian printers about the implementation of (ISO-12647-2) standards in multi-colour offset printing in India. During the Monsoon Summit, Alan Dresch said that “Indians need to get inside the tent” instead of loose discussion or criticism of the standards as they are still under development. It was seen as mildly shocking that one of the largest printing industries in the world is not involved in contributing to the colour printing standard. </span><p style="margin-bottom: 0in;"> </p> <p style="margin-bottom: 0in; font-weight: normal;"><span style="font-size:100%;"><br /></span></p> <p style="margin-bottom: 0in;"><span style="font-size:100%;">IppStar is trying to initiate a discussion with the Bureau of Indian Standards on the need to get inside the tent or get involved in the international printing standards movement by initially attending the ISO/TC 130 meetings. Since India is an observer member of ISO/TC130 attending these meetings requires a representation from the BIS. IppStar has nominated experts from the industry to be made part of the BIS panel on printing technology. We are optimistic that at least two participants of the proposed Indian TAG meeting held in Delhi in January will attend the next ISO/TC 130 meeting to be held in St. Gallen in Switzerland from 19 to 24 April 2010. Lots more needs to be done and industry support is needed to get inside the tent on a continuous and serious basis -- to take print standardisation activities further, faster.</span></p>Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-50860805372033968242010-02-01T10:52:00.004+05:302010-02-01T11:00:37.165+05:30First Indian TAG meeting on standardisation<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPuq8WPhkbakFY1i2-WFG14BTTcVCAXR5LbyVdePxyEOwen13BPOPLZhWCsNfEJPjTqFFZe1CD-gAEaZ89kO6kuvNmptjx0nIDf9oioQSwPUSe8fYKGN5eWlYFpj3DijX79zfAB96Sj6SP/s1600-h/IMG_0844.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPuq8WPhkbakFY1i2-WFG14BTTcVCAXR5LbyVdePxyEOwen13BPOPLZhWCsNfEJPjTqFFZe1CD-gAEaZ89kO6kuvNmptjx0nIDf9oioQSwPUSe8fYKGN5eWlYFpj3DijX79zfAB96Sj6SP/s320/IMG_0844.JPG" alt="" id="BLOGGER_PHOTO_ID_5433142600170236162" border="0" /></a><br />The first Indian Technical Advisory Group (TAG) meeting to discuss print standardisation with a view to participation in international ISO standardisation efforts was held on the morning of 22 January at<b> </b>the Heidelberg stand at Pragati Maidan in the course of the Pamex exhibition. The 75 minute meeting was attended by a diverse group of print professionals and experts. It included two of the Indians who are UGRA certified for process standardisation 12647-2, and others who have been working in this area. The Amar Ujala newspaper group was also represented.<br /><br /><p>The discussion centred on the need to evolve standards and best practices locally and to participate in the International Standards Organisation’s technical committees such as the TC-130 responsible for graphic technologies. It was suggested and agreed by those present that standardisation efforts must go forward on several levels and on a widespread basis, even to the extent of developing a set of standard best practices for the majority of printers who are unable to follow or invest in the ISO 12647 standard at this time. It was also discussed and agreed that there is a need to participate in the currently evolving 12647 standards discussion by attending the TC-130 meetings that are held around the world. </p><p><strong>Minutes of the meeting:<br /></strong>1. The different international committees and their role in development of printing related standards were discussed in the meeting.</p><p>2. It was agreed that more effort must be made to formally involve the Bureau of Indian Standards in these discussions and meetings which should be held at least once or twice a year in various cities around India. The BIS must also be encouraged to take part in the international discussion via Indian TAG involvement in TC-130.</p><p>3. It was agreed to make an effort to formally involve the AIFMP and other printing associations to discuss and support the standardisation activities. Suppliers of consumables and equipment must also be involved and invited to these meetings.</p><p>4. It was agreed that there should be some data gathering as to standardisation activities and compliance in the Indian print industries. Ground work should be done to invite representation and support from consumables suppliers and manufacturers.</p><p>5. A suggestion was made to create a set of basic best practices and standards with particular attention to local substrates and conditions.</p><p>6. The discussion concluded that representation is required for the next spring meeting of TC 130 meeting as observers which will be held in St. Gallen, Switzerland, from 20 – 24 April. It was agreed to encourage the widest attendance from the Indian print community and those present with a view to sharing the discussion of issues and developing a local attitude and consensus. To this end, it was suggested to formally establish an Indian TAG, define its scope, and to send out an invitation to a broad section of the industry.</p><p>7. Heidelberg PMA in Chennai volunteered to host the next meeting. However it was also suggested that it was important to hold the next meeting in Mumbai if possible.</p><p>8. The list of attendees included Dr. Rajendrakumar Anayath, Heidelberg PMA; Kiran Priyagi, GATE; Naresh Khanna and Parshav Jain of IppStar; Tarun Chopra and Satish Nayak of Colour Mechanics; R Venkat; Atul Goyal, Amit Arora, <em>Amar Ujala</em>.</p>Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-77130174195851759312009-12-22T15:43:00.008+05:302009-12-22T15:57:00.331+05:30<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK8R1py7NKd5G5DGInT6nEx1qz99sQ1lZGNmuUik86WP3orhKpX3cRbyHC2qnnX7r5TwB0LRzaVpu90V3CR9gJ3qFlu3JNA9vIuC046DyjqAwh_hnuaMg2UxM0l2JlVK5q24E6T4_EpHMN/s1600-h/Anayath.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px; height: 293px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK8R1py7NKd5G5DGInT6nEx1qz99sQ1lZGNmuUik86WP3orhKpX3cRbyHC2qnnX7r5TwB0LRzaVpu90V3CR9gJ3qFlu3JNA9vIuC046DyjqAwh_hnuaMg2UxM0l2JlVK5q24E6T4_EpHMN/s320/Anayath.jpg" alt="" id="BLOGGER_PHOTO_ID_5418002005132509826" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Recently, a former student asked Rajendrakumar Anayath some questions about PPI, DPI, and LPI. The good doctor who is currently head of the Heidelberg Print Academy in Chennai shared his answers with us. Readers are welcome to send us any of their technical or other questions which the IppStar technical staff will get answers for with the help of industry experts.<br /><br />Most of us generally confuse the terms: PIXELS per inch (PPI) for DOTS per inch (DPI) or even LINES per inch (LPI). PIXELS per inch (PPI) exclusively refers the computer’s digital image representation. It could be how an image is comprised (in Photoshop, on the web, or displayed on a monitor), but no matter how it is depicted, it is always digital (that is -- electronic, computer, binary, etc.) and in any form, it is something you can NOT touch! (You can not pick-up a pixel with your fingers or serve a cup of pixels for breakfast.) The resolution of digital images are defined as ‘PPI’ (with a ‘P’). There is no such thing as a digital image having a ‘DPI’ resolution!<br /><br />DOTS per inch (DPI) are physical (tangible) marks on media (such as paper) and are the direct results of a laser or inkjet printer. You can TOUCH a DOT (image on paper). You can NOT TOUCH a PIXEL (which is buzzing around inside the computer and bouncing off your computer screen)!<br />LINES per inch (LPI) is the term for resolution inherent in the offset (commercial and high volume) printing industry and is necessary for the reproduction of tonality in images by breaking down the image into larger and smaller dots using a screen of a particular frequency. Halftone screening is a modern equivalent of earlier image repro techniques such as etching, wood cuts, engraving and other line art methods used widely from the 17th through the early 20th century. These images actually comprised a lot of black lines against a light or white background. The lines that broke up the image could vary in size, thickness and direction although from a distance the human eye resolved the image as continuous and consisting of detail and tonality (shades of grey, white and black).<br /><br />The more lines that could be fitted within an inch, the more fine detail appeared in the image. Most press runs use between 65 lpi and 200 lpi, depending on the coarseness of the paper (i.e. porous newspaper is 65 lpi to 85 lpi, while gloss enamel can be 133 lpi 155 lpi or higher). One of the big differences between a desktop printer’s DPI and an offset press’s LPI is that the dots (from DPI) are ALWAYS the same round size, while an offset press’s LPI relies on varying the size of each impression, as well as using non circular impressions laid down in specific directions (or degrees).<br /><br />Nowadays, in the commercial printing field, the division between each is becoming more and more blurred (no pun intended), as commercial digital presses use dots so small, that when clumped together, give the same appearance as a non-concentric LPI impression.<br /><br />Printing from a computer relies on two distinct and mutually exclusive entities: The computer, which uses binary data to represent, among other things, words and images; then the printer which converts electronic data into a physical product which are marks on paper (often in the form of an image). The computer, as it sends digital data out, could care less where the data is going, just as long as it transfers. (Of course we humans DO care where the data is sent: to monitors, modems, printers, etc.).<br /><br />By the same token, a hardware printer could care less what information it receives, as long as long as it can convert the information into some type of mark, using ink dots on paper to illustrate an image (probably several hundred dots per inch of paper). (The results are dots on paper are tangible -- they can be touched! But you can not touch or pick-up any of the electronic, binary ‘pixels’ as they stream from the computer to the printer.)<br /><br />The quality of the digital image and the quality of the physical out put are both exclusively independent of each other and mutually interdependent in optimizing the final result.<br /><br />Since inkjet printers produce a stochastic image (random dot pattern), Epson recommends a file output size of 1/3 the printer’s resolution (i.e. Printer @ 720 dpi = 240 ppi, Printer @ 1440 dpi = 480 ppi). -- Any more will clog the system and degrade the image. -- Any less are insufficient data.<br /><br />Also bear in mind, because inkjets (and most other colour desktop printers) rely on creating a ‘stochastic’ or random image pattern (representing each pixel with multiple clumps of ink), images produced by these printers are not conducive to being reproduced on a press or photocopy machine. (A laser printer can produce a structured dot pattern resulting in reasonably good press or photocopy quality.) Further, marketing statements as 720x1440 (or any A x B reference) tend to be misleading. The only number of true relevance is the first, lower number. The second is a synthetic interpolation used primarily by the marketing folks to try and impress us mortals and sell their product. Finally, using the appropriate and accurate terms when referring to various resolutions promotes effective communication. (Conversely, improper use of these terms merely advertises our ignorance.)<br /><br />The relationship between LPI (lines per inch) and PPI (pixel per inch). In offset printing to print an 100 LPI, the input resolution what we need for the image is 200 PPI (always double the amount of LPI). For grayscale images the multiplication factor can be 1.5 times of the LPI– as per GATF documents. But many European systems say it is always better to have double the input resolution.<br /><br />Relationship between LPI and DPI (dot per inch)<br />A normal healthy human eye can see only 256 gray levels. Any reproduction done with more than this will not be seen by the human eye, and hence could be described as a waste of time and effort.<br /><br />The formula below will help us to understand and to decide on the right DPI and / or LPI we should use for our requirement. +1 ≥ 256 (Gray levels)<br /><br />For example<br />– To print with 150 LPI we need to have the output as 2400 DPI<br />– To print with 80 LPI We need to use 1200 DPI. It will save the processing time enormously.<br />– To know an approximate DPI for a particular LPI see the below table: ( This is from our experience in CtP settings )<br />– 85 lpi 1024dpi<br />– 100 to 120 lpi 1693/2032 dpi<br />– 133 to 150 lpi 2540 dpi<br />– 175 to 200 lpi 3386 dpi<br />– 250 lpi and above 5040 dpi<br /><br />To answer the question in the mail, if I understand it correctly: On an empirical way you can say that ‘multiply the lpi with 16’ to get the minimum resolution of the printer to be used.<br /><br />For example if you use 55 lpi, the minimum resolution of the printer irrespective of whether it is a laser printer or inkjet printer should be, 55 X 16 = 880 dpi. Similarly, for 75 lpi it must be a minimum of 1200 dpi (75 X 16 = 1200).Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-39075159167345008882009-09-23T12:11:00.003+05:302009-09-23T12:17:53.280+05:30Procedure for Complying to the ISO 12647 standardsProcedure for Complying to the ISO 12647 standards <br />- By Ron Augustin (IPP - September - 2009)<br /><br />We have already oultined the prerequisites for the application of the ISO 12647 standard in our previous articles in Indian Printer and Publisher and Packaging South Asia but are still briefly summarising these, before explaining the testing procedures used in the standardisation and certification process.<br /><br />Before a company registers for ISO 12647 certification, it has to check that it has the required measurement devices and that it is capable of producing proofing and printing results within the tolerances of the standard. Usually, the certification agency (in continental Europe Ugra and Fogra certified partners, in Asia-Pacific several other certifying bodies are also coming up) will discuss and draw up a contract, in which the certification steps and examination tasks are to be described in detail. After a preparation stage, an appointment will be made with an auditor of the certifying agency, who will be present to supervise the final printing process and select both OK sheets and a set of sheets from the printrun. After an appropriate drying time, these will be controlled by the auditor and, depending on the agency, by an additional certifier. ISO 12647 certification has a validity of two years.<br /><br />Audit and certification costs depend on the agency and on the kind of presses (sheet- and/or webfed) to be included in the process, but should not exceed INR 300,000 including both prepress and print production. A prepress-only certification amounts to roughly INR 150,000.<br /><br />What will be tested:<br /><br /><span style="font-weight:bold;"><br />Prepress</span><br />1) The company has to show that it has standard for file acceptance and communication with customer for print quality and colour managed file exchange.<br />2) In data processing, it has to show its capability of processing, checking and correcting intake data for faultless print preparation.<br />3) In colour management, the company has to show that it is capable of handling colour profiles and that it has understood the principles of colour management and its implementation including control of output curves on its platemaking device.<br />3) In proofing, it has to show that it is capable of performing a print simulation consistent with customer specifications and that it is able to demonstrate its colour consistency metrologically.<br /><br /><span style="font-weight:bold;">Print production</span><br />1) In platemaking, the company has to show that it is able to create printing plates that are equipped with adequate control elements to be checked with suitable measurement tools. It also has to show that it is capable of maintaining consistent exposure results over a longer period of time and that it is able to compensate batch variations at any time.<br />2) In makeready, the company has to show that it can produce an OK sheet in a suitable setup process within the acceptable ISO 12647 tolerances.<br />3) In print run stability, it has to prove its capability of controlling, monitoring and maintaining a stable print run, keeping variations within the acceptable ISO 12647 tolerances.Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com1tag:blogger.com,1999:blog-3985009168179029690.post-8654199311711780522009-09-11T18:21:00.002+05:302009-09-11T18:28:27.063+05:30How to get involved in the development of the ISO standardHow to get involved in the development of the ISO standard - By Ron Augustin (IPP - August - 2009)<br /><br />The next two meetings of ISO’s Technical Committee on Graphic Technologies, TC 130, will be held in September 2009 in Beijing and in February 2010 in Miami. Although there are other Technical Committees concerned with our industry, such as TC 6 (paper, board and pulp), TC 42 (photography) and TC 171 (document management applications), participants at the Monsoon Summit on ISO 12647 recently held in three cities across India stressed the need of Indian involvement in TC 130 for a more balanced representation in global print colour perceptions.<br />If the Indian printing industry is serious about standardisation, it has to act fast and, if the deadline for September is too close, make sure it will be in the February meeting.<br />The procedure to get there is as follows:<br /><br />ISO is a network of ‘national bodies’ (NBs), i.e., the national standards institutes of some 160 countries, of which the Bureau of Indian Standards (BIS) is one. Although participation in ISO is open to all, there is a protocol that must be observed. For each Technical Committee, the NB can choose to be a P (participating) or O (observer) member. TC 130 has around 15 P members and 20 O members. For practical purposes, the TC is divided into working groups (WGs) where most of the standards development work is done and in which there are technical experts participating as individuals nominated by and responsible to their NB. Once an NB has established a relationship with a TC, it identifies the technical experts who will represent it in the various TC and WG activities. The working documents of the various TC projects are made available to these technical experts through the TC Secretariat, usually via access to a secure Internet connection. <br /><br />As an example, in the USA, ANSI is the official NB in ISO, but has delegated responsibility to various industry groups to monitor US participation in each TC for which the US is either a P or O member. These groups are called Technical Advisory Groups (TAGs). For ISO, each NB is free to manage this process in its own way. The TAGs have the responsibility to recruit technical experts and endorse their participation to the TC Secretariat. Therefore, anyone who wants to participate in the work of a TC must contact the TAG for that TC. The TAG for TC 130 in the US is the Committee for Graphic Arts Technologies Standards, CGATS, which has its Secretariat at the National Association for Suppliers of Printing, Publishing and Converting Technologies, NPES. For the Indian industry, it must not be hard to imagine and build a similar structure.Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com0tag:blogger.com,1999:blog-3985009168179029690.post-49427393308825798572009-09-10T17:18:00.005+05:302009-09-11T10:20:44.181+05:30Availability of ISO 12647-2 Standards in IndiaAbstract for ISO 12647-2:2004<br /><br />ISO 12647-2:2004 specifies a number of process parameters and their values to be applied when preparing colour separations for four-colour offset printing or when producing four-colour prints by one of the following methods: heat-set web, sheet-fed or continuous forms process printing, or proofing for one of these processes; or offset proofing for half-tone gravure.<br /><br />The parameters and values are chosen in view of the complete process covering the process stages colour separation, film setting, making of the printing forme, proof production, production printing and surface finishing.<br /><br />We enquired Bureau Of Indian Standards(BIS) Delhi to find out availability and Price for ISO 12647-2 Standards in India.<br />ISO 12647 -- Process control for the production of half-tone colour separations, proof and production prints -- Part 2: Offset lithographic processes<br /><br /><br />Cost of the Standards is mentioned below:<br />Cost for ISO 12647-2 : Rs. 4410<br />Procurement Charges : Rs. 441<br />Postage Charges : Rs. 79<br /><br />Net Total : Rs. 4930<br /><br />Interested Professionals can send a Demand Draft of Rs. 4930/- (including Packing & Postage charges) in favour of Bureau of Indian Standards, payable at New Delhi, at the following address.<br /><br />Bureau of Indian Standards<br />9,B.S.Z Marg<br />New Delhi - 110002<br />P.H No.- 011 23230131,2323375Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com2tag:blogger.com,1999:blog-3985009168179029690.post-43886337457856751872009-09-02T16:27:00.002+05:302009-09-02T16:42:33.898+05:30Book Review - Understanding Color Management<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikVKBTCtRmAnIupBnLKDjgMGVMMlvYlhJwmTPc2vYU5Kw_vwtcAnkrnrrg3hRplYh2XoBlqIBP_so5GiG7eTei8Eqw2WQhU4AdpanQESQ_QzBc5J-gcOak2gB6kDTmoi__klUHqK7W07M/s1600-h/cover.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 255px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikVKBTCtRmAnIupBnLKDjgMGVMMlvYlhJwmTPc2vYU5Kw_vwtcAnkrnrrg3hRplYh2XoBlqIBP_so5GiG7eTei8Eqw2WQhU4AdpanQESQ_QzBc5J-gcOak2gB6kDTmoi__klUHqK7W07M/s320/cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5376822781161620738" border="0" /></a><br /><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceType"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceName"></o:smarttagtype><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--> <p class="MsoNormal">Title: <span style="font-weight: bold;">Understanding Color Management</span></p> <p class="MsoNormal">Author: Dr. Abhay Sharma</p> <p class="MsoNormal">Publisher: Thomson Delmar Learning</p><p class="MsoNormal"><br /></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">As the name says “Understanding Color Management”, a topic that has become the need of the hour in today’s printing world. The book starts from the point of view of a beginner in color and color management.</p><p class="MsoNormal"><br /></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Abhay explains the basics of colour science and colour management, and provides an in-depth look, starting from basic attributes of colour and how the human eye perceives it. Good examples such as the “Airline analogy” (Pg-10) have been used to make the reader understand how CMS works. The book is filled with pictorial representations for nearly all topics which makes it easier to understand colour. Details about the range of measuring instruments and profiling software are also available to the reader.</p><p class="MsoNormal"><br /></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">International Color Consortium (ICC) profiles are discussed in detail and methods for profiling scanners, digital cameras, monitors, inkjet printers, and printing presses are thoroughly explained. After reading this book you will actually feel that colour management is not rocket science. Making this book an ultimate guide to understand color management. We also used this book as the textbook for our Certificate Course on Colour Management conducted in Delhi and Chennai in 2006 by Paul Lindstrom.<br /></p><p class="MsoNormal"><br /></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">About the Author - Dr. Abhay Sharma is currently the chair, <st1:placetype st="on">school</st1:placetype> of <st1:placename st="on">Graphic Communication Management</st1:placename>, <st1:place st="on"><st1:placename st="on">Ryerson</st1:placename> <st1:placetype st="on">University</st1:placetype></st1:place> and a member of the International Color Consortium.</p> <p class="MsoNormal"><o:p> </o:p></p>Parshav Jainhttp://www.blogger.com/profile/13081638491979691568noreply@blogger.com2tag:blogger.com,1999:blog-3985009168179029690.post-54098716527208184302009-08-26T15:19:00.004+05:302009-09-02T11:23:26.623+05:30Trying to build a technical advisory group for TC 130 (ISO 12647)Given below is a list of persons and the text of an email that we sent to them. This is essentially the follow up to our earlier post and an effort to convert the usual wishful thinking and talk talk into some kind of community action. To a large extent I see this blog (to which we will invite a team of experts) and the comments as both a byproduct and an inspiration to the overall quality printing and standardisation movement. We have already received two email responses and one phone call over the last three days. This is obviously not good enough or fast enough. Can blogging help? Will you help?<br /><br />After the recent Monsoon Summit to discuss ISO 12647 standardisation many participants said that it would be good if the Indian experts also get involved in the ISO TC 130 committee. As Alan Dresch said, "Get inside the tent!" instead of complaining about what is good or bad and contribute to the evolution of the discussion and the standard. To this end we have talked about this with some of the senior people who attended and they seem to agree that it would be best to develop a discussion group that would become the technical advisory group for the TC 130. I am listing below some of the people that we thought could take part in these discussion on a regular basis -- by email, or by telephone and also face to face.<br /><br />The next meeting of the TC 130 in Beijing is 21 to 25 September and our discussion group or the industry should attend and this discussion group should try and make its views and priorities clear so that whoever attends from India is able to listen and speak on our behalf and also to report to us on the issues, discussions and decisions.<br /><br />I am making an initial list of persons to start this discussion. It is open to amendment and addition. Please give your views and also whether you agree with the idea or not. The idea is that we should have representation. That the persons attending the TC130 meetings from India should represent an Indian technical advisory group. If the persons attending are not self-supporting in their travel or not supported by their companies, we will have to financially support these trips and participants. My view is also that for the Beijing meeting although the issue of grey balance came up and no one seems much against it, we should for the most part listen at the first meeting we attend. That we should bring back the issues for the consideration of the group and reserve the right to give our views at the next meeting.<br /><br />Here is the initial list of my nominees and this email is being sent to all of the persons on the list over the next day or so. If you are a nominee please agree or disagree about being a part of this group! Also suggest other names if you like. You can also vote against anyone on this list if you like.<br /><br />1. Ritu Sharma -- Bureau of Indian Standards, Delhi<br />2. Vilas Gupte -- AGS Mumbai<br />3. Vishnu Kamat -- AGS Mumbai<br />4. Professor Madhura Mahajan -- Pune<br />5. Rasheed Mistry -- Comart Mumbai<br />6. Amit Navarange -- CondeNast<br />7. Sobhagayanidhi Sheksaria -- New Jack Mumbai<br />8. Ramesh Kejriwal -- Parksons Packaging Mumbai<br />9. Parksons Grahics -- Animesh Kejriwal Mumbai<br />10. Rajendrakumar Anayath -- Heidelberg PMA Chennai<br />11. Satish Nayak -- Bodhi Solutions, Bangalore<br />12. Nikhil Mittal -- Sona Printers Delhi<br />14. Ravi Shroff -- Nutech Photolithographers Delhi<br />15. Vivek Sachdev -- NPT Offset Chennai<br />16. RB Kashyap -- Thomson Press Faridabad<br />17. Gurjeet Dhingra -- Canon India -- Delhi<br />18. Parshav Jain -- IppStar - Noida<br />19. Anil Joshi -- K Joshi and Sons -- Pune<br />20. Harsha Paruchuri -- Pragati Offset -- Hyderabad<br />21. Naresh Khanna -- IppStar -- Noida<br />22. Arindam Sarkar -- TechNova<br />23. Tarun Chopra -- Color Dots -- Delhi<br />24. Vasudevan -- Epson -- Bangalore<br />25. Sambit Mishra -- EFI<br />26. Vaidyanathan -- Proteck Chennai<br />27. Debshish Sengupta - DICEditor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.com1tag:blogger.com,1999:blog-3985009168179029690.post-34140430360549617212009-08-20T11:19:00.000+05:302009-08-20T11:30:42.904+05:30Best Practices, Colour Management and StandardisationOne of the outcomes of the Monsoon Summit was not only a great indication of interest in standardisation practices and also the need for the Indian print community to "get into the tent." That is, to become a part of the ongoing standards discussion in the TC 130 committee of the ISO. IppStar is initiating with industry help and approval, a local discussion group that will send representatives to the TC 130 committee starting with the meeting in Beijing from 21 to 25 September 2009. This discussion group will also interact with the Bureau of Indian Standards and hopefully evolve into a technical advisory group. If you would like to be part of this discussion please send your email to Parshav Jain at standards@ippgroup.in . In addition we are launching an experts blog on Best Practices, Colour Management, and Standardisation on our website.<br /><br />We are hoping that this blog will become a how to discussion among experts in India and the Asia Pacific Region that will discuss not only standardisation but other technical issues pertaining to the printing industry. We will also be running two other blogs: the first will be a general and all-inclusive type of discussion called the Print Asia Blog and the second, a publishing blog that takes up some of the professional and 'backroom' issues in publishing' which will be called 'Content and Media -- Asia Pacific.' All the blogs will be team blogs with experts from primarily the Asia Pacific region invited to lead the conversations. If you would like to be invited to be one of the regular team bloggers please write to edit5@ippgroup.in .Editor-ippgroup.inhttp://www.blogger.com/profile/03210676806891517294noreply@blogger.com2