Download This Guide to Halftones

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® What is halftone printing? Halftone is a graphic technique using dots to simulate shading. Newspapers commonly use halftone printing to blend colors, and we use a similar process when screen printing. This technique is used to signicantly reduce order costs by using only one color ink to print photographic or otherwise multi-tonal artwork. There are some examples of art on our website that contain halftones already, and we can use them when recreating your artwork to ensure your screen printed items resemble your original art as closely as possible while The examples above show the various halftone opacities maintaining an aordable price. used. The higher the opacity (density of ink color), the larger dots, and less space between the dots of ink. Halftones can also be used to create the illusion of an Proofed Image additional ink color. For example a red halftone on top of blue ink creates the illusion of a third ink color, purple. While we do our best to show you the most accurate picture proof possible, we cannot recreate halftone eects in our proof images. Please reference these examples to get a better idea of what halftones will look like on your printed product. Proofed Image Screen Printed Image Screen Printed Image This is a perfect example of using two ink colors with halftones to create the illusion of an additional color. In this example, a black halftone is used on top of orange ink, creating the illusion of brown ink. Proofed Image Screen Printed Image.

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Solvent-Based Screen
Technical Data Sheet Nazdar 9600 Series Polyester Screen Ink v 12 EN 9600 Series Screen Ink is designed primarily for printing on untreated polyester films. The ink dries to a film exhibiting good gloss and flexibility with the exception of 9652 Super Opaque Ref: v 11 EN Black, which exhibits a matte, but flexible ink film. 9600 Series may be catalyzed with NB72 Catalyst or NB80 Adhesion Promoter for adhesion to a diverse range of substrates including polyester, some rubber, polycarbonate, melamine plastics, leather and some coated and uncoated metals. When printing 9600 Series on polycarbonate for insert‐mold decorating applications, up to 5% by weight addition of NB72 provides optimum performance. Substrates Maintain ink temperature at 65°‐90°F (18°‐32°C) for optimum print and cure performance. Lower Untreated polyester temperatures increase the ink viscosity, impairing Polyester coated surfaces flow and increasing film thickness. Elevated Some treated or top coated polyester temperatures lower the ink viscosity, reducing films print definition and film thickness. Polycarbonate Substrate recommendations are based on commonly available Pretest to determine optimum printing materials intended for the ink’s specific market when the inks parameters for a particular set of ink, substrate, are processed according to this technical data. While technical screen, press, and curing variables/conditions. information and advice on the use of this product is provided in good faith, the User bears sole responsibility for selecting Nazdar does not recommend inter‐mixing of 9600 Ink the appropriate product for their end‐use requirements. Series with other inks besides the 9600 Series. Reference the ‘Quality Statement’ at the end of this document.
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Conventional Screen Ink Color Chart
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Color Gamut of Halftone Reproduction*
Color Gamut of Halftone Reproduction* Stefan Gustavson†‡ Department of Electrical Engineering, Linkøping University, S-581 83 Linkøping, Sweden Abstract tern then gets attenuated once more by the pattern of ink that resides on the surface, and the finally reflected light Color mixing by a halftoning process, as used for color is the result of these three effects combined: transmis- reproduction in graphic arts and most forms of digital sion through the ink film, diffused reflection from the hardcopy, is neither additive nor subtractive. Halftone substrate, and transmission through the ink film again. color reproduction with a given set of primary colors is The left-hand side of Fig. 2 shows an exploded view of heavily influenced not only by the colorimetric proper- the ink layer and the substrate, with the diffused reflected ties of the full-tone primaries, but also by effects such pattern shown on the substrate. The final viewed image as optical and physical dot gain and the halftone geom- is a view from the top of these two layers, as shown to etry. We demonstrate that such effects not only distort the right in Fig. 2. The dots do not really increase in the transfer characteristics of the process, but also have size, but they have a shadow around the edge that makes an impact on the size of the color gamut. In particular, a them appear larger, and the image is darker than what large dot gain, which is commonly regarded as an un- would have been the case without optical dot gain. wanted distortion, expands the color gamut quite con- siderably.
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Working with Halftones
Making Halftone negatives First convert your document to a bitmap file. When printing on an Epson choose 1440 dpi. When printing to a laser printer choose 1200 dpi. When you get the Option window choose Method -> Halftone Screen. Now choose your halftone screen frequency, which may be around 100 lpi for commercial printing, or for an art project. To reduce the likelihood of a moire pattern, it is best to specify different screen angles for each color. Traditionally these were set at 45º for Cyan, 75º for Magenta, 90º for Yellow and 105º for Black. Notice the darker colors are 30º from each other and yellow is set halfway between Magenta and Black. If you’re outputting a duo or tri tone set each 30º from each other. For dot shape, the ellipse halftone dot is often recommended for screen-printing. The following are from http://www.kevinhaas.com Creating a Halftone Bitmap 1. You will need a grayscale file that is at least 150ppi at the size you will print it. This information can be checked by going to Image > Image Size... in Photoshop. 2. Convert the image into a Bitmap: Go to Image > Mode > Bitmap. Set your Output Resolution to 720 and Method to ‘Halftone’. The Output Resolution should be your lpi x 16, and evenly divisible by your printer’s maximum output resolution. For example, a 35lpi halftone needs an Output Resolution of at least 560, but 720 is the next higher resolution that is the inkjet printer’s resolution of 1440 evenly divided by 2. 3.
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Federal Wage System Glossary of Printing Terms for the 4400 Job Family
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Computer-To-Screen & Film Technologies for Screen Printing
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1 Human Color Vision
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Scanning & Halftones
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Chapter 5 Autocorrelation-Driven Restoration of Scanned Color Halftones
Chapter 5 Autocorrelation-driven restoration of scanned color halftones “An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight... The truly wise person is colorblind.” –Albert Schweitzer Color is experiencing a renaissance in the world of document image understanding. This renewed interest is due, in part, to the ubiquity of inexpensive color scanners on desktops, as well as the availability of cheap disk space and powerful CPUs. Com- pounding this, the proliferation of mass produced color documents, in concert with advances in commodity color scanning technology, creates the expectation that docu- ment understanding systems cope effectively with color. The increasing computation power and storage capacity of desktop workstations at least admits the possibility that color document understanding systems can be built. Color documents, particularly scanned halftone documents, present unique chal- lenges to document understanding systems. Switching to color analysis immediately causes a combinatorial increase in representation alone, and solved problems in the binary or greyscale domain become open issues again. Even the problems of fore- ground/background separation and layout segmentation are affected by uncertainty introduced by color. Indeed, most research on the topic has been limited to attempt- ing to cope with the complexity introduced by color, and researchers have not begun exploiting the potential richness in representation that color offers. Typical approaches to reducing this complexity include color clustering in RGB-space [100, 119], which clus- ters colors that are close in the RGB-cube under the assumption that they are close spatially; adaptive partitioning of RGB-space [43], which adaptively identifies clusters in RGB-space and assigns them a unique label; and chromatic/achromatic color clas- sification [118], which identifies chromatic elements in a document image in order to segment foreground from background.
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HP Indigo Ink Information
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DIGITAL HALFTONE Wayne Weiyi Chen
DIGITAL HALFTONE Wayne Weiyi Chen 1.1. INTRODUCTION The final workflow of any digital photography is to print out the image. This procedure is actually very similar to what the digital display doing: both of them distribute small dots into the space with different size and density to create illusions that there is different color or luminance. Digital Halftone is the method that we use to create a ready-to-print image. The basic idea behind is using different threshold to windowing the image so that the density of dots can be distinguished according to the intensity of grayscale images. In this problem, we will investigate this procedure and implement two categories of different methods. We will briefly introduce these two categories of algorithm and then show their results, compare their performance and give a discussion on that. Figure 1. man.raw Page 1 of 16 1.2. METHODOLOGY 1.2.1. Dithering Matrix The idea of dithering matrix is that instead of introducing noise to the image for thresholding out different density of dots, we generate the threshold matrix with its element fluctuating in a certain range. By doing this, we are able to halftone grayscale images into binary images with different distributions of dots without adding noise. A 2nd order Bayer index matrix is defined as éù02 (8) I2 = êú ëû31 The higher order Bayer index matrix is recursively defined as éù442´´IInn+ I2n = êú (9) ëû4341´IInn+´+ After a Bayer index matrix is generated, we can use it to form a threshold matrix using the formula: Ixy( ,) + 0.5 Txy( ,) =2n ´ 255 N 2 (10) xy,Î-{ 0,1,2,...,2 n 1} where N is the size of the image.
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Altering Grayscale Images to Compensate for Press Fingerprints by Jerry Waite
Altering Grayscale Images to Compensate for Press Fingerprints by Jerry Waite Grayscale images are generally made from black- deformation, describe a method for fingerprinting and-white or color continuous-tone photographs. an individual press, then explain how Adobe Original photographs are digitized using one of a Photoshop can be used to match a grayscale image to number of scanning techniques—ranging from a particular fingerprint. desktop scanners to Kodak PhotoCD equipment— and saved as computer files. Saved digital files can Variables Affecting Tone Range then be opened directly by page layout programs, Compression and Halftone Dot such as Adobe PageMaker or QuarkXPress, placed in Deformation the desired position on a page, and then output to laser printers, imagesetters, platesetters, or digital on- Copy Density Range demand printing equipment. Original continuous tone photographs are com- Unfortunately, grayscale images placed directly into posed of thousands of varying tones ranging from page layout programs will probably look terrible white to black. Each tone can be described in terms when printed on a printing press because such of its density, or darkness.The density value of any images have not been altered to compensate for the tone can be measured numerically using a special effects caused by the printing process. In particular, instrument called a densitometer. White tones are each printing process—indeed each printing mach- not very dark, so they have low density numbers ine—causes two types of changes to the grayscale near zero. Conversely, black tones are very dark, so image: tone range compression and halftone dot they have high density values—2.00, for example.
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