Printing method

Chapter 3
PRINTING PROCESSES
A printing process describes the method adopted by a system to
transfer the image on to a substrate (material). This also means that a
printing system will have a medium that carries the image in the first
place before it enables the process of reproduction. Getting this print-
ing surface prepared is dependent on the printing process. Over the
years, many different ways of putting ink on paper developed and
these evolved to be the printing processes. The mechanics adopted
under different systems are so different that they cater to specific
applications in the market. For a long time the printing industry rec-
ognized five major processes. These were :
• relief printing (letterpress, flexography)
• planographic printing (offset lithography)
• recess printing (gravure/intaglio)
• stencil printing (screen)
• digital printing (toner and inkjet)
Relief printing—letterpress
As the name of the process says, the image areas are in relief and the
non-image areas are in recess. On application of ink, the relief areas
are coated with a film of ink and the non-image areas are not. With
pressure over the substrate to bring it in contact with the image area,
the image is then transferred to the substrate. If you can picture how
a rubber stamp transfers ink to paper, then you understand the prin-
ciple of letterpress and flexography.
Relief printing was the earliest form of printing and remained dom-
inant for a very long time. The movable type of the hot metal era
were all used with letterpress. This printing process takes its name
from the manner in which the process was employed, primarily for
type, and later engravings.
89

The plate profile is
shown at the lower
part of this illustra-
tion. In some cases
the plate was
formed as a cylinder
for high-speed
printing
Text is made up of movable type. Types are made
from an alloy of lead, antimony, and tin. A block is
made of zinc or copper, in which images that are not
obtainable in movable type are etched. Logos, dia-
grams, and illustrations are made from engraved
blocks.
A letterpress printed product can be identified by
the indentation that it creates in the paper. This is
due to the mechanical pressure applied to the paper.
In spite of this, letterpress produces images that are sharp and clean.
It is a direct printing process, which means that ink is transferred
directly from the printing surface to the substrate.
Letterpress is still used to some extent for embossing, imprinting,
and special-purpose reproduction.
Flexography
This process adopts the same principle of relief printing and is there-
fore similar to letterpress. The printing surface is made of rubber
instead of metal. The plate (the printing surface) is imaged from film
Face
Body or
Shank
Nick
Feet
Groove
Pin Mark
Impression
Cylinder
Plate
Cylinder
Ink
LetterPress Plate
Image Area
Paper
Ink
Fountain
90 Professional Prepress, Printing, & Publishing

or laser. Rubber plates were replaced by photopolymer plates during
the 1970s as was the case with letterpress printing. Flexography is
largely used in the packaging industry, where the substrates used are
plastic, aluminum, foil, etc., for which the rubber plates are more
suitable, due to their being soft. Usually flexography prints rolls of
paper or foil instead of cut sheets.
The plate profile is at the lower part of this illustration and the process is shown above
Plate
Cylinder
Impression
Cyclinder
Image Area
Ink
Roller
Ink Pan
Originated From Rubber
Stamps in the 1920s
Anilox or
Form Roller
Stock
Relief Surface of Printing Plate
(Rubber or Plastic)
Engraved Surface of
Anilox Roller (Steel)
Printing Processes 91
Anilox
Roller

Flexography features:
• Printing from wrong-reading raised image, flexible plate direct
to substrate
• Principal applications: almost any substrate which can go
through a web press – tissue, plastic film, corrugated board,
metal foil, milk crates, gift wrap, folding cartons, labels, etc.
• Recognition characteristics: as a relief printing method, has
recognizable, but slight, ink halo effect around letters and solid
color areas
• Two categories: wide web (18 or more inches wide) and nar-
row web
- Wide web flexo market: flexible packaging, newspa-
pers, corrugated boxes
- Narrow web market: primarily labels, high-quality pro-
cess color
- Some flexo corrugated box printing is sheetfed
The continuous, repeated imaging capability, along the length of the
web substrate makes flexography very suitable for products such as
wallpaper and wrapping paper.
Planographic printing—offset lithography
Lithography is the most dominant of the printing processes. It
accounts for over 60% of the printing market. When people refer to
printing, especially color printing, they usually think of lithography.
As mentioned in our first chapter, lithography was invented by Alois
Senefelder. Lithography is a chemical process and almost opposite to
that of letterpress which is more of a mechanical process.
Lithography works on the principle that oil and water do not mix. A
lithographic plate is treated in such a way that the image areas on the
plate are sensitized and as such are oleophilic (oil-loving); and the
non-image areas are treated to be ink repelling or oleophobic. During
the press run, the plate is charged twice; first by a set of dampening
rollers that apply a coat of dampening solution and second by a coat
of the inking rollers. During this process the image areas have been
charged to accept ink and repel water during the dampening. The

same happens to the non-image areas that start repelling ink as they
are coated with water. (Remember the basic principle on which lith-
ography works.)
The plate profile is
shown at the bot-
tom of this illustra-
tion and the
process is shown
above it
Plate, blanket and impression cylinders
The lithographic process operates with three basic cylinders. They
are the plate cylinder, the blanket cylinder, and the impression cylin-
der. All these are plain heavy metal cylinders. The plate cylinder has
the printing plate wound around it. This plate is the carrier of the
image that needs to be printed. In other words, it is the equivalent of
the types and blocks of letterpress.
The blanket cylinder has a rubber blanket wound around it. This
facilitates the transfer of the image from the plate to the blanket, and
thereupon to the paper (or other substrates), when the substrate is
passed between the blanket and the impression cylinder. The blanket
Plate
Cylinder
Rubber
Blanket
Impression
Cyclinder
Water
Fountain
Ink
Fountian
Water Ink
Rubber Blanket
Image Area
Ink
Fountain

provides the required resiliency to compensate for the unevenness of
the substrate used. This is an advantage for the process, as even poor-
er quality stock can be used in offset printing. The impression cylin-
der is just a bare cylinder that acts to provide the necessary pressure
to impress the image from blanket to the substrate. Pressure settings
are varied between the impression cylinder and blanket cylinder
when stocks of varying thickness are used.
Image transfer
The image areas accept ink and transfer them to the blanket. The ori-
entation of the image in the plate is readable. When transferred to the
blanket it becomes unreadable and in the next revolution, the image
is transferred to the paper that travels between the blanket and the
impression cylinder. The image is first set off from the plate to the
blanket and then set off from the blanket to the paper. For this reason,
lithography is also called offset printing. Since the image and the
non-image areas on the plate are both in the same plane, lithography
is also called a planographic process.
Types of offset presses
There are two ways in which paper can be fed to an offset printing
press; either in the sheet form or in the roll form. Presses that feed
paper in the cut mode are called sheet fed presses and the presses
that feed paper in the roll mode are called web fed presses. Some of
the presses can print on both sides of paper and they are called per-
fecting presses. Many of today’s presses have the capability to print
many colors as they have been configured with the plate, blanket and
impression cylinder configurations many times over. Apress that has
one of this set is called a single color press, and presses that have
multiple sets of the above mentioned combinations are called multi-
color presses. They are usually in the two-, four-, five-, six-, eight-,
and now ten-color configurations.
The plate used in lithography usually has a flat surface and is called
planographic. There is no physical or mechanical separation between
image and non-image areas. The plate material can be paper, plastic,
or metal.

Printing unit
The printing unit is the section of the press where the print is gener-
ated and applied to the substrate. On a single color lithographic off-
set press, this is usually done with three cylinders called the plate,
blanket, and impression or back cylinders. The plate cylinder has
four primary functions:
• hold the plate in register
• come into contact with dampening system
• come into contact with inking system
• transfer inked image to the blanket
Dampening system
The purpose of the dampening system is to apply a very thin layer of
water or moisture to the plate. The water is actually a special mixture
of chemicals called fountain solution. The fountain solution keeps
the non-image areas of the plate desensitized and printing clean. The
separation between printing image area and nonprinting area is
accomplished chemically by having:
• Image areas repel water and accept ink (hydrophobic)
• Non-image areas accept water and repel ink (hydrophilic)
Dampening types
• Contact or non-contact
- Non-contact (popular on web presses)
Brush (Harris) or spray (Smith)
• Contact dampening
Conventional or continuous
-Conventional has a reciprocating ductor roller.
The rollers can be fabric covered or bareback.
Fabric can be a thick cotton cloth called moel-
leton or a thin parchment paper sleeve
Continuous dampening
- Continuous is also called flooding nip
- Direct plate-feed
- Indirect inker-feed (integrated, Dahlgren)
- Some combination of both (bridge)

Perfecting
Printing on both sides of a sheet of paper in a single pass through the
press is called perfecting. In office imaging, laser printing, or photo-
copying, this is called duplexing. Sheetfed presses usually perfect
sequentially. Webfed presses perfect simultaneously. In order to per-
fect on a sheetfed press, the sheet of paper must be flopped or tum-
bled end-for-end inside the press. The tail or back edge becomes a
new gripper or front edge. Any size sheet error essentially becomes
doubled when done with a perfecting cylinder.
Inking system
The purpose of the inking system is to apply an accurately measured
or metered amount of ink to the plate. Each process requires a special
type of ink and method to apply it to the image carrier. Some inks are
thick like a heavy paste and others are fluid. Some systems continu-
ously bathe or immerse a roller or cylinder while others intermit-
tently supply a limited and metered amount of ink.
If the ink is a thick paste, then it can be distributed by a series of soft
rubber rollers. If the ink is a fluid, it would drip off the rollers due to
gravity. Fluid inks require miniature wells or cups to transfer the ink.
These wells can be part of the image carrier itself or a special type of
inking roller.
The ink film thickness determines the strength or density of a color.
There are two separate controls for overall or global (sweep) and
localized increases or decreases in ink volume (keys). Here are some
of the factors involved in ink distribution:
Fountain roller (ball)
Fountain blade
Ink keys
Ductor roller
Ink train
Oscillating or vibrator rollers
Form rollers

Ink distribution by printing process:
Offset lithography paste ink & rollers
Gravure fluid ink & doctor blade to remove excess
ink on top surface
Flexography fluid ink & anilox roller to apply ink to
rubber relief plate
Screen paste ink & rubber squeeze blade to force
ink through porous mesh
Letterpress past ink and rollers
Digital liquid or dry toner powder
Image transfer
Each printing process has a method to transfer the ink from the
image carrier to the substrate. Some do this directly while others
have no contact at all with the substrate. Direct image transfer sys-
tems require a wrong-reading image carrier so the image on the sub-
stance is correct or right-reading.
Offset lithography indirect, “offset,” right reading
Gravure direct, wrong reading
Flexography direct, wrong reading
Screen direct, wrong reading, because screen is
two-sided and translucent
Letterpress direct, wrong reading
Digital direct, offset, or non-impact
What does offset mean?
Offset is the method of transferring an image from the plate to the
substrate through an intermediate rubber blanket. When lithography
was first invented, it was not an offset process, but a direct process.
If desired, all of the printing processes could be “offset.” The blanket
cylinder has two primary functions:
• hold the rubber blanket
• transfer ink from the plate to the substrate

Looking at the various printing results
Letterpress Same as flexo but hard metal type may
deboss backside of paper.
Offset lithography Text and line art is sharp and crisp with
excellent edge definition. Halftones have
high resolution screen rulings of 133–300
lpi for halftones.
Gravure All images, both halftones and line art are
screened. Solids may look wormy, screen
tints may look “snowflaky” from dot
skipping.
Flexography Outside edges of solid type have a darker
halo ring or outline.
Screen Ink film thickness is very thick and can be
felt. Top surface of ink may have a rough
texture because of the pattern of the
screen.
Waterless offset
With this concept, the use of water is eliminated from the process.
Image areas are in recess from the non-image areas. The problems
that are associated with ink water balance, paper expansion due to
moisture content caused by water in the dampening solution, etc. are
overcome with waterless offset. This concept was developed in the
late 1960s by 3M as a dryographic process, but they stopped market-
ing because of the poor scratch resistance and durability of the plates.
Plates were developed by Toray Industries of Japan in 1973. Toray
made positive working plates that were more durable, had better
scratch resistance, allowed longer print runs, and produced better
quality. By 1978 they marketed positive working waterless plates,
and by 1985 they were able to offer negative working plates.
Aluminum is the base material for the plate, and the plate is not
anodized like conventional offset plates. A light-sensitive photopoly-
mer coating is given to the aluminum base. Over this there is a very
thin layer of silicon, approximately 2 microns. The plate is protected
by a cover sheet, which is approximately 7 microns. This cover sheet

need not be removed during exposure, and does not cause an appre-
ciable dot gain, or undercutting during exposure.
Exposure and development
The waterless plates are made from either positives or negatives,
depending on the plate type used. The plate is exposed to actinic UV
light. During the exposure, the bond between silicon and the pho-
topolymer is broken. The silicon loosens its hold on the photopoly-
mer. The plate is developed by a chemical process that consists of tap
water solution for lubrication and a glycol-based solution for treat-
ment with a dye solution, which recirculates and is not discharged
from the processor. These plates have the ability to hold a dot rang-
ing from 0.5% to 99.5%.
The finished plate has the image areas in its photopolymer layer and
the non-image areas in its silicon layer. The nature of silicon to repel
ink, suits its role wonderfully in a waterless plate system. The image
areas are in a recess and are protected by silicon walls. Since the
image areas are protected by this wall, individual halftone dots have
less capability to grow, thereby minimizing dot gain on plate. These
plates are capable of producing very high screen frequencies, in the
region of 200–300 lpi with negative working and 400–600 lpi with
positive working plates.
Waterless press
Any offset press that has a dampening system on it can be used for
waterless offset printing. Temperature and humidity control in the
press room is critical in waterless offset between 80 to 88 degrees F.
This is considered the optimum temperature range for inks and ink
rollers in a waterless system. Each unit of the press has a different
temperature, with black needing the hottest, yellow the coolest and
cyan and magenta in between. When printing with good stock, we
can expect good results. Since the non-image areas of the plate are
made of silicon, they tend to get scratched when using poorer quali-
ty stock. This is due to the fibers from the paper scratching the silicon
layer. The same problem can be caused by abrasive particles that may
be used to dry ink (pumice powder).

Offset lithography features
• Printing from right-reading planographic (flat) plate to blanket
and substrate
• Basic principle: “ink and water don’t mix”
• Principal applications: publications, packaging, forms, general
commercial printing, labels, books, etc.
• Recognition characteristics: sharp, clear images
Waterless offset
• Silicone surface of non-image area on a plate—recent advances
in inks, plates, and presses make this a rapidly growing
process
• Advantages: no fountain solution; yields cleaner, purer, more
consistent color; improved color contrast; reduced dot gain;
high gloss levels; reduced makeready, and running waste;
faster job changeover times
• Requires special ink and plates, adapted presses
• Waterless-capable presses able to run both waterless and con-
ventional
• Strong growth projected for high-end commercial sheetfed
and heatset web offset
Sheetfed offset trends
• Press automation increases competitive advantage. Most auto-
mated features deal with makeready, nonproductive costs,
and turnaround time.
• Programmable, automatic blanket and roller washing
• Semiautomatic and fully automatic plate changing
• Presetting systems for fast format changes
• Improvements in feeder, sheet transfer, and delivery systems
increase running speed to 10,000 to 15,000 impressions per
hour.
• Digital press controls allow virtually total press supervision
and control from central workstation
• De facto standard for multiple printing units on new sheetfed
presses in six color units with inline coating unit. Placement of
presses with seven, eight, or more units is increasing.

• Higher number of printing units accommodates more com-
plex design and color applications.
• Increased demand for short run lengths.
• Sheetfed printing squeezed between efficient web offset oper-
ations and by digital non-impact printing processes and color
copies.
Web offset trends
• Continued development of automated control systems expect-
ed for all aspects of web offset production, from makeready
through drying, folding, stacking, and delivery.
• Press speeds of 2500-3000 feet per minute now possible.
• Successfully entering into competition with sheetfed at lower
run lengths, and with gravure at higher run lengths.
• Waterless offset becoming more widely accepted.
• Opposing trends: regionalization of printing (in some part due
to increasing postal rates) may keep run lengths, press sizes
down; consolidation of printing plants may drive up need for
longer runs on higher speed, wide web presses.
• Wider webs—54 and more inches wide—becoming more com-
monplace.
• Average run length has dropped by as much as 25% 1990–1994.
• Short run lengths (under 20,000) and extremely high run
lengths (20 million) are economically feasible, depending on
circumstances, with web offset and will be typical by 2000.
Direct imaging technology
Heidelberg came out with “Direct Imaging” which they called the
“system solution for Computer To Press” (a different kind of CTP,
essentially Computer to Plate on press). This technology takes the
data stream from the computer that acts as its front end and images
the plate directly on the press.The spirit of offset printing is very
much alive in presses that incorporate the direct imaging technology.
The plate is mounted on the press, but is quite different from con-
ventional versions. The plate is in a continuous reel form that is
wrapped externally around the plate cylinder. The image is on the
surface of the cylinder. The plate has two layers, a base layer that is

an ink-loving layer and a top layer, made of silicon, that is an ink-
repelling layer. The laser when fired on the plate burns the silicon
layer leaving the image-receptive layer intact.
Digital Front End (DFE)
The front end of the press is a computer that controls the digital data
into the press. A RIP converts the PostScript data into a bitmap and
fires the laser onto the plate, which is already mounted on the plate
cylinder. The imaging head has 64 infrared laser diodes (16 diodes
per color x 4 colors) that take the raster data and fire up the plate. The
plates can be imaged in either of 1270 or 2540 dpi resolutions.
Direct imaging technology uses waterless printing. When the press is
in operation, the plate is in contact with the ink rollers that apply ink
onto the image areas. The image is transferred to a blanket and then
onto the substrate as in offset. The QuickMaster-DI uses a common
impression cylinder as its internal architecture for the press. This
means that this press has only one impression cylinder, instead of
one for each color (cyan, magenta, yellow or black).
The impression cylinder is in the middle and all the four blanket
cylinders come in contact with this common impression cylinder.
The paper travels between the blanket and the impression cylinder
as in a conventional offset press.
Direct imaging
The laser technology which is built into the direct imaging press from
Heidelberg forms the heart of this entire technology. Heidelberg has
been a long-time known leader in the printing press arena. They
have been and are a leader in the conventional offset field, but had
not made a big dent in the digital work environment. However, they
have had the insight to bring to our industry the strengths of con-
ventional offset and combine it with the strengths of digital technol-
ogy. In doing so, they and their partner Presstek, harnessed the com-
bined power of these two technologies and thus was born the tech-
nology of “direct imaging.”

Register control
The satellite construction of the press ensures that the paper is
gripped once preventing transfer from one unit to the other. This fea-
ture of the press minimizes the chances for misregister. Another key
issue to minimizing or practically eliminating misregister from the
press is in the basic technology of direct imaging itself. Since the
plates are imaged on the press, there is no reason that they will ever
have to be moved horizontally or laterally for register.
This is very important in the economics of running a press. A vast
amount of time is spent in a press during the initial makeready of the
job. Time being looked at as money these days, any saving in time
has a direct impact on savings in money. Waterless as a process helps
in getting brighter ink reflectance on the paper. The advantages of
direct imaging are numerous.
Although the press is now available in a slightly smaller sheet size
(18-3/8”x13-3/8”), which is a limiting factor, the technology is a sure
success. Now a new company called 74 Karat has been started by
Scitex and KBA Planeta and they have adopted the direct imaging
technology in their press. A key development that has been incorpo-
rated in 74 Karat is that they have built a press that is much larger
that the QuickMaster-DI 46-4. Heidelberg has launched a 74 cm
press, matching Karat’s present size.
This press will have five- or six-color printing capability and images
at 2540 dpi resolution. With many jobs being printed requiring more
than four colors, Heidelberg’s decision to provide the special color
unit will be welcomed by the industry. This press will have an auto-
matic plate mounting mechanism, with automatic plate washup,
which will save considerable time. It is called the Speedmaster 74-DI.
Direct imaging is a technology that has to be watched.

Recess printing—Gravure
Gravure is another direct printing process, like letterpress with, how-
ever some major differences. The image is directly transferred from
the image carrier, which is usually a cylinder, onto the substrate.
Gravure is called intaglio because the image areas are in a sunken
area and the non-image areas are in relief. This must sound like an
exact opposite of the letterpress process. In a way, that is true.
Press construction
A gravure press is constructed with two cylinders per unit, a print-
ing cylinder, which carries the image and an impression cylinder like
in the offset process, that applies the required pressure to transfer the
ink. Gravure cylinders are usually made of steel. This cylinder has a
number of tiny cells in it, around 50,000 to a square inch. The cells are
protected by walls that are in relief. The surface of the cylinder is
plated with copper to hold the image. The image is transferred pho-
tographically to the electroplated copper surface. The non-image
areas on the copper are chemically etched or mechanically engraved
to form the cells. Each cell varies in its depth, and this enables each
cell to transfer varying densities of ink to produce tones. The ink
used in gravure is in a liquid form.
Doctor blade
The printing cylinder rotates in a trough of liquid ink. During this
motion, the inks fill the cells of the cylinder and inks the image areas.
However, the non-image areas also get inked as they are in relief.
This excess ink is wiped clean by a blade called a doctor blade. The
doctor blade is positioned at an angle over the cylinder so that when
the cylinder rotates, the excess ink that was picked up by the non-
image areas are wiped clean.
In the continuing motion of the cylinder, the paper (or the substrate)
is fed in between the printing cylinder and the impression cylinder.
By pressure, the ink in the cells is forced out onto the substrate. Since
the printing image is made of copper, which is quite expensive,
gravure is usually used for very long-run jobs which it handles well
because the image is placed on the cylinder directly, and on copper,

which is a strong metal. Traditionally gravure has been used by mar-
kets that have a need to produce long run and consistently good
quality printing. Packaging and some long run publications there-
fore employ this printing process.
Most gravure presses are web-fed. Some are as large as 16 feet wide.
The gravure process is used for specialty products like wall paper
and vinyls. Gravure presses can print at incredible speeds like 2500
feet per minute. So one can imagine that unless the job calls for huge
numbers to be reproduced, in high quality, gravure as a process can-
not be chosen.
The bottom of this illustra-
tion shows the gravure
plate profile. The top of the
illustration shows the
gravure process. Note the
doctor blade removing ink
from the impression cylin-
der.
Gravue
Cylinder
Impression
Cyclinder
Empty Cells
Gravure Cylinder
Ink Pan
Filled Cells
Low
Viscosity
Image Area
Gravure
Cylinder

Gravure features
• Printing from wrong-reading recessed image cylinder direct to
substrate
• Three major segments: publications, packaging, and specialty
product printing
• Principal applications: packaging, long-run magazines and
newspaper inserts, catalogs, wallpaper, postage stamps, plas-
tic laminates, vinyl flooring
• Recognition characteristics: serrated edge to text letters, solid
color areas
• Relatively short makeready times on press; high color consis-
tency; continuous, repeated image
• Cylinders last forever, making repeat runs very economical
• Cost of making cylinders remains high, making gravure
expensive for jobs that are not repeated or not extremely long
• Trend is toward removing chemistry from cylinder-making
procedure, increased use of water-based inks
• Breakthroughs anticipated in electron-beam engraving and
photopolymer-coated cylinders
Stencil printing—screen printing
This is a process that is used by many artisans for short-run jobs. It is
such a less expensive process that many screen printing units are
operated out of garages. But that does not mean that screen printing
cannot offer good quality printing. It is a pretty simple process to
understand and operate.
Basically if you have seen how printing is done from a stencil, then
you have probably seen the process of screen printing. The process is
pretty much photographic in the image creation stage and it is most-
ly manual at the printing stage.
The image that needs to be printed is first captured on a photo-
graphic material, a positive usually. A silk screen is stretched tightly
by hinging around a wooden frame. The process derives its name
from this silk screen, which was used as the image carrier. The posi-
tive image is then transferred to the screen and developed. The

image that has been transferred to the silk screen is on the porous
area of the screen. The non-image areas are blocked out during the
stage of image creation itself.
The screen is laid over the substrate that is to be printed and ink is
poured on the frame over the screen. The ink is then wiped across the
surface of the screen using a device called a squeeze. A squeeze is a
wooden device that has a rubber blade. It facilitates the smooth flow
of ink over the screen. Since the screen is porous in nature, the ink
flows through it. Because the image areas are porous, they allow ink
to flow through them. This ink is thus printed onto the substrate
beneath.
Printing capability
Since the printing surface in the screen printing process is very flexi-
ble, it allows printing on three-dimensional objects too. This is some-
thing that the printing processes discussed earlier cannot offer. A
substrate that is two-dimensional and flat is all that can be fed into
those machines; in the case of screen printing, the printing surface
itself can be wound around the substrate. So objects like cups, mugs,
watches or other irregular-shaped products can be done using the
screen printing process.
Although this description of screen printing may sound quite simple,
in actuality there are screen printing presses that are as automated as
any other printing presses. Multi-color printing presses employing
screen printing process with capability to print on different sub-
strates like polyester, metal, and pressure-sensitive materials are
today a common scenario. These presses are equipped with online
corona (electrostatic) treatment, and can even combine ultraviolet
drying in some color units.

Screen printing features
• Printing by forcing ink through a stenciled screen mesh image
directly onto substrate
• Principal applications: can print on any substrate; point-of-
purchase displays, billboards, decals, fabric, electronic circuit
boards, glasses, etc.
• Ink formulation, screen mesh count, and image type are major
quality factors
• Recognition characteristics: heavy, durable, brilliant layer of
ink
Other printing processes
The above-mentioned four printing process were considered the
major printing processes for a long time. This was due to the fact that
other forms of outputting ink on paper did not really have the abili-
ty to compare with the quality that these processes could produce.
Moreover, the ability of other processes to produce color was very
limited.
Over time other processes evolved to cater to specific market needs,
and with their ability to reproduce color, they were extended to serve
specific printing markets. They are all used mostly as proofing
devices and without an exception they are all digital devices. One of
the prime differences between the already discussed processes and
the following is in the image carrier. In the traditional printing
processes, the image is on a surface that produces multiple repro-
ductions as replica to the one on the printing surface. The digital
printing devices have the ability to vary the image every time they
need to print. Let us take a look at some of the other technologies that
could put ink on paper. For the present, we will call these digital
printing processes:
• dot matrix ( including limited color)
• electrostatic (including color)
• laser printing (including color)
• dye diffusion
• thermal printing
–thermal wax transfer

• inkjet
–bubble jet printers
• other recorders
Dot matrix
These were the early forms of outputting a document from a person-
al computer. Used largely in the office environment, they did (and
do) a pretty good job. The printers have a series of hammers in the
print head. A color ribbon, usually black, is placed in front of the
head. On instruction from the computer to print, the hammer
whacks the ribbon against the paper placed behind it. The ink from
the ribbon is thus transferred to the paper. The character or images
are constructed by a formation of small dots. The quality of the out-
put is quite poor, and the noise that is generated by the printer is
quite disturbing. Types do not look sharp and the problems are
worse when printing one color over another. The quality of image
transfer deteriorates with aging of the ribbon and/or the hammer.
Electrostatic
A laser beam creates a selective charge on a selenium drum when
exposed to laser light. The charge takes place in the image areas. The
equivalent of ink is a toner particle. This toner particle gets attracted
to the charge in the drum. When the substrate is fed into the machine,
the toner particles transfer from the drum onto the substrate. A lot of
document copying and printing work is done this way, and is also
called photocopying, because multiple copies of a document are cre-
ated by the use of light. Color electrostatic printers adopt the same
principle to reproduce color and, depending on the equipment, the
paper may pass through the machine four times, in a single writing
station, or once in a multiple-pass station. These printers can print
good line work, as they have a high addressability. Some of these
printers print 600 dpi.
Laser printing
This is electrophotographic imaging as in copying machines, with
the printing machines driven by computers. When the document is
sent for output, a laser beam charges the printing drum by applying

a static charge to the photoreceptive drum. The areas that received
the charge tend to attract toner particles, and the image is transferred
to substrate. For permanency, the toner-based image is heated and
fused with the substrate.
Laser printers can be desktop-based or higher-speed and very much like presses
The early models of laser printers which produced good quality
copies had one drawback. The speeds were not very attractive for
high volume requirements. Now high-speed printers are available
like the Xerox Docutech 135 and 180, as well as Docucolor 40 and
70/100 which can be used for production work. They all use the laser
process principle. Though claimed to be high-speed printers, they do
not compare with traditional printing process speeds. Nonetheless,
they are quite popular in the short-run, and on-demand printing
markets.
Thermal printing
If you have seen the way something gets printed from a fax machine,
then you have pretty much understood this process. A specially
made paper that is coated with a dye is used in this process. When
the paper is heated it turns black. So, during the imaging process, the
Paper Cassette
Transfer
Roller
Transfer
Drum
Fusing
Unit
Toner/ Developer
Units
Organic
Photoconductor
(OPC) Belt
Laser Unit
K C M Y

image areas are heated and the spots on the paper turn black, giving
us the reading matter printed. This is also a popular method em-
ployed for generating labels and barcodes. Because the process in-
volves an induced change in the state of the substrate (paper), the
process is limited to printing only in single color.
Dye diffusion printers
Originally this process was created for printing on fabrics. It uses a
color donor ribbon that transfers the dye to the substrate by the use
of heat. The temperature is usually very high, in the region of 400
degrees C. By varying the temperature on the print heads, varying
intensities of color can be printed. This can produce a feel of contin-
uous tone printing. This process has a good potential, as the inks
used in dye diffusion printing have a color gamut greater than that
of photography. However the flip side to this technology is that it is
expensive, slower, and requires special substrates to print on.
Thermal and dye diffusion printers have special ribbons with alternating color areas
Thermal wax printing
This process is somewhat similar to that of a dye diffusion printer,
using wax as the medium of “ink transfer.” A metal drum is divided
Ink
Sheet
Thermal Print
Head
Ink Sheet
Take-up
Printed
Output
Pressure
Roller
Paper
Source

into a grid that addresses a pixel to a spot on the grid. Every spot on
the grid is assigned a color value. The pixels in the grid heat up and
melt the wax in the ribbon, which is transferred to paper. These
waxes are transparent, which makes it advantageous for these prints
to be used as overhead slides for projection. Some of these types of
printers have a three- or four-color ribbon to print from. They both
produce color prints, but the one with four-color ribbons has more
visual appeal than the tri-color ribbon printer.
Inkjet printing
This process works by spitting small droplets of ink on the surface of
the paper. The amount of ink that is to be spewed on the substrate is
controlled by a computer. There are three kinds of ink jet printing:
• continuous inkjet printing
• drop-on-demand inkjet printing
• phase-change inkjet printing
Continuous inkjet “spits” the ink at the substrate
Continuous inkjet printing “spits” liquid ink in a continuous fashion,
and the pressure of the spurting of the ink is controlled by a vibrat-
ing device and the ink is spurted from an orifice which also deter-
mines the size of the droplet that will ultimately land on paper. All of
Gutter
Nozzle
Assembly
Charging
System
Deflector
Print Head
Movement
Digital Signal
Input
Pressurized Ink
Supply
Printing
Medium

the ink is fired from a single nozzle. This produces print which
makes good line work and solid colors, which is acceptable for some
low-end applications of the market. When it comes to printing fine
images and multi-color printing, the drawback in the process stems
from the single nozzle rather than an array or group of them. And
that is what happens in continuous array ink jet. Every droplet’s size
is controlled by a single nozzle. Because of multiple arrays, speeds
can be increased, and this gives better productivity. An array of
continuous ink jet printing nozzles can also be attached to high-
speed printing presses for specialized printing like barcoding or
personalization.
Drop-on-demand inkjet printing
The ink is forced out of the orifices onto the substrate only where it
is required. This is done by one of several methods. The inks used in
this process are water-based. When heated, the water in the ink
vaporizes and forms a gas bubble. This causes a droplet of ink to be
pushed out of the orifice in the chamber, which will have to be
replenished. The replenished ink then goes through the same process
till it is pushed out. Because of this alternating method of throwing
out the ink and then replenishing the chamber, the process slows.
Another drop-on-demand ink jet printing method uses a piezoelec-
tric plate. This plate carries the ink, and on an electrical current being
passed, the size of the plate is deformed. The deformation of the plate
reduces the volume of the ink in the plate and causes it to spill a drop.
The drop of ink lands and dries on the substrate. This kind of inkjet
printing is commonly used for large billboards and posters. The
quality is acceptable.
Phase-change inkjet printing
The process derives its name because the ink changes its state from
solid to liquid to solid before it actually lands on paper. These print-
ers use a waxy kind of an ink in the ink chamber. This wax is heated
and the ink changes to a molten state in a reservoir. When the print
head receives an electrical signal, the volume of the reservoir
reduces, causing the molten ink to be ejected. The reservoir is filled

when there is no charge. Based on the signal received from the com-
puter, the print head either turns on or turns off the electrical signal.
Thus, the ink ejection from the reservoir is controlled. Since the ink is
wax-based, it gels well with the substrate and does not penetrate the
substrate. Up to 600 dpi can be addressed by this process, and it pro-
duces sharp and saturated images. As the ink settles on the surface
of the substrate, its thickness can be felt; this also adds to the feel of
the image printed on it. However, if handled, the print is subject to
abrasion and can get damaged.
Bubble-jet printers
Bubble-jet printers are relatively low cost devices that produce color
prints on plain paper. Low cost per page and low cost of the printer
are the primary attraction of these printers. They are also limited in
reproduction size, in that many bubble jet printers can print only up
to a letter size (8.5"x11"). They can be used for applications like
inhouse work, or for reports, but certainly cannot be used for con-
tract proofs.
Slide or film recorders
Film recorders produce slides, in color and monochrome, as nega-
tives or positives. When only one slide is needed, it can be easily pro-
duced with your camera. However, when a number of slides need to
be duplicated, the need to maintain consistency and standards
become critical. The basic image is created digitally in a computer
and is imaged on a photographic medium for as many times as the
number of copies needed. The recorders function like a camera
though they do not capture light the way a camera does. Instead of
aiming at the scene to be captured, the recorder aims at a Cathode
Ray Tube (CRT). A light-sensitive emulsion is exposed from the
beams of the CRT and this emulsion is sent for processing, the same
way a conventional photographic film is processed. A recorder that
has come in to cater to the high end of the market is Light Valve
Technology (LVT). The film that is to be imaged is wrapped around
a cylinder as in a scanner. The drum spins at a high speed, and the
film is imaged by narrow beams of light through electronic light
valves that modulate the amount of light that should image the film.

Ink
Every printing ink is formulated from three basic components:
• colorant (pigment or dye)
• vehicle
• additives
Pigments or dyes give inks their color and make them visible on the
substrate. Without pigments, printing could occur, but it would be
pointless since the image would be almost invisible. Vehicles carry
the pigment through the press and onto the substrate. Without the
vehicle, there is no printing, period. Additives include silicone, wet-
ting agents, waxes, driers and other materials used to enhance per-
formance characteristics such as drying speed, color development,
slip and mar resistance. Of the three, vehicle formulation is most crit-
ical to an ink’s performance on the press.
Colorants are the visible portion of the ink. They may be dyes, but
more often are pigments. They may be in powder form (dry toner),
in a concentrated paste dispersion known as a flush, or in a liquid
dispersion. Red, blue, yellow, and black are the most frequently used
colors in printing and together create purple, green, orange and other
colors during the printing process. Other colors are used, but in
much smaller quantities. The red, yellow, and blue colorants are
almost exclusively synthetic organic pigments. The black used in
printing ink is carbon black—a soot generated through burning nat-
ural gas or oil.
While not as visible as colorants, vehicles are just as important to the
ink. Made up of oils (petroleum or vegetable), solvents, water, or a
combination of these, they carry the colorant through the printing
press and attach it to the paper or substrate. Most vehicles contain
resins which serve to bind the colorant to the printing surface. The
vehicle is the portion of the ink most responsible for tack, drying
properties and gloss. Additives can include waxes, driers and other
materials which add specific characteristics to an ink or to the dried
ink film, such as slip and resistance to scuffing and chemicals.

Vehicles are complex blends of natural and synthetic solvents, oils,
and resins, and are manufactured with strict attention to cycle times,
heating and cooling. They can account for up to 75 % of an ink’s con-
tent. Ink formulators can choose from hundreds of materials, alone
or in combination, to create an infinite variety of vehicles, each with
distinct properties suited to different printing applications. The vehi-
cle is responsible for an ink’s body and viscosity, or flow properties.
It is also the primary factor in transfer, tack, adhesion, lay, drying and
gloss. More than any other element in a formulation, the vehicle
determines how well an ink does its job.
An ink’s vehicle determines its rheology, or flow characteristics—
whether it is liquid or paste, long bodied or short. This has a direct
impact on the ink’s movement from the ink fountain through the
roller train, and its transfer from roller to plate, plate to blanket and
blanket to substrate. The faster the press, the more critical these trans-
fer properties become. As speeds increase, ink misting tends to
increase as well. Increased shear and heat build-up on faster presses
have the potential to cause an ink to break down, leading to dot gain,
toning and other print quality problems.
Printers desiring to use lighter weight, uncoated or recycled stocks
for economic or environmental reasons complain that the softer sur-
face of these stocks makes them prone to water absorption, dot gain
and picking. Using an ink with inappropriate tack and transfer prop-
erties because of an inappropriate vehicle compounds the problem.
Ink formulations differ depending upon printing process and appli-
cation. Printing presses used in the various processes require differ-
ent flow characteristics or rheology for the ink to travel in an optimal
fashion through the press to the substrate. Letterpress and offset lith-
ographic inks are fairly thick or “viscous.” On press, they move
through a series of rollers called the ink train where the action of the
rollers spreads the ink into a thin film for transfer to the blanket and/
or plate and onto the substrate. Flexographic and gravure printing
inks are more fluid, so that they flow easily into and out of the
engraved cells on anilox rollers (flexo) and print cylinders (gravure).

All inks are made up of pigments, resin vehicles, solvents, and other
additives, but the most important properties are color, color strength,
body, length, tack, and drying. Color is determined by pigments,
which are finely divided solids. Important characteristics of pigment
include specific gravity, particle size, opacity, chemical resistance,
wettability, and permanence. Body refers to the consistency and stiff-
ness or softness of inks. Inks can range from stiff ink like that used
for lithography to very liquid ink like that used in flexography. The
term that is associated with this is viscosity.
Viscosity is the resistance to flow, so that a high viscosity ink would
not flow. Length is associated with the ability of an ink to flow and
form filaments. Ink length ranges from long to short. Long inks flow
well and form long filaments and are not ideal since they tend to mist
or fly. Short inks do not flow well, and tend to pile on rollers, plates,
and blankets. Ideal inks are somewhere in the middle of the two
types. Tack refers to the stickiness of the ink, or the force required to
split ink film between two surfaces.
Tack determines whether or not the ink will pick the paper surface,
trap properly, or will print sharp. If the tack is higher than the surface
strength of the paper, the paper may pick, split, or tear. When putting
down more than one ink on a page, the ink that has the higher tack
should be put down first. Tack can be measured using either an
inkometer or tackoscope. The final property is drying, but the ink
must first set before it actually dries. Some newer drying systems
include ultraviolet and electron beam radiation.
Tack is the relationship between ink, blanket, and paper
Paper Ink
Ink
Blanket

Ink drying
Ink drying is a very important function when considering what to
use. Inks can dry by absorption, oxidation/polymerization, evapora-
tion, solidification, and precipitation. During the process of absorp-
tion the vehicle drains into the sheet, leaving the pigment trapped by
the fibers in the surface of the paper. There is really no true drying,
which is why newsprint comes off on the reader’s hands. When ink
is dried using oxygen, it attacks the carbon atoms. This is called oxi-
dation. The oxygen break down the double bonds of the atoms found
in the drying oils, which causes the ink to dry. Sometimes the solvent
is evaporated using heated rollers or dryers that cause the inks to dry,
and is called evaporation. If the ink then needs to be chilled after
going through a set of heat rollers the process of drying is called
solidification. Finally, precipitation depends on the actual precipita-
tion of resin from the ink vehicle by addition of moisture. This
method is incompatible with the dampening solution on an offset
press.
There are a wide variety of inks used for different purposes. Ra-
diation inks have been developed to eliminate spray powder in
sheet-fed presses. There are two types of radiation inks
• UV curing
• electron beam
UV curing inks dry when exposed to large doses of UV light. These
inks are expensive because of the costly active ingredients. Electron
beam curing inks are a good alternative to UV inks. The main cost is
the high capital cost of getting the equipment to run these inks. Heat-
set inks are quick drying inks used mostly for web presses. The sol-
vents in the ink disappear after a drier heats them. Once the solvents
are gone, the pigments and binding resins are fixed to the paper so
the ink does not spread. Another type of ink is high gloss ink. These
inks contain extra varnish, which give them a glossy appearance.
There are still many problems with printing inks although they have
been around for centuries. The most common problems in the press-
room include:

• hickeys
• picking
• piling
• tinting
• scumming
• ghosting
Hickeys are caused by dirt. Ink cans
should be closed to prevent debris
from getting in the ink. Picking
transfers debris from the paper
back through the ink and onto the
paper again. Piling happens when
the ink fails to transfer from the
blanket to the paper. Tinting is
caused by the emulsification of ink
in the dampening solution and
results from poorly formulated ink.
A common remedy is changing
inks, though adding a binding var-
nish may help. Scumming occurs
when the non-image area takes up
ink instead of remaining clean.
Ghosting (mechanical) occurs when
there is uneven ink take-off from
the form rollers.
Lint deposits can transfer to the paper
The substrate used for each printing application and its end use fur-
ther dictate the raw materials chosen to formulate an ink. Non-
porous substrates such as plastic films and glass cannot absorb ink
vehicles and require inks which dry either through evaporation or by
polymerization (UV or EB). Often solvent-based, these inks are fre-
quently formulated for additional performance characteristics. Inks
used on soap wrappers, for example, must be alkali resistant; inks on
liquor labels must be alcohol resistant; inks on food containers that
will be heated in ovens or microwaves must resist high cooking tem-
peratures.
Impression
Cyclinder
Water
Ink
Plate
Blanket
Paper Print
Lint
Deposits

Newspaper inks are formulated to dry by absorption; that is, the ink
oils are absorbed into the newsprint. This process leaves the colorant
sitting on the surface, and without the binding properties of resins or
drying oils, it tends to rub off. For magazines, catalogs and
brochures, the demand is for high quality paper, glossy printing with
vivid colors that do not rub off readily. Here the printed ink is often
subjected to heat to assist in drying. These properties dictate a differ-
ent and more costly set of raw materials.
Many printers have made the switch from alcohol to alcohol substi-
tutes in their fountain solutions for environmental and health rea-
sons. If they did not communicate the change to their ink suppliers
so that an adjustment in ink could be made, they may have been sur-
prised to find a deterioration in print quality—increased scumming,
tinting and toning.
Using sophisticated laboratory instruments—rheometers, viscome-
ters, inkometers, and surface tensiometers—ink formulators can test
vehicles to closely predict performance characteristics. The final test
of any ink, however, will always be on the press, when the full com-
bination of variables (ink, press speed, substrate, plate chemistry,
fountain solution and even the ambient temperature and humidity of
the press room) come into play. Close cooperation and continuous
communication with ink suppliers will minimize potential problems
and ensure that the vehicle in the ink you are using is the right one
to get you where you want to go.
Inkjet ink
Inkjet printers fall into the larger class of non-impact printers. There
are many techniques for printing without use of plates and pressure.
These non-impact printers are used largely for computer printout
and copying requirements and also include electrostatic printers,
laser printers, thermal, and others. Inkjet printers are among the
most important of non-impact printers. The are used to produce or
reproduce variable information on a wide variety of substrates,
paper, gloss, and metal, and textiles. For the last thirty years, inkjet
has been predicted to be the next major printing technology.

Inkjet printers are used for many applications including mass mail-
ings as well as home usage. Ink jet printing uses jets of ink droplets
driven by digital signals to print the same or variable information
directly onto paper without an imaging system. The ink is sent out of
the printhead either by a pumping action, by a piezo electric crystal,
or by vapor pressure. In the continuous process, electronic deflectors
position the drops, while drop-on-demand places the ink only when
needed. The bubble-jet printer you may own at home just drools the
ink onto the paper. Once the ink is dropped onto the paper, the ink
sets through absorption, spreading, and evaporative drying. Inkjet
currently is the key contender for low-speed, low-cost desktop full
color. The main categories of inkjet systems are listed in the follow-
ing chart:
Continuous Intermittent Drop-on-demand Electrostatic
Liquid Inks
Piezoelectric or Thermal
Dye Based or Pigment Based
Liquid Ink or Hot Melt
Inkjet inks are made of water-soluble dyes, polyethylene glycol, di-
ethylene glycol, N-methyl pyrrolidone, biocide, buffering agent,
polyvinyl alcohol, tri-ethanolamine, and distilled water. Since the
dye must be water-soluble, this leads to poor water fastness on
paper. Hewlett-Packard changed their ink formula in their HP
DeskJet for a large improvement in water fastness. A problem is that
of wicking, which is ink spreading away from the dots along the
fibers of the paper. One way to reduce this problem is to change to
hot melt/phase change inks.
Hot melt/phase-change inks are used in drop-on-demand desktop
printers, but are aimed at high-quality full-color printing on a range
of substrates. The phase change refers to the fact that the ink dye or
pigment is contained in a binder that is solid at room temperature.

This principle requires a low viscosity ink. The inks are jetted as a hot
liquid but cool almost instantly upon hitting the surface.
Inkjet technology is really not one technology, but two. The first is
continuous as mentioned before. This method produces small char-
acters at high speeds (up to 2000 characters/second). This method
allows the printer to apply variable data to a job. The basic idea of
this method is called oxillography. Using oxillography, ink is pres-
surized through a small nozzle, about the diameter of a human hair,
and pulsed to form a uniform stream of regularly sized and spaced
drops. These drops pass an electrode, which can induce an electro-
static charge on any droplet. Only drops that are used for character
formation are charged. As the drops continue, they pass through an
electrostatic field induced by two deflector plates. These plates
deflect the path of the droplets by an angle proportional to the
charge. By changing this degree of applied charge (changing the
degree of deflection), characters can be formed on a moving sub-
strate. Uncharged drops are deflected back and collected to be used
again. There are some problems that are associated with this method
of inkjetting. These problems are as follows:
• The need for sophisticated equipment for dry conditions to
avoid loss of ink solvent in nozzle.
• Stationary items cannot be printed.
• The print is not solid and looks a lot like a bad dot matrix.
The second technology is drop-on-demand. This technology pro-
duces images using water-based inks for on-line printing of bags,
boxes, and other items used for distribution. The drops are not
deflected from one head, but from multiple heads, otherwise known
as a raster. The firing of the ink is computer controlled to form the
character. Drop-on-demand is slower than continuous jet, and the
water-based inks require an absorbent substrate. There are limita-
tions on this method of inkjetting
• coarse printing
• slow speeds
• only print on absorbent substrates

Rapid development is taking place in the area of continuous jet print-
ers. These printers will be able to do quality multi-colored graphics,
although at low speeds. More developments also seem to be taking
place in continuous multiple inkjet systems. This system prints with
100 nozzles. In this system it is the uncharged droplets that are
placed onto the paper, not the charged droplets. This should increase
print accuracy, as there is no deflection between particles. Drop-on-
demand developments are focusing in on smaller dot sizes in order
to achieve smaller characters that in the traditional method. In order
to do this, the number of heads is increased, though it prints at slow-
er speeds. The latest technology includes the touch dry ink jet which
uses 32 jets to apply thermoplastic ink, which eliminates problems
associated with solvent-based inks. The medium is held in the reser-
voir in the form of dry pellets, which are heated just before printing.
System Colors reproduced Resolution/DPI Application
Continuous 26,000–16.7 million 150–300 Pre-film color proofing
Photo realistic
Transparencies
Drop-on-Demand 26,000–16.7 million 160-400 Short run color printing
Electrostatic 4,000–16.7 million 300-100 Short run printing
Color overheads
Office copy work
Durable signature
Inkjet has many benefits as well as problems. Benefits include low
price for equipment, high print quality, use of plain paper, and low-
cost consumables. Problems include that of having water-based inks
which are too volatile and dry in the nozzle and dry slowly. In the
future we can look forward to high resolution at a low cost, reliabili-
ty, fast drying black ink, speed, and possible continuous tone color.

Inkjet printers transfer color to a page by squirting ink onto the
paper. The different methods of applying the ink are known as liquid
and solid inkjet. Both of these methods apply ink only where it is
needed; this results in a variable cost per page. Liquid inkjet uses liq-
uid ink that drys on the paper through evaporation. Liquid inkjet
consists of two techniques known as pulsed inkjet and thermal
inkjet. Pulsed inkjet uses hydraulic pressure to control the ink sent to
the print heads and then to the paper. Thermal inkjet uses a heating
element normally located in the ink nozzle that causes the ink to
form bubbles. Once the bubbles become large enough, they are
forced from the nozzle onto the paper. The problems with this tech-
nology are non-uniform spot shape and color density that is lost
when ink is absorbed into the paper. Another shortcoming is that the
ink remains water soluble and will smear if exposed to moisture.
Solid inkjet uses ink that is solid and must be melted before it is
sprayed onto the paper. This ink solidifies quickly when exposed to
room temperature and results in a better dot than liquid inkjet. The
ink is dropped on the page using a print head which contains noz-
zles of each color. The ink hardens as soon as it makes contact with
the paper. Once the page has been completely covered, a cold roller
applies pressure to flatten the ink and strengthen its bond to the
paper.
Inkjet has has two major subcategories: drop-on-demand [DOD] and
continuous, further defined by the size of the finished product. Drop-
on-demand ink jet heads have an array of tiny jets (240, 300, 600 per
inch, depending on resolution) that each emit a single droplet of ink
at an extremely high rate. Pressure difference caused by reducing the
volume of ink in a reservoir causes this phenomenon. There can be
multiple heads for printing process colors; however print speed is
relatively slow (under ten ppm) because of the difficulty controlling
each droplet and amount of time needed for the ink to dry.
A variation in the drop-on-demand technology is bubble-jet, where
the ink is actually boiled and the resulting drop fired at the substrate.
Still another variation is solid inkjet. Ink is contained in solid sticks

which melt when heated. The resulting liquid is fired in the same
way as the water based ink products, but instead of absorbing into
the substrate, the ink resolidifies on contact. The printed piece is
often three dimensional. This process works on almost any substrate.
With continuous ink jet, ink is fed as a continuous stream. The stream
is separated into droplets which are then electrostatically charged
and deflected by magnetic fields to control the placement on the sub-
strate. Unused ink is recycled.
Toner
Electrostatic, electrophotographic, and xerographic printers all use
electrical charges transferred to a nonconducting surface that either
attract or repel the toner. There are several types of electrostatic
processes: direct electrostatic, color xerography, and ElectroInk.
The imaging material is a thermoplastic material (containing lamp-
black) that is used to create an image. The first toners were used in
1938 when Chester Carlson and Otto Kornei performed their experi-
ments with electrophotography using a powder to transform print-
ed images to a paper sheet. These experiments were conducted from
1944 until 1948. In 1950, Xerox released the product of these experi-
ments, the first xerographic reproduction equipment. Since the intro-
duction of the equipment, toner has become one of the most widely
used reproduction vehicles.
There are three major groups of toners:
• dual component
• mono component
• liquid
Dual-component is the most common type of toner used today. It is
made up of two distinctive parts—toner and carrier beads. There are
three major ways of developing dual component toners, the most
common of these being cascade development. It is based on tribo-
electrification, which is the process of exciting toner particles by
causing an electrical charge (static) through the use of friction. The
triboelectrification process causes excited particles to cling to read

carriers. Toner is 3–30 µm in size, depending on the desired resolu-
tion of the printed image. The higher the resolution is, the smaller the
toner particles needed. Dual-component toner is used in over 90% of
the current xerographic copiers and digital printers. Printers such as
Xeikon and the Xerox Docutech use dual-component toners for the
development of their images.
Color xerography uses a pre-charged drum or belt that conducts a
charge only when exposed to light. The scanning laser is used to dis-
charge this belt or drum which creates an invisible image. Toner con-
taining small iron particles is magnetically attracted to the appropri-
ate areas of the image and repelled from others. This image is then
transferred to a roller which collects all four colors. The image is then
electrostatically transferred to plain paper where it is fused by heat
and pressure.
The monocomponent toners differ from dual-component toners in
that they do not require the use of carrier beads for development.
There are several ways to charge monocomponent toners, induction,
contacting, corona charging, ion beam, and traveling electric fields.
The easiest and most commonly used of these is induction charging.
Through induction charging, a conducting particle sitting on a nega-
tive surface becomes negatively charged. Because the opposite
charges repel each other, the negatively charged particle is repelled
by the negative plate and drawn to the positive plate. Through this
process, particles lose their negative charges and become positively
charged. Once toner particles become charged, they can be trans-
ferred to the substrate. Most low-end printers use one of these mono-
component toner-charging methods.
Direct electrostatic printers apply a charge directly to specially coat-
ed paper. Liquid toner particles are then swept across the paper and
stick to the charged regions. Repelled toner is removed from the page
before the next color pass. After all colors have been placed, the toner
is then fused. This technology can be easily modified for large format
printing. Liquid toner provides the advantage of finer toner particles
that can be used to achieve high resolution output.

Liquid toners are comprised of toner and solvent. It is the use of sol-
vent instead of developer that causes them to be liquid. Liquid toner
solvents are nonconductive and primarily made up of thermoplastic
resin particles, which are suspended in a saturated hydrocarbon. In
many respects liquid development is related to or considered with
powder-cloud development. In both cases, freely moving charged
toner moves under the action of an electrostatic field.
Indigo ElectroInk is a variation of xerography that uses liquid toner.
The liquid toner is charged electrostatically and brought into contact
with the photoconductor where it is either attracted or repelled. The
colors are imaged to an offset blanket from which the composite
color image is then transferred to the paper media. This liquid toner
offers the advantage of delivering very small dots that can produce
very high resolutions. The Indigo E-Print 1000 is based upon this
technology.
Thermal transfer devices include thermal wax transfer and dye sub-
limation. Thermal transfer technologies use a three- (CMY) or four-
(CMYK) color ink-coated ribbon and special paper which are moved
together across a thermal head. Wherever the thermal head applies
heat, the ink fuses to the paper. This technology requires 3 to 4 pass-
es across the thermal head depending on the use of a 3 or 4 color rib-
bon of ink. The result of this process is single-bit dots of the primary
colors. The QMS ColorScript 230 is an example of a thermal wax
printer.
Dye sublimation uses a similar technology, except that the inks used
change to a gaseous state. This requires the thermal head to deliver a
much higher temperature but results in finer control and smaller
dots which can deliver multi-bit color. This results in continuous tone
color. The gas that carries the color and tone entirely covers the dot
being imaged. If less ink is carried, the dot changes in tone. In con-
trast, thermal wax would cover only half the dot area and the rest of
the cell would remain white. Fresh consumables (a ribbon in most
cases) used for each image result in a constant cost per page, regard-
less of the number of colors used.

For several decades, ink manufacturers have sought new raw mate-
rials which address economic and environmental considerations. For
example, vegetable-derived oils such as soy and linseed oils have
been used in place of petroleum-based oils in some formulations,
water is replacing volatile solvents in others, and pigments are select-
ed to eliminate heavy metals from inks, particularly those used for
food or toy packaging. The adaptation of technology to individual
process or product needs can be complex. The successful implemen-
tation of electronic printing technology requires an appreciation of a
wide range of scientific disciplines. The interaction of ink or toner
with the print mechanism and substrate needs careful consideration.
The prediction of final print quality and its control will need evalua-
tion. With all of the variables in printing press, substrate, and end-use
requirements, inkmakers face an exciting challenge.
Will inkjet printing ink and toner compete commercially with offset
lithography ink? There is an appeal here because it eliminates rollers,
dampeners, and plates; it requires no film. On the negative side,
however, are the costs of the equipment, the limited resolution of the
currently popular ink jet printers, and limitations in inks. The graph-
ic industry anticipates continued improvement in inkjet equipment
in the areas of ink technology and costs.
Digital printing is becoming very popular since the introduction of
the Indigo and Xeikon presses in 1993. These digital devices use
toner, which is similar in principle to that used in a copy machine.
But how does the fine powder stay on the page? Chester F. Carlson
created the photocopier methodology. He found that in order to get
copies of something it either needed to be rewritten or pho-
tographed, and knew there had to be a better way. He first looked at
photoconductivity for the answer, and realized that if the image of an
original were projected onto a photoconductive surface, current
would only flow in the area the light hit. In October of 1937, his first
patent was created for what he called electophotography. Chester
hired Otto Kornei to help him out. Otto took a zinc plate and covered
it with a coating of freshly prepared sulfur and wrote the words “10-
22-38 Astoria” on to a slide in India ink. The sulfur was given a

charge and the slide was placed on top of the sulfur and under a
bright light. The slide was removed and the surface was covered
with lycopodium powder. The powder was blown off and there was
an almost exact image of “10-22-38 Astoria.”
In order to preserve the image, Carlson took wax paper and heated
it over the remaining powder. The wax was cooled and was peeled
away, creating the first photocopy. This method created a blurry
image though and Carlson wanted better dry ink. A fine iron pow-
der was substituted and mixed in with ammonium chloride salt and
a plastic material. The ammonium was to clean the image and the
plastic was designed to melt when heated and fuse the iron to the
paper. This was the first toner and in order to produce different col-
ors, different tones were used.
Toners are pigmented bits of plastic about ten micrometers in size.
The manufacturing of toner is a multistep process consisting of mix-
ing pigments and internal additives with the base toner polymer,
which breaks the pigmented polymer into particles of the desired
size. The most important step is blending the pigments and other
internal additives with the polymer binder at the right temperature
so that it flows, but has a high viscosity. If the temperature is too high
the pigment will not disperse as well.
The name electophotography is classified under patent class 355,
subclass 200. It is defined as a device wherein the electrical conduc-
tivity, the electric charge, the magnetic condition, or the electrical
emissivity of a light-responsive medium is selectively altered direct-
ly by light reflected from or transmitted through an original, where-
by a visible or latent image is formed on the medium and persists
after exposure. In simpler terms, a photoconductor acts as an insula-
tor, retaining a charge of electricity. Areas of the surface contacted by
light lose their charge. The remaining areas with charge attract oppo-
sitely charged particles of toner that is transferred to the paper. For
most printers using this method, the drum is re-imaged for each
sheet, unlike in lithography where the same image is produced mul-
tiple times.

There are various types of toners and development systems available
on the market. Dry toner printers use a form of magnetic brush sys-
tem to carry toner/developer from the supply to the development
zone. These utilize non-magnetic toners carried on a magnetic iron
which provides charge by rubbing contact or magnetic toners which
contain a proportion of magnetic oxide. Dry powder toners are made
up of the following components:
Constituent Function
Magnetic Oxide Colorant, provides magnetic counterforce trans-
port; readability
Pigment Color black, hi-light, filler
Polymer Binder Fusing, toner stability
Charge Control Agents Charge stability
Surface Additives Lubrication/cleaning, toner flow
With these toners there are significant temperatures necessary in
xerography. The first is the temperature at which the image is fixed
to the paper.Anywhere above this temperature the toner is very fluid
and splits apart. Once it splits, it then is left on the fuser roll and
attaches itself to the next page. Toner also has some problems that
differ from those of inks. Particle size also has a lot to do with the
quality that you can get from a machine using a dry toner. Particle
size usually ranges from 10–20 mm in diameter. Particle size any
larger than this will usually produce jagged lines and dots. Toners
which produce smaller dots take longer to make, and cost more.
Another type of toner is liquid toner. These toners are charged, col-
ored particles in a nonconductive liquid. Liquid toner particles are
much smaller than those of dry toners, and are capable of smaller
particle sizes ranging from 3 mm to submicrometer sizes. Liquid ton-
ers are used in copiers, color proofing printers, electronic printers,

and electrostatic printer-plotters. Liquid toners are made up of dis-
persants, resins, charge control agents, and pigments. The disper-
sants must be non-conductive in order to not discharge the latent
image as well as interact with any other materials used in the
process. The resin is used as a vehicle for the pigment or dyes to pro-
vide stability, and aids fixing of the final image.
The charge control agents are added to the toners to impart charge on
the toner particles. Metal soaps are a common material used as a con-
trol agent. Finally, the pigment controls the color of the toner.
Important factors of the pigment include particle size, dispersibility,
and insolubility in the toner dispersant.
Liquid toners could be combustible, rather than flammable because
of their high flash point. If evaporation does not occur and comes in
contact with flesh, slight irritation may occur. Devices that use liquid
toners are well-ventilated, or re-cycle any hydrocarbons through an
internal system.
A major imaging problem is that charge voltage decay between the
time of charging the photoconductor, exposing, and toning can affect
image density and tone reproduction, as the amount of toner trans-
ferred is dependent on the exact voltage of the charge on the image
at the instant the toner is transferred. The second deals with the toner
chemistry. Because the chemistry is not understood, variations in
batches of the same toner occur. In liquid toners the isopar that is
used to disperse the toner is a volatile organic compound, which may
require venting and is subject to Environmental Protection Agency
regulations.
The process and the product dictate what type of inks you can use. A
conventional lithographic press, an inkjet system, or a digital print-
ing press are not only used for different applications, the inks used
are all different. This will affect the quality and the other printing
attributes. In almost every electronic printer, the consumable (the
ink) is specific to the device.

Digital presses
Variable data
Digital presses have one unique capability that conventional printing
processes cannot deliver. In a digital printing device, every copy that
is printed is imaged that many number of times. Which also means
that the printing surface is imaged once for every copy that is print-
ed. This is in contrast to the conventional printing process where the
printing surface is imaged once, and multiple copies are generated
from that printing surface. It is this feature in a digital press that
slows down its production. But the uniqueness of this feature opens
up a new opportunity, which is exploiting the necessity to image
every time for a copy. Since every copy needs to be imaged on the
printing surface, every copy can also be varied on the printing sur-
face. Which opens up a whole new world of printing capability—
variable data printing.
Imagine all that one could do with variable data. Specially targeted
messages can be printed for a select audience, instead of printing sta-
tic data that may not be completely targeted to a particular audience.
You can now have your brochure specially printed for you. The press
will print your name, address, and even have contents in the copy
that have been personalized to suit your tastes. Variable data
includes images. The key to producing efficient variable data is han-
dling powerful databases. There are off-the-shelf programs like Print
Shop Mail, and Darwin (Scitex) and extensions to QuarkXPress like
Datamerge that promise to exploit the potential of variable data. We
have to keep in mind that though the potential of variable data is
humongous, we are at an evolving stage of this great possibility.
Digital presses provide this capability, which conventional printing
processes can never do.
Digital printing features
• Digital printing is a rapidly growing segment of printing.
• Principal applications: short-run, on-demand printing.
• Adigital printer can be defined as one that inputs a digital data
stream and outputs printed pages.

• The broad categories of digital printers include electrostatic,
inkjet, and thermal. But we can also say that any printing
process that takes digital files and outputs spots is also digital.
• Interdependency with digital presses will likely create major
changes in the operation of the printing industry and increase
the volume of digital printing.
• Xerox DocuTech, Xerox Docucolor, Indigo E-Print, Xeikon
DCP, Scitex, Agfa, Chromapress, and Canon CLC-1000 are
among current major electronic systems.
• Digital masters made directly on press, printed with waterless
offset lithographic process, characterize short-run direct imag-
ing printing presses.
• Cost of digital presses and consumables impact competition
between digital printing and offset lithography. Run length,
turnaround time, and bindery needs/solutions are major cost
factors in this competition.
On-demand printing involves short notice and quick turnaround. In
the printing industry, print-on-demand can be defined as “short
notice, quick turnaround of short, cost-competitive print runs,”
which all results in lower inventory costs, lower risk of obsolescence,
lower production costs, and reduced distribution costs.
Most traditional printing does not satisfy this criteria and does not
result in these advantages. The disadvantage of traditional long-run
printing is that the reproduced information becomes obsolete, which
requires the disposal and re-manufacture of new material. In the
United States, approximately 31% of all traditional printing is
thrown away because it is outdated. This number includes 11% of all
publications, 41% of all promotional literature, and 35% of all other
material. Although print-on-demand is a more sophisticated phrase
for the printing industry, there is no specific technology that is used
to perform such a job. On-demand printing (also known as demand
printing) can be produced with a traditional press because the cus-
tomer does not care so long as the quality is acceptable, and it is done
quickly and economically.

Digital printing is any printing completed via digital files. A digital
press may be capable of printing short runs economically, but digital
printing on printing presses is well-suited for slightly longer runs.
When comparing on-demand printing and digital printing, demand
printing is economical, fast, and oriented to short runs. On the oppo-
site end, digital printing is printing from digital files, but is not
restricted to short runs. Demand printing can be done with digital
files or conventional film or plates; however, digital printing is done
only with digital files.
Variable printing
Variable information can be printed by digital presses, which are
presses that print digital data. On different pages you could have dif-
ferent names and addresses. This cannot be accomplished by tradi-
tional printing. With traditional printing, the prepress work is per-
formed, the plates are made, and they are run on the press. The end
result is thousands of pages that are identical. The information is sta-
tic. The capacity to print variable information, which results in vari-
able printing, is the key factor of customized printing. To accomplish
customized printing today, conventional pages or static pages are
run through high-speed inkjet devices for variable information.
Many digital presses offer this ability. Unlike inkjet devices, digital
presses are not limited to six or twelve lines of copy, but some can
customize the entire page.
The basics of customized printing is the combination of variable
information with output devices that do not require intermediate
films or plates. They are true digital printing systems in that all or
part of the image area can be changed from impression to impres-
sion. Short run can best be defined as one that is less than 5,000
impressions. Almost 56% of commercial, book, and office printing,
including duplicating and copying, falls in the category of run
lengths from 500 to 5,000 impressions. Presently, only 2.8% of this
printing is done in four or more colors. By the year 2000, the amount
of four-color printing in this run-length market will increase to
approximately 11.5%.

Traditional printing presses usually operate in the long-run category;
however, this trend seems to be changing. In order to stay competi-
tive in this growing industry, printers are attempting to compete
with moderate or even short-run categories. While most traditional
presses will have difficulty meeting the needs of the short-run cate-
gory, this is where a new market is developing. It is projected that the
short-run wars will take place in the 100- to 3,000-copy range. The
on-demand process consists of the client supplying electronic files or
camera-ready materials and specifying how many copies of the pub-
lication will be needed. The printer produces the publication direct-
ly from the disk or camera-ready artwork and delivers it within a
specified timeframe.
Currently there are three specific on-demand strategies in our indus-
try: on-demand printing, distributed demand printing, and on-
demand publishing. “On-demand” means that the data is stored and
printed in electronic form. It does not necessarily have to be an elec-
tronic file, but usually it is a digital file which provides the effective-
ness of the short run. The second strategy, distributed demand print-
ing, requires that the electronic files be transmitted to other locations,
printed, and distributed locally.
These publications can then be stored, printed, and shipped locally
as needed. The third and final strategy is on-demand publishing
(also known as demand publishing), in which the data is stored in
paginated form and transmitted for immediate printout. This is done
by large-volume magazines. Portable Document Formats, such as
Adobe Acrobat, are being used to distribute the print-ready docu-
ment files.
Electronic printing allows variable data printing. Traditional printing
does not. Let us now compare the major features of the three tradi-
tional printing processes as we move into a discussion of packaging:

FLEXOGRAPHY GRAVURE OFFSET LITHOGRAPHY
Substrates Wide variety, can print on Wide variety, can print on Limited, not easily adapted to films
most packaging materials most packaging materials or laminated packaging materials
including polyethylene,
paper, foils, and laminates
Impression Light “kiss” Heavy pressure Relatively high pressure
Pressure impression pressure in printing nip in printing nip
Plate life/ Avg. plate life between Avg. cylinder life between Avg. plate life between
Run length 1-2 million impressions 3-4 million short and long run available
up to 300,000
Press Size Many web widths available; Many web widths available; Standard format size;
widths range from 6” to 90” widths range from 2” to 110” sheetfed up to 60”
(wider for corrugated) (wider for vinyl flooring) web-fed 11”-60”
Cut-off Variable repeat Variable repeat Standard format/fixed cut-off
Repeat length
Speed Product dependent: Product dependent: Product dependent:
toilet tissue–3,000 fpm; publication–3,000 fpm sheet-fed 12,000 imp/hr 2500 fpm
vinyl flooring–50 fpm pressure-sensitive
labels-150–300 fpm
Ink Fast-drying fluid ink Fast-drying fluid ink Heat-set and non heat-set
solvent, water, and UV curable solvent, water paste ink
dry trapping dry trapping wet trapping
Digital Laser engraving and Heavily utilized Yes, on press and off press
imaging laser exposable available

Packaging
Packaging graphics are the last and possibly the most important
advertising many products receive. Flexographic printing technolo-
gy is used on a wide variety of materials for a great variety of pack-
aging applications. Arguably, it is the flexographic process’s “flexi-
bility” that is its greatest advantage. Soft compressible printing
plates, fast-drying fluid inks, and a simple, efficient ink delivery sys-
tem give the flexographic printer the ability to reproduce high qual-
ity graphics on many different surfaces.
During the last decade, the dollar volume of products produced by
the use of the flexographic printing process has been growing at a
rate of approximately eight percent a year, a rate unparalleled by any
other printing technology. Some of this growth is due to the
increased need for packaging and packaging graphics. However,
another source of new business for flexography is products that have
traditionally been printed by the other major printing processes—
gravure and offset lithography. Print buyers are beginning to recog-
nize flexography as an economical, high-quality alternative to
gravure and lithographic printing.
Packaging buyers have begun to hold the flexographic printer to the
same high quality standards as lithography and roto-gravure. This
means that the flexographic printers will have to consistently deliver
high quality graphics. Specifically, tone reproduction is expected to
be the same resolution in flexography as that printed by lithography
and gravure. Historically, the flexographic printing process has been
used for low-cost/low-quality packaging graphics. In fact, the stig-
ma of being a “cheap” printing process has caused some packaging
buyers to ignore flexography when selecting a process for higher
quality graphics. Even within the industry a culture shift from low-
cost/low-quality to low-cost/high-quality has been slow to come
about.
Adding to the problems flexographers find when competing with
other printing processes is the fact that there are no established stan-
dards for flexographic printing. Some standards that may be helpful

include trapping, dot gain, and specific values for process color inks.
The fact that the flexographic industry is without these standards
complicates communication between buyers, suppliers, and printers,
and makes quality consistency very difficult.
The recent move to “desktop” design has also introduced new prob-
lems for flexographic printers. With the use of the computer it has
become relatively simple for the novice to create attractive new pack-
age designs. Unfortunately, many of the novice designers are igno-
rant of the limitations of the printing technology that will be used to
mass-produce their designs. Also, many designs that appear attrac-
tive on a computer monitor are impossible to reproduce on a flexo-
graphic printing press due to press registration problems and ink
limitations.
When a designer who has experience creating a package design to be
printed by offset lithography or gravure applies the same design
principles for a flexographically printed graphic, they may be creat-
ing problems for the flexo printer. Without the benefit of research into
production methods and equipment, an otherwise simple design for
gravure or offset would pose many printing problems for flexo.
Traditional printing processes
The three most commonly used printing processes are lithography,
flexography, and gravure. Each of these processes has its own inher-
ent advantages and disadvantages. To better understand the prima-
ry differences in each process, one needs to compare three key areas:
the ink, the ink delivery system and the image carrier.
The most commonly used printing process (based on the number of
printing presses currently in production) is lithography, sometimes
called offset lithography. Lithography is used heavily in the publica-
tion industry for printing magazines, catalogs, and many daily news-
papers as well as a number of other applications like annual reports,
advertising, and art reproduction. Lithography is also often used for
packaging such as folding cartons, labels, and bags.

Offset lithography is classified as a “planographic” process. That
means the printing plate or image carrier used for lithographic print-
ing holds both the image and non-image on one flat surface or plane.
The image areas of a lithographic plate are chemically treated to be
attractive to the lithographic paste ink, while a fountain solution or
ink-repellent chemical protects non-image areas from inking.
In a lithographic printing press, a paste ink is applied to the image
areas on the plate, the image is then transferred to a blanket (hence
the term offset), and then to the substrate. Lithography has been a
favored process because it can reproduce soft tonal values on coated
substrates. Another highly prized feature of lithography is its ability
to print 300-line screen images with excellent fidelity.
Gravure packaging
Gravure, sometimes known as roto-gravure, is the second most com-
monly used process in Europe and the Far East, and the third most
commonly used process in the US. The gravure process prints per-
haps the widest variety of products of all processes. Gravure is heav-
ily used in the magazine printing industries and also prints many of
the inserts in the Sunday newspaper. Vinyl flooring and woodgrain
desktops and paneling are also printed by gravure. An offset gravure
process is used to print the M on M&M candy and the printing on
many medicine capsules. Gravure is used for many of the same pack-
aging applications as those of flexography. Gravure is used for:
• Publications
• Products
• Packaging
The gravure printing process is classified as an “intaglio” process.An
intaglio printing process recesses the image below the level of the
non-image areas. A gravure image is etched or engraved into a cop-
per plate or copper-plated cylinder. All gravure images are etched in
a cell format on the gravure cylinder. By varying the size and depth
of each cell, the gravure press can vary tones. Often, after the copper
is etched or engraved, the plate or cylinder is plated with chrome to
add durability and run-length to the gravure cylinder.

In a gravure press, a fast-drying fluid ink fills the recessed cells, a thin
metal strip called a doctor blade clears the non-image area of ink, and
then the image is transferred directly to the substrate under heavy
impression pressure from a rubber-covered impression roll.
Gravure has been an outstanding choice for printing process color
for mass-circulation magazines and newspapers. Gravure-printed
postage stamps are another example of the fine print results of roto-
gravure. Many plants have blended flexography with gravure to
produce exceptional print results on packaging materials.
The flexographic printing process is classified as a relief process. A
relief printing process is characterized by the image areas being
raised above the surrounding non-image areas. Letterpress is also a
relief printing process, the primary differences between letterpress
and flexographic printing technologies are:
1. Plate hardness—the letterpress plate is hard and non-
compressible; the flexographic plate is soft and compressible.
2. Ink—the letterpress ink is a paste consistency; the flexograph-
ic ink is a fluid, about the same consistency as paint.
In a flexographic press, an ink metering roll called an anilox is
brought into light contact with the raised image areas of the flexo-
graphic plate by an adjustment controlled by the flexographic press
operator. The flexographic press operator then moves the plate into
light contact with the substrate to cause image transfer.
Flexographic packaging
Flexographic printing units in use today are simple in design and
easy to understand. The following components makeup a flexo-
graphic printing unit:
• fountain roll
• anilox roll
• doctor blade
• dual doctor ink chamber
• plate cylinder
• impression roll

There are three types of flexographic printing units being used today:
two roll, two roll with doctor blade, and dual-doctor chambered sys-
tems. The two roll units are usually found on older flexo presses, and
on narrow web presses. Narrow web presses doing process color
work will probably be equipped with two roll units and doctor blade,
and more modern wide-web presses are equipped with the dual-
doctored chambered system. Each of these printing units may pre-
form acceptably; however, a doctor blade system should be used
when doing screens and process color flexographic printing.
To understand each of these printing units, it is important to first
understand the “heart” of the unit, the anilox roll. The surface of
every anilox roll has been engraved with a tiny cell pattern, cells so
small they can only be seen under magnification. The size and num-
ber of these cells determines how much ink will be delivered to the
image areas of the flexographic plate, and then to the substrate. An
anilox roll is either copper engraved and then chrome plated, or
ceramic coated steel with a laser engraved cell surface.
On a two-roll flexographic printing unit, the rubber-covered fountain
roll rotates in a bath of fluid flexo ink. As the fountain roll rotates, it
drags a supply of ink from the ink pan and delivers it to the cells of
the anilox roll. The relatively soft, rubber-covered fountain roll is
held in tight contact (nipped) with the anilox roll. As the anilox
rotates past the nip point, excess ink is “wiped” from the non-cell
area by the fountain roll. Once past the nip point, each cell is filled
with ink, and a measured, repeatable amount of ink is available to
the printing plate. On the press, the flexographic press operator
moves the “metered” anilox roll into light “kiss contact” with the
image areas of the flexo plate, and then moves the plate cylinder into
light “kiss contact” with the substrate to achieve ink transfer. The
steel impression roll supports the substrate during ink transfer.
When a doctor blade is used with a two-roll unit, the nip between
fountain and anilox roll is opened to allow the ink to flood the anilox
and fill the cells. The doctor blade, a thin metal or polyethylene
blade, then comes into contact with the anilox to sheer excess ink

from the non-cell areas. When the flexographic press is equipped
with chambered doctor blade inking units, the fountain roll and ink-
ing pan can be eliminated, and ink is delivered directly to the anilox
through an enclosed chamber.
Anilox cells
The best flexographic printers select anilox rolls for their press after
carefully evaluating the type of printing they intend to do, and the
type of substrate they will be printing on. Often the flexographic
printer will perform test runs to determine the ideal type of anilox
roll in an effort to maximize graphic elements related to screen rul-
ing, solids and spot color, type, and substrate.
These are the important characteristics of an anilox roll:
• Cells Per Inch (CPI)—The number of cells in a linear inch. CPI
counts will range from 140 CPI to 1200 CPI. A general rule of
thumb is as the cell count increases, the ink delivered to the
plate decreases. To achieve adequate ink densities, a flexogra-
pher printing linework on absorbent corrugated linerboard
would be using anilox rolls at the low end of cell count (160,
180, 200). If the corrugated printer was required to print
halftones at 55 or 65 linescreen, the anilox roll would have to
be replaced with a roll of higher cell-per-inch count (280, 300,
360). Another important concept is that as line screen resolu-
tion increases, cell per inch count should also increase. For
instance, a process color graphic on a polyethylene frozen food
bag may be printed at 133 lpi. For best results, and in order to
avoid “flooding” the halftone dots with ink, the cell count of
the anilox roll that inks the 133 lpi printing plate should be at
least 550 or 600 cells per inch.
• Cell Volume—Cell count and cell volume are related.As a gen-
eral rule, as CPI increases, cell volume decreases. Anilox cell
volume is described by a theoretical or measured volume, and
reported as Billion Cubic Microns (BCM) per square inch of
cells. Typical BCM ratings for printing applications range from
a low of 1.8 to a high of 14.

Using our example of the flexographer printing linework on
absorbent corrugated linerboard, the low cell count anilox being
used may have a cell volume of 10.0 BCM, and the process color on
polyethylene at 133 lpi, and a 600 linescreen plate may be inking with
an anilox cell volume of 2.8 BCM.
• Cell Angle—Anilox cells are engraved in a linear pattern, and
at various angles. Typical anilox cell angles are 30°, 45°, and
60°. It is important to understand that the screen angle of the
printing plate and the cell angle of the anilox roll can combine
to cause an objectionable moiré pattern, even if only one-color
halftones are being printed. Many anilox roll suppliers pro-
duce a random cell (no-angle) anilox that may be used for lim-
ited applications.
While an anilox cell angle may be selected to help avoid moiré, the
problem of moiré is usually avoided by angling the separation
screens. Research and experience has shown that the 60° angle allows
for more complete ink transfer, and is becoming the preferred cell
angle for flexographic printers. There is currently no other single
component of the flexographic process that will have as significant
an effect on flexographic print quality as the type of anilox roll being
used.
Plate cylinders and repeat length
All flexographic presses, with the exception of corrugated and news-
paper presses, have a variable repeat length capability. This variable
repeat length is possible because the plate cylinder on a flexograph-
ic printing unit is removable and interchangeable with plate cylin-
ders of different diameters. The flexographic package printer can
minimize substrate waste by having an adequate inventory of plate
cylinders of various diameters, and choosing the cylinder size that
best fits the print dimensions. Most lithographic presses are limited
to a fixed repeat length (often called a “fixed cutoff”). The plate cylin-
der used for most lithographic presses cannot be changed to conform
to various package sizes. In this case each package layout and design
must fit into the “fixed” dimensions dictated by the press and plate
size of the specific lithographic press.

Flexographic plates can be mounted around the entire circumference
of the plate cylinder, and images can be arranged to print a “contin-
uous repeat,” void of any seam area where the plate ends butt.
Continuous repeats can also be accomplished by using laser-
engraved design rolls. Flexographic presses can be built in several
basic configurations: Stack Press, In-line, Common Impression
Cylinder (CIC), and Corrugated.
Stack Press One to eight color units
Web can be printed on both sides with some stack presses
Traps should be no less than 1/32” for thin films
Often in line with other converting operations, including
polyethylene extrusion, lamination, rotary and flatbed die
cutting, and sideseal bag converting.
In-Line Up to twelve color units
Often used for printing thick substrates, like corrugated,
paperboard
Can print two sides (with the aid of a turn-bar)
Often in line with other converting operations
Not recommended for printing thin packaging film materials
CIC Four to eight color units limited to one-sided printing
Ideal press for hairline register at high speeds on thin,
stretchable films
Longer make-ready times required because of the inaccess-
ibility of the printing units
Corrugated Usually no more than four colors
All corrugated presses are sheet fed
Widths up to 120"
Less accurate register capabilities
Limited to one-sided printing
Multicolor capabilities
Flexographic presses commonly come with multicolor capabilities.
Recently the flexographic industry has experienced an increase in

installations of six and eight color presses. In some limited applica-
tions, as many as twelve colors can be applied in one pass through a
flexographic press. From a creative design perspective the possibili-
ties for eye-catching color are greatly enhanced by a printing process
offering so many color capabilities. Combinations of four color
process and spot colors, multiple spot colors alone, or high fidelity
process color printing allow the designer a great deal of creative lat-
itude when designing a graphic to be printed by flexo.
It is important to note that for transparent film substrates, the
chances are good that one of the color stations will be required to
apply a white backup or “choke” plate. Without the white backup,
colors would appear flat and transparent. The white plate is a char-
acteristic unique to processes utilizing clear or colored substrates.
Another important color characteristic of flexographic inks is that
they are usually made from opaque or semi-opaque pigments. The
color sequence usually adhered to for flexographic printing is light-
est to darkest colors in the press units. Overprinting two or more spot
colors will most likely result in the creation of an objectionable “mys-
tery” third color in the overprint areas.
Reverse-side printing
An exception to the rule of lightest-to-darkest color sequence occurs
when a spot color or line art job calls for “reverse-side printing.”
Reverse-side printing means the job is reversed laterally and printed
on a clear substrate like polyethylene, polypropylene, or polystyrene.
After printing, the graphics will be displayed from the “reverse” or
substrate side, rather than the side of the substrate where ink has
been applied. This technique is often used for non-food packaging,
or for applications where another film will be laminated to the print-
ed film.
Flexographic plates
There are a many types of flexographic printing plates, with the pri-
mary differences being the material from which the plate is made
and the plate thickness. The type of plate material to be used to print

a flexo job is decided by the flexographer after consideration of the
graphic elements they are asked to reproduce. Although few flexo
printers print from both rubber and photopolymer plates, many
have two or three types of rubber or photopolymer materials for
platemaking.
Another important characteristic of all types of plates is durometer (a
measure of the hardness or softness of a plate). Printing plates (rub-
ber or photopolymer compound) are soft and are of concern to
graphic designers. Dot gain is affected by the durometer of the plate
being used. Plates of higher durometer (harder), will print with less
dot gain than softer plates. However, lower durometer plates trans-
fer solid images more smoothly and completely than high durome-
ter plates. The plate thickness is dictated by the flexo printer’s type
of press and plate cylinder inventory. Generally speaking, wide-web
printers print from thicker plates than do narrow-web printers.
Molded rubber plates
The molded rubber plate has been used for flexographic printing
since the 1930s. However, the introduction of the photopolymer plate
in the 1970s marked the beginning of a period of steady decline in the
use of the rubber plate.
From a design perspective, the important characteristics of molded
rubber plates include:
• Molded rubber plates shrink shortly after they are removed
from the molding press; consequently, plate films should be
adjusted to compensate for shrinkage. The amount of shrink-
age depends on the type of rubber being molded, but is typi-
cally 1.5%–2.0% along the grain of the rubber and .5%-1%
across the grain of the rubber. To ensure accuracy, the exact
shrink factors should be communicated between production
artists and plate makers.
• Resolving capability of a rubber plate is limited to the 120-line
screen.
• Molded rubber plates may be more difficult to register in the
plate mounting step than photopolymer plates.

• Prints from molded rubber plates can only appear to be con-
tinuous repeat if images are nested in the job layout design, to
hide the plate seam.
• It is difficult to mold accurate rubber plates larger than 24"x
36", consequently designs larger than 24"x36" must be done by
piecing together multiple plates for each color.
Laser-ablated plates and design rolls
A design roll is a rubber-covered roll that has been imaged by laser
ablation. The design roll is seamless, and can carry images around
the entire circumference. The laser ablation imaging process is direct-
to-plate. This process can also improve register capabilities. The spec-
ified trap between colors can be accurately achieved, bleed can be
handled, registration marks can be provided as part of the design
and eyespots or other devices can be placed precisely.
Laser-ablated design rolls are often used for long-run jobs that
require continuous printing, and can be run in combination with
other flexographic plates. Direct-to-plate laser ablation can also be
used for imaging plates rather than an entire roll. However a laser-
ablated plate must be mounted on a plate cylinder and will not be
seamless. Laser-ablated plates are often used for short-run jobs and
for spot coating on flexo or offset presses.
From a design perspective, the important characteristics of laser-
ablated plates and design rolls include:
• Resolution is limited to a 100-line screen for tone reproduction,
but can be a 200 to 300 line screen for tints.
• Laser-ablated image carriers do not require film output.
• Laser-ablated design rolls can be a truly continuous repeat
design; laser-ablated plates require nested images to give the
appearance of continuous repeat.
• Plates or design rolls imaged on a circumference do not require
distortion.
• Laser ablation can be performed on both rubber and sheet
polymer materials.

Photopolymer plates
Today, the photopolymer plate is the most frequently used plate for
flexographic printing. There are two general categories of pho-
topolymer plates available, sheet and liquid. The main difference
between the two is the physical state of the raw material from the
supplier. Sheet photopolymer is supplied in a solid state, while the
liquid plate is supplied as a liquid which has about the same consis-
tency as honey. The liquid solidifies when exposed to ultraviolet
light. From a design perspective, the important characteristics of
photopolymer plates include:
• Photopolymer plates have guaranteed resolving capabilities of
a 150-line screen. Some high-end flexo printers have actually
printed from plates with a 200-line screen.
• Prints from photopolymer plates can only appear to be contin-
uous repeat if images are nested in the job layout and design to
hide the plate seam.
• Most of the newest plate positioning and register devices rely
on a ”one piece” flexographic photopolymer plate.
• Some service bureaus and flexographic plate makers presently
have the capability of filmless, direct digital imaging for con-
ventional (non-laser-ablated) sheet photopolymers.
Platemounting systems
Offset lithography has long been able to take advantage of pin regis-
ter for quick accurate color-to-color registration. The first commercial
device for mounting and proofing rubber printing plates was proba-
bly developed in the 1940s by Franklin Moss, founder of the Moss-
type Corporation. Until the recent adaptation of pin register and
micro-dot register systems to flexographic plate mounting, color-to-
color register was entirely dependent upon the skill level of the plate
mounter. Many platemounters became highly skilled, while others
were less accurate in plate positioning and registration, resulting in
poor registration on the press.
The concepts of pin register and micro-dot register were developed
to make accurate plate mounting fast and easy for everyone, even the
beginner. Pin register requires a systems approach. That is to say that

each prepress station, right up to the critical plate making and
mounting stage has to adopt pin register or micro-dot line-up tech-
niques. Pin positions or micro-dot targets must be accurately trans-
ferred through each step of prepress.
Mounting tapes
Mounting tape is the two-sided adhesive used for affixing flexo
plates onto the plate cylinders. Mounting tapes also come in a vari-
ety of types and thicknesses. Two general types of mounting tapes
are “hard” tapes and compressible tapes.Acompressible tape is actu-
ally a thin layer of foam coated on both sides with an adhesive. The
thin foam layer acts as a shock absorber to minimize over-impression
on the flexographic plate. By contrast, hard tapes offer no shock
absorbing characteristic and are only used to adhere the plate to the
cylinder.
Research of various mounting tapes has shown surprising findings.
For instance, one test of five different mounting tapes found solid ink
density variations from 1.34 to 1.66 by simply changing mounting
tape. Dot gain is greater with harder tapes than with softer tapes;
usually, the less dot gain the better. Soft cushion tapes, however, do
not provide for a uniform ink transfer in solid printing areas, often
causing pinholes.
Cylinder preparation
Each cylinder should be checked for condition and accuracy before a
plate is mounted on it. Cleaning, checking for defects, and checking
for accuracy before mounting the plate will often save material
waste, press time, and extra work.
• Cleaning—Plate cylinder surfaces should be thoroughly
cleaned to provide the best possible surface for plate mounting.
Improperly cleaned cylinders can cause inaccurate plate pres-
sures by trapping ink or other foreign matter between cylinder
surface and mounting tape. A cylinder surface with oil, grease
or any other residue on it will not allow proper adhesion of the
mounting tape and will eventually lead to plate lift. When
cleaning a cylinder, it should be noted that many water-based

inks require some type of detergent to rewet dried ink for
cleaning purposes. Often these detergents leave an invisible
residue or film on the surface of the cylinder that inhibits adhe-
sion of tape to metal. Final cleaning of the cylinder surface
should be done with a solvent that will leave no residue.
• Gears—Gears should be kept clean and well lubricated. Make
a practice of noticing the condition of each with each job
change. If they are removable, make sure they are tight when
replaced.
• Total Indicated Runout (TIR)—Good pressroom practices in-
cludes the use of a dial indicator to check cylinder circumfer-
ences and bearing accuracies. Runout of each plate cylinder is
important. Recommended tolerances for runout have been
+/–0.001” for line work and +/-0.0005” for halftones; however,
with today’s more demanding quality requirements a good
practice is to always work at halftone tolerances.
Substrate and substrate influence on flexographic printing
Substrate is a generic term for the packaging materials printed by
flexography and other printing processes. These materials aren’t nec-
essarily chosen for their printing characteristics, but because they’re
functional. Thanks to flexography’s versatility, there is almost no
material that has not or cannot be printed by it. It has been said that
if any material can be put in a roll, it can be printed by flexography.
The quality of a printed product is affected more by the substrate
than the type of process that applies the graphics. Packaging indus-
tries utilize a wide variety of substrates to satisfy the demands of a
wide assortment of packaged products. Substrates can be classified
into three general categories:
Paper/paperboard
kraft linerboard (corrugated)
clay coated kraft (corrugated)
solid bleached sulfate (SBS) (folding carton)
recycled paperboard (folding carton)
coated paper (labels, gift wrap)
uncoated freesheet paper (paperback books)

Polymer films
polyethylene (PE) (dry cleaner, bakery, and textile bags)
polypropylene (PP) (snack packages, candy wrappers, cookie
packaging labels)
polyvinyl chloride (vinyl films) (labels, wall coverings)
Multilayer/laminations
metallized papers (gift wraps)
metallized film (snack food bags)
polyethylene coated SBS (milk cartons)
The important characteristics of substrates as they relate to the pack-
aging printing process are:
Color
A printing ink is significantly influenced by the color of the substrate
on which it is applied. The flexographic process is often used to print
corrugated containers with unbleached brown kraft linerboard exte-
riors. Color matching on these types of material surfaces is difficult
to achieve.
Paper/paperboard—White, brown kraft, and a variety of colored
papers.
Polymer films—Can be clear, white, combinations of white and clear,
or colored.
Multilayered/Laminations—The color characteristics are decided by
the topmost layer with reflective qualities. Foils and metallized
papers or films are silver, or tinted to a colored finish.
Whiteness/brightness
The whiteness or brightness of a paper is the paper’s light reflective
qualities. Even on bleached or coated papers there are differences in
the whiteness or brightness of a sheet. Paper containing a high per-
centage of recycled fiber may appear to be more off-white than paper
made from 100% virgin fiber.

• Paper/paperboard—Whiteness and brightness increases with
bleached and coated papers. Optical brighteners may also be
added to paper to increase brightness.
• Polymer films—White films can vary in opacity, which will
affect brightness. Clear films require a printed opaque white
ink under color images. Colored films are not be included in
this measurement.
• Multilayer/laminations—Decided by the topmost layer of
film or paper with reflective qualities. Foil and metallized
printing surfaces require a printed white ink under color
images.
Opacity
All substrates have a measurable opacity rating. Opacity is the abili-
ty of a substrate to prevent light transmission. The more opaque a
substrate, the less light will pass through. Acolor printed on paper or
film with a low opacity rating will be influenced by what lies beneath
the substrate.
• Paper/paperboard—Thin lightweight papers have lower
opacity and will be more prone to ink show-through.
• Polymer films — On clear substrates, opacity depends on the
opacity of the printed white ink layer. The opacity of white or
colored films depends on the film manufacturing process;
films may be made white or colored by adding the appropri-
ate colored resin to clear resin during the extrusion process.
Darker films may tend to be more opaque than lighter films,
but all films can be manufactured with high opacity.
• Multilayered/laminations—Usually high opacity is achieved
by the multiple layers of opaque or semi-opaque substrates.
Smoothness
Smoother substrates allow for the printing of higher line screens.
Rough, irregular surfaces such as newsprint and corrugated liner
board require coarse screen rulings. Defects in smoothness can be
described as either macro or micro. Macro refers to irregularities that
can be seen with the naked eye; micro refers to a very small area with
defects not readily seen with the naked eye.

Because the flexographic ink is fluid and generally not regarded as
tacky, fiber pick (a problem common to lithographic printing) is not
an issue.
• Paper/paperboard—Newsprint, corrugated linerboard, and
paperboard are relatively rough. Calendered and coated
papers are the smoothest.
• Polymer films—Polymer films are the smoothest printing sur-
faces, consequently roughness is not a problem; however, ink
adhesion sometimes is a problem.
• Multilayered/laminations—The smoothness is dependent on
the substrate used as a printing surface.
Absorption
On substrates with little or no absorption characteristics, the ink will
dry at the surface providing more saturated color and less dot gain
for halftone printing. Papers with low absorption rates are referred to
as having high “hold-out.” This means the paper holds or prevents
the ink from being absorbed into the sheet.
• Paper/paperboard—Corrugated, newsprint, and paperboard
are very absorbent. Calendered and coated papers are less
absorbent and exhibit high ink hold-out.
• Polymer films—Polymer films are non-absorbent and exhibit
the highest ink hold-out.
• Multilayered/laminations—Absorption characteristics are
dependent on the substrate used as a printing surface.
Gloss
Coated papers and films have gloss characteristics that influence the
gloss of the inks that are applied to them. High gloss finishes are very
shiny, and tend to be reflective. Matte or low-gloss finishes can be
applied to all substrates by matte coatings, and uncoated and uncal-
endered papers have low gloss.
• Paper/paperboard—Calendered and coated papers are high-
gloss while corrugated linerboard, uncalendered newsprint,
and paperboard have low-gloss qualities. Gloss can be
increased after printing by applying an overprint varnish or
lamination.

• Polymer films—Films are higher gloss than the highest gloss
papers. Films can also be produced with a matte finish.
• Multilayered/laminations—The gloss of the printing surface
is dependent on the substrate used as a printing surface; gloss
can be increased after printing by applying an overprint var-
nish or lamination.
Caliper
Caliper is the thickness of a substrate. Caliper is usually measured
with a micrometer. Thin sheets of paper may have a caliper as small
as 0.002”, and thicker sheets may have a caliper of 0.010”. Paper with
caliper readings greater than 0.010” are often referred to as paper-
board. The caliper of paperboard may be as much as 0.030”. Polymer
films are by definition thin. Dry cleaner bags are 0.00065”. The thick-
est calipers used for flexible packaging are 0.005” to 0.006”.
Thin films require printing conditions with very accurate tension
controls. Paperboard caliper should be uniform and free from low
spots that will lead to print skips (voids) on the flexo press. For all
substrates, caliper uniformity is critical.
• Paper/paperboard—Thinner papers are more consistent in
caliper, paperboard may have inconsistencies in caliper.
• Polymer films—Thin films are susceptible to stretch during
printing. Caliper inconsistency will cause misregistration, and
print wrinkle problems.
• Multilayered/laminations—Caliper increases as layers are
added. Extremely thin layers may be laminated together to
attain required barrier and printing surface properties.
Flexographic design considerations
Trapping
Trapping is the overlap of color to avoid misregistration during
printing. Misregistration is caused by substrate handling and tension
problems on the press, irregular or inconsistent plate elongation from
one color to the next, inaccuracies in the plate mounting, and limited
register capabilities. A preliminary test run and analysis of the press

will determine the registration tolerances. Typically, a designer will
build traps into the file if the job is a simple one, otherwise trapping
will be handled by using an option in a drawing or trapping software
program like Trapwise or DKA Island Trapper, or handled entirely
by the prepress service bureau. The best trapping applications allow
for partial traps—where only the areas of an image that require trap-
ping are affected, while leaving all other areas at their original
dimensions.
Traps serve the same purpose in packaging as in commercial print-
ing. There are two primary differences: 1) in packaging there are gen-
erally more colors, and 2) with flexographic printing, larger traps are
required to compensate for misregister. Guidelines when designing
for flexography would include avoiding tight registration require-
ments, creating sufficient trap for anticipated misregistration, design-
ing with the dominant color printing over the lighter color, and
avoiding trapping of gradations. Trapping may cause a dark line
where the colors overlap.
A label printed on a narrow-web press should be trapped at a mini-
mum of 0.005”—some require as much as 1/32", or 0.031" compared
to average traps of 0.002"–0.005" for lithography. A typical trap area
for a job on wide-web polyethylene might be 1 point (1/72", or
0.014"). However, if an objectionable dark trap line is created by the
1 point overlap, the designer may plan for a trap of .5 points.
Trapping for linerboard or corrugated may require 1/64" to 1/8".
Typography
The soft flexographic printing plate, irregular substrate surfaces, and
the fluid flexo ink can have a profound negative impact on text-sized
type printed by flexography. The line strokes of smaller point sizes of
type often increases during the printing process because of the com-
pressibility of the printing plate and the fluid nature of the flexo
printing ink. Negative or reverse type often tends to become pinched
or fills in. In extremely adverse situations (poor press equipment or
rough irregular substrates), lettershapes may begin to appear round-
ed and lose their shape.

It is the problem of impression pressure on the printing plate in the
printing nip that causes most of the deformation of type. Smaller
point sizes of type are most adversely affected and require attention.
For wide-web polyethylene printing, typical minimum type sizes are:
• Positive type—six point for sans-serif fonts and eight point for
fonts with serifs.
• Reverse type—nine point minimum (it may be a good idea to
spread 9 point reverse minimum type). For narrow-web print-
ing, some fonts may be printed as positives as small as three
point type, while others may lose shape at six or eight points.
Use bolder fonts instead of light-weight versions.
When designing a job to be printed on corrugated, it is best to choose
a medium weight typeface, and to avoid serifs for any type that is
smaller than 18 point. A good rule of thumb is to avoid type that is
made up of stroke widths less than 1/32" for positive type and 3/64"
for reverse type. All type should be set at normal letterspacing.
To help compensate for the “weight gain” of flexographic type, it
may be possible to use the trapping technique of spreads and chokes.
Chokes are used on positive type, spreads are used on negative type.
Some programs, such as Freehand and Illustrator, allow the design-
er to adjust the thickness of the type. This type effect can be achieved
by selecting the text, converting to a “path” and then specifying a
value for the“width” for the outer and/or inner “stroke” of the type.
In some cases, these programs allow the designer to simply select the
type and choose a desired effect such as “heavy” to thicken the select-
ed type to print bolder.
In prepress design, some compensation can be done by choosing
either a lighter face or a bolder face. For example, if bold positive
type is desired, use a medium weight face. If a medium negative type
is desired, specify bold face on the desktop. However, should this
technique of selecting style attributes be used, make sure the printer
font selected is installed on the output device to be used in the pro-
duction process.

Letterspacing must be considered when designing for flexo. In offset,
letters can be squeezed together to form a denser appearance on the
page. The same spacing printed in flexo may cause the letterforms to
merge together to become unacceptable. However, when printing
fine-serif type with major letterspacing, the serifs may begin to lose
their shape. Ideal letterspacing occurs when letters are close enough
together to lend support to each other while under the pressure of
the printing nip, yet not so close that they begin to join together
under that same pressure.
Whenever possible, sans-serif fonts are preferred for flexo printing,
however, the larger the point size being printed the better the
chances that the font will reproduce as desired.
Unofficial industry standards and recommendations for type:
• Six point minimum for positive type, nine point minimum for
reverse or knock out on wide web.
• Four point for positive, six for reverse on narrow web.
• When using small size type, avoid fonts with fine serifs or del-
icate strokes.
• Kerning may cause squeezing across cylinder. Avoid tight line
spacing.
• Letterspacing and/or line spacing may increase slightly in the
curve dimension due to plate elongation during the plate-
mounting phase.
• All positive text should be printed in a single color if possible.
• Avoid placing fine type on the same color plate with line work
and solid printing areas.
• Specify type thoroughly and accurately to the service bureau
or flexographic prepress department.
• Avoid reversing type out of two or more colors unless a dom-
inant color outline is used.
Plate distortion and elongation
From a prepress and design perspective, one of the most important
characteristics to understand about flexography is the phenomenon
of plate elongation. As a flexographic plate is mounted on a plate

cylinder, a natural elongation occurs in the curve around the cylinder
direction. Consequently, if the printed design is meant to be a circle,
the image must be compensated by distorting (shrinking) the image
in the around-the-cylinder or curve dimension, and the image on the
resulting plate films may appear to be oval. After proper distortion
factors have been applied and the plate has been mounted and print-
ed, the oval will elongate to form a circle. The same distortion
requirements hold true for all images. This is a general formula used
for calculating plate elongation:
factor based on plate thickness = stretch per inch
cylinder repeat length
Sample calculation used for rubber plate distortion;
• T =Plate thickness with mounting tape; π carried to 4 decimal
places = 3.1416;
• R.L. = Repeat Length of the plate cylinder
Plate Thickness = 0.107" Repeat length = 18.8"
Mounting Tape Thickness = 0.020"
TOTAL 0.127"
π x 2 T = 3.1416 x 2(0.127) = 0.0424"
R.L. 18.8"
This means that for every linear inch of plate used in the around-the-
cylinder or curve direction, the images will increase at the rate of
0.042"/inch. To apply the calculation to a design measuring 12 inch-
es in the curve dimension:
12" x 0.042" =0.509"
This means that plate films should output to measure 11.490" in the
curve dimension, or 95.7% in the curve dimension, and 100% in the
other dimension (ignoring any plate shrink as discussed in the
Flexographic Plates section). Software written specifically for flexog-
raphy can compute plate distortion factors and apply them to each
color separation.

This formula shows that as the plate thickness increases the stretch
factor increases, and as the cylinder repeat length decreases, the
stretch per inch increases. The flexographic industry is currently
using a variety of plate thickness in combination with a variety of
mounting tape thicknesses. The type and thickness of the plate being
used is dictated by the type of press being used and the type of work
being printed on the press. Some typical plate thicknesses for some
of the larger flexographic printing markets are:
Combined board corrugated 0.250", or 0.107"
Wide-web flexible packaging, preprint, and folding carton
0.107", or 0.067"
Narrow-web label 0.067", or 0.045"
Newspapers 0.024"
These are only examples of plate thicknesses currently being used.
Recently there has been a trend toward thinner plate technology for
flexographic printing.
There exist today many software packages with the capability of
shrinking or distorting an image in one dimension. To be sure that
the design will be the correct size and shape, the design has to be out-
put to film after plate thickness has been determined and the proper
distortion factor applied. The plate distortion step should be per-
formed as close to the film output or plate setting stage as possible,
and can be performed by the raster image processor (RIP) operator
using distortion software. The actual distortion process need not be
of concern to the designer.
Halftones and screening
The flexographic printing process historically has been recognized
for its ability to apply spot color and line art graphics to a wide vari-
ety of substrates, especially those used for packaging. However, it is
the recently improved capability of high-quality, economical four-
color process printing that has given the flexographic process an
edge over other processes for packaging graphic applications in full
color.

Dot gain
All printing processes are subject to the natural and unavoidable
occurrence called “dot gain.” Dot gain can be described as an
increase in the diameter of halftone dots from the film to plate and a
further increase in size from plate to print. For example, when the
image setter outputs a 50% screen film dot, the flexographic plate-
making exposure step may cause that 50% film dot to “grow” to
become a 51% dot area on the plate. This is a small and relatively
insignificant gain in comparison to plate-to-print gain, where a 50%
film dot may eventually print on a flexographic press as a 65% or
greater print dot.
Halftone dots can be generated in a number of shapes including the
square dot, the elliptical dot, octagonal dots, and symmetrical and
asymmetrical round dots. Square dots begin to join at 50% (arranged
in a checkerboard pattern), and the connected areas continue to
increase as the dot area increases. Dot gain occurs at the perimeter of
the halftone dot; as individual dots join, the perimeter area increases,
causing a large density jump at the dot area where the contact first
occurs.
Dot shapes. Without question, a round dot screen is the ideal for the
flexographic process. There are however different versions of round
dot screening software. Individual film dots on the best round dot
screens for flexography do not begin to touch until they reach the 70-
75% region. Most design software can provide for a round dot; how-
ever, dot shape should be determined as close to the platemaking
step as possible, either at the film imagesetter or the platesetter.
Consequently, the same type of dot should be available on the RIP
and imagesetter, or platesetter.
The fluid ink and compressible plate used for flexographic printing
tend to increase dot gain, making dot gain compensation an espe-
cially important step for high quality tone reproduction. Each differ-
ent substrate printed by flexography will also influence dot gain
characteristics.

It is important to understand that dot gain compensation is different
for each printing process, for many different substrate surfaces, and
often for different printing presses within the same process.
Fortunately, dot gain is predictable and compensated for by a color
separator, or adjusted for compensation in Photoshop, or in RIP-
based calibration packages like Agfa Calibrator.
One of the most important considerations for a successful four-color
tone reproduction is an understanding of the ink hue and dot gain
differences that exist for the flexographic printer. When high-quality
tone reproduction is important, the best results are obtained by first
performing a preliminary press test run called a “fingerprint.”
A fingerprint of the press will provide important information to the
color separator or the desktop designer. By printing a target of this
type under controlled conditions, color separation films can be
adjusted to compensate for flexographic dot gain and ink hue.
Highlights
Another important consideration when color separating for the flex-
ographic process is the placement of the minimum highlight dot.
Most photopolymer flexographic plates are capable of holding a two
percent highlight dot. Since the highlight areas of a flexographic
print show the most dot-gain, it is extremely important that the min-
imum highlight dot capabilities be discussed with the printer before
separations are made.
Vignettes
Flexographic highlight dot gain makes it difficult (if not impossible)
to print a fade-away to white paper without a harsh break at the
highlight edge. When designing for flexo, it is best to fade off the end
of the design, or border the highlight end of the vignette.
A vignette or blend

Screen ruling and substrate
The selection of the proper screen ruling is critical to four-color
process flexography. Screen ruling capabilities are most often dictat-
ed by the type of substrate being printed. The corrugated industry,
for example, prints halftones screened at 45, 55, 65, or 85 lines-per-
inch. Flexographic newspaper printers print halftones screened
between 65 and 100 lines per inch. Flexible packaging on film-based
substrates is commonly done at 120 to 150 lines per inch, and high-
quality label printers have the capability of printing 200 line screen
images.
Anilox cell count and separation screen ruling should be correlated
to achieve the best flexographic print. A general rule of thumb is that
the separation screen ruling should be no more than 25% of the
anilox that will be used to apply ink to the plate. The ideal from an
ink-application-to-the-plate perspective is to have a minimum of
four anilox cells on top of each halftone dot.
Screen angles
Cells are engraved on an anilox roll at one of three possible angles
30°, 45°, or 60°. To avoid anilox moiré, film or plate screen angles
should be at least 7.5° away from the anilox cell angle. Cyan, magen-
ta, yellow, and black screen angles should also be set at angles at least
15° apart from each other.
Stochastic screening
Stochastic or Frequency Modulated (FM) screening for flexography
may offer some advantages over conventional half-tone screening.
FM screening eliminates the possibility of moiré, and also allows the
flexographer to print high-fidelity color. High-fidelity color is a tech-
nique used to extend the printed color gamut by printing a total of
six or sometimes seven process colors. The multicolor capabilities of
flexo and the random dot pattern of a stochastic screen to avoid
moiré make high-fidelity color an excellent design option.
The dot size used for FM screening is extremely small and compara-
ble in size to the highlight dot of conventional screening. The flexo

highlight dot is subject to excessive dot gain. Consequently, FM
screening for flexography should not be attempted unless the print-
er and color separator have performed press fingerprints to deter-
mine the ideal dot size to be used, and accurate dot gain compensa-
tion curves.
A final point about films made for flexographic plate making: The
polymer plate material is very soft and will easily trap air between
the film and the plate during the plate exposure. Consequently, when
making films for sheet photopolymer plates, a special “matte emul-
sion” film must be used to avoid out-of-contact areas during plate
exposure.
Step & repeat
The concept of printing the same image multiple times across the
width of a web and around the entire repeat length of a cylinder is
known as “step and repeat.” Package printing industries apply this
concept in combination with variable repeat length and variable web
width capabilities. The ideal is to maximize substrate usage and pro-
ductivity by fitting as many repeated images on the flexographic
plate as possible.
Often, a technique called nesting will be required. By placing dupli-
cate package layouts or label graphics strategically between other
layouts or graphics, the job can be designed for maximum produc-
tivity and minimum material waste. The best method of nesting
images is to cut and paste original graphics. This step in the flexo-
graphic prepress process is done in the production art stage. Most
standard layout programs do not have the capability of step and
repeat. Step and repeat can be performed on some illustration pro-
grams and by specialized software that will create templates to allow
the production artist the ability to impose multiple images for film
output, while working within the confines of web width limitations
and plate cylinder repeat length.
In the past, multiple sets of flexographic plates were made from one
set of films, and imposition was performed in the plate mounting

stage. Today, photopolymer plates and pin register or micro-dot plate
register systems require one-piece plates, and one-piece plates
should be made from one-piece films. The need for large one-piece
films for wide web flexographic printing applications has brought
about the need for large format imagesetters and film processors.
The flexographic printing process is sometimes prone to a quality
problem known as “plate bounce.” This problem is especially preva-
lent when lead edges of the printing plate run parallel to the printing
nip, and can be avoided by a layout technique called staggering the
plate. Not all designs will allow this technique, but when possible,
staggering the plates may provide for higher press speeds. Another
technique used for minimizing plate bounce is the use of “bearer
bars” in the non-image areas. Bearer bars provide continuous contact
between the plate surface, the anilox, and the impression roll.
Die-cutting & converting
When designing graphics for a die-cut label or die-cut folding carton,
an artist must take care to place all graphical elements in the correct
positions. A die-cut folding carton is an excellent example to illus-
trate the fact that the first requirement for design is that it conform to
the shape of the package.
Packaging engineers often use computer aided design (CAD) sys-
tems to design folding cartons, corrugated containers, or rigid paper
boxes. CAD files can be exported to illustration programs to provide
the designer a two-dimensional layout of the job.
The designer should remember that eventually the design will be
converted to a package, and each package forming process has spe-
cial considerations that may be adversely affected by the design of
the package. Some important considerations when designing for a
job to be a die-cut box or converted to a bag include:
• Bar coding—Bar coding can be created on the desktop or pro-
vided through another outside source. In either case, bar codes
should run parallel with the web direction, and should be cut
back to compensate for flexo gain characteristics.

• Bleeds—For die-cut jobs it is important to have a copy of the
die being used. This will allow the designer the opportunity to
see where packages fold and join, and where bleeds will be
required. The amount of bleed required depends on the press
being used. Bleeds can be created with standard illustration
programs.
• Cut areas—Because flexographic printers do in-line flatbed or
rotary die-cutting, the die must be held in register with the col-
ors being printed on the package. Important graphic elements
should not be placed too close to cut areas.
• Glue areas/seal areas—To assure sealing when forming a fold-
ing carton, glue areas should be free of ink and varnish.
Polyethelyne bags are often heat sealed. All areas in or near a
heat seal should be free of ink. Heat sealing is also done on
some folding cartons; for example, milk cartons are laminated
with polyethylene and will be heat sealed at the seams. The
design should be void of ink in the heat-sealing areas.
• Score lines—Die-cut folding cartons usually fold at score lines.
The designer should consider a score line a critical registration
area.
• Varnish areas—Many folding cartons or labels require the
application of an over-print varnish. In some cases, variable
information like freshness dating or product coding will be
added during packaging. Often these areas must be free of var-
nish. This application requires a special “spot varnish” plate.
• Windows—Die-cut windows should be clearly indicated. A
window used for folding carton or label work presents prob-
lems in the die-cutting operation. Before designing a window,
check with the printer or package convertor to make sure that
windowing is within their capabilities.
Prepress output
After a design has undergone the required production art trapping,
distortion, and imposition steps, it is ready for film output or, in
some cases, it is ready to go directly to digital flexo platemaking.
Imagesetters used for the flexographic process have some unique
requirements.

• Accuracy—The nature of the flexographic process includes a
number of areas that might lead to print misregister. When pre-
cise register is required, the imagesetter being used should be
the more accurate drum imagesetter, rather than its predeces-
sor, the flatbed capstan imagesetter. However, capstan devices
are suitable for single-color jobs with less demanding register
requirements and are especially useful for unusually long jobs.
Capstan devices can output film up to 80", while drum scanner
lengths are limited to the circumference of the imaging drum.
• Size—The imagesetter should be large enough to handle the
largest films required for platemaking.
• Film—The imagesetter must be capable of handling 0.007"
matte emulsion film.
• Calibration—It is imperative that the imagesetter be properly
calibrated. Film dot percentages below 10% should not vary by
more than 1% from the required dot area. Film dot area over
10% should not vary by more than 3% from the required dot
area.
• Uniformity—Light screen tints should be a uniform dot per-
centage, with no variation in size between individual dots.
• Shape—The imagesetter and RIP screening information should
be capable of outputting a “hard” round dot.
• Resolution—Resolution should be adequate for the screen rul-
ing to be output (1200–3600 dpi).
• Processor—Because flexographic plates require a relatively
lengthy exposure, the film density becomes an important fac-
tor. Imagesetter exposure levels and film processing chemistry
should be adjusted to provide D-Max areas of 4.0 and D-Min
of 0.04 or less.
Proofing
“Proofing” for a flexographic job is not always a clearly defined
activity. Historically, a flexographic proof had been a plate proof
made on a mounter-proofer during the plate mounting procedure.
This practice continues today in many wide-web flexo applications.
The mounter-proofer proof is not appropriate for color matching.
Instead, this proof is used internally to verify plate register, plate

quality, and plate content. This type of proof is not used for customer
approval.
A “contract proof” is a facsimile of the job a printer agrees to repro-
duce; the customer and printer sign a contract for printed material
based on a contract proof. The typical “contract” proofing system
used for offset lithography is not suited for flexographic package
proofing. Basically there are three general problems associated with
offset proofing when applied to flexography.
• Substrate—Most proofing systems proof to a limited number
of substrates. Flexographic package printing is done on a wide
variety of substrates, and colors proofed on any substrate
other than the one to be printed will show color variation
when compared to the live press run.
• Spot Color Matching—Film-based or digital proofing systems
are based on CMYK toner applications. Many of the packag-
ing graphics are line art and spot color, not screen tints of
CMYK.
• Halftone Dot Gain Compensation—When a proof of a process
color graphic is required, most film-based proofing systems
are not calibrated for flexography. Proofing systems like
Imation Matchprint and DuPont Chromalin were designed for
offset lithography. These systems were designed to replicate
dot gain as it would typically occur in offset lithography. To
use these proofing systems, the flexographer has to output two
sets of films: one set compensated for flexographic dot gain
(cutback dot percentages) and sent to platemaking, and one set
with increased dot percentages to replicate on-press dot gain,
used for proofing.
Most flexographic printers use cutouts and “dummy” mock-up
packages for proofing purposes. Digital proofs can be made from an
inkjet or dye sublimation printer and used as a facsimile for the
mock-up. When critical spot color matching is required, the flexo-
graphic printer will often provide the client with a catalog of colors
applied to the substrate to be used. These colors may be variations of
conventional color matching systems like Pantone, or Focoltone, they

may be colors formulated by the printer, or they may be colors
requested by the buyer. In any case, spot color matching should be
visually evaluated and numerically verified by color measurement
instruments.
Halftone film-based systems can be used for process color flexo-
graphic proofs; however, the current systems will continue to require
that two sets of films be produced—one for plates, and one for proof-
ing. Digital proofing systems (both halftone and continuous tone),
when used within a color management environment, can be manip-
ulated to output contract proofs for flexographic printing. When
used in a color management environment, digital proofing can elim-
inate the need for an extra set of films for proofing purposes.
Packaging conclusions
The flexographic printing process has evolved from letterpress to
become the most adaptable process currently used for packaging
graphics applications. Because the process is unique, there are many
unusual design features that should be considered during the pre-
press stages of a flexographic printing job.
Add to the unique flexographic design features the design features
that are unique to packaging requirements and those that are unique
to various substrates and design can quickly become a nightmare. In
order to create successful designs for a flexographically printed job it
is useful for the design and prepress personnel to have a basic under-
standing of the process, and its unique design considerations.
The design and prepress personnel may also find it useful to under-
stand those features of a flexographic printing system that offer a
wider latitude of design considerations, like that of multicolor capa-
bility. The most important areas of flexographic design are as follows:
Trapping. Generally speaking, traps need to be larger for flexograph-
ic printing than traps for the other printing processes. The type of
press being used for printing and the substrate being printed also
should be considered when deciding what trap measurements are

appropriate. The best register (and so the least amount of trap
requirements) can be achieved on a common impression cylinder
flexographic press. Traps for prints to be done on an in-line or stack
press should be larger than those intended for a CIC press. Thin films
of polyethylene are the most difficult substrates to print without
stretch, consequently these films may require larger areas of trap
than designs to be printed on more stable films such as polypropy-
lene.
Typography. The flexographic plate may cause type to distort some-
what during the printing process. A natural and unavoidable stretch
occurs in the web or machine direction when the flexographic plate
is mounted. This plate stretch may cause an increase in line spacing
to blocks of text composed in that direction, or an increase in let-
terspacing when text is composed to run parallel with the web direc-
tion. Abnormally high pressure in the printing nip can cause a sig-
nificant increase in the weight of type selected by the designer.
Reverse type may be “pinched” by the excess pressure. Wider webs
and rougher substrates like paperboard are especially prone to
excess pressure being applied in the printing nip.
Plate elongation. Unlike any other printing plate, the flexographic
plate will elongate or “stretch“ during the plate mounting process.
The elongation for each design must be compensated for in the pre-
press stage. General axioms to apply are:
• The thicker the plate, the more the stretch.
• The smaller the cylinder to be used for platemounting, the
more the stretch.
Halftones. The flexographic plate has its own dot gain characteristics;
each substrate will also contribute to differences in dot gain and tone
reproduction. Highlights are also a challenging area of print for the
flexographic process. Special care should be taken when generating
film separations for flexographic printing. The best results for half-
tone printing can be achieved by first performing a “fingerprint” test
run of the flexographic press in question. This test will provide the
color separator with the information necessary to apply the correct

gamma for the printing conditions. The rougher the substrate, the
greater the dot gain. The durometer of the plate being used and the
type of mounting tape also have a significant influence on dot gain.
Screen angles. The cells of the flexographic anilox roll are engraved in
either a 30°, 45°, or 60° angle; these cell angles make a one-color
moiré possible. Common practice when screening for a flexo job is to
re-angle screens by either adding or subtracting 7.5° from standard
offset screen angles.
Many unique packaging considerations are important to design and
prepress for flexographic printing. The following techniques are
often used for packaging design and prepress.
Step and repeat. Many smaller packages or labels are often printed
multiple times on wider webs. When step and repeats are necessary,
images may be turned 90° or 180° to allow for the best fit and least
amount of waste.
Stochastic screening. Stochastic screening may be used when printing
high-fidelity color or when printing multiple screen tints. Halftones
for corrugated are best suited to stochastic screening techniques.
Die-cutting and converting. Package printing usually is only one step
in a package conversion process. When designing graphics for pack-
aging, special requirements must be considered. For polyethylene
and other substrates that will be heat-sealed, it is important to keep
heat-seal areas free of ink. A folding carton to be die-cut should have
all image elements located such that when the box is formed they
will appear on the correct panel. It is also important to keep glue
areas free from coating or ink that may interfere with bonding.

Paper issues in reproduction
Runnability
Runnability is the ability of a paper to run through a press efficient-
ly with no loss of productivity or increase in downtime. Runnability
affects the profitability of a job and is a major concern to the printer.
There is a difference between purchase price and user cost. A paper
can have the greatest print quality characteristics but if it can’t be run
through the press, it is of little value. This is because of the large area
of surface contact with the rubber blanket and stiff, tacky, paste inks.
Lithographic paper requirements. Conventional lithography uses a
dampening or fountain solution to wet the plate’s non-image areas
so they stay ink-free or clean. Therefore, the paper must resist weak-
ening of its surface strength due to repeated exposure to moisture
from each successive unit.
Water resistance. Excess water or poor water resistance can cause the
coating of the paper to soften, weaken and leach out onto the blan-
ket. This causes piling and milking. Calcium carbonate (limestone) is
a common coating and filler ingredient. Being an alkaline, it will
increase the pH of the fountain solution and cause other print prob-
lems.
Offset litho paper requirements. Lithography, especially sheet-fed, uses
thick, paste inks that are very tacky. Therefore, the paper must have
good bond strength to resist rupturing of its coating or fibers from
the surface. Of all the printing processes, lithography deposits the
thinnest film of ink—about one (1) micron thick when dry. A micron
is 10-9m or .00004 inch. Therefore, any loose surface dirt or contami-
nation such as fizz, lint, or slitting and cutting dust will show as an
aesthetic print defect.
Gravure paper requirement. Image areas are engraved below the sur-
face of the cylinder so paper must be very flat and smooth to make
good contact with the well opening to transfer (pull out) ink. Gravure
inks are very fluid and have little tack to pick up coating and fibers.

Paper should have sizing so fluids inks don’t feather. Comparing
coated and uncoated stocks:
Coated paper Uncoated
Has a mineral coating Has no coating
More expensive Less expensive
Smoother surface Rougher surface
Higher gloss Less gloss
More holdout More absorbent
Better image quality Poorer image quality
Stronger surface Weaker surface
Basis weight
Basis weight is a measurement of weight of some unit of area. It is the
weight (in pounds) of a ream (500 sheets) in the basic size for that
paper grade. It is important because paper is solid by weight, not lin-
ear distance or surface area by volume. Basis weight tolerances are
+/- 5%. The US system of basis weight is very confusing because of
the difference basic sizes for each grade category:
Basic paper sizes
Bond, ledger, writing 17"x22"
Cover 20"x26"
Bristol 22.5"x 28.5"
Index 25.5"x 30.5"
Newsprint, tag 24"x 36"
Coated, text, book, offset 25"x 38"
The metric system uses grammage, which is grams per square meter
(g/m2). For a 25"x38" basic size, the conversion factor to go from
basis weight to grammage is to multiply by 1.48. Multiply by 0.675
for g/m2 into lbs. A 100 lb book paper is equivalent to a 148 g/m2
and a 50 lb is 74 g/m2.
Substance weight usually applies only to writing grades of paper
(bond, duplicator). It is the same as basis weight. “M” weight is the
weight for 1,000 sheets, not 500. M weight is twice the basis weight.

The thickness of cover grades is measured in thousanth of an inch.
Ten (10) point is .010". Thickness is often called caliper and it is mea-
sured in points or mills which is a thousandths of an inch (.001").
Bulk for book papers is expressed in the number of pages per inch
(ppi) for a given basis weight. 50 lb book paper can vary from 310 to
800 ppi, .003" to .0013" respectively.
Paper grain direction
The grain direction, or alignment of paper fibers, affects the feeding
and transporting of paper through the press. You want to handle
paper on sheetfed presses at very fast production speeds of 15,000
impressions per hour (iph). The wrong grain direction can cause a
loss in productivity.
If 25"x38", then the grain is long
Fold a sheet in both directions
Cleanest fold is with the grain
Tear a sheet in both directions
Cleanest tear is with the grain
Cut two strips in different directions
Most rigid or stiffer strip is with the grain
Moisten only one side of a sheet of paper
The paper will immediately curl and roll with the grain
The grain should run parallel to the printing cylinders or along the
longest dimension which is called grain “long.”
Why grain long?
The sheet must follow a relatively tight “S” curve as it wraps around
the impression cylinder on its way to the transfer cylinder. If the
sheet is grain long, it is more pliable and will gently follow and con-
form to the “S” curve. If grain short, the sheet is stiff and rigid and
will slap against the cylinder. The wet ink surface will then mark and
scratch. If the paper absorbs moisture it will expand mostly in the
cross-grain direction. This makes the sheet of paper longer front-to-
back. The packing beneath both the plate and blanket can be adjust-
ed to compensate for the size change so images will now register and
fit properly.

Finishing & bindery
Substrate and printing issues affect bindery and finishing. When
folding you want to fold parallel with the grain to prevent cracking,
especially on black solid colors. Perfect bound (hot melt) books
should have grain direction parallel with the spine or back bone.
Sheetfed presses require flat paper to prevent feeding, register, and
printing problems. Paper should lie flat and have no curls, buckles,
waves, or puckers. Flatness is very related to moisture content and
relative humidity (RH). Mechanical curling on roll or reel set is great-
est near the innermost core or reel where paper is wound very tight-
ly around a small diameter. Tail-end hook is caused by forces of tacky
ink splitting when the sheet is peeled off the rubber blanket at a
sharp angle. It is especially noticeable on heavy coverage near the tail
end of the sheet.
At the wet end (headbox) of the papermaking machine, paper is
almost 99.5% water. At the dry roll end, paper is only about 5%
water. The amount of water contained in a sheet of paper is called its
moisture content relative humidity (aka RH); the amount of water or
moisture in the air at a given temperature is called the relative
humidity or RH. Cold winter months are usually dry. Warm summer
months are usually wet or damp. Many printers have little or no con-
trol of the environmental conditions that affect paper.
Dimensional stability
Paper is hydroscopic which means it breaths and acclimates with the
surrounding environment. The exposed outer edges of a pile or load
can either absorb or release moisture while the inside of the pile,
which is protected, remains unchanged. This causes the paper to
swell and expand or shrink and contract in size.
Wavy edges on paper is caused by an increase in RH of the atmos-
phere in the pressroom. Wavy edged paper causes mis-registration
on press or poor fit between colors. It usually occurs at the back cor-
ners and gets progressively worse, thus fans out. Severe cases cause
wrinkles starting at the lower center and progressing diagonally to
the outer back corners.

Conditioning and trimming paper
Paper must first be brought into temperature equilibrium before it is
opened up and exposed to the humidity of the environment.
Conditioning depends on the volume or amount of paper and the
relative difference in temperature between the paper and air. Six
cubic feet of paper takes 72 hours (3 days) to condition at 50 degrees
difference.
Sheets should be both square and accurate to size. Front-to-back
dimension is critical on sheetfed perfecting presses. Many printers
trim stock for accurate size.
Cleanliness
Paper should not have any loose surface contamination such as dust,
lint or dirt. If it does, the result will be voids in print areas called hick-
eys, fisheyes, or donuts. Many times this is caused by a dull rotary
slitter or flat blade knife. It shows up as contamination on the blan-
ket at the outer edges of the sheet only. Hickeys come from three dif-
ferent sources:
• paper
• ink
• dirt
Strength
Strength is primarily determined by how well the inner fibers are
bonded or closely intermingled together, more so than thickness.
Web- or roll-fed presses that are under high tension need a lot of ten-
sile strength so web breaks do not occur. Weak surface strength tends
to pick and cause hickeys, or delaminate and split apart. Stretch (elas-
ticity) is the amount of distortion paper undergoes under tensile
strain or tension. It is important in web or roll printing because paper
is under a constant pulling stress. Stretch is generally greater in the
cross direction (CD) than in the machine direction (MD).
Print quality
Print quality is defined by those factors and characteristics that influ-
ence the appearance of the printed image on the paper. Some print

quality problems are unjustly blamed on the paper when some other
factors, such as ink, blanket, or press, are really the cause.
Whiteness
Whiteness is the ratio of red, green and blue reflectance. Likewise, it’s
also the amount of cyan, magenta and yellow density. It is important
in full four-color process printing that the paper be as white as pos-
sible so it can reflect all the colors in the spectrum. Printing is a sub-
tractive process. White can be many different colors. White can be
very neutral and balanced or it can have a predominant cast or hue.
If the paper is “cold” it is toward the blue side (CIE + b*).
If the paper is “warm,” it is toward the red side (CIE + a*).
Brightness
Whiteness is the ratio of RGB reflectance. Brightness is how much
blue light only is being reflected. Adding blue to a yellow paper
makes it whiter (neutral) but less bright. The TAPPI (Technical
Association for Paper and Pulp) specification calls for measuring
brightness (% Ref.) at 427 nm. If the brightness is over 87%, the paper
can be classified as a number one (#1) sheet. Titanium Dioxide (TiO2)
is a popular additive that makes paper whiter, brighter and more
opaque. Calcium carbonate (limestone) is a more practical and less
expensive alternative for paper filler and coatings. Paper mills some-
times add fluorescent brightening agents (FBA) to paper to make
them look whiter than they really are. For a fluorescent material to
fluoresce, the light source much contain some ultra-violet (UV) ener-
gy. Natural daylight is UV rich. Fluorescent agents are also used in
specialty inks.
Opacity
If the paper is not opaqued but translucent, the image from one side
can be seen on the other. This is called show-through and can be very
distracting to the reader. As the paper caliper or weight increase,
whether from fiber or filler, opacity increases because more light can
be absorbed. Calendering reduces opacity because air spaces, which
act as light traps, are collapsed. Strike-through is when the ink phys-
ically penetrates through a sheet of paper, not the light.

Smoothness
The smoothness or roughness of paper greatly affects printability.
This is less so for offset lithography because the pliable rubber blan-
kets can easily transfer ink into the low valleys. Surface texture can
be measured, quantified, and profiled with instruments. Gloss is the
amount of specular or mirror reflection a surface has. The flatter or
smoother a surface is, the more gloss or shine it will have. Calen-
dering increases smoothness and gloss because the rough surfaces
are polished flat. More calendering of coated papers changes the
paper’s finish from matte, to dull, then gloss, to finally ultra-gloss.
Paper gloss is measured at a 75 degree angle of geometry. Heatset
web inks have poor ink gloss.
Formation
Formation is the term used to describe a paper’s fibrous structure,
uniformity, and distribution. Formation is judged by transmitted
back lighting, such as a light table. Uneven clumping of paper fibers
is called “wild” and will cause mottled printing because of the dif-
ference in ink absorption due to paper fiber concentration or density.
Back tap mottle is a sporadic problem where the paper is blamed. It
usually occurs in purples or blues. Pulling a single impression of just
cyan or magenta shows no mottle, but together, it’s mottled. The still-
wet ink is non-uniformly back trapping onto subsequent blankets.
Two sidedness. Printers want paper to be as similar as possible for both
sides of the sheet. This is because of sheetwise, work & turn, and
work & flop impositions and layouts. Colors on facing pages (reader
spreads) must match at the cross-over. Fourdriner-made paper is two
sided because of the effects of the felt and wire side on water
drainage.
Absorbency & holdout. Paper, by its very nature, has an affinity for
inks, especially the liquid inks used in flexography and gravure.
There must be a delicate balance or compromise between the paper’s
ability to absorb ink and its holdout. Too much of one and not
enough of the other will cause several different print quality prob-
lems to result.

Too absorbent. If the paper absorbs too much ink then the solid images
will appear weak and flat with little gloss. Halftones and screen tints
will have excessive dot growth or dot gain and look dark, dirty,
plugged up and filled in. Uncoated papers and newsprint may act
like a blotter.
Holdout. Holdout is the ability of a paper to allow a fresh, wet ink
film to sit on the top surface of the paper and not be quickly absorbed
into the paper. If so, the ink will dry with a higher density (darker),
and more gloss (shine). The more fluid the inks or more absorbent
the paper, the less holdout there is.
Ink mileage
Paper holdout determines the mileage or ink consumption rate. It is
very similar to an automobile’s gasoline mileage. The more holdout,
the better the ink mileage. One pound of black ink should cover
360,000 square inches of area on coated paper, but covers only
150,000 on newsprint.
Set-off
Set-off occurs when the fresh, wet ink film on the top surface of a bot-
tom sheet makes physical contact with the bottom side of the next
top sheet and the ink transfers. The image will always be wrong
reading. Set-off occurs when there is too much holdout, an ink film
that is too thick, an ink that dries too slowly, or cold paper.
Blocking
Blocking is a severe case of set-off. Blocking occurs when the wet inks
dry in contact with each other and effectively have been glued
together. Because the sheets stick together they cannot be easily sep-
arated without damaging the image areas. Usually, these sheets must
be thrown away.
Spray powder
Aprinter can prevent set-off and blocking by using a fine white pow-
der that is sprayed onto the top surface of the sheet. This anti-set-off
spray powder prevents the sheets from making any physical contact.

It allows air and oxygen to flow between the sheets so they can dry
faster. The powder is usually a corn starch. If too much spray pow-
der is used, it dries in the ink and makes it very rough, almost like
sandpaper. This can cause abrasion when two pieces run up against
each other. It also detacts from the gloss of the inks. Excess powder
can also cause problems on the second pass through the press.
Racking or traying
Sheet-fed printers try to avoid set-off, blocking and excessive spray
powder by running small lifts in their press delivery. This is called
racking or traying. Paper is very heavy and small piles or lifts keep
the weight and pressure to a minimum. These piles are separated
and supported by metal angle braces and plywood boards.
Chalking
If any ink takes too long to dry, the thinner viscosity vehicles, oils,
solvents and other ingredients that bind or adhere the ink to the sur-
face drain into the paper. The result is a dry ink that is mostly just
pigment powder and can easily be rubbed or scratched off. This is
called chalking.
Blistering
Heatset web offset presses dry the inks by passing the web through
a hot, open flame gas oven. Blistering occurs on coated paper when
there is heavy ink coverage that seals the sheet closed. Any moisture
trapped inside the sheet suddenly vaporizes, turning into steam and
rupturing the paper surface. Blistering is likely to occur when:
• the paper is coated
• there is a lot of heavy ink coverage on both sides of the paper
or substrate
• there is too much moisture in the paper
• the dryer oven temperature is too hot
• the web speed is too slow
When you get right down to it, paper seems simple but it is rather
complicated.

The digital movement
The age of electronics and computers has changed the way printed
products are created and produced. Since the early 1980s, printing
and publishing technology has been evolving new methods for pro-
duction digital imaging. Before going further, let’s define what exact-
ly a digital image is. The term digital literally means “composed of
numbers,” so a digital image is an image that is composed of num-
bers. Every file, whether it be an image, a sound, or a text file, is noth-
ing more than a string of binary digits. By modern convention the
binary digit 0 is used to represent an image element, the binary digit
1 is used to represent a non-image element. Binary digits are called
bits. A byte is a binary numbers represented by eight bits, it can have
256 possible values ranging from 1 to 255.
Digital images
Scanner
Images can be digitized by a scanner. A scanner captures an image
and converts it into a computer file of binary values (0s and 1s) that
correspond to the brightness of the image at various points, pixels.
The ability of the scanner to “see” variations in brightness depends
on how much information is stored in a pixel, an amount called pixel
depth. The deeper the pixel, the more information it can store.
Digital image type Pixel size Tones/colors
Binary image 1 bit 2
Grayscale image 1 byte 256
RGB color image 3 bytes 16,777,216
CMYK color image 4 bytes 4,294,967,296
Digital photography
Digital photography is another way to digitize images. Digital cam-
eras and cameras backs are used to photograph subjects using
charged couple devices (CCD) that record the coupled images as
electronic voltages. These analog voltages are converted to digital
signals that can be fed directly into color correction software that pro-
duces images without the need for films or scanners.

Digital type
All output devices today are raster-based. This means that they cre-
ate type and images as patterns of spots or dots on paper, film, plate,
and other substrate. In 1985 Adobe introduced PostScript as a lan-
guage for driving raster-based output devices, and for producing
typefaces as vector-based outlines. Almost all digital fonts now fall
into 2 main categories:
• PostScript or Type 1 fonts are scalable outline fonts which are
defined using PostScript’s bézier curves and work best with
Raster Image Processors (RIP) because they do not need to be
converted to be RIPped and output.
• TrueType fonts are also scalable outline fonts but they are
based on quadratic curves. Created by Apple, these fonts must
either be converted to Type 1 before being RIPped or a True-
Type Rasterizer must be used to create the bitmap for the out-
put device.
When data is stored in a file, it is usually structured in a manner that
is tailored to specific types of information. It is also structured in a
manner that allows recovery of the data with a reasonable degree of
efficiency. There are various document structures that feed into the
digital printing process.
Text data
In order to maintain effective and consistent results in the exchange
of textual data across multiple platforms, an encoding scheme must
be used to represent alphanumeric characters as a set of binary dig-
its. ASCII eventually become the standard and is now used in most
personal computers.
The ASCII (American Standard Code for Information Interchange)
describes a coded character set which is primarily intended for the
interchange of information. The character set is applicable to all Latin
alphabets; eight bits are commonly used to represent each character
in ASCII code.

Graphical data
Bitmaps
Abitmap is described as a rectangular array of pixels, which are used
to form an image. In a bitmap, the pixel depth specifies the number
of colors the pixel can show; 24 bits or 3 bytes (RGB) is often used as
a practical maximum for the number of colors that should be
required in any bitmap image. Once an input device such as a scan-
ner or a digital camera has captured a bitmap image, it can then be
manipulated using different types of software tools. These tools
range from simple paint packages that offer a limited range of edit-
ing capabilities, to sophisticated photo-editing packages that offer a
suite of complex editing and special effect tools. Common bitmap file
types are TGA, BMP, PCX and TIFF (Tagged Image File Format).
Vectors
In computer graphics, vector data usually refers to a means of repre-
senting graphic entities such as lines, polygons or curves, by numer-
ically specifying key points to control their generation. There are
many common vector file types. Example: Auto CAD DXF, Auto
CAD DWG and Wavefront OBJ.
Metafiles
Metafiles usually contain both bitmap and vector data. Metafiles are
widely used to transport bitmap or vector data between hardware
platforms. Some examples of the common metafile types are RTF,
WGM, Macintosh PICT, and EPS (Encapsulated PostScript).
PostScript
The revolutionary product developed by Adobe Systems was a com-
puter language called PostScript and a process that could interpret
PostScript page descriptions and generate a data stream to drive a
digital printing device such as a laser printer or film writer. The
PostScript page description language has become the heart of desk-
top publishing and electronic prepress. It standardized the language
that each application program outputs by developing RIPs for many
different printers and output devices.

The RIP, or raster image processor, is really the PostScript program-
ming language compiler. It interprets the file and executes its com-
mands, which are to draw objects on a page. The end result of
RIPping is a bitmap for the entire page that tells the output engine
where to place dots. Digital imaging makes all direct-to outputs pos-
sible by replacing photography when used to image films, replacing
films when imaging plates, and imaging plateless systems directly.
Digital printing is divided into three main categories of technologies:
• direct-to-plate off-press
• direct-to-plate on-press
• direct-to-print
DIRECT-TO-PLATE
There are two categories of direct-to-plate technology, direct-to-plate
off-press and direct-to-plate on-press.
Direct-to-plate off-press
Direct-to-plate systems are the logical answer for longer run sheet-
fed and web offset printing, at least for now. That’s why we are most
likely to find commercial and publication printers, who use special
cylinder-to-press approaches, print runs in the millions. Offset print-
ing has been a bit behind because the CTP equipment hadn’t been
available. Direct-to-plate or computer-to-plate (CTP) means that elec-
tronic information from a file is sent in PostScript form to an off-press
platemaking device. There plates are written, exposed, and pro-
cessed so they are ready to hang on an offset printing press. The
platesetter exposes the plate using a precisely guided and focused
laser beam to deliver the data. CTP can save time and money, and
can yield improvements in quality and consistency.
Direct-to-plate on-press
Direct-to-plate on-press, called direct imaging presses, is a system
that uses plates that have already been “hung” or put in place on the
plate cylinders on a press. Once hung, these plates are then imaged
with the digital information for the print job. Before the plates can be
imaged, the digital information has to be prepared. The electronic

files, generated on the desktop computer and delivered in their
native applications, first go to the printer’s desktop workstation.
There the operator performs a flight check, final imposition, and con-
version to PostScript. Next, the PostScript files are digitally separat-
ed and bitmaps are generated via the RIP to a server and subse-
quently transferred to plates on press. Each plate is mounted on each
press unit and imaged simultaneously. In direct imaging press, the
prepress steps of film output and off-press plate are eliminated.
The technology used to image digital information from the press
computer directly to each plate is called laser dot imaging. It was
developed by Presstek. Laser dot imaging was first brought to the
market on the GTO-DI from Heidelberg.
DIGITAL PRINTING
Once the plate is made, however, the image reproduction process is
a purely analog affair. Ink is transported from reservoir to plate, and
then from plate to substrate by mechanical means. Modern printing
process may incorporate a number of digital subsystems to monitor
and control color register, paper tension, paper density, and other
important variables. However, the image information that the press
transfers to the substrate does not have to exist in a digital form.
Analog printing presses often employ computers to help them do
their job more efficiently, but they do not need computers to tell them
what to print. We do not consider modern lithography or gravure
processes digital, even though the images they reproduce almost cer-
tainly were in digital form at some point earlier in the process.
Direct to print
Direct-to-print or digital printing is the production of printed mate-
rials directly from digital information residing in an electronic file in
a computer. Put another way, it’s the output of digital information
from an electronic file onto a substrate of some kind. Until now, most
direct digital printing devices, with the exception of imagesetters,
produced continuous tone output. Imagesetters use lasers to expose
graphic arts film, special paper, or plate materials with digital infor-
mation. When the film is reproduced, the halftone dot structure is in

place and the project is ready to be assembled into a film flat, which
is then subsequently imaged to make a printing plate. If plate mate-
rials are imaged, the job is ready to go to press. Images printed by one
of the traditional printing processes must have a halftone dot struc-
ture to be reproduced. Digital printing has this capability, so it’s final-
ly become printing to commercial printers as well; they can have
their dots and digital too.
Traditional printing does not allow us to print variable information.
With traditional printing, the prepress work is performed, the plates
are made, and they are run on the press. The end result is thousands
of pages that look exactly the same. This information is not variable;
it is static. In contrast, many of the digital presses (presses that print
from digital data) can print variable information. On different pages
we can have different names and addresses. The ability to print vari-
able information which results in variable printing is the critical com-
ponent of customized printing.
For years, printers have been reporting that press runs are becoming
shorter each year. A commercial printer’s average order fell from
20,000 press sheets in the early 1980s to 5,000–10,000 press sheets
today. No one talks about the customers who forgo ordering a print-
ed product because they really need about 1,000 copies or less.
Shorter printing runs evidently do not mean that people are buying
less print—the printing industry is putting more ink on paper every
year; people seem instead to want to buy more of less—they want
more short runs than long runs.
On-demand printing
On-demand is a term that means different things to different people.
In a general sense, the concept of on-demand is basically one of short
notice and quick turnaround. In the printing industry, it is also asso-
ciated with shorter and more economical printing runs. When all of
this is combined, the definition becomes “short notice, quick turn-
around of short, economical print runs.” When all criteria are met, it
results in lower inventory costs, lower risk of obsolescence, lower
production costs, and reduced distribution costs.

Distribute and print
By combining digital printing with telecommunications, one can
greatly reduce the delivery timetable of printed product. Most print-
ing plants today use a print-and-deliver approach; the job gets print-
ed, loaded on trucks or put in the mail, and delivered to the customer
or their audiences. With digital printing and telecommunications, the
customer or an electronic service bureau can design the pages, assign
them to forms, and send the images electronically to many local
printers for production. This new approach reverses the process of
deliver-and-print, and gets the message into the hands of audiences
quicker.
Fast turnaround
A few years ago, turnaround time at a commercial printer was 14 to
21 days, today it is about 10 days. For many projects, even that time
does not work. When we add that reality to the decreasing size of the
print orders, we can see why digital full-color printing is the right
process at the right time. Digital printing is very fast—as a rule of
thumb, two-sided full color print runs of 500 11"x17" sheets will take
less than a half hour to go through these machines. And when the
printing is completed, the product is ready for finishing. What must
be factored is the time to flight and prepare the file for printing.
Personalization
One way a company can distinguish itself from the competition is to
add perceived value to its product or performance. It can do that
with improvements, innovations, and pricing options. Direct the
message to the target audience as individuals (personalize it) and
you also add value. Marketers, especially cataloguers, would like to
use their databases in more sophisticated ways. Specially versioned
catalogs, based on a consumer’s previous purchases, credit history,
and demographic information, are supposed to be the waves of the
future. Short run, personalized digital printing becomes a tool to test
these pieces before a full-fledged roll out. Shorter-run specialty cata-
logs, those with final print runs of 5,000 to 10,000 copies, can even be
printed digitally in five or ten different editions of 1,000 each, with
fewer pages of well-chosen merchandise.

Printing method

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