Agfa Graphics

In Perspective- PDF/X-1
September 1, 2000

Michael Weinglass and Alan Darling expound on the practicalities of PDF/X-1. Is it feasible to incorporate PDF/X-1 into a publisher's or prepress supplier's workflow now, less than a year since its accreditation? We asked two experts, Michael Weinglass, vice president, production, Easyriders, and Alan Darling, president and COO, Western Laser Graphics, about how they're embracing PDF/X-1. P&PE: What file formats are you currently employing for content delivery to printers? Weinglass: Easyriders currently has 14 titles, 12 of which are consumer titles produced on web presses. All of these are delivered as CT/LW files to our printer, which uses ScenicSoft Preps for imposition and a Creo Trendsetter for

Staying in the Lines
June 1, 2000

Digital Imaging Group (DIG) partners with the International Standards Organization (ISO) to develop JPEG2000. Technology is in a hurry. As a result, the Digital Imaging Group (DIG), a non-profit open industry consortium based in Millbrae, CA, was established to advance digital imaging applications across wide markets of communications. In cooperation with the ISO (International Standards Organ-ization), DIG is giving imaging standards a face lift. Digging new ground Since its creation, JPEG became a rapidly adopted standard for World Wide Web-based images. The original JPEG standard, developed more than 10 years ago, may still meet most current needs, according to Craig McGowen, DIG marketing

Putting PDF/X-1 in Its Place
May 1, 2000

PDF/X-1 has been approved by ANSI (American National Stan-dards Institute) as an accredited standard file format. Great. Now what? Like TIFF/IT-P1, will it take years before tools are created to read, write and verify PDF/X-1 files? And will it take even longer for the industry to adopt a PDF/X-1 workflow? The answer is "No!" In fact, you can begin planning your PDF/X workflow now. Although it's only been six months since accreditation, there are already a host of PDF/X products in development. At the DDAP (Digital Distribution of Advertising for Publications) association annual conference in March, eight vendors participated in a PDF/X-1 developers panel: Adobe,

The Story of E
April 1, 2000

The Internet's entrance from stage right produces a rewrite of the commercial printing plot line. Once upon a time, the process of commercial print buying was simple. A print buyer called his or her vendor CSR, requested a bid on a job, worked up the project specs and sent creative to a prepress shop for processing and film output. The film was couriered to the printer, which ran the plates for the press, the plates were loaded, the job printed, and all lived happily ever after. Throughout the story, phone calls were made, proofs were exchanged, status reports floated across the fax lines. Although

Bolstering Distribute-and-Print
August 1, 1998

Teaching print buyers about the benefits of distribute-and-print workflows—rather than technology reliability issues—can be suppliers' biggest challenge. If it's not the technology that's holding back distribute-and-print success, what is? This question was recently pondered by several technology and/or service providers who have developed some opinions and solutions of their own. Educating the masses "The idea of distribute-and-print is not dead," according to Vern Kellie, specialist, direct imaging, Heidelberg USA, Kennesaw, GA. For Kellie, the status of digital printing technologies is subject to a slow-starting demand. Perhaps this is due to a lack of education among print buyers, he suggests. In response to that

Proofing for Accurate Color on Your Next CTP Job
February 1, 1998

Vendors provide proofing methods for direct-to-plate workflows. IN THE FILMLESS world of computer-to-plate (CTP) printing, it's no wonder that digital color proofing has become a hot topic. One critical issue publishers face when going CTP is whether or not they can rely on the proofs they receive. Will those proofs be accurate? Will they be consistent? The burden often falls not only on the manufacturer of proofing equipment, but on the prepress house or printing company that is actually plating the job. So, how are these printers and service providers meeting the proofing needs for their CTP clients? Here's what several representatives had to

CTP in Practice at Talcott Communications
January 1, 1998

Company: Talcott Communications, Chicago Production Director: Dave Seng Publications: Monthly four-color tabloid Giftware News (160 to 300 pages) and two four-color, standard-size monthlies, Chef and Fancy Food (~64 pages) Equipment: Apple Macintosh work-stations; Agfa Duoscan and Arcus II flatbed scanners (95 percent of editorial scans are done in-house); Nikon slide scanner, two Netware file servers Software: QuarkXPress Data transfer: Via Jaz disks Computer-to-plate (CTP) is the darling of graphic arts technologies, and by now most publishers are familiar with CTP's potential to shorten production time and output first-generation quality. However, as the experiences of Talcott Communications will attest, CTP is neither a panacea for production problems, nor is it