The issue of metamerism in print production

With print, each medium in the production process from original art to image capture, monitor display, proof, and final presswork has its own unique spectral characteristics. The majority of color reproductions utilize cyan, magenta, yellow, and black inks or colorants. But none of those inks are exact spectral matches to the media originally used to produce the original art. As a result, the inks used to create color reproductions are combined to simulate an artwork, but only under one industry standard light source - referred to as "D50" or "D65".

During production the integrity of the reproduction of artwork is monitored by making comparisons, for example, original to its copy or proof to presswork. The two colored objects are referred to as a metameric pair if they match under at least one combination of illuminant and observer and not match under at least one combination of illuminant and observer. They must also have different spectral response curves.

So, the phenomenon of metamerism begins with comparing a pair of colored objects. For example the color of the back door of this truck compared with the color of the rest of the truck.
In the truck example the pigments used in the paint were not the same for the back door compared with the rest of the truck. The two colors would have matched under the artificial lighting that was used when the door was painted. However, under sunlight conditions the door and body no longer match causing "metameric failure."

In this case metameric failure is a benefit to the prospective customer since it warned that the door was painted at a different time from the rest of the truck. Possibly it had been damaged and subsequently repaired. Unfortunately the effect of metameric failure in print production usually causes problems rather than benefits.

How metameric failure impacts print production

There are four types of metameric failure commonly encountered in print production.

Sample metameric failure This is the most common cause of color matching problems. The truck example above is an example of sample metamerism. Because proofs and press sheets form metameric pairs, this problem typically shows up when presswork matches the proof in the light booth at press but no longer match under the lighting conditions where the presswork will normally be used, e.g. a package in a store, or brochure in a home environment. Other examples of sample metameric failure include product samples (e.g. fabric) compared with their reproduction in proofs, presswork, or computer displays. Or process color screen tint builds. They may match under one lighting condition but not another. Sample metameric failure can also happen if two prints using very different technologies - such as offset print vs silkscreen print - are compared under different lighting conditions.

Observer metameric failure This can happen because of differences in color vision between observers. Although the common cause is colorblindness, it is not uncommon among "normal" observers. As a result, two spectrally dissimilar color surfaces may produce a color match for one person but fail to match when viewed by a another person. Observer metameric failure is the reason there were 31 individuals tested to derive the original 1931 "standard observer" values adopted by the ISO and that are still used today as the basis for the majority of color science.

Field-size metameric failure This occurs because the relative proportions of the three light sensitive cone types in the retina of the eye vary from the center of the visual field to the periphery. The result is that colors that match when viewed as very small, centrally fixated areas may appear different when presented as large color areas. This is the reason why color painted on a wall may appear different than the paint chip used to select the color even though they match when the chip is placed on the wall. In print production field-size metameric failure typically occurs when small PMS swatchbook samples are used to specify a PMS color that will cover a large press sheet area.

Geometric metameric failure Normally, material attributes such as translucency, gloss or surface texture are not considered in color matching. However here, identical colors appear different when viewed at different angles, distances, light positions, etc. Geometric metameric failure is most often seen when using metallic inks or paper, and specialty ink coatings or papers.

Tips for dealing with metameric failure

1. Be aware that it exists and may be the "simple" issue causing any color match issues.

2. If color needs to align across different lighting conditions choose pigments carefully or make the ink formulator aware of that requirement.

3. Control your lighting conditions - both for producing prints, final viewing (where possible), and for critical evaluation. The industry standard light source is referred to as "D50" or "D65" (5,000° Kelvin (North America), 6,500° (Europe).

4. Invest in PIA/GATF RHEM light indicators for everyone in the production chain that is involved in evaluating and approving color. RHEM light indicators are small (2" x 3/4") paper stickers with a unique printed design that uses metameric failure to indicate whether or not the viewing conditions are 5,000° K or not.Stripes appearing in the RHEM sticker indicate the lighting conditions and therefore whether a color evaluation can be made.
The stickers can be affixed to proofs or simply carried in a protective wrapper in purse or wallet.

5. Printshops should have viewing areas away from the press that allow print customers to view the presswork under typical lighting conditions (fluorescent and incandescent).

6. Be sure that all instruments (e.g. spectrophotomers) that are used for color evaluation are set to the same standard illuminant, D50 or D65, and same observer angle (typically 2°).

What is wrong with this scene?

For Print Buyers: Get printing for free (well almost)

When costs are estimated to print a job, the shop will try to fill the press sheet in such a way as to minimize wastage to reduce cost.
Typical imposition - the press sheet is filled to capacity.
For a variety of reasons, that's not always possible.

For example, the shape of the document relative to the press sheet may not make full use of the available space as in this poster:
Or the document may include odd-shaped die cut elements as in this carton package example:
Those "off-cut" blank areas needn't just go into the recycling bin. They can be put to good use by adding another document that simply tags along with the proper job. Perhaps a promotional piece:
Or to print test elements to gain knowledge for future projects:
If the print buyer has a good relationship with the printshop then, typically they will be charged very little, if anything, to add these kinds of files to a print job. Here are a few guidelines to keep in mind:
1) Always ask for an imposition layout form when a job is being quoted. That will indicate whether there is any available off-cut space.
2) Get permission from the end print customer to run a tag-along file.
3) Make sure that the press operator understands that the main client job takes priority on press.

The future of publishing

This video was prepared by the UK branch of Dorling Kindersley Books and produced by Khaki Films (more info HERE). Originally meant solely for a DK sales conference, the video was such a hit internally that it is now being shared externally. It begins with the stereotype and then...

Click play arrow (and maybe wiggle the play head), to view the video.
You can read an interview with the creator of the video on the Penguin Blog: HERE

Conducting The Press Check

Printing is a completely different imaging process than proofing. As a result, it is not always possible for the presswork to perfectly "match" the proof. Unfortunately, there is no objective, practical, way of defining what is an acceptable variation from the proof that still constitutes an acceptable pressrun. The role of the press check is to enable the customer, or their representative, to directly communicate their presswork concerns and acceptance, with the press operator, so that a successful pressrun can be achieved.

The customer should be able to go to the press and speak to the press operator directly. Working through an intermediary like the pressroom manager only slows down the process and causes communication errors especially when if they are managing multiple press checks at the same time.

Press check basics for the printer

• The customer should not be press side during initial make ready. Ideally you would have a comfortable holding area/lounge where customers can wait until the press operator has a sheet ready for inspection.

• An initial make ready sheet marked clearly "For Content Only" could be given to the customer so that they can check the sheet for content issues like substituted fonts, low resolution images, missing graphics, etc. This reduces time wasted at the press when doing the color approval. Also, if content errors are discovered then the job can be halted soon enough to avoid excessive make ready wastage.

• The press operator should be told ahead of time, by the CSR or sales representative about issues, concerns, and critical success goals the print buyer has for the job. For example, if a particular blue in a product image is important to the customer - the press operator should know that fact. Having this knowledge shows the customer that the shop is personally involved in the success of both the press run and the customer. It also helps establish better communications, if any color adjustments need to be made.

• When the press operator is satisfied with the color then a press sheet should be pulled and filed as "first press operator OK." Press operator OK'd color sheets can be used later by the printshop to identify and evaluate print manufacturing issues from prepress through the pressroom.

• When the customer arrives at the press, the press operator should introduce themselves.

• When the customer is at the press the press operator should stand aside and allow the customer "breathing room" to examine the press sheet against the proof.

• Tools such as Pantone swatchbooks, ink draw downs, loupes, note paper and pens for customer use should be readily available.

• The press operator should try and use correct terms and use them consistently. For example, do not use the term "blue" if you mean "cyan."

• Encourage the customer to explain what concerns they have rather than tell you how to fix them. Their role is to identify the problem - your role is to know whether, and how the problem can be fixed.

• If you make a press adjustment to fix an issue, tell the customer what you will be doing and how you feel it will fix the problem. This helps confirm to the customer that you correctly understood their issue and it also helps educate them which, in turn, will make future press checks go quicker.

• If there are any issues that you have with the press to proof match - let the customer know that right away rather than have them discover it themselves. Doing so tells the customer that you are not trying to hide anything from them. It also helps establish a mutually respectful environment.

• Be aware of time - every minute the press is idle the company is losing money. Remember, you can get press sheet sign-off with notes to cover some issues (e.g. "OK for color - but must remove all circled spots and hickies). Don't rush the customer, but don't let them dally at the press either.

• Some shops will have a "light room" where customers can take the sheet to view it under "standard" office lighting. This helps mitigate metamerism and substrate fluorescence issues.

• Make sure that the OK press sheet is signed and dated by the customer, the sales representative/CSR, and the press operator. Any continuing issues to be dealt with later should be noted on the sheet.

• Have a cardboard tube ready so that OK'd press sheets can be taken away by the customer.

• Thank the customer for attending the press check.

Press check basics for the print buyer
The role of the print buyer at the press check is to directly communicate their presswork concerns and acceptance with the press operator in the presence of the sales person to help ensure that any color issues are dealt with according to the customer's requirements.

• Once you get the call from the printer, gather up any material related to the job, samples, proofs, spot color draw downs, paper samples, mock-ups, folding dummies, etc. Also, make sure to bring loupes, color swatchbooks, scissors/x-acto knife, pens and notebooks.

• It's a good idea to get an imposition proof from the printer so that you can check three things; are there any potential inline color issues, are pages on the press form imposed the same way as they were on the imposition proof, and finally when the sheet is backed up on press do the pages back up correctly.

• Arrive at the printshop on time. Identify yourself at reception and explain why you are there. Then wait for the sales rep or CSR to be escorted to the waiting lounge or press floor.

• If you are part of a group attending the press check, identify which single individual will be the lead. That is the one person who consolidates the opinions of the folks attending the press approval and therefore the one who speaks for the group to the press operator.

• While waiting to go out to the press floor, ask for an initial make ready sheet that can be checked for content issues like substituted fonts, low resolution images, missing graphics, etc. This will reduce time wasted at the press when doing the color approval.

• At the press, introduce yourself and your team to the press operator. Wait to be invited anywhere near the press console.

• Do not touch or use any equipment at the press unless you specifically ask permission first.

• When you are offered the sheet for examination, ask the press operator if they are happy with the sheet and if they have any concerns/issues with it.

• Engage your sales representative for input and guidance with any thoughts/concerns you have. Tap into their experience.

• Recognize that time equals cost so be focused on the task at hand. If you are working with a team, assign checking roles to each. For example, someone checking registration, another checking for hickeys/specs, low resolution photos, swapped or dropped fonts, etc.

• If you are alone, have a written, organized, step by step yes/no, pass/fail procedure to checking the press sheet . Typically the process goes like this:
1) Is it printed on the correct paper? If a specific paper grain direction was required ensure that it is running in the correct direction.
2) Is it in register?
3) Over all, does the press work color align with the proof? Are there any obvious color issues?

4) When critical color alignment is required, cut the press sheet through the important color and overlay that section of the press sheet on the proof. Colors that may appear correct when compared side by side may appear different when directly overlaid.If you cannot clearly see where the press sheet ends and the proof begins you know you have a critical match.

5) Use your reference material to confirm the correctness of special/spot/brand colors.
• If you have any color concerns/issues, try to describe them clearly and unambiguously. Then describe just as clearly and unambiguously what you want to see. Do not tell them how to fix the issues. Your role is to identify any problems - it is the press operator's role is to know whether, and how any problems can be fixed. You can ask whether a solution you thought of might solve the problem. For example, you could say: "I think this area is too red. Would reducing the Magenta a touch fix it?" Phrasing a suggestion as a question can also help your press operator better understand your meaning according to how you describe the problem.

• Try and use correct and unambiguous terms and use them consistently. For example, do not use the term "blue" if you mean "cyan." Try to avoid terms like: "This area is too hot" or "Can you punch it up a notch?"

• If a press adjustment is made to fix an issue, ask the press operator what they are doing and how they feel it will fix the problem. This helps you to better understand the print production process, and its limitations, better.

• Most press operators will try very hard to achieve what you’re looking for, however, once they've made their press moves and you are still not satisfied it will be up to the sales rep to authorize trying anything else. If it's a really serious issue, the sales rep may stop the press and pull the job.

• Keep in mind that the start/stop/start/stop press cycling during a press check means that the press is not yet running in a stable fashion. Once the press OK is complete and the press is running at optimal speed, some small color issues will clear up by themselves.

• Be aware of time. Respect the printshop's need to maintain their production schedules. Remember, you don’t need to remain until the sheet is absolutely perfect. Just mark it as “OK with changes as noted.” (e.g. "OK for color - but must remove all circled spots and hickies).

• Some shops will have a "light room" where you can take the sheet to view it under "standard" office lighting. This helps mitigate metamerism and substrate fluorescence issues.

• Make sure that the OK press sheet is signed and dated by the person in your team who has authority to take responsibility. Any continuing issues that are to be dealt with later should be so noted on the sheet.

• Ask for a few copies of the OK'd sheet to take away with you for your records.

• Thank the press operator and crew for their performance during the press check. They really appreciate it and will remember you in a positive light during your next press check.

Print buyers, dollars, and sense

Print buyers often say their purchase decision is based solely on price – even when they know it’s not true. Unfortunately, print salespeople, brainwashed by hearing this over and over again, tend to believe the buyer. Buyers know the strategy works – so they use it. Counter this argument with a total value approach.

Print consists of product and service. Analyze the customer’s success factors for the project in product and service terms. Look beyond what the customer says is important to include criteria from similar projects as well as the customer’s history. Look beyond the cost of your part of the project and look at what you could do to reduce the buyer’s overall project cost. Your print quote should reflect the customer’s unique needs and objectify the value you bring to the table by putting a dollar value on the benefits the customer will receive by dealing with you.

When you get the job, make sure that the reasons for getting the job are communicated to everyone in the production process so that they can help validate, through their work, the buyer's decision to award their business to your shop.

Print is a Craft. Print is a Science.

Printing is traditionally thought of as a craft-based industry. However, with print manufacturing becoming increasingly digital and automated, and processes more scientific and objective, it can be hard to see any room for craftsmanship remaining in the process.
Consider that print production actually begins in the mind of the creative designer. From the printer’s point of view, the process of translating those ideas and expectations effectively into ink-on-paper value begins at the earliest stages of the sales cycle – the project brief or request for quote.
The printer’s craft is critical in the relationship between sales, planner, and customer. It is the craft of forging effective communication, the conversion of concept into specifications, the weighing of options, and the art of negotiation.
And because no press design nor press environment is perfect, the printer’s craft is still critical in enabling the press operator to maintain the customer’s presswork intent and expectations as they are translated into ink on paper – despite all the variables that can impact presswork integrity.

Secret Shopper

Large corporations often use “secret shoppers” – employees posing as customers – as an objective way to see just how well their customer service is actually performing. Why not ask one of your customers to be your secret shopper? Create a list of print buyer processes, from sales, quotation, prepress, proofing, presswork, bindery, finishing, etc., right out to final delivery. Ask your secret shopper to evaluate your company’s performance (below average, average, above average) in each area. In particular, ask them to note how your performance compared to their expectations, as well as your competition, at each phase of the process. A gift certificate for dinner or a modest discount on their next print order might prove an effective incentive.

Print in the internet age – a customer's perspective raises some questions

It's a story we've likely all heard before, however, Paul Roy, Manager of Coldwell Banker Tomlinson Associated Brokers in Washington, is particularly clear with his thoughts, as a print buyer speaking to his customers the advertisers on the shift of real estate advertising, from print (newspapers and magazines) media spend to the internet. As such this five minute video may provide some insight to help you in reviewing the clients you are currently serving with presswork that potentially may also move to the web.



Please press the play arrow to view the video. Note that it may stop for a moment while the video buffers in the background.
What percentage of your current customer base are likely to move away from your print offerings to the web in the next six to twelve months? Can you counter with reasons that resonate with your customers as to why they should remain with print - if not for 100% perhaps for some percentage of their media spend? Are there ways that Paul has overlooked where print can bring greater communications value than the web? Is the current vendor push of personalized digital print really an effective counter to the web? What marketing communications are likely not appropriate for the web and as such worth developing as a niche area of expertise.

The Color Atlas - helping designers to specify color

Way back when, because all their "camera-ready" art was done in black and white, designers would specify screen tint color builds by using published reference Color Atlas guides like the generic Kuepper's book which showed examples of hundreds of CMYK screen tint build combinations:Or this poster of screen tint combinations:Because they were based on, loosely defined (at the time) universal standards, the use of a color atlas, in my case, even allowed me to communicate color for presswork in countries, like China, where I did not otherwise understand the language:The prepress shop/printer would use pieces of screened film, according to my specification of X% Cyan, X% Magenta, X%Yellow, etc., stripped into flats to create the image on plate that would result in the requested color on press. Today, that specification happens in an illustration or page layout program – however the principle is the same.
Of course, a generic Color Atlas could not reflect the color performance of an individual printshop. As a result many printers would create, and provide their customers with their own unique CMYK Color Atlas like this one from Agency Press with the same screen tint builds printed on four different types of paper:As long as the creative specified their color builds according to the printer's guide in the Atlas they would have a reasonable expectation as to the color that would happen on the press. Some might argue that this is ancient technology, however, for printers who want to clearly set print buyer expectations - a Color Atlas still represents the reality of actual "ink-on-paper" performance – especially if the printer's presswork is outside of industry norms. For example, Hennegan Press:who wanted to show their color capabilities with 10 micron FM. Or Fort Dearborn in Chicago helping their customers specify 7-color process printing with their HiColour system (also FM screening):or Anderson Litho communicating their ability to mimic metallic paint for car brochures (also FM screening):or Intelligencer Printing demonstrating their metallic print capabilities in this superb brochure (also FM screening):Even with today's sophisticated color management systems, the savvy printer would do well to consider producing their own Color Atlas to smooth the color communications channel with their customers - especially if the print shop is doing work beyond the mundane standards for color printing.

Update December 15, 2009: Heidelberg has just published their own color atlas - click on this POST for details:

Naming Image Files

When I managed a prepress scanning department that handled thousands of images, I used a simple naming convention that anyone (even creatives) can use which practically made the images organize themselves - and avoided incorrectly formatted images from being placed into page layouts or used for the wrong application.

The naming convention followed this coding format:where the first letter of the image mode and the first letter of how the image was purposed are used as the first two letters of the image name. By naming image files this way, whenever a folder containing images is viewed by name, the images will be automatically grouped according to their mode which makes choosing the correct image format very simple.
It also used a descriptive name that was logical enough to be searched on. I used a date code in the name so that as the image went through the editing/revision cycle I would save the updated images with the new date in the name. This meant that I had copies of the image that tracked the revisions done to it with the most recent version of the image being the one with the most recent date in its name. This avoided using the ambiguous term "Final," "Final v2," "Latest Final" etc. in the image name.

Image mode codes:
R = RGB
C = CMYK
G = Greyscale
B = Bilevel/Bitmap
M = Monotone
D = Duotone
T = Tritone
I = Indexed

Destination/purposing codes:
P = Publication/SWOP
S = Sheetfed/GRACoL
N = Newspaper/SNAP
F = Flexo/FIRST
W = Web
D = Display Inkjet
B = Backlit Inkjet

Some examples showing how the codes are used in practice to easily identify/describe the image:

GN_Sydney_Harbor_Australia_201008.tif = Greyscale image purposed for Newspaper reproduction.

RW_Sydney_Harbor_Australia_201008.jpg = RGB image purposed for use on a Web site.

CP_Sydney_Harbor_Australia_201008.tif = CMYK image separated for use in a magazine.

B_Sydney_Harbor_Australia_201008.jpg = Bilevel/Bitmap image.

MF_Sydney_Harbor_Australia_201008.eps = Monotone/single color image prepared for Flexographic printing.

DS_Sydney_Harbor_Australia_201008.eps = Duotone/two color image prepared for Sheetfed printing.

IW_Sydney_Harbor_Australia_201008.gif = Index mode image prepared for posting on a Web site.

In some cases I would add the word "TOSS" to the image name:CP_Sydney_Harbor_Australia_201008_TOSS.jpg = CMYK image prepared for Publication. "TOSS" signified that the image could be trashed/erased if hard drive space was needed.

The Wayback View - Graphic Arts Training

Gather a group of printers around the table to discuss the business issues they face and one topic that's sure to come up is the problem of today's graphic arts training - or, more often, the lack of training in their typical customer. They'll complain that today's creatives don't know anything about what it takes to prepare art for their presses. They will share tales of designers who supply art for a company's Annual Report in PowerPoint format, or the 200-page, fully illustrated catalog created in a shareware word processor and saved across 30 floppy discs.

In today's digital world, it seems that anyone with access to a computer can call themselves a designer and the printer is expected to happily receive their files and automagically go to press with them. Unfortunately, more often than not, those files are not even close to being ready for production. Instead, the printer's prepress department must often take on the task of rebuilding the files to prepare them for the press - usually without being able to charge for this service. Print shop owners will wax nostalgic about how much better it was in "the good ol' days" when skilled technical people created press-ready artwork for them.

Interestingly, the good ol' days may not have been that different from the reality of today. Following is a short letter to the editor that appeared some 86 years ago on the topic of graphic arts training - it could have been written yesterday.

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"Because I have recently declared in one of our daily papers that our system of art and graphic art education is wrong, I have been plunged, immersed, turned over and over, in hot water.

It is essential that the school of art must give the commercial artist the right preliminary training. And what should that be?

The first step is a change of outlook. It is critical that the student artist be taught that his skills must first of all serve the needs of commerce.

The next step towards making the complete commercial artist is to enable him to become thoroughly acquainted with the methods of production. One of the most serious defects in the present system is that students are pouring from the schools to join the army of work seekers and find themselves but ill-equipped to do the work they seek. Young artists who know nothing of the means by which their ideas have to be produced. It is not just now easy for them to obtain inside knowledge. Manufacturers are secretive - and often look on the creative artist with suspicion and even contempt.

The art masters, the students, the printers, and manufacturers must learn to understand each other and work together. Equip the student with the right point of view towards commerce, the right perspective, and the right technical training, and commercial art will attain new heights of achievement. And print manufacturers themselves will profit by this new relationship with the creative artist through more efficient production methods and happier results for all."

- Charles A. Farmer
- Published in Commercial Art First Series - 1923

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After 80 some years, it appears that the old adage that "the more things change - the more they stay the same" still applies.

Be an Alien

To discover opportunities for building strong relationships with print buyers, try looking at all your customer touch points as if you were an alien explorer. Step out of your office and imagine yourself coming from some far away city with the mission of seeking out new printshop civilizations – boldly going where no print buyer has gone before – deep into the realm of Possible New Print Supplier (PNPS).
Explore your facility from this alien perspective, starting from the shop exterior as you park your terrestrial transport vehicle. Does the PNPS environment feel hostile or welcoming? Are the inhabitants engaging or stand-offish? Are they more concerned with your welfare and concerns or theirs? Do they offer guidance so that you can thrive in their unique environment? Do they respect your customs or expect you to adapt to their ways? Do they offer any materials to help bridge any communications gap? Is the feeling you have consistent throughout the PNPS realm right from entry to the delivery bay? Is this a PNPS that you would be proud to bring your associates and superiors to? Finally, is this PNPS one that would be worthwhile returning to and spending your resources with in order to establish trade relations?

The value of the relationship

Long-term relationships between print buyer and supplier have both good and bad aspects. Generally, the benefit is to the seller rather than the buyer, which is why long-term relationship building is worth the investment in time and energy. With a long-term relationship buyers lose their objectivity – personal and emotional factors can overwhelm objective decision-making. Also, as print buyers become dependent on the seller’s systems, they are less likely to seriously look at competitive offerings for fear of steep learning curves and/or compatibility with legacy work. Competing sellers find it harder and harder to effectively penetrate the print buyer’s organization and decision making structure and therefore they end up making fewer calls to buyers who they feel – rightly or wrongly – are “locked-in” to steady vendors. Buyers also become lethargic, waiting until the last minute to submit increasingly less specific requests for quotes based on the assumption that their printer intuitively knows what they really want. This, in turn, makes it more difficult for competing printers to respond with an effective, competitive proposal.

Buying print – it's scary!

Unfortunately printers seldom buy print themselves, because if they did, they’d have a better understanding of the customer’s perspective – and it’s that perspective that helps determine who gets the print order and who gets the “thanks for your interest” email.
Buying print is scary.
An idea in the creative’s mind. Weeks, maybe months of creative concepts and compromises. Juggling the conflicts of design, text, photography, and illustrations. Their customer approval, finally, based on a concept expressed in awkward inkjet printouts and presentations to the stakeholders. An RFQ based on print specs that may not make any real production sense. Then comes the quotes from maybe three, four, or more printers. If the quotes are within 5% or 10% of each other – how do they choose? If one or more quotes is wildly out, did the printer misunderstand the project? Or are they the only one that really understood the specs? Maybe they're buying the job just to keep the presses running? Are they cutting corners somewhere? One printer changed the specs because they said quality would suffer if it was printed as specified!
How to choose a printer? It’s scary.