<p>Detta examensarbete har utförts i samarbete med NAtryck i Örebro och syftar till att kontrollera stabiliteten hos deras sättare av märke Agfa Polaris XT och därmed avgöra om ett automatiskt kontrollerande system vore lönsamt i inköp. Kontrollen har skett genom kontinuerliga mätningar av tonvärden på plåt (efter exponering och framkallning men innan tryckning) under en lång tidsperiod. CtP-processens bidrag till den totala punktförstoringen har också studerats med hjälp av tre provtryckningar där även slutsatser om plåtslitagets inverkan dragits. Ett program för att hantera de fel som uppstår i sättaren har också konstruerats.</p><p>Resultaten visar att CtP-processen hos NAtryck är stabil och att medelvärdet av variationerna hos tonvärdena understiger två procent för båda rastreringsmetoderna som tryckeriet använder. De parametrar som påverkar processen mest är temperatur hos sättaren samt rengöring och byte av framkallningsvätska i framkallaren. En högre temperatur och äldre framkallningsvätska ger högre värden. Bidraget till den totala punktförstoringen från sättare och framkallare är ca femton procent i genomsnitt och mellan 0 och 5 procent vid fyrtioprocentig yttäckning. Om inget plåtslitage skulle inträffa vore denna siffra betydligt högre.</p><p>Slutsatsen är att ett inköp av ett automatiskt kontrollerande system vore olönsamt då processen redan håller acceptabel nivå. Sedan arbetet avslutats har även en ny sorts plåtar börjat användas som ger en än högre stabilitet.</p> / <p>This thesis has been done in collaboration with NAtryck in Örebro with the purpose to investigate the stability in their CtP-process. This has been done through continuous measurements of tone values on plates (after exposing and processing and before printing) during an extensive time period. The contribution from the CtP to the total amount of dot gain has also been investigated by conducting three test prints where conclusions about the degrading of the plates also have been made. A program that deals with errors in the CtP has been constructed.</p><p>The results show that the CtP-process is stable and that the mean value of the variations is below two percent for both screening methods used. The parameters that affect the result are the temperature and the cleaning and fluid of the developer. A higher temperature and older fluid give higher values. The contribution to the total dot gain is about fifteen percent in average and between zero and five percent at forty percent area coverage. If there were no degrading of the plate in the press this number would be much higher.</p><p>The conclusion is that an automatic controlling system would not be profitable. Since this work has been concluded a new type of plates has been taking in to production that resulted in even higher stability.</p>

Detta examensarbete har utförts i samarbete med NAtryck i Örebro och syftar till att kontrollera stabiliteten hos deras sättare av märke Agfa Polaris XT och därmed avgöra om ett automatiskt kontrollerande system vore lönsamt i inköp. Kontrollen har skett genom kontinuerliga mätningar av tonvärden på plåt (efter exponering och framkallning men innan tryckning) under en lång tidsperiod. CtP-processens bidrag till den totala punktförstoringen har också studerats med hjälp av tre provtryckningar där även slutsatser om plåtslitagets inverkan dragits. Ett program för att hantera de fel som uppstår i sättaren har också konstruerats. Resultaten visar att CtP-processen hos NAtryck är stabil och att medelvärdet av variationerna hos tonvärdena understiger två procent för båda rastreringsmetoderna som tryckeriet använder. De parametrar som påverkar processen mest är temperatur hos sättaren samt rengöring och byte av framkallningsvätska i framkallaren. En högre temperatur och äldre framkallningsvätska ger högre värden. Bidraget till den totala punktförstoringen från sättare och framkallare är ca femton procent i genomsnitt och mellan 0 och 5 procent vid fyrtioprocentig yttäckning. Om inget plåtslitage skulle inträffa vore denna siffra betydligt högre. Slutsatsen är att ett inköp av ett automatiskt kontrollerande system vore olönsamt då processen redan håller acceptabel nivå. Sedan arbetet avslutats har även en ny sorts plåtar börjat användas som ger en än högre stabilitet. / This thesis has been done in collaboration with NAtryck in Örebro with the purpose to investigate the stability in their CtP-process. This has been done through continuous measurements of tone values on plates (after exposing and processing and before printing) during an extensive time period. The contribution from the CtP to the total amount of dot gain has also been investigated by conducting three test prints where conclusions about the degrading of the plates also have been made. A program that deals with errors in the CtP has been constructed. The results show that the CtP-process is stable and that the mean value of the variations is below two percent for both screening methods used. The parameters that affect the result are the temperature and the cleaning and fluid of the developer. A higher temperature and older fluid give higher values. The contribution to the total dot gain is about fifteen percent in average and between zero and five percent at forty percent area coverage. If there were no degrading of the plate in the press this number would be much higher. The conclusion is that an automatic controlling system would not be profitable. Since this work has been concluded a new type of plates has been taking in to production that resulted in even higher stability.

This thesis work has introduced process orientation at the printing company Color Print Sweden AB. The outcome ofthis work is a survey of the work flow at the prepress department. To visualise the production process at the companya comprehensive mapping of the main process, order-to-delivery, has been made. The work has detected a couple ofcritical elements in the existing process. These elements are the following: initial check of material delivered to the prepressdepartment as well as the control made of the plotter print-out, digital test print and plate. To guarantee the qualityof the prints it is very important that the work made in the prepress department is optimized. This survey can thereforebe used as a basis for continuous improvement in the processes at Color Print Sweden AB. This work has alsoresulted in a template that Color Print Sweden AB can use to design routine descriptions to ensure that specific worktasks are performed the right way by everyone and all the time.

<p>Development of colour management systems, the level ofstandardisation, as well as the embedding of facilities forcolour management into computer operating systems and software,enables successful future interoperability of colour reproductionin the graphic arts industry. Yet colour reproduction from onemedium to another, still gives rise to inconsistencies.</p><p>This thesis investigates colour management and controlprocesses in premedia and press process workflows in graphic artsproduction, including standards, instruments and procedures. Thegoal is to find methods for higher efficiency and control ofcolour print media production processes, aiming at increasingcolour consistency and process automation and of reducingoverheads. The focus is on the control of colour data by displaysin prepress processes producing low quality paper products. Inthis respect the greatest interest of this thesis is on technicaland visual characteristics of displays with respect tp thereproduction of colour, especially desktop Thin Film TransistorLiquid Crystal Displays (TFTLCD) compared to portable TFTLCDs andCathod Ray Tube (CRT) monitors.</p><p>In order to reach the desired goal, this thesis is based on aliterature survey and empirical studies. The empirical studiesinclude both qualitative and quantitative methods, organised intothree parts:</p><p>    Colour process management: Analysed case studies of theimplementation of colour management in entire graphic artsproduction workflow processes.</p><p>    Display technology: LCD and CRT displays have been examinedthrough measurements to establish their fundamental strengthsand weaknesses in reproducing colours.</p><p>    Comparison of reproduction: A perceptual experiment hasbeen conducted to determine the ability of the disparatecomponents included in a colour management system to co-operateand match reproduced colour, according to the perceivedpreference of observers.</p><p>It was found that in most cases consistent colour fidelitydepends on the knowledge and experience of the actors involved inthe production process, including the utilisation of routines andequipment. Lack of these factors is not necessarily fatal for thefinal low quality paper colour product, but obstructs theautomation. In addition, increased digitalisation will increasethe importance of displays in such processes. The results showthat CRTs and desktop LCDs meet most of the demands of colourreproduction in various areas of low quality paper productionprocesses, e.g. newspaper production. However, some fundamentalaspects, such as low digital input values, viewing angles andcolour temperature, matters that concern characterisation andcalibration, still need to be developed. Concerning softproofing, the matching correspondence between hard and softcopies gives similar results for both CRT and LCDs forhigh-quality paper originals, if the luminance is decreased onthe LCD (to luminance levels of CRTs). Soft proofing of lowquality papers gives equally lower matching agreement for bothCRT and LCD, in this case when the luminance of the LCD is sethigher (e.g. about twice the levels luminance levels ofCRTs).</p><p><b>Keywords:</b>Displays, LCD, CRT, premedia, prepress, softproof, workflows, newspaper, colour management systems, colourcontrol, colour reproduction</p>

Development of colour management systems, the level ofstandardisation, as well as the embedding of facilities forcolour management into computer operating systems and software,enables successful future interoperability of colour reproductionin the graphic arts industry. Yet colour reproduction from onemedium to another, still gives rise to inconsistencies. This thesis investigates colour management and controlprocesses in premedia and press process workflows in graphic artsproduction, including standards, instruments and procedures. Thegoal is to find methods for higher efficiency and control ofcolour print media production processes, aiming at increasingcolour consistency and process automation and of reducingoverheads. The focus is on the control of colour data by displaysin prepress processes producing low quality paper products. Inthis respect the greatest interest of this thesis is on technicaland visual characteristics of displays with respect tp thereproduction of colour, especially desktop Thin Film TransistorLiquid Crystal Displays (TFTLCD) compared to portable TFTLCDs andCathod Ray Tube (CRT) monitors. In order to reach the desired goal, this thesis is based on aliterature survey and empirical studies. The empirical studiesinclude both qualitative and quantitative methods, organised intothree parts:     Colour process management: Analysed case studies of theimplementation of colour management in entire graphic artsproduction workflow processes.     Display technology: LCD and CRT displays have been examinedthrough measurements to establish their fundamental strengthsand weaknesses in reproducing colours.     Comparison of reproduction: A perceptual experiment hasbeen conducted to determine the ability of the disparatecomponents included in a colour management system to co-operateand match reproduced colour, according to the perceivedpreference of observers. It was found that in most cases consistent colour fidelitydepends on the knowledge and experience of the actors involved inthe production process, including the utilisation of routines andequipment. Lack of these factors is not necessarily fatal for thefinal low quality paper colour product, but obstructs theautomation. In addition, increased digitalisation will increasethe importance of displays in such processes. The results showthat CRTs and desktop LCDs meet most of the demands of colourreproduction in various areas of low quality paper productionprocesses, e.g. newspaper production. However, some fundamentalaspects, such as low digital input values, viewing angles andcolour temperature, matters that concern characterisation andcalibration, still need to be developed. Concerning softproofing, the matching correspondence between hard and softcopies gives similar results for both CRT and LCDs forhigh-quality paper originals, if the luminance is decreased onthe LCD (to luminance levels of CRTs). Soft proofing of lowquality papers gives equally lower matching agreement for bothCRT and LCD, in this case when the luminance of the LCD is sethigher (e.g. about twice the levels luminance levels ofCRTs). Keywords:Displays, LCD, CRT, premedia, prepress, softproof, workflows, newspaper, colour management systems, colourcontrol, colour reproduction

過去新科技的研究不是偏重於使用者研究就是著重於組織架構的變革，雖然在研究角度上都頗有斬獲，但總有難窺得全貌之憾，為了能跳脫出這兩個已經成熟的研究路徑，研究者採用全觀的角度，欲從大架構著手。 　　本論文主要論述分三個主軸，經由個案的觀察將三個論點貫穿，達到觀察者陳述文本的前後呼應。首先由轉借自生態學的媒介生態概念來探討國內眾多報紙電腦化的因素，結果發現大報的變革動作往往會對同環境的中、小型報紙造成影響；大報改變生態中的競爭基準點，中、小型報紙會因環境改變，而產稱趨同現象(isomorphism)，這種現象的產生除了一般商業上的風險規避的自發性因素外，研究者不能、排除中、小型報業是迫於競爭者及硬體環境變遷的壓力、只好改變沿用已久的生產流程。 　　第二個論點則著重於組織內部的變化、除了環境改變的外力、影響報業採用新科技的動力、亦有可能基於新科技能影響組織工作流程、因此研究者引用了企業處理程序再生工程(Business Process Reengineering；BPR)及新科技對競爭優勢的影響的兩個觀點來檢視報業是否利用這種劇烈的變革達到換血的目的。研究發現個案欲利用電腦化來達到組織內部人事調整的目的，並希望藉著此次重整來重新調整自我在報業市場的競爭定位(nitch)。在此研究者必須強調環境和組織變革所運用的策略可互為因果亦可單獨存在，以本研究的個案而言，競爭環境改變可視為前因，策略的應用則是依環境調適所採取的回應結果，若外界環境不變，其結果必然另呈樣貌。 　　最後一個部份著重於組織變革中權力的流動及其影響。權力原本是一種流動的概念，會隨著依存的組織變動而轉換，電腦化是組織權力重組的開始，在這個過程中，白領勞工及藍領勞工會因個人擁有的資源與可資溝通籌碼而有不同的待遇產生，白領勞工只要能夠掌握交換籌碼及掌握有利的溝通模式，通常可以在組織中快速上升流動，但這也會使科層組織中彼得原則現象迅速產生，但專家權仍無法抗衡日益加重的專業責任，仍得吸納由藍領勞工轉嫁而來的分工。至於藍領勞工幾乎遭到技術剝離(deskilled)，除非接受組織的交換條件，幾乎沒有籌碼可言。

Cette recherche pose une question simple : Qui fait quoi dans le journal ? Nous y répondons partiellement en nous focalisant sur un domaine spécifique du continuum de fabrication de l’information : le prépresse. Il s’agit du moment où l’information fournie par les journalistes rédacteurs est matérialisée, dessinée par les journalistes secrétaires de rédaction (SR) dans les pages du quotidien. Cet espace nous permet de mettre en avant un collectif singulier dans le journal. Car jusqu’à la fin des années 1990 et la numérisation totale de la chaine de fabrication des quotidiens, les SR ne sont pas seuls responsables du prépresse, ils coopèrent quotidiennement avec des ouvriers : les typographes. Ainsi, SR et typographes « font » le journal ensemble. Or, nous considérons que ces gens sont à ce qu’ils font de manière distincte, et par conséquent nous nous attachons à décrire qui fait quoi comment. C’est-à-dire que nous observons ce qui est à faire – le journal – en étant attentif à la manière dont journalistes et ouvriers se lient ou non pour y parvenir. Cette étude de qui fait quoi comment dans le journal se décline en trois temps. Nous tentons tout d’abord de comprendre De quoi est fait le monde des typographes (1) : Quels sont leurs appuis pour composer leur goût pour être à ce qu’ils font ? Dans quoi peuvent-ils puiser pour être typographes comme ils l’entendent ? Nous nous demandons ensuite, de la même manière, De quoi est fait le monde des SR (2) ? Quel est l’équipement des SR pour composer leur monde ? Dans quels scripts peuvent-ils puiser pour être SR au mieux des possibles ? Ce parallèle entre ces journalistes particuliers et ces ouvriers pas comme les autres nous amène à élaborer le troisième volet de ce travail : SR et typographes composent-ils un monde commun (3) ? Il s’agit de déterminer si les frottements continus de ces deux manières d’être au monde partagent certains attachements. Nous présentons quelques exemples qui suggèrent qu’un monde commun a pu exister à certaines époques et de manière non linéaire, entre SR et typographes. À partir de notre terrain, nous débusquons des parcelles de ce monde commun grâce à un médiateur spécifique : la maquette du journal.Finalement, en décrivant qui fait quoi comment dans le journal via ce qui se passe à l’interface de sa matérialité, nous découvrons un objet collectif travaillé par un grand nombre de gens et de choses. Chaque jour, le journal est suffisamment flexible pour que s’y expriment différentes présences au monde, et suffisamment solide pour (con)tenir l’expression de son énonciation collective. / To the simple question Who does what in a newspaper? this study – partially – answers by focusing on a particular aspect of the continuum of information production: the prepress – where the information provided by journalists is laid out and designed by sub-editors. This approach enables us to shed light on a unique collective of the newspaper. Indeed, until the end of the 90’s and the generalization of digitalization in the production lines of daily newspapers, sub-editors share their responsibilities and collaborate on a daily basis with a particular type of blue-collar workers: the typographers. In our opinion, sub-editors and typographers make the newspaper together, and in their own respective ways. How? What is there to do to make a newspaper, and how do – or don’t – journalists and blue-collars bind themselves to achieve their common goal?Our analysis of Who does what and how in a newspaper is divided into three parts. In a first part we describe The world of typographers (1). What supports do they lean on to work with their taste? What resources do they draw on to display their skills? In a similar way, in a second part we analyze The world of sub-editors (2). What is it made out of? What scripts do sub-editors turn to to perform at their best? A third part is dedicated to establishing parallels between these two distinctive worlds, wondering Do sub-editors and typographers form a common world (3)? Do these two ever-connected worlds share common bonds? The examples we present suggest that common worlds have existed at certain times and in non-linear ways. Our fieldwork provides us with fragments of this common world within a specific mediator: the layout.The description of who does what and how in a newspaper via what takes place at the crossroads of its material form enables us to reveal a collective object elaborated by a number of different people and things. Every day, newspapers are flexible enough to allow different perceptions to express themselves, and rigid enough to carry a collective formulation.