Staccato - Kodak

03-4049F-A 

Staccato 

version 10/20/25 

User Guide 

English 

www.creo.com


version 10/20/25 

User Guide

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03-4049F-A 

Revised July 2002 

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Contents 

Using This Manual vii 

Who Should Use This Manual ................................................................................................................. viii 

What’s New in This Manual .................................................................................................................... viii 

New Features in Staccato Version 10/20/25. .................................................................................... viii 

Changes to This Manual .................................................................................................................. viii 

Conventions Used in This Manual .............................................................................................................ix 

Fonts .................................................................................................................................................ix 

Symbols.............................................................................................................................................ix 

Terminology .......................................................................................................................................x 

PDF Document .........................................................................................................................................xi 

For More Information ...............................................................................................................................xi 

1 Introducing Staccato 1 

What Is Staccato?..................................................................................................................................... 2 

How Do I Apply Staccato Screens?............................................................................................................ 2 

Tips for Successful Staccato Implementation ............................................................................................. 3 

Computer-to-Plate Technology .......................................................................................................... 3 

Qualified Media ................................................................................................................................. 4 

Dot Gain and Tonal Value Increase .................................................................................................... 4 

Standardized Press Processes ............................................................................................................. 4 

2 Installing and Licensing 7 

Introduction ............................................................................................................................................. 8 

Installing and Licensing Staccato............................................................................................................... 8 

Writing Down the License Key .................................................................................................................. 9 

Generating a PPD File ............................................................................................................................... 9 

3 Applying Screens 11 

Introduction ........................................................................................................................................... 12 

Selecting Which Staccato Screens to Use ................................................................................................ 12 

Selecting Which Calibration Curves to Use With Staccato ....................................................................... 12 

Using Desktop Applications to Apply Staccato Screens............................................................................13 

Using Brisque to Apply Screens and Calibration ...................................................................................... 14 

Using iMPAct to Apply Screens and Calibration ...................................................................................... 14 

Using Prinergy to Apply Screens and Calibration ..................................................................................... 14 

Combining Conventional and Staccato Screens ...................................................................................... 15 

4 Staccato Screens 17 

Staccato Screen Characteristics............................................................................................................... 18

vi Staccato User Guide 

First-Order Screens ................................................................................................................................. 19 

Staccato 20.1 .................................................................................................................................. 19 

Second-Order Screens ............................................................................................................................ 21 

Staccato 10 ..................................................................................................................................... 21 







5 Screening Theory 25 

Fundamentals of AM Screening.............................................................................................................. 26 

Dots, Halftone Cells, and Screens .................................................................................................... 26 

Tone Value Increase......................................................................................................................... 27 

Choosing a Suitable AM Screen....................................................................................................... 28 

Fundamentals of Staccato Screening ...................................................................................................... 32 

Benefits of Staccato Screening......................................................................................................... 32 

Implementing Staccato .................................................................................................................... 36 

Specifying AM and FM Screens............................................................................................................... 36 

Glossary 39 

Index 47

Using This Manual 

Who Should Use This Manual ...........................................................viii 

What’s New in This Manual...............................................................viii 

Conventions Used in This Manual ...................................................... ix 

PDF Document................................................................................... xi 

For More Information......................................................................... xi

viii Using This Manual 

Who Should Use This Manual 

What’s New in This Manual 

This manual is intended for anyone who is involved in using Staccato® 

10/20/25. 

To use this manual, you should: 

• Have a working knowledge of prepress operations 

Be familiar with the Windows® operating system 

Be familiar with the Macintosh® operating system 

This manual assumes that: 

All the hardware, software, and network components of your Creo 

system are installed, configured, and operating correctly. 

Files submitted to your Creo system are free of common errors usually 

resolved during preflight, such as missing fonts and PostScript errors. 

This section describes information that is new in this revision of the 

manual. It identifies changes that were made in Staccato version 10/20/25 

and to this manual. 

New Features in Staccato Version 10/20/25. 

Changes to This Manual 

Two new screens: Staccato 10 and Staccato 36 

Staccato 50 was renamed Staccato 40 and modified slightly. 

Descriptions of the new and modified Staccato screens were added. 

Information was reorganized.

Conventions Used in This Manual ix 

Conventions Used in This Manual 

Fonts 

Symbols 

This section describes the fonts, terminology, and symbols used in this 

manual. 

Frutiger bold is used to refer to buttons and other items in a dialog box, file 

names, folders, menu names, and menu commands. 

Minion Italic is used to refer to other chapters in the manual, book titles, 

and titles of other manuals. 

Frutiger is used for figure and table captions. 

/HWWHU *RWKLF is used for messages on your computer screen and for 

information that you must type. 

SMALL CAPS is used for a key or key combination on your keyboard. 

Important: This tells you about things that may cause process delays or reduce 

functionality, reliability, or quality. 

Note: A note provides additional information that you may need to consider. 

The reference symbol tells you that related information on the topic is available 

in another Creo document.

x Using This Manual 

Terminology 

Clear Place the mouse pointer over the check box for the 

specified option, and then click the left mouse button 

so that the X or check mark is removed from the check 

box. 

Click Place the mouse pointer over the specified option or 

button, and then press and release the left mouse 

button. 

Double-click Place the mouse pointer over the specified option or 

button, and then quickly press and release the left 

mouse button twice. 

Drag Hold down the left mouse button while moving the 

mouse, and then release the button. 

Enter Type the information, and then press the ENTER or 

RETURN key. 

Point Position the mouse pointer over a submenu or menu 

command. For example, point to the File menu. 

Press Press the specified key or key combination on your 

keyboard, for example, press CTRL+ALT+DEL. 

Right-click Place the mouse pointer over an area of the 

application window, and then press and release the 

right mouse button to display the shortcut menu. For 

more information about using shortcut menus, see 

your Windows documentation. 

Select Place the mouse pointer over the check box for the 

specified option, and then click the left mouse button 

so that an X or check mark appears in the check box. 

Or: 

Place the mouse pointer over the specified box or 

button, and then click the left mouse button. 

Type Type the information. Do not press the ENTER or 

RETURN key.

PDF Document xi 

PDF Document 

For More Information 

This manual is also provided in PDF (Portable Document Format). 

The PDF document can be used for online viewing and printing using 

Adobe Acrobat Reader. When printing the manual, please print the entire 

manual, including the copyright and disclaimer statements. 

Visit Creo at www.creo.com for documentation, training courses, 

downloads, and service and support contacts.

xii Using This Manual

1 Introducing 


What Is Staccato? ...............................................................................2 

How Do I Apply Staccato Screens? ......................................................2 

Tips for Successful Staccato Implementation .......................................3

2 Chapter 1 – Introducing Staccato 

What Is Staccato? 

How Do I Apply Staccato Screens? 

Staccato is a Creo-developed stochastic, or FM, screening solution. 

Staccato provides a range of screens from 10 to 70 microns that you can 

select and apply to the elements (images, pages, separations, or forms) of 

your job. 

Staccato is installed and licensed with your workflow software, for 

example, Brisque, iMPAct, or Prinergy. Once the license key is installed, 

Staccato screens appear in the workflow software, and you use the 

workflow software to select Staccato screens. 

You can also use some desktop software to apply Staccato screens to 

images, pages, or separations before you submit the files to Brisque, 

iMPAct, or Prinergy. For details, see Chapter 3, Applying Screens. 

Staccato 10/20/25 offers three products: 

Staccato 10 Series, which contains the following Staccato screens: 10, 

20.1, 20, 25, 35, 36, 40, and 70. 


25, 35, 36, 40, and 70. 


35, 36, 40, and 70. 

You can apply Staccato screens using desktop software or using 

Creo-developed workflow software.

Tips for Successful Staccato Implementation 3 

You can use most standard desktop software to apply Staccato screens, 

such as: 

QuarkXPress 

Adobe® Photoshop® 

ScenicSoft® Preps 

You can also use the following Creo-developed workflow software to apply 

Staccato screens: 

Brisque 4.x or later 

iMPAct 

Prinergy 

Tips for Successful Staccato Implementation 

Computer-to-Plate Technology 

This section includes tips to help you successfully implement Staccato in 

your press room. 

Computer-to-plate (CTP) technology eliminates variations introduced by 

film, film processing, and vacuum frame exposures. These film-based 

sources of variation prevented viable production of fine FM screens in the 

past. However, even in a CTP environment, variations in plate sensitivity 

and processing still require very high-resolution imaging to prevent 

inconsistencies in the 10 and 20 micron features on a plate. SQUAREspot 

imaging delivers 10,000 dpi imaging and the consistency required for FM 

print production. Other imaging technologies can resolve fine FM screens 

on plate; however, plates will require regular linearization and calibration 

to keep the dot area within manufacturer’s tolerances. 

Creo offers several imaging technologies for its CTP devices, and each has 

its own set of unique benefits. SQUAREspot thermal imaging, available on 

Quantum devices, delivers the best process stability, accuracy, and 

consistency of the offerings and is the best technology for imaging Staccato 

screens.

4 Chapter 1 – Introducing Staccato 

Qualified Media 

Dot Gain and Tonal Value Increase 

Standardized Press Processes 

Other Creo-developed heads also accurately image Staccato screens, but 

these heads may require more attention to monitoring and adjusting for 

process variations in order to maintain dot area within manufacturer’s 

tolerances. 

In order to minimize the liability associated with imaging, screening, 

plates, and chemistry, Creo rigorously tests and qualifies media. For 

Staccato, these qualification tests determine, for instance, which plate type 

supports which Staccato screens on each CTP device. Contact your service 

representative for the current qualified list of media, or see the Creo web 

site (www.creo.com). 

When printed at standard ink densities from linear plates, Staccato screens 

exhibit greater tone value increase (TVI), or dot gain, compared to 

conventional AM screens printed at typical halftone frequencies such as 

150 lpi. As a result, characterization and compensation for TVI is essential 

for correct tone reproduction. 

Harmony calibration software (Prinergy and iMPAct) and Tone 

Reproduction Curve software (Brisque) can help you build curves to 

customize tone reproduction for your particular printing needs and 

environment. These tone reproduction curve software tools can be used 

equally well for Staccato and conventional screening. 

For more information on tonal reproduction and calibration, see the 

relevant documentation on tonal compensation included with your 

workflow product. See also Tone Value Increase on page 27. 

Stochastic printing requires printers to put greater prepress and pressroom 

process controls in place. In fact, the success of your Staccato 

implementation will be partially dictated by process control. 

SQUAREspot delivers the process control you’ll require for plating. 

Many printers already have the pressroom process control and apply the 

lithographic discipline that works well for printing Staccato screens. The 

changes necessary in your pressroom are difficult to predict; however,

Tips for Successful Staccato Implementation 5 

experience shows that stable Staccato presswork prints with the smallest 

levels of water and just enough ink to achieve desired densities. The result 

is consistent presswork; however, these practices restrict the range of 

midtone color adjustments available during make-ready. As a result, color 

correction and plating curves require greater attention, which in turn 

provide a superior printing process. 

Creo is working on process control tools and has put the Consulting 

Services Group in place to make the adoption of Staccato and 

implementation of pressroom process control simpler for printers. For 

more information, contact your sales and/or service representative. 

With good plating and pressroom controls in place, printers will be well 

positioned to implement and benefit from Staccato. 

Known Staccato Issues 

Staccato screens may exacerbate lithographic issues that are otherwise 

tolerable in routine AM presswork. Emulsification, piling, and ink-water 

imbalance can reduce the printability and effectiveness of FM presswork. 

Essentially, FM printing demands lithographic discipline, forcing printers 

to resolve issues and process instabilities. 

There have been reports of reduced plate life with Staccato screens; 

however, these reports are not consistent, suggesting that pressroom 

conditions, mechanics, and chemistry also impact these observations.

6 Chapter 1 – Introducing Staccato

2 Installing 

and Licensing 

Introduction........................................................................................8 

Installing and Licensing Staccato .........................................................8 

Writing Down the License Key.............................................................9 

Generating a PPD File..........................................................................9

8 Chapter 2 – Installing and Licensing 

Introduction 

Installing and Licensing Staccato 

This chapter describes the Staccato installation process. 

Staccato supports Brisque, iMPAct, and Prinergy workflows. Creo service 

representatives install and license Staccato; you do not install and license it 

yourself. 

Staccato installation includes one day for installing software and/or license 

keys, configuring workflow software to suit customer needs, and adjusting 

output devices, if required. This section outlines the tasks related to 

Staccato installation and who is responsible for each task. See also Tips for 

Successful Staccato Implementation on page 3. 

1. Creo Customer Support installs, maintains, and updates software and 

hardware to meet product specifications. Creo is responsible for 

establish imaging quality by setting up and maintaining surface depth, 

focus, and laser power and by setting up media based on existing 

processing conditions. For a list of qualified media, see the Creo web 

site (www.creo.com). 

2. Obtaining device color between proof and presswork is the 

responsibility of customers and proofing and plate media vendors. 

3. One day of on-site installation includes installation of license keys and 

default tone reproduction curve databases as well as basic operator 

training on building and applying linearization and tone 

reproduction curves for Staccato screening, using Harmony, xCurve, 

and/or Brisque Tone Reproduction Curve. 

4. Also included with Staccato are (i) Staccato product and service 

documentation, (ii) license keys to enable Staccato screening within 

Creo workflows, (iii) a set of default tone reproduction curves, a 

printable validation form for these curves, and documentation on 

how to pick the most suitable default curve, and (iv) documented 

techniques that Creo customers may use, if they desire, to build 

custom tone reproduction curves to simulate Staccato-based 

presswork for target presswork. 

5. Creo Customer Support is not responsible for profiling presswork or 

building custom tone reproduction curves.

Writing Down the License Key 9 

Writing Down the License Key 

Generating a PPD File 

6. Creo Customer Support is not responsible for correcting process 

instabilities related to plates, ovens, and processing chemistry. 

Customers are responsible for building and applying linearization 

curves to correct for any variation in dot area that results from 

day-to-day variations in plate sensitivity, oven temperatures, and 

chemistry strength. 

7. Support for Staccato screening varies with the type of output device 

and type of media being imaged. For up-to-date details on which 

screens are supported, contact your local service and/or sales 

representative. 

Please keep a record of your Staccato license key. If you upgrade your 

workflow software, you may need to re-enter the license key. You can do 

this without help from a service representative if you have the license key. 

Once you successfully install and/or license Staccato, you should use your 

output device control software to generate a new PostScript Printer 

Description (PPD) file that includes Staccato dot shapes. For more 

information on generating PPD files, see your device control software 

documentation. 

Note: PPD files generated by Print Console lack screening information, because 

Print Console doesn’t have a RIP from which to gather this information.

10 Chapter 2 – Installing and Licensing

3 Applying 

Screens 

Introduction......................................................................................12 

Selecting Which Staccato Screens to Use...........................................12 

Selecting Which Calibration Curves to Use With Staccato..................12 

Using Desktop Applications to Apply Staccato Screens ......................13 

Using Brisque to Apply Screens and Calibration.................................14 

Using iMPAct to Apply Screens and Calibration .................................14 

Using Prinergy to Apply Screens and Calibration................................14 

Combining Conventional and Staccato Screens .................................15

12 Chapter 3 – Applying Screens 

Introduction 

You can use desktop publishing software, for example, Photoshop, 

QuarkXPress, and Preps, to apply screening, and you can also use 

workflow software such as Brisque, iMPAct, and Prinergy to apply 

screening. Workflow software usually lets you apply screening on a global 

basis—that is, you can turn screening on or off for the files that you are 

processing. For this reason, use the workflow software to apply global 

screening and use desktop software to embed alternate screening in the 

files that you submit to the workflow software. 

Important: Creo PreScript software strips screening information out of 

PostScript files. Use PreScript cautiously with QuarkXPress files that contain 

Photoshop images, in case intentionally embedded screening is present. 

Selecting Which Staccato Screens to Use 

Staccato screening is designed to meet the needs of most printers; it offers 

a family of screens for each output device resolution. This means you can 

use Staccato with all printing applications. For more information, see 

Chapter 4, Staccato Screens. 

In general, with higher-quality printing processes, you can use a finer 

Staccato screen. Your selection of a Staccato screen for a printing job, 

particularly on conventional film, is usually based on the following criteria: 

Physical characteristics of your output device 

Output media 

Printing and press environment 

Ink and paper type 

Selecting Which Calibration Curves to Use With Staccato 

For iMPAct and Prinergy workflows, Creo provides default Harmony 

calibration curves that you can use with Staccato screens. You can 

download these curves from the eCentral web site 

(https://ecentral.creo.com), and then import them into Harmony. See 

your Harmony documentation for instructions on importing curves. 

For Brisque workflow, Staccato curves for use with Staccato screens are 

included in Tone Reproduction Curve software.

Using Desktop Applications to Apply Staccato Screens 13 

Using Desktop Applications to Apply Staccato Screens 

You can easily invoke a Staccato screen in PostScript desktop publishing 

software by manually selecting the line screen value equivalent to the 

Staccato spot size that you want to use. For example, to apply a Staccato 

20.1 screen, use 20.1 lpi in the screen ruling field of the desktop publishing 

software. 

Figure 1 shows how you can apply a Staccato 20.1 screen in Adobe 

Illustrator® by simply typing the lpi value 20.1 in the Frequency box. 

Note: This document uses Adobe Illustrator only as an example. You can apply 

Staccato screens to a job or elements in a job using other standard desktop 

publishing software. 

Line screen 

value 

Figure 1: Applying Staccato screens using line screen values (Adobe Illustrator) 

Important: As long as other software does not override screening, specifying 

10.0, 20.0, 20.1, 25.0, 35.0, 36.0, 40.0, or 70.0 lpi in your desktop publishing 

software automatically invokes the corresponding Staccato screen.

14 Chapter 3 – Applying Screens 

Note: To print with a low lpi AM screen instead of a Staccato screen, select a 

screen ruling that is close but not equal to Staccato spot sizes (20.0, 20.1, 25.0, 

35.0, 36.0, 40.0, or 70.0 lpi). For example, if you want to use a 20 lpi screen, you 

can select one of the following: 19.5, 19.9, 20.2, or 20.5 lpi. The RIP optimizes 

this request to a 20 lpi screen rather than invoking a Staccato screen. 

Using Brisque to Apply Screens and Calibration 

You can use Brisque to apply Staccato screens and tone reproduction 

curves. You use the Screen Set software to set up screen sets, and you use 

the Tone Reproduction Curve software to set up tone reproduction curves. 

For more information about Brisque and applying screen sets and tone 

reproduction curves, see your Brisque documentation. 

Using iMPAct to Apply Screens and Calibration 

You use can use the iMPAct workflow to apply Staccato screens and 

Harmony calibration curves. You use Allegro RIP page setups to configure 

screening and calibration options. 

Allegro RIP page setups let you choose whether to override all screening in 

the PostScript file. It also lets you turn on or turn off calibration. 

Because Allegro RIP lets you apply screening on a global basis—that is, to 

all elements in the job—you must plan your screening strategy before 

RIPing a job. For example, one strategy is to embed the alternate screening 

in the job files, and use Allegro RIP to apply another screen to the other 

elements in the job files. 

For more information about iMPAct software, see your iMPAct documentation. 

For details on applying screening using an iMPAct workflow, see the document 

titled Applying Screens for iMPAct Workflow. For details on applying calibration 

using an iMPAct workflow, see the Harmony Reference Guide for iMPAct. 

Using Prinergy to Apply Screens and Calibration 

You can use Prinergy to apply Staccato screens and Harmony calibration 

curves. Screening and calibration settings are found in the Calibration & 

Screening section of the following process plans: loose page output, 

imposition proof output, and final output.

Combining Conventional and Staccato Screens 15 

Prinergy offers you three screening choices: 

You can use the screening configured in the process plan to override all 

screening in the input files. 

You can use the screening applied to PDF files with Dot Shop. (Dot 

Shop is an Adobe Acrobat screening plug-in.) 

You can use the screening in the input files. 

Prinergy offers you three calibration choices: 

You can select and apply a specific Harmony calibration curve. 

You can enable automatic calibration and let Prinergy and Harmony 

select and apply a calibration curve. 

You can turn off calibration. 

For more information about Prinergy Workshop, see the Workshop online help. 

For details on applying screening using a Prinergy workflow, see the document 

titled Applying Screens for Prinergy Workflow. For details on applying calibration 

using a Prinergy workflow, see the Harmony Reference Guide for Prinergy. 

Combining Conventional and Staccato Screens 

Prinergy and iMPAct support the mixture of AM and FM screens on 

different elements within a printing form. This is particularly useful for 

press testing, technology demonstrations, troubleshooting, and for placing 

different kinds of marks and printing guides on the printing form. Staccato 

has a different lithographic response than AM screens, so it is not advisable 

to mix AM and FM screens in routine presswork, as it may be difficult to 

strike a useful compromise on press if one or the other does not meet client 

expectations.

16 Chapter 3 – Applying Screens

4 Staccato 

Screens 

Staccato Screen Characteristics .........................................................18 

First-Order Screens ............................................................................19 

Second-Order Screens .......................................................................21

18 Chapter 4 – Staccato Screens 

Staccato Screen Characteristics 

This section identifies the families of Staccato screens that are available 

with Creo-developed output device resolutions. It also describes physical 

characteristics of each screening family. 

Table 1 provides a rough description of Staccato screens using AM 

screening equivalents. 

The Staccato screening family includes both first- and second-order 

screens. The Staccato screening family has the flexibility to meet the range 

of stochastic screening needs of publication, packaging, and commercial 

printers. 

Table 1: Staccato screens 


screen 

Approximate 

highlight dot 

size 

Approximate 

highlight 

equivalent in 

terms of screen 

ruling (lpi) 

Approximate 

midtone 

equivalent in 

terms of screen 

ruling (lpi) 

Staccato 10 10 micron 1% dot at 240 lpi 480 to 550 lpi 

Staccato 20.1 20 micron 1% dot at 120 lpi 425 to 480 lpi 


Staccato 25 20 micron 1% dot at 120 lpi 240to 300 lpi 




Staccato 70 60 micron 1% dot at 40 lpi 120 to 130 lpi

First-Order Screens 19 

First-Order Screens 

Staccato 20.1 

Staccato first-order screens, like other traditional FM screens, represent 

different tones by varying the number of dots of a fixed size and by 

distributing the dots in a random fashion. They deliver fine detail and 

eliminate subject and screening moiré. 

However, the small size and tight spacing of first-order dots contribute to 

dot gain. For more information, see Dot Gain and Tonal Value Increase on 

page 4. First-order FM screens can produce inconsistent dot structures and 

localized ink buildup. Irregular dispersion of dots may also produce a 

visibly grainy pattern in flat tint areas, despite the fine dot structure. 

You can distinguish a first-order Staccato screen by its screen number, 

which has the extension .1, for example, Staccato 20.1. See also Figure 3 on 

page 20. 

Staccato 20.1 is a first-order FM screen that uses 20 micron halftone dots 

throughout the whole tonal scale. This stochastic screen is suitable for 

high-quality sheetfed printing on coated stock in commercial and 

premium printing environments. This screen is lithographically very stable 

and requires precise calibration because color correction on press is more 

difficult. 

Staccato 20.1 can be imaged at 2400 or 2540 dpi. 

Figure 2: Staccato 20.1


First-order Staccato 

Second-order Staccato 

Figure 3: First- and second-order Staccato screens

Second-Order Screens 21 

Second-Order Screens 

Staccato 10 


Staccato second-order screens, like first-order screens, render fine detail 

and eliminate moiré. However, by clustering midtone dots into orderly 

patterns, second-order stochastic screens produce less grain and less dot 

gain than first-order screens. The clustered dots moderate dot gain by 

minimizing edge effects and midtone plugging, and the more regular 

screen pattern subdues grain visibility. 

Staccato 10 is the finest second-order FM screen. The micron dots are not 

visible in flat tints and display less visible grain than coarser screens. 

Staccato 10 screens behave much like coarser Staccato screens, but they 

take the benefits of FM even further. This stochastic screen is suitable for 

high-quality sheetfed printing on coated stock in commercial and 

premium printing environments. This screen is the most lithographically 

stable and requires precise calibration because color correction on press is 

more difficult. Process control and stability in platemaking and presswork 

is more important for Staccato 10 than any other Staccato screen. 

Staccato 10 is available at resolutions of 2400, 2540, or 3200 dpi. 

Figure 4: Staccato 10 

Staccato 20 is a second-order FM screen that offers the printability of 

Staccato 20.1 but with less grain, less dot gain, and more consistent tonal 

reproduction. This stochastic screen is suitable for high-quality sheetfed 

printing on coated stock in commercial and premium printing 

environments. Staccato 20 is the most popular screen with Creo 

customers. It is lithographically very stable and requires precise calibration 

because color correction on press is more difficult. 

Staccato 20 is available at resolutions of 1600, 2400, 2540, or 3200 dpi.





Staccato 25 is a second-order FM screen that offers the printability of 

Staccato 35 with less visible grain. This stochastic screen is suited to quality 

web printing on coated stock in high-volume, publication-style printing 

environments. It is also suitable for high-end newsprint, directory, and 

newspaper presswork. This slightly coarser screen is also suited to 

commercial and high-volume shops where the assortment of presses and 

paper requires a more lithographically flexible FM screen. This screen is 

less lithographically stable than the finer FM screens; however, it affords 

printers more flexibility to correct color on press, and it isn’t burdened 

with the drawbacks of AM screens. 

Staccato 25 is available at resolutions of 1200, 1600, 2400, 2540, or 3200 

dpi. 


Staccato 35 is a second-order FM screen, and the larger dot increases 

printability in the highlights, midtones, and shadows. Because Staccato 35 

is visibly grainy on higher-grade paper stock, it is suitable for printing on 

lower-grade coated and uncoated stocks. This stochastic screen is suited to 

general web printing on coated stock and newsprint stocks as well as in 

high-volume, publication-style printing environments. It is also suitable 

for newsprint, directory, newspaper, and folding carton presswork. 

Staccato 25 and 35 are similar in the midtones, but they differ in the 

highlights.

Second-Order Screens 23 


This slightly coarser screen is also suited to commercial and high-volume 

shops where the assortment of presses and paper requires a more 

lithographically flexible FM screen. This screen is less lithographically 

stable than the finer FM screens; however, it affords printers more 

flexibility to correct color on press, and it isn’t burdened with the 

drawbacks of AM screens. 

Staccato 35 is available at resolutions of 1600, 2400, 2540, or 3200 dpi. 

Note: Staccato 35 exhibits visible screening artifacts. Sometimes the problem 

appears on the proof; however, it is usually more visible on press, because the 

visibility of the pattern is exacerbated by dot gain. To avoid this problem, use 

Staccato 36 instead. Staccato 25 and 20 screens do not exhibit this problem. 


Staccato 36 is a second-order FM screen, and the larger dot increases 

printability in the highlights, midtones, and shadows. Because Staccato 36 

has a slightly larger feature size than Staccato 35, it lacks the visible 

screening artifacts sometimes seen with Staccato 35. Staccato 36 is suitable 

for printing on lower-grade coated and uncoated stocks. This stochastic 

screen is suited to general web printing on coated stock and newsprint 

stocks as well as in high-volume, publication-style printing environments. 

It is also suitable for newsprint, directory, newspaper, and folding carton 

presswork. 


Figure 8: Staccato 36




Staccato 40 is a second-order FM screen and is suitable for applications 

where large features are required, or where the normal viewing distance is 

greater than 76.2 centimeters (30 inches). 



Staccato 70 is a second-order FM screen and is suitable for applications 

where large features are required, such as screen printing, or where the 

normal viewing distance is greater than 76.2 centimeters (30 inches). 


Note: Staccato 70 exhibits visible screening artifacts. Sometimes the problem 

appears on the proof; however, it is usually more visible on press, because the 

visibility of the pattern is exacerbated by the gain. Staccato 25 and 20 screens do 

not exhibit this problem. 

Figure 10: Staccato 70

5 Screening 

Theory 

Fundamentals of AM Screening.........................................................26 

Fundamentals of Staccato Screening .................................................32 

Specifying AM and FM Screens .........................................................36

26 Chapter 5 – Screening Theory 

Fundamentals of AM Screening 

Dots, Halftone Cells, and Screens 

Halftone screening is the fundamental technology behind modern print 

reproduction techniques. Printing presses can only transfer ink in an 

all-or-nothing fashion. In other words, it is possible only to print a 

uniform layer of ink or leave the paper blank. Colors in a halftone process 

are therefore rendered by converting the colors into small patterns of dots 

that simulate the color of the original image. Our eyes see what amounts to 

the average of the dots and surrounding background. The size and 

dispersion of the dots determines the tonal value that the viewer perceives. 

The color of the ink and paper used determines the perceived hue and 

creates the illusion of continuous tone. Colors are then simulated by 

overprinting three patterns of dots, each in a primary color (cyan, 

magenta, and yellow). A fourth pattern of black dots is almost always used 

to achieve more accurate blacks and neutral grays. 

When dots are arranged on a regularly spaced grid, they are referred to as 

AM screens and AM halftones. AM stands for amplitude modulation, 

which means the size of the dot changes, but the spacing of the dots 

remains constant. By changing the size of the dots in an AM screen, a full 

range of tonal values between white and solid can be produced. 

Converting continuous tone images and colors into AM screens has been 

practiced for over a century. Although the conversion processes have 

changed, AM screens are well understood and are still the most widely used 

screening technology today. To the average viewer, AM-screened images 

look like photographs, but the visual impact can be compromised by 

artifacts introduced by the reproduction process or by the characteristics 

of the AM screens themselves. For details on how Staccato can overcome 

some AM screen limitations, see Fundamentals of Staccato Screening on 

page 32. 

The industry-standard terms halftone cells and screens are used to describe 

the organization of dots into deterministic structures. Electronically 

generated halftone dots are constructed within halftone cells, which are 

groupings of output device pixels. Generally, the total number of pixels in 

a halftone cell determines the number of tonal steps or gray levels that a 

screen can render. Figure 11 on page 27 shows groups of halftone cells, 

each with dimensions of 16 pixels by 16 pixels. With 256 spots that can be 

turned on or off, each dot can have 257 steps of gray between zero percent

Fundamentals of AM Screening 27 

Tone Value Increase 

and 100 percent. Although the number of gray levels is traditionally 

limited by the number of pixels in a single halftone cell, modern RIPs use a 

group of neighboring cells, called a supercell, to ensure that an acceptable 

threshold of 256 gray levels is maintained. 

Figure 11: 50% Euclidean dot (15°); 50% Round dot (45°) 

One important characteristic of a screen is its spatial resolution—that is, 

the screen angle and the screen ruling, also referred to as mesh or frequency. 

Screen ruling is the number of halftone cells per inch or centimeter. The 

corresponding units are lines per inch (lpi) or lines per centimeter (lpc). 

For example, a screen ruling of 100 lpi means halftone dots spaced every 

hundredth of an inch. Screen angle is the angle between a row of dots and 

the horizontal or vertical axis. Generally, different screen angles are chosen 

for each separation and should be at least 30 degrees apart from each other. 

The shape of each dot generated in a halftone image is essential to the 

quality of the final image. Figure 11 shows Round and Euclidean dots, but 

dots can have other shapes and need not even form a connected shape 

within the halftone cell. For more information on dot shapes, see Selecting 

Dot Shapes on page 28. 

When a halftone image is printed, the ink used to create each dot tends to 

flow outwards as it is pressed and absorbed into the paper; this is called 

physical gain. Furthermore, some light gets scattered in the white spaces 

between dots and gets filtered through the ink at the perimeter of the dot. 

This is called optical gain. The sum of physical and optical gain is known as 

tonal value increase or effective dot gain and is measured with instruments 

such as a densitometer or spectrophotometer. Tonal value increase is an 

inherent part of the printing process and files are prepared and


Choosing a Suitable AM Screen 

compensated in prepress with these characteristics in mind. The resulting 

tonal value is a function of screening, platemaking, and presswork, and a 

tone reproduction correction curve can be applied to bring tonality back in 

line with expectations. Software such as Harmony and Tone Reproduction 

Curve can be used to build these correction curves. 

Printers need to understand a few screening parameters in order to make 

informed decisions, because the choices can impact image quality. 

The three main options affected by the halftone settings you choose are: 

The shape of the dots created—see Selecting Dot Shapes on page 28 

The screen ruling of the dot pattern created—see Selecting Screen 

Ruling on page 30 

The angle of the dot pattern created—see Selecting Screen Angles on 

page 30 

Selecting Dot Shapes 

The following section describes common dot shapes available in the RIP. 

Your choice of dot shape (also called spot function) affects print 

reproduction quality. To complement the types of images you print, 

choose dot shapes carefully. 

Round 

The round dot is a commonly used dot shape that gives a smooth 

appearance in highlight and midtone areas. It is often used for imaging 

flesh tones and for images with high- and medium-key detail. Dot gain and 

tonal jumps are potential problems in the shadows, because the white 

space at the center of four adjoining round dots may fill with additional ink 

as the dots grow and begin to touch. However, CTP systems such as 

Trendsetter and Lotem deliver accurate and stable imaging, so shadow 

detail is preserved remarkably well on press.


Figure 12: Round dot shape 

Euclidean and Round-Square-Round Dots 

The Euclidean dot is a general-purpose dot shape that preserves print 

contrast in the shadow areas. It is also referred to as a round-square-round 

dot. This dot shape creates a tonal jump at 50 percent when the corners of 

the checkerboard touch, causing excess ink to bridge between the dots. The 

Euclidean dot shape is used for general applications, when the midtone 

tints are not critical to the image. It is particularly suited to high- and 

low-key images. 

Figure 13: Euclidean dot shape 

Elliptical and Compose Dots 

The Elliptical dot shape can be used to avoid the sharp transition at 50 

percent that is characteristic of the Euclidean dots. It is an excellent dot 

shape for general use. However, it is not suitable for printing flesh tones 

because the chaining of the elliptical dots at 40 percent and 60 percent may 

cause visible streaking in flesh tones under certain press conditions. 

Note: Variations on elliptical dots include EllipticalP, Elliptical1, Diamond, and 

Compose. 

Figure 14: EllipticalP dot shape


Line or Geometric Dot 

The Line dot as it is referred to in Prinergy and iMPAct is similar to the 

Geometric dot in Brisque. This dot shape gives printers a wider choice of 

screen angles. It is less sensitive to misregistration issues and is not as likely 

to result in interference patterns such as subject and screening moiré. It is 

also useful for lenticular work, because it eliminates interference patterns 

with the lenticules themselves, while eliminating the need to match screen 

ruling to the pitch of the interlaced images. Line screens can be 

problematic in shadow areas where the edges of the lines are very close and 

ink tends to bridge the gap on press. 

Selecting Screen Ruling 

Screen ruling, screen frequency, and mesh refer to the number of halftone 

dots per inch or centimeter. Increasing the screen ruling generally increases 

the quality of the print reproduction, because the dots are less visible and a 

greater amount of image detail can be rendered. Higher screen rulings are 

considered more difficult to print, with 85–120 lpi reserved for newspaper 

web work, 133–175 lpi for publication web work, and 175+ lpi for 

commercial sheetfed and web work. Dot gain is greater with higher screen 

rulings, but tone reproduction curves can be used to bring any excess gain 

back in line with expectations. 

Selecting Screen Angles 

Selecting accurate screen angles is critical to the quality of four-color 

process halftone printing. There are a number of reasons for choosing 

screen angles carefully. Choosing optimal screen angles minimizes 

patterning and screening moiré. RIP defaults should be used wherever 

possible, because they have been optimized for optimal output with the 

screening algorithms for the RIP. 

Screen angles are nominally 30 degrees apart, and then optimized for each 

style of RIP. RIP-optimized screen sets should override screens angles to 

avoid arbitrary and sub-optimal results. 

Selecting Screen Angles to Prevent Moiré 

Choosing screen angles that are 30 degrees apart from each other 

minimizes moiré patterning. With Round, Elliptical, and Compose dots, 

you have only 90 degrees of effective screen angles in which to work. 

Traditionally, cyan, magenta, and black are positioned 30 degrees apart, 

with yellow positioned 15 degrees between the cyan and magenta angles or


15 degrees between the cyan and black angles. Yellow is used on the fourth 

angle, because it is the least visible color and the least likely to cause visible 

screening moiré. 

Typical angles used in offset presswork are 15, 75, zero, and 45 degrees for 

CMYK with the option of screening yellow at 30 degrees. For asymmetrical 

dots, such as the ellipse, a separation of 60 degrees is recommended, for 

example, 105, 75, zero, and 135 degrees for CMYK. Because black and 

magenta are the highest contrast colors, one of them should be screened at 

45 degrees to avoid jagged horizontal and vertical edges. 

The fourth angle generally determines in which colors moiré is likely to 

appear, if at all. With yellow at zero degrees in the example above, moiré 

may appear in cyan-yellow or magenta-yellow colors. With yellow at 30 

degrees, moiré may appear in cyan-yellow or black-yellow colors. With 

clean yellow ink, moiré is generally not visible. Back trap contamination in 

the yellow printing unit often increases the spectral overlap of yellow with 

the other process colors and amplifies the visibility of moiré. There are a 

number of remedies for dealing with yellow-based moiré. Variations on 

the following screen angle sets may include plus or minus 90 degrees and 

sometimes plus or minus 7.5 degrees. 

Cyan 15 degrees, magenta 75 degrees, yellow 30 degrees, black 45 

degrees 

Cyan15 degrees, magenta 45 degrees, yellow zero degrees, black 75 

degrees 


degrees with yellow at a lower screen ruling than black 


degrees with moiré-free screen ruling on the yellow 

Cyan 15 degrees, magenta 75 degrees, black 45 degrees, and yellow 

with Staccato 35, 36, 40, or another coarse FM screen 

Note: Using Staccato screens for all separations eliminates all possibility of 

screening moiré as well as moiré from screens interfering with subject matter. 

This method of evaluating color content in images lets you choose screens 

that are best suited to minimizing moiré effects. For six-color printing, 

complementary colors such as orange and cyan are most often screened at


Fundamentals of Staccato Screening 

Benefits of Staccato Screening 

the same angle or the same Staccato screen, because complementary colors 

are seldom needed in the same area of the image. As a result, colors are not 

put in a position where they will interfere with each other. 

Dots arranged in a pseudo-random fashion are called FM (frequency 

modulation) screens, which means the size of the dot remains constant, 

and the number of dots changes with tint. As a result, the spacing and 

frequency of the dots change with tint. By changing the number of dots in 

an FM screen, you can reproduce a full range of tonal values between white 

and solid. The dots in an FM screen are pseudo-randomly aligned in order 

to avoid the visual artifacts of AM screening, which result from positioning 

dots at fixed intervals and screen angles. 

FM microdots have always been difficult to reproduce in a consistent and 

reliable manner. With film-based printing, only a handful of printers were 

able to put the process controls in place to limit variation to acceptable 

tolerances. CTP was widely touted as the technology that would enable FM 

screening; however, daily variations in the sensitivity of plates, temperature 

of ovens, and strength of chemistry can still introduce significant 

distortion of FM microdots and influence the final tone values. Variations 

like these make the process unsuitable for everyday use. On the other hand, 

the relatively large dot structure of AM screens makes them less sensitive to 

plate and processor variations and delivers more consistent reproduction 

of tints on plate. 

Staccato is offered on all Creo CTP devices. SQUAREspot remains the best 

CTP imaging technology for Staccato, because its unique exposure system 

offers the greatest immunity to variation in plate, oven, and processor 

conditions, making it possible to reproduce Staccato microdots on plate 

without having to linearize the device to correct for batch-to-batch and 

daily variations. 

Staccato frequency modulation screening overcomes a number of the 

reproduction problems inherent with conventional AM halftone 

screening. Because there is no longer a halftone screen frequency or angle 

there is no longer a rosette structure. As a result, FM screening can 

overcome many of the reproduction problems associated with AM 

screening.

Fundamentals of Staccato Screening 33 

This section describes some of the benefits of Staccato screening. 

Eliminates Screening Moiré 

Screening moiré is an undesirable pattern in reproduction that is caused by 

one separation of AM dots interfering with another. Staccato eliminates 

screening moiré, because Staccato microdot patterns are arranged 

randomly with no directional or angular intervals of dots. The absence of 

periodicity also simplifies the reproduction of duotones and multicolor 

systems, such as High-Fidelity (Hi-Fi) Color or Hexachrome. 

Eliminates Subject Moiré 

Subject moiré is an objectionable pattern in reproduction that is caused by 

the regularly spaced grid of AM dots interfering with patterns in the 

original artwork. Fabric, tweed, checkers, and pinstripes are among the 

subject matter that result in problematic interference patterns when 

reproduced with AM screens. 

Staccato eliminates subject moiré, because Staccato microdot patterns are 

arranged randomly and do not interfere with regularly spaced patterns in 

the original subject matter. Staccato does not eliminate moiré patterns that 

originate in the image or result from scanning. 

Eliminates Rosettes 

Visible screening structures result from the formation of rosettes and other 

constellations of AM dots. Rosettes are formed by overprinted cyan, 

magenta, and black dots. Rosettes are most visible in flat tints, memory 

colors, and neutral hues. As registration shifts in presswork, the rosette is 

distorted to patterns that can be twice as visible, giving the appearance that 

screen ruling has dropped in half. 

There are no rosette patterns in Staccato screens; therefore, Staccato 

eliminates the undesirable aspects of AM rosettes. As registration shifts in 

presswork, Staccato microdot patterns maintain their shape, delivering 

more consistent results than are possible with the rosettes formed by AM 

screens. 

Faster Ink Drying 

With thinner ink films and smaller dots, Staccato screens dry faster, 

because the ink gives off its volatiles quicker than large AM dots. Reducing 

drying time translates into less setoff, less powder coating, faster


turn-around, and improved performance on perfecting presses. Faster 

drying, thinner ink films, and less mechanical buildup of ink also 

translates into better performance on a full range of substrates, which 

includes fine paper, uncoated stock, recycled paper, newsprint, plastics, 

metals, and foils. Drying times are unaffected in areas of solid ink, because 

no dots are present. 

Improved Detail 

Loss of detail is caused by gaps between AM dots that do not capture fine 

image detail. As registration varies, image detail, linework, and knockouts 

are compromised by the scalloped edges of the AM dots. 

The finely spaced microdot structure of Staccato enables it to capture the 

finest details in the reproduction of original artwork. As registration varies, 

image detail, linework, and knockouts are not compromised as harshly 

with Staccato as they are by relatively large AM dots. As a result, Staccato 

lends itself to more consistent photographic quality renderings. 

Misregistration Tolerance (Register Is Less Critical) 

Registration problems are inevitable because of web and sheet growth, 

impression to impression changes, and job to job variations. Small 

misregistration of conventional AM screens (150 lpi) changes the 

arrangement of overprinting dots and visibly degrades the rosette 

structure, destroying fine image detail and obscuring fine linework, text, 

and knock-outs. Misregistration may even cause a color shift as the 

overprint and ratios of wet and dry trap change. 

Staccato doesn’t reduce the magnitude of misregistration, but the 

underlying micro-structure retains its shape and is not visibly impacted by 

misregistration. Staccato holds detail in images, preserves the integrity of 

text, knockouts, and linework, and reduces color shifts, because the 

overprint characteristics of Staccato screens are not altered with 

misregistration. 

No More Tone Bumps 

Tone bumps result from ink bridging small spaces between large dots. The 

result, for example, can be a dark and noticeable transition in an otherwise 

smooth gradient blend. The sequence of dot shapes in a tone scale 

determines the tint in which the optical bump is likely to manifest itself.

Fundamentals of Staccato Screening 35 

Staccato does not render tints with microdots that are able to touch; 

therefore, no ink bridging occurs. There are no visible tone jumps in 

gradient blends, and Staccato delivers smoother tonal transitions. 

Inking Stability 

The size of Staccato microdots ranges between 10 and 30 microns, and the 

dots carry a thinner film of ink than AM dots, which may range between 10 

and 170 microns. Unlike AM dots, Staccato microdots prevent the 

overaccumulation of ink throughout the tonal range and may lead to 

reductions in the variation tonal value as inking levels and paper 

characteristics change on press. These effects are further magnified by finer 

Staccato screens. The inking characteristics of Staccato screens can lead to 

greater ink mileage, where printers run with heavier densities or run more 

impressions per unit of ink. 

With increased ink densities, the midtones of AM-screened images 

generally change more than midtones in Staccato-screened images. 

Staccato dots carry a smaller and more uniform film of ink than 

conventional AM screens; therefore, they are less susceptible to 

accumulation of ink. Excessive ink does not accumulate on small Staccato 

dots; rather, it accumulates in the three-quarter tones, shadows, and solids. 

Although it reduces the ability to adjust midtones on press, Staccato does 

give press operators greater control over the saturation of solids. 

With such characteristics, it is important to build accurate tonal 

calibration/reproduction curves for Staccato, because corrections on press 

are not as easily accomplished. 

Smoother Overprints 

Tints with three and four overprinted colors, such as earth tones and 

neutral grays, often exhibit blotchy print reproduction when screened with 

AM screens. This effect is caused by inconsistent wet trap on the press 

when varying sizes of AM dots result in varying ink film thicknesses being 

transferred to the media. This effect is accentuated by the application of 

several layers of wet ink, one on top of the other, to yield blotchy color 

reproduction. FM screens transfer a more uniform ink film thickness and 

eliminate this problem.


Implementing Staccato 

Specifying AM and FM Screens 

Staccato Is Less Grainy Than Traditional FM Screens 

Staccato screens are frequency modulated; however, the shape and size of 

the dots also change with tint. FM screens are often criticized for grainy 

appearance, while traditional AM screens, in contrast, are more regular in 

appearance. Staccato algorithms overcome this by controlling the way dots 

cluster and join in the midtones, giving the screens a more regular 

appearance, thereby reducing grain and artifacts to acceptable levels. 

Wider Color Gamut 

Staccato microdots are typically between 10 and 30 microns in size. They 

distribute ink more efficiently and scatter light more effectively through 

ink than is possible with 133–200 lpi AM screens. With tighter spaces 

between the microdots, a greater percentage of light scatters through ink, 

reducing the effects of gray component contamination from the 

underlying paper. The resulting color is noticeably more vibrant 

throughout the tone scale, with a measurably larger gamut than is possible 

with AM screens. 

Printing with Staccato requires process stability in platemaking, as well as 

further investment in testing, print profiling, and, above all, process 

control throughout the shop. Implementing Staccato in the pressroom 

requires greater cooperation and closer communication with everyone 

from sales to prepress to pressroom. Defining targets, standards, and 

objectives helps set realistic expectations that can be met on the pressroom 

floor. For details, see Tips for Successful Staccato Implementation on page 3. 

AM screens are typically specified in terms of the screen ruling (lines per 

inch or lines per centimeter). Screen ruling is an effective measure of the 

detail rendering capability of the screen. FM screens are typically specified 

in terms of the microdot size and are usually measured in microns 

(thousandths of a millimeter). 

Although dot size is a good measure of resolution, it is equally important 

to know the detail rendering capability of FM screens. The average 

frequency in the midtones is the equivalent screen ruling. It can be crudely 

estimated by drawing a straight line through a 50 percent tint of FM dots,

Specifying AM and FM Screens 37 

and then counting the number of times per inch (or centimeter) that the 

line passes through a dot. For Staccato dot sizes and screen ruling 

equivalents, see Table 1 on page 18.

38 Chapter 5 – Screening Theory

Glossary 

Allegro RIP PostScript Level 2 software that creates a rasterized image from a 

PostScript file. Trendsetter Console processes these files to produce images 

that are used to make plates, digital halftone proofs, film, and thermal 

digital bluelines. 

Allegro RIP is part of Creo TrendServer and Trendsetter-based output 

device systems and it may be part of Creo-developed automatic output 

device systems. In Overture, it RIPs files from imposed PostScript and 

images files to create preview files, which are placed in the Preview folder 

for a job. 

Allegro workstation With Trendsetter Console release 2.0, this is called a Trendsetter Console 

workstation. See Trendsetter Console workstation. 

Allegro Workstation 

software 

amplitude modulation 

(AM) screening 

With release 2.0, this is called Trendsetter Console. See also Trendsetter 

Console workstation. 

See halftone screening. 

calibration The process of setting equipment to a standard measure for printing. 

calibration curve A curve that graphically represents the percentage at which to adjust an 

original PostScript tint during screening to produce the target output. 

Harmony derives calibration curves based on the target and initial curves 

that you build. Calibration curves can be edited directly. 

cluster See dot cluster. 

clusters/inch Dot clusters per inch. A measurement of the number of dot clusters per 

inch in a screen. 

CMYK A color representation scheme (or color space) where cyan, magenta, 

yellow, and black are combined to create full-color images. 

color separation A monochrome image that describes a component of a color image that 

has been described using a particular color space. In printing, images are 

typically depicted in the CMYK space, leading to four separated pages for 

each full-color page.

40 Staccato User Guide 

continuous tone image A single- or full-color image represented using eight bits per pixel per 

separation. Continuous tone scanning digitizes shades of gray, tints, and 

colors. Also called a contone image. 

contone Short for continuous tone. Images are represented by a series of evenly 

graduated tones rather than by pure black and white. 

conventional screening The method of screening in which a continuous tone image is broken 

down into a series of dots of varying sizes that are placed in a rigid grid 

pattern. Color images are separated into the four process colors, and 

individual screens of color are created and then skewed at angles to 

reproduce the image in print. 

CTP Computer to plate. 

density A measurement of the ability of light to pass through or reflect off a 

material. The density of a solid black patch is called the maximum density 

(or dmax). Density is measured using a densitometer. 

dimension The number of pixels in a halftone cell. 

dmax See density 

dot The smallest, most basic element of a halftone. 

dot cluster A clustering of pixels that forms regular or irregular shapes. 

dot gain A printing effect in which printed halftone screens absorb a greater 

amount of light than the corresponding PostScript tint suggests. See also 

optical dot gain and physical dot gain. 

dot gain calibration The process of adjusting PostScript tint values before screening to ensure 

optimal and consistent output. 

In Harmony, dot gain calibration is achieved by comparing the difference 

between a target and initial sample to determine the percentage at which 

the PostScript tint must be adjusted to provide the target output. See also 

tonal calibration. 

dot gain compensation See tonal calibration. 

dot shape The shape in which dots on an image are generated. See also Elliptical dot 

and Euclidean dot. 

dpc Dots per centimeter.

Glossary 41 

dpi Dots per inch. A unit of measurement that signifies the number of laser 

dots that can be printed in an inch. The higher the number, the higher the 

resolution of the output device. 

Elliptical dot The elongated, oval-shaped dot often used in conventional screening 

methods. 

Encapsulated PostScript 

(EPS) 

A subset of the PostScript language that allows images to be described in a 

format that can be imported into other documents. EPS images are 

independent of the format of the document. They may be imported into 

documents, using a wide variety of applications from within the software 

itself, or into other PostScript-language page descriptions. 

Euclidean dot The dot shape most common to conventional screening methods. 

Euclidean dots appear round in highlights and shadows and square at 50 

percent. 

exposure head See imaging head. 

form A unit of organization that consists of all the images that will be mounted 

on the press at one time and then run and folded together. A form includes 

a number of files. Also called a signature. 

frequency-modulation 

(FM) screening 

See stochastic screening. 

GRACol General Requirements for Applications in Commercial Offset 

Lithography. This is a standard set of specifications for separations, proofs, 

and color printing, designed for sheetfed printers. 

gray balance The values for C, M, and Y that produce a neutral gray with no dominant 

hue. 

Gray Component 

Replacement (GCR) 

When three color inks overprint, the two predominant colors determine 

the color’s hue and the third color, or gray component, indicates the final 

color’s grayness or saturation. An amount of the three colors equivalent to 

the gray component can be removed from the color and replaced with 

black ink in order to increase color saturation, speed up makereadies on 

press, and improve print consistency. 

green imaging head A Creo light imaging option that uses a frequency-doubled YAG laser to 

image visible light-sensitive media. Platesetters, VLF Platesetters, and VLF 

Trendsetters may have a green imaging head.


halftone A complex image that has been broken into a series of very small dots in 

order to reproduce it. Text and visuals are represented as dots within a 

grid. The grid, called a screen, is composed of halftone cells. An example 

of a halftone image is a newspaper photograph. See also screen. 

halftone cell A single dot in a halftone image. 

halftone image An image composed of dots that vary in size but are constant in spacing, 

giving the appearance of different colors or shades of gray. 

halftone screening The method of screening in which a continuous tone image is broken into 

a series of dots of varying sizes that are placed in a rigid grid pattern. Color 

images are separated into the four process colors and individual screens of 

color are created and then skewed at angles to reproduce the image in 

print. Also called conventional screening. 

Harmony Creo calibration software that creates dot gain calibration curves by 

matching the characteristics of the press sheet to a proof or printed 

sample. It is standard Prinergy software. 

HDS Harlequin Dispersed Screening. A proprietary technique developed by 

Harlequin that is used to reduce the effect of moiré interference and 

improve the quality of a color-separated image when using Staccato 

screening. See also stochastic screening. 

Hexachrome A six-color process printing system from Pantone Inc. 

Hi-Fidelity Color A color specification and printing system that enhances the traditional 

four-color process (CMYK) system, for example, Hexachrome. Also called 

Hi-Fi Color. 

highlight The lightest, or whitest, parts of an image. 

imaging head Located inside the output device, this uses a laser to write data to the 

media. Also called an exposure head. 

imposition A means of arranging a number of pages on the front and back of a press 

sheet to ensure the correct order after the printed sheet is folded. 

lpc Lines per centimeter. 

lpi Lines per inch. The number of lines per inch in a screen grid. In metric 

measurement, it is called lines per centimeter (L/cm). The greater the 

number of lines per inch, the sharper the image. See screen ruling.

Glossary 43 

mesh Spacial resolution of a screen. See also screen angle and screen ruling. 

midtone The tonal range between highlights and shadows in an image. 

midtone jump A printing artifact that occurs in vignettes around the 50 percent mark, 

where the halftone dots begin to touch, causing excessive ink to be 

transferred to the medium. To the eye, a dark band of color appears in 

place of a smooth transition. 

moiré pattern A printing effect that occurs when color separations screened with 

periodic halftones produce interference patterns when superimposed. By 

maintaining 30 degrees between screens, moiré can be minimized. Moiré 

also occurs when a single screen frequency interferes with patterns or lines 

in the image itself. This is called subject or object moiré. 

optical dot gain Additional light that is trapped in white paper at the perimeter of halftone 

dots, resulting in a perceived darker tint. See also dot gain and physical dot 

gain. 

output Any data that is transferred to another device, such as a laser printer, video 

display, or platesetter. 

output device Any device that plots data to hard copy, such as a laser printer, platesetter, 

or analog or digital proofer. 

PDF Portable Document Format. PDF is a reliable file format for storing line 

art, images, and text (including all required fonts) for pages. PDF files do 

not contain device-specific settings such as imaging resolution or duplex 

options. 

physical dot gain A change in the physical size of dots during tone reproduction. See also dot 

gain and optical dot gain. 

pixel Picture element. The smallest distinct unit of a bitmapped image displayed 

on a screen. 

PlateMaster Creo software that supports and controls functions of the prepress 

department by managing the digital workflow from imposed PostScript 

files to platemaking. Creo’s Overture is a component of PlateMaster.


Platesetter Console 

workstation 

The type of workstation that is installed with Platesetter Console 2.0. Part 

of an output device system, it is a high-speed computer running the 

Windows NT operating system. The Platesetter Console workstation is 

connected to a local area network (LAN) over which it receives PostScript 

files. 

The term Platesetter Console workstation describes the type of workstation 

that is installed with your output device system; it could be an Allegro 

workstation, a CRI workstation, etc. 

plugging A printing problem where ink fills in around halftone dots, causing a loss 

in shadow detail. 

PPD file PostScript Printer Description file. This file contains information that is 

specific to the output device, such as medium size and the area of the 

medium. It is used during electronic imposition of PostScript files. 

PostScript A page description language developed by Adobe Systems Inc. that is used 

to describe type and visual elements so that they can be printed on devices 

with PostScript interpreters. 

PostScript file A file written in the PostScript page description language. For example, 

you can use QuarkXPress to write a PostScript file. 

press response A measurable printed result for a given set of conditions—for example, 

different dot gain from different halftone screens. 

Prinergy A PDF-based prepress workflow and content management tool that 

organizes prepress and plate production. 

quarter tone The tonal range between highlights and midtones in an image. 

recorder See output device. 

registration The alignment of different films or printing plates to produce one printed 

image. 

RIP Raster Image Processor. A standard term used for software or devices that 

convert an image into a bitmap for display on a computer screen or for 

output by an output device.

Glossary 45 

rosette The pattern in which halftone cells are arranged in a separated image. The 

RIP can produce rosettes that have dark centers or clear centers (in the left 

diagram, the central dot is removed). 

screen An invisible grid that is superimposed on an image. 

screen angle The angles at which halftone screens are set when making screened images 

for printing halftones. Proper screen angles are critical for minimizing 

moiré patterns. 

screen frequency The density of dots on the halftone screen, commonly measured in lines 

per inch (lpi). Also called screen ruling. 

screen ruling The number of lines per inch (lpi) on a halftone screen. 

screening The process of converting a continuous tone PostScript image into a 

digital halftone using a grid. The line frequency of the screen, which 

determines how finely or coarsely the image is represented, is set using 

lines per inch (lpi). 

separation A color or layer in a file. A separation can be compared to film. There is 

one film for each color. For example, a basic CMYK job requires four films 

(four separations). Each spot color has its own film (its own separation). 

If multiple black films exist for a job, multiple black separations are 

created for the job. All separations for a job must be registered to each 

other. 

shadow The darkest parts of an image, represented by the largest dots in a halftone. 

signature See form. 

spot color An ink color that is not C, M, Y, or K. The primary use of a spot color is to 

render an accurate, smooth tint in lieu of a process color, often with a 

color that lies outside the gamut of process color inks. 

spot function See dot shape.


stochastic screening A digital screening process that converts images into very small dots of 

equal size and variable spacing. Also called frequency-modulation (FM) 

screening. 

supercell A group of neighboring cells used by a RIP to ensure it maintains an 

acceptable threshold of 256 gray levels. 

three-quarter tone The tonal range between midtones and shadows in an image. 

tint A percentage of color that is represented in conventional screening by 

evenly-spaced dots of smaller dimension and represented in Staccato 

screening by less clustered, tiny dots. See also screen tint. 

In Harmony, tint is the percentage value assigned to a dot. 

tonal calibration The process of setting equipment to reproduce tonal values to specified 

values on the final output (for example, a proof, press sheet, or plate). 

Harmony compensates for tonal value increase by adjusting the size of 

dots imaged on a plate, digital halftone proof, press sheet, or film. 

Harmony compares the difference between a target and current sample, 

and then adjusts the tint values specified in the file in order to achieve the 

target output. 

tonal value increase See dot gain. 

Trendsetter Console 

workstation 

TVI Tonal value increase. 

The type of workstation that is installed with Trendsetter Console 2.0. Part 

of an output device system, it is a high-speed computer running the 

Windows NT operating system. The Trendsetter Console workstation is 

connected to a local area network (LAN) over which it receives PostScript 

files. 

vignette A design element in which gradations of color display throughout an 

object in an image. 

workstation See Trendsetter Console workstation or Platesetter Console workstation.

Index 

A 

Adobe 

Illustrator, 12 

Photoshop, 2, 12 

algorithms for screening, 30 

Allegro 1.2 

applying screens and calibration, 

14 

Allegro 2.0 


14 

Allegro RIP 


14 

Harmony and, 14 

page setup, 14 

AM screens, 26 

choosing a screen, 28 

color gamut, 36 

definition of, 26 

dot shapes, 28 

selecting, 28 

dot size, 26, 35 

fundamentals of, 26 

halftone cells, 26 

image detail, 34 

ink, 33 

film, 33, 35 

limitations, 26 

lpc, 27 

lpi, 27 

midtones, 35 

misregistration, 34 

moiré 

screening, 33 

subject, 33 

printing, 26 

colors, 26 

rosettes, 32, 33 

scalloped edges, 34 

screen angle, 27, 28 

selecting, 30 

screen ruling, 28 

selecting, 30 

specifying, 36 

tonal value increase, 27 

tone bumps and, 34 

viewing, 26 

amplitude modulation, 26 

artifacts, 26, 36 

B 

benefits of Staccato, 5, 32 

Brisque, 2, 8, 12 


14 

Geometric dot shape and, 30 

installing Staccato, 8 

licensing Staccato, 8 

Tone Reproduction Curve 

software, 4, 12 

C 

calibration, 3, 4 

Brisque and, 14 

curves, 4, 8, 12, 35 

iMPAct and, 14 

Tone Reproduction Curve 

software, 12 

cells, halftone, 26 

chemistry, 5, 9, 32 

color correction, 5 

color shift, 34 

colors 

midtone adjustments, 5 

overprinting, 26, 35 

primary, 26 

printing, 26 

simulated, 8 

wider gamut with Staccato, 36 

comments about manual, xi 

commercial 

sheetfed, 30 

web work, 30 

Compose dot shape, 29, 30 

computer-to-plate, 3 

concepts of screening, 25 

Consulting Services Group, 5 

contamination of gray components, 

36 

continuous tone, 26 

CTP, 3 

curves 

calibration, 4, 8, 12 

linearization, 8, 9 

tone reproduction, 8 

xCurve, 8 

D 

default calibration curves, 12 

densities, ink, 5 

densitometer, 27 

desktop publishing software, 3 

applying screens, 13 

device color, obtaining, 8 

devices, 8, 9 

Lotem, 28 

Quantums, 3 

Trendsetter, 28 

Diamond dot shape, 29 

dot area, 9 

tolerances, 3 

dot gain, 4, 30, 40 

effective, 27 

optical, 43 

physical, 43 

Round dot shape and, 28 

dot shapes, 26, 27 

Compose, 29, 30 

Diamond, 29 

Elliptical, 29, 30 

Elliptical1, 29 

EllipticalP, 29 

Euclidean, 27, 29 

Geometric, 30 

Line, 30 

Round, 27, 28, 30 

round-square-round, 29 

selecting, 28 

dots 


distortion of Staccato, 32 

halftone, 26


overprinting, 26 

printing, 26 

size, 26 

AM, 35 

Staccato, 35 

dry trap, 34 

E 

eCentral, 12 

effective dot gain, 27 

Elliptical dot shape, 29, 30 

Elliptical1 dot shape, 29 

EllipticalP dot shape, 29 

emulsification, 5 

Euclidean dot shape, 27, 29 

F 

film, 3 

first-order screens, 19 

Staccato 20.1, 19 

flesh tones, 28 

Elliptical dots and, 29 

FM screening, 32 

focus of device, 8 

foils, 34 

frequency, 13, 27, 36 

modulation, 32 


G 

Geometric dot shape, 30 

gradient blends, 35 

gray levels, 26, 27 

H 

halftone 

cell, 26 

dots, 30 

screening, 26 

Harmony, 4, 8, 12, 28 

Hexachrome, 33 

High-Fidelity Color, 33 

highlight dot size, 18 

hue, 26 

I 

Illustrator, Adobe, 12 

iMPAct, 2, 12 


14 



Line dot shapes and, 30 

implementation of Staccato, 3, 4, 36 

important symbol, ix 

imposition, Preps, 2 

inks, 35 

bridging, 35 

color of, 26 

densities, 5 

Euclidean dot shape and, 29 

fast drying with Staccato, 33 

mechanical build up, 34 

Round dot shape and, 28 

stability, 35 

thinner film with Staccato, 35 

interference patterns, 30 

K 

keys, license, 2, 8 

knockouts, 34 

known issue for Staccato, 5 

L 

laser power of device, 8 

lenticular, 30 

license keys, 2, 8 

Line dot shape, 30 

linearization, 3 

curves, 8, 9 

lines per centimeter, 36 

lines per inch, 36 

linescreen value, 13 

linework, 34 

Lotem, 28 

lpc, 27 

lpi, 13, 18, 27 


Staccato screens, 13 

M 

make-ready, 5 

manual 

PDF of, xi 

sending comments about, xi 

measuring devices 

densitometer, 27 

spectrophotometer, 27 

media, 4, 8, 9, 35 

mesh, 27, 30 

metals, 34 

microns, 36 

midtones, 18, 29, 35, 36 

color adjustment, 5 

misregistration, 30, 34 

mixed screening, 15 

moiré, 30, 31 

preventing, 30 

Staccato eliminates, 31, 33 

N 

new features, viii 

newspaper web work, 30 

newsprint, 34 

note symbol, ix, 9, 23, 24, 29, 31 

O 

operator training, 8 

optical dot gain, 27, 43 

output devices, 8, 9 

Lotem, 28 

pixels, 26 

Quantums, 3 


ovens, 9 

temperature of, 32 

overprints, smooth, 35 

P 

page setup for Allegro RIP, 14 

paper, 26, 27, 34 

patterning, 30 

PDF of manual, xi 

Photoshop, Adobe, 2, 12 

physical dot gain, 27, 43 

piling, 5

Index 49 

pixels, 26 

plastics, 34 

PlateMaster 


14 

plates, 5, 9, 36 

process control, 4 

qualified for Staccato, 8 

variations in sensitivity, 32 

Platesetter 1.7 


14 

Platesetter Console 


14 

powder coating, 33 

PPD file, generating, 9 

prepress process control, 4 

Preps, 2, 12 

PreScript, 12 

press 

profile, 8 

standard processes, 4 

pressroom, 5, 36 

process control, 4, 5 

Prinergy, 2, 12 


14 



Line dot shape and, 30 

process plans, 14 

Workshop, 15 

print reproduction, 26 

printing 

colors, 26 

flesh tones, 29 

Hexachrome, 33 

high screen rulings, 30 

High-Fidelity Color, 33 

ink, 26, 33 

stability, 35 

Line dot shape, 30 

moiré 

eliminating with Staccato, 33 

optical gain, 27 

overprinting dots, 26 

physical gain, 27 

preventing moiré, 30 

rosettes, 33 

screen angles, 30 

shadows, 35 

solids, 35 


tonal value increase, 27 

tone bumps, 35 

process control, 4, 36 

pressroom, 5 

process plans for Prinergy, 14 

proofs 

media vendors, 8 

publication web work, 30 

Q 

Quantum devices, 3 

QuarkXPress, 2, 12 

R 

recycled paper, 34 

reference symbol, ix 

registration, 33, 34 

requirements 

Staccato installation, for, 8 

resolution, 36 

spatial, 27 

RIPs, 27, 30 

rosettes, 33 

patterning, 33 


Round dot shape, 27, 28, 30 

round-square-round dot shape, 29 

S 

screen, 26 

screen angles, 27, 28, 30 

preventing moiré, 30 

selecting, 30 

six-color printing and, 31 


typical usage, 31 

screen frequency, 30 

screen ruling, 18, 27, 28, 30, 36 

selecting, 30 

screening 

algorithms, 30, 36 

combining screens, 15 

moiré, 33 

theory, 25 

screens 

AM, 26 

FM mixed and, 15 

applying, 2 

Brisque with, 14 

desktop publishing software 

with, 13 

iMPAct with, 14 

Prinergy with, 14 

calibration, 12 

characteristics, 18 

combining, 15 

first-order, 19 

halftone, 26 

lpi 

AM, 13 


second-order, 21 

selecting, 12 

specifying, 36 

Staccato 10, 18, 21 


Staccato 20.1, 18, 19 






screens and calibration 

Allegro RIP with, 14 

Brisque with, 14 

Prinergy with, 14 

second-order screens, 21 

Staccato 10, 21 







setoff, 33 

shadows, 28, 30, 35 

shape of dots, 27 

six-color printing, 31 

size of dots, 35 

solids, 35 

spatial resolution, 27


spectrophotometer, 27 

spot function, 28 

SQUAREspot, 4, 32 

thermal imaging, 3 


benefits, 5, 32 

color gamut wider, 36 

improved detail, 34 

ink, 33, 35 

less grainy, 36 

misregistration tolerance, 34 

overprints, smooth, 35 

rosettes eliminated, 33 

screening moiré eliminated, 

33 

subject moiré eliminated, 33 

tonal bumps eliminated, 34 

calibration, 4, 12 

definition, 2 

dot size, 35 

implementing, 4, 36 

installing, 8 

known issue, 5 

licensing, 8 

media qualfied for, 4 

midtones, 35 

moiré, 31, 33 

screen angles, 32 

screens 

applying, 2 

defined, 17 

theory of screening, 25, 32 

tips, 3 









Staccato frequency, 32 

Staccato screens 

applying, 13 

characteristics of, 18 

first-order, 19 

second-order, 21 

selecting, 12 









stochastic screening 

benefits, 32 

streaking, 29 

subject moiré, 33 

substrates, 34 

supercell, 27 

surface depth, 8 

symbols 

important, ix 

note, ix, 9, 23, 24, 29, 31 

reference, ix 

T 

tack, 5 

target presswork, 8 

theory of screening, 25 

thermal imaging, SQUAREspot, 3 

tips 

output device imaging, 3 

qualified media, 4 

standard press processes, 4 

tonal calibration, 4 

tolerances, dot area, 3 

tonal 

bumps, 34 

calibration, 4, 8, 12 

jumps, 28 

Euclidean dot shape with, 29 

steps, 26 

value, 26 

tonal calibration, 35 

tonal value increase, 4, 43 

definition of, 27 

optical gain, 27 

physical gain, 27 

Tone Reproduction Curve software, 4, 

8, 12, 28 

tone reproduction curves, 30 

training operators, 8 


Trendsetter Console 


14 

TVI, 4, 43 

U 

uncoated stock, 34 

V 

validation form, 8 

W 

water levels, 5 

web site, 8 

web work 

commercial, 30 

newspapers, 30 

publications, 30 

wet trap, 34, 35 

X 

xCurve, 8 

Y 

yellow screen angle, 30, 31

www.creo.com

Staccato - Kodak

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