Should the press "match" the proof? Or should the proof "match" the press? There is a great deal of confusion among print suppliers, buyers, consultants, and even some vendors on this important question.

The two main strategies

There are two main print production strategies the printer can adopt: targeting an industry defined specification for presswork and/or targeting a shop-specific specification. Either strategy will impact everyone in the print production process so it is critical that the decision is based on a complete understanding of the consequences. Once the business decision is made, presswork and proofing can be brought into alignment so that color expectations can be effectively set and communicated.

Strategy One: Targeting an Industry Defined Specification - the press aligns to the proof

Ideally, printers who do not control 100% of the digital files entering their pressroom would target an industry-defined specification as a way of bringing some degree of order to the various inputs that they may receive. In this case the proof is the target and the presswork is brought into alignment with it. This strategy is most appropriate in a distributed printing environment where prepress and scans from a variety of sources must conform to a common print characteristic. Examples are magazine and newspaper advertising or brochures that will be printed at a variety of locations.

This strategy enables prepress tradeshops and production graphic designers to prepare image scans and digital artwork appropriately even when they do not know which printer will be doing the final presswork.

Aligning the press to the proof is embodied in the traditional, analog film-based, laminate proofing systems with the most popular implementation for offset printing being SWOP. In this production workflow print purchasers produce one set of digital files and proofs, and send the set to the various print locations. The proofs, using current digital halftone as well as inkjet proofers, are made in a standardized manner according to the registered SWOP application data sheets (ADS) to ensure conformance to the SWOP specification. It is then the printer's responsibility to align their presswork, by whatever means are appropriate, to the supplied SWOP proof.

Strategy Two: Proofing to a Shop-Specific Presswork Target - the proof aligns to the press

With this strategy, the presswork color is the target and the proof is aligned to it. This strategy would most commonly be used in a non-distributed printing environment where prepress and scans are completely controlled by the printer or where the printer has a close relationship with the print specifier. Examples include brochures, collateral materials, annual reports, corporate brochures, art reproduction, and so on. This strategy is often used by printers wishing to differentiate their presswork from their competition. In this case print purchasers don't care about aligned color across presswork at multiple locations but instead are concerned that their particular project looks as good as possible in print. The presswork is unique — either to the individual print shop or even to a specific press in the shop. The printer may print with higher ink densities, higher contrast, finer halftone screens, or perhaps, custom ink sets, depending on their customer's specific needs. This strategy may also mean that prepress and separations are customized in order to take the unique press condition into account.

A Third Strategy Option: Multiple Targets

Just as one size does not fit all - one print characteristic may not suit all. In today's highly competitive print environment, it can make competitive sense for a print shop to leverage the flexibility of digital proofing and plating systems to offer multiple print characteristics to their print buying customers.

Effectively they would select/offer the color flow that is most appropriate for the needs of their customers - presswork aligned to an industry-defined specification proof for certain projects. Proofing aligned to a unique shop-specific print characteristic for others. This involves greater complexity in workflow, however, once set up can provide the printer with tremendous flexibility in differentiating themselves and better meeting their customer's expectations and needs in print.

Achieving gray balance in presswork is the major mantra in today's print production world. It is the paramount metric - now defined in unambiguous CIE L*a*b* values - for the G7™ calibration method to align press and proof color as well as for achieving presswork that conforms to GRACoL® 7. That being said, one must keep a "balanced" view on gray balance as a metric in presswork. While it certainly has value - interpreting that value requires some understanding of the peculiarities of the press room as well as a bit of history.

1. As far as I can determine there has never been a formal study of gray balance targets measured in press sheet color bars and how they relate to the live image content of the press sheet.
2. Press operators do not "make color" on press. They concentrate on what a press is designed to do - lay down a consistent film of ink approximately one micron thick on the substrate.
3. Press operators use densitometers - not to measure color, but to indirectly measure ink film thickness.
4. The deepest study that has been done on gray balance was by System Brunner using densitometers rather than spectrophotometers to measure gray balance.
5. The ISO specification (e.g. ISO 12647-2, ISO 2846-1) defines gray balance as "neutral" - a very vague term.
6. A press lays ink down in a series of zones which run from the lead edge to the tail of the sheet. If a specific process color (C, M, Y or K) is not require in that zone because of image content, that ink zone is switched off and gray balance is no longer achieved in the color bar.
7. Image content that requires a substantial increase in solid ink density in some colors (e.g. a sunset scene) will result in  gray balance no longer being achieved in the color bar.
8. The correlation of gray balance distortion (i.e. color bias) vs perceived color shift in quarter, mid and shadow areas has not been studied. It is probable that it is very non-linear. That is to say that the shifts we see in the gray balance target in the color bar may shift quite a it, however, we will not necessarily see an equal shift in highlight or shadow color.
9. Gray balance targets are likely too sensitive to normal color fluctuations on press to be of practical use. Just like a car's speedometer would be useless information if provided 3 decimal place readouts of speed (e.g. 50.392/kmh, 50.471/kmh, 50.148/kmh).
10. It is dangerous to apply gray balance principles derived from scanning and proofing to the pressroom since the mechanics of how color is achieved is radically different.
11. The job of the press operator is to align the "live" image area of their presswork with the proof by achieving the appropriate solid ink densities since printers sell the live image area of the press sheet - the color bars go into the recycling bin.

Gray balance targets in presswork color bars certainly have some value - but interpretation of the information they contain must always be considered in the context of the mechanics and chemistry of the press itself.

It comes as a surprise to many professionals in the graphic arts that quality very often depends on optical illusions. One optical illusion in particular, "Mach bands", is critical in the graphic arts and fundamental to quality image reproduction.

Mach bands are named in honor of Ernst Mach the Austrian physicist and philosopher who is also the namesake for the "Mach number" (also known as Mach speed). The Mach band optical illusion is the basis for how most image sharpening, such as the "UnSharp Mask" filter in Adobe Photoshop, is done in photo editing software.

Mach bands reveal a bit about how our eye/brain compensates for a lack of actual detail resolving ability. Look closely at the below image which has six patches of gray set between a black patch and a white.

Do the gray patches looked scalloped? Lighter on the left than on the right? In fact, the gray patches are of a uniform tone as can be seen by simply moving one patch out of its context.

To make up for our eye/brain's detail resolving deficiency, it processes incoming light in such a way as to exaggerate the contrast wherever two different tones meet. Increasing the contrast at those edges gives us the perception of more detail.

Here's how the sharpening filter in Adobe Photoshop leverages this optical illusion to make images look more detailed. First I'll apply it to the original gray patches. The top half is the original and the bottom half with the sharpening filter applied:

Now we'll see the same sharpening applied to a real image.

On the left is the original globe image straight out of the camera with middle top image is a section of the original enlarged. On the right is the globe after sharpening is applied with the bottom center enlargement showing the effect of sharpening.
 

Technically, the sharpened image actually has less real detail because image pixels had to be converted to black and white lines bordering the actual image detail. However, despite having less detail our eye/brain perceives a sharper, more detailed, image all thanks to software leveraging the power of an optical illusion.

Most printers win business in competition against a few other printers - selected by the print buyer. Who your customers have you compete against for their business not only tells you a great deal about how you are perceived by that specific print buyer, but by other prospective customers as well. What shared characteristics do you think caused the print buyer to group you with those specific printers? Are you competing against the printers you would have chosen to compete against had you been in the print buyer's shoes? If not, why not? And, more importantly, if you think the competition with whom you are associated are inappropriate, what are you actually going to do to correct the perception? And if they are who you would have chosen to compete against, then how are you going to differentiate yourself? Is there a way to beat the competition on your terms rather than the competition's or your print buyer's terms?

An open house is one of the most powerful business-building tools you can employ and an excellent way to show customers and prospects, your professionalism, capabilities, and expertise. It lets your customers and prospects meet your staff, see your facility, and learn about your services in a relaxed, "fun," environment. Like any successful venture, you'll need to prepare well to ensure an effective marketing event and that everyone has a memorable experience. There are seven basic steps to achieving a successful open house:

Step One: Determine your goals.

Why are you having this event? Show off new equipment? Demonstrate new capabilities? Define what distinguishes you from your competition? The goals you set will help determine what activities to include, such as a tour or a demonstration. Those goals will also suggest an event theme to help drive your message home. All of your messages, printed and spoken, from invitations to the event itself, should reflect and support your unique value proposition as it relates to the concerns of your intended audience..

Step Two: Organize and plan.

Give yourself at least six weeks to coordinate your open house. Treat the event like any live job. Give it a docket number and budget. Depending on the activities selected, your costs may include invitations, postage, tables, chairs, food, drink, and possibly gifts etc.. Review the agenda from start to finish. Walk the event through your mind as if you were an attendee. The best days are usually Tuesday, Wednesday, or Thursday. Make sure your selected date does not conflict within two days of a holiday. Try not going past 5:00 pm.

Step Three: Make it a team effort.

Because it will involve many of your employees, an open house is a chance to foster teamwork and build morale. Form an organizing committee comprised of representatives from each department, from management to sales to operations. Perhaps give your sales staff incentives for closing business by a specific deadline. Let everyone know that you count on them to do their best for the open house, since your business success translates into benefits for them. Make sure that you and your staff are well prepared for the day's activities and have enough staff available to assist with the event. They should have large name badges that include job titles. Staff should be asked to greet visitors warmly - a simple, friendly encounter with an employee can often positively influence a customer's impression of your company. Use clear, well-designed signage to make parking, registration, and rest rooms easy to find. Dust off framed samples and awards in lobbies and conference rooms, and tidy up work areas that customers will see during the facilities tour. Make sure refreshments are well presented and conveniently placed. In short, do whatever you can to make attendees feel welcome and comfortable.

Step Four: Design the event

The event should reflect your audiences' needs and interests. Brand owners and ad agency marketers may want to learn the benefits of your offering, and how your solutions reduce print costs, allow greater print procurement flexibility,  shorter runs, combo-sheets, etc. Graphic designers may be more interested in new creative possibilities or processes that impact file creation. Demonstrate that you understand and can address their needs, and avoid overwhelming them with unnecessary details. If both groups will be attending, you might want to schedule two segments tailored for each audience.  Develop a theme or title, related to your goals, to capture interest and communicate the benefits of attending. To make the event even more appealing, you might offer some kind of promotion or incentive—perhaps a discount for orders placed by a certain date. It's a good idea to provide name tags for attendees to help break the social ice during the event and encourage conversation.

Step Five: Prepare sales tools/hand outs

Handouts might include your company brochure (up to date, of course), a list of services, samples run during the event, etc. Make sure all handouts are of the highest quality; no matter how eloquent your presentation or compelling your demonstration, the proof of your work is the work itself. Tailor samples to the audience.

Step Six: Select and contact prospective attendees

Prepare your invitations and mailing list 4-6 weeks before the open house. Print buyers, specifiers, ad agency marketers and graphic designers are a discriminating audience so do not stint on design or production. Give prospective attendees ample time to plan by mailing invitations 3-4 weeks in advance, and ask them to RSVP by phone or email. You can remind people who say "yes" with a follow-up telephone call or email, and call or send a second solicitation to those who haven't responded.

Step Seven: Follow up.

You should send "thank-you" notes to express appreciation to each attendee. You can also follow up with a phone call. If you offered a door prize or some other promotion, be sure to fulfill your promise. Turn  no-shows into sales opportunities: call them and offer to fill them in on what they missed. Schedule a staff meeting soon after the open house and present the results, using your original marketing objectives as benchmarks. Point out and praise what went well, encourage reflection on what could have gone better, and keep notes for next time. Offer applause and tangible rewards as appropriate. If your staff is large, consider distributing the news via email, bulletin board, and/or company newsletter.