Media & Environment

Media Coverage on Forest and Wildlife:
 A study on Reportage of Man - Animal Conflict in Tamil Nadu
Aim of the study:
To present a paper on Improving the coverage of Forest, Wildlife, Environment and Conservation issues in local media.

Event:
Exposure visit of the Reporters of DINAMALAR daily at Periyar Tiger Reserve (PTR), Thekkady, Kerala. Dates: March 7 & 8, 2010.

Introduction : Dinamalar, a leading Tamil Daily from Tamil Nadu had realised the need for a better coverage regarding Nature, Wildlife, Forests and Conservation issues. With support from PTR, Wildlife Association of Rajapalayam (WAR) and VANAM (Theni), they arranged an exposure visit for their News Correspondents for two days at the well managed Tiger Reserve of South India, PTR.

Points:

•     Defining Development: Not just growth in terms of Economy, Materialism and Westernisation. Real Development is NCS oriented- Nature, Culture and Sacredness.

•     Laying New Roads and Railway Lines, Power supply in the forest may look like development for Mankind but Disaster for Forests and Wildlife. It is not just a 5 metre line but a fragmentation of habitat.

•     Real Eco Tourism is Sustainable Tourism without disturbing habitat and creating welfare measures for locals. Eco romance is not the need of the hour. Eco responsibility is the real need.

•    Pilgrimage Tourism is the biggest threat to Forests of South India. Traditional practices getting mis interpreted. Pollution of Water bodies and bursting crackers have a direct impact on animal behaviour.

•    Ashrams, Eco resorts and Educational Institutions have broken many corridors of Wildlife. Main reason for elephants – farmers dispute.

•    Farmers are not compensated enough. Hence they resort to poisoning, connecting the solar fence to high voltage. Over 50 % of farmlands are raided by Elephants in Coimbatore. Forest department just says – no banana, no sugarcane, no coconut, no maize. This will never work out. Instead enforce rules and clear the corridors.

•     Knowledge level of Forest field staff to be improved. Need young blood to reduce the average work force age of Forest Department from 45 and above.

•    BSc Forestry, Msc Wildlife students should be recruited for Ranger postings.

•    Anti Poaching Watchers can be recruited into regular service.

•    Media to come out of the common myths, superstitions about the behavior of  Snakes, Sloth bears, Elephants, Crocodiles, barn owl, Foxes…

•     Animals are organised in their habitat. We are only behaving WILD with them. We venture into their terrritory and trigger the problem.

•    Forests cannot be created. Only plantations can be raised.

•     Go for local species. Eradicate exotics in a phased manner.

•     No encouragement for Cattle grazing associations.

•   Responsible reporting on Tribal issues.

•     Awareness on Endemics, Endangered species.

•    Silent Valley good example of Development in the right way. Man or Monkey campaign succeded in favour of Monkey and Man for future.

•    Poaching and smuggling towards China.

•    Failure of Scientific literature in reaching out to masses through Media: Reason -  Scientific Sufficiency v/s Public Deficiency.

•    Wildlife Photography is not adventure Photography. Never attempt to take a picture of a Nesting Bird. Avoid animals feeding on prey, Animals on a sexual intercourse.

• Involve locals, Community and NGO’s in Conservation and Campaigns.

•   Nature has to be relished only in a natural setting.

•   Simple life is sustainable Development.

Humans are just one breed among 18 million species on earth. He has to share the resources. World will not collapse because of Climate Change and Global Warming – Only Humans will become extinct. Others will live happily then.

Source and Reference:

 Ali, Mohammed.S,Yaanaigal, azhium peruyir(2010), Paambu enral? (2009), Kattuyir, (2009)

 Baskaran, Theodore, Innum Pirakkadatha Talaimuraikkaga, (2006).

blog.crjayaprakash.com

Save Western – Ghats google group

Madras Naturalist Society – google group

Keralabirders.com

World Wide Fund for Nature

Direct CONTRIBUTORS through web

1.     Ajay Desai (WWF & IUCN).
2.     Brian Davis (UK)
3.    Jayachandran (NWEA, Nilgiris)
4.    Prof. Mangesh Karandikar (Head, Communication,  Uiversity of Mumbai).
5.    Hartman D’Souza (Save Western Ghats, Goa)
6.   Selvam R (Tamil Nadu Organic Farmers Federation, Erode)
7.    Prof.Meenakshi Upadhyay (University of Mumbai)
8.   Navin Muralidharan (Chennai).
9.    Thirumeni (Coimbatore)
10.    Capt. Saravanan (SANF, Coimbatore)
11.    Mrs. Dilnavaz Vairava (Save Western Ghats, Mumbai)
12.    Prakash.G.R. (Coimbatore)
13.    Prabhakar.V (Chennai)
14.   Ullas Kumar (Madras Naturalist Society)
15.    Ajith Kumar (Madras Naturalist Society)
16.  Carmen Miranda (Save Western Ghats, Goa)
17.   Mohan (Coimbatore).
18.   Muralikrishnan (Chennai)
19.   Selvendran (The Hindu, Coimbatore)
20.   Ramesh PV (Coimbatore).

Dear Friends,

This material is also an example of how a mixture of OLD and NEW Media can help in Development Communication.

As always, I seek your feedback.

C.R.Jayaprakash,Assistant Professor, Department of Communication,

PSG College of Arts and Science, Coimbatore - 641 014.

web: www.crjayaprakash.com

Mobile: 098942 59100.

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              CHAOS THEORY
“Chaos” means “a state of disorder“,but the adjective “chaotic” is defined more precisely in chaos theory. Chaos theory says that, for a dynamical system to be classified as chaotic.
History
The first discoverer of chaos was Henri Poincaré. In the 1880s, while studying the three-body problem, he found that there can be orbits which are non periodic, and yet not forever increasing nor approaching a fixed point.
In 1898 Jacques Hadamard published an influential study of the chaotic motion of a free particle gliding frictionlessly on a surface of constant negative curvature. In the system studied, “Hadamard’s billiards,” Hadamard was able to show that all trajectories are unstable in that all particle trajectories diverge exponentially from one another, with a positive Lyapunov exponent.
Chaos theory must have the following properties:
1.    it must be sensitive to initial conditions,
2.    it must be topologically mixing, and
3.    its periodic orbits must be dense.
Out of the following properties Sensitivity to initial conditions play a major role in explaining Chaos theory in detail.
Sensitivity to initial conditions
Sensitivity to initial conditions means that each point in such a system is arbitrarily closely approximated by other points with significantly different future trajectories. Thus, an arbitrarily small perturbation of the current trajectory may lead to significantly different future behaviour. Sensitivity to initial conditions is popularly known as the “butterfly effect,” so called because of Edward Lorenz in 1972.In this Butterfly effect the flapping wing represents a small change in the initial condition of the system, which causes a chain of events leading to large-scale phenomena ,if  the butterfly not flapped its wings, the trajectory of the system might have been vastly different.

The butterfly effect  is clearly explained in the Movie Dasavatharam. It clearly explains the interconnection between the things in the world. It states that all things happen with a reason behind, for instance in the movie Dasavatharam the event took place during the Chola dynasty in the 12th century is interlinked with the event took place during the 20th century  ie “Tsunami”.

Submitted by Iyappan.S, I MA Communication, PSG CAS, Feb 2010.

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Eco Club volunteers of PSG CAS - Jagan.M, Suresh Kumar.P, Binoj.E.K participated in the Tiger Estimation meet held at Anamalai Tiger Reserve from Feb 19 -25, 2010.

These students participated in Coimbatore Wildlife Census too which was conducted a month earlier.

These students attended the meets on their own interest.

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From: Sudhirendar Sharma <sudhirendarsha…@gmail.com>
Date: Wed, 3 Mar 2010 18:20:21 +0530
Subject: Post-Kotagiri SWGM
Dear friends,
We would like to share recent developments on the status of SWGM ( 
SaveWestern Ghat Movement).
Exactly after a year of launching the SWGM in Goa in Feb 2009, another 
unique follow up meeting was held from Feb 18-20, 2010 in Kothagiri in Ooty 
Hills in the midst of Western Ghats.

This was organised by Keystone 
Foundation with the help of a small core group with very little financial 
support. Mr Jairam Ramesh, the Minister for Environment & Forests was 
present in the meeting on first day.

Some important decisions/announcements:

1. The Ministry has announced the setting up a Western Ghats Environment 
Authority to consider the entire hill region as a single unit requiring 
holistic treatment.

2. The MP Forum on Western Ghats, representing MPs from the constituencies 
in the Western Ghats, has been constituted by the Ministry of Environment & 
Forests to discuss the issues that has direct impact on Western Ghats.
3. The Minister for Environment clearly stated that the large scale 
destructive projects (viz., Athirapally Dam, Hubli-Ankola rail link, Gundya 
Hydel Project, The Nutrino Research Project) will not be allowed in the 
Western Ghats.
4  A moratorium on new mining leases in Goa was announced by the Minister of 
Environment & Forests.
5. A Nilgiri Declaration has been adopted by SWGM.
In addition to these decisions, what is more important is that the 
congregation of diverse groups of activists, researchers, students, 
musicians and lawyers came on a platform to not only discuss the issue of WG 
but to take the movement forward.

Already commitments have been made to hold 
similar congregations in 2011( in Karnataka) and in 2012 (in Mahrashtra). 
The entire process of sharing a common goal to work towards only one Western 
Ghats had a dramatic impact. The core group has now been expanded to include 
young people who are keen to take forward the SWGM.
Frankly speaking, while working on the issue a year back we had not imagined 
that it will snowball into a formidable force. The core group wishes to 
acknowledge the support and guidance of all those who took part in the 
event.
With best wishes
for and on behalf of the Core Group for SWGM

‘
Pratim Roy, Pandurang Hegde, A Latha, B J Krishnan, Archana Godbole, Carmen 
Miranda & Sudhirendar Sharma.

*NILGIRI DECLARATION*
We, the Save Western Ghats Movement (SWGM), with a long history of existence 
since the last 23 years in our recent conclave on Feb 18 – 20, 2010 at 
Kotagiri in Nilgiris, wish to acknowledge and appreciate the supportive role 
of the Ministry of Environment and Forests.  The deliberations affirmed the 
need for commitment, resolve and action to save this ecologically sensitive 
landscape. We hereby pronounce that the Government of India and governments 
of Gujarat, Maharashtra, Goa, Karnataka, Tamil Nadu and Kerala act upon the 
following:
·         The nature’s laboratory in this part of the hemisphere is in 
urgent need of a *sensitive*, *compassionate* and central but * 
representative* authority to oversee ecological growth and development. The 
SWGM recommends creation of a Western Ghats Ecological Authority (WGEA).
·         The role of forests of Western Ghats in sequestering carbon 
dioxide has been established. Its strategic role in climate management needs 
to be given a fillip through its inclusion as one of the missions under the 
National Missions of the National Action Plan on Climate Change (NAPCC).
·         The national policies and legal framework need to be supportive of 
conservation in the Western Ghats. The provisions under the proposed *National 
Biotechnology Regulatory Authority* and the *National Green Tribunal* need 
to be adopted after wide-ranging public consultations.
·         UNESCOs declaration of the Nilgiris Biosphere Reserve in 1986 has 
remained on paper. There is a need to bring it under legal protection and 
put in place a proper mechanism of joint implementation amongst the three 
state government viz., Kerala, Tamil Nadu and Karnataka, should be put in 
place at the earliest.
·         The intentions of the state in preserving the biodiversity of the 
Western Ghats need to have a demonstrative effect. The governments should 
seize this opportunity to stop all new mining leases across the Western 
Ghats and consider alternatives to the large thermal and hydropower 
projects.
·         The cultural heritage of the Western Ghats, reflected by diverse 
indigenous groups should be recognized and protected at all costs. Cultural 
invasion through tourism must be restrained to allow scope and space for 
such groups to assert their *genuine identity* and *rights over forests* to 
protect their traditional livelihoods.
*20 February 2010*, Kotagiri, Nilgiris.

Dear Friends,

If interested in joining the group, click through

http://groups.google.com/group/western-ghats/topics

http://groups.google.com/group/western-ghats/topics

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LETTER HEADS
Letter heads are kinds of packages that contain information about a particular company  or organization. Some of the factors to be considerd while designing the letter head are as follows:
a) Should contain personal details of a company.

b)Cluttered arrrangement may fail to guide the reader through a sequence of information.

c)Should contain appropriate content of the name of person or company,logo,address,telephone numbers,fax numbers,email id’s etc..

d)A distinctive type style should be used for the name of the company in order to enhance the look.The first thing that strikes the readers eye will be the name.For example travel and touring agencies use slanted bold letters for their company because such letters create a feeling of movement.

e)Address and other matter should be used in smaller type preferably 8 or 10 point size.

There are three kinds of sizes used in letterheads.

They are official,demi-official and personal.The white blank space is one of the main elements in designing the letterhead.Since white space is used for correspondence,there should be as much white space as possible.The recommended ratio between the white space and the otehr elements is 6:1.All elements will look mixed up if the ratio is not maintained.

The chosen logo,style,colour etc…should hepl create a visual identity for the company.The sequence of the eye movement should be from the logo on top to the organization’s name,address,phone number etc..The address and phone number are placed below to allow the logo and the company’s name to stand out.Paper is another important element in letterhead designing.Surface,quality.texture,colour,thickness lend distiction to a letterhead.For example bond paper is usually made for letterheads to prevent sockage or absorption of ink.

The address and related designs should be in black or related contrast colours in order to maintain legibility.A simple design works better than elaborate design in letter head designing.It is advisable to plan letterhead designing along with business cards and envelopes etc…to bring a uniform style and also helps in reducing the design costs.

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By Rob Sheppard & Bob Martin, August 2007
From Photography Field Guide: Digital Media and Ultimate Field Guide to Photography
Digital cameras today offer superb image quality that competes directly with film.
These cameras look and act like traditional cameras with a few extra features. Tricky camera designs are quickly leaving the marketplace because photographers want to take pictures and not be bogged down by hard-to-use technology.
Many things about digital cameras are identical to film cameras, a few things are slightly tweaked from film expectations, and a number of features are unique to digital photography. Some of the big differences can actually help you take better pictures than you ever did with a film camera.
For quality results from any camera, the basics of photography still apply no matter how an image is captured. A tripod is always important if slow shutter speeds are needed and big telephoto lenses are used. Fast shutter speeds remain a key way to stop action, and f-stops continue to affect depth of field. The important parts of a scene still need to have the focus centered on them, and dramatic light always helps make for dramatic photos.
The “digital” in digital camera has caused even experienced photographers to worry that this new technology will be difficult to master. But consider this: No beginner ever picked up a camera and knew what all the controls did. For the serious photographer, f-stops and shutter speeds were definitely not instinctive.
Types of Cameras
Digital cameras come in a variety of forms, from point-and-shoot pocket cameras to advanced digital SLRs. There is no right or wrong type, though a specific one may be best for you and your photography.
Simple point-and-shoot digital cameras can give surprising quality when they have the right lenses and sensors. Because they are totally automatic in focus and exposure, they just have to be pointed at a subject and clicked. They have limited capabilities for controlling the image, although even very inexpensive cameras often have white balance controls. Some are exceptionally compact, able to fit easily into a shirt pocket, making them ideal cameras to keep at hand so you won’t miss a great photo opportunity.
Advanced point-and-shoot cameras are similar in that they mostly rely on automatic controls; however, this group tends to add special features to make the cameras a little more flexible. Such features include exposure compensation, more white balance controls, limited manual settings, and more. Still relatively inexpensive, these cameras can be a good introduction to digital and are perfect for the families of serious photographers.
Interchangeable-lens, digital SLRs offer all the controls of a 35mm SLR, including lenses that give you a wealth of focal-length possibilities. These cameras are definitely bigger than the other digital cameras. They include complete and extensive photographic controls, the best in image-sensor and processing technology, high levels of noise control, and more. The LCD panel on the back of an SLR can be used only for reviewing images, since the sensor cannot provide “live” images due to the mirror design.

Shoot It Right From the Start
The way to get the best photos from a digital camera is to do it right from the start. Yet there is an idea that one doesn’t need to devote much effort when you have the computer to “help.” This idea has sometimes reached almost surreal proportions. A couple of years ago, a digital photography article in a major news magazine said software was available that would automatically transform amateurs’ photos into images that would rival the best of pros. That software never existed, nor will it, because good photography has always been about art and craft; about understanding the tools of the craft and using them well; and about perception and the ability to capture an image that catches an audience’s attention and communicates well.
Just remember that digital photography is still photography.
The Basics
The most common mistake people make is camera shake. When you move the camera inadvertently at the time you press the shutter, you risk the chance of blurring your image or reducing the sharpness of the image. Keep it steady!
Exposure
Most point-and-shoot cameras have a simple exposure override facility, normally allowing you to overexpose or underexpose your picture. So if the subject is predominantly dark, experiment by overexposing to compensate. If the subject is predominantly light, then underexposure is the way to go. Try taking a test picture, look at it on the screen on the back of your camera, check the histogram, and adjust your exposure compensation. Don’t be afraid to shoot four or five versions, as the LCD screen is not always accurate. You can delete the bad pictures later.
Composition
A very basic rule of composition is known as the rule of thirds, or the tic-tac-toe rule. Imagine your viewfinder or LCD monitor divided into nine equal-size squares, like a tic-tac-toe grid. Compose your picture with your subject center-positioned at one of the four intersecting points. This should help you compose more aesthetic portraits.
Zoom
Your point-and-shoot camera will probably have an autofocus zoom lens. You will discover that the ability to zoom in on your subject is fantastic. Get bold. Use your zoom lens and compose your picture with the subject filling your frame. To start with, I’d be surprised if you don’t get a lot of pictures that are small in the frame. When you look through the viewfinder, look at the whole picture frame and how big the subject is in your picture, not just into the eyes of the person you’re photographing.
Changing the Point of View
Another thing to consider when taking your picture is your point of view. A picture can be more interesting when taken from an unusual angle. Don’t be afraid to lie down and look up at your subject, a particularly dynamic approach when photographing pets or children and also less threatening to your subject. Equally, you could try climbing up to a higher viewpoint and looking down on your subject. Better yet, try both and then delete the one you like less.

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By Robert Caputo, August 2007

From Photography Field Guide: Landscapes and Ultimate Photography Field Guide: Landscapes.
•    Take time to explore. Part of the joy of landscape photography is being out in nature. Wander around and get a sense of the place. It will take time and patience to discover the best way to show what makes it unique.
•    Visualize your photograph. Create the image in your mind the way a painter woul d create it on a canvas. Then think about the time, light, and composition that will translate what you see in your mind into a photograph.
•    Get out before sunrise and stay out after sunset—the times when the light is best. Use the harsher light of midday to scout.
•    It’s much more fruitful to spend time on one or two locations than to race around. A great shot of one place beats several mediocre ones of many. Such an approach allows you to be creative. Once you have recorded the image you were thinking about, try something different. Climb a tree, wade out to the middle of a stream, use a flower or other object in the foreground, try another lens or a slow shutter speed. Play with the subject and your gear. Have fun. You may be surprised at the results, and you will often capture something more than what postcards show—something original and quite personal.
•    Be careful in the placement of foreground elements. You don’t want them to detract from what your photograph is really about.
•    Framing can be very helpful when you cannot get close to your subject. It can give you an interesting way to deal with empty space in the foreground or in the sky.
•    Since we usually look for details, it can be harder to see blocks of color or shape. Squint a bit: Details will blur and you will see things as masses.
•    Buy a small liquid level and attach it to your tripod head.
•    Lens flare can be a problem with wide lenses. Use your hand or a piece of cardboard to screen the lens from the sun—but keep the screen out of the frame.
•    If you are staying in one place for several days, check out the long-range weather forecast and plan your shoots around the weather that is best for specific subjects.
•    If you are with friends, don’t be shy about using them in images to get a sense of scale. But remember that the photos are of the place, not the people.
•    To learn how light direction affects the look and feel of images, photograph a tree lit from the front, the side, and the back.
•    Gaffer’s tape is an essential photographic accessory. Among its innumerable uses: taping reflectors and flashes in place, labeling film type on the back of cameras, and sealing camera cases.
•    If you want circular star trails, point the camera at the North Star.
•    When making long exposures, use a remote release to avoid camera movement. If you don’t have a remote release, use the camera’s self-timer. And be mindful of any breeze that might be moving your subject.
•    Avoid getting your equipment wet. If you are shooting near a fall that is sending up a lot of spray, cover your camera with a plastic bag as you would to protect it from rain. If it or a lens gets wet, wipe the item immediately and put in the sun to dry.
•    Never be content with what you see in the viewfinder the first time you raise it to your eye. Move around, lie down, find a different angle.

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I am presenting an interactive lecture to Journalists at Periyar Tiger Reserve, Kerala this weekend.

While I am preparing notes, I seek your points too to add strength to my views.

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Stencil  or  Silk-screen Printing
It is commonly known as screen printing, this type of printing is obtained by spreading and forcing ink through a stencil, screen or mesh of silk fabrics.  Now-a-days even nylon , Dacron and wire screen are also used with equal effectiveness. Stencil is the main feature of the process. In Egypt , China & Japan screen printing was used by artists for their creative works. It became a full scale commercial process in Japan and America in the 20th century.
Printing Process:

A woven fabric is stretched tightly and stapled on to a wooden frame. The non-image areas are blocked by paper, adhesives or chemicals leaving the area to be printed free. A rubber squeege carrying ink is rolled onto the fabric and the image areas observes ink and the non image areas repelles it.
There are various methods for blocking out the fabric screen.
    Block-out solution method
    Tusche glue method
    Photographic stencil method
    Hand cut stencil method

Block-out solution method:
Image area is drawn or traced on the screen and water based glue is applied to the screen to block the non-image area. Glue gets dried. When printing the oil-based ink doesn’t get into the non-image area. This method is used to print large & flat areas.
Tusche glue method:
It is generally based on the non-mixability of oil & water. Tusche glue is an oil-based chemical. Using it you have
to draw the image directly onto the and dry it. Apply water based block out solution on the entire screen
including the tusche area. Since tusche glue & block out solution have non-affinity it wont stick in the tusche area.
Now let the block out solution to dry and after its dried remove the tusche with the cloth dipped in turpentine and Kerosene. The screen is ready for printing. This is used for preparing posters, greeting cards & patterns on textiles.
Photographic stencil method:
A stencil is produced with an emulsion that is sensitive to light and it requires film positives for its exposures.
There are two types of photographic stencil method.
i.    Indirect stencil method
ii.    Direct stencil method
   Indirect stencil method:
It is a photographic stencil which is independent of the screen fabric and is applied to the screen after the image areas are exposed to light.
Direct stencil method:
It is one method in which the photosensitive material is applied to the screening fabric  and then it is exposed. Only after that the stencil becomes a part of the fabric.
Hand cut stencil method:
In this method , a lacquer film sheeth made of transparent  paper and a transparent laquer is used for making a stencil. The film sheeth is placed on to the image which is printed and with the help of stencil knife the outline of the image is cut. Now remove the lacquer sheeth from that image area leaving the other backing sheeth on the non areas. Film sheeth is melted using thinner and when it is completely melted the backing sheeth from the non image areas are pulled of and not the screen is ready for printing.This is used for printing bold letters and simple forms with sharp edges.
Printing:
Now-a-days sheeth-fed and web-fed presses with hot dryers which run at speeds upto 300 feet per minute or over 4000 impressions per hour. There are two types of power operated presses.
One type uses flat screens require an intermittent motion as each screen is printed. A pair of hinges is the critical component to ensure close registration. The operator takes considerable care before running the press to maintain the desired speed. The latest type uses rotary screens with squeeges mounted inside the cylinder and the ink pumped automatically. These processes are continuous and fast, and they print continuous multi-colour images with ease. The printed piece should be allowed to dry for sometime. Any number of colours can be printed by using this process. Each colour must, however,have a separate screen. For accurate registration in a multi-colour job,it is better to have all the stencils made on screens of equal sizes and at the corresponding places on the screen.

Advantages :
a.    Screen printing is simple and in many cases,it is a very cost effective method of printing
b.    The image can be transferred to almost any surface, whether flat or odd-shaped.
c.    Any colour opaque,transparent,glossy or matt enamel paints, plastic colour, fluorescent paint, or textile paint can be used.
d.    It has high relief quality and brilliant colours.
e.    This is the only process where over writing is possible with light colours.
f.    Materials used are in expensive and easy to handle.
g.    The silk-screen printing business can thus be taken up with very little capital.

Limitations:
a.    It cannot achieve fine details and mechanical details like halftones and process colours.
b.    Use of photographic systems has brought about some degree of screen but not the quality achieved by anyother process.
c.    The amount of ink applied is far greater than in Letter-press, offset, or Gravure, which accounts for some of  the unusual effects in screen printing,since thick ink takes time to dry after printing.
d.    Long-run jobs with fine details are still expensive.
Submitted by Ezhilarasi.V, I MA Communication, March, 2010.       

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  LETTER PRESS PRINTING 
 

The term letter press printing conveys the images of raised letter pressing against a surface, on to which their shape is transferred in ink.

Letter press printing is also termed as relief printing because the mirror image of the letter to be printed is raised in relief above the surface that carries it and the non-printing area is depressed. Thus while ink is applied on the image area by rollers, only the raised surface receives ink. The non image area, which is depressed, does not come in to contact with the inking roller or the paper.
LETTER PRESS PRINTING ARE OF THREE TYPES
1.    ROTARY LETTER PRESS PRINTING

2    PLATEN-TYPE LETTER PRESS PRINTING

3.    FLAT BED CYLINDER PRINTING

ROTARY LETTERPRESS PRINTING
Ther are two types of rotary letterpress
(1) Sheet fed
(2) Web fed
Web fed rotary letter press printing are the most popular type .This type is mainly used primarily for printing newspaper. These presses are designed to print both sides simultaneously. Typically they can print up to four pages across the web. The most popular types of plates used are stereotype, electrotype, and molded plastic or rubber. Rotary letter press is also used for long-run commercial, packaging, book, and magazine printing
PLATEN-TYPE LETTER PRESS PRINTING
The platen press is made up of two flat surfaces called bed and the platen. The platen provides a smooth backing for the paper or other substrate that is to be printed. The raised plate is locked on to flat surface. The plate is inked, the substrate is then placed on another flat surface called the bed and pressed against the inked plate producing the impression.
The platen bed carry both the paper and the type form. Platen printing is typically used for short runs such as invitations, name cards and
Stationary. The plate is inked with an inking roller that transfers ink from an inking plate to the image carrier. The printing area is usually limited to a maximum of 18 inches by 24 inches.
FLAT-BED CYLINDER LETTERPRESS PRINTING
Flat-bed cylinder presses use either vertical or horizontal beds. The plate is locked to a bed which passes over an inking roller and then against the substrate. Ink is supplied to the plate cylinder by an inking roller and a ink fountain. The presses can print either one or two-color impressions
Flat-bed cylinder presses operate slowly, having a production rate of not more than 5000 impression per hour. The horizontal bed press, the slower of the two types of flat-bed cylinder press, is no longer manufactured in United States.

Submitted by Deepthi, I MA Communication, Feb, 2010.

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