It is astonishing to see what information technology hs done to the typesetting industry. In the past three decades, technological advancement in the area of typography and composition has revolutionized the graphic art and prepress industry segments. Claude Garamond, the sixteenth century French punch cutter who established the first type foundry probably had little or no idea what the young industry would become in the ages to come.
Type is the personality of the printed word. Typography can convey great individuality. Competent use of type has given structure and emphasis to text, and helped present it in a way that is comfortable for the reader. Poor use of type can confuse the reader by conveying a mood that conflict with the meaning of the text. More especially, bad use of type can simply be distractive.
The use of type in composition and graphic design has witnessed outstanding advancement by the introduction of desktop computing. At this point, a retrospective overview of the typesetting industry will allow us to see through the window of history of this noble industry, and thus enable us to understand even further, the tremendous advancement this sector has experienced in the last three decades.
The story of typesetting over the ages, and in present times across the country, is really a gloomy and sorry one. The poor economy has always received the bashing of being responsible for our shortcomings in the country. This of course is no exception. The high cost of traditional professional typesetting equipment places this technology too high beyond the reach of the local printing and publishing industry. They are left with low budget technology with relatively low-resolution print output. High-end typographical output devices far surpass the output quality of 300dpi or even 600dpi we are used to in this part of the continent; 2,400dpi is the typesetter’s standard.
In the early 1970s, the arrival of the electronics selectric composer was embraced as a cheap alternative to the highly expensive high-end option. The composer craze swept across the country like a wild wind, most notably in Lagos, Ibadan and Onitsha.
The electronic selectric’ composer was not designed for professional typesetting, and so limits users to a maximum of 12 points type size. With such paltry features, the composer was still able to make a significant improvement in the way printers and graphics designers do their typesetting. The ability of the composer to playback coded instructions in memory, and produce quality direct impression typesetting made a great impact. Then it became possible to produce an error-free formatted final proof of composition. Professional quality appearance and proportional lettering gives full expression to each character, excellent letter fit and overall aesthetic refinement to the type design.
In the mid 1970s, when electronic composer was still the favourite of many print and publishing houses, a new era of typography was emerging. The compugraphic phototypesetting system dominated the typesetting industry much of the mid 1970s and early 1980s. Compugraphy provided exceptionally powerful editing and storage capabilities. It combines the simplicity of a secretarial keyboard for input, the efficiency of a video display screen for editing, and the convenience of magnetic disk storage for recording data. Having an operational speed of 1 ppm (page per minute), and a type size of between 6 points to 72 points, the compugraphic phototypesetting machines was placed far ahead of any other typesetting equipment before its debut.
The compugraphic machine never lived long enough to see better days. The exploits of information technology introduced desktop computing. The personal computer which ws ushered in, in the mid 1980s, had no difficulty displacing its massive and intimidating predecessor. With the arrival of PCs, typesetting has continued to grow from strength to strength.
The introduction of the PC on the desktop also brought with it, desktop laser printing, and revolutionized typesetting. The simple emulation of typewriter output was rapidly replaced by precision comparable to that of traditional professional typesetting. Initially electronic font technology was confined to high-end-desktop publishing software, but ehe popularity and feature richness of software packages like Ventura Publisher and Aldus PageMaker brought type technology into the limelight.
Besides the numerous typefaces that desktop publishing software programs introduced into page layout and typesetting, graphic design also feature prominently with packages such as Freehand and CorelDraw. Desktop publishing allowed the production of camera-ready finished artworks, thus eliminating the cut-and-paste process.
From when desktop publishing because popular and today, there had been tremendous improvement in information technology which is partly attributed to desktop publishing. For instance resterisation, which is the process of generating bitmap images for laser printer output, involves a large amount of data, and is usually the longest element of the page printing process, is known to be one of the ways of measuring the standards of computers in the world.
Until recently laser printers produced images at a maximum resolution of 300dpi both horizontally and vertically, so that one-inch square matrix took 900,000 dots. At that resolution, an A4 printer needs around 1 MB of memory to store a single page of uncompressed data. But the latest printers such as Hewlett-Packard’s LaserJet 4, based on the Canon LBP-ex engine, deliver resolution of up to 600dpi. This requires four times as much data per square inch, and so imposes a quadrupled memory overhead.
Post Express, 30 Jan '97
Page 21
March Oyinki
By March Oyinki
Type is the personality of the printed word. Typography can convey great individuality. Competent use of type has given structure and emphasis to text, and helped present it in a way that is comfortable for the reader. Poor use of type can confuse the reader by conveying a mood that conflict with the meaning of the text. More especially, bad use of type can simply be distractive.
The use of type in composition and graphic design has witnessed outstanding advancement by the introduction of desktop computing. At this point, a retrospective overview of the typesetting industry will allow us to see through the window of history of this noble industry, and thus enable us to understand even further, the tremendous advancement this sector has experienced in the last three decades.
The story of typesetting over the ages, and in present times across the country, is really a gloomy and sorry one. The poor economy has always received the bashing of being responsible for our shortcomings in the country. This of course is no exception. The high cost of traditional professional typesetting equipment places this technology too high beyond the reach of the local printing and publishing industry. They are left with low budget technology with relatively low-resolution print output. High-end typographical output devices far surpass the output quality of 300dpi or even 600dpi we are used to in this part of the continent; 2,400dpi is the typesetter’s standard.
In the early 1970s, the arrival of the electronics selectric composer was embraced as a cheap alternative to the highly expensive high-end option. The composer craze swept across the country like a wild wind, most notably in Lagos, Ibadan and Onitsha.
The electronic selectric’ composer was not designed for professional typesetting, and so limits users to a maximum of 12 points type size. With such paltry features, the composer was still able to make a significant improvement in the way printers and graphics designers do their typesetting. The ability of the composer to playback coded instructions in memory, and produce quality direct impression typesetting made a great impact. Then it became possible to produce an error-free formatted final proof of composition. Professional quality appearance and proportional lettering gives full expression to each character, excellent letter fit and overall aesthetic refinement to the type design.
In the mid 1970s, when electronic composer was still the favourite of many print and publishing houses, a new era of typography was emerging. The compugraphic phototypesetting system dominated the typesetting industry much of the mid 1970s and early 1980s. Compugraphy provided exceptionally powerful editing and storage capabilities. It combines the simplicity of a secretarial keyboard for input, the efficiency of a video display screen for editing, and the convenience of magnetic disk storage for recording data. Having an operational speed of 1 ppm (page per minute), and a type size of between 6 points to 72 points, the compugraphic phototypesetting machines was placed far ahead of any other typesetting equipment before its debut.
The compugraphic machine never lived long enough to see better days. The exploits of information technology introduced desktop computing. The personal computer which ws ushered in, in the mid 1980s, had no difficulty displacing its massive and intimidating predecessor. With the arrival of PCs, typesetting has continued to grow from strength to strength.
The introduction of the PC on the desktop also brought with it, desktop laser printing, and revolutionized typesetting. The simple emulation of typewriter output was rapidly replaced by precision comparable to that of traditional professional typesetting. Initially electronic font technology was confined to high-end-desktop publishing software, but ehe popularity and feature richness of software packages like Ventura Publisher and Aldus PageMaker brought type technology into the limelight.
Besides the numerous typefaces that desktop publishing software programs introduced into page layout and typesetting, graphic design also feature prominently with packages such as Freehand and CorelDraw. Desktop publishing allowed the production of camera-ready finished artworks, thus eliminating the cut-and-paste process.
From when desktop publishing because popular and today, there had been tremendous improvement in information technology which is partly attributed to desktop publishing. For instance resterisation, which is the process of generating bitmap images for laser printer output, involves a large amount of data, and is usually the longest element of the page printing process, is known to be one of the ways of measuring the standards of computers in the world.
Until recently laser printers produced images at a maximum resolution of 300dpi both horizontally and vertically, so that one-inch square matrix took 900,000 dots. At that resolution, an A4 printer needs around 1 MB of memory to store a single page of uncompressed data. But the latest printers such as Hewlett-Packard’s LaserJet 4, based on the Canon LBP-ex engine, deliver resolution of up to 600dpi. This requires four times as much data per square inch, and so imposes a quadrupled memory overhead.
Post Express, 30 Jan '97
Page 21
March Oyinki
By March Oyinki
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