Loading ...
Sorry, an error occurred while loading the content.
 

Colour separations/printing

Expand Messages
  • Dr P.B. Watry
    Hello everyone This was initially sent to Gerald, who suggested that I resubmit it to the list (see below). I should mention that the DuPont Digital Cromalin
    Message 1 of 4 , Aug 20, 2001
      Hello everyone

      This was initially sent to Gerald, who suggested that I resubmit it to
      the list (see below).

      I should mention that the DuPont Digital Cromalin proofer supports 4 and
      6 colour separations as well as accurate spot colours.

      Cheers

      Paul

      > I'd be very interested to see what/how PP works with colour
      > separations. Now that we have a Digital Cromalin proofer, we can
      > output any number of
      > separations and spot colours and have them match exactly the Pantone
      > reference points. (We also have access to a Tango drum scanner).
      > In theory, if one could find decent
      > Pantone inks (?) and actually register the plates, then the letterpress
      > output should equal exactly what comes out of the proofer.
    • Joel Benson
      Hi Paul, I used to print 4-color process separations on a Heidelberg windmill, and they have a wonderful quality, though I would say that the output from the
      Message 2 of 4 , Aug 20, 2001
        Hi Paul,
        I used to print 4-color process separations on a Heidelberg windmill,
        and they have a wonderful quality, though I would say that the output
        from the press does not exactly match what comes from a proofer. Ink
        gain and the difficulties of keeping the colors in proportion when you
        lay them down one at a time make the output more of an interpretation of
        the image than an exact reproduction.

        My dad, a cabinetmaker, refers to this as "the subtle variation of the
        hand-crafted object," but that concept doesn't always fly with the print
        broker accustomed to working with large-scale offset printing. If you
        are doing job work for a designer or broker you will need to "manage
        their expectations."

        The ink gain issue makes it difficult to print areas of the screen where
        the dots are very fine, or where they begin to break up, as in
        highlights or areas of high contrast. This can look like holes in the
        image, and can look very clunky.

        Of course, accurate registration is key in printing color screens, so a
        windmill or some other super-precise press is essential. Oil based ink
        used sparingly seems to work best, for some reason. Paper should be
        very even thickness or commercially made. If you try to print a fine
        screen on a lofty paper like Rives de Lin you have to deboss the print
        area before hand to smooth it out, or the unevenness of the surface will
        show up in the image.

        It sounds like you have some great tools. With a little experimenting
        you could do some great stuff. Have fun!

        Joel Benson
        Dependable Letterpress
        San Francisco

        -----Original Message-----
        From: Dr P.B. Watry [mailto:Pwatry@...]
        Sent: Monday, August 20, 2001 7:19 AM
        To: PPLetterpress@yahoogroups.com
        Subject: [PPLetterpress] Colour separations/printing


        Hello everyone

        This was initially sent to Gerald, who suggested that I resubmit it to
        the list (see below).

        I should mention that the DuPont Digital Cromalin proofer supports 4 and
        6 colour separations as well as accurate spot colours.

        Cheers

        Paul

        > I'd be very interested to see what/how PP works with colour
        > separations. Now that we have a Digital Cromalin proofer, we can
        > output any number of
        > separations and spot colours and have them match exactly the Pantone
        > reference points. (We also have access to a Tango drum scanner).
        > In theory, if one could find decent
        > Pantone inks (?) and actually register the plates, then the
        letterpress
        > output should equal exactly what comes out of the proofer.





        To unsubscribe from this group, send an email to:
        PPLetterpress-unsubscribe@yahoogroups.com



        Your use of Yahoo! Groups is subject to
        http://docs.yahoo.com/info/terms/
      • Dr P.B. Watry
        Joel Many thanks for this message. If you or anyone out there would like to try any of this out, then please get in touch. (I should mention that I will be
        Message 3 of 4 , Aug 21, 2001
          Joel

          Many thanks for this message. If you or anyone out there would like to
          try any of this out, then please get in touch. (I should mention that I
          will be quite busy with projects for the next two weeks.) I currently
          don't have access to Letterpress equipment.

          Cheers

          Best wishes

          Paul



          On Mon, 20 Aug 2001, Joel Benson wrote:

          >Hi Paul,
          >I used to print 4-color process separations on a Heidelberg windmill,
          >and they have a wonderful quality, though I would say that the output
          >from the press does not exactly match what comes from a proofer. Ink
          >gain and the difficulties of keeping the colors in proportion when you
          >lay them down one at a time make the output more of an interpretation of
          >the image than an exact reproduction.
          >
          >My dad, a cabinetmaker, refers to this as "the subtle variation of the
          >hand-crafted object," but that concept doesn't always fly with the print
          >broker accustomed to working with large-scale offset printing. If you
          >are doing job work for a designer or broker you will need to "manage
          >their expectations."
          >
          >The ink gain issue makes it difficult to print areas of the screen where
          >the dots are very fine, or where they begin to break up, as in
          >highlights or areas of high contrast. This can look like holes in the
          >image, and can look very clunky.
          >
          >Of course, accurate registration is key in printing color screens, so a
          >windmill or some other super-precise press is essential. Oil based ink
          >used sparingly seems to work best, for some reason. Paper should be
          >very even thickness or commercially made. If you try to print a fine
          >screen on a lofty paper like Rives de Lin you have to deboss the print
          >area before hand to smooth it out, or the unevenness of the surface will
          >show up in the image.
          >
          >It sounds like you have some great tools. With a little experimenting
          >you could do some great stuff. Have fun!
          >
          >Joel Benson
          >Dependable Letterpress
          >San Francisco
          >
          >-----Original Message-----
          >From: Dr P.B. Watry [mailto:Pwatry@...]
          >Sent: Monday, August 20, 2001 7:19 AM
          >To: PPLetterpress@yahoogroups.com
          >Subject: [PPLetterpress] Colour separations/printing
          >
          >
          >Hello everyone
          >
          >This was initially sent to Gerald, who suggested that I resubmit it to
          >the list (see below).
          >
          >I should mention that the DuPont Digital Cromalin proofer supports 4 and
          >6 colour separations as well as accurate spot colours.
          >
          >Cheers
          >
          >Paul
          >
          >> I'd be very interested to see what/how PP works with colour
          >> separations. Now that we have a Digital Cromalin proofer, we can
          >> output any number of
          >> separations and spot colours and have them match exactly the Pantone
          >> reference points. (We also have access to a Tango drum scanner).
          >> In theory, if one could find decent
          >> Pantone inks (?) and actually register the plates, then the
          >letterpress
          >> output should equal exactly what comes out of the proofer.
          >
          >
          >
          >
          >
          >To unsubscribe from this group, send an email to:
          >PPLetterpress-unsubscribe@yahoogroups.com
          >
          >
          >
          >Your use of Yahoo! Groups is subject to
          >http://docs.yahoo.com/info/terms/
          >
          >
          >
          >To unsubscribe from this group, send an email to:
          >PPLetterpress-unsubscribe@yahoogroups.com
          >
          >
          >
          >Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
          >
          >
          >
        • Dr P.B. Watry
          Joel Do you have any examples of this output laying around that you could send to me? I d be very interested to see the results. Cheers Paul
          Message 4 of 4 , Aug 30, 2001
            Joel

            Do you have any examples of this output laying around that you could
            send to me? I'd be very interested to see the results.

            Cheers

            Paul



            On Mon, 20 Aug 2001, Joel Benson wrote:

            >Hi Paul,
            >I used to print 4-color process separations on a Heidelberg windmill,
            >and they have a wonderful quality, though I would say that the output
            >from the press does not exactly match what comes from a proofer. Ink
            >gain and the difficulties of keeping the colors in proportion when you
            >lay them down one at a time make the output more of an interpretation of
            >the image than an exact reproduction.
            >
            >My dad, a cabinetmaker, refers to this as "the subtle variation of the
            >hand-crafted object," but that concept doesn't always fly with the print
            >broker accustomed to working with large-scale offset printing. If you
            >are doing job work for a designer or broker you will need to "manage
            >their expectations."
            >
            >The ink gain issue makes it difficult to print areas of the screen where
            >the dots are very fine, or where they begin to break up, as in
            >highlights or areas of high contrast. This can look like holes in the
            >image, and can look very clunky.
            >
            >Of course, accurate registration is key in printing color screens, so a
            >windmill or some other super-precise press is essential. Oil based ink
            >used sparingly seems to work best, for some reason. Paper should be
            >very even thickness or commercially made. If you try to print a fine
            >screen on a lofty paper like Rives de Lin you have to deboss the print
            >area before hand to smooth it out, or the unevenness of the surface will
            >show up in the image.
            >
            >It sounds like you have some great tools. With a little experimenting
            >you could do some great stuff. Have fun!
            >
            >Joel Benson
            >Dependable Letterpress
            >San Francisco
            >
            >-----Original Message-----
            >From: Dr P.B. Watry [mailto:Pwatry@...]
            >Sent: Monday, August 20, 2001 7:19 AM
            >To: PPLetterpress@yahoogroups.com
            >Subject: [PPLetterpress] Colour separations/printing
            >
            >
            >Hello everyone
            >
            >This was initially sent to Gerald, who suggested that I resubmit it to
            >the list (see below).
            >
            >I should mention that the DuPont Digital Cromalin proofer supports 4 and
            >6 colour separations as well as accurate spot colours.
            >
            >Cheers
            >
            >Paul
            >
            >> I'd be very interested to see what/how PP works with colour
            >> separations. Now that we have a Digital Cromalin proofer, we can
            >> output any number of
            >> separations and spot colours and have them match exactly the Pantone
            >> reference points. (We also have access to a Tango drum scanner).
            >> In theory, if one could find decent
            >> Pantone inks (?) and actually register the plates, then the
            >letterpress
            >> output should equal exactly what comes out of the proofer.
            >
            >
            >
            >
            >
            >To unsubscribe from this group, send an email to:
            >PPLetterpress-unsubscribe@yahoogroups.com
            >
            >
            >
            >Your use of Yahoo! Groups is subject to
            >http://docs.yahoo.com/info/terms/
            >
            >
            >
            >To unsubscribe from this group, send an email to:
            >PPLetterpress-unsubscribe@yahoogroups.com
            >
            >
            >
            >Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
            >
            >
            >
          Your message has been successfully submitted and would be delivered to recipients shortly.