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Knock-out without trapping | Knock-out with trapping | Overprinting |
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In printing, trap expresses the degree to which ink already printed on a substrate accepts another layer printed on top of it compared to how well the substrate (e.g., paper) accepts that ink.
However, in the era of prepress software, the term came to refer to compensation for misregistration (when two layers of ink are not perfectly aligned) that was traditionally known as "chokes and spreads". Misregistration causes gaps or white-space on the final printed work. Correcting this involves creating overlaps (spreads) or underlaps (chokes) of objects during the print process.
Misregistration in the graphical workflow may be caused by human error, inaccuracies in the image setter, the film-to-plate or film-to-film copying steps or instability of the image carrier (e.g., stretch in film or plate), the press or the final medium.
These issues can be minimized, but not eliminated, given that any mechanical process produces some degree of error. However, the resulting gaps can be hidden by creating overlaps between two adjacent colors.
In general, prepress software provides some level of trapping, via application default values. Additional trapping may be necessary.
Manual traps can be applied at several stages in the workflow, using vector-based or raster-based adjustments. The choice depends on the type of output (packaging applications including flexo-printing have other requirements than commercial printing on offset systems) and the degree of interactivity or automation.
In-RIP trapping moves the trapping to the raster image processor (RIP) trapping at the last moment. The process is automatic, although it is possible to set up zones to allow different rules for different areas, or to disable trapping for areas already manually trapped.
When the two colors in question are spot colors, trapping is always needed: from the moment the artwork is imaged on film or plate, the colors are handled separately and are printed on two different printing units. The same approach applies if one of the colors is a spot color and the other a process color.
Trapping becomes more difficult if both colors are process colors and each is to be printed as a combination of the basic printing colors cyan, magenta, yellow and black. In this case, the trapping decision depends on the amount of ‘common’ color.
Another factor that influences the visibility of the traps is the direction of the trap. The decision as to which color should be spread or choked is usually based upon their relative luminance. The lighter (higher luminance) color is spread into the darker. This responds to the way the human eye perceives color: darker colors define shapes, therefore distortion of the lighter color results in less visible distortion overall. The lightness or darkness of a color is defined as its neutral density.
A major exception to this is the case when opaque (colors that completely obscure colors printed beneath them) spot colors are used. Other colors, regardless of their relative luminance, are always trapped to (spread under) these spot colors. If several of these spot colors are used (a common practice in the packaging market), the order of printing layers rather than luminance is the decisive element: the first color to be printed is spread under the next color.
Thinner traps are less visible. Therefore, the trap width is set to a strict minimum, dictated by the maximum amount of misregistration of the entire workflow up to the press. When printing at 150 lpi, traps are usually between 1/150 and 1/300 inch (0.48 pt and 0.24 pt, 0.16 mm and 0.08 mm). These values are usually multiplied by 1.5 or 2 when one of the colors is black. The trap is not visible since the lighter color is spread underneath the—almost—opaque black. For the same reason, in many cases, black ink is set to "overprint" colors in the background, eliminating the more complex process of spreading or choking. Since black is a dark color, white gaps caused by misregistration are more visible. On top of that, in wet-in-wet offset printing, black is the first color to be printed, causing relatively more distortion, thus increasing the risk of visible misregistration.
When a trap between two colors is created, it contains the sum of the two colors in question when at least one of them is a spot color. When the two colors are process colors, the trap contains the highest value of each of the CMYK components. This trap color is always darker than the two abutting colors. In some cases, more specifically when the two colors are pastel-like colors, this might result in a trap that is perceived as too visible. In this case, reducing the amount of color in the trap may help. However, the trap should never be lighter than the darkest color since this would have the same effect as misregistration—creating a light colored ‘gap’ between the two colors. Trap color reduction is not recommended when solid spot colors are used. In that case, reduction would cause the spot color in the trap to be printed, not as a solid, but as a screened tint. [1]
Trapping towards a rich black (a black with a support screen of another color added to it to give it a ‘deeper’ look and making it more opaque—often called "undercolor"), follows the same rules as trapping to a ‘normal’ black.
Blends or ‘vignettes’ offer special challenges to trapping. The lighter part of a blend needs to spread into the background, while the darker part needs to be choked. If a trap over the full length of the blend is needed, this produces a visible ‘staircase’ effect. The solution is to use a sliding trap: a trap that gradually changes both color and position. The trap can slide all the way. This might unacceptably distort the original artwork. Often, the sliding factor is set to a point where the neutral densities of blend and background reach an appropriate difference.
In computer graphics and digital photography, a raster graphics represents a two-dimensional picture as a rectangular matrix or grid of square pixels, viewable via a computer display, paper, or other display medium. A raster is technically characterized by the width and height of the image in pixels and by the number of bits per pixel. Raster images are stored in image files with varying dissemination, production, generation, and acquisition formats.
The CMYK color model is a subtractive color model, based on the CMY color model, used in color printing, and is also used to describe the printing process itself. The abbreviation CMYK refers to the four ink plates used: cyan, magenta, yellow, and key (black).
Dye-sublimation printing is a term that covers several distinct digital computer printing techniques that involve using heat to transfer dye onto a substrate.
In digital photography, computer-generated imagery, and colorimetry, a grayscale image is one in which the value of each pixel is a single sample representing only an amount of light; that is, it carries only intensity information. Grayscale images, a kind of black-and-white or gray monochrome, are composed exclusively of shades of gray. The contrast ranges from black at the weakest intensity to white at the strongest.
Transparency in computer graphics is possible in a number of file formats. The term "transparency" is used in various ways by different people, but at its simplest there is "full transparency" i.e. something that is completely invisible. Only part of a graphic should be fully transparent, or there would be nothing to see. More complex is "partial transparency" or "translucency" where the effect is achieved that a graphic is partially transparent in the same way as colored glass. Since ultimately a printed page or computer or television screen can only be one color at a point, partial transparency is always simulated at some level by mixing colors. There are many different ways to mix colors, so in some cases transparency is ambiguous.
Digital printing is a method of printing from a digital-based image directly to a variety of media. It usually refers to professional printing where small-run jobs from desktop publishing and other digital sources are printed using large-format and/or high-volume laser or inkjet printers.
Prepress is the term used in the printing and publishing industries for the processes and procedures that occur between the creation of a print layout and the final printing. The prepress process includes the preparation of artwork for press, media selection, proofing, quality control checks and the production of printing plates if required. The artwork is often provided by the customer as a print-ready PDF file created in desktop publishing.
In offset printing, a spot color or solid color is any color generated by an ink that is printed using a single run, whereas a process color is produced by printing a series of dots of different colors.
Laser engraving is the practice of using lasers to engrave an object. Laser marking, on the other hand, is a broader category of methods to leave marks on an object, which in some cases, also includes color change due to chemical/molecular alteration, charring, foaming, melting, ablation, and more. The technique does not involve the use of inks, nor does it involve tool bits which contact the engraving surface and wear out, giving it an advantage over alternative engraving or marking technologies where inks or bit heads have to be replaced regularly.
Color printing or colour printing is the reproduction of an image or text in color.
Dot gain, or tonal value increase, is a phenomenon in offset lithography and some other forms of printing which causes printed material to look darker than intended. It is caused by halftone dots growing in area between the original printing film and the final printed result. In practice, this means that an image that has not been adjusted to account for dot gain will appear too dark when it is printed. Dot gain calculations are often an important part of a CMYK color model.
Tone mapping is a technique used in image processing and computer graphics to map one set of colors to another to approximate the appearance of high-dynamic-range (HDR) images in a medium that has a more limited dynamic range. Print-outs, CRT or LCD monitors, and projectors all have a limited dynamic range that is inadequate to reproduce the full range of light intensities present in natural scenes. Tone mapping addresses the problem of strong contrast reduction from the scene radiance to the displayable range while preserving the image details and color appearance important to appreciate the original scene content.
In printing, Preflight is the process of confirming that the digital files required for the printing process are all present, valid, correctly formatted, and of the desired type. The basic idea is to prepare the files to make them feasible for the correct process such as offset printing and eliminate costly errors and facilitate a smooth production. It is a standard prepress procedure in the printing industry. The term originates from the preflight checklists used by pilots. The term was first used in a presentation at the Color Connections conference in 1990 by consultant Chuck Weger, and Professor Ron Bertolina was a pioneer for solutions to preflighting in the 1990s.
In color management, an ICC profile is a set of data that characterizes a color input or output device, or a color space, according to standards promulgated by the International Color Consortium (ICC). Profiles describe the color attributes of a particular device or viewing requirement by defining a mapping between the device source or target color space and a profile connection space (PCS). This PCS is either CIELAB (L*a*b*) or CIEXYZ. Mappings may be specified using tables, to which interpolation is applied, or through a series of parameters for transformations.
In color printing, print registration is the layering of printed patterns to form a multicolor pattern. Registration error is the "position misalignment in the overlapped patterns." Machine components such as the print cylinder, doctor blade assembly, printing plates, stress/friction and more, affect the registration of the machine. Inconsistencies among these components can cause the printing press to fall out of registration; that is when press operators will begin to see defects in their print. There are many different ways to achieve proper registration, many of which employ the alignment of registration marks. Many press manufacturers have installed automatic register systems to assist the operator in getting the print back into proper alignment.
Blend modes in digital image editing and computer graphics are used to determine how two layers are blended with each other. The default blend mode in most applications is simply to obscure the lower layer by covering it with whatever is present in the top layer ; because each pixel has numerical values, there also are many other ways to blend two layers.
A contract proof usually serves as an agreement between customer and printer and as a color reference guide for adjusting the press before the final press run. Most contract proofs are a prepress proof.
Within the printing industry, the Approval proofer, also known as the Approval Digital Imaging System or Kodak Approval System, was designed for use in Prepress proofing, especially for the highest quality contract proofs.
Image editing encompasses the processes of altering images, whether they are digital photographs, traditional photo-chemical photographs, or illustrations. Traditional analog image editing is known as photo retouching, using tools such as an airbrush to modify photographs or editing illustrations with any traditional art medium. Graphic software programs, which can be broadly grouped into vector graphics editors, raster graphics editors, and 3D modelers, are the primary tools with which a user may manipulate, enhance, and transform images. Many image editing programs are also used to render or create computer art from scratch. The term "image editing" usually refers only to the editing of 2D images, not 3D ones.
Reversing type is a method of typographic printing with black or colored inks, in which the entire surface is printed, except for text elements. Reversing is one of the special cases of printing on a color solid, when the color of the solid is black or colored, and the color of the letters is white. This means that the colors of letter background and letters change places. As such, reversing is a meaningfulful way to add emphasis and contrast to the page as well as to develop a visible typographic hierarchy.