11 Graphic Communications 229 11.2 Gravure Printing Process
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Printing Technology (Offset, Flexo, Gravure, Screen, Digital, 3D Printing)
Printing Technology (Offset, Flexo, Gravure, Screen, Digital, 3D Printing) (Noncontact Printing ,Commercial Printing, Gravure Printing, Letterpress Printing, Offset Printing, Screen Printing, Offset Lithography, Lanography ,Flexography, Rotogravure, Digital Printing,3D Printing, 3D Printing Machinery, Blanket Cylinder, Plate Cylinder, Impression Cylinder, Web Offset Machines, printing press) Introduction Printing is a process of producing copies of text and pictures. Modern technology is radically changing the way publications are printed, inventoried and distributed. There are a wide variety of technologies that are used to print stuff. The main industrial printing processes are: Offset Lithography, Flexography, Digital Printing (Inkjet & Xerography), Gravure, Screen Printing. 3D printing which is also referred as additive printing technology that enables manufacturers to develop objects using a digital file and variety www.entrepreneurindia.co of printing materials. Global market for 3D printing material includes polymers, metals and ceramics. In addition, 3D printing offers a wide array of applications in various industries, namely consumer products, industrial products, defense & aerospace, automotive, healthcare, education & research and others. In India, the market for printing technology is at its nascent stage however offers huge growth opportunities in the coming years. Digital printing is now taking much more share, particularly in graphics (i.e. non- packaging applications). www.entrepreneurindia.co Digital's share of the whole market doubles in constant value terms from 9.5% to 19.7% and 3D printing market is estimated to garner $8.6 billion in coming years. The print technology in use is also changing. Digital printing is now taking much more share, particularly in graphics (i.e. non-packaging applications). Digital's share of the whole market doubles in constant value terms from 9.5% in 2008 to 19.7% by 2018, when packaging is excluded this share is 23.5% in 2012 to 38.1% by 2018. -
CTE/ROP Computer Graphic Arts San Diego County Office of Education
CTE/ROP Computer Graphic Arts San Diego County Office of Education - Sweetwater Union High School District Pacing Guide/Course Description Course Length: 2 Semesters Classroom Instruction: 180 hours SUHSD Course Number: Grade Level: 10, 11, 12 SDCOE Course Number: SDCOE Total Hours: CBEDS Number/Title: Year of Implementation: Course Pre-requisites: None Articulation (school/credits): None CTE Industry Sector: Arts, Media, and Entertainment Industry Sector CTE Pathway(s): Media and Design Arts Job Titles: Graphic Designers, Desktop Publishers, Multimedia Artists, Multimedia Animators, Computer Programmers, Art Teachers, Drama Teachers, Music Teachers, Painters, Sculptors, Illustrators & Web Developers Credential Information: Preliminary or Clear Full-Time Designated Subjects CTE Teaching Credential in Arts, Media, and Entertainment Industry Sector Required Textbooks: Adobe Creative Suite 5 Design Premium Classroom in a Book by Adobe Press Course Description: This course provides instruction using various software applications, students produce sketches, rough layouts and a comprehensive layout for a printed product. Student demonstrates the application of basic graphic design principles and typography to achieve specific goals through assigned projects. In preparation to meet the state standards through course content, students are introduced to appropriate computer applications through instruction and practice. Working toward understanding of design principles, students produce design examples incorporating balance, emphasis, repetition, unity harmony and color. Students prepare designs demonstrating an understanding of typography and how type communicates. Working from job specifications, including objective, size, copy, color(s), and theme, students prepare thumbnail sketches, a rough layout and comprehensive layout that includes all specifications. The comprehensive layout is prepared using digital technology. Included artwork will be in the form of electronic original illustrations, scanned images and digital photographs. -
Other Printing Methods
FLEXO vs. OTHER PRINTING METHODS Web: www.luminite.com Phone: 888-545-2270 As the printing industry moves forward into 2020 and beyond, let’s take a fresh look at the technology available, how flexo has changed to meet consumer demand, and how 5 other popular printing methods compare. CONTENTS ● A History of Flexo Printing ● How Flexo Printing Works ● How Litho Printing Works ● How Digital Printing Works ● How Gravure Printing Works ● How Offset Printing Works ● What is Screen Printing? ● Corrugated Printing Considerations ● Flexo Hybrid Presses ● Ready to Get Started with Flexo? 2 A History of Flexo Printing The basic process of flexography dates back to the late 19th century. It was not nearly as refined, precise, or versatile as the flexo process today -- and can be best described as a high-tech method of rubber stamping. Printing capabilities were limited to very basic materials and designs, with other printing methods greatly outshining flexo. Over the past few decades flexo technology has continuously evolved. This is largely thanks to the integration of Direct Laser Engraving technology, advancements in image carrier materials, and in press technologies. These innovations, among others, have led to increased quality and precision in flexo products. These technological improvements have positioned flexography at the helm of consumer product and flexible packaging printing. Flexo is growing in popularity in a variety of other industries, too, including medical and pharmaceutical; school, home, and office products; and even publishing. How Flexo Printing Works Flexo typically utilizes an elastomer or polymer image carrier such as sleeves, cylinders, and plates. The image carrier is engraved or imaged to create the design for the final desired product. -
Relief Printing Letterpress Machines
DRAFT SYLLABUS FOR PRESS WORK - I Name of the Course: Diploma in Printing Technology Course Code: Semester: Third Duration: 16 Weeks Maximum Marks: 100 Teaching Scheme Examination Scheme Theory: 3 hrs/week Internal Examination: 20 Tutorial: 1 hr/week Assignment & Attendance: 10 Practical: 6 hrs/week End Semester Exam:70 Credit: 3 Aim: Getting the output through a printing machine is the most important operation for completing the print production. This subject known as Presswork - I is one of the key subject to make a clear and sound knowledge in some of the major print production systems and supplies. This will enable the students to make judgement about the aspect of printing, particularly the selection of a particular process to choose for a specific print production. Objective: The students will be able to (i) understand the basic and clear classification of all kinds of printing processes; (ii) understand the details divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines; (iii) understand the principal mechanism of various letterpress and sheet-fed machines, their constructional differences in the printing unit and operational features; (iv) understanding the various feeding and delivery mechanism in printing machines; (v) appreciate the relational aspects of various materials used in presswork. Pre -Requisite: Elementary knowledge of Basic Printing & Production Contents: Group-A Hrs/unit Marks Unit 1 Relief Printing 10 10 1.1 Classifications of various relief printing machines, their applications and uses, characteristics of the products. 1.2 Details of divisions and subdivisions of letterpress printing machines, their applications and uses, characteristics and identifications of their products- merits and demerits of various letterpress machines General unit wise division of a printing machine. -
Aspects of Flexographic Print Quality and Relationship to Some Printing Parameters
Faculty of Technology and Science Chemical Engineering Johanna Johnson Aspects of Flexographic Print Quality and Relationship to some Printing Parameters DISSERTATION Karlstad University Studies 2008:28 Johanna Johnson Aspects of Flexographic Print Quality and Relationship to some Printing Parameters Karlstad University Studies 2008:28 Johanna Johnson. Aspects of Flexographic Print Quality and Relationship to some Printing Parameters DISSERTATION Karlstad University Studies 2008:28 ISSN 1403-8099 ISBN 978-91-7063-187-0 © The Author Distribution: Faculty of Technology and Science Chemical Engineering 651 88 Karlstad 054-700 10 00 www.kau.se Printed at: Universitetstryckeriet, Karlstad 2008 Abstract Flexographic printing is a common printing method in the packaging field. The printing method is characterized primarily by the flexible printing plate and the low viscosity inks which make it suitable for use on almost any substrate. The object of this study was to obtain further knowledge of some important mechanisms of flexographic printing and how they influence the print quality. The thesis deals with printing primarily on board and liner but also on newsprint with water-borne ink using a full- scale flexographic central impression (CI) printing press. Several printing trials have been performed with a focus on the chemical interaction between the ink and substrate and the physical contact between the ink- covered printing plate and the substrate. Multicolour printing exposes the substrate to water from the water- containing ink. The emphasis was to investigate the relation between print quality and water-uptake of the paper surface with heat and water. Printing trials was carried out on substrates possessing a hydrophobic, and also a rather hydrophilic surface using a regular commercial water-borne ink. -
Embodied Community and Embodied Pedagogy
ZINES, n°2, 2021 MATERIAL MATTERS: EMBODIED COMMUNITY AND EMBODIED PEDAGOGY Kelly MCELROY & Korey JACKSON Oregon State University Libraries and Press [email protected] [email protected] Abstract: In this essay, we outline how materiality can be a tool of critical pedagogy, leading to pleasure, vulnerability, and embodied learning in the classroom. Over the past four years, we have taught an honors colloquium to undergraduate students focused on self-publishing as a means to create social change. As we explore various publishing media, genres, and activist movements with our students, we combine traditional academic activities like scholarly reading and written analysis with informal hands-on craft time. Our students make collages, learn to use the advanced features on a photocopier, and collaborate on hectograph printing among other crafts, all as they begin to put together their own final DIY publication. Students regularly report that the hands-on activities are crucial to their learning, giving them new appreciation for the underground publications they read, through embodied experiences that can’t be replicated with a reading or a quiz. It also builds our community of learners, as we share ideas, borrow glue sticks, and chit-chat as we put our zines together. We will outline how we built and teach this course, placing it within our critical pedagogy – informed by bell hooks, Kevin Kumashiro, and Paulo Freire, among others – and how teaching this course has helped us incorporate embodiment into our other teaching. Keywords: embodied pedagogy, teaching, publishing. 58 Material Matters: Embodied Community and Embodies Pedagogy ZINES, n°2, 2021 INTRODUCTION Alison Piepmeier has argued that, “Zines’ materiality creates College, this course is one of a suite of course offerings community because it creates pleasure, affection, allegiance, and that highlight exploratory discovery and deep dives vulnerability” (2008, 230). -
Glossary of Flexographic Printing Terms
GLOSSARY OF FLEXOGRAPHIC PRINTING TERMS AA: Authors Alterations, changes other than corrections, made by a client after the proofing process has begun. AA's are usually charged to a client as billable time. Abrasion: Process of wearing away the surface of a material by friction. Abrasion marks: Marks on a photographic print or film appearing as streaks or scratches, caused by the condition of the developer. Can be partially removed by swabbing with alcohol. Abrasion resistance: Ability to withstand the effects of repeated rubbing and scuffing. Also called scuff or rub resistance. Abrasion test: A test designed to determine the ability to withstand the effects of rubbing and scuffing. Abrasiveness: That property of a substance that causes it to wear or scratch other surfaces. Absorption: In paper, the property which causes it to take up liquids or vapors in contact with it. In optics, the partial suppression of light through a transparent or translucent material. Acceptance sampling or inspection: The evaluation of a definite lot of material or product that is already in existence to determine its acceptability within quality standards. Accelerate: In flexographic printing, as by the addition of a faster drying solvent or by increasing the temperature or volume of hot air applied to the printed surface. Electrical - To speed rewind shafts during flying splices, and in taking up web slackness. Accordion Fold: Bindery term, two or more parallel folds which open like an accordion. Acetone: A very active solvent used in packaging gravure inks; the fastest drying solvent in the ketone family. Activator: A chemistry used on exposed photographic paper or film emulsion to develop the image. -
Graphic Communication A.A.A. Curriculum Code: 1533 Effective: Fall 2019 – Summer 2024
Graphic Communication A.A.A. Curriculum Code: 1533 Effective: Fall 2019 – Summer 2024 Description A graphic designer is an artist/communicator who creatively and effectively designs informational or promotional materials for output in print, web and/or a variety of mass media situations. Artistic skills related to producing effective visual information are essential for a graphic designer. An understanding of the principles of typography, color theory, computer graphic applications, web design, and pre-press techniques is necessary. Graphic designers are employed by design studios, advertising agencies, printing companies, publishers, newspapers, sign companies, and businesses that generate their own publications. Not all courses in this program transfer to all colleges. Students planning to transfer should see an academic advisor before enrolling in any course. Additional Information Students in this program choose either Graphic Design or Web Design pathway to determine the courses to take each semester. Contact Information Contact the Communication, Media and the Arts Department, Gannon Building, Room 131, telephone number 517-483-1546 or the Academic Advising Department, Gannon Building – StarZone, telephone number 517-483-1904. General Education Core Courses, Recommended Choices (For the full list of options, see General Education Core Courses) • Communication Program of Study Required Courses fulfills this requirement • Global Perspective and Diversity – Select one HUMS 212, Art Hist from the Renaissance, 4 credits / 4 billing hours -
Interior Design 160: GRAPHIC COMMUNICATION for DESIGN
Bellevue Community College Fall 2004 Interior Design 160: GRAPHIC COMMUNICATION FOR DESIGN Class Session: MW 9:30a-12:20p Credit Hours: Five (5) Location: L110 Instructor: Dan Beert Office: L114A Hours: MW 1:30 - 3:30, F 10:30-11:30 and by appointment or email email: [email protected] Phone: (425) 564-4041 COURSE DESCRIPTION This course introduces graphic tools, techniques, and conventions used for effective visual communication in design. Students apply theory as they develop skills in architectural drafting, lettering, and basic rendering and perspective drawing skills. This will be done through readings, lectures, and studio work. Drawings will be assessed for comprehension, layout, neatness, and the overall quality. Students will evaluate and subjectively critique design methods. Prerequisite: ART 110 and 120. COURSE OUTCOMES: Students after successfully completing Graphic Communication I will be able to: 1. Describe the reasons for learning visual communication skills and conventions, and their application to interior design and related professions. 2. Describe the necessary characteristics and relevant conventions for the use of lines and line weights in drawings. 3. Describe the salient characteristics of orthographic, paraline, and perspective drawings, and identify appropriate applications for each drawing type 4. Describe the purpose and characteristics of rendering interior materials and textures by applying basic monochromatic rendering techniques as a way of conveying depth of space and visual interest. 5. Incorporate orthographic, paraline, linear perspective, and freehand perspective drawings into an on- going process of developing three-dimensional visualization skills to aid in the understanding two- dimensional representations of objects and spaces (e.g., by using a three-dimensional drawing to assist in visualizing an object otherwise described with two-dimensional orthographic drawings) After successful completion of Graphic Communication I, student work will: 1. -
Graphic File Preparation for Letterpress Printing ©2016
GRAPHIC FILE PREPARATION FOR LETTERPRESS PRINTING ©2016, Smart Set, Inc. COMMON GRAPHIC FILE FORMATS Vector Formats .ai (Adobe Illustrator) Native Illustrator file format. Best format for importing into Adobe InDesign. Illustrators’s native code is pdf, so saving files in .ai contains the portability of pdf files, but retaining all the editing capabilities of Illustrator. (AI files must be opened in the version of Illustrator that they were created in (or higher). .pdf (Adobe Portable Document Format) A vector format which embeds font and raster graphics within a self-con- tained document that can be viewed and printed (but not edited) in Adobe’s Reader freeware. All pre-press systems are in the process of transitioning from PostScript workflows to PDF workflows. Because of the ability to em- bed all associated fonts and graphics, pdf documents can be generated from most graphics software packages and can be utilized cross-platform and without having all versions of different software packages. Many large printers will now only accept pdf files for output. .eps (Encapsulated PostScript) Before Adobe created the pdf format, PostScript allowed files to be created in a device-independent format, eps files printed on a 300 dpi laser printer came out 300 dpi, the same file printed to an imagesetter would come out at 2540 dpi. PostScript files are straight code files, an Encapsulated PostScript includes a 72 dpi raster preview so that you can see what you’re working with in a layout program such as Quark XPress or InDesign. COMMON GRAPHIC FILE FORMATS Raster Formats .tiff (Tagged Image File Format) Tiffs are binary images best for raster graphics. -
Communication Design: Principles, Methods, and Practice
Communications Title Pages 8/3/04 1:11 PM Page 1 Communication Design CommDesign 00 a 09/03/04 1:47 PM Page ii Communications Title Pages 8/3/04 1:11 PM Page 2 Communication Design Principles, Methods, a ND PRACTICE Jorge Frascara ALLWORTH PRESS NEW YORK CommDesign 00 a 09/03/04 1:47 PM Page iv © 2004 Jorge Frascara All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 08 07 06 05 04 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover design by Derek Bacchus Page design, composition, and typography by Sharp Des!gns, Lansing, MI library of congress cataloging-in-publication data Frascara, Jorge. Communication design : principles, methods, and practice / Jorge Frascara. p. cm. ISBN: 1-58115-365-1 Includes bibliographical references and index. 1. Commercial art. 2. Graphic arts. 3. Visual communication. I. Title. NC997.F695 2004 741.6—dc22 2004018346 Printed in Canada CommDesign 00 a 09/03/04 1:47 PM Page v To my wife, Guillermina Noël CommDesign 00 a 09/03/04 1:47 PM Page vi CommDesign 00 a 09/03/04 1:47 PM Page vii Contents xi Acknowledgments xiii Introduction 1 1 | A Description of the Field 3 Design and Communication 3 The Designer and Other Professionals 4 “Graphic -
The Materiality of Books and TV House of Leaves and the Sopranos in a World of Formless Content and Media Competition
The Materiality of Books and TV House of Leaves and The Sopranos in a World of Formless Content and Media Competition Alexander Starre* In Western societies, the proliferation of ever new forms of digital media has initiated a fierce competition between various narrative media for the time and attention of readers and viewers. Within the context of the increasingly complex media ecology of the contemporary United States, this paper describes the aes- thetic phenomenon of ‘materiality-based metareference’. Building on theories of mediality and metareference, this specific mode is first described with regard to its general forms and effects. Subsequently, two symptomatic media texts are analyzed in an intermedial comparison between literature and television. The novel House of Leaves (2000) by Mark Z. Danielewski constantly investigates the relationship between its narrative and the printed book, while the serial television drama The Sopranos (1999–2007) ties itself in numerous ways to its apparatus. As these examples show, the increased competition between media fosters narratives which foreground their ultimate adhesion to a fixed material form. Intermedial studies of metareference need to address the mediality of representations, nar- rative and otherwise, in order to fully explain the causes and functions of the increased occurrence of metareference in the digital age. 1. Introduction: from book to content (and back?) On September 17, 2009, Google announced its collaboration with On Demand Books (ODB), a company whose product portfolio consists solely of one item: the Espresso Book Machine (EBM). According to the official press release, this machine “can print, bind and trim a single-copy library-quality paperback book complete with a full-color paperback cover” within minutes (“Google” 2009: online).