With the introduction of the M measurement modes, the past couple of years have brought a range of incredible new measurement devices that can change the way any commercial printer approaches their pressroom (originally publshed in PrintAction's October 2015 issue).
An in-depth test review of Affinity Photo v1.3.5 (available from the Mac Store for $57.99 or as a free trial) to better understand if Serif Software can continue to shake up the graphics software market with its inexpensive applications.
Within a span of 12 short months, UK-based Serif Software has turned the Mac graphics software market on its ear! Its first salvo – Affinity Designer – was released in October 2014 (reviewed in PrintAction February 2015) and cut a broad swath into the design, pre-media and prepress software market with powerful and useful features aimed squarely at graphic arts professionals. And instead of exacting a monthly toll from its users, Serif chose to sell perpetual licenses of Affinity Designer through Apple’s online store for a fraction the cost of competing applications.
Now Serif is poised to disrupt the image-editing and photography market with its next product for graphics professionals and amateurs alike – Affinity Photo. As with Designer, Serif has engineered Affinity Photo as a Mac application from the first line of code instead of porting their popular PhotoPlus application from the Windows side of its business. And based on my initial impressions and early industry buzz, Affinity Photo is a strong sophomore effort for the company as it courts the Mac design, photo and graphics pro.
Personas for the people
When first launching Affinity Photo (AP) the default user interface opens in an application window and presents a familiar looking array of image-editing tools and panels that are relatively easy to navigate for both experienced image pros and amateurs. As with Designer, Affinity Photo groups tools and functions into task specific workspaces called Personas – good for those keen to organize their workflow. Initially, Photo opens with the Photo Persona active, presenting a familiar looking Tool Dock on the left chock full of the usual (image-editing) suspects including: Move Tool; Selection Brush; Cropping; various paint brush and fill tools; dodging and cloning tools; as well as a few mystery tools.
Mystery tool #1: The AP Flood Select tool enables users to select pixels by colour similarity. As you drag the tool across a range of pixels, the selection size grows to encompass a wider range of colour. Flood Select is especially useful in isolating shadow areas in high contrast images. Mystery tool #2 is the Inpainting Brush, another tool unique to AP that can be used to identify damaged areas within an image, and then used to paint over the missing data with new pixels reconstructed based on image information from the surrounding pixels. It sounds complex, but is really just a new and innovative approach to content-aware restoration.
The toolbar running horizontally along top of the Photo Persona application window houses auto levels, contrast, colour and white balance buttons in addition to selection and quick mask tools. In particular, AP’s Quick Mask feature enables users to easily build masks to isolate key elements within their images, then toggle how the selection is displayed. Other toolbar inhabitants include a nifty Force Pixel Alignment tool that will snap vector objects or pixel selections to full pixels – very useful for Web graphics – as well as a full range of arrange, insert and alignment functions.
A full range of filters can be found in the Photo Persona menubar, including the varied flavours of Blur; Sharpen; Distort; Noise; Edge Detection; Shadows/Highlights and so on. When launched each Filter pops up in its own window with all the appropriate controls and parameters for the user to adjust. Split Screen, a feature borrowed from Designer, is built into the filter window and enables users to view images in full screen, split screen or mirrored screen to preview the effect alongside the original image in real-time.
As you might expect, the right side of the default AP workspace contains a familiar set of panels relevant to the Persona that the user is working in. For example, the Photo Persona includes essential panels such as Layers; Effects; Swatches; Brushes; Histogram; Navigator; and so on. All panels can be rearranged to suit individual preferences within the application window to create a customized workspace. The chaotically minded can opt to do away with the window altogether by choosing to work in Separated Mode, which breaks all the aforementioned toolbars and panels into free-floating elements that can be placed anywhere on your screen.
Using Layers, AP provides a comprehensive non-destructive editing workflow allowing users to apply any adjustment or effect to underlying Layers. Colour images can be converted to greyscale using a B+W adjustment layer similar to a channel mixer you might find in other photo-editing applications. Unique to Affinity Photo, Live Filter Layers can be applied to any layer and modified in real-time.
Portrait photographers and prepress techs dealing with a lot of headshots will appreciate AP’s Frequency Separation filter which enables users to correct texture and colour independently – great for blemish removal and smoothing coarse skin textures without affecting skin tone.
Liquify & Develop
Affinity Photo includes three additional Personas for users: Liquify; Develop; and Export. As the name implies, Liquify Persona is the workspace for distorting pixels in images. When switching to the Liquify workspace, a grid is immediately applied to your image showing brush size and distortion effect. The Toolbar displays a selection of distortion tools, such as Twirl; Pinch; Liquify Turbulence Tool; as well as a Freeze Tool that creates a mask to protect an area in your image from distortion, and a Thaw Tool to remove it.
Opening a Camera RAW file in Affinity Photo automatically defaults to the Develop Persona – AP’s robust RAW editing workspace. In addition to RAW, the Develop Persona works with other standard image formats and Photo’s tabbed UI means that users can work with RAW images alongside other files. Develop enables users to apply multiple adjustments to images encompassing exposure; white balance; and black point along with a variety of other professional-grade adjustments. The AP Scope panel shows users the distribution of chrominance and luminance within their image – a capability I have not previously seen in an image-editing application.
I was particularly impressed with the powerful lens correction features in the AP Develop Persona, including notable noise reduction for high ISO images. That said: Affinity Photo has the ability to create and save presets for rectifying lens distortion, but this version does not appear to include profiles for specific lenses. Hopefully, some popular lens profiles will show up in a future version. When finished perfecting your RAW image, Affinity Photo prompts you to ‘Develop’ before changing Personas in a nod to the analog roots of darkroom wizardry.
The Export Persona affords users very precise control over getting an image out of Affinity Photo in a variety of formats. At this point, I should mention that AP has its own propriety file structure for saving files you are actively working with. The .afphoto file type contains all layer, filter, mask and effect information in addition to the pixels in your image. Although this format is both efficient and convenient, users will still need to export more common image formats for prepress use. Fortunately, the Export Persona makes short work of this task with all the options necessary to export SVG, JPEG, TIFF, PNG, GIF, EPS and PDF available in one convenient workspace. Interestingly, I saved the same test image in Photoshop and Affinity Photo – the Affinity Photo file was about 70 percent smaller while maintaining the same pixel density.
Under the hood
It is easy to get wrapped up in all the bells and whistles Affinity Photo provides for image-editing pros and overlook a few other pretty remarkable attributes. Under the hood, AP uses a 64-bit architecture and harnesses every graphics advantage the Mac ecosystem has to offer, such as: Support for Open GL; Grand Central Dispatch; Core Graphics; and the Retina display UI. In plain English this translates to fast, live processing and instantaneous previews of a huge range of high-end filters and effects; masking effects and advanced adjustment layers as well as live blending modes. Affinity Photo is very fast, even on modestly configured equipment such as my aging 2012 Macbook Air.
Prepress pros will be glad to hear that in addition to support for RGB, Greyscale and LAB colour spaces (both 8- and 16-bit), AP provides users with a start-to-finish CMYK workflow, something of a rarity in image-editing applications within this price range. Add to that a multi-document tabbed interface, support for unlimited layers and impressive live preview performance even when applying effects to massive layered images and its pretty tough to see a downside to working in Affinity Photo!
That’s not to suggest Affinity Photo provides everything a photographer, designer or prepress pro wants or needs. A few useful production capabilities are missing in action with this version, including support for scripts, HDR image compositing and panorama stitching. Also, minor conveniences such as the application recognizing the pixel dimensions of an image in the clipboard when creating a new file have been overlooked – in this version at least. The good in Affinity Photo’s imperfections is that Serif has fodder for future updates – something they have established a good reputation for with Affinity Designer.
Elephant in the prepress department
“Gee, Affinity Photo sounds an awful lot like Photoshop! How does it compare?” Google “Affinity Photo” and you will see “Photoshop Alternative” or “Photoshop Challenger” as the headline or opening stanza in dozens of articles. When assessing Affinity Photo, I tried to put more than two decades of Photoshop experience on the back burner and take an unbiased look at this new application instead comparing the two programs feature-by-feature. As a result, I have concluded that Affinity Photo is the first image-editing application I’ve worked with that can meet the day-to-day production needs of most designers, photographers and image-editing specialists that didn’t have an Adobe logo on its welcome screen. This application provides all tools needed to work with CMYK images with full Photoshop import (.PSD and .PSB) and export capability (.PSD) while maintaining layers and effects.
Does Affinity Photo do everything Photoshop does? Of course not! Photoshop benefits from more than 25 years of development and includes arcane features such ad-hoc video editing and 3D model rendering and printing – neither which might be relevant to many designers, premedia and prepress specialists.
And if, like myself, you have been working with Photoshop on a professional level for more than 20 years you have also likely memorized plenty of key commands and know where to access every single function with a flick of the wrist. With that level of muscle memory dedicated to working in Photoshop, you will have some re-learning to do before becoming as effective in Affinity Photo. The key takeaway here is that in most cases you can eventually be as effective once you are on the downhill side of the Affinity Photo learning curve… a pretty big accomplishment for Serif’s new kid on the image-editing block.
For three days in March, some of the brightest technological minds in print gathered in New Mexico to discuss RFID, Ultra Violet, omni-marketing and colour management
The Technical Association of the Graphic Arts held its annual conference in Albuquerque, New Mexico, in late March. As is tradition, the conference, focusing on the newest technological developments in printing systems kicked off with four high-profile keynote speakers.
The first keynote came from Chris Travis of KBA North America. He talked about many advances still being made in press technology, with more sales of complex machines, combining different printing features and more automation. Presses are being ordered with double coaters for spot UV, spot matte and special effect coatings. Sometimes the coating units are before the printing units for laying white down first, to print on foils and for the application of sizing. The goal of all these various press configurations is to get everything done in one pass.
Travis also points out that the decision to print a job digitally or offset starts at a relatively low good-copy count. He says any job with more than 191 good print copies is more cost effective when the job is printed offset. UV technology is also changing, as the light tubes change from the standard mercury vapour to iron-doped mercury vapour light tubes. This little change results in higher gloss levels for UV coatings. The coating manufacturers have to adjust the phot0-initiator mix so it will work with the iron-doped UV light tubes and UV LED technology is gaining more of a foothold in the print industry. Travis also points out that flexographic printing is growing and holds the most potential in the print industry. The industry overall is finally growing again even as a lot of mergers and acquisitions take place.
The second keynote was given by Patrick Younk from Los Alamos National Lab, introducing conference attendees to some of their incredible work. Many fundamental research projects are carried out by this research institute. Younk talked about the High Altitude Water Cherenkov observatory for the detection of gamma rays originating from the sun. He also talked about an ultra-fast optical ranging measurement system. It is a non-contact position measurement system that works with a 1-micron accuracy and it could be used to measure ink film thickness or colour registration.
Michael Van Haren from Quad/Graphics presented the third keynote on omni-channel marketing. He began by describing the differences between multi-channel and omni-channel marketing. Omni-channel marketing is the same message on all media. Print of course is still the main driver of this. Why – because it works. It delivers the right message in the right place at the right time.
With the emergence of high-speed inkjet printing it is possible to personalize the message and with full colour inkjet the message to the consumer becomes very personalized. A highly targeted variable data print uses personalized URLs or PURLs. Through QR codes and image recognition apps, the printed piece has some augmented reality to it. For all this technology to work well, data is needed to drive the campaign. The contact strategy needs to be build with print being in sync with digital channels. Any digital tools that interact with the customer need to be tested over and over again to make sure they all work as intended.
The fourth keynote was given by Bruce Khan from Clemson University and his topic was printed electronics. He said that print is and will be the manufacturing method of choice in this area, because it is fast and produces the electronic components at a relatively low cost. Khan also says that false hopes had been given by nanotechnology and RFID technology. The most successful printed electronic component is the glucose sensor strip for diabetics. Many obstacles still need to be overcome to successfully print something like flexible hybrid electronics.
Colour and optical brighteners
On the second day of the TAGA conference, the series of presentations started with a diverse range of topics. John Anderson from Kodak talked about the Flexcel NX flexographic printing plate that allows the manufacturing of plates with flat top dots. The Flexcel NX plate is coupled with DigiCapNX technology to achieve higher solid ink densities than with conventional plate technology. This technology allows for creating halftones from a 0.4 to a 99.6 percent tint. Through Hyperflex NX technology, the floor of the flexographic printing plate gets extended to support low tint value halftone dots. This presentation was an example of the advances that are currently made in flexography that allow the printing of finer details and more vibrant solids.
Don Schroeder from Fujifilm was one of the first speakers to talk about the influence of optical brighteners in papers and that proofing papers have no or very little optical brighteners in them. This discrepancy causes colour differences between press sheet and proof, especially if the paper has a very blueish white colour. The new measurement conditions M1 as outlined in ISO 13655 requires a light source with UV component, so the optical brighteners in the paper get excited and influence the measurement of the printed colours. The standard datasets that many colour management solutions are built upon were created in 2006 and they have been measured under the M0 measurement conditions, which are without a UV component in the light source. The new dataset created in 2013 use measurements taken under the M1 conditions.
Many other presenters talked about the new M1 measurement conditions and how they will influence the printing industry, but there is a drawback to this new measurement condition. An extreme example is that two M1 compliant light sources can have 50 and 150 percent of UV component in them and this results in a b* difference of 7. This can be quite significant for the overall colour difference and can result in a pass or fail of a colour. In conjunction with ISO 13655, for the measurement conditions of light booths, ISO 3664 has also been updated, so that the light source in the viewing booths also has a UV component in them. The compliance of a viewing booth with this updated ISO standard can be verified with a measurement device from GL Optics. Overall there were six presentations about the new M1 measurement condition and how it influences measured colours, the proofing stage and also the colour management part of any print job.
Although the DE2000 colour difference equation is not (yet) part of an ISO standard, work is being done to develop a colour space that is based on DE2000. John Seymour from QuadTech presented his advances in this project. His goal is to create a colour space with modified L*a*b*-axis that allow for the use the DeltaLab colour difference formula.
A presentation was given on the strategies of managing spot colours using traditional metrics and how to predict the colour outcome using simulated colours on screen. Research is also being done regarding working with expanded gamut printing using 7 colours (CMYK plus orange, green and violet). The use GCR and optimized colour sequence (KOVCGMY) are instrumental to more stable and predictable print results.
Raia Slivniak-Zorin from HP in Israel talked about the work she and her team did with regard to digitally printed flexible packaging. The work was done on an HP Indigo and the prints were also laminated. One of her main findings is that a primer needs to applied to the flexible substrate first, so the ElectroInk will adhere properly. Also an adhesive has to be applied first, before the printed material can be laminated. A corona treatment of the substrate greatly enhances the bonding of primer and ink.
The 2015 TAGA conference was a very high profile conference with many cutting-edge research presentations that will have an influence on the print industry in the coming years. The fact that the M1 measurement condition received so much attention during the conference shows that the new ISO standard requires more investigation.
Makers of electrophoretic ink discuss how technology that began life as an MIT Media Lab research project is transforming information consumption
Simple demographics are one of the biggest threats to the viability of print. Younger generations consume more and more media with little need for the printed page. Digital display companies are keenly focused on the functionality of their user interfaces, but readability remains an allusive metric for most.
From consumer reports it seems the tablet reading experience on devices such as Apple’s iPad or Samsung’s Galaxy leaves something to be desired. The tablet’s glossy backlit LCD screen is great for watching videos, but reflections tire the reader’s eye and the words are difficult to read outdoors. Emissive displays also draw a lot of power causing tablet batteries to fade after only a few hours in many cases.
On the other hand many avid e-book fans will tell you that a Kindle or Kobo with crisp black type on a paper-white background provides a much better reading experience. Though by no means a replacement for the multi-media friendly tablet, former consumers of the printed page have been increasingly adopting this style of e-reader for ease of reading both indoors and out while enjoying longer battery life. But what makes these e-readers so different from tablets?
The answer is E Ink
E Ink takes its name from its technology – electrophoretic ink – and is the visible component used in Electronic Paper Displays (EPDs). This promising technology began life in 1996 as a research project in the MIT Media Lab before becoming the foundation of E Ink Corporation, which sought to commercialize the digital paper concept as the preferred display for e-readers.
E Ink is made of microcapsules about the diameter of a human hair sandwiched between two thin layers of film containing a transparent top electrode, and a bottom electrode. Each microcapsule contains negatively charged black pigment and positively charged white pigment suspended in a clear fluid. When the top electrode charges positive, the black pigment rises to the surface, morphing the microcapsule from white to black. The microcapsules are bi-stable and reflective – meaning the image will remain on the digital page without electricity and requires only ambient light to be visible. That’s why E Ink displays draw very little power.
E Ink displays are well suited for viewing static images that change sporadically – simulating book, newspaper or magazine pages for example. Because the display reflects natural light, it much more closely resembles the printed page with readability improving as the light gets brighter – working especially well in full sunlight. E Ink Corporation announced new concepts at CES 2015 and demonstrated E Ink products developed by licensees that evolve the digital paper paradigm beyond the e-reader.
New E Ink models
“One of the more interesting products we are showing at CES is the Sony DPT S1 business e-reader,” reveals Giovanni Mancini, head of global marketing for E Ink. “Designed for the business user, this device is the size of an A4 sheet of paper, extremely rugged and weighs only about six ounces.
“The DPT S1 has touch capability, but it also has an extremely responsive digitizer. This is intended for business users who want to take a large number of documents with them, but don’t want the bulk of the paper,” he continues. “Users can annotate documents with their fingertip while in the field, then have the information captured into the document control system back in the office.”
The Sony DPT S1 comes with 4gb storage, capable of carrying thousands of monochrome pages and has a micro SD slot for expansion.
Mancini then demonstrates another innovative use for E Ink in the form of a mobile phone display. The Russian-made YotaPhone is an Android mobile phone featuring a standard high-resolution colour display on the front, and a monochrome E Ink display on the back of the handset.
“The idea is to attach different information feeds, such as email or text messages, that you want to keep monitoring to the E Ink display on the back,” Mancini explains. “This way you don’t have to constantly turn on the screen on the front of your phone and cycle through the various apps to get the information. This really extends the battery life of the YotaPhone because of the very low power consumption of E Ink displays.
“To really conserve power, the user can completely disable the front colour display and get the full Android interface on the E Ink display. You can even use the Kindle App to read books on the back of the YotaPhone!
“Another innovative use of an E ink display can be seen on the Sony Smartband Talk – a sports watch and fitness device that pairs up with an Android phone. The Smartband Talk enables you to track your fitness during the day and get information from your smartphone, all displayed on a controllable E Ink display,” explains Mancini.
While EPDs are already well established in the retail display category, E Ink Corporation announced and demonstrated innovative new solutions at CES 2015 targeting both the indoor and outdoor signage markets.
“These E Ink 32-inch digital displays are great for small businesses such as coffee shops or restaurants, for example, that might want to use them as menu boards,” says Mancini. “They are also well-suited for information displays in public spaces such as bus shelters. Because of low energy requirements, batteries or even solar power can power these E Ink displays without the need to run cables.
“Another thing that we announced at CES this year is our E ink Prism product,” Mancini continues. “We’ve taken our E ink technology and encapsulated many different colours of pigments within the same microsphere and laminated them into a colour changing film to incorporate into architectural products.”
E Ink Corporation demonstrated a 20-foot wall of colour-shifting Prism tiles at CES. Controlled by a PC, these tiles are designed to change colours, providing a different aesthetic and changing the mood of a hotel lobby or an airport terminal.
“Right now this is a concept product for us,” Mancini continues, “created through collaboration with architects and design firms over the past year. We hope to have a public installation of Prism by the end of 2015. We also plan to use Prism in horizontal surfaces such as glass counters or coffee tables.”
Nemesis of print
From the products on display at CES 2015 it’s logical to conclude that E Ink has already done most of the damage it’s going to do to the conventional printed page. After all, e-readers already represent an established market for publishers, and the line has been drawn between those who prefer to read the printed page, and those who choose digital.
Instead, the future of E Ink and Electronic Page Displays lies in enabling the next generation of signage, personal document readers, smart devices and wearable technology – where low-power displays and control surfaces are essential to ensure functionality and energy efficiency.
With drupa 2016 a year away, I began thinking about the last time the giant German tradeshow in Düsseldorf took place in 2012 and the crowds at Landa Digital Printing’s exhibition space. Mostly, I remember the blue-and-black futuristic design of Landa’s new Nanographic Printing Presses, including the unique control panel mounted to the side of each press like a giant iPhone. I wondered aloud, “Shouldn’t there be a few presses already installed in print shops by this time?”
Providing as much function as form, the control screen GUI appeared to be well designed to meet the needs of a busy operator. There was even a digital microscope that came with each press, which I was immediately impressed with because it allows both operators and customers to look at the details of a printed sheet. Over the first days of the 14-day trade show, heavy iron manufacturers like Heidelberg, manroland and Komori joined Landa’s marketing buzz by announcing Nanographic technology partnerships, albeit a little vague.
Benny Landa, who founded the company in 2002, told drupa 2012 visitors the Nanographic presses could reach first adopters by the end of 2013 at the earliest, with initial machines hitting the market during the first months of 2014. I thought to myself: Let’s see if he can keep this deadline.
The year 2013 came and went without any Landa Digital presses going into potential customers, although there may have well been quiet alpha testing going on inside an eager print shop. In March 2013, I attended the annual TAGA conference in Portland, Oregon, where Gilad Tzori, VP of Product Strategy of Landa Digital Printing gave the event’s third keynote presentation.
Tzori provided conference attendees, who primarily serve on the technical side of printing, an overview of how Landa Nanography works and differs from existing printing presses. Emphasis was put on Landa’s jetting of water-based inks which do not soak the paper, so the sheet does not come out wavy at the end of the press run.
Many people will have experienced this water-soaking problem when they print a sheet of paper with heavy coverage on their home or office inkjet printer. Tzori explained how the Nanographic printing process first inkjets the image onto a heated transfer belt, and secondly how the ink turns into a semi-solid type material on the transfer belt, which is then transferred onto the paper. Unique properties of Landa’s belt, explained Tzori, ensures a 100 percent transfer of the image onto the paper.
He then showed images of a printed dot produced with Nanography and compared it to the same magenta dot printed with different technologies currently on the market. The superior quality of the Nanographic process, in regards to the roundness and sharpness of the printed dot, was then described in Tzori’s marketing presentation. A clear advantage of Nanography indicates the process allows for printing on almost any substrate.
Nano pigments deliver a broader colour gamut than standard offset inks. The Landa black has L*a*b*-values of 5.4, 0.7 and 0.05 compared to the ISO standard of 16, -0.1, 0.1. The ink film is 500-nano-meters thick, which is a lot less than that of any other conventional printing process. The printed density for coated and uncoated paper is the same, since the ink does not sink into the uncoated paper but rather sits on top of the paper. De-inkability studies, explained Tzori, have also shown good results. De-inkability is a significant problem with regular inkjet printed sheets.
After describing the technical architecture of Nanography, Tzori explained where Landa Digital sees its market niche and how it plans to bridge a gap between short-run digital and longer-run offset jobs. This includes targeting offset sheetfed work with a 40-inch or B1-format press model. Tzori stressed that Landa is not reinventing existing machine technology like paper feeding and delivery, which is why the company is working with traditional press makers, most notably Komori.
A key question to come from the conference crowd that day asked about the future availability of these new Nanographic printing presses. A careful answer was given, which I interrupted to mean it would be at the beginning of 2014, while the company’s main challenge was to achieve the desired print quality at the necessary resolution.
Year 2014 came and went and, without hearing much more from Landa in terms of press installations, I naturally started wondering if the past two years of Nanographic marketing had been all smoke and mirrors? In February of 2014, Landa Digital and EFI announced a strategic alliance and in June 2014 Altana invested €100 million into Landa Digital, which had also received a number of press down payments from printers wanting to be first in line. It is my guess that Altana will manufacture the Landa inks and EFI will deliver the digital front-end to the presses.
On December 9, 2014, Landa Digital made a public statement about its technology development, including its intent to focus on the 40-inch folding-carton market with its S10 press. The press has undergone some radical design changes, including the addition of a coating unit. The operator’s side-mounted touchscreen, as it was seen at drupa 2012, had to be moved to the delivery end – transforming its look more toward a traditional press design. The weight of the press has increased also from 10 tons to 30 tons.
Landa Digital explained the S10 operator now has a more ergonomic workplace showing all the required information for running jobs. Personally, I like the video feeds from inside the press to the operator cockpit. The press operator can see if any sheets have been dropped or if they are causing a jam. The presses also have an inline inspection unit from Advanced Vision Technology.
Within its online marketing material, Landa Digital writes: “The quality control solution will combine innovative nozzle performance and colour control techniques to maintain print quality and increase press productivity. The quality control system will also control colour-to-colour registration, image placement and front-to-back registration.” The print resolution of the S10 press is now at 1,200 dpi and the press also makes it possible to print on both sides of the carton sheet before entering the coating unit.
In early 2015, I spoke with Tzori on the phone to discuss recent developments at Landa Digital Printing. He indicated the first presses are scheduled to be commercially available in the second half of 2015. Beta machine are currently set up at Landa’s facilities in Israel, where potential customers can see the presses in action.
During our phone conversation, Tzori also discussed what kind of drying technology is installed between the coating unit and the delivery end of the press. Depending on what kind of coating the customer wants to use, there will be IR drying lamps installed for water-based coatings and UV-curing lamps for UV coatings. The UV-curing technology can either be UV-mercury vapour lamps or UV-LED.
Tzori points out that the IR or UV technology is only necessary for the coatings that are applied to the printed sheets. The sheets printed with the Nanography ink come dry out of the press.
Thinking ahead to drupa 2016, which surely will be another important exhibition for Landa Digital technology, I asked Tzori what is to come with regard to the company’s web-fed printing machines. The first web-fed printing machine will be geared towards the flexible packaging market.
Landa Digital expects this to make a huge impact on the flexible packaging sector, especially with many of the other digital press manufacturers also developing printing solutions for the short-run flexible packaging market. I have every intention of attending drupa 2016 for a firsthand view of Landa’s developments and I expect they will be as interesting as Nanography’s unveiling three years ago.
THE FOLLOWING ARTICLE IS FEATURED IN PRINTACTION'S FEBRUARY 2015 ISSUE
As in nature, the software ecosystem abhors a vacuum! Introduced for the Mac in 1987, Adobe Illustrator evolved from Adobe’s in-house font development software to become the industry standard line-work editor and has all but dominated the desktop vector graphics market.
Twenty-eight years later, Illustrator is so pervasive in the graphic arts few prepress pros would even consider an alternative were one available. While a few innovative Mac applications such as iDraw and Sketch have nipped at Adobe’s heels, to date no application has presented a credible challenge to Illustrator’s dominance on the Mac platform, creating a competitive vacuum. That might be about to change.
Though unknown to many Mac users, Serif Software is a dominant player in the lucrative Windows desktop publishing software world. Founded in 1987, Serif’s original mandate was to produce powerful yet cost-effective alternatives to expensive desktop publishing and graphic design applications for the PC. Its critically acclaimed PagePlus, DrawPlus and PhotoPlus applications have garnered a large and loyal following in the Windows world – extending from casual creatives to business and education users.
After years of planning and development, Serif stepped across the OS barrier in June 2014 with its first Mac App, Affinity Designer. While still in public beta, Affinity Designer turned heads while generating a great deal of online buzz before the October 2014 launch of version 1.0 on the Mac App Store. Since release, Affinity Designer has raced up the App Store charts and finished the year as Editor’s Choice Best of 2014! But does all that hype make any difference in the prepress and print world? Can a PC software developer give Adobe a run for its money on Adobe’s home turf?
Vector contender or pretender
Well, for starters it is pretty clear that Affinity Designer was engineered from the ground up as a production environment for professional-grade vector drawing destined for a variety of output intents, including both print and Web.
Where Designer differs from other line-work editors is in its ability to work with raster images and create pixel-based effects and textures within the same file as vector layers. And while Designer has its own file format, the App can import a wide variety of file types including: Adobe Illustrator, Freehand, Photoshop, EPS, JPEG, PDF and SVG. Additionally Designer can export: Photoshop, EPS, GIF, JPEG, PNG, SVG and PDF – although direct export of AI format is not supported. Users wanting to bring their Designer files into Illustrator will have to pass through PDF-land first.
When launching Designer for the first time users are presented with a clean, uncluttered user interface that is unique yet somewhat reminiscent of an Adobe Creative Cloud application. As a result, anyone with Illustrator chops should be able to find their way around Affinity Designer in fairly short order. The default application window follows the familiar axiom of toolbar on the left, functions along the top and tabbed palettes on the right hand side of the workspace.
Users can also choose to work in Separated Mode meaning the Designer toolbars, workspace and palettes are free floating and can be reconfigured to individual tastes. Designer diverges from other editors by breaking down the workflow into Personas (Draw, Pixel and Export) represented by icons on the upper left side of the workspace. The icon for the active Persona appears in colour and each features tools, functions and palettes specifically configured for the appropriate tasks.
The Draw Persona toolbar contains recognizable drawing tools you would expect to find, such as a Move Tool, Vector Brush Tool for creating painted effects and a Pencil Tool for free drawing vector lines, as well as Gradient and Transparency tools. Additionally, the toolbar houses a wide variety of shape tools ranging from standard rectangles and ellipses to diverse polygons, clouds and call-outs. Each shape can be quickly and radically altered either with the Node Tool, or the context-sensitive settings in the Draw Persona tool set. There is even a special hidden Easter Egg feature that enables users to make a cat shape – see if you can find it!
The Pixel Persona enables a variety of marquee and selection tools along with essential raster editing tools in the toolbar, such as erase, fill, dodge, burn, blur and sharpen. It is important to remember that while Designer is equipped to create, alter and apply raster effects within a vector file, it is definitely not a replacement for a full image editor such as Photoshop or Pixelmator as there are no tools that I can find for adjusting the contrast, saturation or hue of photographic images.
As the name implies, the Export Persona provides a straightforward workflow for getting your image online with several presets, support for ICC profiles as well as layers and image slices. Speaking of online, Designer has a number of features targeting the Web slinger, such as a powerful pixel preview of vector images for both standard and retina displays, as well as instant export of multiple objects – each with independent output settings.
Designer also brings back one of my favourite old Illustrator features with a new twist. The Split View divides the image workspace vertically enabling the user to see any combination of Frame, Vector, Pixel or Retina previews and drag the dividing line back and forth across the image – changing the preview instantly.
Of course, any mention of ‘instant preview’ inevitably brings up the topic of Designer performance. Whether opening a complex vector graphic or a massive layered Photoshop file, it is immediately apparent that Designer is blazingly fast. This 64-bit application is fully optimized for the latest Mac OS and Retina 5K displays, enabling users to pan and zoom across their images with little perceptible lag as well as apply and view effects in real-time. This is especially impressive when you consider that Designer offers a staggering 1,000,000 percent zoom, as well as super smooth gradients that can be edited in real time at any magnification.
For such a young App, Designer offers some impressively mature workflow features like non-destructive editing and robust support for layers, including vector, pixel and adjustment layers.
Ready for the big league
Working with Affinity Designer is comfortable once you get used to multiple Personas, however, the software is lacking in a few key areas of importance to design and production pros. For example, Designer currently only supports a single page per file, something designers who are used to building multiple art boards will find hard to live with. And what prepress pro has not used Illustrator’s Auto-Trace to quickly build a logo for a job they are working on? Designer will need to implement some sort of raster to vector workflow to really gain print market share.
And while Designer seems to be able to import a wide variety of file formats, I have experienced mixed results when opening old EPS files containing complex vector gradients.
Mind you, Designer has only been in the field for a few months and to Serif’s credit they’ve already built an active, lively and supportive user community that fuels its development team with bug reports and feature requests. Within just three months of launch, Serif has already revved Designer to v1.1.2 – not only with bug fixes but also significant new user-requested features like iCloud Drive support; critical stroke alignment options; and 5K-display support.
The road ahead
Serif recently published the first issue of Affinity Review – a quarterly ePUB magazine for their users – containing some very interesting product news in addition designer profiles, interviews and tutorials. According to Serif, the Affinity Designer roadmap includes several professional printing features such as: PDF/X support; PDF image compression; trim, bleed, overprint and mark control; spot, Pantone and registration colours; and advanced transparency features. Designers can look forward to: multiple pages; text on a path; mesh warp and distort tools; and improved text controls… all promised as free updates!
Likely many of these new functions will be incorporated into its own Personas. Also in Serif’s 2015 playbook: Affinity Photo and Affinity Desktop (you can see where they are going with this).
Is Affinity Designer the answer to all your high-end vector design, editing and production needs? Not yet. Is it worth fifty bucks? You bet! Besides, designers on a budget are already flocking to Designer so it’s only a matter of time before Affinity files start making their way into your prepress department.
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