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Digital printing in Minnesota has been a door opener for many businesses. Because printers sell the same thing as everyone else, everyone tries to claim that their service, quality and price are better than others. For this reason, every printer has to find something that would separate them from everyone else. And some business owners find that they have increased productivity after using digital technology and short run processes. Somehow, these gains can be credited to a combination of better pricing and more efficient press performance. Let’s say you have greeting cards that need to be printed. Obsolete inventory through the use of short run digital press can be eliminated.
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This is because with this technology you can print only the needed cards, thus, resulting to orders printed in the exact quantity required. But just the same this kind of printing system is not for everyone. There are risks and changes that need to be dealt with. Nevertheless, the printing industry will continue to change and improve in the years to come. Thus, all business owners and companies have to do is to determine whether this certain printing technique is what they need.
Full Color Business Cards
Colored pencils Color effect – Sunlight shining through stained glass onto carpet (Nasir ol Molk Mosque located in Shiraz, Iran) Colors can appear different depending on their surrounding colors and shapes. The two small squares have exactly the same color, but the right one looks slightly darker. Color (American English) or colour (Commonwealth English) is the characteristic of human visual perception described through color categories, with names such as red, yellow, purple, or blue. This perception of color derives from the stimulation of cone cells in the human eye by electromagnetic radiation in the spectrum of light. Color categories and physical specifications of color are associated with objects through the wavelength of the light that is reflected from them. This reflection is governed by the object's physical properties such as light absorption, emission spectra, etc. By defining a color space, colors can be identified numerically by coordinates. The RGB color space for instance is a color space corresponding to human trichromacy and to the three cone cell types that respond to three bands of light: long wavelengths, peaking near 564–580 nm (red); medium-wavelength, peaking near 534–545 nm (green); and short-wavelength light, near 420–440 nm (blue). There may also be more than three color dimensions in other color spaces, such as in the CMYK color model, wherein one of the dimensions relates to a colour's colorfulness). The photo-receptivity of the "eyes" of other species also varies considerably from that of humans and so results in correspondingly different color perceptions that cannot readily be compared to one another. Honeybees and bumblebees for instance have trichromatic color vision sensitive to ultraviolet (an electromagnetic radiation with a wavelength from 10 nm (30 PHz) to 400 nm (750 THz), shorter than that of visible light but longer than X-rays) but is insensitive to red. Papilio butterflies possess six types of photoreceptors and may have pentachromatic vision. The most complex color vision system in the animal kingdom has been found in stomatopods (such as the mantis shrimp) with up to 12 spectral receptor types thought to work as multiple dichromatic units. The science of color is sometimes called chromatics, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what is commonly referred to simply as light). Continuous optical spectrum rendered into the sRGB color space. Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 390 nm to 700 nm), it is known as "visible light". Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question. The familiar colors of the rainbow in the spectrum – named using the Latin word for appearance or apparition by Isaac Newton in 1671 – include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths listed are as measured in air or vacuum (see refractive index). The color table should not be interpreted as a definitive list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors linguistically is a matter of culture and historical contingency (although people everywhere have been shown to perceive colors in the same way). A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, and that indigo was simply the dark blue of the indigo dye that was being imported at the time. The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green. The color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Physically, objects can be said to have the color of the light leaving their surfaces, which normally depends on the spectrum of the incident illumination and the reflectance properties of the surface, as well as potentially on the angles of illumination and viewing. Some objects not only reflect light, but also transmit light or emit light themselves, which also contribute to the color. A viewer's perception of the object's color depends not only on the spectrum of the light leaving its surface, but also on a host of contextual cues, so that color differences between objects can be discerned mostly independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy. The upper disk and the lower disk have exactly the same objective color, and are in identical gray surroundings; based on context differences, humans perceive the squares as having different reflectances, and may interpret the colors as different color categories; see checker shadow illusion. Some generalizations of the physics can be drawn, neglecting perceptual effects for now: To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, and via other characteristics of the perceiving eye and brain. When viewed in full size, this image contains about 16 million pixels, each corresponding to a different color on the full set of RGB colors. The human eye can distinguish about 10 million different colors. Main article: Color theory Although Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors in which he ascribed physiological effects to color that are now understood as psychological. In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvelous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it." At the same time as Helmholtz, Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-violet, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory. In 1931, an international group of experts known as the Commission internationale de l'éclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each. Main article: Color vision Normalized typical human cone cell responses (S, M, and L types) to monochromatic spectral stimuli The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. Humans are trichromatic—the retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that is perceived as blue or blue-violet, with wavelengths around 450 nm; cones of this type are sometimes called short-wavelength cones, S cones, or blue cones. The other two types are closely related genetically and chemically: middle-wavelength cones, M cones, or green cones are most sensitive to light perceived as green, with wavelengths around 540 nm, while the long-wavelength cones, L cones, or red cones, are most sensitive to light is perceived as greenish yellow, with wavelengths around 570 nm. Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. Each cone type adheres to the Principle of Univariance, which is that each cone's output is determined by the amount of light that falls on it over all wavelengths. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values. The response curve as a function of wavelength varies for each type of cone. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors. The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all. On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a colorless response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the Kruithof curve, that describes the change of color perception and pleasingness of light as function of temperature and intensity. Main article: Color vision The visual dorsal stream (green) and ventral stream (purple) are shown. The ventral stream is responsible for color perception. While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values, color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why humans cannot perceive a "reddish green" or "yellowish blue", and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes. The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world – a type of qualia – is a matter of complex and continuing philosophical dispute. Main article: Color blindness If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place. Main article: Tetrachromacy While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women are retinal tetrachromats.:p.256 The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the X chromosome. To have two different genes, a person must have two X chromosomes, which is why the phenomenon only occurs in women. There is one scholarly report that confirms the existence of a functional tetrachromat. In certain forms of synesthesia/ideasthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route. After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color. Afterimage effects have also been utilized by artists, including Vincent van Gogh. Main article: Color constancy When an artist uses a limited color palette, the eye tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish. The trichromatic theory is strictly true when the visual system is in a fixed state of adaptation. In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by Edwin Land in the 1970s and led to his retinex theory of color constancy. It should be noted, that both phenomena are readily explained and mathematically modeled with modern theories of chromatic adaptation and color appearance (e.g. CIECAM02, iCAM). There is no need to dismiss the trichromatic theory of vision, but rather it can be enhanced with an understanding of how the visual system adapts to changes in the viewing environment. Main article: Color term See also: Lists of colors and Web colors Colors vary in several different ways, including hue (shades of red, orange, yellow, green, blue, and violet), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red". In the 1969 study Basic Color Terms: Their Universality and Evolution, Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian, but not English). Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy is a form of alternative medicine attributed to various Eastern traditions. Colors have different associations in different countries and cultures. Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men. The CIE 1931 color space chromaticity diagram. The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. The colors depicted depend on the color space of the device on which you are viewing the image, and therefore may not be a strictly accurate representation of the color at a particular position, and especially not for monochromatic colors. Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange. A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue. There are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray, and white) and colors such as pink, tan, and magenta. Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are metamers of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited; for example, to make fruit or tomatoes look more intensely red.) Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application. No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the CIE 1931 color space chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green. Because of this, and because the primaries in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated spectral colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The CIE chromaticity diagram can be used to describe the gamut. Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors can be relatively poor if they have special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene. A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for other observers. The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, color management techniques, such as those based on ICC profiles, can help to avoid distortions of the reproduced colors. Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced. Additive color mixing: combining red and green yields yellow; combining all three primary colors together yields white. Additive color is light created by mixing together light of two or more different colors. Red, green, and blue are the additive primary colors normally used in additive color systems such as projectors and computer terminals. Subtractive color mixing: combining yellow and magenta yields red; combining all three primary colors together yields black Subtractive coloring uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye. If the light is not a pure white source (the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red paint, viewed under blue light, may appear black. Red paint is red because it scatters only the red components of the spectrum. If red paint is illuminated by blue light, it will be absorbed by the red paint, creating the appearance of a black object. Further information: Structural coloration and Animal coloration Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness. Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton and Robert Hooke. Since 1942, electron micrography has been used, advancing the development of products that exploit structural color, such as "photonic" cosmetics. Find more aboutColorat Wikipedia's sister projects
Digital Printing vs. the Traditional Method in PhotographyHP LaserJet 5 printer The Game Boy Pocket Printer, a thermal printer released as a peripheral for the Nintendo Game Boy This is an example of a wide-carriage dot matrix printer, designed for 14-inch (360 mm) wide paper, shown with 8.5-by-14-inch (220 mm × 360 mm) legal paper. Wide carriage printers were often used in the field of businesses, to print accounting records on 11-by-14-inch (280 mm × 360 mm) tractor-feed paper. They were also called "132-column printers". Play media A video showing an inkjet printer while printing a page. In computing, a printer is a peripheral which makes a persistent human-readable representation of graphics or text on paper or similar physical media. The first computer printer design was a mechanically driven apparatus by Charles Babbage for his difference engine in the 19th century; his mechanical printer design was not built until 2000. The first electronic printer was the EP-101, invented by Japanese company Epson and released in 1968. The first commercial printers generally used mechanisms from electric typewriters and Teletype machines The demand for higher speed led to the development of new systems specifically for computer use. In the 1980s were daisy wheel systems similar to typewriters, line printers that produced similar output but at much higher speed, and dot matrix systems that could mix text and graphics but produced relatively low-quality output. The plotter was used for those requiring high quality line art like blueprints. The introduction of the low-cost laser printer in 1984 with the first HP LaserJet, and the addition of PostScript in next year's Apple LaserWriter, set off a revolution in printing known as desktop publishing. Laser printers using PostScript mixed text and graphics, like dot-matrix printers, but at quality levels formerly available only from commercial typesetting systems. By 1990, most simple printing tasks like fliers and brochures were now created on personal computers and then laser printed; expensive offset printing systems were being dumped as scrap. The HP Deskjet of 1988 offered the same advantages as laser printer in terms of flexibility, but produced somewhat lower quality output (depending on the paper) from much less expensive mechanisms. Inkjet systems rapidly displaced dot matrix and daisy wheel printers from the market. By the 2000s high-quality printers of this sort had fallen under the $100 price point and became commonplace. The rapid update of internet email through the 1990s and into the 2000s has largely displaced the need for printing as a means of moving documents, and a wide variety of reliable storage systems means that a "physical backup" is of little benefit today. Even the desire for printed output for "offline reading" while on mass transit or aircraft has been displaced by e-book readers and tablet computers. Today, traditional printers are being used more for special purposes, like printing photographs or artwork, and are no longer a must-have peripheral. Starting around 2010, 3D printing became an area of intense interest, allowing the creation of physical objects with the same sort of effort as an early laser printer required to produce a brochure. These devices are in their earliest stages of development and have not yet become commonplace. Personal printers are primarily designed to support individual users, and may be connected to only a single computer. These printers are designed for low-volume, short-turnaround print jobs, requiring minimal setup time to produce a hard copy of a given document. However, they are generally slow devices ranging from 6 to around 25 pages per minute (ppm), and the cost per page is relatively high. However, this is offset by the on-demand convenience. Some printers can print documents stored on memory cards or from digital cameras and scanners. Networked or shared printers are "designed for high-volume, high-speed printing." They are usually shared by many users on a network and can print at speeds of 45 to around 100 ppm. The Xerox 9700 could achieve 120 ppm. A virtual printer is a piece of computer software whose user interface and API resembles that of a printer driver, but which is not connected with a physical computer printer. A virtual printer can be used to create a file which is an image of the data which would be printed, for archival purposes or as input to another program, for example to create a PDF or to transmit to another system or user. A 3D printer is a device for making a three-dimensional object from a 3D model or other electronic data source through additive processes in which successive layers of material ( including plastics, metals, food, cement, wood, and other materials) are laid down under computer control. It is called a printer by analogy with an inkjet printer which produces a two-dimensional document by a similar process of depositing a layer of ink on paper. The choice of print technology has a great effect on the cost of the printer and cost of operation, speed, quality and permanence of documents, and noise. Some printer technologies don't work with certain types of physical media, such as carbon paper or transparencies. A second aspect of printer technology that is often forgotten is resistance to alteration: liquid ink, such as from an inkjet head or fabric ribbon, becomes absorbed by the paper fibers, so documents printed with liquid ink are more difficult to alter than documents printed with toner or solid inks, which do not penetrate below the paper surface. Cheques can be printed with liquid ink or on special cheque paper with toner anchorage so that alterations may be detected. The machine-readable lower portion of a cheque must be printed using MICR toner or ink. Banks and other clearing houses employ automation equipment that relies on the magnetic flux from these specially printed characters to function properly. The following printing technologies are routinely found in modern printers: Main article: Laser printer A laser printer rapidly produces high quality text and graphics. As with digital photocopiers and multifunction printers (MFPs), laser printers employ a xerographic printing process but differ from analog photocopiers in that the image is produced by the direct scanning of a laser beam across the printer's photoreceptor. Another toner-based printer is the LED printer which uses an array of LEDs instead of a laser to cause toner adhesion to the print drum. Liquid ink cartridge from Hewlett-Packard HP 845C inkjet printer Inkjet printers operate by propelling variably sized droplets of liquid ink onto almost any sized page. They are the most common type of computer printer used by consumers. Main article: Solid ink Solid ink printers, also known as phase-change printers, are a type of thermal transfer printer. They use solid sticks of CMYK-coloured ink, similar in consistency to candle wax, which are melted and fed into a piezo crystal operated print-head. The printhead sprays the ink on a rotating, oil coated drum. The paper then passes over the print drum, at which time the image is immediately transferred, or transfixed, to the page. Solid ink printers are most commonly used as colour office printers, and are excellent at printing on transparencies and other non-porous media. Solid ink printers can produce excellent results. Acquisition and operating costs are similar to laser printers. Drawbacks of the technology include high energy consumption and long warm-up times from a cold state. Also, some users complain that the resulting prints are difficult to write on, as the wax tends to repel inks from pens, and are difficult to feed through automatic document feeders, but these traits have been significantly reduced in later models. In addition, this type of printer is only available from one manufacturer, Xerox, manufactured as part of their Xerox Phaser office printer line. Previously, solid ink printers were manufactured by Tektronix, but Tek sold the printing business to Xerox in 2001. Main article: Dye-sublimation printer A disassembled dye sublimation cartridge A dye-sublimation printer (or dye-sub printer) is a printer which employs a printing process that uses heat to transfer dye to a medium such as a plastic card, paper or canvas. The process is usually to lay one colour at a time using a ribbon that has colour panels. Dye-sub printers are intended primarily for high-quality colour applications, including colour photography; and are less well-suited for text. While once the province of high-end print shops, dye-sublimation printers are now increasingly used as dedicated consumer photo printers. Receipt printer printing a Twitter timeline Thermal printers work by selectively heating regions of special heat-sensitive paper. Monochrome thermal printers are used in cash registers, ATMs, gasoline dispensers and some older inexpensive fax machines. Colours can be achieved with special papers and different temperatures and heating rates for different colours; these coloured sheets are not required in black-and-white output. One example is Zink (a portmanteau of "zero ink"). Epson MX-80, a popular model of dot-matrix printer in use for many years The following technologies are either obsolete, or limited to special applications though most were, at one time, in widespread use. Impact printers rely on a forcible impact to transfer ink to the media. The impact printer uses a print head that either hits the surface of the ink ribbon, pressing the ink ribbon against the paper (similar to the action of a typewriter), or, less commonly, hits the back of the paper, pressing the paper against the ink ribbon (the IBM 1403 for example). All but the dot matrix printer rely on the use of fully formed characters, letterforms that represent each of the characters that the printer was capable of printing. In addition, most of these printers were limited to monochrome, or sometimes two-color, printing in a single typeface at one time, although bolding and underlining of text could be done by "overstriking", that is, printing two or more impressions either in the same character position or slightly offset. Impact printers varieties include typewriter-derived printers, teletypewriter-derived printers, daisywheel printers, dot matrix printers and line printers. Dot matrix printers remain in common use in businesses where multi-part forms are printed. An overview of impact printing contains a detailed description of many of the technologies used. typeball print element from IBM Selectric-type printer Main articles: Friden Flexowriter and IBM Selectric typewriter Several different computer printers were simply computer-controllable versions of existing electric typewriters. The Friden Flexowriter and IBM Selectric-based printers were the most-common examples. The Flexowriter printed with a conventional typebar mechanism while the Selectric used IBM's well-known "golf ball" printing mechanism. In either case, the letter form then struck a ribbon which was pressed against the paper, printing one character at a time. The maximum speed of the Selectric printer (the faster of the two) was 15.5 characters per second. Main article: Teleprinter The common teleprinter could easily be interfaced to the computer and became very popular except for those computers manufactured by IBM. Some models used a "typebox" that was positioned, in the X- and Y-axes, by a mechanism and the selected letter form was struck by a hammer. Others used a type cylinder in a similar way as the Selectric typewriters used their type ball. In either case, the letter form then struck a ribbon to print the letterform. Most teleprinters operated at ten characters per second although a few achieved 15 CPS. "daisy wheel" print element Main article: Daisy wheel printer Daisy wheel printers operate in much the same fashion as a typewriter. A hammer strikes a wheel with petals, the "daisy wheel", each petal containing a letter form at its tip. The letter form strikes a ribbon of ink, depositing the ink on the page and thus printing a character. By rotating the daisy wheel, different characters are selected for printing. These printers were also referred to as letter-quality printers because they could produce text which was as clear and crisp as a typewriter. The fastest letter-quality printers printed at 30 characters per second. Main article: Dot matrix printer Sample output from 9-pin dot matrix printer (one character expanded to show detail) The term dot matrix printer is used for impact printers that use a matrix of small pins to transfer ink to the page. The advantage of dot matrix over other impact printers is that they can produce graphical images in addition to text; however the text is generally of poorer quality than impact printers that use letterforms (type). Dot-matrix printers can be broadly divided into two major classes: Dot matrix printers can either be character-based or line-based (that is, a single horizontal series of pixels across the page), referring to the configuration of the print head. In the 1970s & 80s, dot matrix printers were one of the more common types of printers used for general use, such as for home and small office use. Such printers normally had either 9 or 24 pins on the print head (early 7 pin printers also existed, which did not print descenders). There was a period during the early home computer era when a range of printers were manufactured under many brands such as the Commodore VIC-1525 using the Seikosha Uni-Hammer system. This used a single solenoid with an oblique striker that would be actuated 7 times for each column of 7 vertical pixels while the head was moving at a constant speed. The angle of the striker would align the dots vertically even though the head had moved one dot spacing in the time. The vertical dot position was controlled by a synchronised longitudinally ribbed platen behind the paper that rotated rapidly with a rib moving vertically seven dot spacings in the time it took to print one pixel column. 24-pin print heads were able to print at a higher quality and started to offer additional type styles and were marketed as Near Letter Quality by some vendors. Once the price of inkjet printers dropped to the point where they were competitive with dot matrix printers, dot matrix printers began to fall out of favour for general use. Some dot matrix printers, such as the NEC P6300, can be upgraded to print in colour. This is achieved through the use of a four-colour ribbon mounted on a mechanism (provided in an upgrade kit that replaces the standard black ribbon mechanism after installation) that raises and lowers the ribbons as needed. Colour graphics are generally printed in four passes at standard resolution, thus slowing down printing considerably. As a result, colour graphics can take up to four times longer to print than standard monochrome graphics, or up to 8-16 times as long at high resolution mode. Dot matrix printers are still commonly used in low-cost, low-quality applications such as cash registers, or in demanding, very high volume applications like invoice printing. Impact printing, unlike laser printing, allows the pressure of the print head to be applied to a stack of two or more forms to print multi-part documents such as sales invoices and credit card receipts using continuous stationery with carbonless copy paper. Dot-matrix printers were being superseded even as receipt printers after the end of the twentieth century. Main article: Line printer Line printers print an entire line of text at a time. Four principal designs exist. Print drum from drum printer IBM 1403 line printer In each case, to print a line, precisely timed hammers strike against the back of the paper at the exact moment that the correct character to be printed is passing in front of the paper. The paper presses forward against a ribbon which then presses against the character form and the impression of the character form is printed onto the paper. Line printers are the fastest of all impact printers and are used for bulk printing in large computer centres. A line printer can print at 1100 lines per minute or faster, frequently printing pages more rapidly than many current laser printers. On the other hand, the mechanical components of line printers operat with tight tolerances and require regular preventive maintenance (PM) to produce top quality print. They are virtually never used with personal computers and have now been replaced by high-speed laser printers. The legacy of line printers lives on in many computer operating systems, which use the abbreviations "lp", "lpr", or "LPT" to refer to printers. Liquid ink electrostatic printers use a chemical coated paper, which is charged by the print head according to the image of the document. The paper is passed near a pool of liquid ink with the opposite charge. The charged areas of the paper attract the ink and thus form the image. This process was developed from the process of electrostatic copying. Color reproduction is very accurate, and because there is no heating the scale distortion is less than ±0.1%. (All laser printers have an accuracy of ±1%.) Worldwide, most survey offices used this printer before color inkjet plotters become popular. Liquid ink electrostatic printers were mostly available in 36 to 54 inches (910 to 1,370 mm) width and also 6 color printing. These were also used to print large billboards. It was first introduced by Versatec, which was later bought by Xerox. 3M also used to make these printers. Main article: Plotter A Calcomp 565 drum plotter Pen-based plotters were an alternate printing technology once common in engineering and architectural firms. Pen-based plotters rely on contact with the paper (but not impact, per se) and special purpose pens that are mechanically run over the paper to create text and images. Since the pens output continuous lines, they were able to produce technical drawings of higher resolution than was achievable with dot-matrix technology. Some plotters used roll-fed paper, and therefore had minimal restriction on the size of the output in one dimension. These plotters were capable of producing quite sizable drawings. A number of other sorts of printers are important for historical reasons, or for special purpose uses: Most printers other than line printers accept control characters or unique character sequences to control various printer functions. These may range from shifting from lower to upper case or from black to red ribbon on typewriter printers to switching fonts and changing character sizes and colors on raster printers. Early printer controls were not standardized, with each manufacturer's equipment having its own set. The IBM Personal Printer Data Stream (PPDS) became a commonly used command set for dot-matrix printers. Today, most printers accept one or more page description languages (PDLs). Laser printers with greater processing power frequently offer support for variants of Hewlett-Packard's Printer Command Language (PCL), PostScript or XML Paper Specification. Most inkjet devices support manufacturer proprietary PDLs such as ESC/P. The diversity in mobile platforms have led to various standardization efforts around device PDLs such as the Printer Working Group (PWG's) PWG Raster. The speed of early printers was measured in units of characters per minute (cpm) for character printers, or lines per minute (lpm) for line printers. Modern printers are measured in pages per minute (ppm). These measures are used primarily as a marketing tool, and are not as well standardised as toner yields. Usually pages per minute refers to sparse monochrome office documents, rather than dense pictures which usually print much more slowly, especially colour images. PPM are most of the time referring to A4 paper in Europe and letter paper in the United States, resulting in a 5-10% difference. The data received by a printer may be: Some printers can process all four types of data, others not. Today it is possible to print everything (even plain text) by sending ready bitmapped images to the printer. This allows better control over formatting, especially among machines from different vendors. Many printer drivers do not use the text mode at all, even if the printer is capable of it. A monochrome printer can only produce an image consisting of one colour, usually black. A monochrome printer may also be able to produce various tones of that color, such as a grey-scale. A colour printer can produce images of multiple colours. A photo printer is a colour printer that can produce images that mimic the colour range (gamut) and resolution of prints made from photographic film. Many can be used on a standalone basis without a computer, using a memory card or USB connector. The page yield is number of pages that can be printed from a toner cartridge or ink cartridge—before the cartridge needs to be refilled or replaced. The actual number of pages yielded by a specific cartridge depends on a number of factors. For a fair comparison, many laser printer manufacturers use the ISO/IEC 19752 process to measure the toner cartridge yield. In order to fairly compare operating expenses of printers with a relatively small ink cartridge to printers with a larger, more expensive toner cartridge that typically holds more toner and so prints more pages before the cartridge needs to be replaced, many people prefer to estimate operating expenses in terms of cost per page (CPP).  Often the "razor and blades" business model is applied. That is, a company may sell a printer at cost, and make profits on the ink cartridge, paper, or some other replacement part. This has caused legal disputes regarding the right of companies other than the printer manufacturer to sell compatible ink cartridges. To protect their business model, several manufacturers invest heavily in developing new cartridge technology and patenting it. Other manufacturers, in reaction to the challenges from using this business model, choose to make more money on printers and less on the ink, promoting the latter through their advertising campaigns. Finally, this generates two clearly different proposals: "cheap printer – expensive ink" or "expensive printer – cheap ink". Ultimately, the consumer decision depends on their reference interest rate or their time preference. From an economics viewpoint, there is a clear trade-off between cost per copy and cost of the printer. An illustration showing small yellow tracking dots on white paper, generated by a color laser printer Main article: Printer steganography Printer steganography is a type of steganography – "hiding data within data" – produced by color printers, including Brother, Canon, Dell, Epson, HP, IBM, Konica Minolta, Kyocera, Lanier, Lexmark, Ricoh, Toshiba and Xerox brand color laser printers, where tiny yellow dots are added to each page. The dots are barely visible and contain encoded printer serial numbers, as well as date and time stamps. Main article: Wireless printer More than half of all printers sold at U.S. retail in 2010 were wireless-capable, but nearly three-quarters of consumers who have access to those printers weren't taking advantage of the increased access to print from multiple devices according to the new Wireless Printing Study.
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