Fill in the gaps using the words from the box:

electromagnetic spectrum, additive primaries, color, printing inks, imaging, infrared,  subtractive primary, ultraviolet

1. …………….. is a combination of the physical sensation of light and the psychological interpretation of it.
2. The three colors - red, green and blue are called …………. …………...
3. When an additive primary color is taken away from white light, the remaining colors form a new one which is called ………….. ………….
4. RGB are the colors used in …………..
5. CMYK are the colors of the process using ……. …… color.
6. Light is the visible portion of the ………… ………… of the radiant energy.
7.  The invisible rays vary from 400 nanometers are called ……………….
8. The invisible rays bordering from 700 nanometers are called ………………

 

 

6. Find the statement true or false:

1. A fundamental technological change has taken place within prepress.
2. Film copies do not contain all of the information to be printed on the printed sheet corresponding to each color, but also opaque black-and-white originals especially for single-color work.
3. The designed blocks of text are input onto film or paper.
4. In preparation for the stripping a millimeter sheet is first placed on the light table with the carrier sheet on top and fastened with adhesive tape.
5. Galley proofs are produced for corrections to typesetting products such as continuous text, headings and titles, headers and footers for individual pages, picture captions, footnotes, indexes, and tables of contents.
6. Color proofs are not necessary for judging the quality of multicolor products.
7. The page number must be entered in the bottom inside corner of each page.
8. Position proofs are required to check the completeness and correct location of text and image.
9. Blueprints from the film assemblies or full-page films fulfill this purpose very well and are also cost-effective.
10. Color proofs are necessary for judging the quality of single color products.

7. Complete the following sentences:

1. The process of producing printed products can be divided into…………………………….

2. The first step in producing a printing plate is……………………………………………….

3. Today’s typesetting begins with …………………………………………………………….

4. “House corrections” are made in ……………………………………………………………

5. Corrections by the author follow ……………………………………………………………

6. The main function of the correction process which forms page make-up is………………...

7. Output devices used for the exposure of films are called …………………………………...

8.Sheet assemblyis ……………………………………………………………………………

9. The result of prepress is ……………………………………………………………………

8. Translate into English:

Как мы уже знаем, в истории печатания происходили фундаментальные сдвиги, которые внесли изменения в то, как выполняется коммерческая печать: переход от переписывания документов к первому печатному станку Гуттенберга, внедрение электрофотографии, появление линотипа и т.п. Ещё одна новая перемена происходит сейчас: переход к технологии “из компьютера на печатную форму”. На протяжении целого столетия, и даже дольше, изображения фиксировали на фотопленке и переносили на формную пластину для изготовления печатных форм путем экспонирования. В течение последних двадцати лет пленка вытесняется из допечатного процесса. Изображение регистрируется на формной пластине непосредственно из цифрового файла. Детали изображения не теряются и не искажаются. Некоторые способы печати новая технология делает более быстрыми и экономичными. Специалисты в области прогнозирования утверждают, что в течение пяти-десяти лет пленка окончательно исчезнет из полиграфии, за исключением совсем небольших предприятий.

 

 

9. Correct the jumbled sentences:

1. Before, of, electronics, the, introduction, and, computers, printing, in, much, prepress, of, operations, manual, were.
2. Prepress, the series, is, involved, of, operations, in the preparation, assembly, and, of all, elements, ready, copy, for printing, on a, press, printing, or, printer, digital.
3. Copy, elements, all, include, materials, reproduced, to be, text, in, or, form, picture.

 

 

10. Study the following phrasal verbs with make.  Match them with the definitions below. One of the verbs goes with two of the definitions.

1. make up
2. make out
3. make for
4. make out (that)
5. make up for

 

a) to see, hear, or understand something with difficulty;

b) to prepare something by putting different parts together

c) to reduce the bad effect of something

d) to pretend

e) to move towards something

f) to invent a story or a piece of information in order to deceive people

 

 

11. What other phrasal verbs with make do you know? Write some sentences of your own using phrasal verbs with make.

TEXT 2

DIGITAL PREPRESS

 

The extensive standardization and compatibility between systems (PC or Mac/Apple), software, and data formats used by the customer, the agency, and the prepress company allow for a division of the workflow. Text, images, and layout can be prepared either by the customer, the author, or the agency. This division of work is also applicable to the jobs carried out within a printshop with a prepress stage included.

The text data are primarily prepared in “Word” format, which has virtually become the word processing standard, since it is most widely used and offers many professional tools. The text data are very rarely edited directly in Word; instead they are positioned and typographically edited in a layout program (QuarkXPress, InDesign, or PageMaker).

The picture objects of a printed product are usually available as photograph, slide,or reflectioncopy, and are scanned in, or digitized, for publication. The digital data are then available at a workstation for further processing (corrections of the image contents or geometry).

Further alternatives have been added to this classical procedure: for instance the principle of the Photo CD. This procedure still includes the use of a camera and the development of the film. However, very often the result is not a slide, but a data file, for example stored on a Photo CD, containing original pictures that are already digitized. As for the scanned image, these data can also be processed directly onto the workstation.

Graphics constitute the third main element of a printed page. They are generally generated in so-called illustration programssuch as Freehand, Illustrator, or CorelDraw. These data are usually saved in the form of vector-based data files, which cannot be edited or positioned in a layout program. These software programs offer an opportunity to save graphics or drawings in EPS format and make them available in the layout for geometric processing (scaling, cropping).

Layout programs are software packages allowing for flexible, creative work and for integrating the elements (text, images, and graphics) on pages or a sequence of pages, or to position them on the page depending on the current job.

In many cases, production servers make it possible to prepare data for output on different output systems such as film imagesetters (computer to film systems), computer to plate, computer to press/direct imaging or computer to print systems. The data to be made available do not really differ from each other. The settings for the resolution, screen frequency, and so on, are defined in or by the RIP. For conventional workflows, that is, for workflows based on the PostScript file (the newer workflow management systems are based on PDF technology), all the settings required for imaging are defined on the server or at a workstation and this information is transferred to the RIP. This is also the case when selecting the screening method to be used.

Input and Output Resolution

One obvious quality feature is the image definition, which can be determined at a deliberately low level inthe original for artistic reasons, or it is limited by theresolution when scanning the original and transferringit to the film, plate, or substrate.

The original is scanned by either a digital camera or an input scanner. The image information is not transferred entirely, but only in accordance with a scanning pattern of a specified resolution

and number of tone value levels or gray levels. The pattern consists of the smallest image elements resolved by the scanning device, the pixels. This word is a neologism created from “picture” and “element.”

When an image is to be output on film, plate, or directly on a print substrate, the dot shape, screen frequency, and screen anglesmust be specified first. Since the dots to be written are made up of individual pixels (except in gravure printing), the pixel size must also be specified.

Modern imposition programs offer virtually any imposition pattern in prepress. Communication and consultation from accepting the order up to the binding is as essential as ever in spite of all the automation.

The technological development that has taken place in the area of film imagesetters and computer to plate systems has rendered the working methods outlined unnecessary. Powerful output devices, coupled with special software programs have made it possible to have an integrated process for single-color and multicolor jobs. Producing entire sheets through large-format laser imagesetters is not only of technological interest but is also of economic significance as a result of rationalizing the workflow and saving material. For example, when printing eight made-up pages it is not necessary to expose the individual pages. The use of material is consequently more effective and more economical.

Color management

Color management is the calibration of all input and output devices within an image processing chain with the aim of always achieving the desired color reproduction independent of the devices used. Color management ensures optimum color reproduction irrespective of the input device, monitor, and output device used, as long as the device is characterized by an ICC profile(International Color Consortium).

An important reason for using color management today is the certainty that the correct output result will be achieved at the first attempt. When using color management, there are now several

intermediate steps inserted between the output of the RGB values and calculation of the CMYK values. This appears at first sight to be lengthening the process. However, these intermediate steps ensure that the weaknesses of the conventional system mentioned earlier are eliminated.

Digital proof

The proof should be a perfect sample of the later print run. Various paper qualities and printing processes should be taken into account. The ideal conditions for a proof would be to use the same press, same paper, and same ink. However, the question of cost and time constraints severely limits the demand for this perfect scenario.

The broader the range of application of a proof, the more comprehensive the requirements. Such demands often stretch from the presentation through color-reliable proofs right up to the proof that serves as a “contract proof” (it can be used as evidence in legal disputes).

The demands on a proof therefore vary quite significantly. For this reason, the market offers proof systems that can reproduce an original at various rendering qualities in accordance with the color print of the production run. Selecting the optimal system means balancing costs and benefits and analyzing what is to be expected from a proof:

• reproduction of the complete page contents and/or sheet;

• color reliability (visually similar or color-true);

• reproduction of the screen structure (and the halftone dot arrangement) which is used for the

production run;

• same substrate surface and sheet size as used for production;

• time required to produce the proof is acceptable;

• job-specific cost situation.

Digital proofing systems can be classified into two basic process variants based on intended use and quality required:

• soft proof;

• hard proof.

Soft proof describes the simulation of the print result on a monitor. The color reliability of images on the monitor depends heavily on the viewing conditions, and colors do not always match those of the printed copies. While the color-reliable representation of the image on the screen normally requires a darkened room, a sample print must be viewed under standard light conditions close to daylight. Although a few compromises have to be made from the virtually perfect simulation of the later print quality on the monitor, soft proofs offer interesting, forward-looking solutions for the cooperation between customers and service providers in reproduction technology.

In so-called “remote proof” applications, files can be sent rapidly via global networks and later print runs simulated on site with the customer. Color management systems perform a key function when implementing this kind of production scenario.

Hard proofs can be further divided into five general classifications:

•blueprint;

•imposition proof (layout proof);

•color proof;

•screen proof;

•press proof.

Blueprint is created to gain an initial overview of the contents, impositionlayout, and completeness of a data set to be printed, asingle-color. Here a so-called “Ozalid/diazocopy” (which is monochrome and blue due to theprocess involved) is produced after assembly and offersinformation about the completeness of the pages, theirposition on the sheet, and the imposition layout. Indigital printing technology this technical context nolonger exists. Blueprint has become a generic term.

In order to gain a color impression (but not color reliable) of the file a layout can be created. Today blueprint and layout proofing are applications ideally suited to reasonably priced large-format printersand are normally equipped with ink jet printing units

In practice, the process most commonly understood under the term digital proofing is “color proof.” In the printing industry and in the context of high quality prints, this proof provides the color-reliable/color-true reproductionof the contents of the file intended for printing. More and more standard printing systems are being used for this, such as ink jet printers, four-page A4 format or thermal sublimation printers, two-page format in combination with powerful color management systems. The color proofs created in this way serve as a guideline (reference) for the printer in charge of the production run.

If the screen structuresof the later printing procedure can also be simulated using a digital printing process, the term “screen proof”is used (also true proof since, with this level of quality, reproducing the dot structure too, this proof is the closest to that in the print run).Among other

things, information about the screen structure enables the printing expert to recognize changes to the tone value and the color shifts associated with this or to see the effects of color register deviations early on.

The effects of halftone dot, screen angle, and screen frequency are reproduced in the screen proof and show the print quality of multicolor overprinting.

Press proofis a test printof the data directly in a printing press. This can be the press for the production run or a comparable press (using the same print technology) prepared especially for proof purposes. Short runs of 50 or 100 copies can be produced more cost-effectively than with

other color proof processes. The individual proof is hardly economically justifiable.