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Proofs, There Can Be Pects

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Proofs, There Can Be Pects PROOFING PROOF OF WHAT? As digital technology rapidly changes print processes and workflow, it also is redefining the proofing function he topic of proofing isn’t new. ing, any of which have the po- SWOP (Specifications for Web Unlike many other issues of tential to change the outcome Offset Publications) commit- the day, proofing challenges of the final product. tee—along with the publica- didn’t grow out of the digital The good news is that many tion and implementation of its design and prepress revolu- of those variables can be iden- recommendations—have en- tion. Proofing has been an tified and controlled. As a mat- abled the industry to use ana- T issue in the graphic arts in- log proofing methods to suc- dustry for decades. None- cessfully simulate the outcome theless, the introduction of of the print process. The bene- digital production techniques, The market’s fits have included significantly along with some new tech- willingness to reduced costs and cycle time. nologies, has brought unique learn how to That’s not to say that a com- problems and solutions to parison of an analog proof to proofing operations. evaluate a proof the final printed piece wouldn’t In the professional graphic may be the real uncover some accuracy prob- arts, proofing serves two basic lems. But over time, users functions: it allows service issue in accepting have learned to “understand,” providers to confirm, with a a proofing or interpret, what can be ex- certain degree of satisfaction, pected on press based on the that what ultimately will be technology analog proof. In actuality, even delivered is what the client ex- with press proofs, there can be pects. It also has been used as differences in the final run a sort of “insurance” plan—in ter of fact, mastery of some of due to the presses used, setup, case something goes wrong in those variables is what allowed operator skill, etc. the process, the proof can be a our industry to move from The real issue in acceptance basis for further negotiations. press proofs to what are now of a proofing technology prob- But if the proof is approved called analog proofs (i.e., Cro- ably has more to do with the and no problems are encoun- malins, Matchprints, etc.) back market’s willingness to learn tered in production, then all in the 1970s. Standardization how to evaluate a proof (rela- parties involved have incurred of process inks and, subse- tive to the final printed piece), an expense that has no real quently, the creation of the than it does to technological value in the long term. limitations. If there was a way to guar- For example, when Croma- antee that a digital file would By DAVE ZWANG lin was introduced, the indus- process as expected, there Contributing editor and try reacted with skepticism— wouldn’t be a need for proof- consultant specializing in the at best. The group that most ing. Unfortunately, there are application of electronic needed convincing proved to many variables in the processes technology in the graphic be agency and design cus- of design, prepress and print- arts, based in Danbury, CT tomers. Du Pont, which devel- 40 • AMERICAN PRINTER DIGITAL PROOFING OPTIONS Size Company Product Type (inches) Use Substrates Cost RS# Agfa DuoProof Dye-sublimation, Tabloid Draft Paper $18,995 1 thermal wax transfer intermediate/final DuPont Digital Ink-jet 27 x 27 Intermediate/final Three paper stocks (system) $99,000- 2 WaterProof MX6 $125,000 Digital Ink-jet, autofeed 27.1 x 20.4 Intermediate/final Three paper stocks $99,000- 3 WaterProof AX4 $125,000 WaterProof Preview Dye-sublimation 11.8 x 17.5 Draft Paper (system base) $18,999 4 Fargo Pictura 310e Dye-sublimation, 12 x 17.4 Draft/ Paper, transparency, $5,995 5 thermal wax transfer intermediate/final dye-sub receiver sheets Primera Pro Dye-sublimation, 8.5 x 11 Draft/ Paper, transparency, $1,895 6 thermal wax transfer intermediate/final dye-sub receiver sheets Fuji Color-Art Thin-layer 12.2 x 19.6 Intermediate/final Proof paper laminate $35,000 7 First Proof thermal transfer to printing stock First Look Thermal development 8.58 x 11.7 Random Donor and receptor $27,000 8 transfer and papers Imation Rainbow Proofing Dye-sublimination 11.9 X 17.2 Contract proofs Design, commercial, publication $18,500 9 System 2720 bases; adhesive-backed receptors System 2730 Dye-sublimination 12.2 x 18.1 Contract proofs Same as above $19,500 10 System 2740 Dye-sublimination 12.1 x 18.9 Contract proofs Design, commercial & publication $24,500 11 bases; roll-fed transparency material Model 2715 Dye-sublimination 11.9 x 17.4 Preliminary proofs Design base $9,995 12 Kodak Approval Thermal laser/ 13 x 20 Final/contract Receptor/printing stock $195,000 13 shows halftone dots Approval PS Thermal laser/ 13 x 20 Final/contract Receptor/printing stock $165,000 14 (PostScript) shows halftone dots Desktop Color Thermal dye transfer 12.16 x 18 Intermediate Publication and commercial grade $17,995 15 Proofer 9000 Konica EV-JetColor Proofer Ink-jet 13 x 18 Intermediate Various $39,500 16 NewGen ChromaxPro Dye-sublimation 12 x 19.2 Intermediate Specially coated $16,995 17 Systems dye-sub paper Optronics IntelliProof Laser/shows 19.6 x 25 Final/contract Konsensus paper $199,000 18 halftone dots Polaroid DryJet Solid ink-jet 13.5 x 19.3 Intermediate/final Actual printing stocks $35,000 19 Scitex Iris Realist 5015 Ink-jet 21 x 14 Intermediate/final Various $44,500 20 Realist 5030 Ink-jet 21 x 28 Intermediate/final Various $69,000 21 IRIS 3047 Ink-jet 34 x 46.8 Intermediate/final Various $101,200 22 Screen TruRite Laser exposure/shows 20.1 x 24.6 Final/contract Kodak-approved materials/ $299,000 23 (USA) halftone dots printing stock Seiko ColorPoint 820 PS Thermal wax, dye- 8.5 x 11 Draft/ Paper, transparency and specialty $7,999 24 sublimation modes full bleed intermediate/final media such as fabric transfer ColorPoint 830 PS Thermal wax, dye- 11 x 17 Draft/ Same as above $14,999 25 sublimation modes full bleed intermediate/final ColorPoint 835 PS Thermal wax, dye- 12.4 x 19.8 Draft/ Paper (dye-sub and thermal wax) $16,499 26 sublimation modes intermediate/final Shinko ColorStream II DP Dye-sublimination 9.4 x 12.6 Draft/intermediate Dye-sub paper, transparency sheet $7,995 27 ColorStream II DPL Dye-sublimination 12.2 x 18 Draft/intermediate Dye-sub paper, transparency sheet $14,995 28 Tektronix Phaser 440 Dye-sublimation 9.2 x 12.1 Intermediate/final Dye-sub material $7,995 29 Phaser 480x Dye-sublimation 12 x 18 Intermediate/final Dye-sub material $14,995 30 Western DiamondProof-DI Dye-Sublimation 24 x 180 Intermediate/final Paper (system base) $72,000 31 Lithotech oped Cromalin, in response still are important, predictabil- the digital revolution, in which instituted a full-blown mar- ity of the color and how the equipment costs were rising keting campaign aimed at the colors will work together when and margins were shrinking. design and advertising com- printed take center stage. The ink-jet proofer’s introduc- munity. Its goals were to edu- Moving down the produc- tion also wasn’t as well planned cate potential users and as- tion chain, from design into as that of Cromalin. suage any fears the creative prepress, adds requirements In time, better Iris and community had about using for details such as trapping. other ink-jet proofers came to this new technology. Further down the production market. Many dye-sublimation At the same time this was line, the print shop requires color proofers also were intro- going on, printers were being proofing of back-to-front page duced. These product introduc- sold on the reliability of the alignment and bindery con- tions, coupled with some shifts new technology. Once print siderations, such as folding, in process responsibility from buyers started to ask for this creep, etc. the prepress operation up- new proof, its success was al- stream to the designer, fostered most guaranteed. a wider market acceptance of The introduction of digital color digital proofing as a vi- proofing into the mainstream Any reliable able production tool. Still, a has a lot of similarities to Cro- tool that comparison of any of these malin. This time around, how- proofs to the final printed prod- ever, the move comes when encourages uct will show clear differences. our industry still is trying to creators to do Some of the differences may define responsibilities for vari- be more subtle than others, ous operations and stages of more thorough but these proofs—as is true of production—a problem that proofing earlier most proofs—require a cer- didn’t exist back in the 1970s. tain degree of interpretation. Cromalin was targeted at the in the process is That doesn’t make them less prepress area, while digital a positive valuable as production tools, proofing has the potential to especially since they offer be used in many steps of the lower cost proofing, increased whole production process, Color digital proofing has ease of use and quicker turn- from design to pressroom. been around for a while in around. If anything, such so- many different forms. The lutions may be more valuable, black-and-white laser printer given that the true value of There are many different has been around since the proofing is based on catching proofing applications and at early 1980s, and color thermal mistakes before going on press. least as many proofing tools printing dates to the late ’80s.
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