Salt Gain

If a recipe calls for a measuring of salt, very rarely is it ever a good idea to add all of it in the beginning.  Cooking is a delicate process that requires continual attention and tasting along the way.  Adding too much salt to a recipe is an easy way to overpower a dish and unfortunately, you can't take that salt away.

When you cook, you should salt as you go.  If you finish cooking and your dish isn't just right, then you can add salt to achieve the desired taste.  Simply put, salt is much easier to add than to take away.

The same can be said of ink.  Primarily due to dot gain, ink is easier to add than take away.  Dot gain is the phenomenon that is caused by halftone dots increasing in size during the printing process.  A nice, round dot will grow on press as it is transferred to paper and the result can be an average 15% growth of the dot causing the dot to look darker than expected. 

Unfortunately dot gain is unavoidable so printers must compensate by creating curves in prepress that eliminate the effects of dot gain.  Because dot gain is greater in the midtone values (around a 50% tint) and less in the extremes (5-10% tint or 90-100% tint) a tint reduction on a linear curve is needed to lower midtone plate values.  Simply put, you can't just lower the ink densities on press if the midtones are too dark as this would also result in the dark image areas to look light and faded.  So to achieve the optimal printed image it becomes necessary to remove enough dot on the front end to compensate for the dot returning during the printing process.

Customization to the Masses: Digital Web Printing

When you think of digital printing, typically what comes to mind is low quantity, customizable, short turn around and on demand printing. With fixed material and digital per click rates, that idea is that if you want to print highly variable and versioned pieces then you better keep the quantity small or resort to printing offset and creating the variable message through a lasering or inkjet process. If you are making 100-200 variable catalogs or brochures this is perfect, but if you want to produce 100,000-200,000 variable pieces, then this just isn't economical. In high quantity variable scenarios, you print a full color shell or template on a traditional offset web press and take those forms to a high speed laser or inkjet unit to overprint all variable data. You might even create a few different color versions to target varying demographics but you must limit your versioning due to the high make ready and plate change costs associated with offset printing.

Web printing has gone on about its business just like this for years, pumping out high quantity, static materials and digital printing has continued to play the role of the quick turn, low quantity job. Recently though a new technology has surfaced, digital web printing and it literally will forever change how we perceive the role of digital printing.

Marketers recognize the need to create highly customizable marketing materials but the challenge has always been keeping the costs down. With a digital web press, a marketer is easily and affordably able to achieve the goal of printing materials for a large audience and at the same time, making each one of those print pieces completely unique to the end user. It is revolutionary technology that will only grow as people seek out more ways to connect with their target audience in a world that is swarming with advertisements.

Does this suggest the death of commercial offset web printing? Not yet, as there is still a place for the mass production of print where each piece is identical (product catalog, books, coupons, etc.). However, offset web printing has seen a decline in volume over the past few years due to the internet and other electronic and more affordable forms of advertising. If printing is to compete and win against new media, it has to create a unique to user experience and digital web printing is one step in the right direction to print's sustainability.

Proofing

When you make bread, one of the first steps is proofing the yeast. You do this to ensure the yeast is active (or living) and thus will enable the bread to rise. If the yeast is dead, your bread will not rise and the finished product will resemble a rock. To proof yeast you dissolve in warm water (not too hot as yeast dies at 140 degrees), mix with a pinch of sugar and wait a few minutes for the yeast to foam up. If the mixture is foamy, you know your yeast is active and ready to be used. However, if after 5-10 minutes nothing happens, then your yeast is probably a dud.

There are no guarantees with yeast, and you must proof to ensure everything is going to turn out right. The same holds true in printing. When submitting artwork to a printer, they will proof your files to ensure everything is going to print like your intended design. When receiving the proof, it is then YOUR responsibility to make sure everything looks right. I don’t mean to be harsh by putting the blame solely on you if something is wrong with the proof and you don’t catch the mistake, but the reality is that many printers view a signed off proof the same as a contract. Hence the commonly used term “contract proof” that specifies that you think everything is okay to print. Hopefully you have a true partnership with your printer, where they will also look for issues with files and proofs to ensure all is okay. However, not giving a proof the respect it deserves can seriously cost you some big time bucks.

Why do I stress the importance of a proof, or better yet what can go wrong with a proof? Just ask any printer and they can give you a laundry list of potential issues. For example, your document may have missing fonts and images or low-resolution images. Text may not flow properly causing layout issues (Google “prepress reflow”). The color might not look the same as it does on your monitor. Images on the edge of the trim may be missing bleed (additional image needed to ensure the image runs off the edge of the sheet if small printing, binding and trimming variations occur). If you are uncertain of everything you should look for when deciding whether to approve or not, ask your print sales rep, their prepress manager or search the web.

Why do things go wrong with a proof when there was nothing wrong with the files sent to the printer? To put it simply, the printer changes your file. They have to put it in a format that their equipment can read. When this change occurs, ironically known as RIP, formatting related issues can cause unexpected changes (especially with un-preferred file formats). The printer does this because files come in so many different formats and platforms but the plate processors or digital presses can only read the file in one common language. You can save yourself some pain by finding out what types of files the printer prefers to work with and then design your files in those formats. However, even if you design your document in a preferred format, issues can still occur.

In the new age of printing, where every print project started today needed to ship yesterday, it is certainly easy to quickly scan through a proof to get the project into production right away. Working with multiple customers though, I have personally seen and dealt with the pain of what happens when errors are not caught in the proofing process. A circle of blame ensues where the result is everyone loses.

Why Do Print Projects Take So Long To Produce? Part 1: Washing

We have all heard about the dangers of cross contamination and why it is important to wash your hands so frequently when cooking. That isn't the only thing we have to wash though - think about all those fruits and vegetables we cook and eat? With fruits and vegetables, we rinse them with water so we can get any pesticides and herbicides off our food. With meat and poultry, we frequently wash our hands and keep everything away from our raw food to guard against E. coli and salmonella. Also, we wash utensils and plates while we cook to avoid a sink full of dishes that no one wants to tackle after a meal. By the end of your day in the kitchen, if you stop and think about it, you have spent half your time just washing things whether it is food, your hands or the dishes. No wonder so many people skip out on a home cooked meal.

Believe it or not we have to go through the same time consuming process of washing multiple things in a print process that you go through when you're simply cooking a meal in your kitchen. We have to wash our hands to remove potentially dangerous chemicals and to prevent grease and dirt from marking on a plate or a press sheet. We clean the tanks in the image processor to keep sediment from damaging the plates. We clean out toner in a digital press or ink-jet head to ensure a clear image. We wash the blankets on a press to guarantee a high-quality image transfer. In addition to the blankets on a press, we wash the rollers to prevent ink build-up and roller deterioration.

Today, even with technologies such as automatic wash-up devices that take away the need to clean a press by hand, the process can be time consuming and it must be done often enough to produce consistent, high-quality printing. Just like buying paper, washing is always going to be an element of the print process that you just can't get around. So the next time you say to yourself why do print projects take so long to produce, remember washing.

Oil & Water

Have you ever noticed how certain recipes always ask you to pat your poultry or fish down dry after rinsing it with water? We do this exercise but why? The reason for this is because oil and water just don't mix. If you wash a piece of chicken by running it through water and do not dry the chicken before adding oil, the water will repel the oil. If you pat the chicken dry it will be more receptive to absorbing the oil and you will achieve a nice coating.

This same concept, that oil and water do not mix, is the main principle behind offset printing. The poultry in printing would be your plate. Not to be confused with something you put your food on, a plate is a metal sheet that attaches to a cylinder on press.

The plate contains the actual dotted image that will be printed for each color we use (CMYK). The plate’s image area contains chemicals that are highly receptive to oil based inks but naturally repel water. When we attach the plate to the cylinder on the offset press, the plate will rotate and come into contact with dampening rollers (water) and then ink rollers (oil). The water dampens the plate and when this happens the oil receptive image area will repel the water, while the non-image area will receive the water. When the plate comes into contact with the oil based ink, the ink will only adhere to the oil receptive image area and it can not adhere to the non-image area because that part of the plate is coated with water. Because plates do not transfer the cleanest image to a sheet of paper, the inked image is then transferred (or "offset") from the plate to a durable rubber blanket that conforms to the surfaces of all types of paper stocks. The blanket prints the image to the paper completing the process of offset printing.