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Transcript of Cal Poly TAGA Journal, 2010
technical associationof the graphic artsCalifornia Polytechnic State University
san diego
2010
Copyright 2010 © California Polytechnic State University
All material is compiled from sources believed to be reliable, but is published without responsibility for errors or omissions.
Nothing in this publication shall be reproduced without the expressed written consent of the authors and editors.
3
table of contentsPresidents’ Message 5Alice Wong & Jeff Bauer
Advancements in Short Run Gravure 7Alice Wong
Interactive Print 15The Application of Synergy
to Restore and Enhance the Value of Print
Jeanne Ngo
Color Correction for Underwater Photography 27Vanessa Pateman
Direct Laser Engraving Systems 43Tessa Libby
Cal Poly TAGA 66Of� cers & Members
5
Presidents’ Messagefrom Cal Poly TAGA
Welcome to our journal. It is the product of months of brainstorming, hours spent in front
of computers, and dozens of paper-cuts. Our goal this year was to make the best journal
possible, with eye-catching designs, well written papers, and quality production. We are
proud to present our work to you at the TAGA 62ⁿd Annual Technical Conference.
Students at Cal Poly are blessed with many benefi ts, including state of the art
equipment and brilliant, caring professors. We are also lucky to live in one of the most
beautiful places in the world. Th e surrounding areas around San Luis Obispo, as well
as the rest of California, are fi lled with beaches, hiking trails, and other ways to enjoy
nature. Green hills and bright blue skies are a part of everyday life. We would like it to
stay that way. Because of the rising concern over the environment and being “green” in
today’s world, the printing industry is trying to cut back on polluting practices and use
cleaner methods and products. We applaud those who are environmentally aware and
dedicate this book to their eff orts.
Th e journal that you now hold in your hands is a testament to the perseverance, cre-
ativity, and skill of the student members of the Cal Poly TAGA chapter. As co-presidents
of this wonderful chapter, we are very proud of the work that our team has accomplished
over the last few months. Everything we have done has come down to this very moment
when you, our reader, can begin your journey through the pages of our journal.
Alice Wong Jeff BauerCo-President Co-President
Advancements in Short Run Gravure
Alice Wong
Winter 2009
Abstract
Gravure has always been considered a printing
process for long run jobs. Most gravure jobs are
in the millions because it is not thought to be
economically logical to run less. Th is is mostly
because of the high cost and time used to make
gravure cylinders. Despite the high quality of
gravure printing, many customers are not will-
ing to pay as much money and instead turn to
fl exography or off set lithography.
Flexography and off set lithography have
improved greatly over the years in terms of
quality, which is what gravure is known for.
However, along with the rise in quality is a rise
in prices. On the other hand, gravure’s costs
have only been going down, as its advancements
seek to cut down on waste and expenditure
instead of improving quality like the other print
processes. Th e cost decrease is because of inven-
tions such as laser engraving, which speeds up a
laborious engraving process, and materials that
are cheaper and reusable. Sleeves and ballard
shells have become common because of their
light weight, easy removal, and preservation of
the copper cylinder. Th e cylinder core itself has
also changed. Aside from the traditional steel
core cylinder, polymer core cylinders are also
available, which are much lighter, cheaper, and
easier to transport.
Advancements in Short Run Gravure8
Gravure is normally thought of as a long run process
but is making advancements towards more economi-
cal short runs. Traditionally, the highest cost in gravure has
been in prepress, and most specifically, the cylinders. To
engrave a cylinder is a laborious process, as they are very
large and time consuming. It is only economically sound
to use cylinders for long runs because long runs get the
most out of the cylinder which lasts for millions of impres-
sions before needing to be changed. However, it is because
of this cylinder that gravure is so alluring. The cylinder
allows for a continuous image, unlike plates, which have a
small gap in which there is no image. It also allows for great
color reproduction and consistency. Gravure has been the
preferred printing process for magazines such as National
Geographic, who makes the quality of its photos a priority.
However, for publications and other products that do not
require the millions of copies that a large magazine like
National Geographic does, the cost of using gravure is often
too much to justify, even for magazines that need high qual-
ity printing. The packaging industry also uses gravure often,
especially for alcohol and tobacco. Color consistency of
brand colors is key, and in the food industry, accurate color
reproduction can make a product look appetizing or unde-
sirable. Companies that create goods on a local or smaller
scale than national and international companies often want
these advantages but cannot afford it. Instead, they turn to
cheaper processes such as flexography. In order to compete
for these customers, gravure has been finding new ways to
make its process cheaper and less time consuming.
Gravure faces many challenges from two other print pro-
cesses; flexography and offset lithography. In the publishing
world, gravure and lithography are the main competitors.
Both have their advantages. Gravure is best for image heavy
products such as newspaper inserts and Sunday magazines
such as Parade, which run in the millions. These prod-
ucts are usually produced every week and on a national
scale. This allows for the time needed to produce cylinders
and because of the large runs, gravure is very economical.
However, gravure has some shortcomings. Besides the cost,
gravure does not reproduce text as well as offset lithography.
On the other hand, lithography’s main markets are newspa-
pers and inserts that change on a more frequent basis. They
also cater to local and small markets. The prepress for offset
plates is significantly cheaper than in gravure. A metal plate
costs a few dollars and takes only a few minutes to make,
in contrast to a hours it takes to make a gravure cylinder.
Thus, it is easier to make changes if there is a last minute
correction or edit, and any mistakes can be easily corrected.
The quality of offset lithography has also improved over
9Alice Wong
the years, making it a reasonable alternative to gravure for
many publications. Flexography mainly competes with
gravure in the packaging market. Flexography uses plates
much like offset does, and they are cheaper and easier to
produce than cylinders. The quality of flexography has also
gone up steadily over the years, especially with the use of
UV inks. Both processes are cheaper than gravure, and pro-
vide quality that is high enough to make them attractive
alternatives.
However, gravure is closing the gap, in part due to ris-
ing costs in flexography and offset lithography, and also
because of its own advancements. The quality has improved
in both offset lithography and flexography, but this has
caused costs to go up, as it is more expensive to make sure
the quality of the product is consistent. According to John
Birkenshaw of the European Rotogravure Association
(ERA) in an interview with Ink World, “...As flexo print-
ers try to improve their quality, their costs rise...the cost
of high quality flexo printing can be so high that gravure
can be competitive even on short runs.”
The same article states that:
ERA has estimated that in the high quality segment of
packaging, flexo has a cost advantage of less than 10
percent. But if a job has to be repeated, gravure is the
winner because the cylinder set can be used over and
over again... the average number of man-hours spent
on an individual gravure cylinder has been cut by 60
percent in the last four years, while the cost of electronic
image processing in gravure and flexo is now the same,
according to Hueck Folien, a leading German gravure
printer. (Milmo)
Gravure has the advantage that costs are only going down
while quality stays at a constant high, while flexography
and offset costs are going up while approaching a quality
that has yet to match gravure’s. The only part of the process
that gravure has to really concentrate on is the prepress
process. The actual printing process is extremely fast and
requires very little operator adjustment because of the
nature of cylinders. Color density and accuracy are already
accounted for when cells are engraved. On the other hand,
adjustments in flexography and offset lithography have
to be done while the press is running and it is harder to
maintain consistency. Eventually, the cost of each process
may become equal.
Gravure’s advancements over the years have been signifi-
cant. Gravure’s ill reputation for costliness originates from
Advancements in Short Run Gravure10
the cylinders it uses. In the past, cylinders were extremely expensive. Th ey were
composed of a steel core, surrounded by layers of copper, then chromed when
engraving is complete. Th is made them very heavy and bulky, which also made
them expensive and diffi cult to move. For printers who did not have in house
engraving, this meant paying large amounts to move the cylinders from the
engraver’s to their plant. Printers who did have in house engraving still had to
move their cylinders around the plant, requiring extra equipment like cranes and
lift s. When engraving, the engraver is very slow. Th e tip used to engrave a cylinder
is a very small industrial diamond that makes an indentation, called a cell, that is
almost impossible to see with the naked eye. Th e task of covering a large cylinder
with those cells takes hours at a time. Each cylinder is made for each color, so for a
four color job, four cylinders have to be used. According to Tim Gable and Russell
Goin in an article written in 2002, a complete set of cylinders for a job would cost
Th e manufacturing process of a STARBASE cylinder (Max Daetwyler CO)
between $10,000 and $15,000, com-
pared to about $1,500 to $2,500 for
off set lithography plates. Th is would
make the gravure process up to ten
times more expensive than the off set
lithography process, based on just
the make-ready and prepress alone.
Mistakes when engraving are more
severe in gravure and harder to fi x. In
off set, one could just output another
plate; however in gravure, making
another cylinder is not an economi-
cal option. Oft en, mistakes have to be
carefully fi xed on the original cylinder.
Th is could pose problems if one was
not careful when proofi ng in prepress.
Aft er printing, the cylinder can be
recycled by taking off layers that had
cells engraved onto them, and then
re-plating them with more copper to
make them into the correct size.
In the present day, there are more
options that make it cheaper to make
cylinders, and thus, to run shorter
11Alice Wong
A ballard shell being removed from a cylinder (QuadGraphics)
cylinder, including de-chroming and re-plating. It comes in many sizes and
can be used on basically any press.
Another way to make cylinders cheaper is to use sleeves or ballard shells. A
sleeve is a hollow tube of metal that is slipped on top of a cylinder. They are
extremely lightweight, as they are made of thinner copper, and thus are very easy
to transport. Since they are an addition to a cylinder and easily removable, the
cylinder is left intact and in good condition so that another sleeve can be slipped
on, making reusing the cylinder easier. However, sleeves have a tendency to slip
if they are not put tightly enough on the cylinder. An alternative that avoids this
is a ballard shell. A ballard shell is a layer of copper that is electroplated onto the
cylinder with a layer of nickel underneath. This layer of nickel acts as a separation
layer so that when it is time to remove the ballard shell, the base cylinder is intact.
With these two methods, a plant can just keep a rotation of cylinders and keep
replacing sleeves and shells. It is much cheaper and more efficient.
Engraving is an area that has seen much improvement. Engravers continue to
have faster and faster capabilities and new methods of engraving have emerged.
Automatic engravers are now common. With these machines, cleaning, doing
test cuts, and engraving are all done by a computer with little to no interven-
tion by an operator. It is all controlled by a computer. With this method, there
is less potential for human mistakes and everything is done more efficiently.
Hell’s HelioKlischograph K6 is an example of an automatic engraver. This also
improves registration which saves time on press. Laser engraving is also becom-
ing popular for its fast speed and accuracy. The high quality and ability to change
jobs. The physical composition of a
cylinder has changed. Now, instead
of steel cores, there are other alterna-
tives. One is a hybrid polymer core,
called STARBASE, manufactured
by the Max Daetwyler corpora-
tion and Keating Gravure Systems.
It is significantly lighter, weighing
in at about 20 kilograms or about
44 pounds, compared to about 180
pounds for a steel core. Because of
its weight, it can practically be car-
ried by hand, eliminating the need
for cranes and lifts. Shipping costs
would also be significantly lower
than for a steel cylinder. It has all
the capabilities of a regular steel core
Advancements in Short Run Gravure12
the shape of the cell makes it much better at imaging text
and line art, avoiding the jagged edges produced by a dia-
mond stylus. It also improves tonality and fi ne line images.
In an Inkworld article, Randy Butler, graphics manager of
Print Pack, states “Tobacco and fl exible packaging are start-
ing to use the laser technology because the laser is cutting
at 70,000 cells per second compared to electro-mechanical
at 7,000-8,600” (Pianoforte, Kerry). However, the problem
with laser engraving is it tends to refl ect off the shiny cop-
per surface. To solve this, zinc is used instead of copper for
the cylinder. According to the Max Daetwyler Co.’s news-
letter on the laser engraving process, the overall material
consumption is 60% less than with copper, is environmen-
tally friendly, and recyclable. Th e newsletter also claims that
laser engraving reduces paper waste because color comes
up to quality faster. For some plants, the new zinc cylinders
may be expensive up front, but the speed of laser engraving,
which is about ten times that of electromechanical, will
make up for it in the long run with time saved.
Th e notion that gravure is not a viable short run process
has become outdated, as new technologies and products
have been invented. In some ways, it seems that gravure’s
biggest obstacle is its reputation. Many customers still have
the impression that it is too expensive and they cannot
aff ord it. Flexography and off set lithography have been able
to establish themselves as the cheaper alternative to gra-
vure, who has failed to promote its own advancements and
technologies to show that it is now an aff ordable choice.
With its new capabilities, gravure’s next step has to be to
promote itself, and only then will it truly be an option for
short, high quality runs.
13Alice Wong
References“Dalim Software and HELL Gravure Systems introduce HELiOFLOW; Joint
technical venture between the two companies produces revolutionary
interface- including the first, automatic cylinder imposition tool.” M2
Presswire. M2 Communications Ltd. 2006. HighBeam Research. 8 Mar.
2009 <http://www.highbeam.com>.
Dunnington, Richard H. “New Technologies Boost Gravure.” GATFWORLD.
Graphic Arts Technical Foundation Technical Publications Department.
2004. HighBeam Research. 8 Mar. 2009 <http://www.highbeam.com>.
Savastano, David. “Printers, ink and equipment suppliers are working to make
gravure a strong short-run alternative. (The Gravure Report).” Ink World.
Rodman Publications, Inc. 2002. High-Beam Research. 8 Mar. 2009
<http://www.highbeam.com>.
Pianoforte, Kerry. “The gravure report: as technological advances continue to be
made in the gravure packaging market, gravure is now able to compete
with flexo.” Ink World. Rodman Publications, Inc. 2004. HighBeam
Research. 8 Mar. 2009 <http://www.highbeam.com>.
Milmo, Dean. “Officials debate future of gravure: while some see brighter
future built on quality, others see solvent issues leading to further
decline. (European Report).” Ink World. Rodman Publications, Inc. 2002.
HighBeam Research. 8 Mar. 2009 <http://www.highbeam.com>.
“Starbase Lightweight Cylinder System.” Max Daetwyler CO. 8 Mar 2009
<http://www.daetwyler.com/user_content/editor/files/Fact_sheet_starbase_en/
fs_stbas_eng_eu.p df>.
“An Introduction to Gravure Imaging.” 2007. Quad Graphics. 8 Mar 2009
<http://www.gaa.org/pdf/proceedingsCS/gcp-conference/Yanny_
GCIC2007.pdf>.
Russell Goin, Tim Gable. “Production Page: Printing Preferences:
Offset vs. Gravure.” Multichannel Merchant. 01 June 2002. 8 Mar
2009 <http://multichannelmerchant.com/printchannel/lists/
marketing_printing_preferences_offset/>.
“Gravure Breaks Out of Its Cell.” Converting Today Nov 2006 4 Feb 2009
<http://www.convertingtoday.co.uk/story.asp?storyCode=44499§io
ncode=46>.
Hine, Claudia. “Gravure Rolls Up Its Sleeves to Do Battle with Flexo.” Paper, Film,
and Foil Converter May 2003 4 Feb 2009 <http://pffc-online.com/mag/
paper_gravure_rolls_sleeves/>.
“Amcor Flexibles Forge Short Run Gravure Operations, Scotland, United
Kingdom.” Packaging Gateway 4 Feb 2009 <http://www.packaging-
gateway.com/projects/forge/>.
Abstract
With the emergence and increasing role of
technology in today’s society, many ques-
tions are raised about what is the future of
print. Th is study set out to research the term
“interactive print,” which, for the purposes
of this study, includes Personalized Uniform
Resource Locator (PURL), GossRSVP, Radio
Frequency Identifi cation (RFID), and other
sources of technology that refer an end con-
sumer to online sources via print.
A variety of research methods were used
to quantify various data sources and conclude
that interactive print is still currently in the
beginning stages of integration into the print-
ing industry. Th e subjects in the study were a
sample of print professionals from the industry
itself, and the research pointed to the idea of
whether interactive print raises any value for
the industry as a whole.
Although current printers are proven to still
be wary of the new technologies, interactive
print does prove to create a unique value for
printers to off er the next generation of consum-
ers. Creators of interactive print technologies
need to focus on educating printers about how
technologies will fi t into current work fl ows to
create value for end consumers.
Interactive PrintThe Application of Synergy to Restore and Enhance the Value of Print
Jeanne Ngo
Fall 2009
Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print16
The printing industry is evolving rapidly and forced
to adapt to the contemporary needs of commerce and
society. Today’s world is dominated by technological capa-
bilities that are threatening the survival of traditional print.
The public no longer relies solely on traditional telephone
books or newspapers to receive information; the Internet
has become a main source of news and data. Traditional
printed pieces no longer have the same value to consumers,
as consumers now rely on computers, handheld devices
such as cell phones and PDAs, and other modern devices
to send and receive communications. With these issues
pressuring the printing industry, it is clear that the time
to “reinvent” traditional print has come through a syn-
ergy that combines the benefits of print and electronic
communication.
In response to this decline in print demand, printers have
explored opportunities that complement consumers’ reli-
ance on technology. Certain technologies have brought
about emerging solutions coined as “interactive print.”
Examples of interactive print include GossRSVP, radio
frequency identification (RFID), and personal uniform
resource locators (PURLs). This study explored the ques-
tion: For printers looking to reinvent print, what are the
advantages of adopting interactive print as a competitive
business solution?
Adopting interactive print solutions is intended to create
additional value, benefits, and a higher return on invest-
ment for printers. Interactive print technologies allow
end-consumers to react and respond to printed pieces,
rather than just read them. The interaction brings about
higher consumer loyalty, increasing response rates, and
value for collateral. This positive response from end-con-
sumers will be greater amongst younger generations that
are more technologically astute. However, older genera-
tions can be oriented to benefit from such technology, as
the technology becomes more “user friendly” over time.
While a “generational gap” may delay adoption by older
generations, printers, publishers, and advertisers need to
prepare for future markets rather than remain stagnant
using traditional technology. Interactive print is a strate-
gic business solution that responds to a changing society
that will carry print into the future. This is a potential
gateway for printers to break away from their traditional
roles as “one-stop shops” and transform into solutions
providers. Interactive print allows printers to be more
involved in the customer and product life cycle, offering
17Jeanne Ngo
clients services that extend into personalized market-
ing, inventory tracking, security enforcement, purchasing
patterns, and information management.
The purpose of this study was to explore the extent to
which the need for interactive print exists and whether
it will add significant value for printers. It is understood
that investing in interactive print is expensive, so it is
important to explore the payoffs printing companies,
publishers, and advertisers would gain. By the use of
surveys, research, and the views of industry profession-
als, this study explored the benefits of technologies used
to make print interactive.
In the late 1990’s, the print newspaper industry realized
the need for change. Revenue from newspaper compa-
nies are generated partly from subscriptions but mostly
from advertisements. In a desperate attempt to increase
revenues, “Local newspapers in general turned to supple-
mental advertising flyers and catalogues placed between
the pages of daily and Sunday papers in order to provide
more dependable cash flow.” (Hillman) Eventually though,
advertising in newspapers began competing with on-line
sources (Hillman).
As a strategic move for its company, Dow Jones &
Company released The Wall Street Journal Interactive
Edition in 1996; at its time, this release was an innovation
for the company, as well as the print publishing industry.
Initially, it was launched as a free site, but several months
later, The Wall Street Journal began to charge subscribers.
Nonetheless, “Subscribers totaled over 100,000 within the
first year of launch, and reached over 266,000 by the end
of 1998. While many competitors were delivering news
on the Web for free, The Wall Street Journal Interactive
Edition became the largest paid-subscription site on the
World Wide Web.” This point proves that the Internet
and technological means of transferring information is
something consumers want and find worth their money.
“ ‘Our proprietary information has value, and we have
the guts to charge,’ said Peter Kann, chief executive offi-
cer of Dow Jones & Company.” (Hillman)
For The Wall Street Journal, a third category of revenue,
transaction fees, emerged as a result of the electronic pub-
lishing. “Forrester Research predicted that on-line revenue
from subscriptions, advertising and transaction fees would
grow from just over $520 million in 1997 to $8.5 billion
within five years.” (Hillman)
Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print18
The Wall Street Journal Interactive Edition served The Wall
Street Journal consumers with an alternative medium to
access information, as well as access to additional informa-
tion not found in the print editions. Printed editions of the
newspaper became sources of pointers to the Interactive
Journal. In addition, the company took advantage of the
ability to expand with its resources, by launching Careers.
wsj.com. This web site served to increase the exposure
of classified advertisements found in newspaper, which
reflected a successful response from consumers. “Weekly
advertising sales were relatively stable in 1998, coming off
two relatively strong years of growth. Subscription renewal
rates were approximately 75 to 80 percent.” (Hillman)
As a result of the case study of Dow Jones & Company,
interactive print was deemed as a successful move for the
company. Certain demographics were derived from the
study, which could hold true to the movement of interac-
tive print. Consumers of the Interactive Journal, as opposed
to the printed version of The Wall Street Journal (WSJ),
were generally younger and lived more independent, busier
lifestyles. “Print WSJ customers had a higher average age
than Interactive Journal customers and were more likely to
be retired. Print customers tended to use the Internet more
at work than at home, to have a higher total value of invest-
ments, were more likely to have a home office, and were
more likely to live in the eastern United States. Interactive
Journal customers, on the other hand, were more likely to
have children at home, to use the Internet at home than at
work, to have a lower total value of investments, to use on-
line brokers and other on-line information, and to travel
internationally for business.” (Hillman)
With the focus constantly on the future, it is important to
explore what is on the horizon of print today. Many believe
that interactive print such as GossRSVP, radio frequency
identification (RFID), and personalized uniform resource
locators (PURLs) are where the future success for printers
lie. It is important to explore and research each of these
three high potential areas for printers.
GossRSVP
GossRSVP, a subsidiary of Goss International Corp-
oration, is one of the newer technologies that makes
print interactive. The system, which has been launched
in the United States, is geared towards advertisers of all
sizes to track marketing responses and provide better
19Jeanne Ngo
marketing accountability. GossRSVP satisfies the need
for real time information from a printed piece, which is
currently unavailable through traditional print (About
GossRSVP).
According to Lisa Cross, the author of “Cell Phone-to-Print/
Web Application,” GossRSVP provides its readers the ability
to use camera phones to take a picture of two-dimensional
barcodes within an advertisement. These scans from the
pages of a magazine or newspaper will then link the user to
online domains. If the user does not have the ability to, or
does not choose to take a photo, they can also text-message
Goss, which will then respond with coupons or promotional
information. This also allows for information tracking for
the advertisers and publishers who will be able to see the
results of their campaigns with accurate, direct feedback
on response rates. The key to all of these advantages is that
GossRSVP will be involved all along the way in manag-
ing the information on their server which ensures that the
printer will play a critical role in the process (Cross, 10).
Author James Hamilton explores a technology that is simi-
lar to GossRSVP in the article “Euro Snatches Mobile Ad
Deal.” An interactive print and poster advertising company
has had great success in Japan with cell phone technology
initiatives. This software company, NeoMedia, is teaming up
with Euro RSCG, a global agency specializing in advertising,
digital, marketing services, health care, public relations and
corporate communications, to bring this technology that
they call ‘Quode’ to several of their accounts. Quode links a
mobile phone to specific mobile Internet information via a
picture of a barcode or “smart code,” small printed designs
on paper that are links to web sites. The web sites NeoMedia
link to will provide exclusive offers, opportunities to partake
in competitions, or the ability to purchase tickets. The media
by which these codes can be acquired include advertise-
ments on posters, leaflets, packages, or in newspapers. Prior
to being referenced as Quode, this software was referred
to as Paperclick and had great success in Japan, where 90
percent of cell phone users have clicked on smart codes to
arrive at interactive content. To enable this service, the user
must download the Quode software. There is conversation
now between NeoMedia and cell phone manufacturers to
pre-install the software on the devices phone manufacturers
produce. Chief executive of RSCG said, “Quode gives us the
opportunity to make our communications live beyond the
media in which they appear and facilitates a new level of
consumer engagement for advertising. It represents a great
Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print20
opportunity for [Euro RSCG] to make our advertising work
even harder for clients. Harnessing the potential of digital
media is a central focus for Euro RSCG.” (Hamilton, 6)
In 2001, R.R. Donnelley & Sons, the largest commercial
printer, announced a partnership with AirClic, Inc. AirClic
develops technology that links barcodes to web mobile
devices, and Donnelley became the designated reseller
of these barcodes for the directory publishing industry.
Ronald Daly, president of Donnelley’s Telecommunications
unit, claims that: “The benefits of this technology and our
partnership with AirClic bring us even closer to revolu-
tionizing the way buyers and sellers communicate with
each other.” (Bar-code Deal for Directories)
Jason Fell, an author for Folio Magazine, a publication cov-
ering the magazine industry, writes about the GossRSVP
technology, which was released in 1991. GossRSVP was
founded in order to make print interactive, as well as
enhance the value of print. The technology uses mobile
device texting functions as an interactive service, allowing
consumers to receive promotional information. Consumers
can either text or take pictures of barcodes created by the
technology. Current consumers, including Questex Media,
Study Breaks, and Teen Ink, claim that this interactive
technology helps keep print up to date with their tech
savvy consumers. A number of subscription packages are
available from GossRSVP; the technology can help in mar-
keting, form personal relationships by way of media, and
respond to customer needs (Fell).
RFID
“Electronic tag identification information read by radio
frequency, best known as Radio Frequency Identification
(RFID), is a result of the combination of a substrate with
an antenna connected to an integrated circuit empow-
ered by a radio frequency that transmits tag information
to a receiver.” (Freedman) This is how RFID is described
by Graphic Arts Monthly writer Henry Freedman. These
RFID tags are increasingly being used in the industry to
track packaging, and the cheapest way to produce RFID
antennas are by printing them. By expanding their print-
ing capabilities to include RFID antennas, RFID opens
up the doors for current printing companies to expand
their revenue without hiring or training new employees
(Freedman).
Although printing RFID antennas is relatively similar to
traditional printing, extra monitoring may be required
21Jeanne Ngo
as printable electronic inks cost up to $5,000 a gallon. A
popular RFID print manufacturer, Spartanics, Inc., designs
printable electronic screen printing presses around elec-
tronic ink requirements. This allows Spartanics to use their
current screen printing presses to manufacture RFID tags.
RFID tags are manufactured with a relatively simple process;
after tags are printed, electronic components specific to cus-
tomer requirements are added to it to customize RFID tags.
For existing printers, the market for RFID antenna printing
could be a great opportunity to expand into (Freedman).
In an article for Graphic Arts Monthly, columnist Lisa Cross
states that: “The marriage of digital and conventional print-
ing is no small task,” (Cross) She is referring to the use
of RFID at the United States Government Printing Office
(GPO). The GPO faces the need for increasing security
with documents such as passports. Current Public Printer,
Bob Tapella, who heads the GPO, has submitted plans
integrating e-Passport blanks with RFID chips in order to
accommodate the growing demands for more security. This
has evoked a positive response. “Growing demand− last year
24 million passports valued at $350 million, up from $17
million the year before− lead the GPO in March to open a
second secure production facility in Stennis, Mississippi.”
(Cross)
According to Elise Hacking, author of the article “Breaking
it Down” in Print Professional Magazine, recently noted that
RFID, among ecommerce and direct mail, is showing the
highest increase in sales within the graphic communication
industry. Barcodes/RFID had sales figures of $126 million in
2008 compared to $8 million in 2007. Although this seems
to be extreme growth, it is thought that the distributors
filled out the forms used for this survey differently from one
year to the next. Considering the survey for 2008, Barcodes/
RFID make up 3.61 percent of the sales within the graphic
communication industry (Hacking, 20).
At the Association for Computing Machinery (ACM)
International Conference Proceeding Series in Grenoble,
France, Anne Blayo and Bernard Pineaux presented on
the potential of RFID within various printing processes.
They noted that because of conductive inks or organic
polymers, it appears that printing electronic components
like RFID antennas should be an inexpensive, efficient
method for their creation. There is development going on
for printing RFID tags, and some solutions are already in
existence. With so many different printing processes, there
will eventually be a mastered technique for printing all
components of an RFID device. The benefits of a low cost,
high efficiency RFID tag would be vast (Blayo, 27).
Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print22
PURLs
In Printing News, a journal designed to evaluate the print-
ing industry trends and news, Joseph Finora, a freelance
business and marketing writer, wrote an article discussing
the need for innovative marketing strategies in order to
succeed in the current recession. The marketing strategy
noted emphasizes retaining successful clients and using
effective marketing tools to do so. Interactive services are
noted as the current marketing trend that needs to be
used in order to provide benefits and features specific to
current customers. Print marketers need to understand
new approaches in digital and social media marketing
(Finora).
“Internet technologies are high in the area of interest and
printers must use print technologies to enhance existing
web efforts and not compete against them. Printers can
also use the Web to measure the success and failures of
campaigns through the use of technologies such as per-
sonalized uniform resource locators (PURLs).” (Finora)
PURLs allow printers to target customers who currently
hold interest and have already responded to wanting to
know more information about a product. It is important to
word emails in a way which will initially guide consumers
to PURL sites designated for them. New online services,
such as PURLs, help maintain mutual relationships with
customers allowing the print industry to move forward. In
the current recession, it is important to grow and preserve
business technologies (Finora).
Finding the right way to build customer relationships,
advertise creatively, and increase revenue to today’s highly
competitive economy is tough, as noted by writer, Jeff
Brooks, in Florida Trend magazine. However, a number
of 21st century strategies can help businesses reach val-
ued customers (Brooks). Companies such as Paramount
Performance Marketing use Personalized URLs (PURLs)
in order to personalize web sites for each customer on
direct marketing mailing lists. PURLs can be used for
a number of interactions, including “generating leads,
updating databases, measuring response or getting cus-
tomer feedback.” (Brooks) PURLs are used in conjunction
with direct mail, which allows companies to know what
source drew customers to their personalized web site.
Direct mail is a form of personalized marketing that
allows the use of unique information to target specific
individuals. Jon Cummins, chief executive officer of
Paramount Performance Marketing, claimed a 65 percent
response rate as opposed to a one percent or two percent
23Jeanne Ngo
response rate from traditional marketing (Brooks) .The
cost of PURLs are not too expensive, and they help com-
panies to use web sites, which are a growing means of
advertisement (Brooks). Other forms of smart marketing
in this economy include social networking sites such as
Twitter, catering to customers, networking, and coupons
and offers (Brooks).
According to the article, “PURL: Personalization, Security
Concerns” within Printing Impressions magazine, per-
sonalized URLs (PURL) require a large amount of the
recipients personal information. When there are PURL
marketing campaigns it is necessary to allow the recipi-
ent to follow up outside of the PURL allowing them to
choose not to type in their personal information. It is also
required to have a large enough server for such marketing,
because spreading out the dispersion of PURLs to the
recipient will not prevent several of them from using it
at the same time during peak viewing hours. If a recipient
has problems seeing the page, then the marketer has lost
their one chance (PURL).
In order to cater to the technological needs of consum-
ers, The Wall Street Journal launched The Wall Street
Journal Interactive in hopes of preparing for their future
markets. GossRSVP, RFID, and PURL technologies were
all created in an effort to move the print industry from a
traditional printer to a more interactive service provider.
GossRSVP offers unique tracking and advertising services
to printed materials using barcode technologies that can
be scanned with mobile devices. GossRSVP technology
is clearly emerging in the print industry, as leading print
companies such as R.R. Donnelley have began to invest
in its uses. RFID antennas, considered to be printable
electronics, are also emerging in the industry as profit
builders for traditional printers; RFID combines the use
of digital and conventional printing. PURLs allow tradi-
tional printers to provide services that bring advertisers
increased control of customer leads and tracking. PURLs
bring consumers of traditional print into the realm of
online media which allows the linkage of print and digital
resources. Cited print industry professionals have pre-
dicted that traditional print is moving into interactive
print; in response to this, GossRSVP, RFID, and PURL
technologies help to ease the trans tion of print into the
technological world for consumers.
Interactive Print: The Application of Synergy to Restore and Enhance the Value of Print24
References“About GossRSVP.” RSVP. 2009. 01 June 2009 <http://www.gossrsvp.com/about/
default.aspx>.
“Bar-code Deal for Directories.” Graphic Arts Monthly. July 2001: 24-24. 7 Mar.
2009.
Blayo, Anne, and Bernard Pineaux. “Printing Processes and Th eir Potential for
RFID Printing.” ACM International Conference Proceeding Series. 121
(2005): 27-30.
Brooks, Jeff . “Sales Pitch. (Sales & Marketing).” Florida Trend. 1 Mar. 2009: 24-24.
Cross, Lisa. “Cell Phone-to-Print/Web Application.” Graphic Arts Monthly. Sept.
2008: 10.
Cross, Lisa. “Change Ahead for GPO?” Graphic Arts Monthly. Jan. 2009: 4-4.
Fell, Jason. “Expanding the Print-to-Mobile Cache.” Folio Magazine Http://www.
foliomag.com/2009/gossrsvp-expanding-print-mobile-cacheE. 3 Mar.
2009.
Finora, Joseph. “Market Your Way Out of a Recession.” Printing News. CLXII
(2009): 9-9. Factiva. 26 Apr. 2009 <http://global.factiva.com.ezproxy.lib.
calpoly.edu:2048/ha/default.aspx>.
Freedman, Henry. “Diversify into Printing Electronics.” Graphic Arts Monthly.
Dec. 2008: 23-23.
Hacking, Elise. “Breaking it Down.” Print Professional. 20 Nov. 2008: 20-30.
Hamilton, James. “Euro Snatches Mobile Ad Deal.” Campaign. [Teddington] 8
Dec. 2006: 6.
“PURL: Personalization, Security Concerns.” Printing Impressions.
[Philadelphia] Nov. 2008, Digital Digest sec.: 46.
Introduction
Imagine the lifestyle of underwater photogra-
phers. Th ey are not only photographers; they
are scuba divers. They travel the world to
exotic places to explore and record their fi nd-
ings of the marine world in the ever-changing
medium called seawater. Th e changing seasons
and weather alter available light and underwa-
ter visibility. Even under the best of conditions,
there is a need to understand the science
of light and color and what can be done to
compensate for the obstacles that underwater
photographers face.
This study asks the question: What are
the best techniques to achieve optimal color
reproduction when working in the fi eld of
underwater photography? When light travels
through water instead of air, special techniques
and equipment are necessary in underwater
photography because water has very diff erent
characteristics than air. An understanding
of light is essential for any photographer. To
capture the essence of what lies underwater,
the photographer must learn to control and/
or manipulate light. Choosing the right dive
location is also crucial in order to attain excel-
lent shooting conditions, while visibility and
depth are key considerations for color quality
underwater.
Color Correction for Underwater Photography
Vanessa Pateman
Spring 2009
Color Correction for Underwater Photography28
Human perception of color changes with depth
underwater which is due to the decrease in avail-
ability of light. Natural light penetrates the water and is
often used as an illumination tool in underwater pho-
tography. The use of artificial light and filters enables
photographers to restore colors that are otherwise unseen
underwater. The creation of an underwater photograph
is not complete when the dive is finished. There are a
number of strategies for achieving good color reproduc-
tion using digital cameras, computer software and color
correction tools. The photographer has many options to
attain the desired quality of color.
The purpose of this study is to develop knowledge of
the practice of underwater photography and determine
how color correction leads to the success of an under-
water photograph. Color is one of the photographer’s
greatest assets. In underwater settings, color affects how
humans interpret the environment. Our perception of
the effects of water on photography is greatly determined
by the color of the subject matter. For example, if the
water appears to be bright green, an algae bloom may
have recently occurred. The presence of iron and rot-
ting vegetation will cause the water to appear somewhat
brown.
Alternatively, the colors of sea life can impact the affairs in
the ocean. For instance, certain fish have evolved to cam-
ouflage their color to match their environment for survival.
Color can play an important role in the subsistence of many
marine species. This study will aid in understanding how an
underwater environment determines the perceived colors.
An understanding of color can be applied to underwater
photography to help us better understand the complexities
of our oceans. The field of color digital imaging is constantly
improving and underwater photography is one area of the
field that exposes its possibilities.
Basics of Color Management
Color management is an important aspect of the workflow
of any underwater photographer. Because color is more
challenging to capture in seawater, the photographer must
take special care as to how he or she will achieve quality
color in their images. The digital revolution has changed
the way photographers manage color and most underwater
photographers today are creating images at a time when
color management is at its technological best (Edge, 46).
With the use of digital cameras and computer software,
they are able to achieve color quality more quickly and
efficiently.
29Vanessa Pateman
The goal of color management is to maintain consistent
color reproduction in the input device, the display device,
and the output device (ICC). This means that the color
values in the underwater camera should match color
values of the computer display. For prints, the color val-
ues must also match the output device (e.g. printer). The
photographer can make accurate predictions of color
reproduction with the use of calibration. By calibrating
all devices used in the creation of underwater images,
colors will be more precise and easier to maintain across
all devices.
The International Color Consortium (ICC) was established
in 1993 with the purpose of creating and maintaining the
standardization and evolution of a cross-platform color
management system (ICC). Soon came the development
of the ICC profile, enabling colors captured on one device
to be reproduced accurately on other devices. Each image
created by a photographer has an ICC profile with key
values pertaining to its origins. The profile describes color
by referencing a color space - the gamut of colors that can
be produced by the devices used to create the image. Some
common color spaces are sRGB and Adobe RGB (1998).
ICC profiles are important references for photographers
when managing color in their images.
Light Properties Underwater
Underwater photographers work with a denser optical
medium than photographers on land. Successful underwa-
ter photographers must maintain an understanding of how
light behaves in water in order to achieve quality images.
The amount of light underwater is primarily affected by
depth and visibility. Other components that should be
considered are the time of day, the surface conditions,
and the location of the dive site (Anthoni). Seawater is
800 times denser than air and there are more particles in
water through which light must penetrate, just as smog or
smoke affect above ground photography. The weather and
the organisms living in the water will also play a role in the
visibility of the water. The better the visibility, the greater
the available light underwater. Underwater photographers
can use natural light in their images by understanding and
working with these characteristics.
The conditions of the surface of the water have an effect on
how the light passes through it. The ripples of rough seas
reflect most of the sun’s rays while flat, calm waters allow
greater light penetration (Edge, 8). The angle of the sun
also plays a role in the amount of light underwater. When
the sun is directly overhead, most of its rays will penetrate
Color Correction for Underwater Photography30
the water. At times of the day when the sun is closer to the
horizon, such as morning or evening, there is a substantial
loss of light due to the angle of reflection against the water’s
surface. This makes for softer, more diffused light, which can
appeal to some underwater photographers (Edge, 9).
The location of the dive site has an effect on the amount of
light and color underwater. Tropical, shallow waters appear
blue to cyan, while deeper oceans tend to have more of a
green to blue cast (Anthoni). Protected, tropical reefs are
known to have incredible visibility and vibrant colors, ideal
for color capture. Many underwater photographers travel
to exotic places like the Red Sea or Caribbean Sea to take
advantage of these lighting conditions and an abundance
of photogenic sea life.
Color Properties Underwater
Underwater photographers are faced with a dramatic loss
of color the deeper they dive. Seawater absorbs the colors
of the visible light spectrum at different rates with increased
depth. Reds and oranges are the first to be absorbed, fol-
lowed by yellows, greens and lastly, blues. This absorption of
colors occurs regardless of available light at different depths
(Anthoni). Underwater photographers can compensate for
this loss of color in a variety of ways. The use of strobe
flashes is a common method for restoring color underwa-
ter. Color compensating filters can also be beneficial when
shooting underwater photographs as well. By applying
the complement color of the water’s color in the form of
a filter to the camera lens, the photographer can recover
color that was unseen before. However, filters reduce the
amount of light hitting the camera sensor. Although it is
advisable to manage color while shooting underwater, it
may be better for color complement filters to be applied in
Adobe Photoshop.
When a strobe is triggered, the subject is illuminated,
exposing colors that were unseen before. The underwater
photographer must consider the position of their strobes
in relation to the subject to avoid backscatter. Backscatter
is caused by suspended particles in the water reflecting into
the camera lens (Edge, 376). It appears as distracting snow
on the image display and is a common cause of degrada-
tion of quality in an underwater image. Editing of digital
images becomes easier when the underwater photographer
considers this obstacle while shooting.
Filter photography produces different results than images
created with the use of a flash. Filters are more effective
31Vanessa Pateman
in bright conditions so the underwa-
ter photographer must consider the
location of their dive and the depth at
which they plan to shoot (Edge, 94).
Filters do not add color to an image;
they work by reducing unwanted col-
ors in the image. The desired color
filter is the complementary color of
the unwanted color (see below).
For instance, in water that has a cyan
cast, the underwater photographer
would benefit from using a red filter.
Green water would require a magenta
filter. Filters can be used creatively to
capture subject matter that would oth-
erwise be drowned out by backscatter
from a flash.
If the underwater photographer is
shooting with strictly available natural
light, they will need to consider their
positioning relative to the subject, as
this may change the amount of color
in the image. Also, filters will alter the
colors in the frame when using natu-
ral light. For this reason, filter tools
in Adobe Photoshop may be more
beneficial than actual filters on your
camera underwater.
White balance becomes a challenge
when filters and flashes are used.
Many cameras have white balance set-
tings that can be used when shooting
underwater. However, many adjust-
ments can be made to the Raw image
in Adobe Photoshop without any
harm to the original image. The final
color quality of the image depends
on the conditions of the underwater
setting, the photographer’s efforts to
capture color underwater during the
dive, and their efforts while editing
with computer software.
Potential Applications
An understanding of how color is
absorbed underwater can enable peo-
ple to create tools to decipher what is
occurring in our oceans. CoralWatch,
for example, is an organization built
on a research project at the University
of Queensland, Australia that pro-
motes the monitoring of coral reefs
through a “simple, non-invasive
method.” They have created color
charts that contain varying shades
of coral colors to show the level of
degradation of coral due to bleach-
ing. Coral bleaching is due to a loss
of the algae living within the tissue of
red
yellow
green
cyan
blue
magenta
This color wheel illustrates color complements to aid in the understanding of color-compensating filters.
Color Correction for Underwater Photography32
the coral and causes the coral to turn white with increased
degradation. The colors on the chart vary “in brightness
representing different stages of bleaching/recovery, based
on controlled experiments.” By supplying volunteers with
these color charts, CoralWatch believes anyone can be a
part of the preservation process of marine ecosystems.
Volunteer divers carry a Coral Health Chart (shown below)
with them and when they reach a coral while diving, they
are to match the coral’s color to a color on the chart and
record the color code. This helps CoralWatch determine
what stage of decay various coral reefs are currently subject
to. This is a great example of how color management can
be used in a practical, beneficial way through accurate
recording of color underwater.
To determine the best method of achieving optimal color
in underwater photography, the Scientific Method will be
used to test how color is perceived and recorded at dif-
ferent depths while scuba diving. I will also use Elite and
Specialized Interviewing to learn what techniques profes-
sionals use for underwater imaging and color correction.
Acquiring information from an industry professional will
enable me to gain an understanding of the current trends
and standards in the field of underwater photography. I
will also provide a Content Analysis of the information
gathered to solidify my understanding of my findings.
I believe these research methods will determine useful
techniques regarding color quality in underwater imaging
and how to achieve it.
I will use the scientific method to determine where and
when color dissipates in the depths of the ocean. My tools
will be diving equipment, an Olympus 8080 8.0 Megapixel
camera, an Olympus underwater housing for the camera,
and a RGB/CMYK color chart of my own creation. I will
perform the experiment at two locations to illustrate the
differences one can get when shooting in different diving
conditions. The first dive site is called “Target Rock,” next to
the well-known Morro Rock, in Morro Bay, California.
33Vanessa Pateman
The second dive site is called “Pink Ribbon” and is off the
shore of Santa Cruz Island, one of the California Channel
Islands. The waters are much deeper there and the clarity
of water is much higher than in Morro Bay. I will photo-
graph the color chart at the water’s surface, at 5 feet, 10
feet, 15 feet, 20 feet, and 25 feet. I will not use a strobe
light in this experiment in order to show the variations of
color underwater with natural light. With a strobe, all color
is easy to recover. This experiment will demonstrate the
effects of color loss with solely available natural light.
I will create the color chart in Adobe Illustrator with col-
ored squares of the respective RGB on one side (in RGB
color mode) and CMY on the other side (in CMYK color
mode). I will also include 50% gray on both sides. I will
then print the color chart on a wide-format Epson printer,
laminate the color chart to make it water tight, and attach
a leash to avoid losing the chart during the dive.
My hypothesis is that particular frequencies of ambient
light will be attenuated differently. Specifically, I propose
that red and orange will lose their intensity dramatically
within 10-15 feet of descent. Green and blue colors will
be lost as depth increase and will dissipate at a slower rate.
I propose that there will be linear attenuation of color
with increased depth when dive conditions are good, blue
maintaining the highest value, then green, then red. It is
my goal to achieve quantitative values as to where water
absorbs the different colors and where they lose their qual-
ity. I also hypothesize that the visibility in the water will
play a major role in the success of color reproduction in
underwater photography. The less visibility, the less likely
the colors will be reproduced accurately.
Content Analysis will be the last research method used
in this study. It is usually combined with other research
methods to achieve a better understanding of the issue
at hand. It aids in quantifying qualitative information
acquired in interviews, historical research and descrip-
tive research (Levenson, 27). With this method I will
quantify my findings in the experiment and interview I
conduct. With certain color specification limits in mind,
I will determine what level of color quality is achievable
with my experimental method. The interview I plan to
conduct will assist me in gaining insightful information
from an individual experienced in the field of underwater
photography and color reproduction.
The information obtained from my color chart experiment
will provide me with quantitative results. I will record the
Color Correction for Underwater Photography34
numerical RGB values of each color used in my experi-
ment (Cyan, Magenta, Yellow, Red, Green, Blue, and Gray)
at each recorded depth. I will then graph these values to
illustrate the rate at which each color loses its surface value.
My interview with Karl Shreeves will contribute a qualita-
tive, professional viewpoint to my research. I will evaluate
the techniques we discussed and compare them to my
findings. With both of these forms of content analysis, I
will be able to determine what methods and techniques
are most effective in achieving optimal color quality in
underwater photographs.
Color Attenuation Experiment
Before analyzing data from the experiment in which I
tested the rates at which different colors are absorbed by
water, there are many limitations that must be accounted
for. First, I was limited by the fact that I had only JPEG
images. Although the camera was set to shoot Raw, the
images were in JPEG form when transferred to my com-
puter. This will limit the amount of adjustments I can make
later in Photoshop. Secondly, there was variation in my
sampling method of each color in Photoshop. In order to
obtain the RGB values of each colored square on my color
chart, I used the color picker tool. I found inconsistencies
of RGB values within each square, which required me to
sample different areas of each square.
Other considerations that must be noted before draw-
ing conclusions from my observations are the differences
between the two dive site conditions. The first dive was
done on a clear, early morning in Morro Bay, California
with 3-5 feet of visibility. There was much particulate mat-
ter in the water and there was somewhat of a current. The
second dive had much better conditions with 30 feet of vis-
ibility and calm waters. The differences in these conditions
may account for the differences in color values among the
graphs. After realizing there were variations in the data col-
lection, I have learned that color correction for underwater
photography is a complex issue with many variables.
When observing the graphs I generated from the RBG val-
ues, it must be noted that only six points are plotted on the
graphs. It is possible that there may be variation between
the points. This further demonstrates the potential variabil-
ity within my data collection. The first graphs I will evaluate
will be those of the gray square on my color chart. As my
plan is stated earlier, I photographed the color chart at the
surface, 5 feet, 10 feet, 15 feet, 20 feet, and 25 feet under-
water. I chose to shoot the color gray due to its similarity
35Vanessa Pateman
Another compelling observation is that there appear to be
some intersections of color values in the graphs of colors
other than gray on the color chart. Magenta, for example,
has some interesting shifts in color value with increased
depth. The graphs below illustrate these intersections. Red
holds the highest color value in each of these graphs, which
does not correspond with my idea that blue will always
hold the highest value in color attenuation. I assume this
is because there is much more red in the magenta square
on the color chart.
I believe this crossing over of RGB values in colors other
than gray are due to the fact that the particulate and
chemical composition of the water varied with depth
during the experimental dives (See Appendix A for com-
plete set of graphs). The presence of phytoplankton may
have affected what colors the camera recorded. If there is
enough phytoplankton in the water, it can cause the water
to appear green. Salinity is another factor in the chemical
in tone to the other colors in the experiment (Red, Green,
Blue, Cyan, Magenta, and Yellow). If my interview with Karl
Shreeves was conducted before the experimental dives, I
would have chosen to shoot white instead of gray after
learning his technique of shooting white for white balance
setting. Yet gray is half white so the color attenuation will
be similar to that of white. The graphs below demonstrate
the color attenuation for the color gray in the two different
dives.
As my hypothesis states, I proposed that there would be
linear attenuation of color with increased depth. Of all
the graphs for each color, this seems to be verified most
clearly with the color gray yet it is not perfectly linear.
Also, it is interesting that the green has higher values than
blue throughout the graphs of both dives. I assume this is
because the particulate matter in the water at the time of
the dive caused the water to be more green.
50
100
150
200
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)
Dive 1
0
50
100
150
200
250
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)
Dive 2
50
100
150
200
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)
Dive 1
0
50
100
150
200
250
300
2520151050
RGB
Valu
e
Depth (feet)
Dive 2
Color Correction for Underwater Photography36
corrections that can be applied using
Photoshop tools.
The image above is from the first
experimental dive and has no color
correction. It was taken at 25 feet with
3-5 feet of visibility and natural light.
I opened the image in Photoshop,
added a new layer and opened the
Levels tool. Using the gray dropper
tool, I applied it to the gray square
within the color chart at which point
Photoshop adjusts the colors in the
image accordingly in relation to the
gray value. This seems to enhance
the colors and provides an accurate
reproduction of the colors at the
given depth and conditions in the
composition of the water and can vary with depth. These variables make white
balance underwater difficult to obtain. Underwater photographers using strobes
have the added challenge of dealing with backscatter when trying to achieve
accurate color reproduction.
This experiment illustrates the complexity of color capture underwater. I find
the graph for the color gray to be the most useful in that it shows how white
will attenuate in a near-linear fashion with increased depth. Regarding the
other colors used on the color chart, I find that there is no distinct pattern for
absorption rates of the color spectrum because of the variation in chemical
and physical composition of the water. The most beneficial tool to compensate
for these challenges may be the custom white balance tool on the camera. Yet
white balancing the camera just once may not suffice as my graphs indicate that
the composition of the water varies with depth and visibility. For this reason I
recommend white balancing before every shot.
Photoshop Recommendations
Adobe Photoshop offers many options when color correcting underwater
photographs. As the results from my experiment show, it is difficult to have
consistent conditions at varying depths. For this reason, each photograph must
be examined individually and different levels of correction will be necessary,
depending on the colors recorded by the camera. Regardless of whether the
photographer is using natural light or a strobe, accurate color reproduction
underwater is a difficult task. I will provide two images and possible color
37Vanessa Pateman
water. The image will maintain a green cast as the water
was extremely green at the time of the dive.
Another method to achieve accurate color reproduction
is the Color Balance tool. I created a new layer in order to
preserve the original image and then dialed back in the
reds of the mid-tones. I also recovered a small amount
of magenta in the highlights; magenta would be the most
likely choice as it is the complement to the dominantly
green water. This application of color correction provided
similar results to the Levels tool. A combination of tool use
can be very useful with certain photographs but in this case
I found better results when using one tool over another.
My research on the topic of color correction for under-
water photography has brought me to the realization that
there are a number of variables to consider when working
in the medium of seawater instead of air. Depth, visibil-
ity, and particulate matter in the water must be assessed
when attempting to capture accurate color underwater.
Technology is constantly improving and underwater
photographers are perpetually acquiring powerful tools
that make the task of color reproduction easier with time.
However, these photographers must understand that the
Color correction using the Levels tool.
Color correction using the Color Balance tool.
Color Correction for Underwater Photography38
variables change with every click of the shutter so each
image must be evaluated individually.
The best techniques to achieve optimal color reproduction
in underwater photography will depend on the variables
mentioned above and the photographer’s desired outcome
of each underwater photograph. My experiment in deter-
mining the color attenuation of various colors proved to
be more difficult than I anticipated. The permeability of
seawater caused inconsistency in the rates at which the
water absorbed different colors. My interview with profes-
sional underwater photographer, Karl Shreeves, taught me
that the production of great underwater photographers
requires diligence and experimentation. The technology
of today enables just about anyone to be an underwater
photographer. Yet in order to be one of the best, the pho-
tographer must use technology to its full capacity and test
its capabilities. Underwater photographers can either strive
for luck when it comes to accurate color or work extremely
hard to get it right. Those that demand better cameras and
better color correction software will be successful.
The research I have conducted is by no means a definitive
analysis of color underwater. It has taught me that I have
only scratched the surface of the issue. At this time my
primary recommendations to underwater photographers
who desire good color reproduction are: use a camera
that can shoot in Raw, white balance the camera before
every underwater shot, and become familiar with and
use Photoshop color correction tools. The combination
of these three tools can lead to accurate color reproduction
and powerful underwater photographs. As photographers
continue to investigate the issue of color underwater and
as their tools improve in capability, the underwater pho-
tography community will get closer to understanding
what methods result in more precise color capture and
reproduction of color underwater.
39Vanessa Pateman
Appendix A: Color Attenuation Graphs
Cyan
Magenta
Yellow
Red
Green
Blue
0
50
100
150
200
250
300
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)0
50
100
150
200
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)
50
100
150
200
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)0
50
100
150
200
5 10 15 20 250
RGB
Valu
e
Depth (feet)
0
50
100
150
200
250
0 5 10 15 20 25
RGB
Valu
e
Depth (feet)
0
30
60
90
120
150
5 10 15 20 250
RGB
Valu
e
Depth (feet)
0
50
100
150
200
250
300
2520151050
RGB
Valu
eDepth (feet)
0
50
100
150
200
250
2520151050
RGB
Valu
e
Depth (feet)
0
50
100
150
200
250
300
2520151050
RGB
Valu
e
Depth (feet)0
50
100
150
200Blue
Green
Red
2520151050
0
50
100
150
200
250
2520151050
RGB
Valu
e
Depth (feet)
0
50
100
150
200
0 5 10 15 20 25
RGB
Valu
eDepth (feet)
Dive 1 Dive 1Dive 2 Dive 2
Color Correction for Underwater Photography40
CMYK
Surface (0 feet) 5 feet
10 feet 15 feet
20 feet 25 feet
Appendix B: Color Attenuation Photographs
RGB
Surface (0 feet) 5 feet
10 feet 15 feet
20 feet 25 feet
41Vanessa Pateman
ReferencesAnthoni, Dr. J Floor. “Water and Light in Underwater Photography.” Seafriends
Marine Conservation and Education Centre. 2007. Retrieve 27 April 2009.
<http://www.seafriends.org.nz.>
Baker, Nick. “William Thompson – The World’s First Underwater Photographer.”
Historical Diving Times. Issue 19 (Summer 1997).
Cheng, Eric H. “Underwater Photography - Introduction, Historical Background,
Challenges and Opportunities.” Online Encyclopedia Britannica. 11th
Edition. Retrieved 27 April 2009. <http://encyclopedia.jrank.org/articles/
pages/1193/Underwater-Photography.html>
Edge, Martin. The Underwater Photographer. Third Edition. Oxford: Elsevier
Press. 2006.
Eisworth, Tawna. Photographer for images used in Color Attenuation
Experiment and Photoshop Recommendations. Photographs. Appendix
B, Page 21-23.
International Color Consortium (ICC). “Introduction to the ICC Profile Format.”
International Color Consortium. Retrieved 2 May 2009. <http://color.
org/>
Levenson, Harvey. Some Ideas About Doing Research in Graphic
Communication. The Good Neighbor Press & Services. 2001.
National Geographic. “Milestones in Underwater Photography.” National
Geographic Online. Retrieved 1 May 2009. <http://photography.
nationalgeographic.com/photography/photos/milestones-underwater-
photography/>
Shreeves, Karl. Personal Interview. PADI Headquarters. 23 October 2009.
Shreeves, Karl. Underwater image of divers and American flag. Photograph. Page
32. <http://karlshreeves.zenfolio.com/>
University of Queensland, Australia. CoralWatch. “Project Details.” Retrieved 16
November 2009. <http://www.coralwatch.org/ProjectDetails/default.aspx>
Proposal
Th e goal of this research project is to survey
and contrast three primary in-the-round direct
engraving systems available on the market
today: Stork Prints, Daetwyler, and Applied
Laser Engineering (ALE). Th e project will
ascertain what the capabilities of each of these
systems are and how they compare with each
other. Th is research is focused on contrasting
the capabilities of each of these systems includ-
ing the front-end soft ware capabilities driving
these systems. In addition to doing individual-
ized research, sample plates will be acquired
from each company in order to conduct my
own analysis and press runs.
Th roughout my research I have not only
sought out information through the internet
and the company’s web sites, but I have also
been in contact with many representatives from
each company. I conducted interviews in per-
son, on the phone, and via e-mail. Once I had
compiled basic information about each system,
I focused on receiving sample plates so that I
could administer my own analysis of each plate
and run each plate on Cal Poly’s Mark Andy 220
Flexographic Press. I was then able to review
my analysis results and my sample press sheets
in order to personally discover benefi ts and fea-
tures of each company’s direct laser engraving
system and fl exographic plate.
2009 FFTA Rossini Flexographic Scholarship Research
Direct Laser Engraving Systems
Tessa Libby
Advising: Malcolm G. Keif, Ph.D.
Fall 2009
Direct Laser Engraving Systems44
Overview of Process & Workflow
In-the-round (ITR) direct engraving has been a dis-
cussed idea and possibility for years. And in fact,
low-resolution, low-speed engraving has been around
for decades. However, for high-quality, high-resolution
work, direct engraving has not reached such a level of
speed performance, until now. Among the interest in
direct engraving has not only been the potential for
improved productivity, but also improved quality. ITR
sleeves and cylinders offer the potential for much improved
impression and total indicated runout.
CO2 lasers, used in most direct engraving systems, have
generally produced coarse results. However, new tech-
niques for modulating the laser output have allowed finer
resolutions to be achieved. Additionally, alternate laser
sources have been explored. Further, software enhance-
ments have brought the potential for much better dot
and shoulder structures, including below surface highlight
dots. Each of the three direct engraving systems involved
in this research offer a unique solution to the question
of how to make high-quality and efficient engraved plates
for flexographic printing.
As mentioned, three-dimensional direct laser engraving
(DLE) for flexographic plates and sleeves is a technology
that has been growing rapidly over the past few years. A
main advantage to the use of DLE is the elimination of
processing, drying, and light finishing. Not only do the
excluded production steps have the potential of saving
time within the workflow, leading to less man hours, but
it also eliminates the use of chemicals within processing
steps and eliminates other variables and materials includ-
ing a film mask and exposures.
This technique of making plates and sleeve for flexographic
printing was previously difficult to achieve because of the
need to closely control depth and focus but the technology
is vastly improving. Rather than being an issue of control-
ling depth and focus, DLE now ensures controlled depth,
controlled dot height, and controlled below surface dots.
Varying from traditional plate making processes, DLE uses
a laser to ablate the non-image area and is capable of pro-
ducing both a plate and a sleeve using the same process
and machinery. Since this technology is not producing a
traditional ‘negative’ but is instead producing a ‘positive’
3D image by removing ‘non-printing’ areas, resolution still
45Tessa Libby
remains important but in a different way than with other
traditional plate making techniques.
Benefits According to Supplier
Stork Prints
High quality at high speedDue to our own custom-developed laser system, we can
engrave at a higher speed and a higher quality. Our real-
time monitoring and active control of the laser lead to
very consistent performance over time.
Lifetime of the systemOur SPA-laser system (Stork Prints Austria) works with a
slow-flow laser. This means that there is an external supply
(bottle) of laser gas which is attached to the system to pro-
vide small amounts of fresh gas into the laser in addition
to the used laser gas that is being continuously recycled
through an internal catalytic converter. This design does
not require periodic refurbishment of the laser head but
can be fully serviced in the field for minimum downtime
and maximum performance.
Our competitors use a sealed laserBecause there is gas trapped in the system, like with a light
bulb, after a period of time, the laser performance begins
to decline as the gas and internal optics are degraded and
ultimately the laser-tube needs to be replaced, or returned
to the manufacturer for refurbishment.
Active 3D RIPThe software, developed here at Stork Prints Austria, allows
the operator to engrave a PDF, rasterize the PDF, and give
the file a 3D shape, all on the fly. In fact, we are the only
one with CO2 laser engraving who have these capabilities.
Our Active 3D RIP is called active because the operator
can set a 3D dot shape for the smallest dot and another
3D dot shape for the bigger dots.
This built-in simulation allows the operator to make set-
ting changes and have an idea of what effect the changed
parameter will have on the outcome.
Direct Laser Engraving Systems46
Daetwyler
Complete SolutionWe deliver a complete solution: engraving machine +
3D-rip.
ALE
Hybrid FlexoWe have the option of Hybrid Flexo that makes us a bit
unique.
47Tessa Libby
Direct Laser Engraving Systems48
Table of Key Features
how old?
laser sourcefunctional resolution
minimum dot/feature
technique to reduce spot size w/o sacrificing focal depth
method for supporting isolated highlight dots
Stork Prints Neos, Helios,
Agrios, Morpheus
Since 2003
CO2 1270 dpi for lower linecounts and rough linework (110 lpi). 2032 dpi for fine lin-ework and linecounts (150 lpi). 2540 dpi for extremely fine lin-ework (smaller than 1 pt. txt) and linecounts above 150 lpi.
Because of the below surface application there is no actual minimum dot. This is because smaller elements can be set lower in height above the plate floor than the bigger ele-ments. Therefore, dotgain with smaller elements can be eliminated.
Software allows dot shaping in the 3rd dimension any way desired and the laser has a Gaussian mode to avoid damage to printed elements. Lower power and smaller beam diameter next to the elements that need to be untouched.
3D engraving control gives the ability to shape the support of the dot over an extreme range. It is possible when engraving from an 8-bit TIFF or a PDF image file to define one robust support structure for the 1% dots and a completely different support structure for the 99% dots. The software linearly interpolates the dot values in between those extremes. The 3D on-the-fly RIP is a very powerful tool that allows this sort of opera
Daetwyler Digilais
Since 2003
Fibre At a maximum power of 1000 WATT.
Resolutions from 2540 dpi to 5040 dpi. The minimum resolu-tion of the mechanics is 1μm. The laser spot size is 10 μm.
Can generally produce dots below 40μm. However, this depends on several parameters including depth, undercut, and material.
This is dependant on the laser quality and Fiber lasers deliver the best quality. Additionally, calibration of the engraving depth is determined by engrav-ing defined by grey tone areas
All tonal areas normally have a reduced relief depth.
ALE About 20 years
CO2 or YAG (and Fibre lasers these days). Also use a combi-nation system called Hybrid Flexo.
Resolutions from 1270 - 2540 dpi for Flexo. For some other applications much higher resolution is used, (10,000 dpi for example).
Typically can produce a physical dot of about 10 μm in diameter. However, this is dependant on the laser choice and the mate-rial used for engraving.
Use 3D depth scanning technology for depth scann-ing of textured substrates; ALE OmniScan system. The shorter wavelength of Fibre lasers gives a longer depth of field and smaller focus spot size when compared to CO2. In some instances (normally not flexo), can actively track the surface of the cylinder being engraved in order to maintain sharp/consistent focus.
Control of shoulder profile called shoulder plateau that can help with additional dot support.
49Tessa Libby
below surface dotsspeed of system at normal
and at maximum resolutionplate material
plates and
sleeves front end RIP software
Stork Prints Neos, Helios,
Agrios, Morpheus
The operator has control over the 3D dotshape. Normally a customer needs less than 0.004".
The speed is dependant on depth of engraving and plate material char-acteristics . The maximum speed of 2400 rpm and .99 square meters surface-speed. The average fastest system, a 2 beam Agrios can pro-duce about 10.7 sq.ft./hr. Resolution has a minimal effect on the overall throughput but some materials need more power and some need less in order to reach a given relief depth. For materials that need more laser power, such as elastomer or rubber materials, dual-beam systems can be used, which is an option on the Agrios system
Capable of engraving 100% of rubber plate materials and 40% of the polymer materials. Can basically engrave almost any material because a CO2 laser can even cut into metal, glass, etc. The material choice is not dependent on the color of a material, as with YAG and fibre, so a wide range of polymers and rubbers can be engraved. However, not every material will allow the highest quality because of melting-effects or inefficient absorbsion of the laser beam energy.
Both. Stork's Active 3D RIP with unique software, developed at Stork Prints Austria, allows the operator to engrave PDF on the fly . The software is unique because Stork is the only competitor that has these capabilities with CO2 laser engraving. Again unique to Stork, it is rasterised on the fly and can be given a 3D-shape, also on the fly. The Active 3D RIP is called active because the operator can set a 3D dotshape for the smallest dot and another 3D dotshape for the bigger dots. This built-in simula-tion allows the operator to make setting changes and have an idea of what effect the changed parameter will have on the outcome.
Daetwyler Digilais
System features "undercut", mainly for highlight dots in which the adjust-ment is continuous.
Currently capable of reaching0.5 square meters per hour.The speed is limited bylaserpower.
Able to engrave most anymaterial that can be ablatedwith a laser light wave lengthof 1060 nm. Currently, EPDMand Silikon materials arecommonly used.
Both. Daetwyler uses FlexoMansoftware and a specific DigilaisRIP. Daetwyler is able to delivercustomised software solutionswith their technology.
ALE Capable of using below surface dot techniques. Can also apply an analogue function to taper the surface dots down to about 200 microns below the surface if required.
A typical speed of 1200 rpm at1270 dpi can be accomplished.However, speed increases to2000 rpm have been achievedfor a high resolution of 2540dpi at a high speed 16 bitoutput. For faster processing,multiple laser systems, up to 4x 500 watt CO2 channels or 4 x200 watt fibre laser channelscan be used.
Both natural and syntheticpolymeric materials,including rubber, materials,can be used.
Both. ALE uses a Harlequin RIP that isnot manufactured by ALE. This RIPapplies a CT profile to the datathat is generated on the fly and isused to control the engravingprofile. ALE's own front end canbe used to put micro textureswithin solid areas of print to alterdensity of ink laydown.
Direct Laser Engraving Systems50
Plate Thickness and Relief
Plate Thickness (inches)
Stork Daetwyler ALE
1 0.0656 0.0683 0.0721
2 0.0656 0.0683 0.0675
3 0.0658 0.0679 0.0821
4 0.0655 0.0679 0.0671
5 0.0655 0.0681 0.0671
6 0.0655 0.0676 0.0668
7 0.0655 0.0684 0.0745
8 0.0656 0.0681 0.0679
9 0.0658 0.0681 0.0679
Average 0.0656 0.06807778 0.07033333
All sample direct laser engraved plates were requested to
be .067” thick.
Stork Daetwyler ALE
Relief .0210 0.0225 0.0146
22222
777
88888
999
55
51Tessa Libby
Stork
Daetwyler
ALE
Dot Size
100
90
80
70
60
50
40
30
20
10
00 10 20 30 40 50 60 70 80 90 100
Stork
Daetwyler
ALE
Direct Laser Engraving Systems52
Stork Dot Size Photos
10% 20% 30%
40% 50% 60%
70% 80% 90%
53Tessa Libby
Stork Dot Size
No. Pos. Ref. Meas. Diff.
1 0 0.0 0.0 0.0
2 10 10.0 13.3 3.4
3 20 20.0 21.3 1.3
4 30 30.0 28.0 -2.0
5 40 40.0 33.9 -6.1
6 50 50.0 40.5 -9.5
7 60 60.0 48.3 -11.7
8 70 70.0 68.0 -2.0
9 80 80.0 76.7 -3.3
10 90 90.0 86.5 -3.5
11 100 100.0 99.3 -0.7
100
90
80
70
60
50
40
30
20
10
00 10 20 30 40 50 60 70 80 90 100
Stork Dot Size
Direct Laser Engraving Systems54
Daetwyler Dot Size Photos
10% 20% 30%
40% 50% 60%
70% 80% 90%
55Tessa Libby
Daetwyler Dot Size
No. Pos. Ref. Meas. Diff.
1 0 0.0 0.0 0.0
2 10 10.0 7.51 -2.5
3 20 20.0 21.3 1.3
4 30 30.0 32.7 -2.7
5 40 40.0 36.6 -3.4
6 50 50.0 51.8 1.8
7 60 60.0 52.4 -7.6
8 70 70.0 57.6 -12.4
9 80 80.0 79.6 -0.4
10 90 90.0 88.3 -1.7
11 100 100.0 100.0 0.0
100
90
80
70
60
50
40
30
20
10
00 10 20 30 40 50 60 70 80 90 100
Daetwyler Dot Size
Direct Laser Engraving Systems56
ALE Dot Size Photos
10% 20% 30%
40% 50% 60%
70% 80% 90%
57Tessa Libby
ALE Dot Size
No. Pos. Ref. Meas. Diff.
1 0 0.0 0.0 0.0
2 10 10.0 1.6 -8.4
3 20 20.0 10.4 -9.6
4 30 30.0 18.3 -11.7
5 40 40.0 27.0 -13.0
6 50 50.0 40.3 -9.7
7 60 60.0 56.8 -3.2
8 70 70.0 70.1 0.2
9 80 80.0 86.0 6.0
10 90 90.0 85.9 -4.1
11 100 100.0 100.0 0.0
100
90
80
70
60
50
40
30
20
10
00 10 20 30 40 50 60 70 80 90 100
ALE Dot Size
Direct Laser Engraving Systems58
Comparative PhotosStork Daetwyler ALE
A
B
C
D
59Tessa Libby
A
B
C
D
Direct Laser Engraving Systems60
Analysis Software Information
61Tessa Libby
Press Parameters
Mark Andy 2200
Primary use of Unit 4.
Used check gauges initially; visual optimization afterwards.
SubstrateSpinaker Coating, Prime Scan (Reg. TM)50 # R-190 Liner, C-122 F Permanent
Stickyback 3M 1015, combination/medium compression tape
Anilox Roll 600 Line Count; 2.05 Actual Volume
Dr. Blade
Allison Systems Corporation, Bevel BladeCX: Bright Carbon Steel; SUP: superhoned
Ink
#1 CRI (Color Resolutions International) Label Plus Ultra Proc, Black. 7JBWF238810
Viscosity 50.77 seconds
Temp. 20.5°C/68.9°F
pH 9.46
#2 Water Ink Technologies, Inc.Performa G74CPC, Black. XGLO44635, Batch # H2297
Viscosity 51 seconds
Temp. 20.5°C/68.9°F
pH 9.33
Notes: Had problem with first ink not
drying to synthetic paper which
caused dot bridging.
Experienced severe picking with
both inks when press speed
increased.
Measured viscosity with #2 Zahn
Ideal pH is between 9 and 9.5 (we
used pH adjuster to achieve close
to ideal).
Direct Laser Engraving Systems62
Interpretations and Conclusions
Through the process of completing my research on the
direct laser engraving of plates for flexographic print-
ing technology I have discovered many benefits and key
elements that appear to be profitable over traditional flexo-
graphic plate making methods. Also in my research, I have
determined that the direct laser engraving of these plates
by the systems of the three compared suppliers; Stork
Prints, Daetwyler, and ALE, all prove to be comparable in
precision and accuracy. There did not seem to be one plate
that was far superior to the rest. It seems as though the
determination between the uses of the systems may
lie more in the specifics that each company is able
to produce, including plate or sleeve material as well
as sizing and relief. However, I must include that Stork
does have the most noted reputation in the flexographic
market and has made claims of being the leader in direct
laser engraving.
Nonetheless, as previously stated, my goal in this research is
simply to explore the possibilities of the systems and com-
pare the advantages. I, in no way, aim to discount the direct
laser engraving system of one supplier, nor do I wish to
praise the product of one supplier over another. Therefore,
my written analysis will include, in more detail, the key
elements involved in direct laser engraving systems as a
whole, as well as any personal interpretation I discovered
about one specific system over another.
Common with direct laser engraving systems for flexo-
graphic plates is the incorporation of below surface dots.
Below surface dots are achieved by the precise control of
several dot-shape parameters rather than a specific ‘level’
setting. In fact, the only way to achieve a truly smooth
vignette to 0% is with the proper incorporation of below
surface dot techniques. Having a tonal value ‘setting’ at
which the dots begin to be below the surface virtually
guarantees that there will be a hard edge in the vignette
at that tone value. Additionally, some below surface dot
incorporation, also known as dot lowering or undercut-
ting is actually inherent in the engraving process. This
is because if the digital dot data is very small, the laser
power is typically set high enough to naturally take away
the surface layer of material. When printing, although it
was difficult to achieve a truly flawless isolated dot, each
system provided comparable results.
Furthermore, since the technology of direct laser engrav-
ing is not producing a ‘negative’ but is instead producing a
63Tessa Libby
‘positive’ 3D image by removing ‘non-
printing’ areas, resolution remains
important but in a different way than
with a film plotter or a mask-ablation
system. Additionally, engraving a
‘positive’ image is key when produc-
ing the proper focal depth. Similar to
sharpening the tip of a pencil with a
pocket knife; spot size is not crucial
because you are removing material
from around the outside of the feature
you want to leave behind. This also
becomes somewhat more important
with reverses in an image because the
minimum feature size in a reverse
produced by direct laser engraving of
a flexographic plate will be smaller
than what can be produced by tra-
ditional methods of flexographic
plate making. The reproduction of
reverses through each of the direct
laser engraving systems seemed very
precise. As seen in the Comparative
Photos, the “2” in reverse print was
engraved just as precisely as the
typical “2”. However, in the typical “2”,
the shoulders supporting the detailed
type are very noticeable, as it should
be. This is because the shoulders are
a vital part in keeping the detailed
engraving of the plate material from
damaging due to pressure of the press’
cylinders.
Similarly, the classification for a
small dot produced with these
systems for flexographic plates
includes a steady shoulder with
a small vertical top in order to
avoid the isolated dot from bend-
ing or falling over. In the case the dot
becoming damaged, the print would
experience severe dot gain and be
altered from its precisely intended
design. In contrast, larger dots are
characterized by a steep shoulder
with a big vertical top as the print-
able dot so that the surface is able to
stay cleaner and flat during printing.
From my visual analysis of the plates,
it is clear that the dots formed by each
of the systems are properly supported
by an accurately angled shoulder. An
example of this can be seen in the
Comparative Photos.
Although direct laser engraving is
a growing technology being used
to produce flexographic plates, tra-
ditional flexographic plate making
elements still must be considered.
For instance, a typical principle in
flexographic printing is that of pro-
ducing a ‘negative’ image on the plate.
This is because in flexography there is
no blanket transfer cylinder as there
is in offset lithography printing.
Therefore, the ‘negative’ image on the
plate is coated with ink and directly
transferred to the substrate to form
a ‘positive’ image. Interestingly,
the sample plate produced by the
Daetwyler Digilais system was a ‘posi-
tive’ image. Therefore, when printing,
the intended image was produced in
Direct Laser Engraving Systems64
reverse. Although proving to be an interesting looking
print sample, this variation did not affect the analysis of
either the plate or the press sample. I have determined that
the reason for the variation between the imaging of this
plate and the plates produced by Stork and ALE, is based
upon Daetwyler’s key involvement in gravure printing over
flexographic printing. The Digilais system provided by
Daetwyler is used in the various fields of Gravure engrav-
ing in addition to the engraving of flexographic plates.
Currently, Daetwyler represents the leading market in
gravure printing technologies and is only in the initiatory
stages of exploring flexography.
When producing flexographic plates, the consideration of
making a sleeve instead can almost always be considered.
Interestingly, it is possible for some direct laser engraving
systems, such as Stork, to mount a flat plate material onto
a sleeve, then image and clean the plate on the sleeve and
then send the imaged combination to the pressroom. This
can be a huge asset. This unique process can provide many
of the benefits of sleeves but at a reduced cost because
continuous designs are not required. Direct laser engrav-
ing in this fashion, or directly to a sleeve, can completely
eliminate precision plate mounting as the sleeves may be
‘keyed’ and all colors of the job engraved in register and
sent to the pressroom. The plates may then be stripped
away and the sleeve bases reused over and over. In addition
to providing minimal mounting costs and reduced waste
at the press getting the job in register, this method also
represents a very sustainable outlook, because the sleeves
can be reused repeatedly. All of the compared systems of
direct laser engraving are capable of producing both plates
and sleeves and can be manipulated in such an approach
to produce a unique and effective feature for any desired
outcome.
Plate material used for the direct laser engraving is another
important consideration because there are wide differences
in the behavior of various plate materials. With both elas-
tomers and polymers, the material itself determines the
maximum engraving speed and exactly how ‘fine’ an image
can be engraved into that material. Additionally, polymer
plate manufacturers are beginning to produce plate mate-
rial designed specifically for direct laser engraving.
Considering all aspects of direct laser engraving, the tech-
nology itself is extremely innovative. The notion of simply
engraving an image and rinsing away excess plate material
to make a fully functional flexographic plate is truly revo-
lutionary. Additionally, direct laser engraving offers the
65Tessa Libby
elimination of, or at least reduction of, fi lm costs as well
as time-consuming processes such as exposure, washing,
and drying. Because of its unique innovation and its high
cost eliminations and reductions, it is probable that the
technology of direct laser engraving will soon overcome
the fl exographic plate making market and become the
leading technique used to image fl exographic plates.
Th ank youFlexographic Technical Association
for granting permission to publish this paper
Company Contacts
Stork Prints
Edward James
Jan Boerkamp
Anderson & Vreeland:
Catherine Whitaker
Justin Green
Paul Zeinert
Howard Vreeland
Daetwyler
Ralph Daetwyler
Stephan Brüning
Cornelia Chamley
Walter Siegenthaler
Ulrike Seier
ALE
Brendon Pollard
Mo Suri
Ed Birch
Cal Poly TAGA 2010Offi cers & Members
67Co-Presidents
Jeff BauerCo-President
Jeff is a fourth year Graphic Communication student at Cal Poly and is
dual-concentrating in Graphics for Packaging, as well as Printing and
Imaging Management. He is particularly involved in production team
management and also appreciates impressive visual designs and user
interface experiences.
TAGA Presidents
Alice WongCo-President
Alice is a Graphic Communication senior concentrating in Printing
and Imaging Management, with the intention of graduating in the Spring
of 2010. She is incredibly nervous about that fact, but is excited at the
prospect of working in the Graphic Communication industry. She has
been a member of TAGA for three years, and knows it is one of the best
experiences of her college career, having been exposed to all aspects
of planning, designing, and producing a project. On what little spare
time she has, Alice enjoys photography and hiking, usually together.
Jeff Bauer
Cal Poly TAGA 201068
Dalia FeinholzSecretary
Dalia Feinholz is a third year at
Cal Poly, with a double concen-
tration in Design Reproduction
Technology and Graphic Com-
munication Management.
She loves being involved in
TAGA for the experience she
has gained and for the amaz-
ing connections she has made
at Cal Poly and in the industry.
Kelly DumasFundraising
Kelly is in her third year at Cal
Poly studying graphic commu-
nication and packaging. She
enjoys the learning experience
that TAGA provides and the pro-
duction process of the journal.
She also enjoys being outdoors
and baking yummy treats.
TAGA Offi cers
Nathan OstroutVice President
Nathan is a Graphic Communica-
tion senior with a concentration
in Graphics for Packaging. He was
involved in the production of the
journal as well as helping behind
the scenes to keep the Cal Poly
Chapter productive. He looks for-
ward to next year, continuing to be
heavily involved in TAGA and fi n-
ishing up his time at Cal Poly.
Jen HajarTreasurer
Jen is a fourth year student at
Cal Poly, planning to graduate in
spring. She loves giving tours of
the beautiful campus that Cal Poly
has to off er, singing, and swim-
ming in her spare time. She loves
TAGA for the hands-on experi-
ence that it has given her in the
industry as well as for the con-
nections that she has made by
being a part of this organization.
Jen Hajar
69Offi cers & Members
Tessa PahkamaaWeb Design
Tessa is a fourth year Graphic
Communication student with
a dual-concentration in Design
Reproduction Technology and Web
and Digital Media. She aspires to
learn as much as she can about the
ever-expanding land of the internet
and how to make it more beautiful.
Alicia JuarezAs a recent transfer student from
San Diego, Alicia Juarez is a junior
majoring in Graphic Communi-
cation. Although concentrating on
digital imaging and reproduction,
Alicia is experienced in the fi elds
of web and media, as well as lay-
out design. She hopes to continue
traveling abroad and sharing her
enthusiasm for graphic communi-
cation with various cultures that
she will be privileged to encounter.
John QuaresmaDesign
John is a fi ft h year Graphic
Communication student with
a concentration in Design
Reproduction Technology. While
at Cal Poly, he has focused his
studies on design in hopes to
obtain a career position at a
design studio in the future. John
spends the rest of his time hik-
ing and relaxing on the beach.
Tina ChenTina is a fourth year Graphic
Communication student striving
to be a graphic designer. During
her free time she enjoys hiking
with friends, creating glass art,
and cooking delicious food with
friends and family. I also love to
travel. TAGA introduced me to
many good friends that I hope to
enjoy San Diego with, so I think
it will be a great opportunity.
John Quaresma
Cal Poly TAGA 201070
Stephanie CoffaneyStephanie Coff aney is a third
year at Cal Poly, pursuing a Web
and Digital Media concentration
in the Graphic Communica-
tion major. In her free time she
enjoys dancing and being out-
doors. She loves being in TAGA
and learning even more about
what the industry has to off er.
TAGA Members
Jaimie GarrisonA second year at Cal Poly, Jaimie
Garrison is focusing in Graphic
Communications Management.
In addition to TAGA, she enjoys
playing tennis and being involved
with the Week of Welcome orien-
tation program.
Caitlin WattCaitlin is Graphic Communica-
tion Junior who enjoys being in
TAGA for the social and edu-
cational opportunities. Aft er
graduation, she plans to explore
career options in the graphic arts
industry.
Jaimie Garrison
Not pictured: Robin Jones, Brendan Lee
71Production Committee
Production Committee
Design & Editing Directors
John Quaresma, Tessa Pahkamaa, and Jeff Bauer
Multimedia Director
Tessa Pahkamaa
Production Director
Jeff Bauer
Content Editors
Alice Wong, Nathan Ostrout, and Kelly Dumas
Funding Directors
Kelly Dumas and Jen Hajar
Photography Director
Alice Wong
73Colophon
Colophon
Th is journal was produced entirely by students of the TAGA chapter at
the Graphic Communication Department at California Polytechnic State
University, San Luis Obispo. All design, print production, and overall
production work was completed in on-campus facilities.
DesignAdobe InDesign, Illustrator, and Photoshop CS4 were used
in the design of this journal.
Pre-pressFiles were prepared for print using the Agfa Apogee Prepress workfl ow.
A Creo Trendsetter was used to produce printing plates for the cover.
PrintingPrinting of the covers was done in-house using the Cal Poly Graphic
Communication Department’s Heidelberg Speedmaster CD 74 press. Student
TAGA members worked on the press under the guidance of Professor
Xiaoying Rong.
Printing of the journal’s text was produced on the HP Indigo 3500 located in
an additional Graphic Communication Department laboratory. Students in
TAGA worked to setup and guide the press during production.
FinishingPress sheets were cut to the proper size using the Polar cutter and the
journal was bound using the Wire-O coil method.
MaterialsCover Paper: Curious Collection 89# Cover – Iridescents Cryogen White
Text Paper: Futura 80# Dull Text
75Acknowledgements
Acknowledgments
Th e entire Cal Poly TAGA chapter would like
to recognize the following companies and individuals
who have generously supported the production of the
2010 journal.
Cal Poly Graphic Communication DepartmentDr. Penny Bennett, Michael Blum, Ivan Bradley,
Kevin Cooper, Solveg Cooper, Erik Cullins,
Nancy Cullins, Lorraine Donegan, Walt Horelick,
Dr. Malcolm Keif, Brian P. Lawler,
Dr. Harvey Levenson, Ken Macro, Korla McFall,
Bob Pinkin, Gordon Rivera, Dr. Xiaoying Rong,
Jon Sehmer, Lyndee Sing, Doug Speer, and Vince Uhler
Cal Poly Industrial Technology DepartmentRitchard G. Cisneros
University Graphic SystemsBrandon Lutze, Brittany Wilson, Robin Jones,
Amy Decker, Jasper Casey, Jeff Bauer, Vince Uhler,
and Ken Macro
77Sponsors and Supporters
Sponsors & Supporters
Notes: