XAML-icious graphics in Mako Core

Creating discrete graphics in Mako Core with XAML

It’s not often that one is inspired by the introduction of a new feature in an SDK, but that has happened with Mako 6.3.0 and support for something rather drily known as Abbreviated Geometry Syntax. The inspiration arises because this way of describing geometry – curved and straight lines that form a shape, sometimes filled, sometimes not, that can be added to a page – derives from Microsoft’s XPS (XML Print Specification). But crucially it also appears in XAML, the language used by Windows to describe user interface (UI) designs. 

Why is this significant? Some time ago I wrote a Mako sample that would take a regular PDF page, expand it then adorn it with printers’ marks. You know the sort of thing – tick marks that indicate the trimmed size of the page, or the edge of the bleed, and colour bars or gray scales that enable a printer to see a patch of 100% of an ink color, or the gradation from white to black. It also included small targets printed with all inks to help spot registration problems. The graphic itself was simple, but how to generate it with code? The APIs in Mako were somewhat unwieldy when it came to drawing on the page, so much so that I found it easier to copy content from another document. 

Having created many discrete graphics in XAML to be used in a Windows application, such as a button or an indicator of some sort, I thought then it would be great to be able to convert a XAML snippet into Mako DOM objects that I could add to a PDF page. At the time, that was too much work. But with this new feature, it’s very straightforward, particularly in C# as there is great support for parsing XML. I began experimenting. 

Draw a sample 
The first step was to create a graphic to test with that wouldn’t be too challenging but at the same time cover the principal elements found on a XAML canvas – the <Canvas> element itself then paths, rectangles and text blocks with their attendant properties for fill, stroke, color, font etc. Thus was born Funny Robot that you can see here in a screengrab from Visual Studio (VS). . 

Figure 1: My funny robot and the XAML that draws him

I often use VS for creating XAML graphics graphically; as you do so, the XAML is written for you. Plus, you can edit the code and immediately see the result in the preview window. Besides Visual Studio and its sibling Blend for Visual Studio, there’s Microsoft’s Expression Design 4. Unfortunately, Microsoft now consider it defunct, but there are those that think as I do that it is a very useful tool and have made it available for download. You will find it easily with a web search for “Expression Design 4”. This tool can import an Adobe Illustrator graphic which is an incredibly valuable feature, one not found in Visual Studio

Coding the solution 
The C# that I wrote for this first loads the XAML code as a .NET XmlDocument, then creates Mako DOM object(s) for each XAML element it finds, which are added to a Mako IDOMGroup. Once parsing is complete, that group of objects can then be added to a page, positioned and scaled as required. For the purposes of the example, I simply add the group to a new blank page and save it as a PDF. 

The complete code can be found on the MakoSDK GitHub page, alongside the Funny Robot XAML. 

Further reading:

  1. How to retain print quality with vector-based transparency flattening
  2. Carry out complex tasks for your print workflow easily with Mako SDK
  3. Improving PDF accessibility with Structure Tagging

Be the first to receive our blog posts, news updates and product news. Why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

What you need to build a press that must handle variable data jobs at high speed

I’ve spoken to a lot of people about variable data printing and about what that means when a vendor builds a press or printing unit that must be able to handle variable data jobs at high speed. Over the years I’ve mentally defined several categories that such people fall into, based on the first question they ask: 

  1. “Variable data; what’s that?” 
  2. “Why should I care about variable data, nobody uses that in my industry?” 
  3. “I’ve heard of variable data and I think I need it, but what does that actually mean?” 
  4. “How do I turn on variable data optimization in Harlequin?” 

If you’re in the first two categories, I recommend that you read through the introductory chapters of our guide: “Full Speed Ahead: how to make variable data PDF files that won’t slow your digital press”, available on our website. 

And yes, unless you’re in a very specialised industry, people probably are using variable data. As an example, five years ago pundits in the label printing industry were saying that nobody was using variable data on those. Now it’s a rapidly growing area as brands realize how useful it can be and as the convergence of coding and marking with primary consumer graphics continues. If you’re a vendor designing and building a digital press your users will expect you to support variable data when you bring it to market; don’t get stuck with a DFE (digital front end) that can’t drive your shiny new press at engine speed when they try to print a variable job. 

If you’re in category 3 then you’re in luck, we’ve just published a video to explain how variable data jobs are typically put together, and then how the DFE for a digital press deconstructs the pages again in order to optimize processing speed. It also talks about why that’s so important, especially as presses get faster every year. Watch it here:
 

And if you’re in category 4, drop us a line at info@globalgraphics.com, or, if you’re already a Harlequin OEM partner, our support team are ready and waiting for your questions.

Further reading:

  1. What’s the best effective photographic image resolution for your variable data print jobs?
  2. Why does optimization of VDP jobs matter?
  3. There really are two different kinds of variable data submission!

Be the first to receive our blog posts, news updates and product news. Why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

 

APS Engineering joins Global Graphics Software Partner Network

A warm welcome to our new Global Graphics Software Partner Network member: APS Engineering.

APS Engineering creates cutting-edge ink delivery systems for all stages of production for inkjet printing, additive manufacturing, and microdispensing. The company has worked together with Global Graphics Software to create the first OPC UA-enabled ink delivery system for SmartDFE, a full software and hardware stack that adds print to the fully automated smart factory.

SmartDFE™ is designed to be the heart of a fully automated manufacturing system and transform the role of the digital press in the smart print factory of the future.

OPC UA is the interoperability standard for the secure and reliable exchange of data in the industrial automation space and in other industries. It is platform-independent and ensures the seamless flow of information among devices from multiple vendors.

The OPC UA-enabled ink delivery system developed together with APS Engineering can communicate with anything in the industrial inkjet ecosystem. This means that the press can be monitored remotely from an iPad or from a browser on the desktop, or that data can be stored from the ink delivery system in a historical archive database to enable other functions like predictive maintenance.

In addition to fluid delivery systems, APS Engineering also offers printbar design and consulting services for custom projects. We look forward to working together in the future.

Be the first to receive our blog posts, news updates and product news. Why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

Working with spot colors in Harlequin Core

Whenever we start working with a company who’s interested in using Harlequin Core for their Digital Front End (DFE), there are always three technical topics under discussion: speed, quality and capabilities. Speed and quality are often very quick discussions; much of the time they’ve approached us because they’re already convinced that Harlequin can do what they need. In the remaining cases we tend to jointly agree that the best way for them to be convinced is for them to take a copy of Harlequin Core and to run their own tests. There’s nothing quite like trying something on your own systems to give yourself confidence in the results.

So that leaves capabilities.

If the company already sells a DFE using a different core RIP they will almost always want to at least match, and usually to extend, the functionality of their existing solution when they switch to Harlequin. And if they’re building their first DFE they usually have a clear idea of what their target market will need.

At that stage we start by ensuring that we all understand that Harlequin Core can deliver rasters in whatever format is required (color channels, interleaving, resolution, bit depth, halftoning) and then cover color management pretty quickly (yes, Harlequin uses ICC profiles, including v4 and DeviceLink; yes, you can chain multiple profiles in arbitrary sequences, etc).

Then we usually come on to a series of questions that boil down to handling spot colors:

  • Most spot separations in jobs will be emulated on my digital press; can I adjust that emulation?
  • Can I make sure that the emulation works well with ICC profiles for different substrates?
  • Can I include special device colorants, such as White and Silver inks in that emulation?
  • Can I alias one spot separation name to another?
  • Can I make technical separations, like cut and fold lines, completely disappear, without knocking out if somebody upstream didn’t set them to overprint?
  • Alternatively, can I extract technical separations as vector graphics to drive a cutter/plotter with?

Since the answer to all of those is ‘yes’ we can then move on to areas where the vendor is looking for a unique capability …

But I’ve always been slightly disappointed that we don’t get to talk more about some of the interesting corners of spot handling in Harlequin. So I created a video to walk through some examples. Take a look, and I’d welcome your comments and questions!

Further reading:

  1. Channelling how many spot colors?!!
  2. Shade and color variation in textile printing
  3. Harlequin Core – the heart of your digital press
  4. What is a raster image processor 

Be the first to receive our blog posts, news updates and product news. Why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

Head, inks, substrates – don’t forget the software!

Martin Bailey, distinguished technologist at Global Graphics Software, chats to Marcus Timson of FuturePrint in this episode of the FuturePrint podcast. They discuss Martin’s role in making standards work better for print so businesses can compete on the attributes that matter, and software’s role in solving complex problems and reducing manual touchpoints in workflows.

They also discuss the evolution of software in line with hardware developments over the last few years, managing the increasing amounts of data needed to meet the demands of today’s print quality, the role of Global Graphics Software in key market segments and more.

Listen in here:

Head, ink and substrates, don't forget the software. A FuturePrint podcast with Martin Bailey

To be the first to receive our blog posts, news updates and product news why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

How to retain print quality with vector-based transparency flattening

This week, Mako™ product manager David Stevenson explains vector flattening:

When you print PDF content or save or export it to other formats that do not support transparency, it will need to undergo a process called flattening. Flattening usually involves rasterizing areas of the page that are subject to transparency effects, which could mean replacing sharp-edged vector content with a jagged-edged bitmap. Of course, increasing the resolution of the rasterization can mitigate that problem, but doing so takes longer and adds to file size.

The alternative is to retain vector geometry, including text, as vector objects. This requires dividing the artwork down into smaller parts that no longer overlap, then tracing the edges of the new shapes with a vector path. In the latest release, Global Graphics Software’s Mako Core SDK (v6.2.0) adds this capability to its raster-based transparency flattening API. Using existing APIs that apply De Casteljau’s algorithm to decompose Bézier curves and a new method to trace around shapes, flattened content can retain its device independence and printing quality.

In this example, two partially transparent shapes overlap, and set to use a multiply blend. The rectangle indicates the zoom area for the next two images.
In this example, two partially transparent shapes overlap, and set to use a multiply blend. The rectangle indicates the zoom area for the next two images.
The result of regular raster-based flattening. The shapes are rasterized (at somewhat low resolution for the purposes of illustration) and you can see the jagged edges that result.
The result of regular raster-based flattening. The shapes are rasterized (at somewhat low resolution for the purposes of illustration) and you can see the jagged edges that result.
The result of vector-based flattening. The edges are smooth.
The result of vector-based flattening. The edges are smooth.
This image shows how the vector flattener has created three new vector paths that no longer overlap (moved apart for the purposes of illustration), with the color of 2 representing the blend evident in the original artwork.
This image shows how the vector flattener has created three new vector paths that no longer overlap (moved apart for the purposes of illustration), with the color of 2 representing the blend evident in the original artwork.

I’ve included a short demo of the vector-based transparency flattening feature using Mako here:

Don’t hesitate to david.stevenson@globalgraphics.com for more information if you’d like to know more about the feature and Mako Core.

Further reading

  1. Carry out complex tasks for your print workflow easily with Mako
  2. Improving PDF accessibility with Structure Tagging

To be the first to receive our blog posts, news updates and product news why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

Digital press data rates – and why they matter

Following his post last week about the speed and scalability of your raster image processor, in this film, Martin Bailey, distinguished technologist at Global Graphics Software, explains how to determine how much raster image processor (RIP) power you need to drive a digital press by calculating the press data rate. It’s the best way of calculating how much RIP power you need in the Digital Front End (DFE) to drive it at engine speed and to ensure profitable printing.

Further reading:

  1. Harlequin Core – the heart of your digital press
  2. What is a raster image processor 
  3. Ditch the disk: a new generation of RIPs to drive your digital press
  4. Is your printer software up to the job?
  5. Where is screening performed in the workflow
  6. What is halftone screening?
  7. Unlocking document potential

To be the first to receive our blog posts, news updates and product news why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

Speed and Scalability: two things to consider when choosing a RIP for your digital inkjet press

If you’re building a digital press, or a digital front end (DFE) to drive a digital press, you want it to be as efficient and cost-effective as possible. As the trend towards printing short runs and personalization grows, especially in combination with increasing resolutions, more colorants and faster presses, the speed and scalability of the raster image processor (RIP) inside that DFE are key factors in determining profitability.

For your digital press to print at speed you’ll need to understand the amount of data that it requires, i.e. its data rate. In this film, Martin Bailey, distinguished technologist at Global Graphics Software, explains how different stages in data handling will need different data rates and how to integrate the appropriate number of RIP cores to generate that much data without inflating the bill of materials and DFE hardware.

Martin also explains that your next press may have a much higher data rate requirement than your current one.

For more information about the Harlequin Core visit: www.globalgraphics.com/harlequin

To be the first to receive our blog posts, news updates and product news why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

HP PageWide Industrial raises the bar with the Harlequin RIP

The HP T1190 digital inkjet press
The HP T1190 digital inkjet press

In this latest case study, Tom Bouman, worldwide workflow product marketing manager at HP PageWide Industrial, explains why the Harlequin RIP®, with its track record for high quality and speed and its ability to scale, was the obvious choice to use at the heart of its digital front end when the division was set up to develop presses for the industrial inkjet market back in 2008.

Today, the Harlequin RIP Core is at the heart of all the PageWide T-series presses, driving the HP Production Elite Print Server digital front end. Presses range from 20-inch for commercial printing, through to the large 110-inch (T1100 series) printers for high-volume corrugated pre-print, offering a truly scalable solution that sets the standard in performance and quality.

Read the full story here.

Further reading:

  1. Harlequin Core – the heart of your digital press
  2. What is a raster image processor 
  3. Where is screening performed in the workflow
  4. What is halftone screening?
  5. Unlocking document potential


To be the first to receive our blog posts, news updates and product news why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube

Harlequin Core – the heart of your digital press

Product manager Paul Dormer gives an insight into why the Harlequin Core is the leading print OEMs’ first choice to power digital inkjet presses in this new film.

A raster image processor (RIP), Harlequin Core converts text, object and image data from file formats such as PDF, TIFF™ or JPEG, into a raster that a printing device can understand. It’s at the heart of the digital front end that drives the press.

Proven in the field for decades, Harlequin Core is known for its incredible speed and is the fastest RIP engine available. It is used in every print sector, from industrial inkjet such as textiles and flooring, to labels and packaging, commercial, transactional, and newspapers.

As presses become wider, faster, and higher resolution, handling vast amounts of data, the Harlequin Core remains the RIP of choice for many leading brands including HP, Mimaki, Mutoh, Roland, Durst, Agfa and Delphax.

Watch it here:

Further reading:

  1. What is a raster image processor 
  2. Where is screening performed in the workflow
  3. What is halftone screening?
  4. Unlocking document potential


To be the first to receive our blog posts, news updates and product news why not subscribe to our monthly newsletter? Subscribe here

Follow us on LinkedInTwitter and YouTube