Print Technology for Publishing
An Online Resource Developed and Maintained
By Patrick Henry

This page serves as an online reference to the "Print Technology for Publishing" course that I teach for New York University. Your comments and suggestions are welcome! (The photos depict two advanced digital printing presses: the Xerox DocuColor iGen3, below, and the Heidelberg NexPress 2100, right).


The Center for Publishing of the
School of Continuing and Professional Studies,

New York University,
presents

Print Technology for Publishing

Summer 2004: Y59.1400.001, Thursdays, May 20-August 5, 6 p.m.-9 p.m.; NYU Midtown Center, 11 West 42nd Street, room 414

Instructor: Patrick Henry; (718) 847-9430; (917) 647-0590 (C)

e-mail: ph8@nyu.edu

SYNOPSIS and OBJECTIVES
Understanding print production for publishing—the processes, tools, and techniques behind the manufacture of books, magazines, and other printed matter—is not just for production specialists. Everyone who wants to succeed in publishing, advertising, graphic design, and related fields must be able to trace the sequence of events that turns raw copy and random images into the finished product that we see on newsstands, in bookstores, and in our mailboxes. This course will chart the print production workflow from planning through distribution. Although we will emphasize ink-on-paper processes, we also will examine alternatives to print and discuss its future as a communications medium. (Note: information about course requirements and grading follows the class schedule below.)

READING and RESEARCH
The course text is Pocket Pal/A Graphic Arts Production Handbook (International Paper Company; 19th edition, 2003). See the class session summaries (below) for required readings. The course Web site also contains links to related documents for each class session. These documents also should be considered required reading for which you will be responsible in the midterm and final exams.

You are not required but are strongly encouraged to follow the links to the recommended reading list and to various online resources. An especially valuable reference is the "virtual textbook" of articles maintained at Virginia Tech's Graphic Communication Central site.

You will also find links to student papers written for previous editions of the course. (They are presented here by permission of the authors, who retain all rights.) You are welcome to add your work to this collection.

THE COURSE AT A GLANCE
FAST ACCESS TO LECTURE DOCUMENTS


SESSION 1 (5-20-04)
INTRODUCTION AND OVERVIEW
• make self-introductions; review course goals and objectives
• identify and discuss the components of a "typical" printed piece
• discuss recent key developments in print communication technology
• history of printing:
    2nd to 19th Centuries
    20th and 21st Centuries
• structure of the industry:
    U.S. print market segments
    market segments by process/product
    U.S. printing centers
    the New York City metro print market


SESSION 2 (5-27-04)
PRODUCTION SEQUENCES
the three stages of print production
the magazine production workflow
the book production workflow
book production schedule (I)
book production schedule (II)
book production cost components
the role of production
• searching for production economies
(reading: Pocket Pal, pp. 8-34)


SESSION 3 (6-3-04)
PREPRESS
• typography: font basics (I)
• typography: font basics (II)
• typography: font metrics
• type characteristics:
monospaced and proportional
measure (leading)
justified and "ragged"
serif and sans serif
tracking and kerning
weights
page layout applications
• color: RGB vs. CMYK; color "gamuts"
• color complements
• how to get an interactive tutorial on color
• a link to good information about color from Pantone
halftones, screens, and separations
• impositions
• digital input (scanning); digital output (RIPs, imagesetters)
proofing
what to check on a proof
analog proofs
digital proofs
• preparation of image carriers
• stripping vs. digital image assembly
• conventional and digital workflows
PostScript: what gets printed
PostScript: what lies beneath
PostScript and PDF
other file formats
• desktop systems and tools; "preflight" for file problems
(reading: Pocket Pal, pp. 36-73)


SESSION 4 (6-10-04)
PRINTING PROCESSES (I)

the major printing processes and their uses
four-color process printing
• offset lithography (This site contains a good basic description of the offset litho process)
• "waterless" offset lithography
• webfed vs. sheetfed
heatset vs. non-heatset; UV/EB
(reading: Pocket Pal, pp. 74-94)


SESSION 5 (6-17-04)
PRINTING PROCESSES (II)

• run lengths and running speeds
• makereadies
press checks and press okays
production variables
• controlling image quality on press
• a guide to evaluating print quality from Catalog Age
waste and spoilage; overs/unders
• press automation; in-line capabilities
(reading: Pocket Pal, pp. 95-130)


SESSION 6 (6-24-04)
DIGITAL PRINTING

computer-to-plate and the "disappearance of film"
computer-to-plate: ROI issues
• direct-imaging (DI) presses
on-demand printing
on-demand printing and publishing
on-demand printing for book publishing
(reading: Pocket Pal, pp. 132-155)


SESSION 7 (7-1-04)
POSTPRESS

what happens in the bindery
off-line and in-line binding and finishing
bindery processes
bindery impositions
• the anatomy of a book:
    adhesive binding; sewing
    case binding
components of a casebound book
bindery processes compared
• binding on demand
• other postpress processes
selective binding and inserts
• mailing and distribution
• production and circulation (mail, single-copy)
(reading: Pocket Pal, pp. 156-180)


SESSION 8 (7-8-04)
COURSE PAPER DEADLINE
PAPER, INKS, AND COATINGS

how paper is manufactured
• understanding grain direction
kinds, grades, basic sizes
• paper types: groundwood, free sheet, text, uncoated
• paper types: coated, cover
• paper characteristics: brightness, opacity
• paper characteristics: basis weight, caliper
• paper sizes: sheetfed
• paper sizes: web, ISO
specifying and buying paper
papers for book, magazine, and commercial printing
inks and coatings
• environmental issues:
    "smearing ink on dead trees"
    recycled paper; pre- and post-consumer content
    the market for recycled papers
    toxic pollutants and air emissions
(reading: Pocket Pal, pp. 182-202)


SESSION 9 (7-15-04)
ALTERNATIVES TO TRADITIONAL PRINT

• distribute-and-print vs. print-and-distribute
• variable-data printing
• comparing printed magazines and magazine Web sites:
    Web site functions
    Web site visitor benefits
    Web site efficiency
    Web site synergy
• "e-ink" and its applications:
    ingredients
    principles
    operation
    uses
• comparing printed books and e-books:
    definitions
    content
    reading devices
    market outlook


SESSION 10 (7-22-04)
PRODUCTION SITE VISIT

The class met at the Advertising Services division of AGT•Seven, a provider of digital imaging and premedia services located at 450 W. 33rd St. in Manhattan. These photos capture some of the high points of the tour.


SESSION 11 (7-29-04)
TEAM PROJECT PRESENTATIONS
THE FUTURE OF PRINT

• the struggle with "new media" for market share
• emerging "print-centric" systems and equipment
• final exam review

SESSION 12 (8-5-04)
COURSE WRAPUP and FINAL EXAM

• how to stay abreast of change in graphic communications technology
• career options in graphic communications
FINAL EXAM

GRADING
Plus/minus grades A through C may be awarded (no A+ or C-). Failure to satisfy course requirements earns F or, in certain cases, I (incomplete). Please contact your departmental administrator for the details. Your grade will be calculated on the basis of a course paper and a team project (descriptions below) and a final exam. Each counts toward one-quarter of your grade, with class participation making up the remaining one-quarter. On-time attendance at every class session is required, and repeated absence will reduce your grade.


INSTRUCTIONS FOR TEAM PROJECTS
Please read them here.

REQUIREMENTS FOR THE COURSE PAPER
Your paper should be no less than 1,500 words in length. Put your name and the course number on the first page. Number your pages, and be sure to keep a backup copy of everything you submit. Please note: the 7-8-04 deadline (Session 8) is firm. Late submission penalizes your grade. Early submissions are always appreciated.

GENERAL GUIDELINES
Select either of the options below. Think critically, research appropriately, and write clearly. Consult any sources you wish, using footnotes and attributions to identify the publications and the people whose information you draw upon. If appropriate, conduct personal interviews with experts of your choice. Feel free to illustrate your paper with clips, photocopies of pages, "screen shots," etc.

PAPER OPTION 1 Write a research paper on a topic from the "recent key developments" list (distributed at first class session) or on another topic approved by the instructor. Follow the links in the course Web site to locate online information sources. Use production terminologies, equipment specifications, etc., only to the extent that you're comfortable with them—this is not a test of your technical vocabulary. Your goal is to demonstrate that you have a good general understanding of your subject and its role in the print manufacturing process.

PAPER OPTION 2 Write a "production history" of a book or a magazine, beginning with content creation and continuing through all the stages of manufacture (prepress, proofing, printing, binding and finishing). Your book or magazine can be imaginary as long as your description is well supported with technical detail. If you have access to production records for a real book or magazine, you may use them as exhibits to your narrative. In either case, you'll be graded upon the detail and accuracy of your description of the sequence of events that we call print production.

Please note: If you choose Option 2 for your course paper, you must use a book or a magazine that is different from the one in your team project proposal. You not are not permitted to repurpose team project information for the course paper.

OTHER OPTIONS If you have a proposal for another project meeting the course requirement, please discuss it with the instructor.

Reminder: please e-mail your comments and suggestions to ph8@nyu.edu

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