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Printing

Printing. Origin of Printing. Invented by Chinese c.1000 AD Entire page printed at once wood cuts metal type Reinvented in Europe, Johannes Gutenburg Entire page printed at once movable type, could ‘reset’ the plate. Traditional Printing Processes. Intaglio Letter press / Relief

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Printing

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  1. Printing Chester F. Carlson Center for Imaging Science

  2. Origin of Printing • Invented by Chinese c.1000 AD • Entire page printed at once • wood cuts • metal type • Reinvented in Europe, Johannes Gutenburg • Entire page printed at once • movable type, could ‘reset’ the plate Chester F. Carlson Center for Imaging Science

  3. Traditional Printing Processes • Intaglio • Letter press / Relief • Silk screen / Porous / Stencil process • Lithography / Planographic Chester F. Carlson Center for Imaging Science

  4. Lithography/Planographic Process • Image and non-image areas are on the same plane. • Difference: Receptivity of ink • Image areas accept ink • Non-image areas repel ink • The plate image is the same as the print. Plate repels ink Lithography Absorbs ink for copying Chester F. Carlson Center for Imaging Science

  5. Intaglio Printing • The image is etched or depressed into the plate as small wells, which contain ink. • Non-image areas are the surface of the plate. • The plate image is the reverse of the final print. plate final print Chester F. Carlson Center for Imaging Science

  6. Letter/Relief Press • The image area is raised and inked. • The non-image area is depressed. • The plate image is the reverse of the final print. plate final print Chester F. Carlson Center for Imaging Science

  7. Silk Screen/Porous/Stencil Process T-Shirt • Image areas are porous allowing ink to pass through. • Non-image areas are non porous. • Metal, nylon, silk screen, or fibrous material is used. • The plate image is the same as the print. Ink Screen Ink goes through Screen Ink does not go through Chester F. Carlson Center for Imaging Science

  8. color no color ink no ink image no image Binary Printing • The traditional printing processes described maintain only two tones: All printing methods from this point on, unless otherwise noted, are binary. Chester F. Carlson Center for Imaging Science

  9. Binary Printing • How do printers produces gray tones between the traditional ink and no-ink areas without many gray inks? • Challenge: Find a way to print continuous tone images: Chester F. Carlson Center for Imaging Science

  10. The Halftone Idea • Make a grayscale … with discrete levels of gray. Chester F. Carlson Center for Imaging Science

  11. The Halftone Idea • Early artists used the Halftone Idea and alternatives to make gray with dots or lines: • Stippling, lithography, mezzotint, etc. A work by Albrecht Dürer employs both lines and dots. Chester F. Carlson Center for Imaging Science

  12. The Halftone Idea • Levels of Gray • Decrease the amount of black concentrated in an area to make it look lighter: • spaced lines and dots • Increase the area covered in black to darken it: • condensed lines and dots Chester F. Carlson Center for Imaging Science

  13. The Halftone Idea • The spacing and size of markings used to simulate gray depend on: • Human Visual System: • Don’t want people to distinguish lines / spots • Roughly, people see up to 60 lines per inch (lpi) at 2 ft. • Viewing Distance Zoom farther out and the dots appear smaller. Chester F. Carlson Center for Imaging Science

  14. The Halftone Idea • Two Types of Halftone Spots: • AM: Amplitude (or Area) Modulated spots have a fixed screen ruling and vary in size • FM: Frequency Modulated spots have a fixed size and vary in line spacing. Chester F. Carlson Center for Imaging Science

  15. Impact Printing A needle/head physically hits an ink ribbon onto paper leaving an impression behind. Typewriter, 1874 QWERTY keyboard becomes standard Text only; No halftones 1 color ribbon Dot Matrix Printers Set of 9 or 24 pins form spots Text and low quality imagery; FM halftones 1 or 4 color ribbons Thwack Impact Printers Chester F. Carlson Center for Imaging Science

  16. The Halftone Idea • Structures of Digital Halftone Cells Conventional/ AM/Clustered Stochastic/ FM/Dispersed Chester F. Carlson Center for Imaging Science

  17. dpi = dots per inch Each dot that makes up a halftone spot Associated with optical resolution of scanners and addressability of digital printers lpi = lines per inch Each spot or entire halftone cell Usually associated with printer capabilities 1 inch 1 spot of ink = 1 cell Spatial Resolution 14 dpi 2 lpi Chester F. Carlson Center for Imaging Science

  18. Tone Resolution • Digital Halftone Cells • Based on a grid of spots (halftone cell): • Change the number of dots in a spot to make different tones of gray • A 2x2 matrix can produce 5 tones. • A 3x3 matrix can produce 10 tones. • A NxN matrix can produce N2 + 1 tones Chester F. Carlson Center for Imaging Science

  19. Lots of Dots • People cannot see dots greater than 133 lpi at a reasonable reading distance. • Publications set in 133-150 lpi • magazines • books Chester F. Carlson Center for Imaging Science

  20. Lots of Dots • People can see dots less than 133 lpi at a reasonable reading distance. • Publications set in 65-100 lpi • newspapers Chester F. Carlson Center for Imaging Science

  21. Summary • The Halftone Idea • The creation of gray levels utilizing dot formations of color on a white background. • Dot size and spacing are varied to create different levels of gray. Chester F. Carlson Center for Imaging Science

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