Creative – Colour Graphics Services

Display to Output – Precise Print by Colour Management

The Colour Doctor — Tue, 22 Mar 2022 15:44:50 +0000

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

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.
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

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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.
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’.
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

Does your Densitometer or Spectrophotometer have an expiry date?

The Colour Doctor — Tue, 01 Dec 2020 13:32:00 +0000

Measurement instruments do not have an expiry date, but they may have a ‘use’ by date. What we mean is that after some time you may not be able to get parts, service or support if the instrument is has ceased to be manufactured.

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

Can I you ever reach colour management utopia?

The Colour Doctor — Mon, 10 Feb 2020 13:33:00 +0000

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!

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

Colour Management in Print – RGB or CMYK?

The Colour Doctor — Sun, 26 May 2019 13:29:00 +0000

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

Why Techkon products are at the top of the list when it comes to colour control

The Colour Doctor — Tue, 12 Feb 2019 21:28:00 +0000

For printers, quality managers, brand managers, prepress – Techkon is always the first they will reach for to complete colour process control and quality assurance.

Colour control and Quality Assurance

Techkon handheld and scanning measurement instruments can show you a pass or fail according to international, in-house or customer standards. Combined with ChromaQA, easy to use, but sophisticated quality assurance solution is able to show printers and quality managers the colour results from production on press as it happens. Alternatively link your Techkon with top of the range Mellow Colour PrintSpec (CMYK), InkSpec (Spot colours) and Impression Proof for cloud based remote colour approval without having to leave your office or do an on-site press check! With Techkon make ready times are reduced, colour consistency and accuracy is improved, re-prints or re-makes are reduced, press utilization is increased all of which brings you significant savings in paper and ink. Colour issues and problems are detected earlier in print production.

Ease of Use and User Experience

Techkon provide instruments that are fast, accurate, and the most comfortable & effective colour measurement tools to use in the pressroom or in prepress. Press operators consistently prefer Techkon to the standard press manufacturers devices they have used previously. Techkon’s close attention to detail in the product design process ensures the best user experience. End user feedback from the field, incorporating real world work environments makes, means Techkon the number one choice where critical colour management is required.

Third Party Connectivity

Techkon believe that their open connectivity approach is in the best interests of their customers and end users. has always believed that an open approach is far better for our customers. With strict adherence to measurement mode standards, it is no coincidence that Techkon measures like those from the largest competitor thus ensuring interchangeably at any point across the print production workflow. Additionally, Techkon instruments connect seamlessly to a vast array of third party colour quality software applications. Techkon’s global network of software development partners is always increasing with commitment to an open approach moving forward.

First Class Service

Techkon and their worldwide partners place the greatest importance on exceptional customer service. Customers require our responsiveness and willingness to help so they can succeed in business. Techkon and their global partners utilise extensive customer, industry and product experience to provide highly personalized advice and guidance through the sales process and anytime you need support.

To realise the full benefits of the TECHKON SpectroDens, SpectroDrive, SpectroPlate and DENS instruments please contact us via our contact form

What does ICC profiling do?

The Colour Doctor — Sat, 09 Feb 2019 16:07:00 +0000

I get asked this question all the time. What does ICC profiling do? A lot of people say to me, “It will fix my bad colour, right?” Well, not really. Making a new ICC profile does not fix bad colour – there is more involved here.

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).

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

Is it worthwhile to keep up with the latest standards for printing and packaging?

The Colour Doctor — Tue, 17 Jul 2018 13:30:00 +0000

The short answer is YES! Standards enable everyday life. From paper sizes, think A4, to the building of a modern home that you may live in – two examples of where standards are used and without them either of the aforementioned would not be possible.

Standards in print allow you to justify and account for the operational processes in manufacturing. Standards assist with your methodology in providing your customers with the expected printed product. Utilizing the colour quality standard ISO 12647-2 helps you to maintain customer satisfaction and loyalty and reduces the risk of costly reprints because of poor or out of tolerance colour. Print companies who keep up with the latest standards are building a reputation for quality through accreditation with a recognized standard.

You are probably aware that standards are constantly being updated, every 5 years or so. This can mean a minor revision to a complete re-write. With the rapid advancement of digital technology there are several changes underway with new ISO standards being developed.

New standards in Print

The best-known standard is ISO 12647-2, the offset colour. The latest release was in Dec 2013 and a review should be complete by next year, 2027.

The values contained in this document are often used as a reference for other print processes and systems.

ISO 19301, 2 and 3 are emerging standards for colour quality management, colour conformity of a printing workflow and packaging printing colour reproduction.

Additional there will be reviews of ISO 15311-1 and 2, which covers measurement methods, reporting schema and print quality requirements. These can used for digital and traditional forms of printed materials.

There is also work under way to enable consistent and objective comparison of the colour gamut of different printing systems.

In a declining industry Packaging is one of the few areas to show slight, but steady increases in overall volume, year on year. A vital and large area of packaging is produced by the Flexo print process. Consistent brand colour is imperative here and with continuous improvements in Flexo print technology the use of spot colours within tonal reproduction is on the rise. Checking for solid or 100% spot colours is well documented. The recently released ISO 20654 specifies the new method required for measuring the calculation of Spot Colour Tone Values (SCTV), which is much more accurate – This differs from the usually used Murray Davies formula used for process colours. This will most likely be used in the next revision of the ISO 12647-6 flexo standard. See the examples of ‘normal’ dot gain measurement Vs SCTV measurement on a ‘RED’ spot colour below.

Having a colour quality management system in place with good procedures, measurement and records requires a cross section of, colour and QMS standards. Many print companies do have limited colour management (CM) policies, they believe in performing printer calibrations and their digital colour CM is looked after by their preferred digital equipment supplier, but this is not enough… It is only a small part of the equation. and in that situation, you are not in control.

How to keep up to date?

To keep up date with new and changing standards, industry requirements and brand owner expectations is not an easy task. The internet of course has made communications and the transfer of knowledge and information much easier, but not always reliable.

There are usually local print industry groups and ISO Technical Committees (TC) who are more than willing to advise, help and listen to your opinion. If you feel that you input is warranted it is definitely worth your while to get in touch.

You can of course stay in touch with me for all the latest in what’s happening with colour standardisation, as I volunteer my time on the local TC130.

For more information about what’s happening with colour standardisation and the benefits of using a Colour Spectrophotometer training and the TECHKON instrument range please contact us via our contact form

The Colour of your Ink can influence your Printed Results

The Colour Doctor — Sat, 05 May 2018 16:21:00 +0000

CMYK or process colour printing should be as easy as pie, because if you are using straight process colours the variables are greatly reduced – right? Wrong!

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.

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.
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’
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.
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).
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.
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.
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.
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 Expected Colour Measurement

The Colour Doctor — Sun, 29 Apr 2018 15:43:34 +0000

A spectrophotometer measures the actual wavelengths of light, the ‘Spectral composition’, and provides the most accurate approach of measuring colour. Wherever there is a requirement for high level colour control and colour analysis you will find that a type of spectrophotometer is in use.

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.

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

Common Colour Measurement Difficulties

The Colour Doctor — Mon, 12 Mar 2018 13:25:00 +0000

You have taken the utmost care with the latest ‘XYZ’ brand packaging print job.

Measured and verified the digital proof is within the required ISO 12647-7 tolerances for CMYK and for the brands spot colours. Measured and checked that the viewing conditions on press and your viewing system in the quality department are within ISO 3664. Measured, checked and reported that the required number of printed samples are within the customer requested tolerances (dE, TVI, Grey Balance). Checked and completed in the in-house validation of the measurement instruments used. 

Checked that the instruments used are up to date for manufacturers maintenance, service and certification.

All ok from your side, right! But your customer is complaining that the colour is no good, out of tolerance….

Why is this happening?

We often get called in to help and assist sort out situations like this. The solution is fairly straight forward.  

You need a documented Colour Quality Measurement procedure that clearly defines how colour is going to be measured, analysed, reported and viewed.
There needs to be agreement by all parties concerned. 
All parties then need to follow and adhere to the agreement.

What do you need to include into the colour assessment procedure?

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Instruments: You and your customer maybe be carrying out colour measurement but that does not mean you will get measurement agreement. What do need to consider about colour measurement instruments?  

Type?  There are various types of instruments – Densitometers, Colorimeters & Spectrophotometers. 

Densitometers are mainly used to measure the ink film thickness. i.e. ink on paper, more ink = higher density. Good for process control for hitting target densities when printing and checking if the inking is even across the sheet. A densitometer can also tell you about dot% and/or dot gain-TVI (tone value increase). A densitometer is a colour-blind instrument.  A Colorimeter is a low-cost way to measure and do basic evaluation.  

A Colorimeter uses only 3 filters (RGB) to capture colour…  

Spectrophotometers are at the top of the pile! They provide the most accurate capture of colour.    

Geometry and Model?  There are basically three types of spectrophotometer geometry – 0/45 or 45/0, Sphere and Multi- Angle.  

All three of the aforementioned have their place, but they work entirely differently. Two spectrophotometers with the same geometry will not measure colour exactly the same due to manufacturer differences and instrument specifications.  

To confirm measurement consistency everyone should use the same type, and model of spectrophotometer.   

What Aperture Size?  All spectrophotometers have an aperture that is a fixed size. It could range from 1.5mm to more than 20mm. The size of the aperture definitely has an effect on the measurements. You need to use the right size aperture to suit your ‘job’ at hand. Measuring 3mm square printed patches? You will need to use a 1.5mm aperture for spot measurement.   

Using a larger aperture for spot measuring 3mm patches and you run the risk of including the background or surrounding colour outside the patches.  

Everyone should be using the same size aperture.     

Measurement Mode?  

Spectrophotometers can have different measurement modes and settings. In 45/0 instruments the measurement mode is usually set and controlled by the M condition. i.e. M0, M1, M2 and M3.   

It is vital that everyone uses the same mode! 

Measurement Backing?  For print measurement this is very important. Black or White Backing? For double sided print material, on a thin substrate (e.g. 80gsm paper) you should use Black Backing to stop the show through or to stop the influence of printed colour on the other side of the substrate 2∘. Information about the standard for backing is contained in ISO 13655. You can also use some software tools to evaluate whether your backing is within the tolerances of the specification.  

Everyone should the same specification of Backing.  

Illuminant and Observer?  

The Observer angle will directly affect the measurement results. For ‘print’ colour measurement the Observer is usually set to 2∘. Spectral measurement data for print is usually converted to L*a*b* using D50/2∘ – (Illuminant and Observer).   

Make sure everyone uses the same Illuminant and Observer.  

In-House Validation, Calibration and Manufacturers service and re-certification?   

Like all things mechanical, your instrument requires scheduled checks and service. Having a procedure and for in-house validation and keeping records is a great way to track your instrument ‘behaviour’ or condition.  

Your spectrophotometer is a significant investment – look after it – keep it clean, well maintained. Keep your measurement check samples clean. Follow a good calibration procedure – Calibrate every time your start a ‘job’ and at least once a day.   

No one likes to be without their favourite instrument! But sending your instrument back to the manufacturer ensures the instrument is measuring and performing within specification. Manufacturers service and re-certification provides peace of mind and also ensures you are up to date for compliance.  
Viewing Conditions (Illuminant)  

The viewing conditions used to assess your colour print results should be standardised across departments, sites and customers.   

For print this means conforming to ISO 3664:2025, which means using D50 for colour assessment, evaluation and measurement (as mentioned in the previous point in this blog!).  

I see all too often a casual approach taken to critical visual colour assessment being completed under non-standard factory lighting or office lighting. THIS IS USUALLY THE EASIEST THING TO FIX AND CONTROL! More often than not, someone’s comments about ‘bad’ colour issue from looking at a printed result or digital proof under non-standard lighting conditions.    

ISO 3664:2025 viewing conditions, of the same type, should be strictly adhered to wherever the print samples are to be visually checked for ‘colour’.
Colour Definition and Tolerance  

There are many ways to define and describe colour, which has caused a huge amount of angst among colour specifiers, quality departments, manufacturers and suppliers.   

We would recommend using L*a*b* as the means to define a colour target or reference. You will also need to describe how the L*a*b* co-ordinates were achieved.  

– Illuminant and Observer?  
– Aperture size? 
– Measurement Mode? 
– Backing? 
– Instrument Geometry, Type and Model  

What is the tolerance amount and the tolerance methodology?  

Defining a pass/fail tolerance should be in line with industry standards (i.e. ISO 12647-2), as well the capability of the production process. And, best of all discuss this at length with your customers, as they are the ones whom you are endeavouring to please and look after! You may use a tolerance of dE 2~3 for spot or custom printed colours…  

The tolerance methodology could be: 
– CIELab (1976) – dE 
– CIE94 – dE94 
– CIE2000 – dE2000 The latter is now commonly used for brand or spot colours…  

The colour definition, tolerance amount and tolerance methodology should ALL be clearly defined, documented and followed by you and your customer(s)! 
Measurement Method  

We covered most of this in the previous point when we discussed about using L*a*b* and how those numbers arrived at. Importantly the measurement method should be same across departments, sites and with your customer.  
This may include using ‘averaging’ when measuring samples and creating a colour definition or standard.  
Environmental considerations and the effects on the standard and sample(s) 

Factory and Office environments can vary widely depending on the manufacturing and production process. This can obviously have an effect on the measurement instrument performance and the condition of the sample(s) to be measured.  

Therefore, measurement should always be done within the same environmental conditions to ensure consistency.  

Printed samples can be affected by ink dry back, UV inks, aqueous coating and varnishes.   

ISO 12647-2 (Offset print standard) states that the measurement is based on dry samples…

How do you eliminate customer disagreements with colour assessment and measurement?

You need a documented Colour Quality Measurement procedure that clearly defines how colour is going to be measured, analysed, reported and viewed. It has to be standardised! Include specifications for:
– Instruments  
– Viewing Conditions 
– Colour Definition and Tolerance amount and methodology 
– Measurement Method 
– Environmental considerations 
Identify the variables in the production process
There needs to be agreement by all parties concerned, and test the process
All parties then need to follow and adhere to the agreement.  

It is possible to improve and maintain predictability with colour. It takes some effort to set up colour assessment and a Colour Quality Management system, but the long-term benefits far outweigh the on-going arguments, disagreements, loss of production, job re-prints, etc…

For more information about Colour Spectrophotometer training and the TECHKON SpectroDens instrument range please contact us via our contact form