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&sectio

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: