PKG3018 패키징인쇄학 Chapter 1. 인쇄와색채 서종철, Ph.D. 2018 년 2 학기 1 강의목차 1. 인쇄와색채 2. 인쇄방식의종류와특징 3. 제판기술의종류와특징 4. 인쇄기계와기구 오프셋인쇄기 그라비아인쇄 플렉소그래피인쇄기 스크린인쇄기 5. 인쇄재료-인쇄잉크 6. 인쇄재료-피인쇄체 7. 인쇄트러블현상및대책 8. 인쇄와주변기술의응용 플라스틱필름과시트 지기, 골판지, 금속캔, 유리등 2
주요인쇄공정 Prepress Platemaking ( 제판 ) Presswork ( 인쇄 ) Postpress 디자인기획 제판 인쇄 가공 제책 후가공 ( 엠보싱, 다이커팅 ) 최종원고 교정인쇄 인쇄판 3 패키징 ( 포장 ) 의주요기능 품질보호 / 보전 Silent Guardman 취급 / 사용편리성 Silent Helper 현대시장의새로운브랜드전략 패키징의주요기능 마케팅판매촉진 정보 / 상품성전달 Silent Salesman Silent Communicator $10,000 시대제품개발을통한차별화 $20,000 시대 : 디자인개발을통한차별화 $30,000 시대 : 패키징개발을통한차별화 유통합리성경제성 Silent Economizer 공익성 / 환경보호 Silent Environmental Friend 패키징의중요성증대!!! 4
[2016. 2 ~ 2018.2] [2017. 1 ~ 2018.2 [1997.11 ~ 2012. 2] [2003.11 ~ 2007. 8] [2018.2 ~ 현재 ] [2012. 2 ~ 2017. 2] [2017. 2 ~ 현재 ] [2007. 8 ~ 2014] [2014. 3 ~ 2015.12] [2015.12 ~ 현재 ] [2012. 10 ~ 현재 ] [ 오마이뉴스, 2014] 이날오전국회에서열린기자회견에참석한천호선정의당대표는 " 노란색은일하는사람이행복한경제, 보편적복지, 한반도평화를지향하는안전한색채로서삶의안정, 민생의안정, 국가의안녕을표현하는데적합하다 " 며 "( 노란색은 ) 한국사회를따뜻한복지국가로만드는것을상징한다 " 고말했다. 이어천대표는 " 노란색은한국정치에서변화에대한갈망을상징하는색 " 이라며 " 다원성을추구하는정의당의가치로낡은대립과대결로점철된양당독점체제를무너뜨려한국정치의변화 를가져오겠다는의지도담았다 " 고밝혔다.
색 (Color) 은단순히시각적인전달만이아니고감성적인감각과같은것이다. 21 세기는 기술과감성의시대 이며, 감성이상품구매의결정적요소로부각되고선진국의경제는고도감성소비문화와관련한산업에의해좌우되고있다. 따라서, 패키징에서는색 ( 채 ) 가갖는감성효과를상품이미지와결부시켜색채를효과적으로활용하는것이중요하며, 색을제대로구현하는것이필요하다. 색은포장의재료, 구조, 형태, 레터링등과함께조형상의주요요소가되고, 소비자들에게신속하게접근할수있는강력하면서도개성적인, 그리고시각적효과면에서가장강한감성적도구이다. 7 Red Color = Coca-Cola http://www.cocacola.co.kr/ 색과패키징전략 ; 현대는컬러시대 커뮤니케이션요소 8
9 롯데제과 : 빨강색제크크래커, 빼빼로, 꼬깔콘, 가나초콜릿, 마가렛트 해태제과 : 파랑색에이스, 초코틴틴, 포테이토칩, 칩스칩스, 덴티쿠 오리온 ( 동양제과 ): 검정색치토스, 썬칩, 고래밥, 초코칩쿠키, 베이직크래커 크라운제과 : 노랑색 색깔이미지 마켓팅전략 조리퐁, 콘칩, 땅콩카랴멜, 콘초코등 10
전자기스펙트럼 (Electromagnetic Spectrum) [ 파장의차이 = 빛색의차이 ] 11 전자기스펙트럼 (Electromagnetic Spectrum) 12
인간이물체의색을인지한다는것? Spectral Power Distribution Reflectance Spectrum 13 색 (Color) 색상 (hue) 명도 (brightness) 채도 (saturation) Color 인지 여러가지색상체계 RGB CMY YCbCr YIQ HSI *YCbCr : 영상시스템에서사용되는색공간 (Y: 휘도성분, Cb,Cr: 색차성분 ) *YIQ: 미국과한국컬러텔레비전의 NTSC 방식에쓰이는색공간 *HIS: 색상 ( 색도, Hue), 채도 (Saturation), 명도 (Brightness, Value) 의좌표를써서특정한색을지정하는 HSB(HSV) 유사 14
HSB 모델을설명하는먼셀식색입체 15 가시광선스펙트럼의색 (The colors of the visible light spectrum) Color Wavelength interval Frequency interval Red 700 ~ 635 nm 430 ~ 480 THz Orange 635 ~ 590 nm 480 ~ 510 THz Yellow 590 ~ 560 nm 510 ~ 540 THz Green 560 ~ 490 nm 540 ~ 610 THz Blue 490 ~ 450 nm 610 ~ 670 THz Violet 450 ~ 400 nm 670 ~ 750 THz 1.00 S M L 0.75 0.50 0.25 0.00 400 500 600 700 wavelength 16
색의혼합 (color mixing) 색의혼합 : 2개이상의색과색을혼합하여다른색을만드는것 가색혼합 (Additive Color Mixing): 혼합색의수가증가할수록밝아진다. 감색혼합 (Subtractive Color Mixing): 혼합색의수가증가할수록어두워진다 빛의삼원색 ( 가색혼합 ) 색의삼원색 ( 감색혼합 ) Additive color mixing Subtractive color mixing 17 Cyan 18
가색혼합 (Additive Color Mixing) Additive color mixtures were discovered in 1860 by Maxwell Used for mixing colors created by light. Video Cameras Computer Screens Television Lights Video Monitors K + R + G = Y K + G + B = C K + R + G + B = W K = Black K + B + R = M 19 3 원색 (three primary additive colors): Red (R), Green (G), Blue (B) Assuming a pure hue. Equal amounts of red and blue yields magenta. (R+B=Magenta (M)) Equal amounts of red and green yields yellow. (R+G=Yellow (Y) Equal amounts of blue and green yields cyan. (G+B=Cyan (C)) When all three overlap, they add up to white 20
LCD-TV 구조및색발현 21 감색혼합 (Subtractive Color Mixing) Subtractive color systems start with white light. Colored inks, paints or films placed between the viewer and the light source or reflective surface (such as white paper) subtract wavelengths from this white, and make a color. -color printing -photography -Painting -personal computer printers W + C [ = (R + G + B) R] = C W + M[ = (R + G + B) G] = M W + Y [ = (R + G + B) B] = Y W + C + M [ = (R + G + B) R - G] = B W + M + Y [ = (R + G + B) G - B] = R W + Y + C [ = (R + G + B) B - R] = G W + C + M + Y [ = (R + G + B) R G B] = K 22
Primaries Additive Color Secondaries Red Cyan = + Green Magenta = + Blue Yellow = + Primaries Subtractive Color Secondaries Cyan Red = + Magenta Green = + Yellow Blue = + 23 인쇄의색재 (Process color 4 원색잉크 ) Cyan, Magenta, Yellow, and Key (black). 7 원색시스템 ( 특히, 그라비어인쇄분야 ): process color 4 원색잉크 +Orange( 혹은 R-red), G(Green), V(Violet) 24
Process Inks 25 색견본차트 (Color Chart) 26
연습 : 가색혼합, 감색혼합 27 28
29 보색 ( 補色, Complementary Color) - 색상대비를이루는한쌍의색상을말하며, 색공간에따라달라진다. -RGB 가색혼합의경우두색의혼합결과가흰색이되는두색상의쌍을말하며, CMYK 감산혼합의경우두색의혼합이검정또는 어두운회보라 가되는두색상의쌍을말한다. - 가색혼합의보색관계는인쇄의색분해 (color separation) 에이용된다. - 인쇄잉크 (process ink) 는 color filter 처럼작용하는투명한물질로구성된다. G + B = C -R B + R = M -G R + G = Y -B B + G + R = W B M R B + G + R = W 이므로 C + R = W C = W - R M + G = W M = W G Y + B = W Y = W B C G Y 30
Color Filtering Yellow image controls blue light and has little effect on red and green 31 If white light shines on an ideal white surface, all color components are reflected, and the observer sees white. If white light shines on a black surface, all color components are absorbed, and the observer sees black. 32
Reflectance Cyan If white light shines on cyan printer s ink, the complementary color red is absorbed. The blue and green components are reflected and mixed to appear cyan. 33 Reflectance Magenta If white light shines on magenta printer s ink, the complementary color green is absorbed. The blue and red components are reflected and mixed to appear magenta. 34
Reflectance Yellow If white light shines on yellow printer s ink, the complementary color blue is absorbed. The green and red components are reflected and mixed to appear yellow. 35 When these four inks (collectively known as CMYK) are combined, they can produce millions of different colors. Below is an illustration of how changing the percentage (screen) of one ink can dramatically affect the color. Note that only Cyan, Magenta and Yellow are used below. Black, the fourth process ink, is used to darken the colors created by the other three process colors. 36
RGB color model An RGB image, along with its separate R, G and B components; Note that the white snow consists of strong red, green, and blue; the brown barn is composed of strong red and green with little blue; the dark green grass consists of strong green with little red or blue; and the light blue sky is composed of strong blue and moderately strong red and green. 37 CMYK color model Cyan, Magenta, Yellow, and Key (black). 38
Hue ( 색상 ), Saturation( 채도 ) and Value ( 명도 ) All colors and tones have an inherent hue, saturation, and value (HSV or HSB). Hue is the color being described, such as yellow, purple, or green. Saturation, also referred to as chroma, is the intensity or purity of the color. (For example, 100% red would be vivid red whereas 10% would be light pink.) [ 색의선명성정도 ] Value is the relative lightness or darkness of the color. Value is also used to describe tonal values that contain no hue. (Brightness) http://www.tu-harburg.de/rzt/tuinfo/periph/ drucker/color_reproduktion/ 39 HSV 에따라 RGB 로표현된색상 웹색상 H 값 HSB 좌표색이름 RGB 가산혼합 #FF0000 0 (0,100,100) 빨강 원색 #FF7F00 30 (30,100,100) 주황 빨강과라임의 3:1 혼합색 #FFFF00 60 (60,100,100) 노랑 빨강과라임의 1:1 혼합색 #80FF00 90 (90,100,100) 연두 빨강과라임의 1:3 혼합색 #00FF00 120 (120,100,100) 라임 원색 #00FF80 150 (150,100,100) 백록 라임과파랑의 3:1 혼합색 #00FFFF 180 (180,100,100) 시안 라임과파랑의 1:1 혼합색 #0080FF 210 (210,100,100) 바다색 라임과파랑의 1:3 혼합색 #0000FF 240 (240,100,100) 파랑 원색 #8000FF 270 (270,100,100) 보라파랑과빨강의 3:1 혼합색 #FF00FF 300 (300,100,100) 마젠타파랑과빨강의 1:1 혼합색 #FF007F 330 (330,100,100) 진분홍파랑과빨강의 1:3 혼합색 #FF0000 360 (360,100,100) 빨강원색 40
Saturation: This is the purity of a color. Unsaturated color contains other colors of less intensity Saturated Red: Reflection from a RED surface that reflects 100% of red but 0% of Green or Blue Unsaturated Red: Reflection from a RED surface that reflects 100% of red mixed with some Yellow 41 Metamers: colors that look the same but that arise from different intensity curves A yellow from a mixture of red and green A pure yellowa narrow band around 600nm 42
An equal mixture of red, green, and blue What is another metamer for white light? ( 참고 ) 백색 LED Lamp / LED TV 1. RGB LEDS (RGB LED) 2. Blue LED + Yellow phosphor (White LED) 43 Tone ( 농담, 濃淡 ) : 명도와채도를포함하는색의명암, 강약 ( 색조, 色調 ) The most dominant wavelengths of the visible spectrum are red, orange, yellow, green, blue, indigo, and violet. A good example is a rainbow. Tone is the lightness or darkness value of an image and is subjective as it relates to other values in the image. Consequently, the tonal range of an image is the transition from light to dark areas. Color is what we see and tone is what gives color its depth and form. Tone provides shape and definition to color objects. Tone would still have depth without color, as is the case with black and white photographs. As the tonal range of an imaging system increases, so does the number of tonal steps as well as image quality. When an image is moved from one device to another of lesser tonal range the tonal steps must be compressed. Tonal compression means that the image has fewer tonal steps and is actually loosing values of tone. A compressed tonal range will work fine if not compressed too far. Fewer tonal steps simply means less detail in the areas where compression has occurred. For example, where dark areas are compressed there are fewer tonal steps resulting in less detail. http://www.tu-harburg.de/rzt/tuinfo/periph/ drucker/color_reproduktion/ 44
Tone ( 농담, 濃淡 ) : 명도와채도의의미를포함 http://blog.naver.com/postview.nhn?blogid=bee2eed&logno=130166911198 45 Factors Affecting Color Perception ( 색지각 ) 1) Substrates (Paper, plastic films, ) Substrate affects the color reproduced by the CMYK printing process. => For example, coated papers will produce a wider range of colors than uncoated ones because the rough surface scatters the amount of light that bounces off the paper back to the viewer. 2) Viewing Conditions Different light sources affect the colors that you see. => For instance, a color viewed under fluorescent light will look radically different when viewed under incandescent light ( 백열등 ). Fluorescent light adds green to colors while incandescent light adds red. For this reason the printing industry developed a standard viewing condition known as the D50 (5000 Kelvin) light source in addition to a neutral gray background surround. This light source replicates daylight with equal parts of red, green, and blue. 46
색온도 (Color Temperature) -이상적인흑체 (Blackbody, 黑體 ) 가방출하는빛의색은플랑크의복사법칙에의해온도에의해서결정 -물체가가사광선을내며빛나고있을때, 그색이어떤온도의흑체가복사하는색과같이보일경우, 그흑체의온도와물체의온도가같다고보고그온도를물체의색온도라고지칭 -즉, 물체의색온도는같은색광의흑체의온도 ( 절대온도 K) 로표시 47 색온도 (Color Temperature) 48
색온도 (Color Temperature) 49 Color Space Color is extremely subjective and personal. To try to attribute numbers to the brains reaction to visual stimuli is very difficult. The aim of color spaces is to aid the process of describing color, either between people or between machines or programs. A color space is a method by which we can specify, create and visualize color. As humans, we may define a color by its attributes of brightness, hue and colorfulness. A computer may describe a color using the amounts of red, green and blue phosphor emission required to match a color. A printing press may produce a specific color in terms of the reflectance and absorbance of cyan, magenta, yellow and black inks on the printing paper. 50
51 색의표시색의 3속성 (three elements of color, three attributes of color) -KS A 0062( 색의 3속성에의한표시방법 ) 에규정 색상 ( 色相, H, Hue): 적, 황, 녹, 청자등의색을나타냄. 명도 ( 明度, V, Value, Lightness): 밝고어두움등색의밝기를나타냄. 채도 ( 彩度, C, Chroma, chromaticness, saturation): 깨끗하고탁함등색의선명도. 52
[ 색의 3 속성표시기호 : KS A 0062 예제 ] 유채색의기재방식 : H V/C 예 ) 5R 4/10 (5R, 4의 10), 7.5P 2.5/2.5 무채색의기재방식 : NV or NV(HC) 예 ) N8, N5.5(R0.3) 53 색의표시방법 1) 오스트발트색표시계 (P32, 33 참조 ) 유채색의 C+B+W 혼합량에따라표시 54
2) 먼셀색표시계 (Munsell Color System): Munsell Hue (H), Munsell Value (V), Munsell Chroma (C) 를이용하여등간격으로표면색을배열한표색계 Munsell Hue (H):100색상 10색상x10등분 Munsell Value (V):11개척도 0( 흑 ), 1,2,,10( 백 ) Munsell Chroma (C): C=0( 각명도의무채색 ) ~12 55 3)CIE 표색계와표시방법 - 국제조명위원회 (International Commission on Illumination (CIE)) 가채용한물리적측정법에바탕을둔 색표시표준법 -가색혼합의원리를응용 -X( 적색성분 ), Y( 녹색성분 ), Z( 청자색성분 ) 의혼합비율에따라색을표시하는방법 X K Y K Z K S( ) R( ) K x y z S( ) R( ) xd S( ) R( ) yd S( ) R( ) zd : 조명에사용한표준광의분광분포 : 물체의분광반사율 : 정수,, : 등색함수 56
색도그림, 색도도 ( 色度圖, chromaticity diagram) CIE 1931 x+y+z=1 z=1-x-y 특징 ) -x, y( 색도좌표 ) 가결정되면 z 는자동으로결정됨 : x, y 의함수로서색을표현 -CIE 색범위 - 순색 ( 단일파장 ): 경계선, 내부색 : 순색의혼합, 보색 : 예. A 와 B y x 57 Color Gamut 58
Color Gamut http://www.displaymate.com/gamut_9.html 59 4) UCS(Uniform Color Space) 의색차표시방법 : 실제작업현장사용에유용 -동일한크기로지각되는색차가공간내의동일한거리와대응하도록의도 -표준색견본과실제인쇄한시료색과의차이 ( 색차 ) 를상대적및정량적으로파악 균등색공간 ( 均等色空間 ) (1)L *, a *, b * 표색계 (CIE 권장의 UCS, CIELAB 색표시계 ): 1976 L*= 명도 (0~100), a*= 색상, b*= 채도 (2) L*, u*, v* 표색계 (CIE 권장의 UCS): 1964 60
L *, a *, b * 표색계 61 색의측색과표시방법 빛 ( 光 ) 시각 ( 視覺 ) ( 감광세포 ) -> 색지각 (Color perception) 물체 ( 物體 ) [ 출처 ] 62
색분해 ( 色分解, Color Separation) -컬러원고는어떠한컬러로표현되어있어도실제인쇄되는잉크는 4색 (C, M, Y, Bk) 이므로, 원색제판에서는이네가지컬러의배합으로인쇄되도록원고의컬러를분해 -색분해는먼저원고를 Cyan, Magenta, Yellow, Black의컬러분판으로분해하여네거티브 ( 색분해필름 ) 를만드는것 -가장적은색수로가장많은색을표현할수있는방법 -색분해는가색혼합법을사용 : R, G, B의 3원색필터를이용하여스캐너에서작업 -고객의요구에맞추는것이필요 가색혼합법 감색혼합법 63 64
65 * 디지털색분해 - 모든그래픽이미지, 텍스트, 색조는각각의컬러요소를가진 Red, Green, Blue의채널로분해한디지털파일을다시인쇄를위한 Cyan, Magenta, Yellow, Black의컬러분판정보를파일안에함께처리한후페이지레이아웃프래그램을이용해작업한다음인쇄전용출력기를통해분해필름을출력. - 출력시디지털파일의데이터는포스트스크립터언어도번역되므로하프톤도트를만들수있다. - 또한, 기술의발달로모든디지털컬러데이터를색분해필름없이인쇄판으로바로제작하여보다효율 (CTP, Computer To Plate). CTP 의장점 공정이단축되므로생산성향상 - 기획 필름출력 제판 인쇄 - 기획 제판 인쇄 에러의최소화 - 작업중의실수를미연에방지. 품질의향상 - 1% 의망점까지재연가능. 친환경 필름출력시발생하는폐수가없으므로환경에유리 실질상의원가절감 - 필름출력시필요한인력및필름출력에소요되는비용 66
인쇄와리프러덕션 (Reproduction) 리프러덕션 (Reproduction): 재현, 재생, 복사, 복제등을의미 (1) 컬러인쇄의색재현 (Color Reproduction): 색채와망점구성에의하여표시, 감색혼합법에의한색표시 (2) 인쇄화상의농담재현 (Tone Reproduction): 망점면적의대소, 망점의간격, 망점 1개의잉크농도 ( 망점의형태는평판, 볼록판, 그라비어, 스크린등제판법에의해차이 ) [Color reproduction] 67 * 원고의종류 (1) 선화원고 (Line Art) -문자와같이두종류의농도만으로화상이형성되고, Middle Tone이존재하지않으며농도가같은점이나선으로구성 -단색 (mono color) 에는레터링 (lettering), 일러스트 (illustrate), 스케치, 인쇄제도물등이있으며, 컬러에는문자나선, 그림등 (2) 망점원고 (Continuous Tone Art) -이미지를재현할때, 섀도톤 (shadow tone), 하이라이트톤 (highlight tone) 사이에중간계조의톤이무한대로존재하며, 불연속적인톤의변화가아닌연속적인톤의변화로이루어지는원고 < 망점의형태 > a) 농도가균일한하드도트 (hard dot) b) 망점주변이완전히흑화되지않고, 프린저 (fringe) 가많은소프트도트 (soft dot) 68
* 망점처리의목적 -사진과같은연속계조 (continuous tone) 원고를그대로인쇄할수없기때문에사진적인방법에의한망점계조 (halftone) 로바꾸기위함 -망점원고의가장보편적인재현은하프톤도트 (halftone dot): size, spacing -하프톤도트로이미지화하는출력기가인치당배열하는레이저빛의개개이진법적스폿의최대치를 epi (element of inch) 로나타냄 * 연속계조의 Tone 재현방법 -점묘법 Dot를이용하여연속계조의 Tone을재현하는방법 -해칭법 (Hatching) Line을이용하여연속계조의 Tone을재현하는방법 Halftone dots 69 * 인쇄방식별망점형상 70
Dot gain: a phenomenon in offset lithography and some other forms of printing which causes printed material to look darker than intended moiré pattern (/mwɑrˈeɪ/; French: [mwa'ʁe]) is a secondary and visually evident superimposed pattern created, for example, when two identical (usually transparent) patterns on a flat or curved surface (such as closely spaced straight lines drawn radiating from a point or taking the form of a grid) are overlaid while displaced or rotated a small amount from one another 71 * 망점의형태 (a) 스퀘어도트 (Square dot) 망점모양이정사각형이고망점의끝부분이명확, 망점면적이 50% 부근에서계조변화가큰농도점프가발생하여유연한계조재현을손상시키는면도있음 (b) 라운드도트 (Round dot) 망점모양이원형이고, 이것은인쇄할때도동일한형태로현재일반적인망점형태. 전체적인계조표현이유연하여농도점프 (tone jump) 가적게일어나고, 망점의부드러운재현으로인물사진에적합 (C) 체인도트 (Chain dot, elliptical dot) 망점모양이마름모꼴모양으로그양끝이사슬처럼이어져있어보통의망점재현에서잉크올림형식에따라 50% 망점의네모서리가끊겼다이어졌다하여중간조가크게변화하므로이결점을방지하기위하여만들어졌고, 특히중간톤이부드럽게재현되므로인물사진에적합 72
* 망점의종류 ( 표현방법 ) (a) AM (Amplitude Modulation) Screening - 망점이주기적으로나열되고크기로변화시켜농담 ( 톤과색상 ) 을표현하는전통적인방식 -0~100% 까지의망점을규칙정연하게같은간격으로배열하여 256 계조를표현 - 망점선수에의하여망점간격이나크기가바뀌고무아레 (Moire) 를최소한억제하기위하여망점각도를분판마다다르게함 -Shadow 영역에서면적당망점이많은경우 Dot gain 으로서로붙거나떨어져얼룩이생길수있다. (b) FM (Frequency Modulation) Screening - 망점크기가일정하게하고점과점의간격 ( 즉망점의수 ) 를제어하여농담을표현하는방식 - 인쇄물에로제트 (Rosette) 무아레가발생하지않고, 화상과의무아레나선끊어짐이잘발생하지않음 - 독립분산된작은망점에의해인쇄로화상의세부표현이우수하고, 망점모양이인지되지않기때문에연속계조즉, 사진색조의재현을얻을수있으며, 중간톤영역의채도향상을가져와보다깨끗하고투명감있는재현이가능 - 하이라이트영역에서중간톤영역에걸쳐망점모서리가결합되지않으므로 Dot gain 양이변화지않고안정되므로그레이밸런스 (Gray balance) 가안정되고, 기록밀도가낮은출력기에서 200~2500dpi (dot per inch) 로도출력할수있으며, 속도도빠름 - 단위면적당크기가크므로깔깔한감이눈에띄고, 섀도영역이찌그러지기쉽고, 필름반전이나리터치작업이곤란하고인쇄관리가비교적고도의기술적인면이요구되며, 14um 이하의단위망점인경우제판에서인쇄관리가어려움 (c) Hybrid Screening (FM/AM) -AM과 FM Screening 방법모두장점을결합시킨방법 -하이라이트와섀도영역의세밀함은 FM 망점을사용하여인쇄의재현효과를극대화하고, 다시중간계조는 AM 망점으로처리함으로써, 순수한 FM 망점사용에서문제로지적되었던전체적인계조의흐트러짐을최소화하여더욱부드러운인쇄물을생산 -Moire, Rosette와같은문제를방지 -고정밀인쇄시 Halfone dots 재현과 middle tone 부분의컬러재현과 detail을살려주고, 인쇄시잉크사용량절감 73 AM 망점 vs FM 망점인쇄 74
( 출처 ) Dr. H. Naik Dharavath, Dr. Ted M. Bensen and Mr. Bhaskar Gaddam, Analysis of Print Attributes of Amplitude Modulated (AM) vs. Frequency Modulated (FM) Screening of Multicolor Offset Printing, Journal of Industrial Technology, 21(3), Peer-Refereed Article(July 2005~Sept. 2005) 75 AM screening FM screening 물리적특징주기 : 일정, 진폭 : 변화주기 : 변화, 진폭 : 일정 망점의특성 아날로그방식계조표시 : 선또는망점의대소망점중심위치의간격이일정색판별각도설정이필요 디지털방식계조표시 : 단위면적의개수비주기적망점간격 Moire 현상없음핀트의어긋남의영향없음색판별각도설정이불필요놓은해상도인쇄가능 76
* 망점면적율과계조재현 망점면적율 : Dot Area ( 상대적인망점면적 ) 을수학적으로백분율을면적율로표시 단위면적당의백지부분에서점하는흑지면적의비율 제판, 인쇄의화질을조절할수있는중요한인자 (Solid:100%, Catchlight:0% 망점 ) TR Curve는실험적결과로잉크, 종이등고려필요 Tone Reproduction Curve ( 원고의농도 vs 망점면적률 ) 77 * 스크린선수 ( 線數, screen ruling) - 흑선의장폭과흑선간의간격길이가같은경우 1 인치당들어있는흑선 ( 스크린 ) 의수 -lines/inch (lpi) or lines/cm - 일반적으로 55~200lpi, 선수가클수록망점이적으며, 인쇄해상의해상성은증가 - 인쇄판식, 인쇄용지의표면성, 인쇄물의용도, 제판및인쇄조건, 인쇄기계의정밀도, 인쇄효과등을고려 ( 평판, 그라비아인쇄 150-175lpi) * 스크린각도 ( 角度, Screen Angle): - 망점이정열해있는방향성을나타냄 -moiré pattern 의방지, 정확한색구현 78
79 * 밑색제거, 밑색빼기 (Undercolor Removal, UCR) C + M + Y = K (black) Using three inks for black is expensive C+M+Y = dark brown not black Black instead of C+M+Y is crisper with more contrast. 80
[ 과제 1] 색분해 (Color Separation) -조별과제 - 컬러이미지를선정하고, 색분해를실시한다. (CMYK, CMYK+ ) - 단, 컬러이미지 ( 사진 ) 는각조에대한스토리가있어야한다. - 발표는색분해과정을자세히설명한다. - 색분해를실시하여인쇄된결과물을제출한다. - 발표 : 9/25 ( 월 ) ( 발표시간 : 7 분내외 ) 81 82
[ 과제 3] 다음에대하여조사설명하시오. 1.Color Blindness Test 2.PPI vs DPI vs LPI 3.Moire 현상및대책 4.JPEG(JPG), TIFF/TIF, RAW, BMP/DIB, GIF, PNG 등파일저장형식의차이 - 발표분량 : ppt 총 5 장내외 - 기한 :9/27 ( 목 ) 조별발표 ( 발표시간 :5 분 ) - 자료제출 :~10/07( 수 ) 24:00 83 [ 강의자료보완 ] 1. 반복된내용줄이기 (color mixing, color space,,,,) 2. 순서체계적으로바꾸기 (color, color mixing, color space 정리하기 ) PKG3018 패키징인쇄학 Chapter 1. 인쇄와색채 서종철, Ph.D. 2017 년 2 학기 84