This is a question I get asked very often. First, let’s point out that we are talking about offset here, as digital, wide format and flexo really require their own topic of discussion.

Let’s break it down into what could be the cause and what to check.

1. What is the colour target?
   -Is it an inhouse colour target/standard or international standard or customer supplied target?
   -Check to make sure that your selected target or standard contains the same components (substrate, inks, sequence, coating, etc.)
   -Does the target have the correct instrument settings?
   The colour target should include all of the information, in detail, outlined above.
   e.g. Basically…
   -Substrate type, finish, coating, weight, Lab* values
   -Measurement conditions (M0, M1, M2 or M3) and backing (white or black) and instrument type, geometry
   -Solid CMYK Lab* and Overprints RGB Lab* and dE tolerances (and dE methodology)
   -Calibration method used – CMYK TVI target and spot colour SCTV or G7 calibration
   -Measurement made through coating/varnish?
   
   
2. Check the substrate (paper)…
   -The substrate you are using – is it exactly same as specified in the target?
   -Is the substrate the same type from the same supplier?
   -Is there consistency and QC in the substrate from the supplier?
   -With spot colours are the targets made from draw downs on the same substrate?
   
   
3. The effect of an in-line coating…
   -If there a coating or varnish being applied, in line, on press it will have a large effect on the final results visually and with the measurements.
   A coating or varnish will change the white point of the substrate, usually to a lower L* value and significantly alter the dot gain (visual appearance of tones) by increasing the ‘weight’ of tonal colour appearance.
   -Sometimes the varnish is not applied to the colour bar on the sheet – but the target and measurements here are very important for machine colour process control.
   -With the coating/varnish covering the majority of the ‘product’ area of the job the ‘contract proof’ should also reflect this.
   i.e. The colour and the target of the ‘proof’ should include or simulate the colour as per the final production process.
   
   
4. Are the inks correct?
   -Check with your ink supplier that the inks you are using are correct, as specified – for process and spot.
   -If you are formulating inks internally do you have a procedure to receive a colour quality report that the ink is correct and within tolerance?
   Ideally inks should be measured and checked before going onto press – especially for spot colours.
   
   
5. Ideally inks should be measured and checked before going onto press – especially for spot colours.
   -Thorough press clean-up is required when changing colours on press – if this is rushed and the necessary steps are missed it can lead to contamination
   -Often overlooked – Opacity – this can be measured, for example with a Techkon SpectroDens Premium. This will ensure consistency and the correct print capabilities can be communicated between the printer and the print buyer/customer.
   
   

The above five points outlined should be documented as SOP (standard operating procedures) to ensure press operators, off siders, production and press maintenance personnel are all following the same procedures as communicated to all relevant staff.

We specialize in on site colour print technical consulting, support, and training – To find out more about printer calibration and using a colour spectrophotometer please contact us via our contact form

Print service providers (PSP’s) and brand managers should be in control of their colour quality in print utilizing suitable quality control software. A QC software solution, paired with a suitable Spectro densitometer is now a prerequisite in today’s fast paced, results driven print environment. Samples, colour standards, production jobs can be quickly measured for PASS/FAIL assessment for press operators and production managers. Additionally, the software will provide instruction to quickly attain the targeted result within the required tolerances. Summary and detailed PDF reporting of the job colour metrics can be made available to in house management, the quality department and externally to buyers and brand managers. The quality software package can be used press side or close by in a production or quality area and should be suitable to the production equipment and machines used.

The goal shall be to ensure process and spots fall within the required delta E tolerances, by assisting the operator with the remedial action to take.

Make ready time is greatly reduced and with measurements taken during production a final production report can be produced showing that the colour quality is within the expectations of the customer and meets the company’s quality policy.

The modules within the MC suite of software enables PSP’s, especially in packaging (carton, flexible, etc.) and labels, to measure, analyze, correct and report. The PrintSpec (PS) module is for the CMYK process for ISO standards and G7.

The Ink Spec module is a complete CM system for systematic and measurable control of brand and specials.

InkSpec

What the key rewards with InkSpec?

• Spot and brand colour control and certification system
• Match brand samples across many different substrates
• Print performance is standardized
• Complete management of your customers spot and brand colours
• Internal and external communication is improved
• Downtime and materials wastage is reduced

In packaging time to market is critical – speed and quality of production can regulate SKU (stock keeping unit) success. Reproduction of brand and spot colours with extreme accuracy is becoming de rigueur.

InkSpec provides flexibility to create standards from draw downs, previously produced samples or downloading and importing customer standards from CXF. MellowCloud server allows downloads from your customer – you can even enter the target L*a*b* and TVI values manually. The substrate can also be measured and stored.

The InkSpec database is able to store an unlimited number of samples.

Spectrophotometers from Techkon, X-Rite, Konica Minolta and others are supported. Measurement can be made by spot or scanning small patches within the job. The subsequent readings provide a summary report as well as a detailed multi page PDF report. The details of each sample measurement is clearly shown – how close with pass or fail for each ink.

A report can be produced with or without substrate measurement, solid patches only or solid and tone value patches of your choice. You also have the possibility to see how the hue changes under different lighting conditions. Density target information is also shown to aid the printers.

Sometimes the substrate specified by the customer will not allow the colour to be produced within tolerance, thus requiring a new formulation of the ink. InkSpec is able to export popular formats used by ink formulation systems to enable new and correct formulated ink.

InkSpec for spot and brand colours works with complete synergy with PSpec for CMYK control and reporting. Whatever the mix or process and spots InkSpec and PSpec are the go-to tools for QC and QA.

To find out more about printer colour management matched with a precise Techkon Spectro densitometer please contact us via our contact form

Print technology has come along in leaps and bounds recently whether it be for the home, office, commercial, packaging or labels. As with all gains in technology it is simple to think that the accuracy of colour in print has also improved to the point that we can click and forget – it will be exactly as we see it, no need to worry!
Sure, we now all too often use our smart phone cameras to capture every moment and situation – it looks great on the phone screen – how hard can it be to reproduce that in print, with accurate colour? Well, there is going to be some translation involved as your image moves from capture to display to output. Importantly these are all different devices that each have individual colour behavior. So, how can we maintain our vision of that captured photo to final output or ink on paper? Increasing our knowledge of colour management (CM) can enable us to control the process and trouble shoot.

The TOP 5 THINGS to keep in mind with Managing Colour

1. With printing your image (or document) there are multiple output engines in the reproduction chain. Pictures captured digitally require ‘translation’ (rendering) of the contained data on each device – camera, display and printer. As stated above each of these handles that data differently – i.e. is it RGB or CMYK? Is it for input or output? What is the flow here?
   Photo(s) taken with the ‘camera’, translated to the display on the camera or phone screen, copied to a computer, opened in image editing software, placed into a production document (think InDesign file), exported as a PDF and then to a production process for ink on paper. Of course, you could simplify that by just outputting a photo but usually it will still go from camera to computer (and display) to output device.
   You want the final result to match the photo from your camera, right? Theoretically possible* with the correct ‘adjustments’ as the captured data is passed from device to device. *We say theoretically as there are limitations to the colour capability of each.
   
   
2. Reproduction of colour is a combination of a system and craft
   Let’s think about colour – without light there is no colour. We print with Cyan, Magenta, Yellow and Black – Light reflects onto paper (or the substrate) and some of the light is absorbed (or subtracted) by the combination of Cyan, Magenta, Yellow and Black and what results is we see the reflected colour. A phone, tablet or computer display (monitor and/or TV) is a RGB (Red, Green and Blue). It starts off black or blank and different amounts of RGB are added to show us an image on the display. The digital image on the display is built up from RGB pixels. RGB is additive colour and CMYK is subtractive – they are complete opposites. RGB devices are screens or displays, as well digital cameras and scanners. An output machine for ink on paper is usually CMYK, that can be blended and controlled.
   For printing, when a photo is captured from a camera the RGB data is converted to CMYK data that the print engine can understand. The translation can yield horrible, unwanted colour if certain rules are not followed and adhered to. The key here is to realize that RGB devices have far greater or larger colour capabilities than CMYK. Some colours captured digitally in RGB and displayed on a monitor will not be able to be produced with complete accuracy in Cyan, Magenta, Yellow and Black – there is a limitation to what the Cyan, Magenta, Yellow and Black process can reproduce. However, using the correct CM technique it is possible to output the best achievable Cyan, Magenta, Yellow and Black result from any RGB combination
   
   .
   
   
3. Translation from digital capture to a print space
   Printing can still be considered a craft, but you can also argue that it is a service as printing companies are now seen as PSP’s (print service providers) and no longer considered to be manufacturers. However, at any level printing still necessitates technical human competence, proficiency and skill. When moving from digital to actual ink on paper there is quite a bit going on. There is liquid ink made up from pigments and other chemicals or maybe toner powders – either way there is an interaction between the ink and paper (or substrate). Paper itself varies hugely from uncoated bond you might have in your home or office output, to gloss, photo, fine art papers – the list is endless. The way the ink is laid down onto the paper causes a variety of results in the way they connect with each.
   – Yes, it can be fairly easy to produce ink on paper, but to do it with predictability, accuracy and consistency requires some extra procedures.
   
   
4. Image resolution and print quality
   Image resolution is described as DPI (Dots Per Inch) – this will not change when you send it to output as ink on paper – the original image will always be 300 DPI. A photo or picture at 300 DPI means there is 300 pixels per inch. Digital production machines can output at various resolutions also described as DPI. But the key point here is the print resolution or DPI is controlling the machine behavior – higher DPI output will be slower and should produce more detail in the final result – only if there is more detail that can be extracted from the photo. E.g. A 72 DPI photo will not look any better produced at 1200 DPI compared to being produced at 300 DPI. There not enough resolution and detail in the original photo at 72 DPI to show any improvement when outputting at a higher resolution. For high quality photographs, it is best to make sure the image is at least 300 DPI at the final size you to produce at. i.e. You have an 8” x 10” photo with a resolution of 300 DPI – you can output this at the same size (8” x 10”) or smaller (4” x 5”) without a problem. However, if you wish to output it at 16” x 20” you will be ‘scaling’ the image at 200%, the DPI will drop to 150. This means the detail in the final result will be reduced and it will start to look ‘pixelated’.
   
   
5. High quality ink on paper production is a multi-level process that requires technical human competence, proficiency and skill
   
   All digital print engines behave and output differently – there is a lot of mechanics
   – No one likes to hear it, but every output process has some sort constraints and limits.
   There have been major advancements with digital and wide format over the last 10 years producing huge signage and display production that we never saw before. Textile printing is moving very fast with home furnishings and fashion fabric designs being made with eye catching design and colour detail. At the same time high end graphics displays are able to show finer details and a broader range colour.
   – A key point is that the RGB colour gamut exceeds that of CMYK.

Translate with ICC Profiles

To manage colour effectively from device to device we should use ICC profiles. An ICC profile gives meaning to the photos, files and devices we use – from capture to output. A profile describes the colour capabilities of the device it is associated with. i.e. digital image from a camera, the computer display, inkjet photo output, the offset process, etc. This means an image will look different on each device. Using ICC profiles correctly enables us to view an RGB image on a monitor and simulate (soft proof) how it looks when produced on office laser output, on an inkjet photo machine or even in brochure we are having produced on an offset press. An ICC profile can be attached/embedded to individual images/files (RGB or CMYK) and even PDF’s to describe their final output intent.

Where do I start?

The first step is to calibrate your computer display – this will enable accurate image evaluation and editing. There are plenty of low-cost solutions for monitor calibration that will include a colorimeter or spectrophotometer and calibration/profiling software.

Once your display is calibrated (and profiled) you can then view RGB or CMYK photos with confidence, perform editing, convert from RGB to CMYK and even soft proof your images. Your photo editing software must support ICC profiles to do this.

A computer display will change or drift over time so you will need to check and validate the colour periodically using the calibration hardware/software package. If it falls outside the desired tolerances, you will need to re-calibrate.

Software application set up

As stated above your software* for image editing, vector-based file creation and editing and page/document production all need to accept and be able to work with ICC profiles. This allows for effective CM throughout a design, production workflow. *(could be Photoshop, Illustrator, InDesign, Acrobat from Adobe, but there are other apps you can use as well). A CM workflow requires profiles with a clear description of a source and destination colour space.

Summary

Soft proofing is often a very underutilized tool in the production process. You can gain a lot by accurately soft proofing your images and production PDF’s prior to sending to your type of output production or PSP (service provider). Importantly, please understand that you will achieve a more accurate soft proof with properly calibrated monitor and using the correct CMYK profile. And with monitors you get what you pay for. You should not expect CM miracles from a laptop display, or a cheap computer display compared to a high-end graphics display like an EIZO CG series.

It can seem too daunting and complicated but going through each step in the workflow to set up CM correctly will end up saving you a lot of time and you will avoid disappointment with your final ink on paper result.

To find out more about printer colour calibration and print quality management please contact us via our contact form

There has never been more pressure on offset productivity and efficiency than now. Print runs are continuing to get shorter – customers demanding faster job turnaround times – which translates to more make readies and reduced profit margins. There is no question that if you have made an investment in auto scanning hardware system you are already ahead of the game. But are you getting the most out of it?

There are a number of parts or components to a closed loop colour control system and it is the sum of all these elements that really decides how much money you save by reducing your make ready costs.

To start let’s look into the elements that make up a viable closed loop control system:

Ink Pre-Set software – This is the software that usually takes a ‘CIP’ file that has been created by your CtP RIP. The CIP file contains the ink coverage information for each separation (CMYK + spots) and the ink preset software converts the data to ink key and sweep settings for each unit on the press.

Auto Scanning Spectrophotometer – This is the physical hardware component – the actual scanning instrument that scans and measures the colour bar (CB) patches from the printed sheet. Usually configured on the press console – aligned with the CB and automatically scans measuring each patch for each ink zone or key.

• Ink Pre-Set software – This is the software that usually takes a ‘CIP’ file that has been created by your CtP RIP. The CIP file contains the ink coverage information for each separation (CMYK + spots) and the ink preset software converts the data to ink key and sweep settings for each unit on the press.
  
• Auto Scanning Spectrophotometer – This is the physical hardware component – the actual scanning instrument that scans and measures the colour bar (CB) patches from the printed sheet. Usually configured on the press console – aligned with the CB and automatically scans measuring each patch for each ink zone or key.
  
• Computer Control and Interface to the Press – A computer platform is required (usually Windows PC), with a combination of sophisticated software and hardware to connect with the press console.
  Press manufacturers use different ways and protocols to interface or communicate with the press console – it could be a DPI (direct press interface) or a disk drive or via LAN (local area network) or even special hardware that emulates a memory type card. There is usually a way to communicate and interface with every press console available.
  
• Press manufacturers use different ways and protocols to interface or communicate with the press console – it could be a DPI (direct press interface) or a disk drive or via LAN (local area network) or even special hardware that emulates a memory type card. There is usually a way to communicate and interface with every press console available.
  
  
  

How does it all work? First the operator chooses the designated job with the ink pre-set data and sends that data to the press console. The software also manages the measurement instrument and displays the scanned data in an easy to follow and understand format. Ink key correction data can then be sent to the press. This is closed loop colour control in a ‘sense’ as you are adjusting the printed result based on the scanned measurements, making automated ink key adjustments and then the process is repeated to correct and maintain the desired evenness and colour. And yes, we are saying closed loop in a ‘sense’ as there is more that can be done to completely close the loop!

The initial ink key setting may not be in tune with how you are running the press for production. Fine tuning of the incoming ink pre-set data is required over time so the press can achieve the desired printed colour faster with each start up and make ready. Depending on your kind of work this can be completed relatively quickly – sometimes within days and weeks when new closed loop goes in. How is it done? When each production job is finished the ink key settings are recorded and then over time this can be compared to the initial ink key pre-set data. The ink ‘profile’ can be fine-tuned and adjusted for each process and spot so that the initial ink pre-set is closer and closer to the optimum settings for how the press is run for continued and successful production. This translates to much faster make ready for each job. Closing this final and strategic loop can get you to 95% or better on being at the correct production quality level.

Now consider the savings over time – with a completely closed loop system you can reduce make ready from thousands and many hundreds of sheets down to a 100-200 sheets. Doesn’t sound like a lot – over time it can add up to a lot of savings when applied to every job on the press.

There additional benefits of closed loop as well. Targets and standards can be maintained easily from within the system – reprints can be achieved, with less hassle to the previous colour as the job is saved with all the ink settings. The press operator will have more time to ensure the print quality is up to scratch – registration spot on – hickeys and other defects that can occur from time to time will be picked up.

The return on investment can be faster than you think, often within 6 months. Colour is a very important part of overall print quality, but if you can get it right, every time, you will move to be being a more successful profitable company – saving money on each job is the power of complete closed loop control.

To find out more about print quality management and printer colour management colour management please contact us via our contact form

As such then, the quick reply to the above is “no”. Many believe that if it still works then there is no termination date on your measurement device. But there are key influences to consider regarding the effectiveness and efficiency of older colour measurement instruments. Think for a minute how the market has evolved and changed over the last 10 years.

• Are you still receiving the full benefit of your older press room densitometer and spectrophotometer?
• Can you easily meet the challenge of completing quick measurements to confirm G7 or ISO 12647?
• Does your existing densitometer or spectrophotometer still have the functionality to enable you satisfy and exceed the current tasks and trails facing your quality and printing department?
• Can you easily generate colour quality reports for internal use and for your customers on request?

The Techkon SpectroDens was a GATF InterTech award winning device in 2018.
When considering this highly esteemed award, the judging panel were mindful of the functionality and failings of many older spectrophotometers and densitometers used in printing depts. Nonetheless, after stringent testing of the SpectroDens, the judging panel commended the exclusive combination of extremely fast measurement speed, enhanced cleverness, and an in-built mode for colour bar and strip scanning. The judge panel concluded by asserting that they anticipate the SpectroDens4 becoming the No. 1 spectrophotometer in many printing depts.

Want to learn and know about why the GATF preferred the Techkon SpectroDens for the InterTech award? Why consider upgrading your older instruments?
We have put together a list of dynamics and elements you should reflect on regarding your existing press and quality dept instruments. Are there benefits added when upgrading to up-to-date, and scientifically advanced spectrophotometer for your quality dept and printing dept? See below…

Why Upgrade to the latest SpectroDens:

• Speed – It will be faster than your existing instrument covering the same functions (density, dot %, ink trap, etc.) in less than a second
• Comfort and Use – SpectroDens utilises a original side aperture which enables the user to quickly position the measurement aperture over the desired measurement area for faster operation and measurement
• Adaptability – Effortlessly change from spot measure to full colour bar scan mode with the simple touch of a button. No need for expensive options or accessories
• Precision – The spectral sensor measures colour in almost 3nm increments – ultra-high definition – providing greater than 3 times the resolution of many existing and old instruments for higher accuracy measurement and control
• Agreement – Techkon uses a calibration standard that connects to NIST (Nation Institute of Standards and Technology) master colour standards and metrology for “plug and play” measurement agreement with other common instruments
• Spot Colours and Expanded Colour Gamut (ECG) – A Spectral Engine is utilised in order to achieve and maintain precise and repeatable density & dot gain measurements of Spot Colours and Expanded Gamut (ECG) process colours. Older densitometers will always struggle to achieve precise and repeatable density & dot gain measurements of Spot Colours and Expanded Gamut (ECG) process colours
• CIE Lab & deltaE – Your customers are increasingly asking for and specifying colour with CIE Lab co-ordinates and print tolerances with deltaE. Only a spectrophotometer can measure and report CIE Lab co-ordinates and the deltaE colour difference from a standard, draw down or multiple production samples
• Direction – How do you achieve the lowest deltaE? The InkCheck function tells the press operator whether to move solid ink densities UP or DOWN and by exactly how much so they can achieve the best possible colour match and lowest deltaE
• G7 – The world’s most successful print certification program. Your customers are asking for and seeking company’s and service providers with Idealliance G7 Master Qualification. You need more than just a densitometer to complete G7 implementation and conformance. A spectrophotometer, ideally the SpectroDens, enables fast and easy G7 set up and control – complete easy to use G7 functionality is included!
• Robustness – The SpectroDens has a one piece machined body with precision from a single “chunk” of aluminium. This maximises durability and reliability in tough and unforgiving production environments like press rooms.
• Battery Life – SpectroDens has a rechargeable LiFePO4 type battery. This provides long use before recharging is required. Additionally, easy inductive charging is used. The device can also charge via the USB cable when connected to a suitable computer.
• ISO Standards – Quick and easy Pass or Fail notification for ISO standard print and all proofing standards
• Wi-Fi – Wireless or ‘wifi’ connection to the host computer, offers. This provides fast communication speed, superior security, and a larger area of connectivity range when compared to devices that utilise use Bluetooth

To find out more about the above or the Techkon SpectroDrive or SpectroPlate please contact us via our contact form

Well, it is always going to be debatable as utopia is described in one dictionary as ‘an ideal place or state’.

Achieving colour management (CM) utopia may seem like an unreachable goal and there are production constraints that we all must deal with.

Perfection in colour may not be entirely possible but the effort put forth will soon see a reduction in the variables to a smoother and predictable colour workflow.

When dealing with input and output devices like digital cameras, scanners, monitors and ‘printers’ you need to learn as much as possible about each device (the hardware and software) and take control – if you don’t control the colour it will control you!
And YOU cannot CONTROL WHAT YOU don’t MEASURE!
Three key points – If it is measurable, then your aim is to get the device into an optimal and repeatable state. And then, that should be quantifiable.
Where to start to reduce the variables?

The most often overlooked device in your workflow will be your monitor or display. With monitors we always say that you get what you pay for! (Do photographers buy cheap lenses?) The monitor is your ‘aperture’ to your digital workflow. Careful investment in a uniform, hardware calibration display, with a hood, will enable you to maximise the use of CM. Soft proofing is not new, but when it is done with care, and correctly, it can save you countless production hours and wasted prints because of bad colour! Colour management is an enabling technology! We would recommend an EIZO monitor because of their reliability, high quality and long warranty. The CG series comes with Color Navigator (CN) software for precise calibration – a CG model with the built in colorimeter would be my preference. Also, CN allows you run a validation routine to confirm the colour accuracy – an excellent feature and benefit! An important point – for visual confirmation of accurate and predictable soft proofing set up requires an ISO 3664:2025 viewing system with a dimmer, but more on that later.

Next…  The monitor will only be as good as the software design and production suite you are using. Soft proofing requires the correct colour settings and the settings you use should be correct for your type of work, type of print and for the region you are in. The Adobe Suite can be considered the industry standard, but when installed the colour settings are set up the North American Prepress defaults which may not be applicable if you are printing to ISO or G7. Using the correct settings within your design and production applications (PhotoShop, Illustrator, InDesign and Acrobat) will reduce the risk of costly re-editing. This will also provide validity to your soft proofing.

Then… Should you be working in RGB or CMYK? This is a big question! Many companies I work with are essentially print production facilities – no in house design, no image capture or content creation. They specify to receive only CMYK files (PDF usually) – any RGB content can mean the file is returned to the customer or source for CMYK conversion or the customer can accept the print production facilities default RGB-CMYK workflow conversion. If your production or workflow allows you to utilise the RGB format, then you should stick with this. Conversion to the required CMYK space can then completed at the last minute, when needed, just prior to print. Keeping images and files in RGB means you are keeping the full range of colour and tone – preserving the originally captured information. What about the choice of RGB working space? Many photographers swear by Adobe RGB or even ProPhoto RGB. Print technology is now improving at a great rate with increased CMYK and expanded gamuts becoming the flavor of the day. However, there will usually be some gamut compression (reduction in chroma), even clipping, when converting to a ‘print’ gamut. It is important to have the right skills and knowledge about the RGB-CMYK conversion options, rendering intents. Test, test, check and re-check to validate and confirm your settings are right for the type of work, workflow and type of print process. Reliable procedures will prove to be invaluable to visualize and assess image conversion quality.

And… Are you print buyer? Getting your print work outsourced? Many still like to have a good quality validation or guide print, even a ‘proof’. We use the term proof with care as this can mean ‘contract proof’ with implications on colour verification, content, etc. Very popular today is the use of an aqueous inkjet printer to produce an accurate colour simulation ‘proof’ or validation print. It is possible to set up a profiled inkjet printer in house that can provide you with accurate simulation of your printed result. Using a decent software RIP and spectrophotometer can provide you with the tools to produce an industry standard ISO or G7 proof, with certification.

We cannot cover everything about CM in a short a blog but to conclude… One of the most overlooked areas in any CM workflow is using the correct lighting for standardised viewing conditions – ISO 3664:2025 viewing conditions – the standard for photography, graphic arts and print. As stated earlier you will need a suitable ISO 3364:2025 system for soft proofing – you could argue against it but its value to your visual assessment will prove immeasurable (pardon the pun!). For accurate visual assessment of guide prints, contract proofs and ANY print matter, an ISO 3664:2025 viewing system is non-negotiable!

We cannot cover everything about CM in a short a blog but to conclude… One of the most overlooked areas in any CM workflow is using the correct lighting for standardised viewing conditions – ISO 3664:2025 viewing conditions – the standard for photography, graphic arts and print. As stated earlier you will need a suitable ISO 3364:2025 system for soft proofing – you could argue against it but its value to your visual assessment will prove immeasurable (pardon the pun!). For accurate visual assessment of guide prints, contract proofs and ANY print matter, an ISO 3664:2025 viewing system is non-negotiable!

To realise the full benefits of color quality management in print and using a colour spectrophotometer, please contact us via our contact form

Producing a print campaign and marketing materials across different print formats and processes with consistent colour can be a real challenge. You could be dealing with offset, wide format display and signage, digital production print, even flexo for packaging! It will never be perfect but consistent colour is achievable throughout these print processes with effective colour management control.

Colour Management – How can it help?

Colour Management (CM) can mean different things to different people. Essentially CM is about how the colour is converted in a workflow (think RGB to CMYK) and how colour is managed with wide format and digital print and with digital proofing. The colour on your phone, tablet or TV screen is RGB (Red, Green and Blue), compared to offset, wide format and digital print, which is CMYK (Cyan, Magenta, Yellow and Black). Your computer monitor may be calibrated for colour accuracy, which is a BIG plus, but it is still RGB.

TV and LED display screens can achieve very bright, vibrant and saturated colour compared to any form of traditional print. Therefore, it is vital to keep this in mind when you are embarking with print marketing.

CM for print or colour quality management in print is about achieving colour consistency across the various media types and print processes used in your print marketing materials. If you are putting together a marketing campaign across the internet, TV and print it will be difficult to achieve perfect colour matching over these diverse forms of information, product and brand delivery. However, using best practice in CM can go a long way to achieving more acceptable, consistent and predictable colour from the design stage through to RGB display and CMYK.

Many of the big global brands are very aware of this and as such they have well documented colour specifications for their brand colours for RGB and CMYK.

What is the key to Colour Management?

Well, first, remember that we are dealing with two entirely different colour spaces – RGB and CMYK.

– RGB for ‘digital’ media (TV, computer screen, phone, tablet, large advertising display screen, etc.)

– CMYK for print – ink on paper or plastic for offset and ink onto a “core flute” material or foam core board or self-adhesive vinyl for wide format are good examples…

Now RGB is based on emissive technology – bright light on a LCD or LED screen. The screen is black when it is off, but when it is ON you are going to see very bright, vibrant and saturated colours, as we stated at the outset. This equates to a much larger and broader range of colours (or larger gamut) than is achievable in CMYK.

CMYK relies on the ‘paper’ or white substrate (white background) to reflect the available light which translates to a smaller or less saturated gamut.

This means your CMYK print campaign will not have the same colour saturation or vibrancy as your digital media campaign.

It is interesting to note that some of this can be managed by using custom or spot colours in print for brand colours.

And importantly CM is an enabling technology – e.g. it will allow you to simulate the printed result on your calibrated monitor!

My concepts and design are in RGB – What should I do?

The design and concept phase is almost always done in RGB. Why can’t they do it in CMYK? Well, we do not live in a perfect world, and we cannot always get what we want! Photographers and most design schools will work and teach you in RGB – this can mean that their skills and knowledge of CMYK is limited.
Many companies, packaging prepress houses and Ad agencies I work with are well versed RGB to CMYK conversion, but there is still a big gap with much of the creative work being done in RGB. Some companies will provide training or customer service staff to help with the CMYK conversion – even down to providing the Distiller preferences for the conversions.

Some print companies will accept RGB images and elements in the customer supplied files and look after the conversion at the prepress stage or in their workflow or MIS system.

Quite often designers do not know how their designs and files will be used in print – i.e. Newsprint advert? Magazine? Packaging? Hence, they are understandably reticent at designing or doing any form of conversion, as they are unsure about what ICC profile to use and convert to.

What CMYK ICC should I convert to?

– The key here is communication between the designer, the print buyer and the print company.

– When converting from RGB to CMYK it is best to convert to the largest CMYK space available – this then provides the necessary colour gamut for converting to smaller colour gamuts.

– There are ‘large’ CMYK profiles available for free download that provide a media neutral and print process neutral workflow.

To realise the full benefits of printer calibration and using a colour spectrophotometer please contact us via our contact form

An ICC profile by itself by itself does nothing, it is simply a colour description waiting to be used. You need at least two profiles to achieve an outcome. Profiles only work in a transform or conversion – you need a source and a destination profile. e.g. a source profile could be “sRGB” and the destination a CMYK print profile. This means the RGB file with the assigned sRGB profile will be converted to the CMYK space of the destination profile, under the control of the chosen rendering intent – Saturation, Perceptual or Colorimetric. Profiles communicate with each other in a common language, such as “L*a*b*” or “XYZ”.

An ICC profile gives meaning to the RGB or CMYK numbers in a file. For example, a scanner captures RGB information. The scanner RGB ICC profile provides meaning to how the scanner behaves and captures the RGB colour. The profile does not correct how the scanner captures colour it simply describes how the colour is captured. Now if you wanted to display the scanned image correctly you would need to make a monitor ICC profile. Profiles always work in twos!

We have oversimplified it a bit here, as colour management can be complex, but all you have you to do is follow some rules.

C stands for?

Before building a new ICC profile for a scanner, camera, monitor or printer you should calibrate the device first.

Calibrating is the most important step before creating an ICC profile. Calibration is about getting your device into a known, quantifiable and repeatable state.

What does this mean? On a monitor you adjust the brightness and RGB controls until you hit predetermined luminance and colour temperature targets. On an inkjet printer outputting through a RIP, calibration means setting up per channel ink limits, overprint ink limits, CMYK linearisation and grey balance control – it’s about ink media compatibility. Both aforementioned required measurement with an instrument (colorimeter or spectrophotometer) which makes it quantifiable. And if it is quantifiable, then it is repeatable.

After your calibration is complete you can then create your ICC profile.

If your device changes or wanders over time you can re-calibrate it back to the known settings and your existing profile will still be valid.
This is the benefit of having a good calibration process in place.

Every device is unique

Every device colour behavior is going to be different, which is why calibration is so important. Especially if you have multiple devices that you want to simulate to a common output colour space – think ISO Coated v2 (Fogra 39) or PSO Coated v3 (Fogra 51).

Every device colour behavior is going to be different, which is why calibration is so important. Especially if you have multiple devices that you want to simulate to a common output colour space – think ISO Coated v2 (Fogra 39) or PSO Coated v3 (Fogra 51).

Colour management is not perfect – there are device and colour limitations. And sometimes our expectations are set unrealistically too high. Colour measurement, human vision and viewing conditions all need to be properly defined, described and explained.

To realise the full benefits of printer colour management and setting up print quality management please contact us via our contact form

There is no such thing as a standard CYAN. You cannot go down to your local standards office, open the big safe and find a tin of standard Cyan inside.

Valuable production time can be lost due to the colour of ink the just not being right or not suited to job at hand. Other things can combine with this, such as, substrate type and using the correct colour measurement instrument and settings.

Let’s have a look at the key points to check in the press room.

1. Check the Ink
   For process inks, especially if you are printing offset sheet fed or heat set web to ISO 12647-2 your inks should meet ISO 2846-1, as a start. This is a normative reference in 12647-2.
   For special colour inks a draw down sample from your ink supplier is a good place to start. Even better if this is done on the substrate you will print with.
   The draw down can then be measured and the spectral data incorporated into your colour analysis and reporting software (e.g. Mellow Colour PrintSpec or InkSpec) as an in-house standard. If the draw down is supposed to match a ‘library’ colour you can use the in-house measurement data for reporting through your internal quality dept and for improving the match through further discussion with the ink supplier.
   Either of the above is really required otherwise you will be flying blind, so to speak.
   
   
2. Check you are using the right instrument
   You should be using a spectrophotometer with 0/45 or 45/0 illumination. This is the standard geometry instrument that suits most printing and packaging applications. Some highly glossy flexible materials, metallic inks and gold or silver foils may require a spherical spectrophotometer. These types of materials will not measure the same way that we see that colour when using a 0/45 or 45/0 instrument. A spherical spectrophotometer can be set up exclude or include the gloss component – excluding the gloss can provide an improved visual colour match depending on the material being measured.
   
   
   
   ‘SEE the sample diagram above’
   
   
3. Check your instrument measurement settings
   Make sure you are using the same, and correct, settings for the illumination and observer according to the standard. Most colour standards will specify D50/2 degrees – some brands and paper manufacturers may use D65/10 degrees. Check you are using the same illuminant and observer as specified.
   
   
4. Check your measurement mode
   This is like choosing a filter setting in your spectrophotometer. The latest ISO 12647-2:2013 specifies M1 mode, to adjust and allow for the increased use of optical brighteners in substrates today. You may have been or are currently using M0 mode which is the older ‘legacy’ setting for most older instruments. Check what is specified in the standard. Changing to M1 can mean a lot of re-measuring standards etc., but it is worth it in the long run. Other modes are M2 (UV cut) and M3 (Pol filter).
   
   
5. Check your Backing
   When you measure a thin or slightly transparent substrate you should always use the correctly specified backing material, underneath the substrate to be measured. Black backing ensures there will be no influence of what is underneath the sample or printed on the other side. White backing is the standard for measuring digital proofs. If you print flexo, and / or just print on one side, white backing will be fine. And there are ISO standards for backing.
   – It is worth noting that the next revision of ISO 12647-2, due in 2027, will only include data and co-ordinates for white backing.
   
   
6. Check your dE (delta E) setting
   What dE tolerance method should you be using? What is specified in the standard? ISO 12647-2 uses CIELAB dE or dE 76. Many print buyers and brands are specifying dE 2000. Make sure you are using the correct dE according to your job and standard.
   
   
7. Check your measurement and reporting procedures
   Measurement of printed samples and reporting should have a clearly defined step by step procedure. This will help avoid mis-reads of samples and strange report results appearing randomly. A procedure or set of procedures should be available to all who are responsible in the colour workflow. These are sometimes called standard operating procedures (SOP’s). A set of SOPs also enables new staff to be trained correctly and effectively.
   
   
8. Check the measurement data source
   Target L*a*b* values should be created from spectral measurement data. L*a*b* values require reference information, such as;
   
   a) illuminant and observer (e.g. D50/2 degrees)
   b) Type and Specification of Backing (White or Black)
   c) Measurement Mode (M0, M1, M2 or M3)
   d) Instrument Geometry, Instrument manufacturer, model, etc.
   e) Instrument certification (up to date?)
   f) Instrument aperture size (2mm, 3mm or ?)
   
   Straight L*a*b* values with no reference data will have no meaning and cannot be used to accurately communicate colour.
   
   

As you can see not all colour measurement is equal. Care and attention needs to be taken when measuring standards and samples!

For more information about the benefits of using a Colour Spectrophotometer training and the TECHKON instrument range please contact us via our contact form

Dependable and reliable colour measurement can be affected and influenced by a number of factors, such as, instrument type, instrument settings, backing, optical brightening agents, calibration, environmental conditions and more…

Some of the above can be controlled by software so you will need to check and re-check your configuration. Incorrect settings will directly affect the software you use for collecting, comparing and reporting your colour measurements.

Instrument Type

Spectrophotometers basically come in three types of geometry, 0/45 or 45/0, Sphere and Multi- Angle.
For ‘print’ colour measurement we would be using a 0/45 or 45/0 instrument, which means the light source and measurement are fixed at one of the two aforementioned angles.
Sphere and Multi-Angle instruments are mainly used for ‘industrial’ colour measurement, plastics, architectural coatings, metallic paint, etc.…

If you are comparing and sharing measurements then you should be using the same geometry and instrument type/model, etc.

Settings

Spectrophotometer settings have a direct effect on the final colour measurement values reported. Keep the same settings for consistent measurements and document your settings.

Documented settings might look like:

• 0/45 Geometry (Instrument Geometry)
• D50/2 (Illuminant and Obsever)
• M0 (Measurement mode – M0, M1, M2 or M3)
• 3mm aperture (Measurement aperture size)
• Black Backing (Backing can be white or black)
• dE2000 (Colour difference formula – dE76, dE94, dE2000, dE CMC)
• Absolute White Calibration – Calibration on white reference or substrate?

Papers or Substrates with Optical Brightening Agents (OBA’s) or FWA’s (fluorescent whitening agents)

Much of the paper produced today contains an amount of OBA’s. This chemical compound absorbs light in the UV region which then makes it appearance to our eyes in the blue region of the visible spectrum.

i.e. Paper with OBA’s looks brighter and ‘whiter’ but is actually ‘bluish’ and this is evidenced by spectral measurement and the subsequent ‘lower’ b* value. Fine Art and some special cotton-based inkjet photo papers usually contain no OBA’s and therefore appear more ‘yellowish’ than ‘white’.

– You should use M1 or M2 for papers with OBA’s.

The image on the left is with UV light. The top printed sheet contains a high amount of OBA’s, as can be seen by the way it is ‘fluorescing’.

The colour difference between two solid Yellows, using different dE formulas…

Calibration

Spectrophotometer calibration on the absolute white standard is often underestimated in importance.

Before every series of measurements, a calibration should be carried out. After calibration, most devices, are stable for a long term, but we would always recommend performing calibration before starting a new series of measurements to ensure the device is working properly.

And, very important:

• Make sure the calibration plaque (white tile) is clean
• Make sure the plaque is not damaged or marked
• Use the plaque ‘matched’ to the device (same serial number)

If the plaque is not clean or marked it will introduce incorrect measurements or errors. The plaque serves as a reference, so the device then knows what ‘white’ actually is. Using a plaque from another device may allow the device to ‘calibrate’, but this will still introduce measurement errors…

Certification

Is the instrument certification up to date? Handheld and bench top spectrophotometers are precision instruments, manufactured to tight tolerances. Proper use, care and maintenance of your device will provide with you long term stable results, but they can change or drift over time and even become damaged in way that is not obvious to us.

Instruments should be periodically checked and re-certified by the manufacturer to ensure operation within specification. Some manufacturers recommend re-certification every 24 months, others every 12 months.

Setting up an in-house validation procedure for your instrument(s) is also beneficial as it allows you to track instrument performance over time, and can alert you to instrument problems and ‘drift’…

Environmental considerations

Spectrophotometers are often used in varied and diverse environments – Office conditions, production areas, laboratory or quality departments, next to or on manufacturing equipment, etc. But they are still precision instruments and do not like extremes in temperatures or being dropped. Dust, dirt and other contaminants are enemies of spectrophotometers – dirt or dust on the optics can really affect the measurements. Take care to ensure your instruments optics are kept clean – dry compressed air is good to clean dust/dirt from external optics, external glass and the casing.

Spectrophotometers are often used in varied and diverse environments – Office conditions, production areas, laboratory or quality departments, next to or on manufacturing equipment, etc. But they are still precision instruments and do not like extremes in temperatures or being dropped. Dust, dirt and other contaminants are enemies of spectrophotometers – dirt or dust on the optics can really affect the measurements. Take care to ensure your instruments optics are kept clean – dry compressed air is good to clean dust/dirt from external optics, external glass and the casing.

To get dependable measurement you should pay close attention to;

• Measurement settings – including backing
• Instrument calibration procedures – including checking the white tile
• Certification, is it up to date? And in-house validation procedure
• Where is the instrument used? – consistent room temperature, dust and dirt

For more information about the benefits of using a Colour Spectrophotometer training and the Printer Colour Calibration please contact us via our contact form