Digital Print Engine Comaprision

This is a recent paper I had to do for a Digital Print Processes Class I am taking at RIT

Cannon Image Press C6000

The Cannon Image Press C6000 print engine is very similar to the process of electrophotography.  These steps are as follows – the charging of the photoreceptor, discharge of the image areas, developing of image areas, the transfer of toner to substrate and finally fusing of the image to the substrate.

Canon U.S.A. Incorporated, promises that the C6000 press will provide “image quality, productivity, and versatility” (Cannon 2). The first step that occurs within the C6000 engine is the charging of the photoreceptor. Then, the discharge of the image areas occurs using a twin red laser. Cannon claims that this special red laser allows for resolutions up to 1200 by 1200 dpi (C6000 Video). The next step within the process is the developing of the image using toner. The C6000 uses a four-color toner system, which does not allow for Pantone colors. However, much like other presses, the C6000 uses the Digital Front End to store CMYK equivalent colors in its library to allow for reproduction of these colors. Toner is placed on what Cannon calls an E Drum, a compact roller that helps carry the developed toner to the Advanced Image Transfer Belt (AITB) (Eddy par 4). The Advanced Image Transfer Belt is the main difference from the typical electrophotography process. The AITB is the intermediary that transfers the toner to substrate, instead of transferring the toner one color at a time, the AITB “transfers all four colors to the page in a single pass for a better impression on a wider range of coated, uncoated, and specialty stocks” (Cannon 7). Toner on the Cannon is known as a quick fix toner (often referred to as “V” toner) and allows for the fusing process to be faster than on a typical machine (Eddy 5). Lastly, the C6000 uses the fusing process to secure toner to the substrate. Cannon uses a “dual fusing system,” which is a method of heat pressure fusing, common in many digital printers (Cannon 6).

 

HP Indigo s5500 Digital Press

In contrast to the C6000, the HP Indigo varies more from the traditional electrophotography process. The most noticeable difference in this process is the use of liquid ink known as Electroink. This ink contains only two percent toner, imaging oil and an imaging agent, unlike that of the dry powder toner that is used in typical digital printer (Vogl Lecture). Just like a typical photoreceptor, also called the PIP or Photo Imaging Plate, is given a negative charge (Influence Graphics Video). Next, the image area is discharged using a laser on the PIP, which leaves a latent image area. The electroink is then attracted to the image area via the Binary Ink Development unit (BID), leaving electroink on the image areas of the PIP (Hewlett Packard Video). This is when the “inked image is then transferred to the electrically charged Intermediate Transfer Drum (ITM)” (Vogl Lecture). The Indigo is similar to the original process of electrophotography in that the image is not directly placed on the substrate with toner, but the process does differ in the fusing process of ink to the substrate. The impression cylinder makes a single rotation for each color instead of a traditional process, and the Intermediate Transfer Drum (ITM), which is electrically charged, transfers the image to the substrate.  The inks on this printer dry almost immediately to the surface, allowing for prints to come out of the printer dry. This is due to the high heat that the ITM reaches, which causes the imaging oil to be refracted and the toner to bond and become solid (Print Applications Lab Video). The substrate “then passes between the ITM and the impression drum” (Vogl Lecture). The toner is transferred to the substrate, and the PIP rotates past the cleaning station, which removes any residual ink and charges (Vogl Lecture).

Xerox iGen 4

The Xerox iGen 4 utilizes a unique way to build an image, using as its base the steps of the traditional electrophotography process. However, it adds a slight twist, utilizing a belt mechanism to image the substrate being printed. The iGen contains four developer housings for each of the four colors of CMYK. The image is created on the photoreceptor belt, by charging, imaging it and recharging the photoreceptor for each separate color (Xerox Video). A scorotron charge is then released onto the photoreceptor belt. After this occurs, a laser will release the toner onto the belt, which is then developed. This occurs for each color in the order of Magenta, Yellow, Cyan and Black respectively (Xerox 7). The image is developed by a cloud of toner in between two donor rollers, which are then transferred to the photoreceptor belt (QDoxs Video). The donor rollers help to protect the toner on the photoreceptor belt, allowing for all four colors to be printed with out disruption of another toner layer. The transfer step occurs when the Pretransfer Erase Lamp exposes the belt to loosen toner and then a “hybrid Air Knife removes carrier beads and agglomerated toner particles from the belt” (Vogl Lecture). What is known as the pretransfer belt then uses a charge to help remove the toner from the photoreceptor, and a “Transfer Assist Blade presses substrate to the photoreceptor belt” (Vogl Lecture). What is known as the Detack Dicorotron applies a negative charge underneath the substrate to ensure limited friction between itself and the photoreceptor belt. The image is then transferred in a reverse order of KCYM. A front erase lamp erases any residual charge on the photoreceptor to ensure a clean area for image creation for the next pass. Finally, the image is fused using a contact fuser to create a final product.

Ricoh Pro C550EX

Of all the print engines explored in class, the Ricoh Pro C550EX truly encompasses the original electrophotography process. This is printer is geared towards small business and small print on demand jobs, so it is more user friendly and closer to electrophotograhpy.

The first step in the C550 EX is the charging of the photoreceptor. The printing process uses a scorotron charge to create a uniform charge on the photoreceptor (Ricoh Video).  Using a laser, the image area is then selectively discharged just as was shown in class. The toner is then taken up with carrier beads and adheres to the image area. Ricoh has a unique system of toner that allows for finer details – “Sharpen every image with new PxP toner technology. Smaller toner particles ensure smooth, even distribution, which enhances edge definition, coverage and density while improving color matching” (Ricoh 3). This actually appears to be a major selling point of this printer according to many print blogs online (ESRI Forums Web). Also, within the development stage, the C550 runs a “parallel calibration to ensure consistent color quality over long job runs,” to assist with correct color management (Ricoh 3). The image is then developed. The next step in the process requires a transfer of the image to the substrate. The transfer of the image occurs on a belt system to make sure that the substrate receives toner is a smooth and efficient fashion. During the transfer stage, the printer is equipped with a registration sensor to make sure that paper stays in line when the substrate moves through the machine (Gregor Communications Video). This carries through to the fusing process, where the “system incorporates a smaller, more precise mechanism for moving paper in and out of the fuser unit” (Ricoh 3). By allowing for this, heaver stocks of substrate are able to move more easily through the fusing unit, which allows for more of a variety of jobs to be done on this machine.

 

 

I’ll stick with Caslon until I die. A Brief Evaluation.

The Italian Renaissance saw the rebirth of the arts within Italy and so the typography from there also evolved. This category of fonts based off of the handwriting of the Italian Renaissance is known as Oldstyle.

Oldstyle types have been evolving since 1470, first starting with the Venetian Oldstyle. Nicholas Jenson of France designed this typeface. Jenson was a successful foundry owner and when he served in the court of King Charles VII of France was sent to Maintz, Germany (identifont.com par 1). Jenson’s type was copied throughout the 1500s creating such typefaces as the French and the Aldine Oldstyle (identifont.com par 2). The descendents of these humanist Venetian fonts can be found within the work of William Caslon.

Caslon, born in 1693, was an English font designer. During Caslon’s early career “English printing was at a low ebb and was dependent on Holland for its types. Caslon changed all this and stopped the importation of Dutch type. Thus, Caslon heralded a turning point for English type-founding” (identifont.com par 1). A group of printing firms in London asked to use Caslon’s new type when making copies of the New Testament to be sent on ships to the new world of America. It was the publisher’s hope and also that of the English government to convert the natives of America to Christianity.When his work reached the new world, the taste for the typeface spread across America. It’s most famous use was in 1776, when the Declaration of Independence was printed and distributed among the people of the new world. The author “George Bernard Shaw insisted that only Caslon be used for all his books” (identifont.com par 3). The Caslon font became one of the most used fonts of the 18th century.

The Caslon typeface has undergone many revisions during its existence and continues even today. Most commonly, the font referred to as Caslon Old Face is the truest example of the font designed by William Caslon. The “Caslon Letter Foundry” currently owns this font. During the revival of Caslon, the American Type Founders created the Caslon 471 font based off of a book sample found dating back to 1865 (typophile.com par 1).  The American Type Founders have continued to create variations of the font throughout the years.

With in the Oldstyle font there are general classifications that can be found within any of the families. The first is the minimal variation of thick to thin strokes with the letterforms. Also the x-height of the letterform is very small. The small compactness of the letterform continues with its small serif often causing a concave looking base of the letter. Since the design of the Oldstyle font is to emulate handwriting, there is a small oblique shift within the round curves of the letter causing a stress to be on the diagonal. The ascending line of the letterform and the capital line are always almost nearly separate from each other (graphicdesign.spokanefalls.edu par 2). The Caslon typeface does keep with many of these attributes but does vary as well. Caslon was revolutionary for its day so it does contain some unexpected variations.

When William Caslon created his type it was said that he used Dutch letterforms as inspiration for his work. Many compare his work to that of early Dutch typographers, Van Dijck and Janson (Bigelow Class Lecture). His font shares the characteristics of Dutch forms in that short ascenders and descender characterize the font, serifs are short and the text is of high contrast. There is a modulation of the stroke and the “A” contains a concave curve within the apex (graphicdesign.spokanefalls.edu par 12). The capital “G” does not contain a spur. In the style of imitating handwriting Caslon’s italic forms are in the style of calligraphy and contain a stroke with movement. Lowercase italic letters, especially the p, q, v, w, and z “all have a suggestion of a swash” (Wikipedia par 1).

The Caslon typeface has fallen in and out of favor over time, with its most recent revival in the 1980s. Caslon, since it has so many variations, can have many different uses. For example, Caslon 540 is a bold typeface that is mostly used for advertisements and large posters. More recently, a custom version of Caslon 540 is used for Vogue Magazine for their cover headings (typophile.com par 2). During the 1700s the Caslon typeface was so popular it was used for all the British newspapers. This theme continues today in magazines and newspapers that use Caslon typefaces. The magazine, Boston, uses the Williams Caslon Text, a modern version of Caslon developed by William Berkson (Boston Magazine par 1).

People really love Caslon, as George Bernard Shaw once said; “I’ll stick with Caslon until I die.” The Caslon font family is a very readable and legible font family. It contains strong contrasting letterforms that allow the typeface to be easily read. “To the question, ‘What is the best type for all purposes which has been designed from the beginning of printing until the present day?’ there can be no uncertain answer. The type is that designed and cut by William Caslon. It can be used for years for all purposes without palling on the taste” (McMurtrie).  Its success as a display and body text shows the versatility and staying power of Caslon.There are those who believe that the Caslon font family is a predictable choice: “I am not a great enthusiast over Caslon. It is at most a safe type for general use and moderately picturesque” (Rogers).

William Caslon passed away in 1766, and with his death his font family fell out of style. Yet almost a hundred years later his font has undergone a revival, most recently seen in the Adobe Caslon typeface. Caslon continues to be a readable functional choice for any printed material.

Works Cited

“Nicolas Jenson – Wikipedia, the free encyclopedia.” Wikipedia, the free encyclopedia. N.p., n.d. Web. 28 Dec. 2009.

“Adobe Caslon.” My Fonts. N.p., n.d. Web. 28 Dec. 2009.

Bigelow, Charles. “Email.” N/A. N/A. Gmail, Utica, NY. 21 Dec. 2009. Web.

Boston Magazine. “Issue Archive – Boston Magazine.” Boston Magazine – Boston’s Guide to Restaurants, Shopping, Nightlife, Arts & Entertainment and Culture. – Boston Magazine. N.p., n.d. Web. 28 Dec. 2009.

“Caslon – Wikipedia, the free encyclopedia.” Wikipedia, the free encyclopedia. N.p., n.d. Web. 28 Dec. 2009.

“Caslon 1776.” Internet Archive: Wayback Machine. N.p., n.d. Web. 28 Dec. 2009.

Christensen, Thomas . “Typeface: Caslon.” Rightreading.com, Presented by Thomas Christensen. N.p., n.d. Web. 28 Dec. 2009.

“Families of Type.” SFCC Graphic Design. N.p., n.d. Web. 28 Dec. 2009.

Gretchen, Smelter. “Boston Pops: A Conversation with Patrick Mitchell – Grids – SPD.ORG – Grids.” SPD.ORG. N.p., n.d. Web. 28 Dec. 2009.

“Identifont – ITC Caslon 224.” Identifont – Identify fonts by appearance, find fonts by name. N.p., n.d. Web. 28 Dec. 2009.

“Identifont – Nicolas Jenson.” Identifont – Identify fonts by appearance, find fonts by name. N.p., n.d. Web. 28 Dec. 2009.

“Identifont – William Caslon.” Identifont – Identify fonts by appearance, find fonts by name. N.p., n.d. Web. 28 Dec. 2009.

“The Dutch Font Scene.” Carleton. N.p., n.d. Web. 22 Dec. 2009.

“Type, Typography and Fonts.” Graphic Design & Publishing Center. N.p., n.d. Web. 28 Dec. 2009.

“Typographic Collaboration | Typophile.” Typographic Collaboration | Typophile. N.p., n.d. Web. 28 Dec. 2009.

US Goverment. “Declaration of Independence.” ushistory.org. N.p., n.d. Web. 28 Dec. 2009.