Setting Halftone LPI: Taming the
Beasts of Resolution
By Jerry Waite, Cheryl Willis, and
Garth Oliver
In addition to an exposition of the
variables involved in choosing LPI,
this paper provides a concrete
method for selecting the best screen
frequency for a given job.
Abstract
Photographs must be converted to halftone format when
they are prepared for print reproduction. To faithfully
reproduce an image using halftone dots, the proper
resolution must be chosen to match the end use of the
printed product as well as the attributes of the process
and materials that will be used to reproduce the image.
One of the important considerations when making a
halftone is screen frequency, or lines per inch (LPI).
The choice of LPI is complex and based upon numerous
variables. This paper explains the variables and provides
a step-by-step method for determining LPI.
Introduction
One of the most fundamental decisions to be made
when preparing a photographic image for printed
reproduction is the choice of the proper halftone
screen. Whereas lay people simply click “Print” and
let their computer and printer driver make all the
decisions, professional graphic artists—both designers
and printers—must take into consideration halftone
 • THE TECHNOLOGY TEACHER • October 2006
attributes that can contribute to, or detract from, the
faithful reproduction of the image.
Some of the decisions that must be made about
halftones include type (amplitude- or frequency-
modulated), dot shape (elliptical, square, round, and
so on), screen angle(s), and screen frequency. The
choice of screen frequency, known in the United States
as lines per inch (LPI), is complex and based upon
numerous aesthetic and mathematical considerations.
Although halftone type, dot shape, and screen angle(s)
are also important concerns, this paper deals solely
with LPI decisions. In particular, it is concerned
with decisions that need to be made about LPI when
reproducing images using conventional amplitude-
modulated (AM) screening.
In addition to an exposition of the variables involved
in choosing LPI, this paper provides a concrete
method for selecting the best screen frequency for a
given job.
Relevance to Standards for Technological
Literacy
The procedures recommended in this paper will
assist technology teachers, especially those who teach
information and communication technologies, to meet
several of the Standards for Technological Literacy
(STL) standards. In particular, Standards 2, 11, and 17
are supported.
Standard Two (Students will develop an understanding
of the core concepts of technology) Benchmark Y (The
stability of a technological system is influenced by all
of the components in the system, especially those in
the feedback loop) is supported by teaching students
how to choose halftone LPI because of the impact
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of various variables on the overall appearance and
usability of a printed project. In particular, relevant
components of the system include aesthetics, end-use
requirements, the printing process, the substrate on
which the image will be printed, and the resolution
of both the output device and the digital photograph.
Choices made regarding any of these components will
influence the outcome.
Teaching how to choose halftone LPI also helps
students to develop the abilities to apply the design
process (Standard 11). In particular, the criteria and
constraints imposed by the several variables that
must be considered when choosing LPI will affect the
outcome of the design process (Benchmark N).
Perhaps the most relevant STL standard is 17: Students
will develop an understanding of and be able to select
and use information and communication technologies.
Halftoning is an integral part of visual communications
technologies because reproductions of images using
either black-and-white or color halftones are a part of
many printed communications. In particular, students
who are taught LPI selection will learn about the
inputs, processes, and outputs associated with sending
and receiving information (Benchmark L).
Screen Frequency Defined
Screen frequency refers to the number of lines, or
rows, of halftone dots in one linear inch (LPI) or one
linear centimeter (LPC). For example, in Figure 1, the
halftone on the left is reproduced using a 35 LPI screen,
while the photograph on the right uses a 133 LPI
screen. Notice that the dots in the 35 LPI screen can be
seen easily while those in the 133 LPI screen are almost
invisible to the naked eye.
Figure 1. 35 vs. 133 LPI.
 • THE TECHNOLOGY TEACHER • October 2006
Another way of illustrating frequency would be to
consider the compactness of halftone dots within
a square inch. Higher LPI screens have many more
halftone dots in a square inch than lower LPI screens.
For example, a 133 LPI screen has 17,689 halftone
dots per square inch (133 x 133) while a 35 LPI screen
has only 1,225 halftone dots per square inch (35 x 35).
Some commonly used screen rulings include 65, 85,
100, 120, 133, 150, 175, 200, and 300 LPI.
Factors Affecting Screen Frequency
The choice of LPI is affected by numerous variables
including: aesthetics, end-use requirements, the
printing process, the substrate on which the image
will be printed, and the resolution of both the output
device and the digital photograph. The graphic artist
must carefully consider each of these variables and
determine which LPI best suits the constraints of
each one. Oftentimes, the best LPI resolution for one
variable is not suitable to another. For example, an
output device may be able to handle a 150 LPI screen
but the substrate may only accept a 50 LPI screen. The
proper LPI for a given job is the lowest appropriate to
any of the variables.
Aesthetics
Higher LPI screens produce printed halftones using
smaller dots than lower LPI screens. Smaller dots
result in a higher-quality image that more faithfully
reproduces minute detail and variations in density than
the larger dots used in low-LPI screens. In essence, a
high LPI halftone has greater resolution than a low LPI
reproduction. In this case, “resolution” refers to “the
level of reproduction detail offered by a TV or
computer screen or other image” (Microsoft, 1999,
Resolution section, paragraph 5).
Aesthetically-based LPI decisions should best be made
by the graphic designer in consultation with the client.
One way to make aesthetically based LPI decisions
is to peruse printed samples of the same image
reproduced using varying screen frequencies. Sources
of such samples include the Pocket Pal, which is
regularly updated and published by International Paper
(Romano, 2003). Designers and clients understandably
want their images to contain the highest possible
resolution. However, it is important to remember that
aesthetic considerations are only one of six variables
that must be considered when making LPI decisions.
What is desirable is not always achievable.
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End-Use Considerations
Printed products are all designed and produced
with a particular end-use in mind. For example, the
product could be a fashion magazine, daily newspaper,
direct-mail advertisement, invoice, letterhead, novel,
textbook, art book, fine-art reproduction, point-of-
purchase (POP) display, road sign, or billboard, among
thousands of different possibilities. Each of these items
requires varying amounts of image detail. For example,
consumers have come to expect a great deal of image
fidelity in catalogs they use to make purchasing
decisions. On the other hand, resolution of images in
invoices is not of much concern; the legibility of the
amount due is more important than resolution.
Viewing Distance
One seldom considered end-use requirement is
viewing distance. Printed photographs on billboards
viewed from a distance can use very low LPI screens
because the dots are too far away from the viewer
to be discerned. POP displays in supermarkets, gas
stations, and convenience stores, are viewed more
closely than billboards. So, to minimize the appearance
of the halftone dots, POPs must be printed with higher
LPI screens than billboards. Very high resolution is
necessary for items such as art books. People look
at photographs in such books closely—at perhaps a
distance of six or fewer inches—to discern minute
detail. Thus, these printed photographs require very
high LPI screens to minimize the effect of the halftone
dots on the image.
The resolution of an image has an impact on its file
size. Higher LPI image files are logarithmically larger
than smaller LPI files. Thus, to save hard drive space,
speed up file processing in image-processing and page
layout programs, and to decrease RIP and output
time, it is important to constrain LPI to a reasonable
resolution.
The Rule of 240. The Specialty Graphic Imaging
Association (SGIA) recommends using the Rule
of 240 when choosing the LPI for a given print
application (Specialty Graphic Imaging Association,
2003). According to this rule, the optimal LPI for a
given viewing distance is found by dividing 240 by the
distance in question. Thus, if a halftone is to be viewed
from a distance of two feet, the LPI would be:
240 ÷ 2 feet = 120 LPI
SGIA bases the Rule of 240 on a reference 175 LPI
screen that is often used in magazine production.
 • THE TECHNOLOGY TEACHER • October 2006
“The rule of 240 comes from establishing premium
quality as 175 LPI at 16.5 inches from your eyes
(normal magazine high quality printing and viewing).
If you extrapolate the 175 quality to a greater distance,
you can use the number 240 and it will give you the
distance in feet. Visually you will find that the dots will
disappear at that distance. This is called ‘dot diffusion.’
The image looks like a continuous tone. Some people
with very good eyesight or a good imagination say
they can see the dots, but most people say they can’t”
(M. Ruff, RayHan PGF, email communication, May 23,
2005).
Based on the Rule of 240, the appropriate screen
frequency for a given print job can be determined from
Table 1.
Distance LPI
20 feet 12
18 feet 13.33
16 feet 15
14 feet 17
12 feet 20
10 feet 24
8 feet 30
6 feet 40
4 feet 60
2 feet 120
1 foot 240
6 inches 480
Table 1. Viewing Distance vs. LPI using the Rule of 240.
An Empirical Study of LPI vs. Viewing Distance.
Although the SGIA recommends the use of the Rule
of 240, they have never conducted a study to validate
it: “We’ve never conducted a project due to the
subjective nature of the topic” (J. Shell, SGIA, email
communication, May 23, 2005).
In a separate study, Waite and Oliver devised a test
to determine at what distance the dots in a printed
halftone could be discerned by the average viewer
(Waite & Oliver, in press). A color digital photograph
was converted to grayscale using Photoshop’s standard
20% dot gain profile. The resultant file was duplicated
11 times. Each of the duplicates was assigned one
of the following LPIs: 5, 10, 18.75, 37.5, 50, 65,
85, 100, 110, 120, 133, or 150. The LPIs of 65 and
above are those commonly used in offset printing
applications. Screen rulings of 18.75 and 37.5 LPI relate
mathematically to the non-dithered output capabilities
of 600 and 300 DPI marking engines. The 5 and 10 LPI
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samples were included so that the test proctor could this way, the results in Table 2 are somewhat consistent
explain to the subjects how to take the test. The dots with the Rule of 240 as disseminated by SGIA.
in the 5 LPI sample were clearly visible at 20 feet, so However, Table 2 is generally more conservative than
the participants could be shown what to look for when the Rule of 240 and its use will decrease the chance
recording their observations. that viewers will be able to see the dots in a printed
halftone.
Subjects were then asked to view the print from
varying distances that were clearly marked on the floor. The Printing Process
These distances were: 20’, 18’, 16’, 14’, 12’, 10’, 8’, 6’, 4’, 2’, Today, an image can be reproduced in many ways. For
1’, and 6”. Participants then recorded the distance at example, a few copies of an image can be printed on a
which they could first discern the individual dots in desktop or workgroup black-and-white or color laser
each sample on a record sheet prepared for the study printer. Larger quantities can be made on analog or
(see Figure 3 on page 10). The results of the study are digital black-and-white or color duplicators. If many
presented in Table 2. copies are needed, or if the end use requires the copies
to look better than those made on a laser printer or
LPI Mean Mode Median duplicator, digital files can be reproduced on high-level
150 0.08 0 0.00 printing machines by a professional printing company.
133 0.32 0 0.00 The printing firm will use the file to print copies using
120 0.67 0 0.00 various printing processes, such as offset lithography,
110 0.85 0 0.00 gravure, screen-printing, or flexography.
100 1.17 1 0.50
85 1.65 1 1.00 Printing departments or firms accept digital files,
65 2.56 2 2.00 including photographic files, and subject them to a test
50 3.86 2 2.00 known as “preflighting.” This examination will reveal
37.5 5.84 4 4.00 defects in the files, such as improperly set LPI. If errors
18.75 11.10 10 10.00 are found, the printing company or the originating
10 17.14 20 18.00 graphic artist must perform “file intervention” and
5 19.90 20 20.00 repair the job before it goes to press.
Table 2. Distances at which viewers can discern varying LPI screens
Digital Printing Technologies
New printing technologies are decreasing the
The tested LPIs are presented in the first column
number of steps between the creation of a file
of Table 2. The second column provides the mean
and its reproduction. For example, the Heidelberg
distance at which the subjects could discern the dots.
Quickmaster DI offset lithographic presses prepare
Column three indicates the mode, or most often
the printing plates directly from a digital file while
occurring distance at which an observer could see the
the press is running. The technology employed by
dots in each sample. Finally, column four indicates the
these machines eliminates most traditional prepress
median viewing distance.
activities. Therefore, there are few opportunities to
correct errors. Simply stated, the file must be correct
According to Table 2, the majority of people (the mode)
the first time! Consequently, the person who creates
could discern 5 and 10 LPI halftone dots at 20 feet. One
a file to be reproduced using one of these machines
hundred LPI screen dots could be seen by most people
must possess a high degree of skill and knowledge to
at a viewing distance of one foot. Screen frequencies
patiently build into the file all the attributes it needs to
of 110 or higher could not generally be seen by viewers
print well.
even at a distance as little as six inches.
Contemporary “on-demand” printing technologies
The results of the study indicate at what distance
merge the convenience of copy machines with nearly
dots can be discerned. Therefore, it is important to
the quality of conventional printing processes. Digital
use a higher LPI screen (smaller dots) than the one
duplicating machines, with names such as Xerox
indicated in the chart so that dot diffusion will occur.
Docutech, Xerox Docucolor, HP Indigo, and Xeikon,
Consequently, if the reading distance is one foot or less,
can print beautiful images “on demand”—that is, as
it is important to use an LPI higher than 100. If used in
many or as few copies as needed whenever they are

 • THE TECHNOLOGY TEACHER • October 2006e

needed. The Docutech prints only black and Process Characteristics Products
white, but the Docucolor, Indigo, and Xeikon Offset Provides excellent quality Most printed products:
print in full color. These machines can also Lithography/ and high resolution for newsletters, annual
produce variable-data press sheets: i.e., each Waterless photographs and text. reports, books, many
printed sheet can contain different text and/or Lithography Most offset lithography is magazines, brochures,
images. Again, because there are few steps currently done using the and so on.
between the creation of the digital file and conventional lithographic
subsequent output on one of these digital process that requires the
devices, it is critical that files be properly use of water as well as ink.
prepared. Proper preparation includes the LPI Waterless lithography
setting. uses no water and can
print better-looking
Relationship Between LPI and Printing images than conventional
Process lithography. However, its
Before beginning to prepare any photograph use is limited.
for reproduction, the printing process that Flexography Every image has a slight Most packaging,
will be used to reproduce it must be known. halo around its perimeter from cereal boxes to
Table 3, Common Printing Processes, presents due to the soft flexible candy wrappers and
a summary of different printing processes and plates used in the process. frozen food wrappers,
their uses. Each printing process puts ink on The reproduction quality is printed using
paper using different methods. The way the of photographs is not as flexography.
ink is applied to the paper influences how high as offset-lithography.
small the halftone dots can be. For example, Gravure Every image, including Extremely long-run
offset lithography uses a soft and smooth text, is created using editions (millions of
rubber surface—called a blanket—to press small dots. The process copies). Direct mail
the ink onto the paper. The blanket is capable can produce very good catalogs, such as those
of transferring very small dots, so high LPI quality photographic distributed by Sears
screens can be used. On the other hand, reproductions if high- and JC Penney, are
screen-printing uses a stencil mounted to a quality paper is used. often printed using
fabric screen to print images. Ink is forced gravure. National
through the stencil onto the substrate using Geographic is printed
a squeegee. Halftone dots in a stencil must with the gravure
be large enough for the ink to pass through process.
them. Consequently, screen-printing cannot Screen printing Capable of applying the Short runs, difficult
print as small dots as offset lithography can thickest layer of ink of to print materials
print. Other printing processes are capable any printing process. It (such as textiles),
of reproducing various LPI dots. Refer to can print on odd-shaped T-shirts, billboards,
Table 4 for examples of LPIs that various objects and materials that convenience store
processes can accommodate. It is important are difficult to print using signs, point-of-
to remember that the LPIs in Table 4 are other processes, such as purchase displays, and
examples only. Graphic artists should always glass bottles and T-shirts. printed circuit boards.
check with the printing firm or department
On-demand Any printing process that Short runs of many
that will print the final job. printing makes only as many copies types of documents,
as needed when they are including business
In many cases, the same photograph will be needed. Examples include forms, personalized
reproduced using several different printing laser and ink-jet printers, letters, brochures, and
processes. For example, a fast-food restaurant copy machines, Docutech, memos.
may have a photograph of a sandwich to be HP Indigo, and Xeikon
reproduced in a national magazine printed presses. Machines can
by gravure, on placemats printed by offset often produce variable-
data jobs.
lithography, and on point-of-purchase displays
printed by screen printing. The halftone must
Table 3. Common Printing Processes (based on Waite and Willis, 1998)

 • THE TECHNOLOGY TEACHER • October 2006

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be prepared with a different LPI screen for each of
these products.
The Substrate
Halftones can be printed on a variety of surfaces. For
example, a photograph of a fast-food sandwich could
be reproduced on smooth, shiny-coated paper in a
national magazine, on rough absorbent uncoated paper
for an in-restaurant place mat, and on plastic for point-
of-purchase displays. The absorbency and roughness of
the substrate affect the LPI screen that should be used.
Generally speaking, rougher papers must use lower LPI
screens than smoother papers because printing presses
have a difficult time pressing tiny dots into the crevices
of rough papers. In addition, ink has a tendency to
blot when printed on absorbent (uncoated) paper. In
particular, 50 percent and larger dots may become
enlarged by this blotting action—so much that they
create a darker-looking image than they should. To
keep dots in dark areas of photographs printed on
absorbent paper from overlapping, lower LPI halftone
dots are generally used. Conversely, coated papers
absorb very little and cause little blotting to occur.
Therefore, higher LPI screens can be used on coated
papers. Most materials other than paper (plastic,
metal, glass, and so on) tend not to be absorbent, so
higher LPI screens can usually be used.
Paper—and other substrate—vendors often provide
printed samples of the lines of material they sell. These
samples can be used to visually evaluate the suitability
of varying LPI screens to different grades of paper.
Printing firms or departments are also good sources of
information regarding the use of different LPI screens
on given paper stocks.
When both the process and substrate variables
are considered, offset lithography is capable of
reproducing much higher LPI screens on uncoated
paper than screen-printing can produce on coated
paper. Furthermore, screen-printing can print higher
LPI screens on smooth materials than it can on textiles.
Table 4 provides guidelines to be used to help choose
LPIs for jobs to be printed on various substrates using
a range of printing processes. However, Table 4 is only
a guideline. Printing presses not only vary by process
but also by individual printing machine; no two presses
print exactly the same. Professional printing firms test
each of their presses and commonly used substrates
using a process called fingerprinting (Waite, 1997,
2003). This test will indicate the best LPI for a given
process, press, and substrate. The graphic artist should
ideally check with the printing firm or department to
ascertain this information rather than rely on generic
guidelines.
Output Device Resolution—DPI
In order to be printed, files containing halftones must
be output to some type of device. Output devices can
include laser printers, imagesetters (which expose film
that will be used to image printing plates), platesetters
(which image plates directly from digital files and
bypass the use of film), direct-imaging (DI) presses
(which contain both a platesetter and a printing press
in one integrated unit), and digital duplicators (which
image and print on the fly).
The resolution of an output device is rated according
to the number of “printer” dots per linear inch (DPI)
that a laser printer, imagesetter, platesetter, DI press,
or variable-data duplicator can produce. Most laser
printers, DI presses, and digital duplicators in common
use have output resolutions of 300 to 1,200 DPI. High-
end imagesetters and platesetters can image at 1,200
DPI, 2,400 DPI, or higher.
There is an important distinction between halftone

Process/Substrate LPI
Screen Printing on Textiles 50
Xerographic copy machines 50 to 75
Xerox Docutech 35 to 75
Xeikon 35 to 75
Indigo 50 to 133
Screen printing—smooth surfaces 85 to 110
Flexography—uncoated paper up to 133
Flexography—coated or label paper 133 to 150
Flexography—pharmaceutical printing on coated paper up to 175
Conventional offset lithography—uncoated paper 120 to 133
Conventional offset lithography—coated glossy paper 150 to 250
Waterless offset lithography—coated glossy paper 200 to 800
Gravure—all substrates 150 to 200
Table 4. Screen rulings for process and substrate combinations (Waite and Willis, 1998)

 • THE TECHNOLOGY TEACHER • October 2006

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dots and printer dots. Whereas conventional AM
halftone dots vary in size (light areas are reproduced
using small dots while dark areas are composed of large
dots), every printer dot is the same fixed size. Laser
printers, imagesetters, platesetters, DI presses, and
digital duplicators can either image a printer dot or
leave it blank. Printer dots cannot be partially imaged,
so varying sizes of printer dots are not possible.
To create various sizes of halftone dots, the output
device must use groups of printer dots—known as
halftone cells. Each halftone cell is composed of
individual printer dots. Halftone cells with few black
printer dots appear white to medium gray. Halftone
cells with more black printer dots appear dark gray or
black. In Figure 2, the halftone cell on the left contains
256 printer dots and can produce 256 different size
dots plus white for a total of 257 gray levels. The
halftone cells on the right each contain 64 printer dots,
making them capable of representing 65 different gray
levels.
Figure 2. DPI vs. LPI
Gray Levels
As previously mentioned, an output device produces
halftone dots using cells, each containing a group
of printer dots. A halftone cell containing two rows
and two columns of printer dots can produce 22 or
four different sizes of halftone dots. Similarly, if a cell
contains eight rows and eight columns of printer dots,
82 or 64 sizes of halftone dots can be created. Most
photographs can be adequately reproduced using 256
sizes of halftone dots. This corresponds to 16 rows and
16 columns of printer dots (162 = 256).
In addition to the number of sizes of halftone dots that
can be produced, an output device can also leave the
paper blank. Thus, a 2 x 2 cell can produce five gray
levels (four sizes of dots plus blank paper), while a 16
 • THE TECHNOLOGY TEACHER • October 2006
x 16 cell can produce 257 gray levels (256 sizes of dots
plus blank paper).
If the number of gray levels is increased, the maximum
LPI an output device can produce will decrease
because more of the device’s printer dots are being
used to make each halftone dot. If, on the other hand,
the number of gray levels is decreased, the maximum
LPI an output device can produce will increase because
fewer of the printer’s dots are needed to make each
halftone dot.
With a given output device, either LPI or levels of
gray can be increased, but not both. Higher resolution
output devices can produce higher LPI halftones. The
relation between printer dots and halftone dot cells is
illustrated in Figure 2.
A halftone should contain enough gray levels to
faithfully reproduce the original. If a photograph
contains a lot of detail and is to be reproduced on high-
quality paper, 257 gray levels is appropriate. However,
for a lower-quality reproduction, such as a photograph
for a newspaper, 65 gray levels may be enough.
Relationship Between Gray Levels
and an Output Device’s Maximum LPI
To determine the maximum LPI an output device can
produce, divide its DPI resolution by the square root of
the desired number of gray levels minus one.
For example, to calculate the maximum LPI of a 2400
dpi output device at 257 gray levels, divide 2400 by 16
(the square root of 256). The result is 150. Thus a 2400
DPI output device can successfully produce 257 gray
levels when imaging a 150 LPI halftone.
Output devices can routinely image LPIs less than
or equal to the maximum LPI calculated as above.
Manufacturers of some devices claim their machines
can successfully image higher LPI screens than the
math would suggest. These devices utilize dithering
methods to create the illusion of additional shades.
It is best to test the performance of such machines to
determine if LPI settings above that calculated with the
above formula provide satisfactory results.
Digital Photograph Resolution—PPI
The image resolution of a photograph impacts the
maximum LPI that can be used to print the photograph
as well as the quality of the printed image. Low
resolution photographs should only be printed with
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low LPI screens. If a high screen frequency is used on
a low image resolution photograph, image quality will
suffer.
Photographic resolution is defined in terms of pixels
per inch (PPI). Scanners capture the grey or color levels
of small components of an original photograph. Each
of these components is called a picture element (pixel).
Scanned pixels are displayed using corresponding
pixels on a computer monitor. Digital cameras also
capture image data in discrete pixels.
The PPI resolution of a photograph must be adjusted
to match the LPI of the screen chosen for the halftone
reproduction. This is done using the Nylquist Theorem,
which states that a photograph’s resolution should
be: a quality control factor (2) times the LPI times the
magnification. Thus, a photograph to be enlarged to
200% of its original size and printed with a 150 LPI
screen should be scanned at 600 pixels per inch.
In a perfect world, scanners would only need to scan
one pixel per halftone dot. However, scanners are
imperfect, so Photoshop needs more than one pixel
to make a high-quality halftone dot. Experts disagree
on the quality control factor, but most agree that the
absolute minimum is 1.5 and the maximum is 2.0.
Thus, for a 100 LPI halftone to be reproduced the same
size as the original (100%), the scanned photograph
should contain a minimum of 150 PPI and a maximum
of 200 PPI. In the above formula, the more common
QC factor of two is employed. However, a QC factor
of 1.5 can appropriately be used when calculating
photograph resolution with the Nylquist Theorem.
When Photoshop transforms a photograph into a
halftone, it takes the 1.5 to 2 pixels that are available
for each halftone dot and averages the color or tone of
those pixels to determine the optimum halftone dot
size.
The Image Size dialog box in the Image menu in
Photoshop can be used to set the PPI resolution to
match the chosen LPI. If the image contains more
pixels than are actually necessary, it is completely
acceptable to resample the image down (decrease its
size). However, if the image does not contain sufficient
data to support the chosen LPI, upsampling (increasing
the size) of an image can lead to unsightly pixelization.
Thus, if an image contains too little data for the chosen
LPI, it is better to rescan the original photograph, being
careful to set the scanner according to the Nylquist
Theorem.
 • THE TECHNOLOGY TEACHER • October 2006
To determine how wide a scanned photograph can be
printed same-size at a given LPI, divide the number
of pixels across the image by either 1.5 times the LPI
(Photoshop calls this “good quality”) or 2 times the
LPI (Photoshop calls this “best quality”). For example,
if a given digital photograph is 1,330 pixels wide and
it is to be reproduced at the same size using a 133 LPI
screen with best quality, divide 1,330 by 266 (twice the
LPI). This photograph can be reproduced a maximum
of five inches wide. If, however, the specified LPI is 150,
the same halftone can only be 4.4 inches wide (1,330
divided by 300).
If the PPI of a digital photograph does not support the
chosen halftone LPI, there are three things that can be
done: rescan the photograph, decrease LPI, or decrease
the QC factor. Of these, the best choice is to rescan. If
the original photograph is not available, decreasing LPI
or the QC factor may work. Upsampling digital files
should only be done as a last resort.
Making the LPI Choice
Once all the variables—aesthetics, end-use
considerations, printing process, substrate, output
device resolution, and photograph resolution—have
been considered, the actual process of choosing the
appropriate LPI is quite simple. Simply choose the LPI
that is the lowest! For example, consider the following
table in which all the LPI variables for a given job have
been considered:
Variable Appropriate LPI
Aesthetics 150 LPI
End-Use considerations 150 LPI
Printing process 110–150 LPI
Substrate 120 LPI
Output device resolution 150 LPI
Photograph resolution 150 LPI
Overall LPI choice 120 LPI
Table 5. LPI values for the attributes of a hypothetical print job.
Even though the majority of the variables will accept
a 150 LPI screen, the appropriate choice is 120 LPI
because the substrate cannot handle such a fine screen.
Of course, the client is likely to be less than ecstatic
about this development. In such a case, the human-
relations skills and thorough knowledge base of the
printing firm’s or department’s customer service
representative will be of utmost importance.
e
 A Step-by-Step Process for Determining LPI References
The following table can be used as a checklist when
determining the correct LPI to use for a given job.
Step Process
1  Discuss the job with the client and/or graphic
designer to ascertain the required paper,
printing process, and desired LPI that will meet
the job’s aesthetic needs. Make a note of the
LPI.
2  Consider the end use of the printed product.
Items viewed from a great distance do not need
high LPI resolution, whereas items viewed
close-up need fine screens. Use Table 1 and/or
Table 2 as a guideline. Make a note of your
answer.
3  Consider the printing process. Contact the
printing firm or department to find out which
LPI is best for the particular printing process,
press, and substrate to be used for the job. Make
a note of the answer.
4  Consider the substrate. The printing firm or
department is the best source for information
about the suitability of various LPIs to
substrates. Paper vendors often provide printed
samples of their merchandise so that visual
comparisons can be made of varying screens.
Make a note of your answer.
5  Determine the highest LPI resolution the
output device (laser printer, imagesetter,
platesetter, DI press, or digital duplicator) can
handle. Divide the device’s DPI resolution by
16 (if 257 gray levels are desired) or 8 (if 65 gray
levels are sufficient). Make a note of the answer.
6  Determine the highest LPI the digital
photograph file can support by using the
Nylquist Theorem. Make a note of the answer.
7  Compare the LPIs calculated using Steps 1–6.
Whichever answer is lowest is the correct LPI
for the job.
Table 6. A checklist for determining LPI (adapted from Waite and
Willis, 1997).
Conclusion
Even though the variables involved in choosing the
correct LPI screen for a given print job may appear
intimidating, the beasts of LPI, DPI, and PPI can be
tamed if the methodical process provided in this paper
are followed.
 • THE TECHNOLOGY TEACHER • October 2006 e
Microsoft. (1999). EncartaÆ World English Dictionary.
Redmond, WA: Author.
Specialty Graphic Imaging Association. (2003).
Datasheet: Choosing the right linescreen.
Retrieved May 31, 2005 from www.sgia.org/db/
member/datashts/downloads/dsht1.pdf
Romano, F. (Ed). (2003). Pocket Pal. Memphis, TN:
International Paper Company.
Waite, J. (1997). Altering grayscale images to
compensate for press fingerprints. Visual
Communications Journal.
Waite, J. (2003). Conventional offset lithography and
direct digital printing devices: How do they
compete on print characteristics? Visual
Communications Journal.
Waite, J., & Oliver, G. (in press). Viewing distance as
a variable in discerning grayscale halftone
dots at varying screen frequencies. Journal of
Industrial Technology.
Waite, J., and Willis, C. (1998). Electronic Prepress
Using Photoshop 4. Albany, NY: Delmar
Publishers.
Jerry Waite has been involved in the
printing and publishing business since high
school. He currently teaches graphics com-
munications technology at the University
of Houston. He can be reached via email at
jjwaite@central.uh.edu.
Cheryl Willis, Ph.D. is an associate
professor of Information Systems Technol-
ogy at the University of Houston. She has
developed curriculum for business educa-
tion and information technology at the
secondary, post-secondary, undergraduate,
and graduate levels. She can be reached
via email at CLWillis@central.uh.edu.
Garth Oliver is a high school assistant
principal in Houston, TX. He can be
reached via email at GOliver@sheldon.
k12.tx.us.
This is a refereed article.
 UH Information and Logistics Technology Department

Figure 3.
Graphic Communications Technology
Halftone Dot Discernability Study

1. Please assist Dr. Waite and Professor Oliver in completing this study by completing the following chart.
2. This test is voluntary. You will be given no extra credit and the test will not be "graded."
3. Stand at the masking tape marked 20', placing your toes on top of the tape.
4. Look at the Halftone Dot Discernability Test, and see if you can perceive the individual halftone dots that comprise the image in Samples A-L. Please

10
place a check (√) in the box that corresponds to the first distance you are able to resolve dots in the image.
5. Move to the 18' masking tape and repeat the steps 3–4.
6. Continue until you have completed the chart.
7. Please complete only one chart and give it to Dr. Waite, Professor Oliver, or Ella O'Neal

Please place a check (√) in the box that corresponds to the first distance you are able to resolve dots in the image.
Distance A B C D E F G H I J K L
20'
18'
16'
14'

e
12'
10'
8'
6'

• THE TECHNOLOGY TEACHER • October 2006

4'
2'
1'
6"