The designer’s guideMaking the most of HP Indigo digital presses

Table of contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Chapter 1 The HP Indigo digital press—transforming the print industry . . . . . . . . . 7Chapter 2 Digital or conventional? Getting the most from both! . . . . . . . . . . . . . 15Chapter 3 Getting the best results from your design . . . . . . . . . . . . . . . . . . . . . 21Chapter 4 Designing with character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Chapter 5 Making the most of the portable document format (PDF) . . . . . . . . . . . 33Chapter 6 Designing for high-impact personalization* . . . . . . . . . . . . . . . . . . . 37Chapter 7 Enhancing design impact with a wider color gamut* . . . . . . . . . . . . . 43Chapter 8 Design software—making the right choice* . . . . . . . . . . . . . . . . . . . 51Chapter 9 Substrates—the media enhancing the message* . . . . . . . . . . . . . . . . 55Chapter 10 Final checks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

*The information contained in this guide covers the general range of HP Indigo digital presses. Check with your print service provider to ascertain the exactconfiguration, capabilities and services that they provide.

The modern-day designer has evolved into an expertwith a wide range of graphic arts skills: typography,layout, imposition, color and any number of softwareapplications.

But together with all this talent, the designer also needsan appreciation of the printing process or the press forwhich they are creating files.

This guide bridges the gap between you, the designer,and your print service provider (PSP) by examining thepower and potential of HP Indigo digital presses. Itprovides the following explanations:

• What makes the HP Indigo digital press unique inthe world of printing?

• How does HP Indigo workflow technology providethe shortest possible route from concept design toprint?

• What file formats are best suited to HP Indigo digitalpresses?

• How to use PDFs to send information to the PSP

• How to prepare a layout for printing

This guide shows you how to tap into the uniquefeatures of the HP Indigo digital press, such aspersonalizing pieces to make each one different fromthe next, and how to maximize the use of color byprinting with special inks and spot colors. It will alsohelp you get the best results from different substrates.

Ultimately, by giving you a greater appreciation of theHP Indigo digital press, this designer’s guide willenable you to parlay that knowledge into moreeffective and powerful designs for your clients.

Happy designing!

Introduction

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HP Indigo digital presses offer an unsurpassedcombination of versatility, adaptability and offsetquality output. The good news for designersaccustomed to designing pieces for conventionalpresses is that many of the design considerations forHP Indigo digital presses are exactly the same. In fact,you will find no compromise in quality when printingon an HP Indigo digital press.

The following pages will give some handy hints andtips to harness the power of the HP Indigo digital pressto its maximum potential.

About HP IndigoHP Indigo has more than 30 years experience indesigning, building, selling and operating digitalpresses. In 1993, Israel-based Indigo launched theworld’s first digital color press. Overnight it triggered atransformation in the printing industry, enabling theproduction of high quality, short run, personalized,color printing. Realizing the vast potential forexpanding and transforming the printing market, HPpurchased Indigo in 2000.

HP Indigo digital print technologies have been furtherrefined to meet growing market awareness and needs.HP Indigo now supplies a range of sheet-fed and web-fed presses suited for a broad range of applications:marketing collateral, publishing, direct mail and photospecialty printing, as well as label and packagingproduction.

The HP Indigo digital press has numerous features thatare unmatched by many other digital pressesincluding:

• “Offset” look and feel to the printing

• HP ElectroInk, a liquid ink similar to conventionalprinting inks

• 7-color capability

• Extended gamut 6- and 7-color printing processes

• Spot and highlight colors

• SNAP personalization

• Special effect inks

• PANTONE emulation in 4, 6, and 7 colors

Chapter 1The HP Indigo digital press —transforming the print industry

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HP Indigo Digital Press 5500

HP Indigo Digital Press w3500

HP Indigo Digital Press w3250

Comparing HP Indigo digital to offsetprinting Unlike conventional printing processes, there are nointermediate pre-press steps between the digitaldocument file and the final print. As a result, there isno need for imagesetters, films, plates or platesetters.The HP Indigo digital process also uses nophoto-chemicals, thus eliminating waste (Figure 1).

By eliminating press make-ready, plate mounting,registration adjustments and ink keys, HP’s workflow isfast and fully digital from creation to print. As a digitalprocess, it also enables information—text, images andgraphics—to be completely varied as required frompiece to piece.

While different from conventional printing, HP Indigodigital presses still retain some familiar elements.Here are a few comparisons:

• HP Indigo digital presses, like conventional presses,use liquid ink to print an image. The majordifference, however, is that HP ElectroInk technologydirects the ink electronically using charged particlesin the ink.

• HP Indigo digital presses use a light sensitive platethat attracts ink. Unlike conventional printing thatuses a fixed (etched) plate that cannot change, theHP Indigo Photo Imaging Plate (PIP) is a dynamiclight sensitive plate that can be re-imaged withdifferent information on every revolution of theprinting cylinder. The ink is attracted to the PIP by anelectrical charge, rather than a physical transfer fromink tray to cylinder.

• HP Indigo digital presses do not limit ink coverage to200%; coverage can reach beyond 400%, ensuringcolor depth and saturation.

• From the PIP, the ink is transferred to a blanket thattransfers the ink as in conventional offset printing.The blanket acts as a shock absorber and pressurepad to ensure even ink transfer to the substrate. Thisenables the HP Indigo digital press to support a widerange of substrates of varying surface texture andthickness. HP Indigo technology offers a number ofadvantages versus offset, including the elimination ofthe incomplete transfer of ink (ink splitting) that is acharacteristic of conventional offset litho.

• Unlike conventional offset printing, the HP Indigoblanket also transfers 100% of the ink to thesubstrate. The total transfer of ink from the blanketallows the same set of cylinders to be used to printthe complete sheet, ensuring precise color-to-colorregistration and color consistency throughout.

• The HP Indigo can create an entirely new separation,in a different color, for every rotation of the cylinder.This is called “on-the-fly color switching” and is thetechnology that enables the HP Indigo digital pressto print fully collated, duplexed and individuallypersonalized sheets.

Figure 1Digital printing workflow

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JimLaffan

Design workstation

Datatransfervia CDor web Print provider’s workstation HP Indigo digital press

Printing on required stock

1st sheet

2nd sheet

3rd sheet

The HP Indigo printing cycle–an inside lookIn order to understand the HP Indigo Liquid Electro-photographic (LEP) printing process, it is useful to knowthe sequence of events in the printing process (Figure 2).

1. The PIP is charged to provide a “blank canvas”on which to write the image.

2. The image is “drawn” on the PIP using a laser thatis controlled by the raster image processor, or RIP.The RIP converts instructions from a digital file into“on/off” signals. Through exposure to the laser theimaged areas of the PIP are discharged leaving adifference in charge between the image andnon-image areas.

3. Binary Ink Development (BID) units deliver theappropriate color ink to the imaged areas of thePIP. Any excess ink is returned to the ink tanks forreuse.

4.The PIP is neutralized (erased of charge) and theink image is transferred from the PIP to the blanket.

5. Any residual ink on the PIP is removed to ensure itis clean and ready for the next separation to beimaged.

6.Heat applied to the blanket dries the ink image tomake it adhesive, or “sticky.”

7. The ink image is transferred under pressure to thesubstrate, which is gripped and held against theimpression cylinder. The sheet is released once allthe colors have been delivered.

B I

D

Figure 2The HP Indigo PIP process

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HP Indigo Digital Press 5500An inside look

Laser imager

PIP

Blanket

Impression

What makes the HP Indigo digitalpress unique?Digital printing is a term often misunderstood and usedto generalize what is a diverse range of outputdevices. For example, a desktop inkjet is a digitalprinter. In general, a digital printer can be consideredas any device that can change the content—up to100%—from sheet to sheet without stopping.

Compared to DI presses. Direct Imaging, or DI, pressesare a class of press which is often mistakenly referredto as digital. DI presses use on-press imagingtechnologies to create an image onto a lithographicprinting plate. They do not feature collating, duplexingor variable imaging capabilities like the HP Indigodigital press. Once the plates are imaged on a DIpress, the process reverts to conventional printing withits inherent limitations.

Compared to dry toner. The other main digital colorpress technology is the xerographic (dry toner) process,commonly found in laser printers and color copiers.

The toner process is typically characterized by a lackof print quality. Dry toner particles range between 7 to9 microns in size and struggle to reproduce fine detailsand acceptable colors. With dry toners it is difficult tomatch the surface gloss of a substrate, usually givingthe image a glossy appearance on a matte paper andan ultra-glossy appearance on a glossy paper. Theprocess also attracts a lot of static that is transferred tothe paper and can cause significant problems andwaste in the finishing process.

The dry toner process limits your choices and creativityas a designer in terms of print quality, paper qualityand finishing techniques. The HP Indigo digital press isthe only digital printing technology that can equal orexceed the quality, color range and substratecompatibility of conventional offset printing. It is alsothe only digital technology that can print up to sevencolors—including extended gamut printing or spotcolors—that help you produce eye-catching images ormatch clients’ corporate brand colors.

HP ElectroInk vs. other ink processesHP ElectroInk is a proprietary Liquid ElectroPhotography ink technology developed exclusively forHP Indigo digital presses. It offers a number ofadvantages over both dry-powder xerographic tonerand standard conventional ink. For example:

• The consumption of HP ElectroInk has littledependence on substrate properties, unlikeconventional printing or dry-powder xerography.

• In conventional offset printing, different inks areneeded for papers or non-absorbent films, and theviscosity of the ink differs for each type of paperstock. Highly absorbent papers can increase offsetink consumption by up to 50%.

• Dry-toner xerography is heavily dependent on theelectrostatic properties of the substrate. Smallchanges in relative humidity can result in largechanges in print quality. The high fusing temperaturethat is needed for the process also limits the choiceof paper supported by the process.

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Hints and tips

Ask your PSP to match thedot gain characteristics ofthe HP Indigo digital pressto another printing device.This is especially useful ifyou are mixingconventional and digitalprinting methods in thesame print job.

Xerography (powder tone)

HP ElectroInk advantagesEdge sharpness. Viewed at high magnification, HPElectroInk clearly forms sharper images compared toxerographic dry toners (Figure 3) and even offsetlithographic dots (Figure 3 and 4).

Dot gain and color consistency. HP Indigo digitalpresses can vary the dot gain to allow the consistent,precise control of the exposed dot size and opticaldensity.

Image gloss. Similar to offset inks, HP ElectroInk imagesmatch the gloss of the underlying substrate, from roughto dull to high gloss. The HP ElectroInk layer is onlyabout one micron thick and accentuates the media’scharacteristics by following the “hills and valleys” ofthe substrate surface rather than filling them in.

Instant image drying. HP ElectroInk solidifies as soonas it transfers to the substrate, so the finished printemerges dry and can be finished immediately.

Light fastness. The encapsulation of the pigmentsub-particles in HP ElectroInk helps prevent oxidizationand the effects of relative humidity. The color durabilityof the printed images, including light fastness, equalsand often exceeds conventional offset inks.

Figure 3 Xerography (powder tone) and HP ElectroInk (type magnification)

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HP ElectroInk (type magnification)

HP ElectroInkConventional offset

Figure 4 Conventional offset and HP ElectroInk (dot comparison)

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Printed proof/production run

Designworkstation

Datatransfervia CDor web

Printprovider’s

workstation Iris ProofRIP

Computer-to-plate

Plate PressProduction

run

Pre Press

Conventional workflow

HP Indigo workflow

Designworkstation

Printprovider’s

workstation

HP Indigo digitalpress & RIP

Datatransfervia CD or web

The HP Indigo digital press is the fastest, easiest wayfor a designer to see artwork appear in print. Withhigh-speed connections to the PSP—using broadbandlinks or ftp downloads—the files created on an AppleMac or PC can be relayed immediately to an HPIndigo digital press. By eliminating many of the stagesinvolved in conventional printing, an HP Indigo digitalpress can produce output within minutes (Figure 1).

Even with the aid of computers, lithographic printingrequires a complicated series of tasks before a designcan become a print.

The pre-flight checklistA PSP performs a pre-flight check on your files todetermine that they have all the required native files,fonts, logos and images. This check will also verify thatthe pictures have the correct resolution and are in theright color space. To avoid any delays or additionalrework costs, you can help yourself and the PSP byperforming these checks before you submit the job.Your PSP will generally supply a proof, so that you willknow what to expect from the press (Figure 2).

Digital means no imagesetting orplatesettingTypically, the next stage in the conventional printprocess is to send the file for imagesetting or platesetting.An imagesetter transfers the digital file onto film that isused to create a plate. A platesetter images the filedirectly onto a plate, cutting out the film step, hencethe term Computer-to-Plate (CTP). In either case, anindividual film or plate has to be created for eachcolor separation, so you could have four films and fourplates for each signature of a CMYK job.

Chapter 2Digital or conventional?Getting the most from both!

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Figure 1Conventional workflow vs. HP Indigo workflow

Figure 2Before sending the job file to your print service provider ensure thatall the necessary files are also supplied (job file, fonts and images).

AaBbCcAaBbCcAaBbCc

Image

Job file

Fonts

Disc of all required files

On an HP Indigo digital press, all the “imagesetting”functions are done on the press. The job goes throughthe RIP (raster image processing) and the files areimaged in real time onto the Photo Imaging Plate (PIP).The HP Indigo digital press can vary the image witheach revolution of the PIP, creating fully collatedand/or personalized documents.

HP and PANTONE have jointly created a specialPANTONE HP Digital Color Toolbox for users who willbe designing and printing to a PANTONE-licensed HPIndigo digital press with either CMYK or HPIndiChrome (CMYKOV or CMYKOVG) ink sets. (Seemore information in the chapter entitled “Enhancingdesign impact with a wider color gamut.”)

Proofing: analog vs. digitalConventional proofs. In analog or conventionalprinting, methods for generating a proof are typicallyan expensive process. For example:

• A flatbed proofing press produces “wet proofs” usingthe same stock and inks as standard litho printing.However, its ink layers are produced one at a time—i.e., the yellow is applied and then left to dry; thenthe cyan is applied and left to dry—making it laborintensive, time consuming and expensive.

• Using the final films, an analog proof can be madeon specialized equipment. These systems mainlyutilize the same method of image transfer, usingtoner based dyes rather than inks.

Color matching standards, like the Eurostandard®,enable analog proofing devices to accuratelyreproduce the desired color. However, these processestend to only work with a specialized base stock thatmay or may not exactly match the substrate to be usedfor the final piece.

Analog proofs have largely been replaced by digitalproofs, with manufacturers offering a range of devicesthat generate proofs from digital data. Many digitalproofing devices however, are inkjet machines thatproduce continuous tone images rather than thescreened images used by litho presses. Also, they don’talways use the final stock or substrate that you want.

HP Indigo proofs. The HP Indigo digital press suppliesproofs very quickly, using Eurostandard inks on yourspecified final stock. The HP Indigo proof is especiallyuseful for test marketing purposes or for instanceswhere the trimmed and finished product delivers moreimpact than a collection of flat single-sided proofs.

If the job is to be printed on an HP Indigo digitalpress, the proof you receive is an exact rendition of thefinal job. The PSP will also be able to provide multiplecopies of the proofs, if needed, which you can use todistribute to your clients at a relatively low cost.

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Conventional printing requires an imagesetter to create the films which arethen used to create plates.

Digital and conventional printingprocesses Conventional printing. Once plates have been imagedfor conventional printing, they are fitted to the press.They have to be carefully aligned so that all the colorsregister properly. To check this, the press has to be runand adjusted before printing.

The operator also has to manage the ink/waterbalance, which is critical to the performance of thepress. Too much water and the image will be washedout. Too much ink, and it is over-saturated. Again, ittakes time to get this balance correct. This set-up,termed make-ready, typically generates a significantamount of paper waste, something you will be payingfor in your final bill.

The process of press make-ready is one of the mosttime consuming and costly elements of a printing job.It is especially inefficient on short-run jobs where thepress is running for very short periods betweenmake-readies.

Using conventional printing methods, all personalizationmust be done offline as a separate process. This usuallyconsists of laser overprinting and is restricted to a fewlines of black text in an address box or name panel.

Once the job has been printed, the plates have to beremoved and the press washed up and made readyfor the next job.

HP Indigo digital printing. The HP Indigo print processneeds virtually no make-ready. The next job can beprepared while the current job is being printed, andthere is no need for wash-up between jobs. There isalso no need for any delicate ink/water balanceadjustments on the press, as the density and deliveryof the ink is automatically controlled. From the very firstsheet the print is up to ink weight and in register,which dramatically reduces waste.

The HP Indigo digital press can also personalize everysingle printed sheet, whether it is for an individual, acompany or even a sequential number or barcode—everything in the design can be varied, including text,images and illustrations.

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CMYK in and out of register

The finish lineUnless special techniques and processes are applied,the output from conventional printing is usually wet andtacky when it comes off the press. As a result, thesheets often need time to dry before either beingprinted on the other side or finished product.

On the HP Indigo digital press, the ink dries instantlyand the job can be finished as soon as it comes off thepress. A document can be collated (printed insequence) in either simplex (single-sided) or duplexmodes (both sides of the sheet). Immediately uponprinting, the sheets are ready to be trimmed, foldedand stitched to create the finished product.

The HP Indigo UV Coater is a nearline coating solutiondesigned specifically for digital printers who offershort-run applications requiring coating to protect andenhance the aesthetics of the printed product. Withthroughput of up to 4,000 sheets per hour, the HP IndigoUV Coater lets printers provide customers with newvalue-add services, such as gloss and matte finishesthat add appeal to and protect the finished piece.18

Using digital printing for direct mail can save you time and money!Allow for drying time when printing on a conventional press

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On the whole designing a document for printing on anHP Indigo digital press is no different from any otherprinter. However, as with all devices, by understandingthe process and its limitations better results can beobtained. Indeed, by gaining a greater appreciationfor the capabilities of the device you may find evenmore inspiration for your designs.

A question of resolutionIf the image resolution is too high for the printer, thefile size, transfer time and RIP times will be unnecessarilylong; if the resolution is too low then the quality of theprinted image will be poor. You can see the effect ofresolution in the printed example on this page (Figure 1).As a rough rule of thumb the resolution of the imageshould be twice the screen ruling used to print the image.

Ideally, images should be at a resolution of 300 dpifor printing on the HP Indigo digital press. However,you will find that at resolutions between 250 dpi and300 dpi, there is little appreciable difference in thequality of the resultant printed image. The amount ofdetail in an image (resolution) is defined not only bythe number of pixels but also by the dimensions of thefile, hence the unit of measure is dots per inch (dpi).

For example, a typical image may start off with1600x1200 pixels, which at 72 dpi produces animage with the physical dimensions of 56x42 cm(Figure 2a). But this image can be otherwise convertedto a 300 dpi 13x10 cm image (Figure 2b) without anyloss in detail, i.e., it still has 1600x1200 pixels. So ifwe were to create a 13x10 cm picture box in our pagelayout and either import the 300 dpi image at 100%or scale the 72 dpi image to fit we should get thesame quality image produced.

In practice it is always better to convert the image tothe correct resolution first and then import it. It is alsogood practice to also create the image at the size youintend to use it since scaling images adds significantlyto processing times and can give poor results. On thewhole you will see a loss in quality of the image if it isscaled up by more than 200% unless you havecompensated for it in the resolution.

If necessary, resolution can be “invented” by using re-sampling or interpolation of the image. Interpolationis the process of multiplying the number of pixelscontained in an image using different algorithms toincrease its resolution or to prepare it for printing at alarger size, while maintaining the same resolution.Interpolation is particularly useful to compensate forinsufficient sampling. In other words, it can help tocompensate for too low a density of dots in relation tothe print size.

Linework should be scanned at a minimum of 812 dpifor output on an HP Indigo digital press.

Chapter 3Getting the best results fromyour design

Figure 1

300 dpi72 dpi 150 dpi

Figure 2

a. 72 dpioriginalimage

b. 300 dpichangedimage

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How to obtain the best tints andgradients (vignettes/blends)There is a tendency for banding (changes in density)on all electronic devices and this can give rise toundesirable artifacts in blends or areas of tint. It willvery much depend on the color and its density sinceyour eye is particularly sensitive to these changes insome colors. For example, you cannot easily detectchanges in density in yellow or red but you can quiteeasily see changes in blue or green.

There is no magic formula to tell you if a color will beproblematic but your PSP should be able to advise youon this. As a guide colors that are difficult to printconventionally out of 4-color process inks will also bedifficult to print on an HP Indigo digital press.

There are however some guidelines and tips that youcan use to minimize the appearance of banding.

If you can, try to avoid using large areas of thatparticular color. Smaller patches will look better thanlarge areas. Lighter tints tend to look better thanheavier tints, but try to avoid specifying tints lighterthan 5%.

If you have a large area of a color that is provingdifficult then either consider printing it as spot color(check with your PSP to see if this could be an option)or introduce some granularity into it. This can be donewith most professional image editing software. Createan image with the actual physical size you need andfill it with the color you require and then add somenoise (5–10%), a pattern or an image. This will help tosmooth its appearance while maintaining the originalcolor (Figure 3a and 3b).

The same tactics can be applied to blends. Blends canshow banding and again it will depend on the colorsin the blend. Best results are achieved when the tonalrange is less than 50%. Shorter blends tend to bebetter than longer blends since the change in tone isless subtle. Similar to tints you could also generate theblend using an image editing software package andthen add some noise (Figure 4).

Figure 3a

A corporatecolor can beenhanced byintroducingbackgroundtextures suchas...

an image...

a pattern... or noise(10%).

Figure 3bThe picture on the right shows the addition of Gaussian Noise (10%) tothe image on the left.

Figure 4QuarkXPress blend (left), Photoshop blend with 5% noise (right)

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will use. If the document will fit 4-up on the sheet thenit will be cheaper to print than if it were slightly largerand could only be printed as a 3-up imposition.

Trap and overprintThe HP Indigo digital press is capable of very accuratecolor-to-color registration and in most cases it shouldnot be necessary to specify any trapping. However, ifyou want to specify specific traps then this should bedone in the originating software application, but alsolet your PSP know so that they can process the fileaccordingly. The HP Indigo digital press RIP willautomatically set 100% black to overprint. If yourequire any other specific overprints then these tooshould be defined in the application and your PSPmade aware.

Digitally captured imagesDigital photography is rapidly becoming accepted asan alternative means of capturing images for bothprofessional and domestic use. At the professional endof the scale, digital cameras now capture images witha higher resolution than film and with a color depthand accuracy that is superior to the photographictransparency.

Professional digital cameras do not pose majorproblems in CMYK conversion. Increasingly moderncameras come equipped with software that convertsfiles directly to the CMYK print format. However, if youare presented with an RGB image refer to thefollowing section for guidance on making the RGB toCMYK conversion.

Any color you like as long as it’sblackLarge areas of solid black benefit from a “shiner” as inconventional printing so add 40% cyan to deepen itand make it richer (Figure 5).

Size mattersThe HP Indigo digital press has a maximum image areaof 317 x 450 mm and can accept a physical sheet sizefrom 330.2 x 482.6 mm to 330.2 x 482.6 mm.This allows for a single A3+5 mm bleed or twoA4+2.5 mm full bleed documents placed side-by-sideon the sheet to be imaged. In most cases you wouldbe wise to let your PSP handle the imposition of yourdocument since they have specialist software to do it.However, you should design any bleeds you requireinto your document.

Remember that by designing to make the most effectiveuse of the image area you can reduce your print costs.Even if you do not actually impose the documentyourself keep in mind the imposition scheme your PSP

Figure 5Deeper blacks

Black+40%Cyan

CMYK 100%

Black+40% Yellow

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RGB-CMYK conversion The HP Indigo digital press uses CMYK (cyan/magenta/yellow/black) inks as its base set. Theyconform to the PANTONE®* ink specification and inaddition there is the ability to add up to threeadditional inks to the ink set. Predictable color outputcan only really be achieved if you also work in the sameCMYK color space. All data that you send the HPIndigo digital press should be converted to CMYK too.

Many images start off their life being digitallycaptured, whether by camera or scanner, in the RGB(red/blue/green) color space. The RGB color space ismuch larger than the CMYK color space and thismeans it is able to display a much wider gamut ofcolors than can be achieved using CMYK. The colorstend to be more subtle and brighter. How often haveyou noticed that your images look better on screenthan when you print them out? This is because yourmonitor is an RGB screen and your printer is probablyCMYK. Because of its color gamut it is advisable towork for as long as possible with an RGB image. Thishas several advantages:

1. It enables the maximum number of color hues tobe digitized for the production of the highestquality prints and images. Always save a copy ofyour RGB image—it may be useful later forincluding in a web page or for 6-color printing.(See Chapter 5).

2. You will find that RGB images are faster to workwith in image manipulation applications thanCMYK and also take up less disk space.

3. You can control the RGB to CMYK conversionmore accurately if you need to. But remember,once you have converted your RGB image toCMYK you cannot regain the same gamut ofcolor by converting it back. Once the conversionhas taken place all the “extra” color attributed tothe RGB gamut is lost, and while you can converta CMYK image into an RGB image you cannotregenerate that lost color.

However, before you use your image in a design thatis to be printed on an HP Indigo digital press youshould convert it to CMYK. This way you will see inadvance the appearance of the image. In particularyou may notice that the greens and oranges may notbe as bright but this unfortunately is the world of CMYK.If you don’t convert it then the RIP will perform adefault conversion that may give you unexpected results.

One of the elements essential to a good CMYKconversion is the control of the black layer, whether intraditional offset or digital print. HP Indigo digitalpresses do not escape this rule.

Typical parameters you can use to perform theconversion are as follows:

• PANTONE Coated or Uncoated

• Dot gain: 14%

• GCR black generation: medium

• Black ink limit: 100%

• Total ink limit: 300%

Check with your PSP if you have any doubts.

Light cyan and light magenta inks. When used withCMYK process HP ElectroInks, light cyan and lightmagenta inks deliver significantly enhanced photoquality, giving photofinishers and print serviceproviders a source of competitive advantage in theprofessional album and photo specialty markets.

The new light inks provide an improved image withsmoother tone transition and saturated colors, enhancingthe quality of photo-specialty products such as photobooks, photo calendars, greeting cards and more.

File formats: the good, the bad andthe uglyAn individual collection of data is often referred to asa file. There are many different formats and they willnormally fall into one of three categories: applicationdocument or data formats, interchangeable fileformats, and output file formats.

The application document formats tend to be specificto the original application that created it and typicallycannot be used by another application, e.g., aQuarkXPress document can only be opened inQuarkXPress.

Interchangeable formats are generally used to transferdata between different applications. They usually canonly contain a single “page” worth of data. Very oftenthey can also be used directly for printing but usuallythey lack any specific control over how the file is to beoutput, e.g., EPS, TIFF, BMP, GIF.

Output file formats are usually page descriptionlanguage formats that can contain all the pageelements and production requests required to print the whole document. Some are proprietary, e.g., IBM AFP, HP JLT, but others are open industry standardformats, e.g., PostScript® (PS) and Portable DocumentFormat (PDF).

*PANTONE, Inc.’s check-standard trademark for color

The interchangeable and output formats all have theirpluses and minuses and the decision about which oneto use can sometimes be tricky. But if the file is createdwith the correct settings for its purpose then the endresult should be the same. Very often the decision isbased on a balance of file size, editability and RIP time.

TIFF/.tif (Tagged Image File Format) The TIFF format is the preferred and oldest standardformat in the graphic arts sector. It is a very versatileeditable format based around a single “page” ofbitmap data. You cannot include vector information inthis file format so it is used exclusively for images.

JPEG/.JPG (low, medium, high compression)An editable single “page” bitmap image file formatwith the ability to significantly reduce the file size usingspecialized data compression techniques with little lossin quality. The terms low, medium and highcompression denote the amounts by which the datamaking up an image has been squeezed to save onfile size. The more an image has been compressed, thelower the quality of the image and therefore forprinting on an HP Indigo digital press you should onlyuse either the low or medium compression settings(Figure 6).

A word of caution however. Applications do notalways use the same version of the compressionalgorithm and therefore not all graphics and imagingapplications give the same result.

Adobe Illustrator/ Freehand EPSEPS stands for Encapsulated PostScript. Illustrator orFreehand EPS is an editable, single “page” vectorbased data format. Because it is essentially PostScript itis especially suitable for use with PostScript RIPs, andbecause it is vector based it is suited to the types ofgraphics that these applications typically produce.

Adobe Photoshop EPSPhotoshop is an editable single “page” bitmap baseddata format suited for use through PostScript RIPs. Itcan be used in conjunction with JPEG compression.Vector information cannot be included in this fileformat so it is used exclusively for images. However,clipping path information can be included in it.

DCS 1.0/2.0DCS is the Desktop Color Separation file format basedon the bitmap EPS file format. In this case theseparation of the image into plates is done at theimage creation stage rather than in the RIP, which intheory saves time in the RIP. It is a multi-file format witheach plate having its own separate file that isreferenced by a master file. All files must be present tosuccessfully print the image and they must bepresented to the RIP in a pre-separated PostScript file.DCS 1.0 only supports process color images and DCS2.0 supports additional plate colors, e.g., 6-colorimages. While you can use this format for printing toan HP Indigo digital press, unless you have goodreason it is better to use the standard EPS format.

Figure 6The same JPEG image saved with low, medium and high quality compression

Low quality/high compression (297k) Medium (615k) High quality/low compression (1005k)

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BMP (Bitmap)The BMP format cannot save CMYK plate information.Consequently, in order to print a BMP file, it isnecessary first to open it in an application such asPhotoshop, then convert it and save it in TIFF or EPSformat. Therefore, when designing for the HP Indigodigital press you should avoid this format or convert it.

GIF Similarly, in principle to BMP, the GIF format is notreally intended for printing but is more suited to theweb. The number of colors in its palette is too low and zone effects sometimes appear, particularly ingraduated fills. Also, the GIF format does not work in the CMYK color space, therefore requiring aconversion before layout. Like the BMP, this format is not practical to use for printing to an HP Indigodigital press.

PostScript (PS) PostScript is the original industry standard pagedescription language that revolutionized pre-press tobring us to where we are today. This format is able toprecisely define every element and page in a completemulti-page document so that a RIP can rasterize it foroutput. It also contains job data such as imposition,cropmarks, quantity and control settings for the RIP.

PDF (Portable Document Format)PDF is the newest page description language tobecome an industry standard. Due to its initial successit has developed into a powerful and flexible format.Its main strengths originated in its ability to be viewedand printed from different platforms/operating systemswhile ensuring the integrity and consistency of whatwas displayed to the viewer. The data is also optimizedso that the file sizes are usually significantly smallerthan comparable PostScript files. Another main benefitis that it maintains page independence that can givesignificant advantages further down the line in theproduction of the document. PDF is covered in moredetail in Chapter 5.

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A warning about fontsIt is very important that you own or have access to thecopyright of a typeface under license before using it. Ifyou supply your PSP with a font, you could well beinfringing the law if they do not have the rights to usethe typeface.

Typefaces and fonts are very closely protected undercopyright laws and users are allowed access to themby purchasing a user license, usually defined by thenumber of “seats” or by buying a software packagethat will give you access to the fonts.

Any infringement of these rules could lead to a fineand a payment for the loss of earnings to the copyrightholder. Special file formats, such as PDFs, get aroundthis problem by using embedded fonts as part of theprogram that will allow you, and the PSP, to use them.However, certain fonts aren’t able to be embedded inPDF files because of copyright restrictions. If in doubt,check carefully with your PSP first.

Different operating systems, e.g., MacOS or Microsoft®

Windows®, use different fonts. While one may besuitable for use on one platform the same font willprobably not work on another. This means that you willneed two versions of the same font if you move yourdocument from one platform to the other. Very oftenthere can be subtle differences in the font on differentplatforms which can lead to typographicalinconsistencies between the same document displayedon different platforms.

Furthermore, fonts with the same name will notnecessarily be identical even when using the same

platform. For example, an Adobe® Times font may nothave exactly the same characteristics as a BertholdTimes font. Features such as kerning, interline spacingor width may be different which, for a text of severalpages, could alter the number of lines or even thenumber of pages. Computer codes for accentedcharacters and particularly special characters such as© are not always identical. In fact, even if you havethe same Helvetica font using the same program, youstill cannot be certain that it is the same version. Asusers are able to also modify kerning, two versions ofthe same font can give different results.

The simplest solution, therefore, is to provide the fontswith the design, while of course making sure you arenot infringing any copyright issues. Another useful tipis to convert the text to “outlines” which essentiallymakes each character a vector based object and not afont. This means it can be freely distributed, easilyscaled and the appearance cannot be changed bysubtle differences in font families or computerplatforms.

However, not all applications have the functionality todo this and once converted the text cannot be easilyedited, so only do the conversion at the very lastminute.

As a general rule, it is better to avoid using false bold,italic or condensed fonts. From a typographical pointof view, these fonts are not considered to be true boldor italics because they have not been designed assuch. In this case, it is actually the software applicationitself that makes the character bold or puts it into italics.This can make certain letters illegible, particularly insmall text. It is also worth noting that some of these“special effects” are often not accurately or reliablyreproduced when they are rasterized for output.

The smallest size text that the HP Indigo digital presscan image is normally around 1–2 points but this willdepend on the font used and its color.

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Chapter 4Designing with character

Hints and tipsWhen choosing a color for atypeface, it is advisable to workwith a CMYK printed color chart,and if possible with the HP colorchart. This allows you to obtainthe most predictable resultsduring printing. Once you havechosen the color, enter the CMYKvalues in percentage terms intothe software application you areusing to create your layouts.

Be aware that by default coloredtext is screened, i.e., made up ofdots and not solid unless thecolor is defined and printed as aspot color.

If you are using a very finetypeface or very small point sizechoose your color carefully sinceit could cause the type to appear“broken-up” or make it illegible.

Some notes on PostScript, TrueTypeand OpenType fontsPostScriptThis is the leading standard in the field of typography,but there are three generations of PostScript font. It isimportant to remember that PostScript Type 1 fontscorrespond to the latest generation of PostScript fonts,whereas Type 3 fonts correspond to the firstgeneration.

The first generation (Type 3) were created from bitmapfonts, and give inferior results when compared to thenewer Type 1 fonts that are vector based. PostScriptfonts are the most suitable fonts to use when outputtingto a PostScript device like the HP Indigo digital press.

A PostScript font on a Macintosh consists of two parts:a screen font and a printer font. The two should alwaysaccompany each other. The screen font is used as thename suggests for the on-screen preview and theprinter font is used to render the font for output. It istherefore important that if you supply a PostScript fontto your PSP that you make sure you include the printerfont since without it the document cannot be printed,even though it can be displayed.

TrueTypeTrueType was originally intended for office use tooutput to non-PostScript and PostScript devices.TrueType fonts contain display (screen) and print datain a single file. This makes them easier to manage andhandle but the downside is that before printing to aPostScript device they must be converted internally to aPostScript outline. The quality of this conversion has adirect influence on the quality of the font when output.

OpenTypeThe aim of OpenType is to provide standard printablefonts for both Mac and Windows environments withoutany compatibility problems. This format simplifies fontinstallation, whether the fonts are PostScript orTrueType, since OpenType is a combination of both. Afurther advantage in a combined (Mac and Windows)environment is that this removes the need to installseveral types of font. In fact, an OpenType font cancontain a TrueType font or a PostScript Type 1 font.

Care should be used when tinting text to avoid it breaking up when it isscreened. Look at the micro text under a loupe.

solid text

solid textscreened text

screened textfine solid text

fine solid textfine screened text

fine screened text2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pttext 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text

2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text 2pt text

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31

The portable document format, or PDF, has become thede facto standard for file transfer. It is not a “devicedependent” software application but a completelyopen system that can be used on a multitude of outputdevices and media. For instance, it can be used toconvey information to the Internet, in printed format, onCD-ROM or via e-mail, without losing image quality orthe layout, style, etc., of the document.

Its strength lies in, as the name suggests, the portabilityof the document it produces. What this means is that aPDF document can be transferred between systems,i.e., Macintosh to Windows PC, PC to printer, withoutbeing altered. So what you see on the computer screenin front of you is exactly the same as everyone else hasseen on their computers. In this way it can be sentanywhere for remote proofreading and this consistencyis also conveyed to the final printed image.

Adobe Systems is the company that developed the PDFfile format, and all PDF files can be opened andviewed using an Adobe Acrobat® Reader®, which canbe downloaded free of charge from Adobe’s site onthe Internet. www.adobe.com

PDF is a direct development of Adobe’s own PostScriptpage description language that has been, andcontinues to be, the printing industry’s standard outputformat. The main difference is that PDF addresses theneeds of the overall multimedia market whereasPostScript is really focused only on the printing marketand cannot be easily viewed without specialistsoftware. For this reason PDF has quickly gained in

popularity within the printing sector mainly because ithas the following advantages:

• Simplified PostScript code—PDF files reduce thecomplexities of the graphic constraints found inPostScript files that need to be rasterized in RIP devices.

• Embedded fonts—The type characters and instructionsfor kerning and manipulating Type 1 and TrueTypefonts are placed inside the file so the user does notneed the font to view, process or edit the document.

• Compressed graphics—File compression can bedramatic with no loss of quality of the image. Vectorgraphic files can be reduced to 25% of their originalsize, while bitmap graphics can be reduced by up to75% of their original size. All PDF files are scalable(to 800%) and printable on PostScript and non-PostScript printers.

• Forms and indexing features—enables PDF to serve as a complete integrated documentmanagement system.

Chapter 5Making the most of theportable document format(PDF)

Common problems—Adobe PDFsolutionsProblem 1. Recipients can’t openfiles because they don’t have theapplications used to create thedocuments.

Solution 1. Anyone, anywherecan open a PDF file. All youneed is the free Acrobat Reader.

Problem 2. Formatting, fonts andgraphics are lost because ofplatform, software and versionincompatibilities.

Solution 2. PDF files alwaysdisplay exactly as created,regardless of fonts, software andoperating system.

Problem 3. Documents don’t printcorrectly because of softwareand printer limitations.

Solution 3. PDF files always printcorrectly on any compatibleprinting device.

Supplied by Adobe®

The power of PDFsFlexible file format accommodates all media

AaBbCcAaBbCcAaBbCc

Image

+ PC

Fonts

Low resolutionfor the web

Low resolutionfor e-mail & screenpreview

Medium resolutionfor multimedia

Medium resolutionfor desktop/inkjetprinting

High resolutionfor digital, lithoand web high-endpresses

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• Sound and QuickTime files insertion—enables PDF tobecome a complete multimedia tool. But rememberthese types of files are not printable!

• Hypertext-linking—allows dynamic visual interactionbetween pages and documents.

• Page independence—allows individual pages to be sent for RIPping, rather than the wholedocument, giving significant workflow benefits in the production process.

It is important to point out that Adobe Acrobat and thePDF format are not intended to be a replacement forpage layout, illustration or image creationapplications. You still need to create the originaldesign using these applications since Acrobat itself haslimited layout and editing cababilities. It is only onceyou have designed your document using theappropriate application software that you convert it toPDF. Then, you can start to use the benefits of the PDFformat.

But using PDF files is not necessarily better than usingPostScript files. The final stage of printing from either aPDF or the original application file will make nodifference to your PSP as long as all the accompanyingfonts and images are available.

If you choose to use PDF files, one thing you must takeinto account when creating the document is the outputdevice and format. The HP Indigo digital press is ahigh resolution CMYK printer and therefore the imagesand design should take this into account.

Careful attention must be paid to the set-up parametersfor creating the PDF since these directly determine theprint quality. These settings are commonly overlookedand very often the result is a PDF that only containslow resolution images. This may be fine for on-screenpreviews but no good for printing.

You should also be aware that if your design requiresbleed you must include it in the PDF; it cannot be“invented” later.

From a PSP’s point of view it can cause more problemsthan it solves if you provide a PDF file that has notbeen created properly.

For example, if you make a mistake in QuarkXPress itis quite easy for the PSP to correct the file. If however,you convert the file into a PDF with an embedded font,it is very difficult for your PSP to correct it. This makesflight-checking even more important before sending ajob for printing. Consult with your PSP if you want toknow more.

PDF creation optionsEasy user interface simplifies process

The “Job Options” settings allow you to alterthe way Acrobat Distiller creates PDFs. Forexample, compatibility...

Image compression... Font embedding. Remember to set your fontlocations if you wish to embed your fonts.

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HP offers a unique approach to high-speed variabledata printing (VDP). By connecting a database to thepage design, an HP Indigo digital press can producejobs where each copy is tailored to a specific recipient.It can change every bit of content on every page.

An HP Indigo digital press is also engineered toefficiently print short runs of pieces that are identical orslightly varied for different target groups. This is called“versioning” or “zoning.” The pieces may be forspecific events, various branches or outlets,geographical locations, or even different languages.

Personalization, versioning and zoning have expandedrapidly as they have proven to be more effective ingenerating leads, attracting and retaining customers,and increasing print efficiency. Companies are buildingprofiles of customers by gathering information abouttheir buying patterns and preferences from existingdigital information, such as credit card transactions orcustomer loyalty programs. And while they may involveextra planning and work at the design stage,personalized pieces require no additional preparationwork once the job reaches the press.

For example, direct mail used to consist solely of ageneric, static letter sent to the unnamed “occupier” or“resident” of an address. In the mid 1990s, direct mailbegan using personalization in a very basic form—printing the recipients’ name and text-based data in aneffort to increase response rates.

Today, however, it is possible to address customers notonly with variable text but also with variable imagesand graphics. Marketers are today able tocommunicate with the recipients on a one-to-one level,and often see response rates that exceed the 1–2% standard of non-personalized mailings. Targetedpersonalized communications help customers feelindividually valued and more likely to remain loyal.

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Chapter 6Designing for high-impactpersonalization

The printing ecosystemIntegrating printers, enterprises and agencies

Managescustomer

dataRequests and

readscommunications

Prints & fulfillscommunicationsCreates direct mail,

brochures, point-of-sale, etc.

Enterprise

Customer

Print ServiceProviderAgency

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Digital applications on the rise. The number and typesof applications have grown steadily since the advent ofthe digital print technology. Marketers, designers,printers and even consumers have become adept atpersonalizing or versioning a broad range ofcommunication vehicles, including:

• Direct mail• Brochures• Invitations• Conference and seminar material• Financial statements• Security and identification documents• Labels• Packaging• Point of sale materials• Books and manuals• Photo specialty items

Planning is keyIt is important to appreciate that a successfulpersonalized print program depends on a teamapproach. Prior to designing, it is vitally important fora creative professional to work with several parties inthe process of developing communications pieces,including:

• The marketing department, to determine the objectiveof the mailing, brochure, signage, statement or otherprinted document. (The marketer can also explainother integrated components of a campaign, such ase-mail and web-based promotions.)

• A database specialist who can clean and compilethe data to meet the intended goals of the program

• The PSP, who can advise you on the opportunitieswith digital print technology

The basic principles of marketing still apply whendeveloping a personalized piece. The success of acampaign still depends on getting the right message infront of the right recipient at the right time. The datamust be accurate, the offer must be relevant and thecall to action must be clear.

The building blocks for designingvariable data piecesThere are three basic elements to a variable data job:

1. The template. The template is the building block ofyour page design. This will define the static (non-variable) elements on the page, as well as theposition and format of the variable data and otherjob related functions, such as imposition.

2. Variable data. Variable data can be broken downinto two types: reusable and disposable. Reusabledata can be text or images or a combination ofboth. This data is not specific to any one individualrecipient but is instead relative to a group ofindividuals. For example, a number of customers willbe interested in a certain model or color of car andtherefore they would all receive the same image.Reusable data is usually product related. Disposabledata is only relative to a single recipient, forexample, an individual’s name, address orphotograph. It is data that is usually unique orprivate.

3. The database. A good database is critical to anypersonalized campaign, no matter what media orchannel is used. It contains the information that willdrive the project. Many decisions will be based onthe database content and therefore it must be ofhigh quality—“clean” and up-to-date, with relativeand accurate information. If the data is inaccurateor if it calls up the wrong personalized image forexample, the effect it can have on the recipient canbe worse than not personalizing at all.

Hints and tipsHP has developed its ownoptimized personalizationsoftware—called HP Indigo YoursTruly Designer (YTD)—for drivingthe press with personalized data.It incorporates HP SNAP (Swift Native AcceleratedPersonalization) technology andenables the press to prepare thevariable data for printing at veryhigh speed.

The HP Indigo YTD softwareapplication provides all theelements for setting up a variabledata document.

HP Indigo YTD is available intwo configurations: a softwareplug-in for Adobe InDesign andas an XTension software packageto QuarkXPress. Bothconfigurations enable thecreation of highly personalized,high-impact, full-color documents.

You can create, integrate andpreview all personalization jobswith HP Indigo YTD—whether thepieces contain fixed data orvariable text and imageelements. You can also use it asan easy-to-use imposition tool forthe HP Indigo digital press,whether or not the job includespersonalization.

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Database/IT specialists typically check the entries in adatabase for things like duplication, zip code andaddress verification, false names, and offensivelanguage. They often work in conjunction with themarketing team to implement the choices that are to bemade in the database.

As an example, a cable company may offer a sportschannel to males from age 24 to 35, while femalesover 30 could be offered the lifestyle channel. Thisprocess of data-mining matches the marketing conceptwith data, and also arrives at metrics for calculatingthe outcome.

Even if the database has not been finalized, thegroundwork and planning that determines the finalstructure and range of outcomes should be definedbefore the designer begins to work on the template orvariable data.

ASCII database file formats. Like most software,database and spreadsheet applications use their owninternal document format. However, the most commonway to export data is in an ASCII delimited file. Thisbasic raw text file format has different information thatis separated, or delimited, by a defined character.

You can think of a database as a grid of information,in which each row of the database contains informationrelating to a single individual or item, called a record.Each individual information group within the record iscalled a field, e.g., the forename and surname usuallyappear in separate fields (Figure 1).

In an ASCII delimited file, the records are separated bya hard-return character and the fields are delimited byone of a range of characters, typically a comma ortab. These types of file are often referred to as commadelimited (.csv) or tab delimited (.txt) text files. It iscommon practice to label each field in the first recordwith a descriptive name, called the header, thatdefines that field’s contents, e.g., street, city and zipcode.

The order of the records ultimately defines the printingsequence. Each document produced in a VDP job istermed a “cycle” whereas the term used for a static ornon-personalized document is a “copy.”

Hints and tipsYou don’t need the final “live”database before you startpreparing the design template.What’s important to know,however, is the structure of thedatabase, i.e., the field orderand the reusable variable dataoptions. Nonetheless, it is oftenuseful to also have some“dummy” data so that you canvisually review your design on-screen before you send it to thepress.

HP recommends TIFF or JPEGformatted files for reusable ordisposable images, as the HPIndigo digital press softwareoptimizes the processing of thesefiles without putting them throughthe PostScript RIP.

However, keep in mind that TIFFor JPEG are bitmap file formats.If you need to preserve vector-based detail, EPS files are theright choice for image files.

Also, any fonts used inpersonalization channels must beavailable to download to the HPIndigo digital press RIP.

Figure 1Database structure graphic

A B C D E F G H

1 First Name Last Name Flowers Picture Address Zip Code Rep Landscape

2 John Barry Yellow1.jpg John.eps London 12345 1 7012.jpg

3 Brenda Kelly Red2.jpg Brenda.eps Paris 75017 3 7013.jpg

4 Alex Bar Purple3.jpg Alex.eps 45 High St. 14785 1 7014.jpg

Fields

Reco

rds

Header

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Hints and tipsUsing variable barcodes

You can generate variablebarcodes using downloadablebarcode fonts. The databasemust contain the right characterstring to generate the rightbarcode. However, not allbarcodes are available as fonts,in which case they must begenerated and saved as reusableor disposable images that arereferenced in the database.

Putting it all together in YTD

The design phase. When creating a template, youdefine static elements as you would for any otherdocument. These are elements of the page that will notchange; by default, everyone in the database will getthem. You will also define elements in the page thatwill contain either reusable or disposable variabledata, using what are called personalization channels.

Personalization channels can contain variable text,images, graphics or combinations of all. A designercan define the format of the data, e.g., font, point size,alignment, color, image scaling and positioning.

Personalization channels are populated by thedatabase. While you may not have the final database,all you need at this point is a file containing theheader information which defines the field order.

In this situation, it is useful to have some dummy dataso that you can test your design before committing it toprint. Ask your database specialist to include some“worst case” data so that you can see how your layoutaccommodates situations such as very long names oraddresses.

By assigning the header information to the template,you can link individual personalization channels tospecific fields of information that define the contents. Ifit is a text-based personalization channel, the field willprovide the text data that can either be embedded ina predefined paragraph or used on its own.

For an image-based personalization channel, the fieldwill reference a reusable or disposable image by itsunique filename. These referenced images can be TIFF,JPEG, EPS, PDF, or PS format (see page 25).

Remember: If you change the field order in yourdatabase you will need to update the template with anew header file and reassign the fields to update thelinks to the database.

At this stage, you also design the reusable anddisposable images. Make sure that they “fit” yourpersonalization channel. Even though the image canbe scaled-to-fit, it is always better to generate it at finalsize in order to save time in the RIP. Remember that itis possible to combine both text and images into asingle reusable or disposable image.

Figure 2Anatomy of a variable data document

Membership Card

David Brown12345678

ABC TRAVEL

Disposablevariabledata

Static (fixed) data

Reusable data

Membership Card

Doris Green12345555

ABC TRAVEL

Membership Card

Adam Black12345699

ABC TRAVEL

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Note: If you want to sequentially number the template,you do not need to link a personalization channel to adatabase field. This can be done using the built-innumber generator in the HP Indigo Yours TrulyDesigner application.

Once you have finished the layout design, you canuse YTD to define the imposition of the job and createthe template, although you may prefer to leave this toyour PSP. Upon reaching this stage you will havecompleted the design phase.

The production phase. The template will be saved as ajob layout file (.JLT). This HP Indigo digital press formatcontains all the static elements in the document, aswell as the formatting and links of the variable contentand other job control parameters, such as imposition.

Once created, the template and all reusable ordisposable images, as well as the live database, aremade available to the HP Indigo digital press. The jobcan be imported into the press job manager, at whichpoint the variable content is collated and formattedaccording to the instructions in the template and thedata in the database file.

Using SNAP technology, this process unfolds veryquickly. You can import the same template many timesusing different databases without having to redesignor spend time on the pre-press or design workstation.

Generating the print data for subsequent mailings isextremely simple. It requires a new database file andany new disposable images referenced by thedatabase. Once the job is imported it can be printedimmediately.

PPML—an industry standard forpersonalized printingAs an executive member of PODi (the Print OnDemand initiative, www.podi.org) HP is activelyinvolved in the definition, development and promotionof Personalized Print Markup Language (PPML). PPMLis an XML-based industry standard print languagedeveloped to optimize the high-speed production ofreusable page content. PPML is an open,interoperable, device-independent standard thatenables the widespread use of personalized printapplications. It allows personalized print to be moreflexible, easier to use and more affordable toproduce—and ultimately to generate highercommercial impact.

Hints and tipsHP Indigo digital presses areideal tools for complementingother forms of digital media,such as the Internet or e-mail.

Customized mailings. Forexample, a car company mayask customers visiting theirshowroom or website to specifythe make and model of their carof interest, such as the color,finish and accessories. Using thisinformation, an HP Indigo digitalpress can create a personalizedbrochure or mailer for thecustomer that includes picturesand information about their“ideal” automobile. The piececan also invite customers to setup a test drive.

In the automotive industry, this isan oft-used example of one-to-one marketing.

Transactional-promotionalmarketing. Personalization canalso be used to great effect inCustomer RelationshipManagement (CRM).

For example, bills and statementsare fast becoming marketingtools for companiescommunicating with theircustomers. While few people likegetting bills, they still have tolook at them. “Transactional-promotional” marketing is a toolfor companies to incorporatepersonalized offers into their billsand statements. The customercannot avoid them, and, if theright profiling decisions aremade, they may even be pleasedto receive them!

As most designers know, color is made up from light ofvarying wavelengths in the visible part of the spectrum.Color can be “generated” in one of two ways:

• Reflected light. When we look around us what wetypically see is reflected light, where the color isdetermined by the way different objects absorbdifferent wavelengths of radiation. The reflectedwavelengths are interpreted by our brain intodifferent colors. This is called the subtractive colorsystem and relates to the way we perceive a printedimage, where the inks used actually absorb somewavelengths of light and reflect others.

• Direct emission. Alternatively, color can be formed bythe direct emission of visible radiation of differentwavelengths. This is called the additive color systemand can be used to describe the light emitted by anLED (laser) or monitor (phosphorescence) where red,green and blue phosphors, or LEDs, are used to emitlight—hence the term RGB monitor.

Color is always a very personal experience, despite itssource. It is unlikely that any two people see it inexactly the same way. However, we are all able torelate to it through learned terminology. Attempts havebeen made to quantify color scientifically and severalsystems exist today.

Color gamut. It has been estimated that the human eyecan see about 16 million different colors. However,what can be seen and what can be printed are vastlydifferent. Every device that produces color—i.e., amonitor or a printer—has a color range or “gamut”that the device can render.

Typically the gamut of an RGB monitor is quite large,certainly much larger than that of the standard fourcolor (CMYK) printing process (Figure 1). This is whythe colors you see in a design on your computer donot always look the same in the printed piece. You canminimize this discrepancy by calibrating your monitorand implementing some form of color management.An absolutely perfect color match is unlikely, however,as the two systems are fundamentally different.

Chapter 7Enhancing design impactwith a wider color gamut

Figure1 Gamut comparisons

Red

Green

Blue

KEYRGB gamut

CMYK gamut

HP IndiChrome gamut

Cyan

Magenta

Yellow

Violet

Orange

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44

HP DreamColor Technologies. In order to assure easy,accurate and consistent color from display throughprinting, HP DreamColor Technologies offers you theconfidence of knowing that the color on your screenwill match the color on the printed image.

These new technologies are built into a collection ofapplications and devices to assure a consistent colorappearance. Although individual components featuringHP DreamColor Technologies offer this benefit, thegreatest value will come from using HP DreamColor-enabled products together.

HP DreamColor Technologies support HP Indigodigital presses, as well as HP large-format and superwide-format printing technology.

CMYK. The standard CMYK printing process is theestablished norm for color printing, and in most casesthe gamut of colors it renders is acceptable to manypeople. In reality, the gamut is made up of the threeprocess colors, cyan, magenta, and yellow, plus black,also known as the key color and represented as K.

Some printing applications, however, require a widergamut of colors. For example:

• Special colors may be needed to match a corporatebrand color

• Bright eye-catching colors are often required for labeland packaging applications

These special colors are often referred to as house,spot or corporate colors.

If your desired color lies outside the standard 4-color CMYK gamut, you can introduce extra inks inorder to extend the color range. In these situations,graphic arts professionals often turn to 6- and 7-colorprinting processes.

In the digital printing industry, only HP Indigo digitalpresses are available with 5-, 6- and 7-color capability,collectively termed HP IndiChrome.

Extending the gamut usingHP IndiChromeHP Indigo offers several methods for extending yourcolor gamut—and thus your creative flexibility:

HP IndiChrome on-pressThe HP IndiChrome on-press system introduces two orthree additional colors into the standard CMYK ink set.All tints and half-tone images are mixed from these sixor seven basic colors. The HP IndiChrome system issimilar in principle to PANTONE Hexachrome printing.

The difference is that the HP IndiChrome on-presssystem uses the standard CMYK inks plus additionalorange and violet inks, as opposed to Hexachromewhich uses non-standard CMY inks plus orange andgreen inks. By using the standard CMYK ink set in HPIndiChrome on-press (and HP IndiChrome Plus), the HP

Indigo digital press can quickly switch from standard4-color work to 6- and 7-color printing, even within thesame document, without changing inks.

In addition to extending the printing gamut, HPIndiChrome on-press lets you match a much widervariety of colors and gives you a broader range ofspecial colors to produce more vivid images.

Note: If the color still lies outside the gamut of the 6- or 7-color process, you will still get a closer matchthan with CMYK—but it may still not be perfect. Thisoccurs most often with colors in the green part of thespectrum, where using the HP IndiChrome on-presssystem does not extend the gamut. Also, one of the keythings to understand with 6- or 7-color process is thatall the colors have to be screened, since they will likelybe composed of more that one base ink and spotcolors will not be solid. In these scenarios thealternative use of the HP IndiChrome off-press systemshould be used.

HP IndiChrome PlusSome HP Indigo digital presses also support 7-color(CMYKOVG) PANTONE emulation for the simulationof the PANTONE MATCHING SYSTEM®. HPIndiChrome Plus is the broadest digital on-press colorgamut system for the production of labels andpackaging. The added benefits of the broader colorspace of CMYK+OVG include enhanced print quality,closer matching to PANTONE Colors, a broaderapplication range and the ability to transfer more colorjobs from conventional printing to digital production.

Hints and tipsHP IndiChrome

The use of special colors canboth increase and decrease thecost of a job depending on howthe piece is designed.

For example, if you design a 2-color job but used the CMYK4-color process for printing, itmight require four colors to belaid down to produce the job(depending on the color).

Using the HP IndiChrome on-press system, you could achievea better color match, though itstill may require four colors toproduce the job. The HPIndiChrome off-press systemcould mix two spot colors tomatch your chosen colors, andthe print could be produced as atrue 2-color job. This wouldspeed up production, and alsosave you money in terms ofconsumables. As a rule, however,the extra labor and consumablecosts are more cost-effective onlywith longer run lengths.

Figure 2a HP IndiChrome off-press and on-press gamut

• PANTONE Colors

HP IndiChrome off-press The HP IndiChrome off-press method enables the PSPto make pre-mixed special colors for loading into the5th, 6th and 7th ink tanks on the HP Indigo digital press.This method is similar to the handling of spot colors inconventional printing, where the designer defines aspecial color separation in the page layout.

The HP IndiChrome off-press system uses specialequipment that draws from eleven base inks: cyan,magenta, yellow, black, green, orange, violet, brightyellow, reflex blue, rhodamine red and a transparentink. By using a spectrophotometer and specializedsoftware to measure and calculate the composition ofa color, the system determines the correct mix to matchyour color.

The HP IndiChrome off-press method creates ink thatcan be treated as true spot color—it can be printed asa solid, i.e., not screened. This can be especially usefulfor jobs that contain fine detail, such as linework,logos and fine small point text. It can also be used toimprove the appearance of solids that may otherwisebe prone to banding (see Chapter 1). However, themajor benefit of HP IndiChrome off-press is that it givesyou a precise match to the color you have chosen. It’salso useful for 2-color jobs, such as economicalpersonalized direct marketing pieces.

A checklist for selecting the right HP IndiChromemethod

It is important to select the appropriate HP IndiChromemethod before starting design or artwork. If you haveany doubts about the color you are trying to achieve,consult your PSP at the earliest opportunity.

HP Indigo digital presses come in several differentconfigurations and models. Ask your PSP whichconfiguration they operate—4, 5, 6 or 7 colors—before designing or commissioning the job. If yourdesign needs three or more spot colors, the HPIndiChrome on-press will give you a better overall

match. In that scenario, all spot colors should bedefined in pre-press using their PANTONE references.

If your design uses one, two or three spot colors, youcould print it using HP IndiChrome off-press. Make surethat the spot color name is defined consistentlythroughout your entire document, including any linkedfiles such as EPS logos or graphics. If the spot color isgiven a different name relative to the name it is givenin the document, say in an imported graphic, it willgenerate separate plates on output instead of bothbeing included on the same plate.

When to use HP IndiChromeTo summarize, HP IndiChrome is useful for a variety ofdifferent reasons. The following is a list of some, butnot all, of its possible applications.

Using HP IndiChrome off-press:• When special color inks are needed to match

corporate colors precisely

• For the production of bright colors that cannot beaccurately reproduced by the 4-color process

• For producing special colors that can be printed assolids (especially useful for small point type)

• To enable the economic printing of 2- or 3-color jobs,such as producing direct mail or business cardswithout extra charges for a third or fourth color

Using HP IndiChrome on-press:• When you need to produce more vivid life-like

images

• To print a larger range of special colors moreaccurately than is possible with the 4-color process

45

46

HP ProfessionalPANTONE emulationtechnology (CMYK)

HP IndiChromeon-press (CMYKOV orCMYKOVG)

HP IndiChromeoff-press spot InkMixing Services

HP IndiChromeoff-press Ink MixingSystem (on-site)

Scenario

Usage pattern

Inks to be used

• Short run PANTONE Color jobswith frequent changes

• Print on demand with noadvance planning

• Print buyer is extremely pricesensitive

• Image has a color within or closeto CMYK gamut

• Press is not configured for 6colors

• The PSP will use CMYK inks andrefrain from spot color installationand changes

Regular CMYK process inks

• Short run PANTONE Color jobswith frequent changes

• Print on demand with noadvance planning

• Print buyer is moderately pricesensitive

• Image has a color far from theCMYK gamut

• The PSP will use CMYKOV inksand refrain from spot orCMYKOVG installation andchanges

Regular CMYK process inks,orange and violet inks

• Contract with one/fewcustomers who use knowncolors

• Very low frequency of spotcolor change (if at all)

• Print buyer has low pricesensitivity

• Image includes a color outsidethe CMYKOV gamut

• The PSP will use regularprocess CMYK inks + spot inksand refrain from spot colorchanges

• The PSP tends to leave the spotink on the press

Mixed spot/brand ink orderedfrom HP IndiChrome Ink MixingServices

• On demand job requiringbest quality and spot coloraccuracy

• Print buyer is not pricesensitive

• Image includes a color outsidethe CMYKOV or CMYKOVGgamut

• The PSP will use regular processCMYK inks + spot inks

• The PSP will remove the spot inkpost usage

Mixed spot/brand inks, mixed on-site using the HP IndiChrome InkMixing System

PANTONE licensing When it comes to color accuracy and specification,PANTONE, Inc. sets the standard for the printingindustry. PANTONE and HP have worked together tooffer unprecedented levels of fidelity to the PANTONEMATCHING SYSTEM Color standard when reproducedon the HP Indigo digital press.

The HP IndiChrome system is PANTONE® licensed.PANTONE color conversion tables provide you withsimulations of 1,125 different colors, while PANTONEGoe provides you with 2,058 colors.

For more information, see the HP IndiChrome on-pressuser guide or check with your PSP.

Color specialists at PANTONE, Inc. have developedexpertly tuned color look-up tables (LUTs) that compriseHP Indigo CMYK or HP IndiChrome CMYKOVvalues—providing an optimal simulation of thePANTONE MATCHING SYSTEM colors for the specificprinting device. HP Indigo’s mixed spot inks match upto 97% of PANTONE Colors.

While trying to match a corporate logo or brandidentity color, close is just not good enough. AlthoughICC color management can effectively handle images,it has a more difficult time trying to match a specificcolor and especially out-of-gamut colors that includemany PANTONE Colors.

As a result, if you want to print a specific logo color,another method must be used. Therefore, the creationof special, device-specific color data tables is required.For graphic designers, a PANTONE-licensed pressmeans that they can design using industry standardPANTONE Colors and get color output that helps themachieve in output what they conceived in their design.

HP Indigo PANTONE licenses• HP CMYK on-press PANTONE simulation: a 4-color

(CMYK) PANTONE emulation for simulatingPANTONE Colors

• HP Professional PANTONE technology: an enhancedon-press 4-color emulation for the HP Indigo press5000, 5500 and 3500 to simulate PANTONEColors with higher accuracy using custom-built ICC profiles

• HP IndiChrome on-press: a 6-color (CMYKOV)emulation to simulate PANTONE Colors

• HP IndiChrome Plus: an on-press 7-color (CMYKOVG)emulation to simulate PANTONE Colors

• HP IndiChrome off-press: an 11-color mixing systemfor solid spot-color ink creation

• HP CMYK on-press PANTONE Goe simulation: a 4-color (CMYK) PANTONE emulation forsimulating PANTONE Goe colors

PANTONE Goe System. The PANTONE Goe Systemoffers a comprehensive color library that spans everyplatform from digital to print, including 10 mixingbases that create 2,058 colors of uniform thicknessmade with pigments available worldwide. They arecompatible with and receptive to UV and aqueouscoatings.

With more colors, fewer base inks, adhesive-backedchips and innovative software, Goe works in concertwith the PANTONE MATCHING SYSTEM to provide alarger gamut of ideas.

HP Indigo digital presses are licensed for PANTONEGoe simulations.

HP Indigo Digital Color ToolboxHP and PANTONE have jointly created a specialPANTONE HP Digital Color Toolbox for users who willbe designing and printing to a PANTONE-licensed HPIndigo digital press with either CMYK or HPIndiChrome (CMYKOV or CMYKOVG)) ink sets. The kithelps you see, in a side-by-side format, how industrystandard PANTONE Colors can be printed using eitheroffset or HP Indigo’s unique digital printingtechnologies.

PANTONE swatchbook. HP Indigo Digital Color Toolbox package

PANTONE swatchbook HP CMYK PANTONE and IndiChrome swatchbook

Hints and tipsThe HP Indigo digital presses are the only digital presses thathave 5-, 6- or 7-color capability.By utilizing this ability you canbring a striking new dimension to any job.

Figure 2bHP IndiChrome off-press and on-press gamut chart

4-color

7-color

6-color

11-color

47

• Pantone colors• Pantone colors

• Pantone colors • Pantone colors

Advantages of the HP Indigo Digital Color Toolbox:• See exactly how an HP Indigo digital press can

reproduce PANTONE Colors using both 4-color and6-color HP IndiChrome.

• Visually evaluate the trade-off between the moreeconomical CMYK solution and the broader, moreaccurate CMYKOV color gamut.

• Compare the results to off-set press printed versionsusing a spot color and its 4-color processcounterpart.

To help you select the best color process for any printjob, the swatch book features HP IndiChrome on-press6-color process (CMYKOV) PANTONE-licensedsimulations, compared to standard 4-color process(CMYK) PANTONE-licensed simulations. TheCMYK/CMYKOV-divided swatch book for HP Indigodigital presses, together with the original industrystandard PANTONE Colors swatch book, provide atool that offers print buyers the option of visuallyevaluating the trade-off between CMYK and CMYKOVor CMYKOVG.

HP also produces a range of specialty spot colors suchas white ink, HP Digital Matte ink and light cyan andlight magenta inks. HP Indigo Digital Matte ink createsa differential gloss effect to add a spot varnish look—an effect that always captures attention. When usedwith CMYK process HP ElectroInks, light cyan and lightmagenta inks provide an improved image withsmoother tone transition and saturated colors,enhancing the quality of photo-specialty products such as photo books, photo calendars, greeting cardsand more.

Check on their availability with your PSP beforestarting the job.

Digital Color Toolbox configurations include:

• PMS 1: PANTONE color bridge and HP Indigo UVS 6(EMEA, NA)

• PMS 2: PANTONE color bridge and HP Indigo UVS 7and varnishes (EMEA, NA)

• Goe 3: PANTONE Goe and HP Indigo 4(worldwide)

Availability: myhpindigo portal; www.PANTONE.com

48

49

Choosing and using the right design software in thefirst place can make your life a whole lot easier. Thereare hundreds of different applications and add-ons inthe form of plug-ins or XTensions that you can buy, butwhere do you start?

Generally the applications for graphic design can begrouped into different categories: image creation andmanipulation, illustration, and page layout software.

For example:Image creation and manipulationAdobe® PhotoShop®, Adobe® Creative Suite

IllustrationAdobe® Illustrator

Page layoutQuarkXPress, Adobe® InDesign

These days the line between these categories isbecoming fuzzier with most of the mainstreamapplications expanding their feature set with eachrelease. But the way in which each applicationapproaches tasks tends to extend from its originalheritage. Some people will find one application easierto work with than another, probably because it followsa similar logic or working practices that they canrelate to. So one aim should be to find an applicationyou are comfortable with. However, in business thereare some industry leaders and your choice may bemade more from a compatibility standpoint.

It is worth pointing out at this stage that while you maybe able to print your document or presentation to your

desktop printer it does not necessarily mean that theapplication you are using is the most suitable forprinting to a conventional or digital press.

For example, text editors and word processingsoftware often have some basic page layout abilities,and for printing out on a relatively low-resolutionprinter they are fine. However, when sending yourdocument for printing on an HP Indigo digital press the abilities of these applications may fall short interms of quality and the ease with which your PSP can output them.

Hints and tipsThe bitmap modeIn the world of digital imagesthere are two methods ofdefining images: bitmap (orpixel) mode and the vectormode.

Bitmaps store graphical datarepresented as a set of pixels.With this method an image iscomposed of a series of pointsdetermined by their x and ycoordinates and their color. Thisdata storage system can producevery large files directly related tohow much color information itcontains. Hence an 8-bit colorimage will be smaller than a 24-bit image.

Typically bitmap images can beconsidered photographic imageswhere each pixel is definedindependently. Thus, bitmaps areedited by manipulatingindividual or groups of pixels.Because each pixel is defined atcreation or capture, bitmaps aresensitive to scaling and cansuffer loss of detail and appearjagged if enlarged too much(Figure 1a). They are resolutiondependent.

The bitmap method representsthe only way of digitally storing aphotograph, a watercolor, or apainting in digital form.

Common bitmap formats: TIFF,BMP, JPEG, PhotoShop EPS

Chapter 8Design software—making theright choice

Figure 1a

..the bitmap image shown at350% enlargement

Figure 1b

A bitmap image shown at 100%

...the vector image shown at350% enlargement

A vector version of the sameimage shown at 100%

51

52

Firstly, most of these types of application use the RGBcolor space because very often they are intended fordisplay rather than print. The HP Indigo digital press isa CMYK device and in converting from the larger RGBcolor space to the smaller CMYK color space thecolors may not appear as vivid and bright as you seeon your screen. It is always better to design yourdocument in CMYK if you are going to print it using aCMYK device as the results will be far morepredictable.

Secondly, remember that the HP Indigo digital press iscapable of printing at a much higher resolution thanthe average desktop printer and therefore benefits fromhigher resolution and quality images to get the bestresults.

Thirdly, on the whole these applications expect only asingle page to be printed at a time and they usuallydo not provide any facility to add crop marks that areused by the PSP to cut the page down to finished sizewhen printed on a larger sheet of paper. Neither dothey usually take into account different impositionschemes to cater for your finishing requirements. Forexample, a saddle-stitched booklet will need adifferent imposition scheme to a perfect bound report.

On the whole it is not advisable to perform pagelayout in image creation and manipulation applications.These software programs generally have very basictypographical features and because they use bit-map-based images the file sizes can be large andthe quality of the text poor compared to vector-basedapplications. Also, importantly, they have no conceptof a document with more than one page. They arehowever excellent at getting the best out of yourimages and preparing them for printing. They are the best place to perform RGB to CMYK conversions,image retouching, image cut-outs, image compositionand format conversion.

Conversely, even if the functionality is there, pagelayout applications are not the best place to performimage retouching or color adjustments.

Increasingly the difference between illustration andpage layout applications is becoming more difficult todistinguish. Both tend to have good typographiccontrol but an illustration application will typically havemore control over the vector-based graphical elements.Again, these applications tend to only allow thecreation of a one-page document.

Hints and tipsThe vector modeThe vector mode is a way ofsaving an illustration that usescurves or shapes that can bedefined by mathematicalequations. In a vector file, eachshape is stored according to itsgeometric properties. Instead ofstoring the image point by point(like in a bitmap), this shape isassociated to one or severalmathematical formulas thatconnect simple geometricproperties such as a rectangle ora circle—to mathematicalequations that represent thesevectors.

This way, images of a greatlyreduced file size when comparedto a similar bitmap file can becreated. Vector graphics areideal for logo designs,typography and similar objectsthat require a high degree ofprecision and where usingmathematical definition allowsfor easy editing of wholeelements. This also means thatthe image can be infinitelyscaled without loss in quality(Figure 1b). They are resolutionindependent.

Ironically, to print a vector page,it must be converted into pixels.This is done by the Raster ImageProcessor (RIP) which transformsthe vector information into a pixelbased bitmap image suitable forprinting on the associated printer.RIPs are usually closely integratedwith, and specific to, an outputdevice and cannot be used todrive other non-similar outputdevices. Because of differencesin RIPs there can be variation inthe quality and appearance ofthe image resulting from thisconversion. Hence, it’s worthbeing aware that output fromdifferent RIPs (shouldn’t but) couldbe different.

Vector based formats:Illustrator/Freehand EPS

53

The professional page layout applications are capableof pulling together all the elements needed to constructthe page—the copy from word processors, the imagesand the illustrations. It allows the creation of entiremulti-page documents with good typographic, wordediting and document control.

It is the place where many different elements cometogether (Figure 3) so it should have good versioncontrol to track any changes that may have been madeto the elements that make up the page.

The functionality of these applications can often beextended by the addition of a suitable plug-in orXTension that can either make common tasks easier ormake new tasks possible. Finally, it should also havegood control over the output by allowing the definitionof printer’s marks and the application of impositionschemes to the document to keep your PSP happy.

Figure 2Vector-based images are used for the creation of curves or shapes that canbe defined as mathematical equations.

Si meliora dies, ut vina, poemata reddit,

scire velim, chartis pretium quotus arroget

annus. scriptor abhinc annos centum qui

decidit, inter perfectos veteresque referri

debet an inter vilis atque novos? Excludat

iurgia finis, “Est vetus atque probus, centum

qui perficit annos.”

Quid, qui deperiit minor uno mense vel

anno, inter quos referendus erit? Veteresne

poetas, an quos et praesens et postera

respuat aetas?

“Iste quidem veteres inter ponetur honeste,

qui vel mense brevi vel toto est iunior anno.”

Utor permisso, caudaeque pilos ut equinae

paulatim vello unum, demo etiam unum, dum

cadat elusus ratione ruentis acervi, qui redit

in fastos et virtutem aestimat annis

miraturque nihil nisi quod Libitina sacravit.

Ennius et sapines et fortis et alter Homerus, ut

critici dicunt, leviter curare videtur, quo

promissa cadant et somnia Pythagorea.

Naevius in manibus non est et mentibus

haeret paene recens? Adeo sanctum est

vetus omne poema. ambigitur quotiens, uter

utro sit prior, aufert Pacuvius docti famam

senis Accius alti, dicitur Afrani toga

convenisse Menandro, Plautus ad exemplar

Siculi properare Epicharmi, vincere Caecilius

gravitate, Terentius arte.

Hos ediscit et hos arto stipata theatro spectat

Roma potens; habet hos numeratque poetas

ad nostrum tempus Livi scriptoris ab aevo.

Interdum volgus rectum videt, est ubi peccat.

Si veteres ita miratur laudatque poetas, ut

nihil anteferat, nihil illis comparet, errat. Si

quaedam nimis antique, si peraque dure

dicere credit eos, ignave multa fatetur, et

sapit et mecum facit et Iova iudicat aequo.

Non equidem insector delendave carmina

Livi esse reor, memini quae plagosum mihi

parvo Orbilium dictare; sed emendata videri

pulchraque et exactis minimum distantia

miror. Inter quae verbum emicuit si forte

decorum, et si versus paulo concinnior unus

et alter, iniuste totum ducit venditque poema.

12

3

4

Figure 3The layout below illustrates the typical components that are used to make up a page: crop marks (1),an imported image that bleeds off the page (2), an imported vector-based illustration (3) and text (4).

As a designer you can appreciate the vital role playedby the substrate or stock in maximizing the overallimpact of the piece. Color, whiteness, thickness, textureand durability—these are all important aspects thatcontribute to the design and functionality of the finalpiece. When compared to xerographic printers and insome cases even conventional presses, your substrateoptions are greatly expanded with the HP Indigodigital press.

Xerographic papers are often characterized by a “dry”or “crackly” feel. The effect is attributed to therequirement for papers with very low moisture contentto enable ink fusing. As a result, you are usuallyrestricted to using laser-approved papers, which limitsyour choice of substrate and costs more overall.

The absorbency factor. Conventional printing supportsthousands of different substrates, even beyond paper.Depending on the press and substrate combination,however, there may still be issues. Non-absorbentsubstrates typically take a long time to dry, whichprohibits fast duplex printing or finishing. Highlyabsorbent papers, such as watercolor papers that soakup ink, may also increase dot gain and reduce imagesharpness.

HP ElectroInk dries instantaneously on contact with thesubstrate. It doesn’t get absorbed to any great extentand thus maintains highly defined, sharp dots—delivering superb results on either non-absorbent orhighly absorbent materials. In most cases the printedsheets can be handled and finished immediately.

As with all printing processes, there are alwaysexceptions and it is worth confirming your substraterequirements with your PSP.

Coated and uncoated papers Paper types may be classified as coated or uncoated.A coated paper is one where the paper surface ispigmented, or coated, with a special mixture of clay orchalk along with other additives and agents. Papersthat do not have this coating are called uncoated.

Coating formulations, as well as the amount ofcoating, vary according to the paper type. Coatingweights are generally placed in four categories:pigmented, medium coated, fully coated and artpapers. Properties such as smoothness, gloss,printability and opacity generally improve withincreasing coat weight. The degree of calendering thatis applied in the paper manufacturing process will alsodetermine these properties.

Coated papers are typically used for applications thatrequire a higher quality look and feel, such as “coffeetable” books, specialty magazines and high endproduct brochures. Uncoated papers are typically usedfor single-color books (e.g., black only) or forms,where a higher absorption capacity makes them moresuitable for writing on.

Chapter 9Substrates—the mediaenhancing the message

55

Approved and optimized substratesRIT substrate evaluation. HP subscribes to anindependent substrate approval process undertaken atRochester Institute of Technology in order to assuremedia suitability for HP Indigo digital presses. The RITWorldwide Media Center (WWMC) operates a full-scale, controlled environment and includes a range ofstringent tests that examine a substrate’s runnability, inktransferability, blanket compatibility and other factors,such as ink-media interaction and flaking. The RITWWMC pays particular attention to factors that havea significant impact on digital print quality, such as inkadhesion.

While not all substrates are submitted for approval, itis not an indication that they are unsuitable for use onan HP Indigo digital press. Your PSP should be able toadvise you on the range of papers they keep in stockand the availability of any specialized substrates, ifneeded.

Some substrates may experience problems in printing,but often a PSP can apply a top-coating which altersthe surface characteristics and enables a suitable keyfor the ink. This is referred to as optimization ortreatment and should not be confused with the term“coated paper.” Visually the substrate will look thesame in appearance as the original sheet, but anoptimized or treated substrate will give better results.The optimizing or treating process may come at anadditional cost, so be sure to inquire about alternativesubstrates that meet the needs of the printed material.

• Must be stable at temperatures up to 130°C (plastic and syntheticsubstrates)

• Maximum physical sheet size: 330.2x482.6 mm

• Maximum physical roll size: 1.3 m diameter 330 mm width

• Approximate weight range:

Sheetfed: 80-350 gsm

Webfed: 40-300 gsm

(Remember that weight is not a true indication of the bulk and it isthe thickness in combination with the grain direction that will oftendetermine the suitability of the substrate.)

• Grain direction: less than 170 gsm = long grainGreater than170 gsm = short grain

Substrates: the rules of engagement

56

Hints and tipsSpecialized substrates meet awide variety of applications:

•Teslin—ideal for waterproofapplications, such as outdoorlabels, cook books, securitylabels

•Dupont™ Tyvek®—designed fortear-resistant applications, suchas workshop manuals and maps

•Plastic film (transparent andopaque)—used for membraneswitches, OHPs, shelf hangersand other point of sale materials

•Watercolor papers—ideal forfine art reproduction andgreetings cards

•Lenticular sheets—for creatingmotion or 3-D effects in mousepads, children’s stickers andnovelty items

57

Checks to make with your PSP• Can they handle the applications you have created

your documents in? (Chapter 8)

• What format media can they accept for delivery ofthe data, e.g., CD, Zip, DVD, ISDN?

• Confirm the configuration of their press, e.g.,6-colors, spot color mixing. (Chapter 7)

• Check that they can print the substrates you require.(Chapter 9)

Checks to make in your design• Does the design fit the format of the output device?

(Chapter 3)

• Are all the images CMYK? (Chapter 3)

• Are all the images at a suitable resolution?(Chapter 3)

• Are there any potentially problematic tints or blends?(Chapter 3)

• Have you put a shiner behind large areas of solidblack? (Chapter 3)

• Have you included bleed in your design whereneeded? (Chapter 3)

• Have you set up any specific overprints or trapping?(Chapter 3)

• Does the document contain fine colored type?If so consider using a spot color to give youa clearer sharper result. (Chapters 4 and 7)

• If your design is personalized have you taken intoaccount “worst case” data? (Chapter 6)

• Does your document need five, six or seven colorprinting? If so make sure it is set up correctly for HPIndiChrome on-press or off-press depending on yourchoice. (Chapter 7)

Checks to make before sending thefiles to your PSP• Are all the associated images, graphics and fonts

used in the document present? Remember bothscreen and printer fonts are needed for Type 1PostScript fonts. (Chapter 4)

• If you have made a PDF, is it saved at a resolutionsuitable for printing? (Chapter 5)

• If you have made a PDF, does it contain all thebleeds you need? (Chapter 5)

• If you are sending a personalized design for printingmake sure that the associated variable data files anddatabase are also supplied.(Chapter 6)

• Provide your PSP with the final printed proof of thedocument for clarity.

Chapter 10Final checks

59

Hints and tipsTry printing your document fromthe disc that you will send to yourPSP. This will highlight if anythingis missing. It is best to do this ona different workstation than theone you used to design youroriginal document.

Pay particular attention tomissing fonts.

A: ‘DIN-A’ (Deutsche Industrie Norm) Sizes start at size A0 which measures 840 x 1188 mm.The series of sizes is obtained by taking the previoussize, dividing its larger dimension by two and keepingthe smaller dimension the same.

A0: 840 x 1188 mmA1: 594 x 840 mmA2: 420 x 594 mmA3: 297 x 420 mmA4: 210 x 297 mmA5: 148 x 210 mmA6: 105 x 148 mmA7: 74 x 105 mmA8: 52 x 74 mmA9: 37 x 52 mmA10: 26 x 37 mm

Additive synthesis: The additive system stems fromthree beams of light in the primary colors red, greenand blue. By superimposing these beams it is possibleto obtain practically all the visible colors. The sum ofthese three colors, at their maximum intensity,produces white. This method is based on thetrichromatic sensitivity of the human eye. This methodis used particularly for video screens and computermonitors.

Aliasing: In digital graphics, a physicalphenomenon caused by the rectangularstructure of the pixel. Aliasing shows upin jagged edges on slanting lines andcurves. The lower the resolution of animage, the greater the occurrence ofthis phenomenon. Aliasing can beminimized by using a smoothingalgorithm, termed anti-aliasing.

Alignment: Text is right aligned when its right handedge forms a vertical straight line. The terms used areright aligned, left aligned or centered. In the last ofthese cases, the text is aligned about a central axis.

Example of right-justified text:Si meliora dies, ut vina, poemata reddit, chartis

pretium quotus arroget annus. scriptor abhinc annosqui decidit,novos?

Example of centered text:Si meliora dies, ut vina, poemata reddit, scire velim,

chartis pretium quotus arroget inter perfectosveteresque referri debet an inter vilis atque novos?

Alpha mask or 8-bit mask: In digital graphics, a typeof mask ensuring customizable protection of the imagelocated below it, from a 100% level to a 0% level, with254 intermediate levels, giving a total of 256 values.These masks make it possible, in particular, to insertone image into another with a fading level oftransparency or to make graduated masks.

Analog: A method of encoding information usinganalogy. This method is called analog because therelation between the copy and the original isrecorded. So there is a correspondence between themost dense parts of the image and the most denseparts of the real object. This equivalence may beidentical (in the case of the positive), or inverted (in thecase of the negative).

Glossary

Additive synthesisThe additive system from three beams of light in primary colors

A0

A1

A2

A3

A4

A5A6

A7A8

A10A9

The printed page Common page size designations

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B: ‘B’ sizes start at size B0 that measures 1 m x 1.4 m.The series of sizes is obtained by taking the previoussize, dividing its larger dimension by two and keepingthe smaller dimension the same.

B0: 1000 x 1414 mmB1: 707 x 1000 mmB2: 500 x 707 mmB3: 353 x 500 mmB4: 250 x 353 mmB5: 176 x 250 mmB6: 125 x 176 mmB7: 88 x 125 mmB8: 62 x 88 mmB9: 44 x 62 mmB10: 31 x 44 mm

Bit (Binary digit): The smallest unit of information incomputing. The bit is used to encode all information inthe form of 0s and 1s. Eight bits form a byte. Thenumber of bits used has particular importance indetermining the quality of a signal (audio or visual)during digitization. See bits per pixel.

Bitmap: A method of storing graphical datarepresented in the form of a group of pixels. Thebitmap remains the only format for digital storage ofphotographic images.

Bits per pixel: The number of bits used to define a pixelis one of the factors in determining the quality of animage, as essentially it indicates the number of shadesof a color that can be represented digitally. A bitmapfile is stored in the form of a succession of pixelsdetermined by their x and y coordinates in theorthonormal space constituted by the image. Thesetwo coordinates are added to by three values: one forred, one for green and one for blue. The three RGBvalues can be replaced by hue, saturation andluminance or brightness, or by the four CMYK values,depending on the color space chosen.

• A one bit image is the equivalent of an image that iscomposed of only black or white pixels without any

shade of gray. Sometimes referred to as a bi-levelimage.

• An 8 bit image is the equivalent of a grayscaleimage. It is a monochrome image with 256 levels ofgray between white and black.

• A 24 bit RGB image is able to define the full rangeof color, approximately 16.7 million (256 levels foreach primary color 256 = 16.7m), often called atrue color image.

• A 32 bit CMYK image is also a true color image. Ithas, however, a few less shades because the CMYKcolor space contains fewer colors than the RGB space.

Black: In the additive system black is generated bythe complete absence of any color. In thesubtractive system it is the presence of all color attheir maximum intensities. It is denoted in theprinting process by the letter K, a historicrelationship which stands for “key” (not “blacK” ascommonly supposed).

Blanket: In offset printing, the rubber cylinder coveringthat transfers the ink from the plate to the media to beprinted (paper, plastic, etc).

©: Symbol for the word “copyright”, more generallyused to indicate that the publication of a picture or atext is subject to legal rights of reproduction.

The chart shows the equivalence between the number of bits per primarycolor and the number of hues per primary color.

BITS HUES

6 64

8 256

10 1024

12 4096

CMY (cyan, magenta, yellow): Basic colors forsubtractive synthesis. The sum of these three colors, attheir maximum intensity, produces black. Also referredto as the complementary or secondary colors.

CMYK (cyan, magenta, yellow, black): Four basiccolors for printing, giving rise to the term “4-colorprinting process.” The CMY combination makes itpossible, theoretically, to reconstitute the majority ofvisible colors, including black. However, in practice,due to problems with ink purity, pure black can not beobtained by superimposing 100% of cyan, magentaand yellow. This is why it is necessary to add black.This method also enables less ink to be used andtherefore saves money and reduces drying time.

CMYK Plus: CMYK Plus is a CMYK-to-CMYKtransformation that, when implemented on digitalprinters or digital offset presses whose color gamut islarger than that of analog offset presses, maintains hueand lightness relationships but selectively (andintelligently) expands the saturation of colors.

Colorimetry: The science of color measurement.

Color: The visual experience perceived by the cones of the retina which are stimulated by the differentwavelengths of light perceived by the eye. The colortherefore varies in relation to the physical properties ofthe reflected light of an illuminated object or the lightemitted from a source. When we reproduce a color itis generally impossible or too complex to recreate itsoriginal spectrum. So we use a mixture of either thethree primary colors or three complementary colors inorder to produce an equivalent sensation in the eye.See additive synthesis and subtractive synthesis.

Color balancing: The neutralization of dominant colorsin an image.

Color cast: A color that dominates all the shades of animage. The cast may be due to ambient lighting, thebase material used to make the analog recording(e.g., film) or caused by a fault or characteristicresponse of the digitizing device.

Color conversion: Transformation from one color spaceto another. This process can sometimes lead to the lossof color when the subsequent color space has asmaller or different gamut to the original.

Coloring agent: An organic or chemical compoundthat absorbs various wavelengths of visible light whichgives it the ability to change the color of a solid or a liquid.

Color space: A range of colors grouped by a property.So, the color space of the visible spectrum designatesall the colors that a person with average sight is ableto perceive. Other examples include the RGB colorspace and the CMYK color space.

Color management: See ICC

Color synthesis: Reconstitution of the colors of thewhole of the visible spectrum from a limited number ofbase colors. Color synthesis takes either an additive ora subtractive form.

Complementary color: A color which, when added toanother, produces white in additive synthesis andblack in subtractive synthesis.

Condensed type: Typographical function designed to reduce the width of a character. It is best to use this function with caution. As far as possible, it isrecommended that a font that has actually beendesigned at a narrower width should be used. Thesefonts very often have the term ”condensed” in their name.

Contract proof: The last check before printing, it refersto any document that is used to give approval beforeproduction. The contract proof is signed by the clientand is used as a legal check in the event of a disputeover the work of the printer or provider.

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Contrast: Observable differences between the differenttones and colors of an image. The concept of contrastis subjective, depending on the viewer’s perception,because it contains several context-dependentconcepts.

Cyan: One of the four colors used in printing. Thisis the complementary color to red because it ismade up of blue and green in an additive system.In a subtractive system cyan absorbs redwavelengths of light; as a consequence, it reflectsgreen and blue.

Data compression: Various techniques whereby usingmathematical algorithms to represent or store the datain a different way the amount of data in a file can be reduced, leading to smaller files sizes. Differentcompression techniques give rise to different rates of compression. Some compression techniques aretermed “lossless” or non-destructive where there is noloss of detail in the data, others are termed “lossey” or destructive where there is loss of detail of varyingdegrees. Generally the smaller the resultant file thegreater the loss of detail.

Density: In the graphic arts, specifies whether an areaof an image is dark (high density, shadows), or light(low density, highlights). Density ranges are measuredwith a densitometer. In computing, density indicatesthe quantity of data contained per unit of surface areafor a given media (tape, disk, etc.). A density of 300dpi (dots per inch) indicates therefore that a surfacearea of one square inch has 300 x 300 dots, i.e.,90,000 points.

Digital coding: A basic concept in computing, digitalcoding of information uses a two state system: on/off,yes/no, which is represented in binary by either 0 or1. The information is then encoded in a binary script.The benefit of this system is to prevent the weakeningof an electronic signal during processing and thereforeto eliminate loss of information. A 0 always remains a0 and a 1 always remains a 1.

Digitization: The process that transforms an analogsignal into a digital signal.

DPI (dots per inch): A unit of measure of resolution, thisunit indicates the density of dots either recorded orimaged per inch.

HP ElectroInk: Liquid ink technology developedspecifically by HP for its unique LEP process. Its colorreproduction is similar to that of offset printing and isavailable in both SWOP, Eurostandard and HPIndiChrome ink sets and as a range of PANTONEapproved spot colors including white. Unlikexerography, it preserves the appearance of the paperdue to the fineness of the HP ElectroInk layer (1 to 2microns). Other characteristics include: sharp dotswhich give rise to images with well-defined edges andminimal dot gain, instantaneous drying which allowsfor immediate finishing and handling, andconventional light fastness.

Eurostandard: A European standard for digital oranalog systems to control the color quality ofphotoengraving films, photoengraving proofs, digitalprinting and digital plates in the case of direct plateoutput, and of the printed document.

Fixed spacing: In typography, equal spacing betweentwo letters, whatever the characters that are used. Thistype of spacing is inherited from old typewriters that,for mechanical reasons, were unable to vary thisdistance (see kerning).

Fluorescent color: Fluorescent colors reflect more lightthan they receive, because they transform, amongother things, the wavelengths of ultraviolet light intovisible light.

Font: A set of characters (letters, figures, punctuationmarks, etc.) of the same type (Times, Helvetica, etc.),of the same style (bold, italic, etc.).

Font size: The size of a character in a font, usuallymeasured in units of points.

Gamut (or color gamut): A range of colors that can beproduced using a certain process or device. Forexample, a wider range of colors can be created onan RGB monitor than using the CMYK process, and byprinting on gloss paper compared to matte.

GCR (gray component replacement): See UCR

HDI (high definition imaging): Printing screensdeveloped by HP for increasing the rendered detail inthe printed image from HP Indigo digital presses. Thisis achieved by using a combination of increasing thescreen ruling (number of lines per inch of dots),reducing the dot size, using super-pixels to alter the dotshape according to the density, and data interpolationto increase the effective resolution. Available screensinclude 144 (Sequin), 160, 175, 180, 195 and 230 lpidependent on machine configuration.

HLS (hue, luminance and saturation): Threedimensional color space used in many graphicsapplications to define a color. Sometimes also termedas HSB (hue, saturation and brightness).

The font of the matter Choose fonts wisely; they can maximize design and readability.

The TheFutura Book Futura

Condensed

ICC (International Color Consortium): It makes no senseto specify a color in CMYK if you don’t know how thedifferent devices used in a workflow, e.g., cameras,scanners, monitors and printers, will interpret thosevalues. The ICC is an industry body that exists to definea set of “device dependent values” that can be used todetermine the different characteristics for each machine,e.g., brightness, color balance, color shifts, etc. Thisinformation is then contained in an ICC profile for thatdevice. This profile can be used in a Color ManagementSystem (CMS). The aim is that by understanding therelative color performance of each device through itsICC profile it should in theory be possible to manipulatethe color information in a file to give predictable coloras long as it is within the capabilities of the device.

Imposition: The ordered placement of pages on asheet (signature) for printing, to accommodate differentfinishing and binding styles

Indexed color: A “paint by numbers” system for savingcolor information in an image. In order to keep the filesize low the image references a restricted and definedcolor palette (generally 256 colors).

HP IndiChrome: The term given to 5-, 6- or 7-colorprinting on HP Indigo digital presses. Incorporates on-press (six color process) and off-press (spot color)techniques. See Chapter 5 for more information.

JPEG (Joint Photographic Expert Group):A compression method that cuts an image into smalltiles or zones to calculate an average color that it willattribute to the whole set of pixels in this area. It is thesize of these zones in particular that will determine therate of compression of the image and therefore thequality of the image produced.

Justification: In typography, a text composition modewhere the spacing between words is adjusted to alignboth the left and right edges of the paragraph.

Kerning: Typographic function used to control thespace between characters.

Knock-out: See overprint.

Landscape: A printing format with the paper laidhorizontally (or the long edge on the top of the paper).Opposite to portrait.

Light: A component of the electromagnetic spectrum, it fits into the range of electromagnetic radiationbetween X rays and radio waves. All these wavesmove at the same speed in a vacuum: about 300,000 km/s. Like all electromagnetic waves, lightcan be defined by its wavelength. The wave length ofvisible light lies between 390 and 780 nanometers.Blue lies between 390 and 500 nanometers, greenbetween 500 and 600 nanometers and red between600 and 780 nanometers.

Liquid Electro-Photography (LEP): HP’s unique printingtechnology that gives traditional ink-on-paper qualityvia a true digital color printing press. Key to theprocess is HP ElectroInk that can be directed usingelectrical charges enabling a different image to bedigitally formed.

HLS Hue, luminance and saturation—three dimensional color space todefine color

Kerning

H

S

L

KERNING

Normal setting KERNING

K E R N I N G

K E R N I N G

K E R N I N G

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Luminance: In physics, the quantity of light per unit ofsurface area, luminance is measured in candela/m2.Often used to denote the brightness of a color.

Magenta: One of the four colors used in printing.This is the complementary color to green becauseit is made up of blue and red in an additivesystem. In a subtractive system magenta absorbsgreen wavelengths of light; as a consequence, itreflects red and blue.

Mask: In silver halide processing the mask refers to anactinic film, generally red, that protects thephotosensitive surface from any reaction to a lightsource. By extension, in a graphics application, amask is a layer created to protect the underlying dataof an image from the operator’s actions. Masks arecoded in either 1-bit or 8-bit. In the first case, likephotoengraving coated film, they protect eithercompletely or not at all. In the second case, theirprotection varies from 0 to 100% depending on theuser’s specifications (see alpha mask).

Offset: A monochrome or color printing techniquedeveloped to improve earlier forms of lithography. Inthis process, the ink is applied to the areas of theimage engraved on a plate, then it is transferred(offset) onto the substrate via a rubber cylinder, calleda blanket. This technique offers a number of benefitsincluding better transfer of the ink image to thesubstrate. It is now the most common form of printingused in the commercial market. HP Indigo digitalpresses also use an offset process. By combining theadvantages of the offset process with a unique“digital” plate the HP Indigo digital press is able tooffer the quality of conventional printing with theflexibility of digital printing.

Optical resolution: In digital graphics, the realresolution of a scanner or a camera. Optical resolutiontherefore indicates the number of pixels contained inthe larger axis and the smaller axis of a CCD array.For a strip device, it gives the number of pixels

contained in the strip and the number of steps bywhich this strip moves.

Overprint: When a page element is instructed tooverlay another element without knocking out the datain the underlying element it is said to overprint. Thistechnique can be either used for visual effect in thedesign or to eliminate the effects of misregistrationbetween colors caused by inaccuracies in printing. Forexample, black text should usually overprint anyunderlying tint or image. The HP Indigo digital pressRIP will automatically do this if requested, otherwiseyou can usually set it up in the original designapplication.

PANTONE: A color reference system developed byLetraset. This system comprises more than a thousanddefined colors that can be created by mixingseventeen pigments. The system also makes referenceto the same colors on different substrates; coated anduncoated. It is impossible to produce all of these colorsin CMYK. HP IndiChrome off-press can coverapproximately 97% of PMS colors—specifically, 1,125PMS colors and 2,058 PANTONE Goe colors. SeeChapter 5.

PDF (portable document format): Unique format basedon PostScript, created by Adobe and originallyreleased with the Acrobat application. This formatdescribes a document containing any combination oftext, graphics and images, independently of itsenvironment. See Chapter 3.

Pigment: Used in the composition of inks, enamels andpaints to give it its color.

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Pixel, acronym of “picture element”: The basicbuilding block of a digital image, the pixel is thesmallest element of an image. Only when presented ina group can it define an image. The higher thenumber of pixels or points in the group, the better thequality of the image.

Portrait: A print format with a vertical print orientationor the short edge on the top of the paper. Opposite tolandscape.

PostScript: An industry standard language format fordescribing a page. Used for driving a printer or animagesetter. This term is also used to denote the fontscompatible with this language (PostScript Fonts).

Primary color: A pure color in the visible spectrum thatis impossible to obtain by mixing together any othercolors

IndiChrome on-press: 6-color process (CMYKOV)

IndiChrome Plus: 7-color process (CMYKOVG)

IndiChrome off-press: 11-color process—CMYKOVG,plus white, rhodamine red, transparent and brightyellow.

Print Service Provider (PSP): The company supplyingthe printing capability.

Proportional spacing: In typography, spacing betweentwo letters that varies in relation to the shape and sizeof the letters.

Resolution: The resolution of a device is a measure of itsability to physically define two individual points asseparate entities. The common unit of measurement used

is dots per inch (dpi). For example a device with aresolution of 812 dpi can independently image twopoints that are 1/812th of an inch apart without themappearing as one point.

RGB: Abbreviation of red, green, blue. An additive colorsystem using the three primary colors. The sum of thesethree colors, at their maximum intensity, produces white.See additive synthesis.

RIP (Raster Image Processor): Software or hardwarebased interpreters that can translate input file formatssuch as PostScript or PDF into output bitmap formats thatcan be used to image the file on a designated device.Generally RIPs are specific to the output device sincetheir bitmap formats vary.

ROOM (RIP Once, Output Many): A concept where theoutput bitmap file from the RIP can be used for imagingon a range of output devices. In reality this is seldomachievable especially between output devices fromdifferent manufacturers.

Scaling: Mathematical transformation (enlargement orreduction) of an image in proportion to its originaldimensions.

Secondary color: Mixture of two primary colors.

SNAP (Swift Native Accelerated Personalization): HPIndigo digital press technology used for the production ofvariable data documents at very high speed. SeeChapter 4.

Spot color: Special separately defined colors that areprinted using an individual ink rather than beingcomposed using the standard CMYK inks. Typically usedin a design to catch the eye or related to a brand (housecolors) but also for economy. See Chapter 5.

Subtractive synthesis: Extracts the blue, green and redcomponents from white light with the aid of yellow,magenta and cyan filters respectively. The sum of thesethree colors, at their maximum intensity, produces black.It is this system that is used in printing.

Picture element and pixelThe basic building block of a digital image is the pixel.

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SWOP (Standard Web Offset Press): One of the offsetcolor range standards used as a reference (the word webhas nothing to do with the Internet).

Trapping: During printing, slight movements of the paperwhen going through the press can lead to misregistrationbetween the color plates. An area of trap is sometimesneeded around a page element to prevent the substrateshowing through in these areas of misregistration.Depending on the relationship between the color andtype (text or graphic) of the overlying element to theunderlying element, the edge of the overlying elementmay be effectively grown, known as spread, or the areaunderlying it may be shrunk, known as choke. When notrapping is used and the images need to align exactlythey are said to need a “kiss-fit.” Trapping is not normallyrequired when printing using an HP Indigo digital press.

UCR (under color removal): Compensation for theaddition of the three primary colors by black only inneutral tones. In theory, using the additive theory ofcolor, the combination of magenta, cyan and yellow willproduce black. In practice, imperfections in the printinginks usually mean that a dark tone of brown is produced.UCR reduces the amount of C, Y, M needed in shadowareas and neutral colors and replaces it with black ink(K). Its benefits include cutting down on the amount of inkneeded to produce an image and the drying timeneeded for the print. GCR (gray component replacement)

is similar except that it affects all neutral areas using blackand only the minimum amount of CMY needed. Careneeds to be taken when using GCR since it can adverselyaffect the color balance in the image when printed.

Variable data printing (VDP): A printing technique thatenables unique variation of a part of the printed data,also called customized or personalized printing. Variabledata printing has only been made possible by thedevelopment of digital printing techniques, especially by HP.

Vector graphics: An efficient data storage methodnormally used for graphics and text, based onmathematical definition of objects. Each shape containedin an image is stored in accordance with its geometricalproperties instead of storing the image pixel by pixel.These files are typically much smaller than their pixelbased equivalent and their scalability maintains theimage quality at all levels. However, depending on thecomplexity of the mathematical calculations the RIP has tomake, it is not always the quickest to RIP even though itwill be the smallest in file size.

White: In additive synthesis, white is produced by thesum effect of red, green and blue, and is the result of thepresence of all colors in equal quantities. In subtractivesynthesis it is the absence of any color whatsoever.

WYSIWYG: “What you see is what you get,” i.e., whatyou see on the screen is what will be printed.

Yellow: One of the four colors used in printing. This isthe complementary color to blue because it is madeup of red and green in an additive system. In asubtractive system yellow absorbs blue wavelengthsof light; as a consequence, it reflects green and red.

Subtractive synthesisExtracts the blue, green and red components from white light withthe aid of yellow, magenta and cyan filters respectively

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Microsoft and Windows are U.S. registered trademarks of Microsoft Corporation.

Adobe, Adobe PhotoShop, Acrobat Reader and PostScript are trademarks of Abode Systems Incorporated.

© 2008 Hewlett-Packard Development Company, L.P. The information contained herein is subject to changewithout notice. The only warranties for HP products and services are set forth in the express warrantystatements accompanying such products and services. Nothing herein should be construed as constituting an additional warranty. HP shall not be liable for technical or editorial errors or omissions contained herein.

4AA1-7983ENUC, February 2008