1. Adjectives:

   previous

   -

   предыдущий, предшествующий

2. Nouns and word combinations:

   rule of unity	-	правилоединства
   strict rule	-	строгоеправило
   opening sentence	-	начальное предложение
   concluding sentence	-	заключительное предложение
   complex sentence	-	сложно-подчиненное предложение
   clause	-	придаточное предложение
   principal clause	-	главное предложение
   subordinate clause	-	придаточное предложение
   unity of purpose	-	единство цели
   paragraph	-	абзац
   theme	-	тема
   syn. subject	-	основная мысль
   arrangement	-	размещение, расположение
   syn. distribution	-	краткий комментарий (замечание) по...
   brief comment on	-	заключение, окончание
   conclusion	-	правило единства

3. Verbs and combinations with them:

to arrest the reader's attention	-	привлечь внимание читателя
to deal with	-	иметь дело с ..., разбирать, излагать
to drive a point home	-	довести что-либо до сознания читателя
to embody	-	воплощать в себе
to go beyond	-	выходить за рамки излагаемой темы;
the scope of theme	-	«растекаться мыслью по древу»
to keep in suspense	-	держать в напряжении
to lead up to the theme by degrees	-	подводить к основной мысли постепенно
to sum- up smth	-	дать резюме, подытожить

II. Read the following text. It will provide you with a strategy for working out the topic or theme of the paragraphs in articles you are to summarise.

STRUCTURE OF PARAGRAPH

Theme of Paragraph. A paragraph consists of a series of sentences all explaining some main fact, and connected with one another in various ways by unity of purpose. The main fact thus explained, illustrated, or commented on, is called the theme.

Unity of Paragraph.

The paragraph deals with one subject at a time. The unity of paragraph is or ought to be protected by the theme; for the paragraph ought not to go beyond what the scope of the theme allows. The sentence embodying the theme holds the same kind of relation to the other sentences of the paragraph, that the principal clause of a complex sentence holds to the subordinate clause.

Positions of the Theme. There is no strict rule as to what the position of the theme should be: it might be at the beginning of the paragraph, or somewhere in the middle, or at the close. A theme given in the first sentence can be repeated in other words in the last or elsewhere, if such repetition is found useful for driving a point home, or for summing up what has gone before, or for any other purpose.

The beginning of the paragraph is the most natural position for the theme, and this positions is more commonly assigned than any other. The opening sentence, standing as it does at the head of all the rest, is the first to arrest the reader's attention.

Sometimes the theme is not given till towards the middle or even at the close of the paragraph. In this case the previous sentences are merely preparatory, leading up to the theme by degrees. Several purposes may be served by this arrangement. The intention of the writer may be to keep the reader's interest in suspense, or it may be his desire to lead the reader's mind by degrees to some conclusion, the full force of which could not have been understood without some preparatory stages.

The Concluding Sentence. It has already been said that the opening sentence is the most natural position for the theme; and that what is stated in the opening sentence is sometimes restated in other words in the concluding sentence. Even when no such restatement is made, it adds to the energy of the paragraph if the concluding sentence is made to contain some brief comment on what has gone before - or a summing up of the paragraph as a whole - or something that will make the reader feel that the paragraph is closed.

III. Copy out of the Text the equivalents of the following word combinations.

Model 1. Noun + Prep. Attr.

e.g. unity + of purpose - единство цели

1. структура абзаца

2. положение темы

3. тема абзаца

4. намерение автора

Model 2. Noun + Part. I

e.g. the sentence + embodying the theme

- предложение, воплощающее тему

1. предложение, подводящее к теме постепенно

2. первое предложение, стоящее во главе

3. предложения, объясняющие основной факт

Model 3. Verb + Direct Object

e.g. to keep + the reader's interest

- удерживать интерес читателя

1. захватить внимание читателя

2. содержать какие-нибудь краткие комментарии по ...

3. объяснить кому-нибудь основной факт

4. вести сознание читателя

Model 4. Verb + Prep. Object

e.g. to deal + with one subject at a time

- иметь дело только с одной темой

1. состоять из серии предложений

2. подводить к основной мысли

3. усиливать впечатление (от абзаца)

IV. Use suffixes:

-ty; -tion; -sion; -ment to form Nouns out of the following Verbs; to state; to compose; to conclude; to relate; to unite, to repeat; to intend; to arrange; to permit; to explain; to protect;

-ly to form Adverbs out of the following Adjectives:

close, certain, natural, practical, common.

Give Russian equivalents for the newly formed words.

V. Answer the following questions:

1. What is a paragraph and what does it consist of?

2. What do the sentences contained in the paragraph explain?

3. What is "the theme" of the paragraph?

4. What does the unity of a paragraph mean?

5. What should the unity of paragraph be protected by?

6. In what relation should the sentence embodying the theme stand to other sentences?

7. Is there any strict rule as to the position of the theme in a paragraph?

8. For what reasons can the theme be repeated in the last sentence or elsewhere?

9. What are the reasons for putting the theme at the beginning of a paragraph?

10. Give your reasons why the theme can be put at the close of the paragraph?

11. What is the role of the concluding sentence?

(After Viren C. a visitor from India)

I. Read the text and find answers to the following questions;

1. What was the purpose of V.C.'s visit to Moscow?

2. What publishing houses did he visit?

3. Why is there little colour in our newspapers?

4. Are printing establishments government owned or privatised?

5. What machines run at the Krasny Proletary printing house?

6. What can the company export?

The flight from Frankfurt took a little over three hours to reach Moscow airport. It was a great relief to see that three senior members of the Moscow State University of Printing were present to welcome me.

The drive to the city was pleasant. After over an hour's drive around Moscow I was taken to the University's guest house, situated in a multistory building. The flat was comfortable with all the usual facilities including a TVset, a fridge well-stocked with food and other necessities.

My programme during the five-day visit included among other things visits to some of the leading printing and publishing houses in and around Moscow.

The Editor-in-Chief of Moscovsky Komsomolets told me that while the circulation of other papers, such as Pravda and Izvestia, was falling, the circulation of their paper had increased to 1.5 million copies daily. Even though the printing establishment is owned by the government, the Editor is critical of the government and the administrative policies and supports local industry.

The publishing house brings out several other publications besides Moscovsky Komsomolets. There is very little colour in the paper, but the Editor is confident that colour is very much a thing of the future and the use of it will 'certainly increase with the growth of advertising.

The Director of Moscovskaya Pravda printing house told me that the majority of small print shops had been privatised. Now, there are only five or seven large establishments, employing about 1,000 people each, that are government-owned. The Moscovskaya Pravda printing house prints six dailies including the Evening Moscow paper, several weeklies and periodicals. It consumes over 150 tonnes of newsprint every day, with a total circulation of 5 million copies.

Another interesting visit was a tour of the 125-year-old printing house, Krasny Proletary, specialising in printing books and magazines and currently printing 110,000 books every day as well as nearly 300,000 brochures, paper-backs, calendars, albums, etc. Over 1,000 workers in two shifts run both letterpress and offset machines. The machines were mostly imported from Germany. A battery of Planeta, two-colour and five-colour Heidelberg presses produce high guality work. Web offset presses for printing black and white books are now locally made; automatic computerised type-setting has replaced hot metal, banned for environmental reasons.

The company would be glad to cooperate with Indian publishers for printing textbooks and general books for export to African and other neighbouring countries. The cost of Russian paper is lower than in India. Russian publishers import superior quality art paper mostly from Finland.

(to be continued)

II. Write the plan of th

I. Read the text and think of its title.

The Moscow State University of Printing Arts, established in 1930, is the largest institution of its kind in Russia, with nearly 6,000 students on its roll. With 35 departments and more than 400 professors, readers and lecturers, the University could well be the biggest printing institute in the world.

The University is strong in the academic sphere and considerable stress is given to theoretical grounding, especially in the degree and post -graduate courses.

The University has large laboratories and machine and binding shops for practical training of the students. Computers have been introduced and their use is increasing. For generating much-needed funds the Rector has embarked on several innovative schemes with the dual objective of improving the financial status of the University as well as developing training facilities in the Institute.

Rank Xerox has set up a large training centre for their customers in the premises for which they pay rent to the University and also extend training facilities to the students. A separate section, called Pronto Print, with a high-speed newspaper rotary press has been installed almost exclusively for printing a commercial daily newspaper. The University also runs a commercial publishing house called The World of Books.

Close cooperation exists between the University and key research institutions. The University entered into an agreement of a fruitful cooperation with Bergische University, Wuppertal, Germany.

The Rector told me that he looked forward to cooperation between Russia and India in all fields covering the printing industry.

The printing and publishing industry in the Russian Federation is currently in a state of flux. The majority of medium and large presses are government-owned. Privatisation is under active way. The government tries to hold more than 51 per cent shares in about 50 printing and publishing establishments and another group of graphic firms will be totally privatised. The government is exercising general supervision to ensure that such firms continue as printing establishments and do not sell their property.

Since German unification, a major source for the supply of machinery has dried up. Most of the plants have been taken over by major German companies, resulting in substantial increase in prices. Like India, Russia is a very good market for medium and low cost printing machinery, PS plates, inks, etc, which are mostly imported from abroad. Indian printers and manufacturers set up new ventures in various fields, including production of low-cost textbooks and general books for export to emerging markets, particularly in Africa.

II. Answer the following questions:

1. What can you say about the Moscow State University of Printing?

2. What do the University authorities do to raise much-needed funds?

3. What does the visitor mean when he says that the Russian Federation is currently in a state of flux?

4. What products for printing houses are imported to Russia and India?

III. Write the plan of the article.

I. Read the article and suggest the title for it. When reading it, make brief notes.

Communication and information have taken on a completely new value in world trade. "Total digital" is the motto, not only for pre-press but for its customers.

More and more customers of the pre-press industry are moving back along the chain of production: creative people are entering the digital network and photographers are taking on colour retouching.

Electronic publishing, multimedia and home computing, while offering opportunities for publishers, printers and pre-press firms, also represent a threat which must be taken seriously.

The traditional markets of the pre-press industry are breaking up. The new markets will determine the technology to be used. They call for new forms of organization and a new way of cooperating with the customer.

As business people in general and pre-press specialists in particular, we find ourselves in an environment of great economic and political change. Without wishing to be unduly pessimistic, our future can only be described as characterized by uncertainty. Never before has our industry been faced with such an insecure situation. The economic crisis, whose end is not yet in sight for most western countries, is complicated still further by technological transformation. This has led to a whole range of problems which are unprecedented in such an acute form.

In these times of economic difficulty, accompanied by the continuation of rapid technical, economic and social change in Europe, an international exchange of views between repro companies becomes important and valuable.

The comming Eurepro Congress will be one of most important international pre-press events of the year. In a total of 12 papers to be read at the technical, business and social sessions of the Congress, specialist speakers will define new developments and give their views on how to approach them.

It will be an excellent venue for our exchange of views, which will contribute to finding a way to the solution of our problems.

(From the message of the President of Eurepro)

II. Answer the following questions:

1. What is the motto of the pre-press industry?

2. Whom does "total digitalizing" represent a threat and why?

3. How does the author characterize to-day's economic and political situation in Europe?

4. How can a way be found to the solution of the problems in the pre-press industry?

TEXT VI. LARGE-FORMAT RAPIDA A BIG HIT

I. Read the article. As you read it, make brief notes.

LARGE-FORMAT RAPIDA A BIG HIT

The new large-format Rapida series is proving a big hit with packaging, jobbing and book printers. Over 25 presses totalling more than 150 printing units were sold within the first twelve months of its launching.

The most popular choice so far has been the Rapida 142 (sheet size 102 x 142 cm/40 x 56 in).

The prime markets for these high-automation Rapida giants are the USA, France, Italy and Germany. Further sales have been made in Denmark, Norway, Sweden, South Africa and Spain. Interest has also been high in other countries.

One Rapida 142 is now in daily operation and has expanded print capacity by 40% at book printer Pollina in France.

Founded by Paul Pollina in 1968, the company specialises in the production of high-quality books, most of them in four colours. They include illustrated and photographic volumes, children's books for well-known publishers and catalogues for a number of French museums. A smaller volume of folding cartons is also printed.

The majority of Pollina's 15 sheetfed offset presses - most of them for large formats - were supplied by Planeta. With electronic prepress plus stitching, binding, trimming and folding stations there is enough capacity for a daily output of 200,000 saddles-titched products or 60,000 hardback books.

Asked what prompted the company to invest in a Rapida 142, Pollina gives two reasons: the dramatic cut in set-ups through extensive automation and the high print quality through superb engineering.

For Paul Pollina the most useful automation feature on his new press is the fully automatic plate changing. "Changing plates on all five printing units takes just seven minutes. On our older models setting up for a new job took 60 to 90 minutes, as opposed to just 15 minutes on the new Rapida". Pollina is one of the first print-shops in France to operate an electronic computer-to-film system.

Set-up times have been slashed by 75%, thanks not only to automatic plate changing but also to many other automation features available with Planeta's new large-format generation. These include a new multiple washing unit for plate, blanket and impression cylinders. As Pollina explains, "We wash during pile changes, i.e. after approximately 6,000 sheets. A washing cycle takes a mere two minutes and eliminates the need for manual cleaning of the less accessible impression cylinders. After plate changes the used printing plates are clean when they leave the unit and can be removed straight away".

In addition the Rapida 142 at Pollina has presetting systems for ink keys (via plate scanner), remote adjustment of ink keys, circumferential, lateral and diagonal register, and centralised setting of sheet size and stock thickness from the ERGOTRONIC console. Feeder and delivery have non-stop facilities.

The press is configured with a fifth printing unit to reduce setup times still further. Approximately 12% of all jobs are printed in French plus one or more foreign languages. The fifth printing unit is fitted with the plate for the foreign language so that the four other printing units can remain set up as they are when production is switched to the foreign-language run.

The fifth printing unit also increases versatility, since it can be used for spot colour and the dampening coating unit can be used for varnishing when packaging is being printed. But the exceptional versatility of the Rapida 142 is demonstrated most effectively when printing on different substrates. The press prints substrates from 80 to 120 gsm with no loss of print quality.

II. Find answers to the following questions:

1. What production are large-format Rapidas intended for?

2. What are the prime markets for these giants?

3. Why did book printer Pollina in France buy a Rapida 142?

4. What are the advantages of the new Rapida?

5. What is the fifth unit used for?

6. What increase in productivity and capacity has the Rapida 142 brought?

TEXT VII. ECO-LABELLING

I. Read the article. Answer the question: What do you think "eco-labelling" is?

ECO-LABELLING

The European Union (the EU) is full of good ideas. Eco-labelling is one such idea. Designed to give the consumer sufficient information to choose products which are environmentally sound, eco-labelling was supposed to apply criteria which look at the full life-cycle of a product.

When the work on paper products started, it became clear very quickly that some member states had difficulties in understanding this approach.

Some representatives suggested that only paper products produced from low category wastepaper should be allowed to get an eco-label. They had no interest in studying the wider environmental impact of paper production. Although industry representatives managed to convince most member states that a more objective analysis was needed, preconceived views of what was "acceptable" to consumers won out in the end. The result is a set of environmental criteria in favour of recycled products.

Some administrators of the eco-labelling scheme went as far as to say that it was unacceptable that a tissue product containing virgin fibre could get the eco-label. Farewell sound science, good bye, objective analysis!

To say that "Recycled fibres are good and virgin fibres are bad" is not only ignorant but bad for the environment. It also distorts production and trading patterns in northern and central Europe. Or is the EU proposing to shut down the Finnish and Swedish pulp and paper industries and feed the population on handouts and subsidies alone?

II. Answer the following questions.

1. What is eco-labelling designed for?

2. What difficulties did the EU face when working on environmental criteria?

3. What did industry representatives demand?

4. Why does the author come to the conclusion that the EU is proposing to shut down the Finnish and Swedish pulp and paper industries?

III. Write the plan of the article.

TEXT VIII. THE WORLD'S FASTEST NEWSPAPER

I. Read the article. When reading it, make notes.

THE WORLD'S FASTEST NEWSPAPER

The Inter City Express (ICE) glides smoothly out of the main railroad station. The head conductor gazes at a small monitor. Recently she was made responsible for printing, folding and distributing a newspaper, in addition to checking tickets.

The members' of the small editorial team on the other end of the transmission are busily putting together the latest edition of the ICE-press, the world's fastest newspaper. As soon as the articles have been finished and laid out, the data is relayed to ICE trains all across Germany.

The ICE-press is printed in the train and handed out to the first-class passengers.

The computer starts working "Receiving data" flashes on-screen. Suddenly the compartment - comprising barely 45 square feet of space - in transformed into Germany's smallest printing shop. The laser printer labors quietly in its corner; a specially-built metal framework keeps it steady when the train travels around tight curves. Slowly, it disgorges the first pages of the newspaper.

This joint product of the Spiegel press and German Rail appears every day. Production of the ICE-press is completely digital, and the procedure is elaborate but relatively simple. Shortly after the contents of the newspaper are ready, its four pages are transmitted to a central server at IBM in Heidelberg.

From there, German Rail relays the data by radio to its high speed trains, where the information is processed by the head conductor's PC. Printing can now begin.

Before launching this project, German Rail organized a competition for new ideas. Der Spiegel beat all competitors with an astonishingly simple trick that enables production of a newspaper with an appealing layout. The contents are printed onto pre-produced sheets that already contain the header, weather map, ads and column borders in color. All that's missing is the news itself, which arrives by radio and is printed in black.

The railway newspaper was Der Spiegel executive Degler's brainchild, and he has a lot of other innovative ideas in store. For example, he says, digital printers could be located everywhere - in front of every sports stadium, in supermarkets. The contents of conventional newspapers usually have to be printed first and then distributed, but in future it could be exactly the other way around: the information would first be distributed electronically, then printed locally. Digitization makes it all possible.

The ICE-press is only the beginning. But in order for the idea to really pan out, digital printers have to get quicker, cheaper and more efficient. Right now the laser printer used in the ICE trains only churns out a few copies per minute. That isn't nearly fast enough to supply a stadium full of fans, notes Degler. "But who knows what will be possible in five years?" he says. Degler envisions an entirely new style of newspaper - one You'll print yourself - right in your bedroom, if need be.

A color printer could even be included in the subscription', continues Degler. "Then you'd get your own, personalized newspaper delivered on the spot". Sports fans would receive greater detail on athletic events, investors more financial news. Degler calls this "on-demand printing" - in other words, printing only what the customer wants.

Other newspapers are also trying to attract customers with special editions distributed by unusual channels. For example, stock-market news is transmitted by fax or radio. The paper goes to press at 3 a.m., after Wall Street closes and the Tokyo Stock Exchange opens for business.

Every week, new trains are equipped and more conductors trained to distribute the newspaper. Advertising space in the paper is sold out months in advance.

ICE passengers say "It's a nice service, but is no replacement for a normal daily newspaper, four pages of politics, sports, business and cultural news aren't enough, but it's a worthwhile project because the paper is very up to date".

II. Find answers to the following questions:

1. What do the letters ICE stand for?

2. What is the head conductor responsible for?

3. Where is the ICE-press prepared?

4. Where is the ICE-press printed?

5. What is the head conductor's compartment equipped with?

6. What is the procedure of producing the ICE-press?

7. What trick makes a newspaper fast and its layout appealing?

8. What other ideas has the executive of Der Spiegel?

9. What are the ways of trasmitting news?

III. Write the plan of the article.

TEXT IX.

I. Read the article and suggest the title for it.

Every day, thousands of visitors stream past the glass pyramids designed by the Chinese-American architect I.M.Pei and into the most famous museum in the world, the Louvre in Paris. Inside this old palace, art enthusiasts can wonder at countless exhibits covering eight centuries of art. They respectfully admire the brush technique of Van Gogh, Renoir and Salvador Dali, the eclecticism of Andy Warhol, and the pop-art of Roy Lichtenstein.

What they may not suspect is that some of the paintings they are looking at are actually well-executed fakes.

But these are fakes that the curators of the Louvre know all about. Those in charge of the museum are not members of a well-organized band of smugglers operating worldwide: they only want their exhibits to look their best. Paintings must be restored from time to time, but rather than leaving a blank spot on the gallery wall, they are "secretly" switched in the night for reproductions - facsimiles produced on digital presses.

All over the world, museums are having their Old Masters reproduced digitally. As a result of this new technology, the large-format printing business is booming.

Digital printing is ideal for reproducing artwork, partly because it is so versatile: printing can be done on plastic, cloth or glass - whatever medium the artist originally chose. High-quality prints of these paintings are scanned, digitized and then printed by inkjet or airbrush printers on real canvasses. Of course, the copies do not correspond 100% to the originals. But since the painting are displayed behind glass anyway, an average member of the public, viewing it from a normal distance, will not notice the difference.

Works of art may even be replaced permanently by digital reproductions, because the theft and damage insurance premiums for some are so huge that the museum can no longer afford to display the originals. In the case of such works, a small sign indicates that they are legally displayed forgeries.

Digital printing technology is suitable for more than such exotic applications, however. In fact, digital technology opens up a wide range of new landscapes, particularly for outdoor advertising.

The process is also ideal for large scale advertising campaigns for department stores and museums. Large surfaces can only be processed with digital technology. Color inkjet printers can print more than 500 square feet per hour, so they can produce a 2000-square-foot surface area in only four hours. This is an enormous increase over the performance of classic screen-printing techniques.

Digitally-produced posters also last longer, without their color and brightness fading. Customers attach great importance to the ability of the printed plastic sheets, nets, and posters used for outdoor advertising to resist UV radiation.

The new digital-printing methods can be employed for both outdoor and indoor projects. Why not produce a large, 100-foot by 45-foot picture as a huge map that people can walk on? Advertising pictures produced on cloth are used with success at various trade shows.

Since floors (and even carpets up to a fifth of an inch thick) can now be digitally printed, the process is growing in importance at trade shows. The car maker BMW, for example, astonished visitors to the International Automobile Salon in Geneva with four printed-glass walls that were 11 feet high, 46 feet wide, and four-tenths of an inch thick. But the real show-stopper was that the pictures were transparent.

A special digital process for printing on glass in order to obtain the transparent effect for BMW, was developed. First the motifs were digitally printed on transparent, scratchproof plastic sheets. These, in turn, were laminated onto the glass panes. A second glass wall with a milky finish covered with a blank, mother-of-pearl transparency was then positioned at a distance of four inches behind the imaged glass wall. This way, the impression was created that the glass wall was lit from within. The motifs acquired a transparent, light-filled depth.

II. Find answers to the following questions:

1. Why is it necessary from time to time to replace works of art by reproductions?

2. What technology is used for producing facsimiles?

3. What other applications is large-format digital printing suitable for?

4. What materials can digital printing be done on?

5. What are the advantages of the new digital-printing methods?

III. Write the plan of the article.

TEXT XI.

I. Read through the article. What title would you suggest for the article?

As competition between prepress houses is getting tougher and printers increasingly add their own prepress departments, prepress for the packaging sector provides a valuable market niche. A software specialist offers an interesting system for this market segment.

The German based software company Dalim has further developed their Bolero System, intorduced three years ago, to cater to the demands of packaging printers as well as to those of mainstream repro houses.

The success of this strategy is shown by the long list of customers all over the world. One of the major ones in North American Color, who extended their installation recently to eight work stations equipped with Bolero. North American Color serves large corporations such as Kellogg's and publishers such as Time Life Books and works on packaging and advertising accounts for a number of well known advertising agencies.

One of the most important functions offered is the CMYK++ colourspace structure which allows for up to 64 additional separations per file. Spot colour, varnishing plates and colour substitution for a CMYK separation-eyen within a halftone image - are made very simple. This function is very much appreciated by customers such as Wall Rotoform in Austria, who supplies the majority of leading Austrian packaging manufacturers for the food and cigarette industries and who, in addition to their 125 year old printing works, owns a separate repro company. The firm, employing 650 people, installed two Bolero systems. Technical manager explained one of the most important functions: "In packaging design and production many special colours are used. The retouching and masking capabilities of Bolero are ideal as they enable us to mix process colours, Pantone and other special colours without difficulties, just as with a normal four colour separation".

One of the reasons that colour in packaging is often so difficult, is, that for the same product line different processes are used. The label may be printed in gravure and the folding box in flexo. It is therefore extremely important that the system software can recognize the calibration of the monitors for the different processes and to ensure at the same time that colours which are outside the printable colour range are recognized.

More and more graphic artists are delivering their packaging designs in digital form to the repro companies, who in turn increasingly have to verify that everything is in order. A particularly critical issue here is trapping - especially if rough or elastic substrates and sometimes imprecise printing processes come together. Dalim extended the repertoire of Bolero by an automatic trapping option. Continuous tone images, gradations, line work and type can be overfilled in every conceivable combination up to 64 colours.

As this is a vector based system, separate vector elements are created for the various areas, which remain totally editable. The large selection of trapping options includes e.g. trapping up to the centre line, overprinting and special geometric angles which can be applied to selected parts of the file or to the whole file. In packaging printing trapping combinations such as CT to CT, CT to gradation, gradation to gradation and CT to process colour are common, which with Bolero software presents no problem.

As often strong vibrant colours are used in packaging printing, trapping can lead to visible dark edges. The easiest way of solving this problem is to reduce density in the trapping area or to handle the trapping area as a gradation. Already existing originals, which are to be used again or originals created with a different program can be opened and if necessary corrected.

Apart from trapping there are other challenges in packaging printing. Often folding boxes and labels have to be produced in different languages or with regional copy variations. With Bolero all elements in a page can be separated and layered, which makes changing them very easy.

Dalim is entering new territory. The prepress industry has to be able to different hard- and software integration. This was the departure for the development of UFO-Software (Unified File Object), which offers an unrestricted access to data, regardless of hardware platforms or application programs. Data can be entered e.g. via a Mac, combined with data from a propriatorial system like Scitex or Crosfield and be outputted via another Dalim fileserver, called Toccata, directly on to the cylinder or the plate.

II. Answer the following questions:

1. What printing is the Bolero System intended for?

2. What are its major customers?

3. What is one of the most important functions offered?

4. Why is colour in packaging often difficult?

5. How does Bolero solve the problem?

6. How does Bolero solve the problems of trapping?

7. What are other challenges in packaging printing?

8. What new territory is Dalim entering?

9. What is the direction of future company strategy?

TEXT XIII. THROUGH ELECTROSTATIC TO THE SUBLIME

I. Read the article and while reading it make notes.

Digital printing - ink-jet, electrostatic, electrophotographic and thermal transfer - is going through a period of explosive growth.

Electrostatic technology is becoming a star performer in wide-format graphics printing. Some years ago, the process was limited to electrostatic plotting of engineering drawings, architectural plans and cartography. Falling costs of data processing and storage, coupled with the development of effective RIPs (Raster Image Processors), led electrostatic into short-run graphics for billboards, vehicle liveries and exhibitions. And almost overnight, graphics printing took over from plotting as the industry driver.

As a consequence, we have seen the launch of new liquid inks with high colour strength and outdoor durability, specialist transfer media to enable application onto vinyl and plastic, and electrostatic printers with faster output, higher resolution and improved consistency. The next break-through is the ability of this technology to transfer graphic images onto materials such as plastic, wood, ceramic tiles, ceramic table-ware, sports goods and a variety of fabrics for the textile industry, This will shorten the lengthy, costly prepress steps, will provide short-run advantages over current methods and will open up applications areas that have not yet been entered. Could we be about to see the start of distributed printing and proofing of customized fabric designs in the fashion industry?

Electrostatic output is ideal for many applications. The elimination of costs for film planning/output and screen or plate making means electrostatic is very cost-effective against screen printing or wide-format offset for short runs, up to 50 prints per day.

The latest electrostatic machines, with four-colour output exceeding 50 m² /hour, are selling faster than ever before, mainly to photoshops, repro shops, new digital print bureaux and entrepreneurs. And they are beginning to sell to screen printers, who can use them for new short-run and fast-turn-around business which was previously inaccessible.

Sublimation describes a change of state directly from a solid to a gas without the normal intervening liquid state. Examples of materials which sublime are naphthalene (moth-balls), camphor and some household air-fresheners.

Sublimation transfers can now be produced by electrostatic printing, simply by replacing the conventional ink in the machine with sublimation ink. There is no need for any special substrate, as normal 85 gsm electrostatic paper medium can be used. After printing, the printed transfers are either cut to size from the roll or used in a reel-to-reel heat transfer machine for textile decoration.

Next, the printed side of the paper medium is brought into contact with the receiver substrate under pressure and heat (typically 150-215°C). Under these conditions, the dyestuff in the ink sublimes and diffuses across and into the receiver layer, where it condenses. Because the sublimation dye has actually penetrated deep within the receiver layer, it is protected from physical or chemical attack and partly shielded from ambient UV radiation which would otherwise cause rapid degradation (bleaching) of the dyestuff. Unlike conventional electrostatic prints, there is no need for over-lamination.

The only requirement of the receiver substrate is that it incorporates a suitable medium for the dyestuff to diffuse into and condense; normally this is a polyester fibre or resin. Electrostatic printing is now able to break into a whole new arena of decoration opportunities.

II. Find answers to the following questions:

1. What printing does digital printing include?

2. What is printed by electrostatic?

3. What inks were developed for the process?

4. What materials can the technology transfer graphic images onto?

5. What advantages over current methods does the technology provide?

6. What is the output of the latest electrostatic machines?

7. Who are the buyers of the machines?

8. What is sublimation?

9. How can sublimation transfers be produced?

10. What is the only requirement of the receiver substrate?

III. Summarise the article from your notes.

TEXT XIV.

I. Read the article and suggest the title for it.

The first step in any waste reduction is to examine the conditions under which a press crew must operate. Only v j i m all of the negative conditions have been revealed can corrective action be taken.

Most of the problems are probably due to ineffective maintenance programmes. Solenoids stick, dampeners are out of balance, rollers not set, fountain solutions contaminated, fountain keys out of set, dampening curves incorrect, automatic systems inoperative ... Most of these conditions are long-si; Wing problems, ignored because the crew has learned to "'cope".

The quality of your ink has a direct relationship to waste. Most inks can be adjusted to match the proof, but the problems with non-compatible inks are that some take too long! Js clean up on startups, some emulsify with the least variation л ink/water balance; some have great pigment strength with low compatibility to water, others are weak and cannot tolerate any v: per imbalance; some dry too slowly and dirty up the press. This is only a partial list of problems that affect waste and are ignored because crews have learned to cope.

One of the critical factors with paper is the ability or inability to absorb changes in tension without web breaks. The real criteria for evaluating paper are the characteristics оf its printing surface. Basically, can that paper produce a quality reproduction? Every pressman can tell you which paper prints best, runs best, etc.

Standard procedures are the most critically ignored fundamentals in any pressroom. The pressman should follow proven methods.

Crew strength (manning) is a key issue. Crew sizes have a direct relationship to waste performance. In most newspapers and commercial work, 70 to 85 per cent of the total waste is run during makeready and start-up. Each start-up requires a number of standard adjustments. Let's say that ten adjustments are required for each printing unit. With a four-man crew running an eight-unit press, this could take 15 to 20 minutes, and during all that time the press is running! That is the problem: the leaner the crew, the longer the press runs to waste during start-up.

All industrial workers are in tune with what they feel is management support as opposed to managerial pressure. Obviously a manager must be trained to be supportive.

Whatever the negative conditions are, you must identify them. Continuing to allow negative factors to swell the amount of waste is intolerable in these days. But the most neglected factor is crew training.

You have already started the training by having that first waste reduction meeting of the press crew. You should hold the meetings every week until the negatives have been eliminated. By then you will have cut your waste by 25 per cent. Believe me!

II. Answers the following questions:

1. What is the first step in waste reduction?

2. What negative mechanical conditions of press lead to waste?

3. How can ink quality affect printing?

4. What are the real criteria for evaluating paper?

5. What should the pressman's attitude towards proven methods be?

6. What other factors lead to waste?

7. Why do you think crew training is the most neglected factor?

8. Do you think regular waste reduction meetings are the proper approach to the problem?

TEXT XV. AN EXCITING FUTURE BECKONS THE PRINTER

Joe Brim,

Chief Executive, Laserbureau Ltd

I. Read the article and when reading it make notes.

This Article is aimed mainly at printers who do not yet have prepress facilities in-house. I believe that if printers are not in the process of installing repro now, they will do so in the near future. These are the buyers of prepress equipment today. The whole industry of graphic design, repro and printing is merging. Naturally there will always be companies that specialize in a particular area, but the majority of successful printers, designers and repro houses will each provide a similarly full range of services to their clients.

I am a third-generation printer, and started up my own business in 1975 with Express Print, when the instant print concept was in its infancy. In 1979 I became one of the founders of Kall Kwik, an instant print franchise operation that was based mainly on my earlier experiences with Express Print.

One thing a printer must understand is that a customer does not specifically care about how his requested job is produced. The customer's main interest is service, quality and price - normally in that order of priority - and the secret of success is to always consider these requirements and to ensure that they are being met.

In 1986, when Kall Kwik had become a successful instant print centre, my colleagues and I recognized the quality and future potential of the Mac. To fully make use of this potential, good output was needed for quality - 300 dpi was not good enough - and so a Linotronic 300 was installed. This was the origin of Laserbureau. On the basis that other printers would need similar technologies, Laserbureau was established in 1987 as one of the first Post Script output service bureaux in the UK. Today it provides a complete range of services from creation and design to printing and finishing, using digital technologies in all aspects of business from design and production to data communications. It is now involved with digital repro, computer-to-plate, and "direct to" technologies operations.

In the early days, Laserbureau pioneered the service bureau concept. This was at the beginning of the desktop publishing revolution which has since so changed the industry. Today, prepress service has become the key to the profitable operation of a printing company, a fact that is now being recognized by many printers -as the trend to install prepress systems close to the presses clearly illustrates.

From early beginnings, where Laserbureau supplied output films to customers, the company has rapidly expanded its facilities to offer colour scanners, colour copiers, Macintoshes and ultimately printing machines. Today customers can dip into the organization for whichever particular service they require.

To be successful and profitable, Laserbureau has had to recognize changing technologies, react to them in a positive way and continue in the meantime to meet the challenging needs of its customers. To give one example of this, the use of Kodak Photo CD for repro purposes was pioneered by the company. I could not believe my eyes when I first saw the Kodak Photo CD system. The speed, quality and ease of use made it a perfect tool both for internal scanning needs and for outside customers. At Laserbureau, my colleagues and I buy the kit that is needed and then customers use any of the processes they require. Some want only film output, while others need proofs, Photo CD or drum scanner digital files. Laserbureau has a complete design, repro and printing production process but has found that it is better to share the initial cost by offering a bureau service.

A designer can bring in his originals and walk away with a CD disk containing high and low resolution versions of those originals which can then be used for page makeup and final film production. Laserbureau may never see that job again, but the company has provided the customer with the service needed and so fulfilled its objectives.

For the process itself, a fully efficient digital workflow is followed, where text is keyed in only once. Designers use the Macintosh to create their work directly on screen, and they have access to the best available and affordable technology. Thus full control is maintained over the design and subsequent production of printed work.

In 1990 Laserbureau installed the only five-colour Heidelberg GTO in the West End of London, to meet customers' growing needs for fast turnaround, good quality short-run colour printing (up to 10 000 copies). The key to success here lies with its prepress operation. Prepress operations are going to become increasingly important as the move continues towards providing multimedia solutions to customers. Whatever happens to the way in which information is presented to end users, a good design to present the material and to ensure maximum reader impact will always be needed. The prepress operation will survive to convert creative design concepts into a form ready for the ultimate output methods, whatever these methods are.

The QuickMaster DI was installed at the end of September 1996 and it went into full production immediately. A second shift is now running and a third will be introduced soon. The connection to the company's comprehensive prepress system was made without any major problems. With such a busy work-load, jobs are queued up waiting for printing as soon as the previous one has been completed by the QuickMaster. This streamlined workflow has been a tremendous asset to meeting customer demands.

Computers are used every day. It will only be a question of time before everything in the printing industry is fully digital - we are all in the business of communication, and now communication is undertaken by computers. This can range from a simple page of text, created on a PC and printed on a personal black and white inkjet printer, to a full colour glossy brochure printed in top offset quality.

Laserbureau's customers are interested in increasingly innovative ways to present their products, to an ever more competitive market-place. Laserbureau looks to assist them in every way possible in meeting these constant challenges. I have already mentioned Kodak Photo CD as a simple and inexpensive way to provide digital colour input; at the same time, Laserbureau has also developed a new service in archiving picture and image libraries. It is another indication of the advance of the new digital world. Not only will digital archives prolong the lifetime of millions of images, they will also make those images instantly available, colour separated and ready for publishing purposes in a variety of media.

The printing community can no longer afford to think just in terms of putting ink on paper. Already customers are beginning to use the Internet to promote products and disseminate information using World Wide Web (WWW) sites. The necessary skills must be developed for providing customers with the means of getting to the WWW as easily and as quickly as possible. The first step is to be able to provide the customer with a complete digital file of colour printed material so that it can be transmitted to the Website, and this needs creative design combined with an efficient prepress system. Perhaps a new term will evolve such as "digital pre-media" or "digital pre-publishing". Certainly the current prepress systems will have to develop to meet the demands for publishing information in new ways. Many printers have already started along that road by getting all the necessary ingredients - text, graphics and images - into a standard digitized form. Now the information must be able to be converted into a form which can be delivered on whatever new medium comes along and can help customers to satisfy any demands placed upon them.

The digital world is exciting and challenging, and offers many new opportunities. We printers have traditionally provided the collateral to communicate. We are communicators and to stay in business we must keep abreast of new, emerging technologies which threaten this role. We must be prepared to try out new, challenging technologies and test them in real-life production environments. The new world is beckoning. Let us ensure we are an integral part of it.