QC Printing Technology User Guide

Process Controls
Start-up Kit
Part # 7341
GCA/GATF Digital Proof Comparator 2.0.3 cyan Halftone Type 2 magenta Halftone Type 2 yellow Halftone Type 2 black Halftone Type 2
0 100 0 100
0 100 0 100
user defined screen 300%/400% SWOP, 133lpi user screen user defined screen SWOP − 133 lines per inch
95 5 80K 100 100
80C
96 4 70M
97 3 70Y
75 75
98 2
99 1 100K 50 50
100C
Serial−#; Company−Name 100M
Mac Distiller 100Y
PS Version: 2017.801; level 2 25 25
Hres: 600 Vres: 600 Dir: →
Halftone Type: 2 − Multibit Pixel
42.4µ 84.7µ 127.1µ 169.4µ 1 pix. 2 pix. 1 pix. 2 pix. top: 25c,16m,16y; bot: 25k top: 50c,39m,39y; bot: 50k top: 75c,63m,63y; bot: 75k
1 pixel 2 pixels 3 pixels 4 pixels 3 pix. 4 pix. 3 pix. 4 pix. user defined screen user screen SWOP Copyright © 1997−1998, GATF/Systems of Merritt
1−pixel 2−pixels 3−pixels 4−pixels 1−pixel 3−pixels circle star 50/150 .5 1 2 3 4 5 10% 20% 25% 30% 40% 50% 60% 70% 75% 80% 90%
GATF/Systems of Merritt 2 1
Digital Plate Control Target
Serial−#; Company−Name
Mac Distiller
PS Version: 2017.801; level 2
Halftone Type: 2
3 4
Copyright © 1995−1998 Version 1.1.3 42.3µ 84.7µ 127.0µ 169.3µ 2−pixels 4−pixels circle solid 50/200 99.5 99 98 97 96 95 uncorrected scale (top)/corrected scale (bottom)
Mac Distiller
Halftone Type: 2
3 4
Mac Distiller
Halftone Type: 2
3 4
Mac Distiller
Halftone Type: 2
3 4
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Start-up Kit
Copyright © 1999
Graphic Arts Technical Foundation
All Rights Reserved
Printed in the United States of America
Reproduction in any form by any means without specific written permission is prohibited.
Agreement for Use

The Process Controls Start-up Kit (Part # 7341) is sold for use in a single site by the
purchaser. It is unlawful to distribute this product to other parties without the
express written consent of GATF.
Orders to:
Graphic Arts Technical Foundation GATF Orders
200 Deer Run Road P.O. Box 1020
Sewickley, PA 15143-2600 Sewickley, PA 15143-1020
Phone: 412/741-6860 Phone (U.S. and Canada): 800/662-3916
Fax: 412/741-2311 Phone (all other countries): 412/741-5733
Email: info@gatf.lm.com Fax: 412/741-0609
Internet: www.gatf.org Email: gatforders@abdintl.com
Process Controls Start-up Kit User Guide
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Target Descriptions
Proof Comparator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-1
Highlight /Shadow Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-2
Microline Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-2
Checkerboard Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-2
Positive and Negative Semi-Circles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-2
Solid CMYK Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-3
CMYK Tints(25, 50, 75%) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-3
RGB Solid Overprints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-3
RGB Tints(25, 50, 75%) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-3
Total Ink Coverage Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-3
GATF Star Targets/Vignettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-4
Pictoral Montage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-4
SWOP gray balance patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-5
GATF Digital Plate Control Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-1
Variable Information Block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-2
Horizontal/Vertical Microlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-3
Checkerboard Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-4
Curved Microlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-5
GATF Star Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-6
Solid Coverage Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-6
50% Reference tint patches(150 & 200 lpi) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-6
Highlight/Shadow Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-7
Tone Scales(corrected and uncorrected) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-7
Production Color Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-1
25, 50, 75% Tint Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-2
Solid Ink Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-3
Star Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-4
300% Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-5
3 Color Gray Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-6
RGB Overprints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-7
Printing and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-8
Dot Gain/Print Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-9
Ink Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-10
Color Hexagon Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-10
Color Hexagon Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-11
Process Controls Start-up Kit 1
The GCA/GATF Digital Proof will provide valuable feedback as to whether an electronic
imaging device is performing within specifications and with
Comparator a high degree of consistency. Specifically, the target can tell
How can you be sure that the proof accompanying the dig- whether the requested resolution is being utilized for out-
ital file of your brochure or ad work is an accurate repre- put, how well the imaging device writes in horizontal ver-
sentation of the information in the file? The GCA/GATF sus vertical directions, whether data with circular or semi-
Proof Comparator is used as a reference tool to determine circular components is rendered with fidelity equal to hor-
quality and control of each proof, comparing visually ( with izontal and vertical elements, whether the addressability of
the photo image or gray balance) or densitometrically with the imaging device is sufficient to render the requested
screen tints and solid density. Use the target to determine level of fine detail, whether areas of solid coverage have
whether the digital imaging system is accurately and con- sufficient maximum density (Dmax) values, and how well
sistently reproducing the digital files that are processed requested halftone dot percentages are rendered on out-
through it, and also measure key attributes of the imaging put.
system. The target also contains targets that measure the To install the Digital Plate Control targets, follow the
exposure resolution and directional effects of the imaging instructions in the Read Me file on the CD.
system in addition to its reproduction characteristics. A Purpose of the Color Bar
unique aspect of the target is that it carries on a two-way The Production Color Bar is a basic 4-color bar that will
dialogue with the RIP and changes its dimensional toler- aid in the characterization and run control of a printing
ances and element sizing in response to the resolution of press.
the output device. The bar can be repeated to achieve any size across a press
sheet, and has user defined screen rulings.
To install the Digital Proof Comparator, follow the installa- The GATF Production Color Bar meets the specific needs
tion instructions in the Read Me file on the CD. for a particular segment of the printing industry. This is
representative of the growing requirement for specializa-
GATF/Systems of Merritt Digital Plate tion in control images in the graphic arts industry. The
design of the GATF Production Control Bar is the result of
Control Target careful analysis of the requirements for process control of
a sheetfed lithographic press. The bar contains elements to
The GATF/Systems of Merritt Digital Plate Control Target measure ink densities, dot gain (25%, 50%, 75%), print
is a test device written in native PostScript language. It is contrast, gray balance, and ink trapping as well as direc-
designed to monitor electronic imaging devices, particular- tionally sensitive targets to monitor slur or doubling. The
ly platesetters and imagesetters. The digital file displays design of the GATF Production Control Bar incorporates a
data obtained directly from the raster image processor wide variety of elements while still providing the frequent
(RIP). It contains a variety of targets sensitive to exposure, solid ink measurements needed to achieve balanced
resolution, and directional effects. The physical dimen- For applications that utilize direct to plate systems, GATF
sions of the imaged target are 0.536.0 in. (12.73152.4 has developed two companion products, the Single-Tier
mm). Four-Color Smart Control Bar and the Two-Tier Six-
This target has been developed in response to the Color Smart Control Bar. These color bars actually carry
increasing use of digital workflows where it is often incon- on a dialogue with the RIP and reports valuable informa-
venient and/or impractical to resort to traditional film-based tion to the user via the color bar information line. These
targets to monitor process variations. The Digital Plate two smart color bars will be followed by other configura-
Control Target provides an easy-to-use tool for confirming tions as our development efforts in this line continue.
that input specifications are being observed by an electron-
ic imaging device and that the output is at a consistent level
of quality. It eliminates the uncertainty about whether the
RIP in an electronic imaging device is following the opera-
tor’s instructions or being diverted by internal or external
overrides, and whether it is capable of performing as
requested. It provides a consistent means of monitoring
exposure level, checking imaging resolution, diagnosing
directional effects or image inconsistencies, and confirming
platesetter/imagesetter linearization.
When the Digital Plate Control Target is used in accor-
dance with the procedures set forth in the user’s guide it
Digital Proof Comparator User Guide 1-1
0 100 0 100
0 100 0 100
95 5 80K 100 100
80C
96 4 70M
97 3 70Y
75 75
98 2
99 1 100K 50 50
100C
Mac Distiller 100Y
Digital
Proof Comparator
User Guide
1-2 Digital Proof Comparator User Guide
0 100 0 100
0 100 0 100
95 5 80K 100 100
80C
96 4 70M
97 3 70Y
75 75
98 2
99 1 100K 50 50
100C
Mac Distiller 100Y
Figure 1-3.
Positive and
negative
semi-circles.
Figure 1-1. Positive and nega-
tive microline targets. Figure 1-2.
Pixel checker-
board patterns. Figure 1-4.
Highlight/shadow section.
Digital Proof Comparator

The GCA/GATF Digital Proof Comparator 2.0 is the first native PostScript version of this device, which
has been used to monitor analog and digital proofing systems since 1984. (The first digital version appeared in
1990.)
The digital proof comparator reports information about the RIP. The information displayed includes the
registered user, PostScript version, horizontal resolution, vertical resolution, direction of travel, screen ruling,
dot shape, and screen angle.
Several pixel-based resolution elements are clustered together in the lower left portion of the target. In
each of the resolution patterns the imaging system is addressed in its basic units (pixels). The size in microns
of the target elements are computed and displayed as well. The first series of patterns are horizontal and ver-
tical microlines (Figure 1-1) in positive (20/80) and negative (80/20) fields. Such patterns are displayed for 1-,
2-, 3-, and 4-pixel line widths. For high-resolution imaging systems these pixel line patterns are very sensitive
exposure monitoring targets.
Adjacent to the pixel line patterns are the pixel checkerboard patterns (Figure 1-2) in 1-, 2-, 3, and 4-pixel
sizes. The one-pixel checkerboard, for example, is made up of a pattern created by one-pixel-on, one-pixel-off
exposure. This is the first pattern of squares that the system can write. Some imaging systems cannot success-
fully hold a one-pixel checkerboard pattern. Each of the checkerboard patterns should appear as a medium
shade of gray with equally sized black-and-white elements.
The last group of resolution targets are the positive and negative semi-circles (Figure 1-3) at 1, 2, 3, and 4
pixels. Drawing a curved line is more difficult for an imaging system than a horizontal or vertical line. Thus,
the one-pixel curved lines are the most difficult challenge given to the imaging system.
All of the resolution targets are sensitive to exposure inaccuracies during imaging. The straight line and
semi-circular elements are also sensitive to directional bias in the imaging system.
The highlight/shadow section (Figure 1-4) of the digital proof comparator is used to find the smallest and
largest reproducible dots of an imaging system. The dot values vary from 1 to 5% and from 95 to 90% for
each process color. A hand magnifier is used to find the first and last imaged dots for each color. These values
form the end points for the tone values that should be used.
0 100 0 100
0 100 0 100
95 5 80K 100 100
80C
96 4 70M
97 3 70Y
75 75
98 2
99 1 100K 50 50
100C
Mac Distiller 100Y
Figure 1-7. 25, 50, 75, and 100% tone values. Left-
side scales are imaged at the screen ruling and dot
Figure 1-5. Total Coverage Figure 1-6. Three-color
shape selected by the user at output. Right-side
Patches tone patches.
scales are imaged at 133 lpi with square dots.
The two total coverage patches (Figure 1-5) are at 400% (100C, 100M, 100Y, 100K) and 300%
(80C, 70M, 70Y, 80K) values. The 400% is the darkest obtainable tone for the imaging system. The
300% patch is the darkest tone allowed by SWOP for magazine production. These patches, as well as
all the other tone value patches, are measured with a reflection densitometer to quantify the find-
ings. The values should be consistent between samples from the same imaging system, and they can
be used to compare the results of different imaging systems.
Figure 1-6 shows a section of the GCA/GATF Digital Proof Comparator 2.0 that contains the
three-color tone patches. The three-color patches are imaged in the user-defined screen ruling and
dot shape on the right. They are repeated on the left at 133 lpi. The values of the three-color patch-
es are as follows:
25% = 25C 25M 25Y

50% = 50C 50M 50Y
75% = 75C 75M 75Y
100% = 100C 100M 100Y
The GCA/GATF Digital Proof Comparator 2.0 contains 25%, 50%, 75%, and 100% tone values
(Figure 1-7) to characterize the rendition of the process colors, plus blue, green, and red. There are
two sections of this element that have the same arrangement of patches but different dot shape and
screen ruling.
The left side scales are imaged at the screen ruling and dot shape selected by the user at output.
The right side scales are imaged at 133 lpi with square dots, as specified by SWOP. The tone patches
are measured with a densitometer. Differences that are due to screen ruling and dot shape will be
evident by the different readings from the two sides of the target. The tone patches in these sections
can be used to construct multiple hexagons at the 25%, 50%, 75%, and 100% levels. The use of con-
centric color hexagons as an analysis tool is described later in this manual.
1-4 Digital Proof Comparator User Guide
0 100 0 100
0 100 0 100
95 5 80K 100 100
80C
96 4 70M
97 3 70Y
75 75
98 2
99 1 100K 50 50
100C
Mac Distiller 100Y
Figure 1-8. Vignettes and star targets for each Figure 1-8. Vignettes and star targets for each
process color. process color.
Figure 1-9. Pictorial mon-

tage.
The GCA/GATF Digital Proof Comparator 2.0 contains vignettes for each process color that grad-
uate from 0 to 100% dot size (Figure 1-8). The vignettes are composed of the halftone dots selected
by the user. The vignettes are useful for evaluating whether an imaging system is exhibiting “band-
ing.” Banding is an objectionably abrupt tone jump in what should be a smooth transition of tones.
When the number of gray levels sup-ported by a color system is too low banding will occur, but it
can also be exhibited by high-resolution imaging systems due to a variety of mechanical and photo-
chemical causes.
The transition of tones in vignettes of different process colors should be the same. For one
instance, one color should not change value more abruptly than the others.
The star targets (Figure 8) that are located next to the vignette elements are used to indicate the
resolution of the imaging system and to display any directional bias that a system exhibits. When the
filled-in center of the star target is enlarged, lower resolution is indicated. If the central portion of
the target is distorted (i.e., not round), a directional bias in the imaging device is present. If the cen-
tral portion of the star target is elliptical, for instance, the imaging system has higher resolution par-
allel to the short axis of the ellipse and lower resolution parallel to the long axis.
The pictorial montage that occupies the center of the Digital Proof Comparator (Figure 1-9) pro-
vides a carefully composed photographic image to visually assess differences between output systems
and successive samples from the same output device.
The photographic image is used to assess tone reproduction, color correction, and contrast of
imaging systems. The woman’s face in the photograph provides familiar flesh tones for the human
evaluation. Subtle differences in the contrast of the output system will be seen as changes in the
reproduction of the flesh tones. The yarns and other objects in the photograph contain a variety of
saturated and pastel colors from different areas of the color space.
0 100 0 100
0 100 0 100
95 5 80K 100 100
80C
96 4 70M
97 3 70Y
75 75
98 2
99 1 100K 50 50
100C
Mac Distiller 100Y
Figure 1-10. Three-color gray bars.
Shifts in the color rendition of an output device would result in color differences in these objects.
The slate surface that the yarn and other objects sit on is a difficult shade of gray. Subtle differences
in color rendition will cause noticeable hue changes in this near-neutral surface. When an output
system is calibrated with the GATF Digital Test Form 4.0, the photographic image in the Digital
Proof Comparator is used as a visual reference against which later prints are compared.
Visual three-color gray bars (Figure 1-10) are also contained on the GCA/GATF Digital Proof
Comparator 2.0. The 25%, 50%, and 75% gray values on these bars are from SWOP:
25% = 25C 16M 16Y

50% = 50C 39M 39Y
75% = 75C 63M 63Y
Each of the three-color gray patches is adjacent to a black tone patch of 25%, 50%, or 75% value.
The black tone patches provide visual references for accessing the neutrality of the three-color
patches.
Each of the gray patches is divided vertically into two halves of matching cyan, magenta, and yel-
low combinations. The left halves of the targets are reproduced with the user-defined screen ruling
and dot shape, while the right halves are composed of 133-lpi square dots. Since different screen
rulings will exhibit different tone value changes in an imaging system, the two halves may not match
visually. Such differences are readily apparent with the arrangement of patches on the Digital Proof
Comparator. It is possible to measure these target areas with a hand-held spectrophotometer to
quantify differences or access neutrality.
The stand-alone version of the GCA/GATF Digital Proof Comparator 2.0 should be used to moni-
tor digital output devices such as proofing systems. The combination of the photographic image with
the precise native PostScript targets provides a highly analytical measuring device that is also easily
used and visually accessible.
Digital Plate Control Target User Guide 2-1
Mac Distiller
Halftone Type: 2
3 4
Mac Distiller
Halftone Type: 2
3 4
Mac Distiller
Halftone Type: 2
3 4
Mac Distiller
Halftone Type: 2
3 4
Digital Plate Control

Target
User Guide
2-2 Digital Plate Control Target User Guide
Mac Distiller
Halftone Type: 2
3 4
GATF/Systems of Merritt
Mac Distiller
Halftone Type: 2
Copyright © 1995−1998 Version 1.1.3
Figure 2-1.
Information Block.
GATF/Systems of Merritt Digital Plate Control Target

The GATF/Systems of Merritt Digital Plate Control Target is best analyzed with a combination of
visual and measurement techniques. Several of the crucial elements are evaluated with the aid of a
hand magnifier, while the tone scales are best quantified with reflection or optical measurements.
Studies have shown that measurements on printing plates can be effective if the measuring devices
are properly tested and calibrated with the particular plate being used.
The information block (figure 2-1) should be examined to determine if the output of the RIP
is the same frequency, angle, and spot function as was specified in prepress. (The Digital Plate Control
Target recognizes the frequency, angle, and spot function override feature of Harlequin RIPs.) When
the target images a small dagger shape beside one of these values, it indicates that the RIP has over-
ridden the value specified in the application program. The value accompanying the dagger will be the
actual value on the plate, not the specified value from the application.
After imaging the Digital Plate Control Target onto a plate or film, the elements of the target can
be analyzed according to the steps that follow.
Mac Distiller
Halftone Type: 2
3 4
1−pixel 2−pixels 3−pixels 4−pixels
Figure 2-3 Figure 2-4. Figure 2-5

Correct exposure Overexposure of a Overexposure of a
3 14.1µ 28.2µ 42.3µ 56.4µ showing positive negative plate positive plate
and negative micro- exposed in write- exposed in write-
Figure 2-2 lines imaged at the black mode, caus- white mode, causing
Positive and negative microline same width. ing negative micro- positive microlines to
targets. lines to fill in. be erased due to
undercutting.
Horizontal and vertical microlines. Visual evaluation of the horizontal and vertical
microline elements (figure 2-2) can provide a quick indication of the exposure level and resolution
capability of an output device/recording medium combination. First, the output resolution can be
read from the information block and compared with the expected output resolution. Second, the
accuracy of the line rendition is evaluated visually. Proper exposure is indicated when the positive and
negative microlines are imaged at the same width (figure 2-3).
With negative-acting systems, the effect of increased exposure levels is to cause the negative micro-
lines to become filled in(figure 2-4). With positive-acting systems, overexposure causes the positive
microlines to be erased due to undercutting(figure 2-5).
With some systems, proper exposure is judged from the two-pixel patterns because imaging one-
pixel positive and negative lines exceeds the capabilities of the system. It is useful to note whether the
vertical microlines are rendered as well as the horizontal ones. Inconsistencies in the imaging of hori-
zontal and vertical microlines indicate directional differences in the output system. Refer to the arrow
in the information block to determine whether the vertical or horizontal lines are in the direction of
travel. If the distortion is inline with the feed direction this may indicate problems with synchroniza-
tion between the transport mechanism and the speed of the write head. If the direction of distortion
is at 90° to the feed direction, this may indicate inconsistencies in the perpendicular motion of the
write head.
Visual analysis of microlines with an 83 loupe may reveal breaks and jogs that are not apparent to
the unaided eye. These irregularities are often caused by “stop spiral” errors. For imaging devices with
a write head that responds as soon as rasterized data is available from the RIP, errors in PostScript code
may result in pauses or hesitations in the stream of rasterized data coming from the write head which,
in turn, may cause breaks and jogs in the microlines. Imaging devices in which the write head waits
until a complete file is RIPed often produce smoother microlines.
Mac Distiller
Halftone Type: 2
3 4
1−pixel 3−pixels
2−pixels 4−pixels
Figure 2-6.
Pixel checkerboard patterns.
One-pixel through four-pixel checkerboard. The checkerboard quadrants (figure 2-6),

which contain rows and columns of squares measuring 131, 232, 333, or 434 pixels in size, are
extremely sensitive to the addressability of an imaging device. Nearly all imaging systems/recording
media systems have difficulty rendering the 131 pixel quadrant with sharp detail. If the overall
appearance of the quadrant is indistinct, with soft edges between negative and positive elements, or
no clear demarcation between the two, then the addressability of the imaging device or recording
media has been exceeded.
With proper exposure, the resulting pattern at the higher pixel sizes should approximate an accu-
rate checkerboard. If the pattern of dark squares is too large, it is an indication of an overexposed
negative-acting plate. Conversely, if the light squares are too large it indicates an overexposed positive-
acting plate.
Many imaging systems/recording media combinations cannot successfully image less than a three-
pixel checkerboard at 10-micron pixel size. This may not be a factor of exposure, but rather of resolv-
ing capability.
Mac Distiller
Halftone Type: 2
3 4
circle
2 1
3 4
circle
Figure 2-7
Positive and negative semi-
circles.
Negative and positive curved microlines. The curved microlines, both negative and
positive, are very sensitive to exposure variation and directional effects in the imaging device. When
the exposure is correct, positive and negative patches are rendered equally well. Underexposure of
negative-acting systems causes the positive curves to image intermittently or drop out entirely.
Overexposure causes negative microlines to fill in (figure 2-7). With positive-acting systems, underex-
posure causes negative microlines to be plugged, and overexposure causes positive microlines to be
dropped out.
The addition of small crosses in the circular microline patterns provides an additional level of com-
plexity for the write head of the imaging device in attempting to render horizontal, vertical, and arc-
ing directions equally well. Typically, the arcing microline is the one most susceptible to breaks and
jogs. The small crosses extend halfway through the pattern of microlines (figure 2-7). This enables the
evaluator to easily distinguish the boundaries between quadrants, while still leaving a sample of curved
microlines to butt together (uninterrupted by a line of demarcation). Thus, if the imaging system is not
maintaining a clear dimensional distinction between curved lines of different thicknesses, it will be evi-
dent at the points where the arced lines join together.
Mac Distiller
Halftone Type: 2
3 4
star 50/150
4
solid 50/200
Figure 2-8
Star Target, Solid Patch,
50/150 and 50/200 target
Star target. The star target element in the Digital Plate Control Target is useful as a visual indica-
tor of resolution and directional bias. The smaller the filled-in center of the star target is, the higher
the resolution of the system. The resolutions of different systems can be compared by examining the
imaged star targets. If the center of the star forms a rough ellipse, then directional bias is present. The
direction of greater imaging density is perpendicular to the long axis of the ellipse. Thus, if the ellipse
appears to be horizontally aligned, the vertical direction is imaging with greater density than the hor-
izontal direction. When the Digital Plate Control Target is printed on a press, the star target provides
sensitivity to dot gain, slur, and doubling.
Solid patch. The primary value of the solid patch is to provide a means for calibration of measur-
ing instruments. When negative images are made of the target, the solid patch represents the mini-
mum density—film density plus fog. When positive images are made, the solid patch represents 100%
coverage.
50/150 and 50/200 reference tints. These 50% screen-tint patches at 150- and 200-line
screen rulings are helpful in comparing changes in dot gain due to increased screen resolution. When
used in conjunction with the 50% tint patch on the corrected tone scale, the user has three reference
points for evaluating midtone dot gain. Dot gain increases with finer screen rulings, partly because of
the increase in total dot perimeter area of the finer screens. Higher screen rulings afford the oppor-
tunity to render finer detail in the press sheet reproduction. The drawback is that finer screens are
more susceptible than their coarser counterparts to printing problems related to paper surface and
ink/water balance. (If you are using a Harlequin RIP, when the frequency override is enabled, the
Digital Plate Control Target will override the Harlequin frequency for the 150- and 200-lpi patches.)
Mac Distiller
Halftone Type: 2
3 4
.5 1 2 3 4 5 10% 20% 25% 30% 40% 50% 60% 70% 75% 80% 90%
99.5 99 98 97 96 95 uncorrected scale (top)/corrected scale (bottom)
Figure 2-9 Figure 2-10

Highlight/Shadow reference Tone Scales.
patches.
Uncorrected and corrected tone scales. The highlight/shadow reference patches (figure 2-
9) on the left side of the tone scales are designed to accurately show the minimum and maximum
halftone dot size that an imaging system is capable of rendering. On the upper scale are the request-
ed input dot values that are unaffected by halftone compensation settings. The bottom scale displays
the halftone output values of the imaging device that are subject to compensation.
In addition to highlight and shadow halftone dot rendition, the highlight and shadow reference
patches are also useful for evaluating exposure latitude. For example, if a plate is imaged at 75% or
150% (1/2 f/stop under or 1/2 f/stop over) of its normal exposure and still shows good highlight and
shadow dot rendition, it is referred to as having good (or wide) exposure latitude. On the other hand,
if the exposure variations show a significant loss of highlight or shadow detail, the plate is said to have
poor, or narrow, exposure latitude.
The full-size tonal scales (figure 2-10), with 5-mm2 (0.230.2-in.) patches running from 10% to 90%,
plus 25% and 75% patches to represent quarter-tones and three-quarter tones, also appear in uncor-
rected and corrected versions. Their purpose is to provide convenient reference points on the tone
reproduction scale where measurements can be made of the differences in halftone dot size. The 5-
mm2 patch size provides for easy measurement with a densitometer equipped with a standard reading
aperture of 3.6 mm.
In some instances, the user may find that differences between the uncorrected and corrected
patches on the tonal scale are too slight to be measured accurately with a densitometer. For these
cases, it may be advantageous to produce photomicrographs of the halftone dot structure, and from
the corresponding reflection prints, measure dot areas with an electronic planimeter. This technique
is used frequently in the GATF ink testing laboratory.
The screen ruling of the tonal scales, including the small highlight and shadow patches, is deter-
mined by the specified resolution for the imaging system in use. It may range from 106 lpi with a 600-
dpi laser printer up to 300 lpi or more for an imagesetter or platesetter at 4,000 dpi.
The dot shape of the patches in the tonal scale is round. Because dot gain is influenced by the shape
of the dots, particularly the ratio of the total dot area perimeter to the percentage of dot coverage,
round dots represent a standard for minimal dot gain against which other dot shapes can be compared.
This is due to the low perimeter to tonal value ratio of round dots relative to other patterns.
GATF Production Control Bar User Guide 3-1
C M Y K
GATF Production Control Bar (version 2.4)
GATF Production
Control Bar
User Guide
3-2 GATF Production Control Bar User Guide
C M Y K
GATF Production Control Bar (v

Figure 3-1
25% 50%, 75% tint patches.
25%, 50%, 75% tint patches

There are 25%, 50%, and 75% tint patches (figure 3-1) included on the color bar to measure dot
gain for each of the four colors.. There are 4 repeats of each of the process colors across the color
bar. Three different tone values are used because the dot gain is not symmetrical throughout the
scale. The 50% value is used to characterize the dot gain of the system because it will be the highest
of the three.
Dot gain is the increase in dot size between the value assigned in prepress and the printed dot area
measured on the press sheet. Total dot gain is comprised of a mechanical and an optical component.
There are different formulas for calculating dot gain that isolate the two components. The Preucil for-
mula given in this manual provides total dot gain values, which are the values of greatest interest to
the printer.
Most densitometers will automatically calculate printed dot area. To obtain dot gain values, the target
dot area is subtracted from the printed dot area.
The dot area calculation is dependent on the relationship between the solid and the tint. To obtain
accurate results, the solid density should be measured from the same ink key zone as the tint density.
The GATF Production Control Bar has solid patches imaged adjacent to the tint patches to facilitate
this measurement.
See page 3-9 for further instructions and the formula to calculate Dot Gain.
C M Y K
Figure 3-2
Solid Ink patches.
Solid Patches
The GATF Production Control Bar has CMYK solid ink patches (figure 3-2) to provide thorough
monitoring of the ink densities across the press form. This allows the press operator to set the ink
keys to provide uniform inking. The solid ink densities are read on the printed sheets with a densito-
meter to establish the ink settings for the press run. In some instances ink settings are determined
by in-house or industry-wide specifications (SWOP or GRACoL). In other cases, the ink densities
are adjusted to obtain a best visual match with the supplied color proof. If the latter approach is
used, it is common that the ink settings for a given color will not be the same across the press form.
A reflection densitometer is used to monitor solid ink densities. It is important to realize that densit-
ometers differ from one another in spectral sensitivity and aperture size. All densitometers are suit-
able for in-house process control purposes, but if density numbers are communicated between plants
then all the plants should use matching densitometers.
The spectral sensitivity of a densitometer is determined by the filter set, the light source, and the light-
sensitive device. The broadest difference in spectral response is found between narrow-band and
wide-band instruments. This refers to the band pass of the filter set that is used. In general wide-band
densitometers are more popular in the U.S. while narrow band is more popular in Europe.
The American National Standards Institute (ANSI) has defined a set of spectral responses for wide-
band densitometers that is designated Status-T. Densitometers of different manufacture will agree
with each other on measured densities if they both conform to the Status-T standard. Density recom-
mendations published by SWOP and GRACoL are Status-T densities.
The density values measured from wet ink samples will be different than the densities of dry ink sam-
ples. This phenomenon, known as dryback, is principally due to the change in gloss that occurs as the
ink dries. The dry samples will generally be less glossy and have lower measured densities than the wet
samples. The amount of dryback to expect changes with the ink and paper used.. It is an important
consideration when reprinting a job and trying to match the densities that were used on the earlier
press run.
C M Y K
Figure 3-3
Star targets in all four inks.
Figure 3-4 Figure 3-5 Figure 3-6

Excessive Dot gain. Directional bias. Doubling.
Star Targets
The GATF Production Color Bar contains star targets in each of the four colors to monitor slur, dou-
bling, and dot gain changes during the printing operation.
The star target consists of a circular pattern of alternating solid and clear wedges that culminate at
the center of the target in a tiny clear circle. In total, there are 36 solid wedges (each encompassing
five degrees of rotation and separated by five degrees of clear space). The star targets are visually
evaluated and they are very sensitive to directional affects that adversely effect print quality.
The star targets on the ok-sheet are used as a reference for comparison with the star targets taken
from sample sheets during the pressrun. Although some interpretation is needed to decipher the
star target, the press operators quickly gain familiarity with the appearance of a well-printed star tar-
get. The visual conditions that indicate problems are as follows:
• An enlarged central portion (figure 3-4) of the target that is round in shape is an indication that a
high amount of dot gain has occurred.
• An enlarged central portion of the star target (figure 3-5) that is oval in shape indicates that direc-
tional slurring is present. The direction of the slur is perpendicular to the long axis of the oval.
• A figure-eight pattern in the center of the star target (figure 3-6) shows when doubling has
occurred
The small clear center of the star target will generally remain open during sheetfed printing. When
the center is filling-in completely, then excessive dot gain or slur is occurring.
The advantage of the star target is that it helps to diagnose the causes of conditions that will all
result in higher dot gain readings if a densitometer alone is used. It is also very quickly evaluated,
thus saving time during the pressrun when the operator is typically very busy.
C M Y K
Figure 3-7
Ink Coverage Patch.
300% Ink Coverage Patch

The GATF Production Bar has a four-color overprint patch of 300% total coverage to measure the
maximum ink density that will be achieved by a press system. The highest theoretical dot area cover-
age is 400% (100% coverage from each color), but it is impractical to use 400% coverage because
the ink will not transfer or set properly. The SWOP specifications allow no more than 300% total
coverage for color separations destined for reproduction by heatset web printing. GRACoL recom-
mends coverage values from 240% to 320% depending on the type of paper used.
The dot distributions in the 300% patch follows the SWOP recommendation of 80% black, 80% cyan,
70% magenta, and 70% yellow.
C M Y K
Figure 3-8
3-Color gray patch.
DE= =(L1-L2)2+(a1-a2)2+(b1-b2)2 Where: L1 = Sample reading : L2 = Reference reading

a1 = Sample reading : a2 = Reference reading
b1 = Sample reading : b2 = Reference reading
3-Color Gray Patch

The GATF Production Control Bar also contains a 0.25-in. wide three-color gray patch with an adja-
cent 50% black tint patch for reference. The distribution of dot sizes in the three-color patch is: 50%
cyan, 39% magenta, 39% yellow, which corresponds to the recommended gray balance values from
SWOP. The hue of gray formed in this patch should be close to neutral for typical process inks used
in sheetfed lithography. The 50% black patch adjacent to the 50% gray provides a known neutral.
Ideally, the hue of the three-color gray patch will be a close match to the black tint patch.
The hue of the three-color gray patch is extremely sensitive to shifts in the printed densities of the
inks. The cyan, magenta, and yellow inks are simultaneously monitored with the three-color gray
patch. Visual analysis is generally used by making a side-by-side comparison of the gray patch on the
samples collected during the production run with the press ok-sheet. Visually noticeable shifts in the
color of the gray patch signal changes in the printing conditions.
Densitometric or colorimetric analysis can also be used with the three-color gray patch. In the first
instance, the gray patch on the OK-sheet is measured with a densitometer. Cyan, magenta, and yel-
low density readings are all recorded. Some densitometers can make all three readings simultane-
ously. Three density readings are also made from samples collected during the production run.
Differences in any of the density measurements signal that printing conditions have changed. The
required corrections can often be deciphered from the density data, For example, if the blue-filter
(ie., yellow ink) density is higher relative to the other two densities, then the yellow ink may need to
be decreased.
Colorimetric analysis allows the user to plot the color of the gray patch in the perceptually-based
color space, CIELAB. The gray patch on the OK-sheet is measured with a colorimeter or a spec-
trophotometer to determine the L*, a*, b* coordinates. When a sample is taken during the press run
the gray patch is measured and the L*, a*, b* coordinates are noted. The color difference, DE (see
formula above), is often used as a means of quantifying the perceptual differences between the two
colors measured.
C M Y K
Figure 3-9
RGB Overprints.
Red, Green, Blue Overprints

The GATF Production Control Bar contains blue, green, red overprints (figure 3-9) to measure the
ink trapping of the press system. The appearance of blues, greens, and reds in the reproduction is
influenced greatly by the ink trapping. Ink trapping is a measurement of the efficiency with which a
process ink is transferred to a previously printed ink film compared to the transfer efficiency of that
ink to unprinted paper. The trapping values should be monitored during the press run because they
will drift as the rheological properties of the ink change. For instance, if too much water is being
used with the yellow ink, it might be manifest be decreases in the trapping of the green and red
overprints.
To calculate ink trapping, the printing sequence must be known. The most commonly used printing
sequence is CMY with black either first or last because this sequence optimizes the saturation of the
overprint colors. Most reflection densitometers will key the user to make the appropriate measure-
ments and automatically calculate trapping values. The calculation of ink trapping requires the mea-
surement of the reflection densities of three different patches: the overprinted color and each of the
two component colors. Accuracy is increased when the measurements all come from the same inking
zone on the press sheet.
See page 3-9 for further instructions and the formula to calculate ink trapping.
Printing the Color Bar 7. Locate the point on the curve where further
increases in density do not result in increases in
During press makeready, the solid density
print contrast. Subtract three times the value of
should first be adjusted to the desired setting.
the standard deviation for that ink color from
The most meaningful aimpoints for density lev-
the solid density associated with highest print
els are based on internal standards, which are
contrast. The resulting density value is the aim-
determined by objective tests of the printing
point for that printing system. The process con-
press. Some printers use industry standards like
trol tolerance limits are set at plus and minus 3
the SWOP Hi-Lo Ink References (available
standard deviations from the density aimpoints.
from the International Prepress Association) to
obtain aimpoints and tolerances for their Analysis of the GATF
process inks in lieu of in-house testing. In other Production Control Bar
cases, the in-house aimpoints are determined
During production work, the ink densities are
through a process of trial and error. There is a
adjusted to achieve the desired aimpoints. The
growing interest in statistical process control in
densities are read at five locations per 12.5 in. of
the printing industry. An advantage of testing
press width. Frequently repeating solid patches
the capacity of a printing system is that realistic
have been provided to achieve a high degree of
aimpoints and tolerance levels can be estab-
control when adjusting the ink keys of the press.
lished.
When changes are made to the ink key settings,
One method for establishing process control
the press operators should allow sufficient time
aimpoints based on in-house testing is as fol-
for the changes to fully affect the systems before
lows.
new measurements are made. When the solid
1. Use the GATF Sheetfed Color Printing Test
densities are in the correct range, measure the
Kit to troubleshoot the printing system so that
dot gain, print contrast, and ink trapping values.
good image transfer is achieved.
Microprocessor-assisted densitometers will cal-
2. Perform a study of the variability of each ink
culate these values automatically. If your densit-
color at the densities recommended by SWOP.
ometer does not calculate these values, the val-
This is done by balancing the ink and water at
ues can be determined by manual calculation.
the proper density,allowing the press to run for
In practice, it is sometimes necessary to deviate
several thousand impressions, and pulling sam-
from the target ink densities to achieve a better
ples at regular intervals. The length of the press-
visual match with the proof. When this occurs,
run should be determined by the run length of
the densities are read from the OK sheet, which
the average job for which the press is used. At
was approved for the run. The densities and
least 100 samples, taken at random from the
other printing conditions found on the OK sheet
run, should be used for analysis.
become the process control aimpoints for that
3. Calculate the standard deviation for the ink
pressrun.
densities from the samples.
The values measured from the sample prints are
4. For each color, the ink density is systematical-
compared against the process control aimpoints.
ly varied beginning with a low density and mov-
A visual assessment of color match is also made
ing through the entire range of printable densi-
between the samples and the OK sheet. See
ties, the ink and water are brought into balance
example of Process control aimpoints on the fol-
with each other and samples are collected.
lowing page
5. Measure the densities of the printed samples
and their associated print contrasts.
6. Construct a graph that plots the ink densities
along the X-axis and the print contrasts along
the Y-axis.
Print Contrast Print Contrast

Print contrast is calculated from the solid ink
60
patches and the 75% tint patches, according to
50
the formula shown below.
Maximum Obtainable
Print Contrast The use of print contrast as a control parameter
40 is increasing. Print contrast has been found to
have a high correlation with dot gain in some
30 studies. When dot gain is low, print contrast will
Cyan Density Associated with
1.37
Aimpoint
Maximum Print Contrast tend to be high. Therefore, as a process control
20
1.31 Lower 1.43 Upper
parameter, it is usually sufficient to monitor
Control limit
10
Control Limit
either print contrast or dot gain. However, when
printing characteristics of the system are being
measured, it is useful to know both the printing
1.00 1.10 1.20 1.30 1.40 1.50 1.60 1.70
Ink Density
contrast and the dot gain.
Standard deviation of cyan Process control limits
Generally, higher print contrast yields better
(previously measured)
S=0.02
+/- 3S = 0.06
print quality. Print contrast relates to the shad-
ow portion of the reproduction. A printing sys-
Process Control Aimpoints tem with higher print contrast is able to main-
tain a greater number of distinct tones in the
shadow region. Printing conditions that cause
Dot Gain print contrast to decrease, include excessive dot
Dot gain can be measured for the 25%, 50%, gain, low solid density, and fill-in due to insuffi-
and 75% tint patches. The density of the accom- cient water.
panying solid ink patch is required for dot calcu- Ds - D75
lations. It is important to use a solid ink patch PC = 3 100
Ds
from the same ink key zone as the tint patch
that is being measured. The printed dot area is
calculated using the Murray-Davies equation as PC = print contrast
Ds = density of solid
shown. Dot gain is calculated by subtracting the D75 = density of 75% tint
film dot area from the printed dot area. This dot
gain value represents total dot gain, which
includes optical and mechanical components.
Dot gain has been found to be an important
attribute to monitor during printing. Changes of
about 3% in dot gain can cause noticeable shifts
in visual appearance. If the dot change is not
uniform for all colors, the hues of the reproduc-
tion will shift.
1-10-D
t
%ADA = 3 100
1-10-Ds
%ADA = Apparent Dot Area

Dt = Density of the printed target tint
minus the density of the paper
Ds = density of the solid patch minus the
density of the paper
Ink Trapping Color Hexagon Instructions

Ink trapping values are measured from the solid
overprint patches of green, blue, and red and
from the single ink film patches of cyan, magen-
ta, and yellow. The trapping numbers relate to
the proportion of the second-down ink that
transfers to a previously printed ink. This is
compared with the transfer of the ink to blank
sheet. The trapping numbers do not represent
accurate percentages of the ink film that is
transferred to the first-down ink (due to failure
of the law of additivity of densities). The trap-
ping numbers are treated as an arbitrary scale.
Higher ink trapping values are preferable to
lower values.
To obtain ink trapping values, density measure-
ments are made from three ink patched: the
first-down solid, the second-down solid, and the
solid overprint color. All measurements are
made with the densitometer filter appropriate
for the second-ink down color. The ink trapping
formula is as shown. Remaining densities with
Ink trapping is an important print attribute to lowest values subtracted
monitor during the pressrun for two reasons.

blue green red blue green red
First, the majority of colors in the average image
are composed of various combinations of cyan, cyan
magenta, and yellow (e.g., green grass of blue
skies), and second, the characteristics of ink magenta
transfer are subject to change during a pressrun yellow

as the rheological properties of the inks change.
Trapping values are affected by several factors, blue
including the absorptivity of the paper, the tack

green
of the inks, and the press speed. It is difficult to
isolate the cause of good or bad ink trapping red
because there are significant interactions occur-
ring between the printing materials during the GATF Color Hexagon data table
press operations. Ink and water interactions, for
example, will affect the tack of the inks, which
also changes the trapping values.
D2/1-D1
T= X100
D2
Where: T = Apparent Trapping
D2/1 = Density of overprint
D1 = Density of first down ink
D2 = Density of second down ink
GREEN
CYAN YELLOW
1.0 1.0
.5 .5
.5
BLUE
RED
1.0
1.5
MAGENTA
Graphic Arts Technical Foundation
200 Deer Run Road Sewickley, PA 15143-2600
Phone: 412/741-6860 Fax: 412/741-2311
Email: info@gatf.lm.com Internet: www.gatf.org

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Process Controls

Printed in the United States of America

Agreement for Use

Digital Proof Comparator

25% = 25C 25M 25Y

Figure 1-9. Pictorial mon-

Figure 1-10. Three-color gray bars.

25% = 25C 16M 16Y

Digital Plate Control

Copyright © 1995−1998 Version 1.1.3

GATF/Systems of Merritt Digital Plate Control Target

1−pixel 2−pixels 3−pixels 4−pixels

Figure 2-3 Figure 2-4. Figure 2-5

One-pixel through four-pixel checkerboard. The checkerboard quadrants (figure 2-6),

99.5 99 98 97 96 95 uncorrected scale (top)/corrected scale (bottom)

Figure 2-9 Figure 2-10

GATF Production Control Bar (version 2.4)

GATF Production Control Bar (version 2.4)

GATF Production Control Bar (v

25%, 50%, 75% tint patches

GATF Production Control Bar (version 2.4)

GATF Production Control Bar (version 2.4)

Figure 3-4 Figure 3-5 Figure 3-6

GATF Production Control Bar (version 2.4)

300% Ink Coverage Patch

GATF Production Control Bar (version 2.4)

DE= =(L1-L2)2+(a1-a2)2+(b1-b2)2 Where: L1 = Sample reading : L2 = Reference reading

3-Color Gray Patch

GATF Production Control Bar (version 2.4)

Red, Green, Blue Overprints

Print Contrast Print Contrast

%ADA = Apparent Dot Area

Ink Trapping Color Hexagon Instructions

monitor during the pressrun for two reasons.

transfer are subject to change during a pressrun yellow

including the absorptivity of the paper, the tack

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