COLOR REPRODUCTION AND PRINTING TECHNOLOGY


  1. 431.Bann, David and John Gargan. How to Check and Correct Color Proofs.

Cincinnati: North Light, 1990. 144 pp. Index, B/W illus., color illus.

ISBN 0-89134-350-4. 

    The superb color and design of this practical reference printed in the

Orient is the work of Quarto Publications in London. At the book’s

beginning the reader is introduced to the basic facts and numerous

technicalities of proof-checking four color printing: sending material to the

color house, originals for reproduction, reproduction techniques, and

printing processes. Another section explains and demonstrates in great

detail all about proofs, the different methods of proofing, and the work of

the color separation house. Then the intricacies of the step-by-step process

of checking proofs are revealed through colored plates, diagrams, and

explanations on every page. Many examples of what can go wrong and

how to make color corrections are shown. The availability of this work and

its use as a handy color proofing guide should enable designers to achieve

much better results and, ultimately, to set higher standards for color

printing.


  1. 432.Cardamone, Tom. Mechanical Color Separation Skills for the

Commercial Artist. New York: Van Nostrand Reinhold, 1980. 128 pp.

Index, B/W illus., color illus. ISBN 0-442-21486-3.

    The specialized vocabulary and complex procedures used in the graphic

arts industry to print in color are explained by an experienced “commercial

artist.” He emphasizes the technology of color printing and excludes any

discussion of the nature of color. The book clearly explains and illustrates

line and halftone plates, screen tints, process color separation,mechanical

color separation, overlay versus keyline, and line and halftone combinations.

The author’s helpful illustrations and concise text provide a good introduction

to the field of color printing for the art student or recent graduate.


433. Dennis, Ervin A. Lithographic Technology. Indianapolis: Bobbs-

Merrill, 1980. 509 pp. index, B/W illus, color illus, ISBN 0-672-97164-X.

    This text covers all aspects of graphic arts production. Lithographic

printing is examined in 12 sections, each with numerous neat instructional

units that conclude with a list of new terms, activities and assignments for

students, and references for further reading. Three units in the design

section introduce form and space, design principles, and color for

designing. Light and color quality, proximity of colors, colored printing

inks, and subtractive color principles are described and illustrated. The

eight units in the color section cover color theory and practice, process

color, mechanical color, color separations, color proofing, and the influence

of paper on color printing. The clear writing and excellent organization

make this information-packed book a good introduction to the field for

graphic designers or for instructors seeking other viewpoints. The

discussions of color are well supported by excellent full-page color plates

and diagrams.


434. Eckstein, Helene W. Color In The 21st Century: A Practical Guide for

Graphic Designers, Photographers, Printers, Separators, and Anyone

Involved in Color Printing. New York: Watson-Guptill, 1991. Index,

B/W illus., color illus. ISBN 0-8230-0743-X.

    This practical guide to recent color reproduction technology briefly

introduces color as light, the visible spectrum, additive primaries, and

subtractive primaries. Much more in-depth treatment is given to a

comparison of ideal and typical ink colors, the deficiencies of printing inks,

and color correction in the printing process. Curiously, a 12 hue circle is

used to illustrate the discussion of a ten section color wheel; and in the brief

discussion of subjective color the “adjacency effect” is used to describe

what is universally called “simultaneous contrast.” Other topics include

printing in color, saving money in color printing, evaluating color proofs,

printing a four color job, and desktop computers and color production.


435. Hickethier, Alfred. Color Mixing by Numbers. New York: Van

Nostrand Reinhold, 1970. 40 pp. B/W illus., color illus. ISBN 0-442-

11386-2.

    This is an elementary explanation of the Hickethier color

classification system and practical method for mixing inks, dyes, and

pigments, first introduced in 1940. Yellow, process red or magenta, and

process blue or cyan are the primaries in his 18-hue color circle. Hue,

saturation (or hue mixed with white), and darkness (or hue mixed with

black) are the basis for the three dimensions of color in this system. By

strategically placing the primary and secondary hues and black and white at

the comers of the Hickthier color cube, the orderly gradation of intervening

of hues and values results in 1,000 colors identified with a three-number

code that specifies the location of a color within the cube, and also serves as

the formula for mixing the color. The text briefly reviews the development

of color classification systems and also discusses simultaneous contrast and

complementary contrast. This spiral-bound book comes with sheets of pre-

cut colored discs that must be detached and pasted to coded diagrams in the

body of the text. Although this is the primary source, readers wanting more

detailed information on the Hickethier system will want to consult

DeGrandis’s Theory and Use of Color.


436. Kueppers, Harald. Color Atlas: A Practical Guide for Color

Mixing. Translated by Roger Marcinik. Woodbury, NY: Barron, 1982.

170 pp. Index, color illus. ISBN 0-8120-2172-X.

    This translation of a 1978 German edition is presented by the author

as an affordable and practical reference tool for specifying color for the

printing industry. It consists mainly of charts that feature 46 screen tint

combination grids that show 5,500 colors, with and without black,

organized into a handy atlas with CYMK percentages that can be matched

by printers. Explanations of the rationale for developing this model of color

organization and brief descriptions of the relative color mixing technologies

of color photography, color commercial printing, and color television are

included. The reader seeking more theoretical discussions of color may use

Kuepper’s Basic Law of Color Theory as a supplement.


437. Letouzey, Victor. Colour and Colour Measurement in the Graphic

Industries. Translated by V.G.W. Harrison. London: Pitman, 1957. 62

pp. Bibl., B/W illus., color illus.

    Translated from the French, this is a concise presentation of color

for printing from a technical viewpoint. Sections cover color measurement

in the graphic arts, mutual influences of adjacent colors, and mechanics of

absorption. The 53 illustrations, many in color, present the information in a

straightforward and graphic manner and make the basic principles of color

printing intelligible to students of art and design.


438. Simon, Hilda. Color Reproduction: Theory and Techniques for Artists

and Designers. New York: Viking, 1980. 128 pp. Index, B/W illus.,

color illus. ISBN 0-670-22999-7.

    Writing for fellow artists and designers, Simon’s discussion of

color theory and explanations of additive and subtractive color mixing are

easy to follow. She describes the process of mechanical reproduction of

color using various printing methods. The illustrations, which include

examples from her own works, add to the book’s usefulness. The chapter

on color separation for four-color artwork is especially informative.


439. Sipley, Louis Walton. A Half Century of Color. New York: Macmillan,

1951. 216 pp. B/W illus., color illus.

    The author’s history of the development of color photography and

full-color photolithography relies heavily on archival materials he had access

to as director of the American Museum of Photography. This highly

detailed history tells the story of discoveries on two continents by

pioneering scientists, inventors, printers, photographers, and other color

workers. Their contributions, machines, processes, and even their portraits

are shown, along with many of their masterpieces, often printed from the

original color separations on different  papers. Comparisons of the Ostwald

and Munsell systems, explanations of the then new methods of xerography

and electronic color scanning, and a pictorial survey of an exhibition at his

museum that also celebrates A Half Century of Color complete this book.

While this fascinating and encyclopedic book offers an amazingly

comprehensive account by a well informed specialist, the lack of an index

and references may prove a barrier to some users.


  1. 440.Southworth, Miles. Pocket Guide to Color Reproduction:

Communication and Control. Livonia, NY: Graphic Arts Publishing, 1979.

109 pp. Index, glossary, B/W illus., color illus. ISBN 0-933600-01-1.

    Southworth, who teaches color printing technology at the Rochester

Institute of Technology, has created a concise color reproduction guide that

literally fits into a shirt pocket. His book covers many aspects of color

reproduction: basic additive and subtractive color theory, color

reproduction, standard viewing conditions, choosing and evaluating

transparencies for reproduction, color separation processes, color proofing,

limitations of the printing process, and correcting printing problems. The

color plates show details not always found in much longer guides to color

printing. This definitive and concise reference book is highly recommended

to graphic artists. The book’s systematic introduction of the color printing

vocabulary in a 29-page glossary makes it especially useful for students or

other novices.




CLICK FOR NEXT PAGE