Putting GRACoL to Work Student Guide version 2.0

GRACoL Training Program development sponsored by Graphic Communications Association Industries of America, Inc. Alexandria, VA

Copyright 1998 Graphic Communications Association

Prepared by:

Miles Southworth 716 346-6978 George Leyda 612 429-3275 E-mail: [email protected] E-mail: [email protected]

1 GRACoL

A set of guidelines that uses a step-by step approach to What is GRACoL? producing a printed job from start to finish. Many persons from different environments are involved in producing commercial printing. It is important that they each understand all the printing requirements as they perform their part of producing each printed reproduction. Communication between them is essential, so that the printed job is correct and meets the customerÕs desires. It is also important that the production costs are kept to a minimum by reducing waste and production time.

All and choices, and prepress Why was GRACoL established? operations must compensate for the final expected printing characteristics for each set of ink, paper and press conditions. Until GRACoL existed, there were no specifications for the many printing conditions found in the commercial offset lithographic industry. Accurate color reproduction has become so important for the printing industry that guidelines have been established for almost all of them.

SWOP (Specifications for Web Offset Publications) is a set of specifications that defines and controls the proofing and printing of magazine pages printed on web offset presses using number 5 groundwood . These are not suitable for uncoated paper or sheet-fed presses.

SNAP (Specifications for Non-Heatset Advertising Printing) is a set of specifications that defines and controls the proofing and printing for newspaper publications printed on web offset presses using uncoated paper. These are not suitable for coated or uncoated paper on sheet-fed presses.

GRACoL (General Requirements and Applications for Commercial offset ) is a set of specifications that defines the expected printing parameters to be used as guidelines for proofing and printing for each type of ink and paper on the presses typically used for each type of paper. These guidelines can be used by all designers, photographers, service providers and prepress personnel when they ask their which conditions will be typical for the type of paper chosen for a job. Then the electronic files can be prepared in such a way that the printer can reproduce the file as expected.

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The GRACoL approach...

¥ Was developed by industry representatives ¥ Is concise and to the point ¥ Identifies the key production requirements ¥ Includes variability warnings ¥ Follows the MTQ approach: Money (within budget) Time (on time delivery), and Quality (with the quality the customer desires)

The approach to the GRACoL document was to get the designers, photographers, customers, print buyers, service providers and printers to agree on the common production steps and workflow that must be done to get something printed that is at the right place, is delivered on time, and meets the customerÕs quality expectations.

This is called MTQ (Money [within budget], Time [on time delivery], and Quality [with the quality the customer desires]). GRACoL guidelines are for... ¥ Planning ¥ Design ¥ Image Capture ¥ Layout ¥ Color proofing ¥ Preflighting ¥ Output (analog and digital) ¥ Presswork ¥ Binding/Finishing

The GRACoL booklet covers the entire production process from beginning to end and includes a Technical Supplement and Glossary.

Your job may only deal with one part of the production puzzle. This document puts all the pieces together in one neat package. It can be used as a guide by anyone involved in the printing process. It also can be used as an educational tool by anyone who has not had any training.

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Project Planning Before beginning, consider the following questions... ¥ What is the project purpose and type? ¥ How much money do I have to spend? ¥ What is the turnaround time until delivery? ¥ What is most appropriate? ¥ What type of should be used? ¥ How many colors will be printed and will varnishes or overcoats be needed? ¥ What type of proofs will be needed? ¥ What binding or finishing will be needed? ¥ What workflow will be used? ¥ What type of artwork will be used?

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Variability warning... Any change of the specifications or schedule dates may add to the cost of the job. Making any change will affect the workflow - it may also delay job delivery!

Prepress After design, prepress is the first production step. During prepress, you should consider how your printer prints and what is the best workflow for your project and your printer. Prepress must be done so that it will work successfully with the spe- cific set of printing conditions that will be used to produce your job.

Production steps in order of performance

Planning Design Typesetting Image capture Page makeup

Finishing Presswork Output Preflighting Proofing

Reverse Engineering Prepress steps must be calibrated for the printing characteristics by starting to optimize in the finishing area and working backwards through the process to job planning.

Finishing Presswork Output Preflighting Proofing

Planning Design Typesetting Image capture Page Makeup

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Prepress operations must be calibrated to work with the printing characteristics. You should...

1. Study your lithographic printing process to determine what those characteristics are. 2. Adjust all prepress steps to work with a given set of printing characteristics. 3. Determine a good workflow to accomplish the jo within budget and cost.

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Printing Process- Logical Flow and Responsibilities

• Type of Printed Piece PRINT BUYER • Budget • Time Constraints

Dictates

1-way

• Paper Type PRINT BUYER with • Layout Customer Service • Bindery • Workflow • Delivery

Dictates

1-way

Customer Service Rep. • Printing Process (or Production) • Prepress procedures • Bindery & Special Procedures

Dictates

1-way

CSR and Technical PROOFING

Dictates

2-way

Technical PRINTING PROCESS

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The Offset Lithographic Process. . . ¥ Prints with halftone dots ¥ Prints with four-color process inks ¥ Prints spot colors, six colors, Hi-Fi colors or special colors as needed ¥ Prints text, graphics, fonts, lines, solids, tints as needed ¥ Prints UV or aqueous coatings and varnishes as needed Control color by controlling the size and color of the dots Process color is usually the most difficult printing variable to control.

¥ Ink amount controls color strength and influences dot size. ¥ To control the ink film thickness, measure the density of the ink solid 100% patch. ¥ The dot sizes are adjusted with the separation software for the print conditions. ¥ For color control on press, measure the printed dot sizes. A color is defined by its. . . ¥ Hue (color) ¥ Saturation (strength) and ¥ Lightness.

An ink color is affected by its. . . ¥ Density ¥ Hue and ¥ Grayness.

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Display printed color graphically with the GATF Color Hexagon

GATF Color Hexagon Press sheet 9746 Y M C K GREEN Press Sheet Density 1.03 1.45 1.35 1.58 Proof Dot Gain 21 22 22 29 Print Contrast 27 36 36 34 YELLOW Hue Error 6 47 21 CYAN Grayness 9 21 15

R G B 2nd Hue 90 59 97 .07 .07 .07

BLUE RED PROOF 9746 Y M C K Sauration Density 0.88 1.43 1.36 1.50 equals Dot Gain 21 21 22 24 MAGENTA Print Contrast 21 35 32 35 Hue Error 8 47 19 Grayness 8 21 14

R G B CIE a*b* Color Space 2nd Hue 103 46 74 Paper density .06 .06 .06 YELLOW +b* Press sheet 9746 Proof 9746 Press sheet 9746 L* a* b* Paper 94.1 -0.0 -0.3 RED Yellow 88.7 -6.5 93.0 Magenta 46.9 72.4 0.3 GREEN Cyan 55.7 -34.7 -48.7 Black 18.4 0.3 0.8 Red 47.3 65.4 45.1 -a* +a* Green 49.9 -61.5 23.0 Blue 24.5 19.3 -42.5 MAGENTA

PROOF 9746 CYAN L* a* b* BLUE Paper 94.8 -0.6 -0.2 Yellow 90.6 -6.2 86.4 Magenta 48.7 68.5 1.9 -b* Cyan 57.8 -35.3 -47.6 Black 21.0 -3.0 1.6 Red 45.0 61.0 42.2 Green 47.0 -57.0 18.6 Blue 18.7 28.0 -43.3

A GATF Color Hexagon showing the cyan, magenta and yellow process colors and the red, green and blue overprint colors.

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GATF Color Hexagon ¥Each process ink and its overprint colors are plotted on the hexagon. ¥The position of an ink from the center represents its strength. ¥The position of an ink around the hexagon represents its hue. ¥A change in any one ink will affect at least three colors. ¥It is desirable to print the largest color gamut possible.

Paper has a significant affect on the appearance of a printed color

When printing process color, the paper reflects the light color to the eye. Paper characteristics that affect the color appearance are: (TS* pg. S25-26) ¥ Smoothness (gloss, matte, textured) ¥ Brightness ¥ Absorptivity ¥ Basis weight (weight of 500 sheets of 25x38) ¥ Color ¥ Opacity ¥ Grain direction *TS means the Technical Supplement of the GRACoL booklet

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Color is reproduced by...... printing cyan, magenta and yellow ink as filters on the paper to absorb some of the light that reflects off the paper back to your eye. ¥ Cyan absorbs red. ¥ Magenta absorbs green. ¥ Yellow absorbs blue.

Red Cyan R G B RG B yellow magenta cyan paper paper

Green Magenta R GB R GB yellow cyan magenta paper paper

Black Yellow R G B R GB cyan magenta yellow yellow paper paper

White Blue R GB RBG cyan magenta paper paper

This illustration shows how color is reproduced subtractively by printing inks on paper.

Your eye is sensitive to red (R), green (G) and blue (B) lights. RGB light is absorbed and modulated by the cyan, magenta and yellow inks printed on the substrate.

Commercial printers use many types of inks, and presses to print products. Most can be classified into one of four types of paper and printing conditions described in GRACoL.

Some printers also print to the SWOP or SNAP specifications.

The GRACoL print characteristic chart displays what you can expect if a printer is printing properly on a given stock with a given ink type and press (TS pg. S24).

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INPUT VARIABLES* OUT PRINT CHARACTERISTICS* PAPER/ LINE PAPER SOLID TOTAL PRINT SUBSTRATE SCREEN TAC DB INK DENSITY DOT GAIN% CONTRAST K C M Y K C M Y K C M Y Grades 1 and 2 175 320% 0.07 1.70 1.40 1.50 1.05 22 20 20 18 40- 35- 35- 30- premium gloss/dull coated 45 40 40 35

Grades 1 and 2 150-175 300-320% 0.09 1.60 1.30 1.40 1.00 24 22 22 20 40- 35- 35- 30- premium matte coated 45 40 40 35

Grades 3 and 5 coated 133 300% 0.14 1.60 1.30 1.40 1.00 26 22 22 20 35- 30- 30- 25- 45 40 40 35 Supercal (SCA, SCB, SCC) 120-133 240-260% 0.17 1.40 1.10 1.15 0.95 28 26 26 24 23 21 21 20

Uncoated offset 110 240-260% 0.17 1.25 1.00 1.12 0.95 28 26 26 24 20 17 16 17

Newsprint 85 240% 0.28 1.05 0.90 0.90 0.85 32 30 30 28 16 13 12 15

Newsprint (Heatset) 100 240% 0.28 1.20 1.08 1.15 0.95 35 32 32 30 16 13 12 15

This chart shows typical print characteristics of a commercial offset litho printer for...

¥ Paper type ¥ Screen ruling lines per inch ¥ Total area coverage (THC) in percent dot ¥ Paper density with blue filter ¥ Solid ink densities ¥ Dot gain percent ¥ Print contrast

As the paper optical quality is reduced, the printable density range is reduced.

As the paper gets darker and more rough, the color saturation is less, but the dot gain increases.

As printing moves from the better grades of paper to the lower cost papers... ¥ The color gamut is reduced. ¥ The brightness is reduced. ¥ The density range is reduced. ¥ Dot gain increases. ¥ The highlights get darker, the middletones get darker, but the shadows get lighter.

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Dot Gain is a significant print variable. Dot gain is. . . ¥ A natural phenomenon relating to an ink, paper and press print characteristic. ¥ Also called tone value increase. There is almost always tone value increase. ¥ The change in size of the halftone dot from that on the film or file to the measured printed dot size. Technically density is measured and dot size is computed. ¥ Both physical and optical. Physical and optical dot gain ¥ The optical dot gain is almost always at least 10% or greater. ¥ Physical dot gain is the actual enlarging of the dot size. ¥ Optical dot gain is the greatest where the dot cir- cumference is largest. This means that the dot gain is greatest in the 50% The illustration shows how the border zone region. is created causing optical dot gain. ¥ The more dots there are, the more the dot gain increases. ¥ Higher screen rulings cause more dot gain. • The size of both are included in the dot area measurement.

Isoconture curves showing different amounts of dot gain

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Contrast for a given set of printing conditions Ideal contrast would be a 45¡straight line from 0 to 3.0 density. Since only maximum densities from 1.4 to 2.0 can be reproduced, printers cannot produce the ideal curve.

C = coated UC = uncoated N = newsprint

Effect of different substrates on density Effect of ink amount on dot gain range using the same ink and press using the same substrate

You must find the ideal print densities to get saturated colors with acceptable dot gain. ¥ Changing the inking levels changes the dot gain. ¥ The more ink that is applied, the more the middletone will fill in. The dot gain will increase.

The left illustration shows typical curves for different levels of inking on an offset press. In the right illustration, the dot gains shown in the left illustration are compensated for by lowering the middletones.

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These curves represent the ideal contrast for each printed density. Adjusting your black-and-white halftones and color separations requires that you set the dot sizes for your combination of paper, ink and press conditions. ¥ Ink densities are adjusted to get optimum saturated color gamuts. ¥ The densities listed in the GRACoL Print Characteristics Chart are what you would expect to see for the average commercial printer for a given type of paper.

Keep in mind that web offset presses gain more than sheetfed presses at the same densities.

The ink densities on a press are first optimized to produce good overprint reds, greens and blues. The press operator adjusts the densities to run at the ÒsweetspotÓ of the press.

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Black and white reproductions Black and white halftones have to be modified for the proper contrast for each set of printing conditions. Just as with color, the highlights, shadows and middletones have to be adjusted for 1) dot size and 2) location in the original based on 1) the printing conditions, 2) the copy densities and 3) the density distributions. Using Adobe Photoshop and the same procedures as for color, the dot sizes are adjusted. You may be able to make a black and white halftone using the same dot percentage settings that you would use for the cyan separation. This will compensate for the different printing conditionsÑink, paper, Solid Ink Density (SID) and dot gain. To increase the detail, donÕt forget to use Unsharp Masking (USM).

The midtone dot size of black and white halftones will have to be adjusted for dif- ferent paper types. Lower quality paper with higher dot gain will require smaller middletone dot sizes.

Press Control 1. The press operator will adjust the press to match the color proof. 2. The press operator will attempt to control the press to keep the color bal- ance and color hues consistent. Since dot gain changes affect the color balance, the press operator will adjust the ink density to compensate for the 150 variables that exist on an offset press.

Remember: The press operator is told to match the color proof.

The press operator should use a color control strip to control the press. ¥This allows him to measure the densities, dot gain, ink trapping, and gray balance. ¥A good indicator that the color balance has changed is when the gray balance is no longer gray. The press operator may not adhere to the densities, if color balance needs to be corrected.

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Color variation may be caused by. . . 1. Ink variables such as tack, viscosity, water pickup, and stability. ¥ An ink that is tacky will not gain as much. ¥ Too much tack will pull the paper surface off and cause picking. ¥ Not enough tack will cause the dots to gain too much.

2. Paper variables such as smoothness, gloss, absorptivity, brightness. ¥ Halftones and color separations must be made specifically for each paper type. ¥ A coated paper usually produces much brighter, more saturated colors with good contrast. ¥ Uncoated papers will print darker with dull colors and lower contrast. ¥ Newsprint will have the lowest brightness, saturation and color gamut.

Before making separations, the separator must know what the printing characteristics will be.

More about press control will be covered later. Color separations for the print conditions People expect to see good color reproductions. ¥ The contrast must be correct. ¥ The color hues must be accurate. ¥ Memory colors must be accurate. ¥ The color balance must look natural. ¥ Gray balance should be accurate and look normal.

Clean and bright is always right Dull and gray is not the way People should never be blue or green

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These three rules are good guiding principles for separators and press operators to follow. The difference between good color and bad color is usually determined in the separations. Separations must be made for the printing specifications.

Another good rule...Accurately reproduce the original

The default settings of the scanner and/or Photoshop application should give a good reproduction. However, the default settings may need to be modified... ¥ To make the reproduction better ¥ If the customer wants changes from the original. you must know what the customer expects the reproduction to look like. ¥ To match the originalÕs characteristics and density distribution. Making the color separation

1. Set the correct resolution (dpi) for the scan of an original. Safe resolution is to scan at twice the screen ruling, times magnification. This will produce two pixels per each halftone dot in both directions. Equation: Scanning resolution = 2 x screen frequency x magnification Examples: 2 x 150 line x 100% = 300 dpi. 2 x 133 line x 200% = 532 dpi. 2. Make a red, green and blue filter (RGB) scan. 3. Adjust contrast either before or after the scan is made. ¥ High-end scanners usually have the operator set the highlight (H) and shadow (S) position to fit the copy requirements before scanning. ¥ Desktop scanners usually require the operator to set the H and S after scanning. ¥ The Scitex SmartScanner automatically sets the H, S and middletone. ¥ If Photoshop is used, the operator must adjust the H, S and middletone after scanning. ¥ Convert the RGB scan to a CMYK file and then apply USM. 4. Calibrate the color correction for the scanner and commercial inks that will be used to print the separation.

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Ideal halftone screen dot sizes for separation films**

Coated paper sheet-fed (GRACoL) Cyan Magenta Yellow Black Total % Dot H5440 M62505022 S 95 83 83 80 341% With GCR or UCR S 77 65 65 95 302% Coated paper web (SWOP) or uncoated paper sheet-fed Cyan Magenta Yellow Black H433 0 M52404018 S 95 83 83 75 336% With GCR or UCR S 75 63 63 95 296% Newsprint paper on web (SNAP) or super calendared Cyan Magenta Yellow Black H322 0 M42303015 S 92 80 80 70 322% With GCR or UCR S 56 44 44 96 240%*

* Some newspapers reduce total printing dot to 240% with increased GCR GCR = gray component replacement UCR = undercolor removal Total % Dot = total percent printing dot in any one place on the separation film negatives ** From Color Separation on the Desktop, by Miles Southworth, 1993, Graphic Arts Publishing, Inc., Livonia, NY pg. 41

The separation dot sizes listed are the optimum default settings. The film or file separation dot sizes listed will produce the correct contrast and gray balance for the paper types listed. To produce a good color reproduction, these dot sizes have to be properly located in each originalÕs highlight, shadow and middletone areas. If done properly, the grays in the picture will be neutral gray and the color balance will be correct.

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Return to a forward workflow—Planning Questions to consider. . . ¥ Who will make up the pages? ¥ Who will furnish the text? ¥ Who will do the image capture? ¥ Who will place images in the pages? ¥ What color proofing will be used? ¥ Who will make the color proofs? ¥ Will the scans be random proofed before inserting? ¥ Who will make the corrections? ¥ Who will do the trapping? ¥ Who will do the preflighting? ¥ Who will furnish the specifications to the printer? Design Questions to consider. . . ¥ Will a digital or analog layout be used? ¥ What kind of fonts will be used? ¥ What type of artwork will be furnished? ¥ Do you have copyright permissions? ¥ Will there be bleeds? ¥ How does the binding affect the layout? ¥ Are there some efficiencies that can be gained with a specific layout or design? Variability warnings . . . ¥ Cheap or TrueType fonts can cause problems on output. ¥ Reverse type should never be less than 6 point. ¥ Hairlines must be specified, not default. ¥ Specify special colors with color fan books such as Pantone or TruMatch. ¥ Specify a color by the swatch book dot percentage, not by how it appears on the monitor. 19 GRACoL

Image capture Before capturing the image, consider. . . ¥ Which scanner is best suited to the job. ¥ What resolution should be used to scan separations, line work and art? ¥ Will digital photography be used? ¥ Adjusting the scans for the print characteristics. ¥ Calibrating the monitor to represent the print characteristics. ¥ Adjusting the scans for the customerÕs desires and copy characteristics. ¥ Has someone fine-tuned the color correction for the ink to be used? ¥ Has someone adjusted the USM for optimum sharpness for each original? ¥ Do images have to be resized, flipped or rotated in Photoshop? ¥ Who will place the images in the page? ¥ Who will OK the color proofs? ¥ Who will make corrections and reposition the corrected images in the page. ¥ Will Open Picture Interchange (OPI) or Automatic Picture Replacement (APR) be used? ¥ How will you get the digital files to and from the printer? ¥ How and who will archive the files? Page layout Before laying out the page, consider. . . ¥ Can your page layout program cross platforms? It is best not to mix platforms. ¥ Will your file print? ¥ Preflighting the files before sending. ¥ Naming files correctly. ¥ Using APR and OPI. ¥ Using CMYK, not RGB. ¥ Are the fonts correct? ¥ Trapping is best when done by the printer. ¥ Imposing pages is best done by the printer.

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● Which file format is best?

● Raster

● Vector ● Line Work (LW) ● Continuous Tone (CT) ● EPS (Encapsulated Postscript) ● JPEG (Joint Photography Expert Group) ● Native ● TIFF (Tagged Image File Format) ● TIFF/IT or PDF (Portable Document Format) ● GCAÕs Electronic Mechanical Specifications (EMS) Color proofing A color proof is made to prove that the separations are made correctly. ¥ It is an optical illusion of how the press will print. ¥ An analog proof is exposed from film and usually made on a paper sub- strate. ¥ A digital proof is made directly from the file information on a paper substrate. ¥ SWOP¨ is considered the official USA proofing standard. ¥ Commercial inks often have cleaner hues than the SWOP¨ inks. Because a SWOP proof is related to , the industry may eventually develop commercial litho proofing specifications.

Before making the color proof, consider these questions. . . ¥ What types of color proofs should be used? ¥ Will everyone accept a digital proof? ¥ Which proof will be used for the contract proof? ¥ Will a position proof be needed? ¥ Will the digital proof be a halftone and made with same RIP as the output? ¥ Has the color proof been calibrated to match the printerÕs conditions? ¥ Will your color proof have color control patches on it? ¥ Are you viewing color using 5000K lighting? ¥ Who has authority to OK the color proofs? ¥ Are all proofs labeled by the brand name and job name? ¥ Are dots required on a proof? ¥ How do you know that remote proofers are calibrated?

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¥ Do the proofs being sent to remote sites contain the calibration and process control information? ¥ Have you calibrated your monitor? ¥ Are you using your monitor under subdued lighting conditions? ¥ Are spot color proofs accomplished with an overlay color? Preflighting Before preflighting files, have you. . . ¥ Considered how you will be delivering your files? ¥ Supplied all the files and fonts? ¥ Supplied original source files? ¥ Supplied your fonts? ¥ Converted from RGB to CMYK? ¥ Made your files bleed, if necessary? ¥ Labeled everything on the disks, art and envelopes? Output to film or plates Before outputting files to film or plates, consider these questions. . . ¥ Are all the files available for output? ¥ Has the job been preflighted? ¥ Have the files been trapped by the printer? ¥ Will there be random pages or imposed pages? ¥ Has the job been imposed by the printer? ¥ Will the job be negative or positive? ¥ Analog negative plates will gain dot size while positive plates will sharpen dot size. ¥ CTP (Computer-to-Plate) plates usually print with less dot gain. ¥ Will the plates be saved for reruns? ¥ Have the RIPped files been saved and archived? ¥ Will you produce film or go CTP?

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Presswork Before taking the job to press, consider these questions. . . ¥ Have your specified all details, such as paper and ink types? ¥ Have you specified special colors, graphic elements and bleeds? ¥ Have you specified number of copies and delivery date? ¥ Have you given your printer a folding dummy? ¥ Does your printer have to furnish a position proof (blueline)? ¥ Have you furnished a color proof to the press operator? ¥ Have you determined who will do the press OK? ¥ Have you determined when the press OK will be needed? ¥ Have you instructed the press operator to match the proof? ¥ Are any product matches required? ¥ Are there any special delivery or running instructions? ¥ Will samples be required by the customer? ¥ How many samples should be taken and saved? ¥ Will an SPC report on color control be required? ¥ What press control strip will be used? ¥ Will a densitometer be used for color control? ¥ Have special colors been identified and swatches furnished? ¥ How should the job be sent to the bindery? ¥ Will an overprint varnish, aqueous or UV coating be required? ¥ Are special inks needed? ¥ Does your printer know how to contact you or an alternate person?

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Color control on press The printer should. . . ¥ Provide color control bars. ¥ Provide a densitometer to measure the control bars. ¥ Consider using scanning densitometers to automate color control. A scanning densitometer can plot a control chart to show run consistency. Eventually the industry will have closed-loop color control ¥ Make sure each press has a standard 5000K viewing area with a neutral gray surround and no stray ambient light illuminating the press sheet.

The press operator should . . . ¥ Match the press to the color proof. ¥ Keep all the printed press sheets identical. ¥ Keep the color hues, balance, contrast and color saturation consistent. ¥ Use a combination of visual and measured control techniques. ¥ Use color control bars. ¥ Use a densitometer to measure the control bars. ¥ Measure SID, dot gain, trapping, print contrast. It is common to find press operators varying the SID to maintain color consistency. ¥ Use gray balance patches to indicate when something is going wrong. ¥ Compensate for variations in dot gain and trapping by varying ink strengths. ¥ Hold register to within one row of dots or better position accuracy. ¥ Pull samples at regular intervals and keep samples for the customer. ¥ Mark the samples by counter, date, time and press. ¥ View samples using a 5000K viewing area with no ambient light illuminating the press sheet.

24 GRACoL copy of the quiz with correct answers marked. 1. Complete the quiz. 2. Turn in your quiz to be graded and collect a new 3. Review the quiz answers. Questions and Answers

25 GRACoL References

Demo supplies ¥ ColorChecker by Macbeth ¥ Color control strip samples ¥ Color Quiz, Flint Ink Corporation ¥ Color Separation on the Desktop, Miles Southworth, Graphic Arts Publishing Inc., {book} Electronic Mechanicals Specifications, 2nd ed. (EMS), GCA, {booklet} ¥ GRACoL Print Characteristics, {wall chart} ¥ GCA/GATF Proof Comparator ¥ A Gray scale ¥ Introduction to Color Bars, Peter Brehm, GCA, {book} ¥ Introduction to Densitometry, Peter Brehm, GCA, {book} ¥ L*a*b* -Ref, GCA ¥ Pocket Guide to Color Reproduction, Miles Southworth, Graphic Arts Publishing, Inc., {book} ¥ T-T-Ref, GCA ¥ TruMatch Fan Guide

References ¥ A Guide to Color Separation, AGFA, 1995 ¥ Color Separation on the Desktop, Miles Southworth, 1994, Graphic Arts Publishing, Inc. ¥ ÒDigital Color Proofing Works,Ó Ink on Paper, Graphic Arts Publishing, Inc. ¥ Graphically Speaking: An Illustrated Guide to the Working Language of Design and Printing, Mark Beach, 1992, GCA ¥ Introduction to Color Bars, Peter Brehm, 1996, GCA ¥ Introduction to Densitometry, Peter Brehm, 1992, GCA ¥ Pocket Guide to Color Reproduction, Miles Southworth, 1995, Graphic Arts Publishing, Inc. ¥ Specifications for Newspaper Production (SNAP), SNAP, Inc. ¥ Specifications for Web Offset Publications (SWOP), SWOP, Inc. ¥ Troubleshooter, A complete gued to blanket problems, causes and solutions, Reeves ¥ Trouble Shooting Guide for Sheetfed Offset Printers, Flint Inc, Corp. ¥ Trouble Shooting Guide for Waterless Sheetfed & Web Offset, SunChemica

26 GRACoL The GRACoL Task Force developed a one-day seminar, ideal for print buyers, designers, and corporate graphics professionals, entitled, Putting GRACoL to Work, and in the course of eight months over 500 professionals from around the USA and Canada attended the programs - and their evaluations were great!

INTERESTED IN BRINGING Mr. Tim Dalton Mr. Kurt Klein Dalton Print Consulting Design Implementation A CERTIFIED INSTRUCTOR 8 Millington Ave. 4015 NE Alameda TO YOUR COMPANY OR Hewitt, NJ O7421 Portland, OR 97212 LOCAL MEETING? Phone: 973-657-9750 Phone: 503-282-2148 These instructors have been Mr. Kevin Donley Mr. Bruce Lanzerotti certified in 1997 and are Grand River Printing & Imaging Twin Willows Publishing teaching GRACoL programs 22153 Telegraph Road P.O. Box 1175 all across North America: Southfield, MI 48034 Wheaton, IL 60189-1175 Phone: 248-356-1920 Phone: 630-510-9676 Mr. Jerry Adams AGFA Ms. Jill Fuhrmann Mr. William Lavelle 3900 Menger Road JEF Color Consulting TV Guide San Antonio, TX 78259 4 Fieldstone Drive 100 Matsonsford Road Phone: 210-497-7117 Lebanon, NJ 08833 Radnor, PA 19088 Phone: 908-236-7258 Phone: 610-293-8541 Mr. Bob Beaverson Ferris State University Mr. Russ Hansen Mr. George Leyda 511 Ridgeview Drive Hansen Printing Company ColorInfo, Inc. Big Rapids, MI 49307 9745 Industrial Drive 8533 105th St. North Phone: 616-592-2908 Bridgeview, IL 60455 Mahtomedi, MN 55115 Phone: 708-599-1500 Phone: 612-429-3275 Ms. Sheila Birkner BD ÔZines Inc. Mr. Chip Harding Mr. Dave Olson 1608 Dunwich Drive Liberty, MO 64068 Harper House Didde Web Press Phone: 816-792-3529 904 South Ervay 1200 Graphic Arts Road Dallas, TX 75201 Emporia, KS, 66801 Mr. Gene Coleman Phone: 214-744-4646 Phone: 316-342-4740 JNR Press, Inc. 162 Northfield Road Mr. Paul S. Hinch Mr. James Rockne Thackner Northfield, IL 60093 US Government Printing Office Vincennes University Phone: 847-446-8884 732 N Capitol St. NW 1002 North First Street Washington, DC 20401 Vincennes, IN 47591 Phone: 202-512-0767 Phone: 812-888-4542

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Mr. Will Romano Mr. Don Schmitz Mr. Miles F. Southworth Macomb Community College Kramer Printing Graphic Arts Publishing 14500 E. 12 mile Rd. 5515 Catfish Court 3100 Bronson Hill Rd Warren, MI 48093 Waunakee, WI 53597 Livonia, NY 14487-9716 Phone: 810-445-7434 Phone: 608-849-1984 Phone: 716-346-2776

Mr. Kurt Ruppel Mr. David Sours Mr. Jerry Waite Instant Web, Inc. Pittsburg State University University of Houston 1001 Park Road 1701 S. Broadway 4800 Calhoun Rd. Chanhassen, MN 55317 Pittsburg, PA 66762 Houston, TX 77204 Phone: 612-470-3239 Phone: 316-235-4424 Phone: 713-743-4089

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