Formation of Print
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In printing colours are created by halftones (dots). All colours can be created using three process colours (in theory).
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Print quality
Print quality is determined by several factors including color reproduction, detail reproduction, gloss, and defects. Color reproduction depends on paper properties, ink properties, dot gain, and trapping. Higher print densities and smoother paper surfaces allow for wider color gamuts. Ink demand is mainly controlled by paper roughness and porosity, with smoother papers requiring less ink. Dot gain increases halftone dot size and must be considered when choosing screen rulings. Trapping influences color gamut through secondary colors and depends on ink sequence and transfer properties. Gloss is influenced by paper coating and ink, though consumer perception of differences in gloss can vary.
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The document discusses various problem cases that can occur in a pressroom, including electrostatic charge on paper, crease formation, picking, emulsification, ghosting, mottling, horizontal stripes, darkening, and changes in tone value. It provides details on the causes and remedies for each issue. The key issues covered are electrostatic charge occurring when paper is too dry, crease formation from poorly fed paper or machine settings, and remedies like ensuring proper paper moisture and machine adjustments.
Measurement of colour
This document discusses how materials modify light and how color is measured. It explains that light can be scattered, reflected, refracted, transmitted, absorbed, or diffracted when interacting with materials. Color measurement is based on spectroscopy, which measures light absorption across the electromagnetic spectrum. The CIE L*a*b* color space is commonly used to define color in a device-independent way using lightness, chroma, and hue. Print density is also measured to characterize color in printing and is calculated from spectral data using virtual filters.
Problem cases in press rooms
The document discusses various problem cases that can occur in a printing pressroom, including electrostatic charge on paper, crease formation, picking, emulsification, ghosting, mottling, horizontal stripes, darkening, decreases or increases in tone value, slurring, and lags in drying time. For each issue, it provides details on potential causes and recommended remedies.
Fixing agent
Fixing agents are important textile auxiliaries that improve the color fastness of dyes. They form insoluble colored materials with dyes on fabrics to improve washing fastness, perspiration fastness, and sometimes sun fastness. Common fixing agents include cationic agents and crosslinking agents. Fixing agents are applied after dyeing by dipping or padding fabrics in solutions containing 1-6% of the agent. This treatment improves fastness to washing, perspiration, friction and other stresses. Proper application and testing ensures fixing agents provide their fastness benefits without color changes or issues.
Mercerization
Mercerization is a chemical treatment that improves several qualities of cotton fibers and fabrics. It involves treating cotton with a concentrated sodium hydroxide (NaOH) solution under tension. This causes the cotton fibers to swell and straighten, changing their crystalline structure from cellulose I to cellulose II. As a result, mercerized cotton has increased luster, dye affinity, strength and absorbency. The process was discovered in the 1840s but was commercialized in the 1890s when it was found that applying tension during NaOH treatment dramatically increased the cotton's luster. Today, mercerization is commonly used in the production of sewing thread, denim, and other cotton fabrics to enhance their appearance and properties.
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Print quality is determined by several factors including color reproduction, detail reproduction, gloss, and defects. Color reproduction depends on paper properties, ink properties, dot gain, and trapping. Higher print densities and smoother paper surfaces allow for wider color gamuts. Ink demand is mainly controlled by paper roughness and porosity, with smoother papers requiring less ink. Dot gain increases halftone dot size and must be considered when choosing screen rulings. Trapping influences color gamut through secondary colors and depends on ink sequence and transfer properties. Gloss is influenced by paper coating and ink, though consumer perception of differences in gloss can vary.
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Fixing agent
Fixing agents are important textile auxiliaries that improve the color fastness of dyes. They form insoluble colored materials with dyes on fabrics to improve washing fastness, perspiration fastness, and sometimes sun fastness. Common fixing agents include cationic agents and crosslinking agents. Fixing agents are applied after dyeing by dipping or padding fabrics in solutions containing 1-6% of the agent. This treatment improves fastness to washing, perspiration, friction and other stresses. Proper application and testing ensures fixing agents provide their fastness benefits without color changes or issues.
Mercerization
Mercerization is a chemical treatment that improves several qualities of cotton fibers and fabrics. It involves treating cotton with a concentrated sodium hydroxide (NaOH) solution under tension. This causes the cotton fibers to swell and straighten, changing their crystalline structure from cellulose I to cellulose II. As a result, mercerized cotton has increased luster, dye affinity, strength and absorbency. The process was discovered in the 1840s but was commercialized in the 1890s when it was found that applying tension during NaOH treatment dramatically increased the cotton's luster. Today, mercerization is commonly used in the production of sewing thread, denim, and other cotton fabrics to enhance their appearance and properties.
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2) Mercerization improves properties of cotton like luster, strength and dye affinity. It involves treating cotton in a concentrated sodium hydroxide solution under tension. This causes fiber swelling and longitudinal shrinkage, modifying the fiber structure.
3) Effects of mercerization include increased luster, dye absorption, reactivity to chemicals, strength and smoothness. The quality of mercerization depends
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Block printing and stencil printing are traditional methods for applying designs to fabric in India. In block printing, carved wooden blocks are used to apply color in distinct patterns. There are regional variations in block printing styles based on background color. Stencil printing involves cutting a design template out of a thin material and applying color through the openings. Stencils must be designed so pieces do not fall out, requiring ties between separated areas. Both methods can produce varied and intricate patterns through manual application of dyes or paints in repeatable ways.
printing.pptx
Block printing is the oldest and simplest printing method. It involves carving designs onto blocks and applying color paste to print onto fabric. Screen printing uses screens to print whole widths of fabric quickly. Flat bed and rotary screen printing machines are used for higher production. Heat transfer printing indirectly transfers designs printed on paper to thermoplastic fabrics like polyester using heat and pressure. It allows printing without after treatments like soaping.
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Formation of Print
- 2. Contents • Formation of print – Colour formation – Halftone formation – Screening and detail rendering
- 3. Picture consist of millions of different colours and tones In photography colours are created by continuous tone In printing colours are created by halftones (dots)
- 4. All colours can be created using three process colours (in theory) Cyan Magenta Yellow CMY =
- 5. Use of black ink • Black is added to increase contrast CMY Black CMYK + =
- 6. Use of black ink • Example 2 CMY Black CMYK + =
- 7. Print density • Print density (darkness) is created by increasing the inked area (halftone percentage) Black 20% Black 40% Black 60% Black 80%
- 8. Print colour • Print colour (tone) is created by mixing halftone percentages of process colours M80%/C20% M60%/C40% M40%/C60% M20%/C80%
- 9. Conventional and stochastic screening Conventional screening Stochastic screening – tone is formed by altering – tone is formed by altering dot size dot position and spacing, number of dots – distance of dots constant – no screen angles (in – dot size depends on theory) screen ruling
- 10. Examples of screening methods Staccato 25µm Conventional 60 l/cm
- 11. Examples of halftone dots and text Offset Flexo Gravure (20%, 75 l/cm) (20%, 60 l/cm) (~20%, 100 l/cm) • Dots are uniformly • Ink is pressed to • Broken shape of dots and covered with ink edges, print density missing dots are typical for • Edges are ragged inside dot varies light tones (uncoated papers) • Edges are smooth • Doughnut shaped dots • Uniform text • Shadow in the edge • Text is screened, serrated of text edge
- 12. Examples of halftone dots and text Inkjet Electrophotography (20%) (~20%) • Dots are quite uniformly • Dots are quite uniformly covered with ink covered with toner • Dot is formed by using • Edges are ragged several droplets • Separate toner particles • Edges are ragged or (dry toner methods) even depending on paper • Uniform text • Satellites, escaped droplets
- 13. Screen angles •Screen angle usually 90° differs from 0° and 90° 75° – horizontal and vertical 45° lines are most visible to eye – yellow is usually at 90° because it is so weak colour 15° •Correct screen angles minimize moiré-effect
- 14. Moiré and Rosette patterns • Moiré and Rosette are both caused by regular halftone structure
- 15. Moiré and Rosette patterns • Moiré and Rosette are both caused by regular halftone structure Moiré
- 16. Moiré and Rosette patterns • Moiré and Rosette are both caused by regular halftone structure
- 17. Moiré and Rosette patterns • Moiré and Rosette are both caused by regular halftone structure Moiré is minimized => Rosette pattern
- 18. Screen ruling vs. detail rendering • Higher ruling is needed for finer details 60 l/cm 70 l/cm 80 l/cm
- 19. Screen ruling • Typical screen rulings – newspaper printing 30-48 l/cm – SC-paper in heatset 48-54 l/cm – coated paper in heatset 54-60 l/cm – fine paper in heatset 60-70 l/cm – fine paper and board in sheet-fed 60-80 l/cm – gravure printing 60-100 l/cm 60 l/cm 80 l/cm 40 l/cm
- 20. Examples Newsprint, LWC, 48l/cm 60l/cm Coated Fine, SC, 70l/cm 54l/cm