2010 Journal by Cal Poly TAGA

san diego

2010

technical association of the graphic arts California Polytechnic State University

Copyright 2010 ÂŠ California Polytechnic State University All material is compiled from sources believed to be reliable, but is published without responsibility for errors or omissions. Nothing in this publication shall be reproduced without the expressed written consent of the authors and editors.

table of contents Presidentsâ&#x20AC;&#x2122; Message

Alice Wong & Jeff Bauer

Advancements in Short Run Gravure

Alice Wong

Interactive Print

The Application of Synergy to Restore and Enhance the Value of Print Jeanne Ngo

Color Correction for Underwater Photography

Vanessa Pateman

Direct Laser Engraving Systems

Tessa Libby

Cal Poly TAGA

Officers & Members

Presidents’ Message from Cal Poly TAGA Welcome to our journal. It is the product of months of brainstorming, hours spent in front of computers, and dozens of paper-cuts. Our goal this year was to make the best journal possible, with eye-catching designs, well written papers, and quality production. We are proud to present our work to you at the TAGA 62ⁿd Annual Technical Conference. Students at Cal Poly are blessed with many benefits, including state of the art equipment and brilliant, caring professors. We are also lucky to live in one of the most beautiful places in the world. The surrounding areas around San Luis Obispo, as well as the rest of California, are filled with beaches, hiking trails, and other ways to enjoy nature. Green hills and bright blue skies are a part of everyday life. We would like it to stay that way. Because of the rising concern over the environment and being “green” in today’s world, the printing industry is trying to cut back on polluting practices and use cleaner methods and products. We applaud those who are environmentally aware and dedicate this book to their efforts. The journal that you now hold in your hands is a testament to the perseverance, creativity, and skill of the student members of the Cal Poly TAGA chapter. As co-presidents of this wonderful chapter, we are very proud of the work that our team has accomplished over the last few months. Everything we have done has come down to this very moment when you, our reader, can begin your journey through the pages of our journal.

Alice Wong

Jeff Bauer

Co-President

Abstract Gravure has always been considered a printing process for long run jobs. Most gravure jobs are in the millions because it is not thought to be economically logical to run less. This is mostly because of the high cost and time used to make gravure cylinders. Despite the high quality of gravure printing, many customers are not will-

Advancements in Short Run Gravure

ing to pay as much money and instead turn to flexography or offset lithography. Flexography and offset lithography have improved greatly over the years in terms of quality, which is what gravure is known for. However, along with the rise in quality is a rise in prices. On the other hand, gravureâ&#x20AC;&#x2122;s costs have only been going down, as its advancements

Alice Wong Winter 2009

seek to cut down on waste and expenditure instead of improving quality like the other print processes. The cost decrease is because of inventions such as laser engraving, which speeds up a laborious engraving process, and materials that are cheaper and reusable. Sleeves and ballard shells have become common because of their light weight, easy removal, and preservation of the copper cylinder. The cylinder core itself has also changed. Aside from the traditional steel core cylinder, polymer core cylinders are also available, which are much lighter, cheaper, and easier to transport.

ravure is normally thought of as a long run process

these advantages but cannot afford it. Instead, they turn to

but is making advancements towards more economi-

cheaper processes such as flexography. In order to compete

cal short runs. Traditionally, the highest cost in gravure has

for these customers, gravure has been finding new ways to

been in prepress, and most specifically, the cylinders. To

make its process cheaper and less time consuming.

engrave a cylinder is a laborious process, as they are very

large and time consuming. It is only economically sound

Gravure faces many challenges from two other print pro-

to use cylinders for long runs because long runs get the

cesses; flexography and offset lithography. In the publishing

most out of the cylinder which lasts for millions of impres-

world, gravure and lithography are the main competitors.

sions before needing to be changed. However, it is because

Both have their advantages. Gravure is best for image heavy

of this cylinder that gravure is so alluring. The cylinder

products such as newspaper inserts and Sunday magazines

allows for a continuous image, unlike plates, which have a

such as Parade, which run in the millions. These prod-

small gap in which there is no image. It also allows for great

ucts are usually produced every week and on a national

color reproduction and consistency. Gravure has been the

scale. This allows for the time needed to produce cylinders

preferred printing process for magazines such as National

and because of the large runs, gravure is very economical.

Geographic, who makes the quality of its photos a priority.

However, gravure has some shortcomings. Besides the cost,

However, for publications and other products that do not

gravure does not reproduce text as well as offset lithography.

require the millions of copies that a large magazine like

On the other hand, lithographyâ&#x20AC;&#x2122;s main markets are newspa-

National Geographic does, the cost of using gravure is often

pers and inserts that change on a more frequent basis. They

too much to justify, even for magazines that need high qual-

also cater to local and small markets. The prepress for offset

ity printing. The packaging industry also uses gravure often,

plates is significantly cheaper than in gravure. A metal plate

especially for alcohol and tobacco. Color consistency of

costs a few dollars and takes only a few minutes to make,

brand colors is key, and in the food industry, accurate color

in contrast to a hours it takes to make a gravure cylinder.

reproduction can make a product look appetizing or unde-

Thus, it is easier to make changes if there is a last minute

sirable. Companies that create goods on a local or smaller

correction or edit, and any mistakes can be easily corrected.

scale than national and international companies often want

The quality of offset lithography has also improved over

Advancements in Short Run Gravure

the years, making it a reasonable alternative to gravure for

percent. But if a job has to be repeated, gravure is the

many publications. Flexography mainly competes with

winner because the cylinder set can be used over and

gravure in the packaging market. Flexography uses plates

over again... the average number of man-hours spent

much like offset does, and they are cheaper and easier to

on an individual gravure cylinder has been cut by 60

produce than cylinders. The quality of flexography has also

percent in the last four years, while the cost of electronic

gone up steadily over the years, especially with the use of

image processing in gravure and flexo is now the same,

UV inks. Both processes are cheaper than gravure, and pro-

according to Hueck Folien, a leading German gravure

vide quality that is high enough to make them attractive

printer. (Milmo)

alternatives. Gravure has the advantage that costs are only going down However, gravure is closing the gap, in part due to ris-

while quality stays at a constant high, while flexography

ing costs in flexography and offset lithography, and also

and offset costs are going up while approaching a quality

because of its own advancements. The quality has improved

that has yet to match gravure’s. The only part of the process

in both offset lithography and flexography, but this has

that gravure has to really concentrate on is the prepress

caused costs to go up, as it is more expensive to make sure

process. The actual printing process is extremely fast and

the quality of the product is consistent. According to John

requires very little operator adjustment because of the

Birkenshaw of the European Rotogravure Association

nature of cylinders. Color density and accuracy are already

(ERA) in an interview with Ink World, “...As flexo print-

accounted for when cells are engraved. On the other hand,

ers try to improve their quality, their costs rise...the cost

adjustments in flexography and offset lithography have

of high quality flexo printing can be so high that gravure

to be done while the press is running and it is harder to

can be competitive even on short runs.”

maintain consistency. Eventually, the cost of each process may become equal.

The same article states that: ERA has estimated that in the high quality segment of

Gravure’s advancements over the years have been signifi-

packaging, flexo has a cost advantage of less than 10

cant. Gravure’s ill reputation for costliness originates from Alice Wong

the cylinders it uses. In the past, cylinders were extremely expensive. They were

between $10,000 and $15,000, com-

composed of a steel core, surrounded by layers of copper, then chromed when

pared to about $1,500 to $2,500 for

engraving is complete. This made them very heavy and bulky, which also made

offset lithography plates. This would

them expensive and difficult to move. For printers who did not have in house

make the gravure process up to ten

engraving, this meant paying large amounts to move the cylinders from the

times more expensive than the offset

engraverâ&#x20AC;&#x2122;s to their plant. Printers who did have in house engraving still had to

lithography process, based on just

move their cylinders around the plant, requiring extra equipment like cranes and

the make-ready and prepress alone.

lifts. When engraving, the engraver is very slow. The tip used to engrave a cylinder

Mistakes when engraving are more

is a very small industrial diamond that makes an indentation, called a cell, that is

severe in gravure and harder to fix. In

almost impossible to see with the naked eye. The task of covering a large cylinder

offset, one could just output another

with those cells takes hours at a time. Each cylinder is made for each color, so for a

plate; however in gravure, making

four color job, four cylinders have to be used. According to Tim Gable and Russell

another cylinder is not an economi-

Goin in an article written in 2002, a complete set of cylinders for a job would cost

cal option. Often, mistakes have to be carefully fixed on the original cylinder. This could pose problems if one was not careful when proofing in prepress. After printing, the cylinder can be recycled by taking off layers that had cells engraved onto them, and then re-plating them with more copper to make them into the correct size. In the present day, there are more

The manufacturing process of a STARBASE cylinder (Max Daetwyler CO)

Advancements in Short Run Gravure

options that make it cheaper to make cylinders, and thus, to run shorter

cylinder, including de-chroming and re-plating. It comes in many sizes and can be used on basically any press. Another way to make cylinders cheaper is to use sleeves or ballard shells. A sleeve is a hollow tube of metal that is slipped on top of a cylinder. They are A ballard shell being removed from a cylinder (QuadGraphics)

extremely lightweight, as they are made of thinner copper, and thus are very easy to transport. Since they are an addition to a cylinder and easily removable, the cylinder is left intact and in good condition so that another sleeve can be slipped

jobs. The physical composition of a

on, making reusing the cylinder easier. However, sleeves have a tendency to slip

cylinder has changed. Now, instead

if they are not put tightly enough on the cylinder. An alternative that avoids this

of steel cores, there are other alterna-

is a ballard shell. A ballard shell is a layer of copper that is electroplated onto the

tives. One is a hybrid polymer core,

cylinder with a layer of nickel underneath. This layer of nickel acts as a separation

called STARBASE, manufactured

layer so that when it is time to remove the ballard shell, the base cylinder is intact.

by the Max Daetwyler corpora-

With these two methods, a plant can just keep a rotation of cylinders and keep

tion and Keating Gravure Systems.

replacing sleeves and shells. It is much cheaper and more efficient.

It is significantly lighter, weighing in at about 20 kilograms or about

Engraving is an area that has seen much improvement. Engravers continue to

44 pounds, compared to about 180

have faster and faster capabilities and new methods of engraving have emerged.

pounds for a steel core. Because of

Automatic engravers are now common. With these machines, cleaning, doing

its weight, it can practically be car-

test cuts, and engraving are all done by a computer with little to no interven-

ried by hand, eliminating the need

tion by an operator. It is all controlled by a computer. With this method, there

for cranes and lifts. Shipping costs

is less potential for human mistakes and everything is done more efficiently.

would also be significantly lower

Hellâ&#x20AC;&#x2122;s HelioKlischograph K6 is an example of an automatic engraver. This also

than for a steel cylinder. It has all

improves registration which saves time on press. Laser engraving is also becom-

the capabilities of a regular steel core

ing popular for its fast speed and accuracy. The high quality and ability to change Alice Wong

the shape of the cell makes it much better at imaging text

afford it. Flexography and offset lithography have been able

and line art, avoiding the jagged edges produced by a dia-

to establish themselves as the cheaper alternative to gra-

mond stylus. It also improves tonality and fine line images.

vure, who has failed to promote its own advancements and

In an Inkworld article, Randy Butler, graphics manager of

technologies to show that it is now an affordable choice.

Print Pack, states “Tobacco and flexible packaging are start-

With its new capabilities, gravure’s next step has to be to

ing to use the laser technology because the laser is cutting

promote itself, and only then will it truly be an option for

at 70,000 cells per second compared to electro-mechanical

short, high quality runs.

at 7,000-8,600” (Pianoforte, Kerry). However, the problem with laser engraving is it tends to reflect off the shiny copper surface. To solve this, zinc is used instead of copper for the cylinder. According to the Max Daetwyler Co.’s newsletter on the laser engraving process, the overall material consumption is 60% less than with copper, is environmentally friendly, and recyclable. The newsletter also claims that laser engraving reduces paper waste because color comes up to quality faster. For some plants, the new zinc cylinders may be expensive up front, but the speed of laser engraving, which is about ten times that of electromechanical, will make up for it in the long run with time saved. The notion that gravure is not a viable short run process has become outdated, as new technologies and products have been invented. In some ways, it seems that gravure’s biggest obstacle is its reputation. Many customers still have the impression that it is too expensive and they cannot 12

Advancements in Short Run Gravure

References “Dalim Software and HELL Gravure Systems introduce HELiOFLOW; Joint technical venture between the two companies produces revolutionary interface- including the first, automatic cylinder imposition tool.” M2 Presswire. M2 Communications Ltd. 2006. HighBeam Research. 8 Mar. 2009 <http://www.highbeam.com>. Dunnington, Richard H. “New Technologies Boost Gravure.” GATFWORLD. Graphic Arts Technical Foundation Technical Publications Department. 2004. HighBeam Research. 8 Mar. 2009 <http://www.highbeam.com>. Savastano, David. “Printers, ink and equipment suppliers are working to make

“Gravure Breaks Out of Its Cell.” Converting Today Nov 2006 4 Feb 2009 <http://www.convertingtoday.co.uk/story.asp?storyCode=44499&sectio ncode=46>. Hine, Claudia. “Gravure Rolls Up Its Sleeves to Do Battle with Flexo.” Paper, Film, and Foil Converter May 2003 4 Feb 2009 <http://pffc-online.com/mag/ paper_gravure_rolls_sleeves/>. “Amcor Flexibles Forge Short Run Gravure Operations, Scotland, United Kingdom.” Packaging Gateway 4 Feb 2009 <http://www.packaginggateway.com/projects/forge/>.

gravure a strong short-run alternative. (The Gravure Report).” Ink World. Rodman Publications, Inc. 2002. High-Beam Research. 8 Mar. 2009 <http://www.highbeam.com>. Pianoforte, Kerry. “The gravure report: as technological advances continue to be made in the gravure packaging market, gravure is now able to compete with flexo.” Ink World. Rodman Publications, Inc. 2004. HighBeam Research. 8 Mar. 2009 <http://www.highbeam.com>. Milmo, Dean. “Officials debate future of gravure: while some see brighter future built on quality, others see solvent issues leading to further decline. (European Report).” Ink World. Rodman Publications, Inc. 2002. HighBeam Research. 8 Mar. 2009 <http://www.highbeam.com>. “Starbase Lightweight Cylinder System.” Max Daetwyler CO. 8 Mar 2009 <http://www.daetwyler.com/user_content/editor/files/Fact_sheet_starbase_en/ fs_stbas_eng_eu.p df>. “An Introduction to Gravure Imaging.” 2007. Quad Graphics. 8 Mar 2009 <http://www.gaa.org/pdf/proceedingsCS/gcp-conference/Yanny_ GCIC2007.pdf>. Russell Goin, Tim Gable. “Production Page: Printing Preferences: Offset vs. Gravure.” Multichannel Merchant. 01 June 2002. 8 Mar 2009 <http://multichannelmerchant.com/printchannel/lists/ marketing_printing_preferences_offset/>.

Alice Wong

Abstract With the emergence and increasing role of technology in today’s society, many questions are raised about what is the future of print. This study set out to research the term “interactive print,” which, for the purposes of this study, includes Personalized Uniform Resource Locator (PURL), GossRSVP, Radio

Interactive Print The Application of Synergy to Restore and Enhance the Value of Print

Frequency Identification (RFID), and other sources of technology that refer an end consumer to online sources via print. A variety of research methods were used to quantify various data sources and conclude that interactive print is still currently in the beginning stages of integration into the printing industry. The subjects in the study were a sample of print professionals from the industry itself, and the research pointed to the idea of

Jeanne Ngo Fall 2009

whether interactive print raises any value for the industry as a whole. Although current printers are proven to still be wary of the new technologies, interactive print does prove to create a unique value for printers to offer the next generation of consumers. Creators of interactive print technologies need to focus on educating printers about how technologies will fit into current work flows to create value for end consumers.

he printing industry is evolving rapidly and forced

advantages of adopting interactive print as a competitive

to adapt to the contemporary needs of commerce and

business solution?

society. Today’s world is dominated by technological capabilities that are threatening the survival of traditional print.

Adopting interactive print solutions is intended to create

The public no longer relies solely on traditional telephone

additional value, benefits, and a higher return on invest-

books or newspapers to receive information; the Internet

ment for printers. Interactive print technologies allow

has become a main source of news and data. Traditional

end-consumers to react and respond to printed pieces,

printed pieces no longer have the same value to consumers,

rather than just read them. The interaction brings about

as consumers now rely on computers, handheld devices

higher consumer loyalty, increasing response rates, and

such as cell phones and PDAs, and other modern devices

value for collateral. This positive response from end-con-

to send and receive communications. With these issues

sumers will be greater amongst younger generations that

pressuring the printing industry, it is clear that the time

are more technologically astute. However, older genera-

to “reinvent” traditional print has come through a syn-

tions can be oriented to benefit from such technology, as

ergy that combines the benefits of print and electronic

the technology becomes more “user friendly” over time.

communication.

While a “generational gap” may delay adoption by older generations, printers, publishers, and advertisers need to

In response to this decline in print demand, printers have

prepare for future markets rather than remain stagnant

explored opportunities that complement consumers’ reli-

using traditional technology. Interactive print is a strate-

ance on technology. Certain technologies have brought

gic business solution that responds to a changing society

about emerging solutions coined as “interactive print.”

that will carry print into the future. This is a potential

Examples of interactive print include GossRSVP, radio

gateway for printers to break away from their traditional

frequency identification (RFID), and personal uniform

roles as “one-stop shops” and transform into solutions

resource locators (PURLs). This study explored the ques-

providers. Interactive print allows printers to be more

tion: For printers looking to reinvent print, what are the

involved in the customer and product life cycle, offering

Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print

clients services that extend into personalized market-

As a strategic move for its company, Dow Jones &

ing, inventory tracking, security enforcement, purchasing

Company released The Wall Street Journal Interactive

patterns, and information management.

Edition in 1996; at its time, this release was an innovation for the company, as well as the print publishing industry.

The purpose of this study was to explore the extent to

Initially, it was launched as a free site, but several months

which the need for interactive print exists and whether

later, The Wall Street Journal began to charge subscribers.

it will add significant value for printers. It is understood

Nonetheless, “Subscribers totaled over 100,000 within the

that investing in interactive print is expensive, so it is

first year of launch, and reached over 266,000 by the end

important to explore the payoffs printing companies,

of 1998. While many competitors were delivering news

publishers, and advertisers would gain. By the use of

on the Web for free, The Wall Street Journal Interactive

surveys, research, and the views of industry profession-

Edition became the largest paid-subscription site on the

als, this study explored the benefits of technologies used

World Wide Web.” This point proves that the Internet

to make print interactive.

and technological means of transferring information is something consumers want and find worth their money.

In the late 1990’s, the print newspaper industry realized

“ ‘Our proprietary information has value, and we have

the need for change. Revenue from newspaper compa-

the guts to charge,’ said Peter Kann, chief executive offi-

nies are generated partly from subscriptions but mostly

cer of Dow Jones & Company.” (Hillman)

from advertisements. In a desperate attempt to increase revenues, “Local newspapers in general turned to supple-

For The Wall Street Journal, a third category of revenue,

mental advertising flyers and catalogues placed between

transaction fees, emerged as a result of the electronic pub-

the pages of daily and Sunday papers in order to provide

lishing. “Forrester Research predicted that on-line revenue

more dependable cash flow.” (Hillman) Eventually though,

from subscriptions, advertising and transaction fees would

advertising in newspapers began competing with on-line

grow from just over $520 million in 1997 to $8.5 billion

sources (Hillman).

within five years.” (Hillman)

Jeanne Ngo

The Wall Street Journal Interactive Edition served The Wall

at work than at home, to have a higher total value of invest-

Street Journal consumers with an alternative medium to

ments, were more likely to have a home office, and were

access information, as well as access to additional informa-

more likely to live in the eastern United States. Interactive

tion not found in the print editions. Printed editions of the

Journal customers, on the other hand, were more likely to

newspaper became sources of pointers to the Interactive

have children at home, to use the Internet at home than at

Journal. In addition, the company took advantage of the

work, to have a lower total value of investments, to use on-

ability to expand with its resources, by launching Careers.

line brokers and other on-line information, and to travel

wsj.com. This web site served to increase the exposure

internationally for business.” (Hillman)

of classified advertisements found in newspaper, which reflected a successful response from consumers. “Weekly

With the focus constantly on the future, it is important to

advertising sales were relatively stable in 1998, coming off

explore what is on the horizon of print today. Many believe

two relatively strong years of growth. Subscription renewal

that interactive print such as GossRSVP, radio frequency

rates were approximately 75 to 80 percent.” (Hillman)

identification (RFID), and personalized uniform resource locators (PURLs) are where the future success for printers

As a result of the case study of Dow Jones & Company,

lie. It is important to explore and research each of these

interactive print was deemed as a successful move for the

three high potential areas for printers.

company. Certain demographics were derived from the study, which could hold true to the movement of interactive print. Consumers of the Interactive Journal, as opposed

GossRSVP

to the printed version of The Wall Street Journal (WSJ),

GossRSVP, a subsidiary of Goss International Corp

were generally younger and lived more independent, busier

oration, is one of the newer technologies that makes

lifestyles. “Print WSJ customers had a higher average age

print interactive. The system, which has been launched

than Interactive Journal customers and were more likely to

in the United States, is geared towards advertisers of all

be retired. Print customers tended to use the Internet more

sizes to track marketing responses and provide better

Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print

marketing accountability. GossRSVP satisfies the need

has had great success in Japan with cell phone technology

for real time information from a printed piece, which is

initiatives. This software company, NeoMedia, is teaming up

currently unavailable through traditional print (About

with Euro RSCG, a global agency specializing in advertising,

GossRSVP).

digital, marketing services, health care, public relations and corporate communications, to bring this technology that

According to Lisa Cross, the author of “Cell Phone-to-Print/

they call ‘Quode’ to several of their accounts. Quode links a

Web Application,” GossRSVP provides its readers the ability

mobile phone to specific mobile Internet information via a

to use camera phones to take a picture of two-dimensional

picture of a barcode or “smart code,” small printed designs

barcodes within an advertisement. These scans from the

on paper that are links to web sites. The web sites NeoMedia

pages of a magazine or newspaper will then link the user to

link to will provide exclusive offers, opportunities to partake

online domains. If the user does not have the ability to, or

in competitions, or the ability to purchase tickets. The media

does not choose to take a photo, they can also text-message

by which these codes can be acquired include advertise-

Goss, which will then respond with coupons or promotional

ments on posters, leaflets, packages, or in newspapers. Prior

information. This also allows for information tracking for

to being referenced as Quode, this software was referred

the advertisers and publishers who will be able to see the

to as Paperclick and had great success in Japan, where 90

results of their campaigns with accurate, direct feedback

percent of cell phone users have clicked on smart codes to

on response rates. The key to all of these advantages is that

arrive at interactive content. To enable this service, the user

GossRSVP will be involved all along the way in manag-

must download the Quode software. There is conversation

ing the information on their server which ensures that the

now between NeoMedia and cell phone manufacturers to

printer will play a critical role in the process (Cross, 10).

pre-install the software on the devices phone manufacturers produce. Chief executive of RSCG said, “Quode gives us the

Author James Hamilton explores a technology that is simi-

opportunity to make our communications live beyond the

lar to GossRSVP in the article “Euro Snatches Mobile Ad

media in which they appear and facilitates a new level of

Deal.” An interactive print and poster advertising company

consumer engagement for advertising. It represents a great

Jeanne Ngo

opportunity for [Euro RSCG] to make our advertising work

technology helps keep print up to date with their tech

even harder for clients. Harnessing the potential of digital

savvy consumers. A number of subscription packages are

media is a central focus for Euro RSCG.” (Hamilton, 6)

available from GossRSVP; the technology can help in marketing, form personal relationships by way of media, and

In 2001, R.R. Donnelley & Sons, the largest commercial printer, announced a partnership with AirClic, Inc. AirClic develops technology that links barcodes to web mobile

respond to customer needs (Fell).

RFID

devices, and Donnelley became the designated reseller of these barcodes for the directory publishing industry.

“Electronic tag identification information read by radio

Ronald Daly, president of Donnelley’s Telecommunications

frequency, best known as Radio Frequency Identification

unit, claims that: “The benefits of this technology and our

(RFID), is a result of the combination of a substrate with

partnership with AirClic bring us even closer to revolu-

an antenna connected to an integrated circuit empow-

tionizing the way buyers and sellers communicate with

ered by a radio frequency that transmits tag information

each other.” (Bar-code Deal for Directories)

to a receiver.” (Freedman) This is how RFID is described by Graphic Arts Monthly writer Henry Freedman. These

Jason Fell, an author for Folio Magazine, a publication cov-

RFID tags are increasingly being used in the industry to

ering the magazine industry, writes about the GossRSVP

track packaging, and the cheapest way to produce RFID

technology, which was released in 1991. GossRSVP was

antennas are by printing them. By expanding their print-

founded in order to make print interactive, as well as

ing capabilities to include RFID antennas, RFID opens

enhance the value of print. The technology uses mobile

up the doors for current printing companies to expand

device texting functions as an interactive service, allowing

their revenue without hiring or training new employees

consumers to receive promotional information. Consumers

(Freedman).

can either text or take pictures of barcodes created by the

technology. Current consumers, including Questex Media,

Although printing RFID antennas is relatively similar to

Study Breaks, and Teen Ink, claim that this interactive

traditional printing, extra monitoring may be required

Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print

as printable electronic inks cost up to $5,000 a gallon. A

According to Elise Hacking, author of the article “Breaking

popular RFID print manufacturer, Spartanics, Inc., designs

it Down” in Print Professional Magazine, recently noted that

printable electronic screen printing presses around elec-

RFID, among ecommerce and direct mail, is showing the

tronic ink requirements. This allows Spartanics to use their

highest increase in sales within the graphic communication

current screen printing presses to manufacture RFID tags.

industry. Barcodes/RFID had sales figures of $126 million in

RFID tags are manufactured with a relatively simple process;

2008 compared to $8 million in 2007. Although this seems

after tags are printed, electronic components specific to cus-

to be extreme growth, it is thought that the distributors

tomer requirements are added to it to customize RFID tags.

filled out the forms used for this survey differently from one

For existing printers, the market for RFID antenna printing

year to the next. Considering the survey for 2008, Barcodes/

could be a great opportunity to expand into (Freedman).

RFID make up 3.61 percent of the sales within the graphic communication industry (Hacking, 20).

In an article for Graphic Arts Monthly, columnist Lisa Cross states that: “The marriage of digital and conventional print-

At the Association for Computing Machinery (ACM)

ing is no small task,” (Cross) She is referring to the use

International Conference Proceeding Series in Grenoble,

of RFID at the United States Government Printing Office

France, Anne Blayo and Bernard Pineaux presented on

(GPO). The GPO faces the need for increasing security

the potential of RFID within various printing processes.

with documents such as passports. Current Public Printer,

They noted that because of conductive inks or organic

Bob Tapella, who heads the GPO, has submitted plans

polymers, it appears that printing electronic components

integrating e-Passport blanks with RFID chips in order to

like RFID antennas should be an inexpensive, efficient

accommodate the growing demands for more security. This

method for their creation. There is development going on

has evoked a positive response. “Growing demand− last year

for printing RFID tags, and some solutions are already in

24 million passports valued at $350 million, up from $17

existence. With so many different printing processes, there

million the year before− lead the GPO in March to open a

will eventually be a mastered technique for printing all

second secure production facility in Stennis, Mississippi.”

components of an RFID device. The benefits of a low cost,

(Cross)

high efficiency RFID tag would be vast (Blayo, 27). Jeanne Ngo

PURLs

to PURL sites designated for them. New online services, such as PURLs, help maintain mutual relationships with

In Printing News, a journal designed to evaluate the print-

customers allowing the print industry to move forward. In

ing industry trends and news, Joseph Finora, a freelance

the current recession, it is important to grow and preserve

business and marketing writer, wrote an article discussing

business technologies (Finora).

the need for innovative marketing strategies in order to succeed in the current recession. The marketing strategy

Finding the right way to build customer relationships,

noted emphasizes retaining successful clients and using

advertise creatively, and increase revenue to today’s highly

effective marketing tools to do so. Interactive services are

competitive economy is tough, as noted by writer, Jeff

noted as the current marketing trend that needs to be

Brooks, in Florida Trend magazine. However, a number

used in order to provide benefits and features specific to

of 21st century strategies can help businesses reach val-

current customers. Print marketers need to understand

ued customers (Brooks). Companies such as Paramount

new approaches in digital and social media marketing

Performance Marketing use Personalized URLs (PURLs)

(Finora).

in order to personalize web sites for each customer on direct marketing mailing lists. PURLs can be used for

“Internet technologies are high in the area of interest and

a number of interactions, including “generating leads,

printers must use print technologies to enhance existing

updating databases, measuring response or getting cus-

web efforts and not compete against them. Printers can

tomer feedback.” (Brooks) PURLs are used in conjunction

also use the Web to measure the success and failures of

with direct mail, which allows companies to know what

campaigns through the use of technologies such as per-

source drew customers to their personalized web site.

sonalized uniform resource locators (PURLs).” (Finora)

Direct mail is a form of personalized marketing that

PURLs allow printers to target customers who currently

allows the use of unique information to target specific

hold interest and have already responded to wanting to

individuals. Jon Cummins, chief executive officer of

know more information about a product. It is important to

Paramount Performance Marketing, claimed a 65 percent

word emails in a way which will initially guide consumers

response rate as opposed to a one percent or two percent

Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print

response rate from traditional marketing (Brooks) .The

markets. GossRSVP, RFID, and PURL technologies were

cost of PURLs are not too expensive, and they help com-

all created in an effort to move the print industry from a

panies to use web sites, which are a growing means of

traditional printer to a more interactive service provider.

advertisement (Brooks). Other forms of smart marketing

GossRSVP offers unique tracking and advertising services

in this economy include social networking sites such as

to printed materials using barcode technologies that can

Twitter, catering to customers, networking, and coupons

be scanned with mobile devices. GossRSVP technology

and offers (Brooks).Â

is clearly emerging in the print industry, as leading print companies such as R.R. Donnelley have began to invest

According to the article, â&#x20AC;&#x153;PURL: Personalization, Security

in its uses. RFID antennas, considered to be printable

Concernsâ&#x20AC;? within Printing Impressions magazine, per-

electronics, are also emerging in the industry as profit

sonalized URLs (PURL) require a large amount of the

builders for traditional printers; RFID combines the use

recipients personal information. When there are PURL

of digital and conventional printing. PURLs allow tradi-

marketing campaigns it is necessary to allow the recipi-

tional printers to provide services that bring advertisers

ent to follow up outside of the PURL allowing them to

increased control of customer leads and tracking. PURLs

choose not to type in their personal information. It is also

bring consumers of traditional print into the realm of

required to have a large enough server for such marketing,

online media which allows the linkage of print and digital

because spreading out the dispersion of PURLs to the

resources. Cited print industry professionals have pre-

recipient will not prevent several of them from using it

dicted that traditional print is moving into interactive

at the same time during peak viewing hours. If a recipient

print; in response to this, GossRSVP, RFID, and PURL

has problems seeing the page, then the marketer has lost

technologies help to ease the trans tion of print into the

their one chance (PURL).

technological world for consumers.

In order to cater to the technological needs of consumers, The Wall Street Journal launched The Wall Street Journal Interactive in hopes of preparing for their future Jeanne Ngo

References “About GossRSVP.” RSVP. 2009. 01 June 2009 <http://www.gossrsvp.com/about/ default.aspx>. “Bar-code Deal for Directories.” Graphic Arts Monthly. July 2001: 24-24. 7 Mar. 2009. Blayo, Anne, and Bernard Pineaux. “Printing Processes and Their Potential for RFID Printing.” ACM International Conference Proceeding Series. 121 (2005): 27-30. Brooks, Jeff. “Sales Pitch. (Sales & Marketing).” Florida Trend. 1 Mar. 2009: 24-24. Cross, Lisa. “Cell Phone-to-Print/Web Application.” Graphic Arts Monthly. Sept. 2008: 10. Cross, Lisa. “Change Ahead for GPO?” Graphic Arts Monthly. Jan. 2009: 4-4. Fell, Jason. “Expanding the Print-to-Mobile Cache.” Folio Magazine Http://www. foliomag.com/2009/gossrsvp-expanding-print-mobile-cacheE. 3 Mar. 2009. Finora, Joseph. “Market Your Way Out of a Recession.” Printing News. CLXII (2009): 9-9. Factiva. 26 Apr. 2009 <http://global.factiva.com.ezproxy.lib. calpoly.edu:2048/ha/default.aspx>. Freedman, Henry. “Diversify into Printing Electronics.” Graphic Arts Monthly. Dec. 2008: 23-23. Hacking, Elise. “Breaking it Down.” Print Professional. 20 Nov. 2008: 20-30. Hamilton, James. “Euro Snatches Mobile Ad Deal.” Campaign. [Teddington] 8 Dec. 2006: 6. “PURL: Personalization, Security Concerns.” Printing Impressions. [Philadelphia] Nov. 2008, Digital Digest sec.: 46.

Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print

Introduction Imagine the lifestyle of underwater photographers. They are not only photographers; they are scuba divers. They travel the world to exotic places to explore and record their findings of the marine world in the ever-changing medium called seawater. The changing seasons

Color Correction for Underwater Photography

and weather alter available light and underwater visibility. Even under the best of conditions, there is a need to understand the science of light and color and what can be done to compensate for the obstacles that underwater photographers face. This study asks the question: What are the best techniques to achieve optimal color

Vanessa Pateman

reproduction when working in the field of

Spring 2009

through water instead of air, special techniques

underwater photography? When light travels and equipment are necessary in underwater photography because water has very different characteristics than air. An understanding of light is essential for any photographer. To capture the essence of what lies underwater, the photographer must learn to control and/ or manipulate light. Choosing the right dive location is also crucial in order to attain excellent shooting conditions, while visibility and depth are key considerations for color quality underwater.

uman perception of color changes with depth

Alternatively, the colors of sea life can impact the affairs in

underwater which is due to the decrease in avail-

the ocean. For instance, certain fish have evolved to cam-

ability of light. Natural light penetrates the water and is

ouflage their color to match their environment for survival.

often used as an illumination tool in underwater pho-

Color can play an important role in the subsistence of many

tography. The use of artificial light and filters enables

marine species. This study will aid in understanding how an

photographers to restore colors that are otherwise unseen

underwater environment determines the perceived colors.

underwater. The creation of an underwater photograph

An understanding of color can be applied to underwater

is not complete when the dive is finished. There are a

photography to help us better understand the complexities

number of strategies for achieving good color reproduc-

of our oceans. The field of color digital imaging is constantly

tion using digital cameras, computer software and color

improving and underwater photography is one area of the

correction tools. The photographer has many options to

field that exposes its possibilities.

attain the desired quality of color. The purpose of this study is to develop knowledge of

Basics of Color Management

the practice of underwater photography and determine

Color management is an important aspect of the workflow

how color correction leads to the success of an under-

of any underwater photographer. Because color is more

water photograph. Color is one of the photographerâ&#x20AC;&#x2122;s

challenging to capture in seawater, the photographer must

greatest assets. In underwater settings, color affects how

take special care as to how he or she will achieve quality

humans interpret the environment. Our perception of

color in their images. The digital revolution has changed

the effects of water on photography is greatly determined

the way photographers manage color and most underwater

by the color of the subject matter. For example, if the

photographers today are creating images at a time when

water appears to be bright green, an algae bloom may

color management is at its technological best (Edge, 46).

have recently occurred. The presence of iron and rot-

With the use of digital cameras and computer software,

ting vegetation will cause the water to appear somewhat

they are able to achieve color quality more quickly and

brown.

efficiently. Color Correction for Underwater Photography

The goal of color management is to maintain consistent

Light Properties Underwater

color reproduction in the input device, the display device, and the output device (ICC). This means that the color

Underwater photographers work with a denser optical

values in the underwater camera should match color

medium than photographers on land. Successful underwa-

values of the computer display. For prints, the color val-

ter photographers must maintain an understanding of how

ues must also match the output device (e.g. printer). The

light behaves in water in order to achieve quality images.

photographer can make accurate predictions of color

The amount of light underwater is primarily affected by

reproduction with the use of calibration. By calibrating

depth and visibility. Other components that should be

all devices used in the creation of underwater images,

considered are the time of day, the surface conditions,

colors will be more precise and easier to maintain across

and the location of the dive site (Anthoni). Seawater is

all devices.

800 times denser than air and there are more particles in water through which light must penetrate, just as smog or

The International Color Consortium (ICC) was established

smoke affect above ground photography. The weather and

in 1993 with the purpose of creating and maintaining the

the organisms living in the water will also play a role in the

standardization and evolution of a cross-platform color

visibility of the water. The better the visibility, the greater

management system (ICC). Soon came the development

the available light underwater. Underwater photographers

of the ICC profile, enabling colors captured on one device

can use natural light in their images by understanding and

to be reproduced accurately on other devices. Each image

working with these characteristics.

created by a photographer has an ICC profile with key values pertaining to its origins. The profile describes color

The conditions of the surface of the water have an effect on

by referencing a color space - the gamut of colors that can

how the light passes through it. The ripples of rough seas

be produced by the devices used to create the image. Some

reflect most of the sunâ&#x20AC;&#x2122;s rays while flat, calm waters allow

common color spaces are sRGB and Adobe RGB (1998).

greater light penetration (Edge, 8). The angle of the sun

ICC profiles are important references for photographers

also plays a role in the amount of light underwater. When

when managing color in their images.

the sun is directly overhead, most of its rays will penetrate Vanessa Pateman

the water. At times of the day when the sun is closer to the

this loss of color in a variety of ways. The use of strobe

horizon, such as morning or evening, there is a substantial

flashes is a common method for restoring color underwa-

loss of light due to the angle of reflection against the waterâ&#x20AC;&#x2122;s

ter. Color compensating filters can also be beneficial when

surface. This makes for softer, more diffused light, which can

shooting underwater photographs as well. By applying

appeal to some underwater photographers (Edge, 9).

the complement color of the waterâ&#x20AC;&#x2122;s color in the form of a filter to the camera lens, the photographer can recover

The location of the dive site has an effect on the amount of

color that was unseen before. However, filters reduce the

light and color underwater. Tropical, shallow waters appear

amount of light hitting the camera sensor. Although it is

blue to cyan, while deeper oceans tend to have more of a

advisable to manage color while shooting underwater, it

green to blue cast (Anthoni). Protected, tropical reefs are

may be better for color complement filters to be applied in

known to have incredible visibility and vibrant colors, ideal

Adobe Photoshop.

for color capture. Many underwater photographers travel to exotic places like the Red Sea or Caribbean Sea to take

When a strobe is triggered, the subject is illuminated,

advantage of these lighting conditions and an abundance

exposing colors that were unseen before. The underwater

of photogenic sea life.

photographer must consider the position of their strobes in relation to the subject to avoid backscatter. Backscatter

Color Properties Underwater

is caused by suspended particles in the water reflecting into

Underwater photographers are faced with a dramatic loss

on the image display and is a common cause of degrada-

of color the deeper they dive. Seawater absorbs the colors

tion of quality in an underwater image. Editing of digital

of the visible light spectrum at different rates with increased

images becomes easier when the underwater photographer

depth. Reds and oranges are the first to be absorbed, fol-

considers this obstacle while shooting.

the camera lens (Edge, 376). It appears as distracting snow

lowed by yellows, greens and lastly, blues. This absorption of

colors occurs regardless of available light at different depths

Filter photography produces different results than images

(Anthoni). Underwater photographers can compensate for

created with the use of a flash. Filters are more effective

Color Correction for Underwater Photography

in bright conditions so the underwa-

Green water would require a magenta

harm to the original image. The final

ter photographer must consider the

filter. Filters can be used creatively to

color quality of the image depends

location of their dive and the depth at

capture subject matter that would oth-

on the conditions of the underwater

which they plan to shoot (Edge, 94).

erwise be drowned out by backscatter

setting, the photographerâ&#x20AC;&#x2122;s efforts to

Filters do not add color to an image;

from a flash.

capture color underwater during the

they work by reducing unwanted col-

dive, and their efforts while editing

ors in the image. The desired color

If the underwater photographer is

filter is the complementary color of

shooting with strictly available natural

the unwanted color (see below).

light, they will need to consider their positioning relative to the subject, as

with computer software.

Potential Applications

For instance, in water that has a cyan

this may change the amount of color

An understanding of how color is

cast, the underwater photographer

in the image. Also, filters will alter the

absorbed underwater can enable peo-

would benefit from using a red filter.

colors in the frame when using natu-

ple to create tools to decipher what is

ral light. For this reason, filter tools

occurring in our oceans. CoralWatch,

in Adobe Photoshop may be more

for example, is an organization built

beneficial than actual filters on your

on a research project at the University

camera underwater.

of Queensland, Australia that pro-

yellow

green

red

motes the monitoring of coral reefs

cyan

magenta

blue

This color wheel illustrates color complements to aid in the understanding of color-compensating filters.

White balance becomes a challenge

through a â&#x20AC;&#x153;simple, non-invasive

when filters and flashes are used.

method.â&#x20AC;? They have created color

Many cameras have white balance set-

charts that contain varying shades

tings that can be used when shooting

of coral colors to show the level of

underwater. However, many adjust-

degradation of coral due to bleach-

ments can be made to the Raw image

ing. Coral bleaching is due to a loss

in Adobe Photoshop without any

of the algae living within the tissue of

Vanessa Pateman

the coral and causes the coral to turn white with increased

To determine the best method of achieving optimal color

degradation. The colors on the chart vary “in brightness

in underwater photography, the Scientific Method will be

representing different stages of bleaching/recovery, based

used to test how color is perceived and recorded at dif-

on controlled experiments.” By supplying volunteers with

ferent depths while scuba diving. I will also use Elite and

these color charts, CoralWatch believes anyone can be a

Specialized Interviewing to learn what techniques profes-

part of the preservation process of marine ecosystems.

sionals use for underwater imaging and color correction. Acquiring information from an industry professional will

Volunteer divers carry a Coral Health Chart (shown below)

enable me to gain an understanding of the current trends

with them and when they reach a coral while diving, they

and standards in the field of underwater photography. I

are to match the coral’s color to a color on the chart and

will also provide a Content Analysis of the information

record the color code. This helps CoralWatch determine

gathered to solidify my understanding of my findings.

what stage of decay various coral reefs are currently subject

I believe these research methods will determine useful

to. This is a great example of how color management can

techniques regarding color quality in underwater imaging

be used in a practical, beneficial way through accurate

and how to achieve it.

recording of color underwater. I will use the scientific method to determine where and when color dissipates in the depths of the ocean. My tools will be diving equipment, an Olympus 8080 8.0 Megapixel camera, an Olympus underwater housing for the camera, and a RGB/CMYK color chart of my own creation. I will perform the experiment at two locations to illustrate the differences one can get when shooting in different diving conditions. The first dive site is called “Target Rock,” next to the well-known Morro Rock, in Morro Bay, California.

Color Correction for Underwater Photography

The second dive site is called â&#x20AC;&#x153;Pink Ribbonâ&#x20AC;? and is off the

with increased depth when dive conditions are good, blue

shore of Santa Cruz Island, one of the California Channel

maintaining the highest value, then green, then red. It is

Islands. The waters are much deeper there and the clarity

my goal to achieve quantitative values as to where water

of water is much higher than in Morro Bay. I will photo-

absorbs the different colors and where they lose their qual-

graph the color chart at the waterâ&#x20AC;&#x2122;s surface, at 5 feet, 10

ity. I also hypothesize that the visibility in the water will

feet, 15 feet, 20 feet, and 25 feet. I will not use a strobe

play a major role in the success of color reproduction in

light in this experiment in order to show the variations of

underwater photography. The less visibility, the less likely

color underwater with natural light. With a strobe, all color

the colors will be reproduced accurately.

is easy to recover. This experiment will demonstrate the effects of color loss with solely available natural light.

Content Analysis will be the last research method used in this study. It is usually combined with other research

I will create the color chart in Adobe Illustrator with col-

methods to achieve a better understanding of the issue

ored squares of the respective RGB on one side (in RGB

at hand. It aids in quantifying qualitative information

color mode) and CMY on the other side (in CMYK color

acquired in interviews, historical research and descrip-

mode). I will also include 50% gray on both sides. I will

tive research (Levenson, 27). With this method I will

then print the color chart on a wide-format Epson printer,

quantify my findings in the experiment and interview I

laminate the color chart to make it water tight, and attach

conduct. With certain color specification limits in mind,

a leash to avoid losing the chart during the dive.

I will determine what level of color quality is achievable with my experimental method. The interview I plan to

My hypothesis is that particular frequencies of ambient

conduct will assist me in gaining insightful information

light will be attenuated differently. Specifically, I propose

from an individual experienced in the field of underwater

that red and orange will lose their intensity dramatically

photography and color reproduction.

within 10-15 feet of descent. Green and blue colors will be lost as depth increase and will dissipate at a slower rate.

The information obtained from my color chart experiment

I propose that there will be linear attenuation of color

will provide me with quantitative results. I will record the Vanessa Pateman

numerical RGB values of each color used in my experi-

of RGB values within each square, which required me to

ment (Cyan, Magenta, Yellow, Red, Green, Blue, and Gray)

sample different areas of each square.

at each recorded depth. I will then graph these values to illustrate the rate at which each color loses its surface value.

Other considerations that must be noted before draw-

My interview with Karl Shreeves will contribute a qualita-

ing conclusions from my observations are the differences

tive, professional viewpoint to my research. I will evaluate

between the two dive site conditions. The first dive was

the techniques we discussed and compare them to my

done on a clear, early morning in Morro Bay, California

findings. With both of these forms of content analysis, I

with 3-5 feet of visibility. There was much particulate mat-

will be able to determine what methods and techniques

ter in the water and there was somewhat of a current. The

are most effective in achieving optimal color quality in

second dive had much better conditions with 30 feet of vis-

underwater photographs.

ibility and calm waters. The differences in these conditions may account for the differences in color values among the

Color Attenuation Experiment

graphs. After realizing there were variations in the data col-

Before analyzing data from the experiment in which I

photography is a complex issue with many variables.

lection, I have learned that color correction for underwater

tested the rates at which different colors are absorbed by

water, there are many limitations that must be accounted

When observing the graphs I generated from the RBG val-

for. First, I was limited by the fact that I had only JPEG

ues, it must be noted that only six points are plotted on the

images. Although the camera was set to shoot Raw, the

graphs. It is possible that there may be variation between

images were in JPEG form when transferred to my com-

the points. This further demonstrates the potential variabil-

puter. This will limit the amount of adjustments I can make

ity within my data collection. The first graphs I will evaluate

later in Photoshop. Secondly, there was variation in my

will be those of the gray square on my color chart. As my

sampling method of each color in Photoshop. In order to

plan is stated earlier, I photographed the color chart at the

obtain the RGB values of each colored square on my color

surface, 5 feet, 10 feet, 15 feet, 20 feet, and 25 feet under-

chart, I used the color picker tool. I found inconsistencies

water. I chose to shoot the color gray due to its similarity

Color Correction for Underwater Photography

in tone to the other colors in the experiment (Red, Green,

Another compelling observation is that there appear to be

Blue, Cyan, Magenta, and Yellow). If my interview with Karl

some intersections of color values in the graphs of colors

Shreeves was conducted before the experimental dives, I

other than gray on the color chart. Magenta, for example,

would have chosen to shoot white instead of gray after

has some interesting shifts in color value with increased

learning his technique of shooting white for white balance

depth. The graphs below illustrate these intersections. Red

setting. Yet gray is half white so the color attenuation will

holds the highest color value in each of these graphs, which

be similar to that of white. The graphs below demonstrate

does not correspond with my idea that blue will always

the color attenuation for the color gray in the two different

hold the highest value in color attenuation. I assume this

dives.

is because there is much more red in the magenta square on the color chart.

As my hypothesis states, I proposed that there would be

200

linear attenuation of color with increased depth. Of all

Also, it is interesting that the green has higher values than blue throughout the graphs of both dives. I assume this is

100

Dive 2

250

RGB Value

clearly with the color gray yet it is not perfectly linear.

150 RGB Value

the graphs for each color, this seems to be verified most

300

Dive 1

200 150 100 50

Depth (feet)

because the particulate matter in the water at the time of the dive caused the water to be more green.

I believe this crossing over of RGB values in colors other than gray are due to the fact that the particulate and

200

250

Dive 1

Dive 2

200

RGB Value

150

100

Depth (feet)

during the experimental dives (See Appendix A for com-

150

plete set of graphs). The presence of phytoplankton may

100

have affected what colors the camera recorded. If there is

chemical composition of the water varied with depth

enough phytoplankton in the water, it can cause the water 0

Depth (feet)

to appear green. Salinity is another factor in the chemical Vanessa Pateman

composition of the water and can vary with depth. These variables make white

corrections that can be applied using

balance underwater difficult to obtain. Underwater photographers using strobes

Photoshop tools.

have the added challenge of dealing with backscatter when trying to achieve accurate color reproduction. This experiment illustrates the complexity of color capture underwater. I find the graph for the color gray to be the most useful in that it shows how white will attenuate in a near-linear fashion with increased depth. Regarding the other colors used on the color chart, I find that there is no distinct pattern for absorption rates of the color spectrum because of the variation in chemical and physical composition of the water. The most beneficial tool to compensate

The image above is from the first

for these challenges may be the custom white balance tool on the camera. Yet

experimental dive and has no color

white balancing the camera just once may not suffice as my graphs indicate that

correction. It was taken at 25 feet with

the composition of the water varies with depth and visibility. For this reason I

3-5 feet of visibility and natural light.

recommend white balancing before every shot.

I opened the image in Photoshop, added a new layer and opened the

Photoshop Recommendations

Levels tool. Using the gray dropper

Adobe Photoshop offers many options when color correcting underwater

within the color chart at which point

photographs. As the results from my experiment show, it is difficult to have

Photoshop adjusts the colors in the

consistent conditions at varying depths. For this reason, each photograph must

image accordingly in relation to the

be examined individually and different levels of correction will be necessary,

gray value. This seems to enhance

depending on the colors recorded by the camera. Regardless of whether the

the colors and provides an accurate

photographer is using natural light or a strobe, accurate color reproduction

reproduction of the colors at the

underwater is a difficult task. I will provide two images and possible color

given depth and conditions in the

Color Correction for Underwater Photography

tool, I applied it to the gray square

water. The image will maintain a green cast as the water was extremely green at the time of the dive. Another method to achieve accurate color reproduction is the Color Balance tool. I created a new layer in order to preserve the original image and then dialed back in the reds of the mid-tones. I also recovered a small amount of magenta in the highlights; magenta would be the most likely choice as it is the complement to the dominantly green water. This application of color correction provided Color correction using the Levels tool.

similar results to the Levels tool. A combination of tool use can be very useful with certain photographs but in this case I found better results when using one tool over another. My research on the topic of color correction for underwater photography has brought me to the realization that there are a number of variables to consider when working in the medium of seawater instead of air. Depth, visibility, and particulate matter in the water must be assessed when attempting to capture accurate color underwater. Technology is constantly improving and underwater photographers are perpetually acquiring powerful tools that make the task of color reproduction easier with time. However, these photographers must understand that the

Color correction using the Color Balance tool.

Vanessa Pateman

variables change with every click of the shutter so each

primary recommendations to underwater photographers

image must be evaluated individually.

who desire good color reproduction are: use a camera that can shoot in Raw, white balance the camera before

The best techniques to achieve optimal color reproduction

every underwater shot, and become familiar with and

in underwater photography will depend on the variables

use Photoshop color correction tools. The combination

mentioned above and the photographerâ&#x20AC;&#x2122;s desired outcome

of these three tools can lead to accurate color reproduction

of each underwater photograph. My experiment in deter-

and powerful underwater photographs. As photographers

mining the color attenuation of various colors proved to

continue to investigate the issue of color underwater and

be more difficult than I anticipated. The permeability of

as their tools improve in capability, the underwater pho-

seawater caused inconsistency in the rates at which the

tography community will get closer to understanding

water absorbed different colors. My interview with profes-

what methods result in more precise color capture and

sional underwater photographer, Karl Shreeves, taught me

reproduction of color underwater.

that the production of great underwater photographers requires diligence and experimentation. The technology of today enables just about anyone to be an underwater photographer. Yet in order to be one of the best, the photographer must use technology to its full capacity and test its capabilities. Underwater photographers can either strive for luck when it comes to accurate color or work extremely hard to get it right. Those that demand better cameras and better color correction software will be successful. The research I have conducted is by no means a definitive analysis of color underwater. It has taught me that I have only scratched the surface of the issue. At this time my 38

Color Correction for Underwater Photography

Appendix A: Color Attenuation Graphs Dive 1

Dive 2

Dive 1

Red

250

200

150 100

100

Depth (feet)

100

200

150

250

200

RGB Value

300

RGB Value

300

RGB Value

Cyan

Dive 2

Depth (feet)

150 100 50 0

Magenta

Depth (feet)

Green 300

200

150

100

Blue

250

100

200

100 50

Green Red

150

RGB Value

150

Depth (feet)

Blue 150

200

120

150

RGB Value

100

15 Depth (feet)

200

150

Depth (feet)

100

50 0

RGB Value

250

RGB Value

Yellow

Depth (feet)

Vanessa Pateman

Depth (feet)

Appendix B: Color Attenuation Photographs RGB

CMYK

Surface (0 feet)

5 feet

Surface (0 feet)

5 feet

10 feet

15 feet

10 feet

15 feet

20 feet

25 feet

20 feet

25 feet

Color Correction for Underwater Photography

References Anthoni, Dr. J Floor. “Water and Light in Underwater Photography.” Seafriends Marine Conservation and Education Centre. 2007. Retrieve 27 April 2009. <http://www.seafriends.org.nz.> Baker, Nick. “William Thompson – The World’s First Underwater Photographer.” Historical Diving Times. Issue 19 (Summer 1997). Cheng, Eric H. “Underwater Photography - Introduction, Historical Background, Challenges and Opportunities.” Online Encyclopedia Britannica. 11th Edition. Retrieved 27 April 2009. <http://encyclopedia.jrank.org/articles/ pages/1193/Underwater-Photography.html> Edge, Martin. The Underwater Photographer. Third Edition. Oxford: Elsevier Press. 2006. Eisworth, Tawna. Photographer for images used in Color Attenuation Experiment and Photoshop Recommendations. Photographs. Appendix B, Page 21-23. International Color Consortium (ICC). “Introduction to the ICC Profile Format.” International Color Consortium. Retrieved 2 May 2009. <http://color. org/> Levenson, Harvey. Some Ideas About Doing Research in Graphic Communication. The Good Neighbor Press & Services. 2001. National Geographic. “Milestones in Underwater Photography.” National Geographic Online. Retrieved 1 May 2009. <http://photography. nationalgeographic.com/photography/photos/milestones-underwaterphotography/> Shreeves, Karl. Personal Interview. PADI Headquarters. 23 October 2009. Shreeves, Karl. Underwater image of divers and American flag. Photograph. Page 32. <http://karlshreeves.zenfolio.com/> University of Queensland, Australia. CoralWatch. “Project Details.” Retrieved 16 November 2009. <http://www.coralwatch.org/ProjectDetails/default.aspx>

Vanessa Pateman

Proposal The goal of this research project is to survey and contrast three primary in-the-round direct engraving systems available on the market today: Stork Prints, Daetwyler, and Applied Laser Engineering (ALE). The project will ascertain what the capabilities of each of these systems are and how they compare with each

2009 FFTA Rossini Flexographic Scholarship Research

Direct Laser Engraving Systems

other. This research is focused on contrasting the capabilities of each of these systems including the front-end software capabilities driving these systems. In addition to doing individualized research, sample plates will be acquired from each company in order to conduct my own analysis and press runs. Throughout my research I have not only

Tessa Libby

sought out information through the internet and the company’s web sites, but I have also

Advising: Malcolm G. Keif, Ph.D.

been in contact with many representatives from

Fall 2009

son, on the phone, and via e-mail. Once I had

each company. I conducted interviews in percompiled basic information about each system, I focused on receiving sample plates so that I could administer my own analysis of each plate and run each plate on Cal Poly’s Mark Andy 220 Flexographic Press. I was then able to review my analysis results and my sample press sheets in order to personally discover benefits and features of each company’s direct laser engraving system and flexographic plate.

Overview of Process & Workflow

As mentioned, three-dimensional direct laser engraving (DLE) for flexographic plates and sleeves is a technology

n-the-round (ITR) direct engraving has been a dis-

that has been growing rapidly over the past few years. A

cussed idea and possibility for years. And in fact,

main advantage to the use of DLE is the elimination of

low-resolution, low-speed engraving has been around

processing, drying, and light finishing. Not only do the

for decades. However, for high-quality, high-resolution

excluded production steps have the potential of saving

work, direct engraving has not reached such a level of

time within the workflow, leading to less man hours, but

speed performance, until now. Among the interest in

it also eliminates the use of chemicals within processing

direct engraving has not only been the potential for

steps and eliminates other variables and materials includ-

improved productivity, but also improved quality. ITR

ing a film mask and exposures.

sleeves and cylinders offer the potential for much improved impression and total indicated runout.

This technique of making plates and sleeve for flexographic printing was previously difficult to achieve because of the

CO2 lasers, used in most direct engraving systems, have

need to closely control depth and focus but the technology

generally produced coarse results. However, new tech-

is vastly improving. Rather than being an issue of control-

niques for modulating the laser output have allowed finer

ling depth and focus, DLE now ensures controlled depth,

resolutions to be achieved. Additionally, alternate laser

controlled dot height, and controlled below surface dots.

sources have been explored. Further, software enhance-

ments have brought the potential for much better dot

Varying from traditional plate making processes, DLE uses

and shoulder structures, including below surface highlight

a laser to ablate the non-image area and is capable of pro-

dots. Each of the three direct engraving systems involved

ducing both a plate and a sleeve using the same process

in this research offer a unique solution to the question

and machinery. Since this technology is not producing a

of how to make high-quality and efficient engraved plates

traditional ‘negative’ but is instead producing a ‘positive’

for flexographic printing.

3D image by removing ‘non-printing’ areas, resolution still

Direct Laser Engraving Systems

remains important but in a different way than with other

Our competitors use a sealed laser

traditional plate making techniques.

Because there is gas trapped in the system, like with a light bulb, after a period of time, the laser performance begins

Benefits According to Supplier

to decline as the gas and internal optics are degraded and

Stork Prints

to the manufacturer for refurbishment.

ultimately the laser-tube needs to be replaced, or returned

High quality at high speed Due to our own custom-developed laser system, we can

Active 3D RIP

engrave at a higher speed and a higher quality. Our real-

The software, developed here at Stork Prints Austria, allows

time monitoring and active control of the laser lead to

the operator to engrave a PDF, rasterize the PDF, and give

very consistent performance over time.

the file a 3D shape, all on the fly. In fact, we are the only one with CO2 laser engraving who have these capabilities. Our Active 3D RIP is called active because the operator

Lifetime of the system

can set a 3D dot shape for the smallest dot and another

Our SPA-laser system (Stork Prints Austria) works with a

3D dot shape for the bigger dots.

slow-flow laser. This means that there is an external supply (bottle) of laser gas which is attached to the system to pro-

This built-in simulation allows the operator to make set-

vide small amounts of fresh gas into the laser in addition

ting changes and have an idea of what effect the changed

to the used laser gas that is being continuously recycled

parameter will have on the outcome.

through an internal catalytic converter. This design does not require periodic refurbishment of the laser head but can be fully serviced in the field for minimum downtime and maximum performance.

Tessa Libby

Daetwyler Complete Solution We deliver a complete solution: engraving machine + 3D-rip.

ALE Hybrid Flexo We have the option of Hybrid Flexo that makes us a bit unique.

Direct Laser Engraving Systems

Tessa Libby

Table of Key Features how old?

functional resolution

minimum dot/feature

technique to reduce spot size w/o sacrificing focal depth

method for supporting isolated highlight dots

Stork Prints Neos, Helios, Agrios, Morpheus

Since 2003

CO2

1270 dpi for lower linecounts and rough linework (110 lpi). 2032 dpi for fine linework and linecounts (150 lpi). 2540 dpi for extremely fine linework (smaller than 1 pt. txt) and linecounts above 150 lpi.

Because of the below surface application there is no actual minimum dot. This is because smaller elements can be set lower in height above the plate floor than the bigger elements. Therefore, dotgain with smaller elements can be eliminated.

Software allows dot shaping in the 3rd dimension any way desired and the laser has a Gaussian mode to avoid damage to printed elements. Lower power and smaller beam diameter next to the elements that need to be untouched.

3D engraving control gives the ability to shape the support of the dot over an extreme range. It is possible when engraving from an 8-bit TIFF or a PDF image file to define one robust support structure for the 1% dots and a completely different support structure for the 99% dots. The software linearly interpolates the dot values in between those extremes. The 3D on-the-fly RIP is a very powerful tool that allows this sort of opera

Daetwyler Digilais

Since 2003

Fibre At a maximum power of 1000 WATT.

Resolutions from 2540 dpi to 5040 dpi. The minimum resolution of the mechanics is 1μm. The laser spot size is 10 μm.

Can generally produce dots below 40μm. However, this depends on several parameters including depth, undercut, and material.

This is dependant on the laser quality and Fiber lasers deliver the best quality. Additionally, calibration of the engraving depth is determined by engraving defined by grey tone areas

All tonal areas normally have a reduced relief depth.

About 20 years

CO2 or YAG (and Fibre lasers these days). Also use a combination system called Hybrid Flexo.

Resolutions from 1270 - 2540 dpi for Flexo. For some other applications much higher resolution is used, (10,000 dpi for example).

Typically can produce a physical dot of about 10 μm in diameter. However, this is dependant on the laser choice and the material used for engraving.

Use 3D depth scanning technology for depth scann-ing of textured substrates; ALE OmniScan system. The shorter wavelength of Fibre lasers gives a longer depth of field and smaller focus spot size when compared to CO2. In some instances (normally not flexo), can actively track the surface of the cylinder being engraved in order to maintain sharp/ consistent focus.

Control of shoulder profile called shoulder plateau that can help with additional dot support.

ALE

laser source

Direct Laser Engraving Systems

below surface dots

speed of system at normal and at maximum resolution

plate material

plates and sleeves

front end RIP software

Stork Prints Neos, Helios, Agrios, Morpheus

The operator has control over the 3D dotshape. Normally a customer needs less than 0.004".

The speed is dependant on depth of engraving and plate material characteristics . The maximum speed of 2400 rpm and .99 square meters surface-speed. The average fastest system, a 2 beam Agrios can produce about 10.7 sq.ft./hr. Resolution has a minimal effect on the overall throughput but some materials need more power and some need less in order to reach a given relief depth. For materials that need more laser power, such as elastomer or rubber materials, dual-beam systems can be used, which is an option on the Agrios system

Capable of engraving 100% of rubber plate materials and 40% of the polymer materials. Can basically engrave almost any material because a CO2 laser can even cut into metal, glass, etc. The material choice is not dependent on the color of a material, as with YAG and fibre, so a wide range of polymers and rubbers can be engraved. However, not every material will allow the highest quality because of melting-effects or inefficient absorbsion of the laser beam energy.

Both.

Stork's Active 3D RIP with unique software, developed at Stork Prints Austria, allows the operator to engrave PDF on the fly . The software is unique because Stork is the only competitor that has these capabilities with CO2 laser engraving. Again unique to Stork, it is rasterised on the fly and can be given a 3D-shape, also on the fly. The Active 3D RIP is called active because the operator can set a 3D dotshape for the smallest dot and another 3D dotshape for the bigger dots. This built-in simulation allows the operator to make setting changes and have an idea of what effect the changed parameter will have on the outcome.

Daetwyler Digilais

System features "undercut", mainly for highlight dots in which the adjustment is continuous.

Currently capable of reaching 0.5 square meters per hour. The speed is limited by laserpower.

Able to engrave most any material that can be ablated with a laser light wave length of 1060 nm. Currently, EPDM and Silikon materials are commonly used.

Both.

Daetwyler uses FlexoMan software and a specific Digilais RIP. Daetwyler is able to deliver customised software solutions with their technology.

ALE

Capable of using below surface dot techniques. Can also apply an analogue function to taper the surface dots down to about 200 microns below the surface if required.

A typical speed of 1200 rpm at 1270 dpi can be accomplished. However, speed increases to 2000 rpm have been achieved for a high resolution of 2540 dpi at a high speed 16 bit output. For faster processing, multiple laser systems, up to 4 x 500 watt CO2 channels or 4 x 200 watt fibre laser channels can be used.

Both natural and synthetic polymeric materials, including rubber, materials, can be used.

Both.

ALE uses a Harlequin RIP that is not manufactured by ALE. This RIP applies a CT profile to the data that is generated on the fly and is used to control the engraving profile. ALE's own front end can be used to put micro textures within solid areas of print to alter density of ink laydown.

Tessa Libby

Plate Thickness and Relief Plate Thickness (inches) Stork

Daetwyler

ALE

0.0656

0.0683

0.0721

0.0656

0.0683

0.0675

0.0658

0.0679

0.0821

0.0655

0.0679

0.0671

0.0655

0.0681

0.0671

0.0655

0.0676

0.0668

0.0655

0.0684

0.0745

0.0656

0.0681

0.0679

0.0658

0.0681

0.0679

Average

0.0656

0.06807778

0.07033333

All sample direct laser engraved plates were requested to be .067â&#x20AC;? thick. Relief

Stork

Daetwyler

ALE

.0210

0.0225

0.0146

Direct Laser Engraving Systems

Dot Size

100

Stork

Daetwyler

ALE

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100

Stork Dot Size Photos

10%

20%

30%

40%

50%

60%

70%

80%

90%

Direct Laser Engraving Systems

Stork Dot Size

100

No.

100

Pos.

Ref.

Meas.

Diff.

0.0

10.0

13.3

3.4

20.0

21.3

1.3

30.0

28.0

-2.0

40.0

33.9

-6.1

50.0

40.5

-9.5

60.0

48.3

-11.7

70.0

68.0

-2.0

80.0

76.7

-3.3

90.0

86.5

-3.5

100

100.0

99.3

-0.7

Tessa Libby

Daetwyler Dot Size Photos

10%

20%

30%

40%

50%

60%

70%

80%

90%

Direct Laser Engraving Systems

Daetwyler Dot Size

100

No.

Pos.

Ref.

Meas.

Diff.

0.0

10.0

7.51

-2.5

20.0

21.3

1.3

30.0

32.7

-2.7

40.0

36.6

-3.4

50.0

51.8

1.8

60.0

52.4

-7.6

70.0

57.6

-12.4

80.0

79.6

-0.4

90.0

88.3

-1.7

100

100.0

0.0

100

Tessa Libby

ALE Dot Size Photos

10%

20%

30%

40%

50%

60%

70%

80%

90%

Direct Laser Engraving Systems

ALE Dot Size

100

No.

Pos.

Ref.

Meas.

Diff.

0.0

10.0

1.6

-8.4

20.0

10.4

-9.6

30.0

18.3

-11.7

40.0

27.0

-13.0

50.0

40.3

-9.7

60.0

56.8

-3.2

70.0

70.1

0.2

80.0

86.0

6.0

90.0

85.9

-4.1

100

100.0

0.0

100

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Comparative Photos Stork

Direct Laser Engraving Systems

Daetwyler

ALE

Tessa Libby

Analysis Software Information

Direct Laser Engraving Systems

Press Parameters

Notes: Had problem with first ink not

Mark Andy 2200

drying to synthetic paper which caused dot bridging.

Primary use of Unit 4. Used check gauges initially; visual optimization afterwards.

Experienced severe picking with both inks when press speed

Substrate

Spinaker Coating, Prime Scan (Reg. TM) 50 # R-190 Liner, C-122 F Permanent

Stickyback

3M 1015, combination/medium compression tape

Anilox Roll

600 Line Count; 2.05 Actual Volume

Dr. Blade

Allison Systems Corporation, Bevel Blade CX: Bright Carbon Steel; SUP: superhoned

increased. Measured viscosity with #2 Zahn Ideal pH is between 9 and 9.5 (we used pH adjuster to achieve close to ideal).

Ink

CRI (Color Resolutions International) Label Plus Ultra Proc, Black. 7JBWF238810 Viscosity

50.77 seconds

Temp.

20.5째C/68.9째F

9.46

Water Ink Technologies, Inc. Performa G74CPC, Black. XGLO44635, Batch # H2297 Viscosity

51 seconds

Temp.

20.5째C/68.9째F

9.33

Tessa Libby

Interpretations and Conclusions

my written analysis will include, in more detail, the key elements involved in direct laser engraving systems as a

Through the process of completing my research on the

whole, as well as any personal interpretation I discovered

direct laser engraving of plates for flexographic print-

about one specific system over another.

ing technology I have discovered many benefits and key elements that appear to be profitable over traditional flexo-

Common with direct laser engraving systems for flexo-

graphic plate making methods. Also in my research, I have

graphic plates is the incorporation of below surface dots.

determined that the direct laser engraving of these plates

Below surface dots are achieved by the precise control of

by the systems of the three compared suppliers; Stork

several dot-shape parameters rather than a specific ‘level’

Prints, Daetwyler, and ALE, all prove to be comparable in

setting. In fact, the only way to achieve a truly smooth

precision and accuracy. There did not seem to be one plate

vignette to 0% is with the proper incorporation of below

that was far superior to the rest. It seems as though the

surface dot techniques. Having a tonal value ‘setting’ at

determination between the uses of the systems may

which the dots begin to be below the surface virtually

lie more in the specifics that each company is able

guarantees that there will be a hard edge in the vignette

to produce, including plate or sleeve material as well

at that tone value. Additionally, some below surface dot

as sizing and relief. However, I must include that Stork

incorporation, also known as dot lowering or undercut-

does have the most noted reputation in the flexographic

ting is actually inherent in the engraving process. This

market and has made claims of being the leader in direct

is because if the digital dot data is very small, the laser

laser engraving.

power is typically set high enough to naturally take away the surface layer of material. When printing, although it

Nonetheless, as previously stated, my goal in this research is

was difficult to achieve a truly flawless isolated dot, each

simply to explore the possibilities of the systems and com-

system provided comparable results.

pare the advantages. I, in no way, aim to discount the direct

laser engraving system of one supplier, nor do I wish to

Furthermore, since the technology of direct laser engrav-

praise the product of one supplier over another. Therefore,

ing is not producing a ‘negative’ but is instead producing a

Direct Laser Engraving Systems

‘positive’ 3D image by removing ‘non-

typical “2”. However, in the typical “2”,

it is clear that the dots formed by each

printing’ areas, resolution remains

the shoulders supporting the detailed

of the systems are properly supported

important but in a different way than

type are very noticeable, as it should

by an accurately angled shoulder. An

with a film plotter or a mask-ablation

be. This is because the shoulders are

example of this can be seen in the

system. Additionally, engraving a

a vital part in keeping the detailed

Comparative Photos.

‘positive’ image is key when produc-

engraving of the plate material from

ing the proper focal depth. Similar to

damaging due to pressure of the press’

Although direct laser engraving is

sharpening the tip of a pencil with a

cylinders.

a growing technology being used

pocket knife; spot size is not crucial

to produce flexographic plates, tra-

because you are removing material

Similarly, the classification for a

ditional flexographic plate making

from around the outside of the feature

small dot produced with these

elements still must be considered.

you want to leave behind. This also

systems for flexographic plates

For instance, a typical principle in

becomes somewhat more important

includes a steady shoulder with

flexographic printing is that of pro-

with reverses in an image because the

a small vertical top in order to

ducing a ‘negative’ image on the plate.

minimum feature size in a reverse

avoid the isolated dot from bend-

This is because in flexography there is

produced by direct laser engraving of

ing or falling over. In the case the dot

no blanket transfer cylinder as there

a flexographic plate will be smaller

becoming damaged, the print would

is in offset lithography printing.

than what can be produced by tra-

experience severe dot gain and be

Therefore, the ‘negative’ image on the

ditional methods of flexographic

altered from its precisely intended

plate is coated with ink and directly

plate making. The reproduction of

design. In contrast, larger dots are

transferred to the substrate to form

reverses through each of the direct

characterized by a steep shoulder

a ‘positive’ image. Interestingly,

laser engraving systems seemed very

with a big vertical top as the print-

the sample plate produced by the

precise. As seen in the Comparative

able dot so that the surface is able to

Daetwyler Digilais system was a ‘posi-

Photos, the “2” in reverse print was

stay cleaner and flat during printing.

tive’ image. Therefore, when printing,

engraved just as precisely as the

From my visual analysis of the plates,

the intended image was produced in Tessa Libby

reverse. Although proving to be an interesting looking

sent to the pressroom. The plates may then be stripped

print sample, this variation did not affect the analysis of

away and the sleeve bases reused over and over. In addition

either the plate or the press sample. I have determined that

to providing minimal mounting costs and reduced waste

the reason for the variation between the imaging of this

at the press getting the job in register, this method also

plate and the plates produced by Stork and ALE, is based

represents a very sustainable outlook, because the sleeves

upon Daetwyler’s key involvement in gravure printing over

can be reused repeatedly. All of the compared systems of

flexographic printing. The Digilais system provided by

direct laser engraving are capable of producing both plates

Daetwyler is used in the various fields of Gravure engrav-

and sleeves and can be manipulated in such an approach

ing in addition to the engraving of flexographic plates.

to produce a unique and effective feature for any desired

Currently, Daetwyler represents the leading market in

outcome.

gravure printing technologies and is only in the initiatory stages of exploring flexography.

Plate material used for the direct laser engraving is another important consideration because there are wide differences

When producing flexographic plates, the consideration of

in the behavior of various plate materials. With both elas-

making a sleeve instead can almost always be considered.

tomers and polymers, the material itself determines the

Interestingly, it is possible for some direct laser engraving

maximum engraving speed and exactly how ‘fine’ an image

systems, such as Stork, to mount a flat plate material onto

can be engraved into that material. Additionally, polymer

a sleeve, then image and clean the plate on the sleeve and

plate manufacturers are beginning to produce plate mate-

then send the imaged combination to the pressroom. This

rial designed specifically for direct laser engraving.

can be a huge asset. This unique process can provide many

of the benefits of sleeves but at a reduced cost because

Considering all aspects of direct laser engraving, the tech-

continuous designs are not required. Direct laser engrav-

nology itself is extremely innovative. The notion of simply

ing in this fashion, or directly to a sleeve, can completely

engraving an image and rinsing away excess plate material

eliminate precision plate mounting as the sleeves may be

to make a fully functional flexographic plate is truly revo-

‘keyed’ and all colors of the job engraved in register and

lutionary. Additionally, direct laser engraving offers the

Direct Laser Engraving Systems

elimination of, or at least reduction of, film costs as well

Company Contacts

as time-consuming processes such as exposure, washing, and drying. Because of its unique innovation and its high

Stork Prints

cost eliminations and reductions, it is probable that the technology of direct laser engraving will soon overcome

Edward James

the flexographic plate making market and become the

Jan Boerkamp

leading technique used to image flexographic plates.

Anderson & Vreeland: Catherine Whitaker

Thank you

Flexographic Technical Association for granting permission to publish this paper

Justin Green Paul Zeinert Howard Vreeland

Daetwyler Ralph Daetwyler Stephan Br端ning Cornelia Chamley Walter Siegenthaler Ulrike Seier

ALE Brendon Pollard Mo Suri Ed Birch

Tessa Libby

Cal Poly TAGA 2010 OfďŹ cers & Members

TAGA Presidents

Alice Wong

Jeff Bauer

Co-President

Alice is a Graphic Communication senior concentrating in Printing

Jeff is a fourth year Graphic Communication student at Cal Poly and is

and Imaging Management, with the intention of graduating in the Spring

dual-concentrating in Graphics for Packaging, as well as Printing and

of 2010. She is incredibly nervous about that fact, but is excited at the

Imaging Management. He is particularly involved in production team

prospect of working in the Graphic Communication industry. She has

management and also appreciates impressive visual designs and user

been a member of TAGA for three years, and knows it is one of the best

interface experiences.

experiences of her college career, having been exposed to all aspects of planning, designing, and producing a project. On what little spare time she has, Alice enjoys photography and hiking, usually together.

Co-Presidents

TAGA Officers Nathan Ostrout

Dalia Feinholz

Vice President

Secretary

Nathan is a Graphic Communica-

Dalia Feinholz is a third year at

tion senior with a concentration

Cal Poly, with a double concen-

in Graphics for Packaging. He was

tration in Design Reproduction

involved in the production of the

Technology and Graphic Com-

journal as well as helping behind

munication Management.

the scenes to keep the Cal Poly

She loves being involved in

Chapter productive. He looks for-

TAGA for the experience she

ward to next year, continuing to be

has gained and for the amaz-

heavily involved in TAGA and fin-

ing connections she has made

ishing up his time at Cal Poly.

at Cal Poly and in the industry.

Jen Hajar

Kelly Dumas

Treasurer

Fundraising

Jen is a fourth year student at

Kelly is in her third year at Cal

Cal Poly, planning to graduate in

Poly studying graphic commu-

spring. She loves giving tours of

nication and packaging. She

the beautiful campus that Cal Poly

enjoys the learning experience

has to offer, singing, and swim-

that TAGA provides and the pro-

ming in her spare time. She loves

duction process of the journal.

TAGA for the hands-on experi-

She also enjoys being outdoors

ence that it has given her in the

and baking yummy treats.

industry as well as for the connections that she has made by being a part of this organization.

Cal Poly TAGA 2010

John Quaresma

Tessa Pahkamaa

Design

Web Design

John is a fifth year Graphic

Tessa is a fourth year Graphic

Communication student with

a concentration in Design

a dual-concentration in Design

Reproduction Technology. While

Reproduction Technology and Web

at Cal Poly, he has focused his

and Digital Media. She aspires to

studies on design in hopes to

learn as much as she can about the

obtain a career position at a

ever-expanding land of the internet

design studio in the future. John

and how to make it more beautiful.

spends the rest of his time hiking and relaxing on the beach.

Tina Chen

Alicia Juarez

Tina is a fourth year Graphic

As a recent transfer student from

Communication student striving

San Diego, Alicia Juarez is a junior

to be a graphic designer. During

majoring in Graphic Communi-

her free time she enjoys hiking

cation. Although concentrating on

with friends, creating glass art,

digital imaging and reproduction,

and cooking delicious food with

Alicia is experienced in the fields

friends and family. I also love to

of web and media, as well as lay-

travel. TAGA introduced me to

out design. She hopes to continue

many good friends that I hope to

traveling abroad and sharing her

enjoy San Diego with, so I think

enthusiasm for graphic communi-

it will be a great opportunity.

cation with various cultures that she will be privileged to encounter.

OfďŹ cers & Members

TAGA Members Jaimie Garrison A second year at Cal Poly, Jaimie Garrison is focusing in Graphic Communications Management. In addition to TAGA, she enjoys playing tennis and being involved with the Week of Welcome orientation program.

Stephanie Coffaney Stephanie Coffaney is a third year at Cal Poly, pursuing a Web and Digital Media concentration in the Graphic Communication major. In her free time she enjoys dancing and being outdoors. She loves being in TAGA and learning even more about what the industry has to offer.

Caitlin Watt Caitlin is Graphic Communication Junior who enjoys being in TAGA for the social and educational opportunities. After graduation, she plans to explore career options in the graphic arts industry.

Not pictured: Robin Jones, Brendan Lee 70

Cal Poly TAGA 2010

Design & Editing Directors John Quaresma, Tessa Pahkamaa, and Jeff Bauer Multimedia Director Tessa Pahkamaa

Production Committee

Production Director Jeff Bauer Content Editors Alice Wong, Nathan Ostrout, and Kelly Dumas Funding Directors Kelly Dumas and Jen Hajar Photography Director Alice Wong

Production Committee

This journal was produced entirely by students of the TAGA chapter at the Graphic Communication Department at California Polytechnic State University, San Luis Obispo. All design, print production, and overall production work was completed in on-campus facilities.

Design Adobe InDesign, Illustrator, and Photoshop CS4 were used in the design of this journal.

Pre-press Files were prepared for print using the Agfa Apogee Prepress workflow. A Creo Trendsetter was used to produce printing plates for the cover.

Colophon

Printing Printing of the covers was done in-house using the Cal Poly Graphic Communication Department’s Heidelberg Speedmaster CD 74 press. Student TAGA members worked on the press under the guidance of Professor Xiaoying Rong. Printing of the journal’s text was produced on the HP Indigo 3500 located in an additional Graphic Communication Department laboratory. Students in TAGA worked to setup and guide the press during production.

Finishing Press sheets were cut to the proper size using the Polar cutter and the journal was bound using the Wire-O coil method.

Materials Cover Paper: Curious Collection 89# Cover – Iridescents Cryogen White Text Paper: Futura 80# Dull Text

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The entire Cal Poly TAGA chapter would like to recognize the following companies and individuals who have generously supported the production of the 2010 journal.

Cal Poly Graphic Communication Department Dr. Penny Bennett, Michael Blum, Ivan Bradley, Kevin Cooper, Solveg Cooper, Erik Cullins, Nancy Cullins, Lorraine Donegan, Walt Horelick, Dr. Malcolm Keif, Brian P. Lawler,

Acknowledgments

Dr. Harvey Levenson, Ken Macro, Korla McFall, Bob Pinkin, Gordon Rivera, Dr. Xiaoying Rong, Jon Sehmer, Lyndee Sing, Doug Speer, and Vince Uhler

Cal Poly Industrial Technology Department Ritchard G. Cisneros

University Graphic Systems Brandon Lutze, Brittany Wilson, Robin Jones, Amy Decker, Jasper Casey, Jeff Bauer, Vince Uhler, and Ken Macro

Acknowledgements

Sponsors & Supporters

Sponsors and Supporters

Notes: