Technology Corner

by Julio Palleiro

The Proof is in the Pudding (or Printer)

The majority of you know what “proofs” are especially those that are in the advertising world. But many do not know the differences between proofs. In this article I will try to enlighten some (and possibly confuse others) on what proofs are and why there are so many different types.

Proof Me Wrong

When a client is printing images commercially, for example in a magazine, it is commonplace for the printers and the art directors to see the final CMYK image printed as closely to how it will look in the magazine. This image is a proof.

Proofs come in many shapes and sizes (figuratively speaking). The first categorization falls under Digital and Analog.

Analog proofs are made through a photochemical process using film and/or photographic plates. Some analog proofing solutions (also known as Contract Proofs) are DuPont’s Cromalin, AGFA’s Pressmatch, and Kodak’s Matchprint among others. These laminate processes start by laying down colors separately and pressing them together.

These types of proofs are still very popular but are being quickly replaced by digital alternatives.

Viva la Digital Revolution

Lets face it, digital is taking over; the hay day of chemical photo processes is over in the commercial world. But don’t fret, digital workflows free up time to do other things, such as slowing global warming, and watching Youtube videos.

Digital proofs have flooded the market lately. There are Continuous Tone proofs such as DuPont’s Waterproof, and Scitex IRIS. Continuous Tone essentially is a standard CMYK print. Dye-Sublimation proofs and Digital Laminated proofs that are similar to Analog laminated proofs because they lay down separate color layers.

The most popular digital proof is the Halftone proof such as the Fujifilm FinalProof and Kodak Matchprint Digital. Matchprint and FinalProof are often misconceived as being general types of proofs but they are actually company specific trademarked proof types. The halftone mimics the quality of magazine prints very closely, hence why it is so often desired.

Another emerging digital proof is coming out of personal inkjet printers (i.e. Canon, HP, and Epson). Inkjet proofing and printing technology is improving faster than any other print technology today. An inkjet printer is capable of creating beautiful continuous tone proofs with amazing color accuracy (if calibrated properly). Recently Halftone proofs have become a reality on inkjet printers thanks to advanced Raster Image Processors.

Rasterize This!

A Raster Image Processor (RIP) is the software that drives the digital proofing systems. The RIP is configured by a professional Print technician (or someone with a great deal of knowledge of color and digital color applications) to convert image files into raster images and automatically attach the proper color profiles. The current inkjet revolution is being fueled by many companies that are offering desktop RIP’s such as GMG (Colorproof), CGS (Oris) and Epson (Colorburst).

I’ll take a U.S. Web Coated SWOP v2 with a Side of Fries to Go

What happens when you have thousands of professional and non-professional printers and designers proofing their images all over the world without any restrictions? Don’t worry this isn’t a pop quiz. The answer is that there would be color chaos. The same image can be proofed at 100 different proofers and get 100 different results. To restrict these variances organizations formed to regulate and certify color consistency.

In North America there are two major consortiums that certify proofing systems: SWOP and GRACoL. Europe follows other systems including FOGRA. Print/Proof systems that are certified by a combination of these are considered reliable sources of prepress proofing.

Proofing is a very specific and niche trade. Many photographers and amateurs are taking a bold plunge into home made prepress systems. But be warned, color accuracy in a periodical can make or break the finished product. Attention to this detail is just as important as lighting a set, retouching noticeable fragments, or even conceiving the entire layout. It’s ‘post-post-production’, so you better have a good eye.

Thanks for sticking with me. I hope this has been helpful to you. Leave feedback.

July 2008

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