The ColorBoost function makes images more saturated and vivid explains the company. The flexography function MinDot Adjust is now also available for defining the tonal-threshold value for spot colours. The Set-with-curve option, explains GMG, ensures the capture of gradient details when doing so. In addition, MinDot Adjust can now also be used on hidden or locked layers.
With GMG ColorPlugin 1.3, individual channels can be exchanged or removed entirely or selectively. The automatic compensation by the remaining channels ensures colour consistency when doing so. It is also possible to make a colour-accurate conversion between a range of colour spaces – in the Pro version also based on a self-created colour profile.
The Presto Spectro measures density, dot gain, dot area, gray balance, trapping order, L*A*B*, Lch, Delta E, and opacity. It also includes a new feature called Spot Color Tone Value (SCTV), which the company describes as especially useful for flexographic spot colour tone matching.
The Presto Spectro-Densitometer needs no chargers, explains the company, running on AA batteries for 50,000 measurements per battery set. Beta also explains it features an “ever bright” white display that makes reading values easier, as well as an “Easy Glide” track designed to never touch wet ink.
The Presto Spectro includes a built-in 32 colour customizable library that is expandable to thousands of colours with the addition of the optional PrestoConnect Color Library software and database, which maintains job parameters to create, collect and manage colours and job information. The PrestoConnect Color Library software database can organize by colour, customer and job date.
The new Spectro LFP qb spectrophotometer from Barbieri comprises three components. First, the Spectro LFP platform is the measuring stage with an enhanced clamping system and integrated M1 backlighting (for transmitted light measurement).
The spectral unit (measuring head) incorporates the latest qb technology and comprises what the company describes as the high-precision spectral core, three light sources for uniform illumination of the media surface from three different angles, and seven LEDs to guarantee real M1 daylight illumination pursuant to the standard. The spectral unit has another extremely useful feature, explains Barbieri: The measuring head is removable and therefore ideal for fast and reliable spot measurement.
The third component, the sensing unit, is described by the company as an innovation in the field of professional digital printing: an integrated camera offering a range of applications never available before. With the help of the camera, the measuring device automatically recognizes the target, performs a precision measurement and communicates the position and the photo to the RIP software for further processing.
The new system also includes switchable apertures (2, 6, 8 mm) for measuring different materials, surfaces, inks and resolutions.
“We want to turn our customers into top performers so that they can deliver the very best certified quality to their customers. Our Spectro LFP qb incorporates the know-how we have built up through 15 years of collaboration with leading international bodies, regular customer feedback and experience on the market,” said Markus Barbieri, Director of R&D. “Now we are satisfied: We can offer our customers not only solutions for existing problems but for the first time also a platform that opens up a world of new possibilities and applications.”
The new DFEs, running on the latest Fiery FS200 Pro platform, are geared for RISO ComColor printers, running at 160 pages per minute. The new DFE provides centralized job and colour management.
“Adding ComColorExpress FS2000C powered by EFI Fiery to our top-of-the-line ComColor GD series will bring significant added value for RISO customers,” said Andre D'Urbano, RISO's Director of Strategic Business Development. “We are especially pleased with the ease of use this solution provides, which gives operators the ability to perform even the most complex tasks with a fast learning curve.”
RISO customers now have access to Fiery make-ready options such as Fiery Impose, Compose, and JobMaster, as well as productivity features like Fiery JobFlow Base for automation of job preparation and Fiery Hot Folders for drag-and-drop file printing workflows. Customers can also use the server to integrate their digital printing operations with EFI’s Digital StoreFront Web-to-print and Productivity Suite MIS/ERP workflows.
Colour management in the Fiery DFE along with tools available in the optional Fiery Color Profiler Suite maintain consistent colors throughout and between print runs. Operators can correct brand colours such as corporate logos with Fiery Spot-On and enhance photos in a click with Fiery Image Enhance Visual Editor.
GMG OpenColor 2.1 now offers a measurement capability for custom patches. Whereas previously customers would require a specific test chart to create a color profile, GMG OpenColor 2.1 enables the measurement of full-tone patches from a print control strip, or even solid patches and tint patches on the running printed sheet and to create a profile from the captured spectral data, something no other profiling tool can achieve.
The second key development in GMG OpenColor 2.1 is the inclusion of a detection tool for optical brighteners, which overcomes the issue customers face when they want to create a profile for a substrate and find that the proof doesn’t match the print as it hasn’t taken account of the optical brighteners in the printing material.
However, when a customer measures a test chart, mini-strip or patches using GMG OpenColor 2.1, the software identifies optical brighteners in the substrate and recommends the correct measuring mode settings and the use of a proofing paper that also contains optical brighteners, such as the GMG ProofMedia OBA series.
Techkon explains the spectro-densitometers have settings on them for Measurement Condition (M0, M1, M2, & M3), Illuminant, Observer, Density Filter, etc. and sometimes these settings are mistakenly changed to the wrong settings. To help ensure press operators are taking colour measurements that are accurate for the job they are measuring, Techkon has introduced ColorEnsure for the new ChromaQA 3.0. As a job is created in the ChromaQA Spec module. This defines the key colours to be monitored along with the reference or aim values for those colours and customer specific pass/fail tolerances.
Before every sample is measured, the ColorEnsure feature automatically checks the connected SpectroDens instrument to be sure that the instrument is set up exactly as specified in the job. If the instrument is not set up properly, the operator will see the dialog box below alerting them to the situation.
X-Rite Inc., together with subsidiary Pantone LLC, has expanded its PantoneLIVE cloud-based technology, designed for communicating colour via digital networks, with the addition of six new colour libraries for gravure printing.
The company also released PantoneLIVE Visualizer, a new software tool that aims to help graphic designers, brands and print suppliers better compare, evaluate and visualize colours across multiple substrates and printing technologies. The goal of Visualizer, free to existing PantoneLIVE users, is to show variability in colour is the result of changes in the base material, printing process and ink types. Visualizer delivers an on-screen visualization of Pantone Master colours (target) and achievable PantoneLIVE Dependent colours.
X-Rite explains that sometimes, due to the realities of production materials and processes, the desired Pantone Master Standard colour cannot be achieved with the target substrate and printing technology. Pantone Dependent Standards are designed to represent desired Master Standards in these cases, and are the Pantone-approved best match to the Master standards. With PantoneLIVE Visualizer, users can now visually compare and assess colour selections in a variety of production scenarios. Results from Visualizer can be exported into print-ready PDF documents that can be shared across the supply chain to better communicate design intent.
“PantoneLIVE was created to help share accurate and achievable colours across a package printing supply chain,” said Adrián Fernández, VP, PantoneLIVE, X-Rite. “In partnership with our customers, we are continuously evolving the platform to support a wide range of packaging applications and help designers easily visualize on-screen how colour palettes will appear in production.”
Fernández continued to explain PantoneLIVE now offers more than 50,000 Pantone colour choices and supports 80 percent of packaging applications: “By increasing the depth and scope of PantoneLIVE, designers and brands are able speed up the entire packaging design process and get products to market on average four times faster.”
PantoneLIVE’s six new libraries for gravure printing are ultimately aimed at the production of flexible and label applications. Two of the new libraries, according to X-Rite, are designed to help brands and converters match colour on increasingly popular metallized flexible packaging and label structures.
The new PantoneLIVE libraries include:
Labels gravure process using solvent ink printed on coated paper with gloss-neutral varnish;
Flexible packaging gravure process using solvent ink printed on clear film substrate with gloss-neutral varnish;
Flexible packaging gravure process using solvent ink printed on clear film substrate over white ink with gloss-neutral varnish;
Flexible packaging gravure process using solvent ink reverse printed on clear film substrate over white ink;
Flexible packaging gravure process using solvent ink reverse printed on clear film substrate over white ink laminated to aluminum; and
Flexible packaging gravure process using solvent ink printed on aluminum substrate over white ink with gloss-neutral varnish.
The Color of the Year selection is determined at the Pantone Color Institute from where Pantone’s colour experts search around world looking for new colour influences. For 17 years, Pantone’s Color of the Year has influenced product development and purchasing decisions in multiple industries, including fashion, home furnishings and industrial design, as well as product packaging and graphic design.
“While Serenity and Rose Quartz, the PANTONE Color of the Year 2016, expressed the need for harmony in a chaotic world,” said Leatrice Eiseman, Executive Director of the Pantone Color Institute, “Greenery bursts forth in 2017 to provide us with the hope we collectively yearn for amid a complex social and political landscape. Satisfying our growing desire to rejuvenate, revitalize and unite, Greenery symbolizes the reconnection we seek with nature, one another and a larger purpose.”
Pantone continues to explain Greenery brings a natural connection to people’s daily lives through urban planning, architecture, lifestyle and design choices globally – “it is an omnipresent hue around the world.” Often associated with environmentalism and nature, Pantone continues to explain Greenery is also a unifying thread in tech and innovation because of its association with boldness, vigor and modernity.
“The tangy yellow-green speaks to our desire to express, explore, experiment and reinvent, imparting a sense of buoyancy,” said Eiseman. “Through its reassuring yet assertive vibrancy, Greenery offers us self-assurance and boldness to live life on our own terms, during a time when we are redefining what makes us successful and happy.”
Past selections for Color of the Year include:
PANTONE 15-3919 Serenity and PANTONE 13-1520 Rose Quartz (2016)
PANTONE 18-1438 Marsala (2015)
PANTONE 18-3224 Radiant Orchid (2014)
PANTONE 17-5641 Emerald (2013)
PANTONE 17-1463 Tangerine Tango (2012)
PANTONE 18-2120 Honeysuckle (2011)
PANTONE 15-5519 Turquoise (2010)
PANTONE 14-0848 Mimosa (2009)
PANTONE 18-3943 Blue Iris (2008)
PANTONE 19-1557 Chili Pepper (2007)
PANTONE 13-1106 Sand Dollar (2006)
PANTONE 15-5217 Blue Turquoise (2005)
PANTONE 17-1456 Tigerlily (2004)
PANTONE 14-4811 Aqua Sky (2003)
PANTONE 19-1664 True Red (2002)
PANTONE 17-2031 Fuchsia Rose (2001)
PANTONE 15-4020 Cerulean (2000)
Touch7 takes just one mouse click inside of Photoshop to produce up to a 7-colour separation of an image. However, Photoshop does not provide an accurate colour representation of any separation with more than CMYK or RGB images,” said Touch7’s Founder and CTO, Richard Ainge. “We are not a colour management company so we partnered with RemoteDirector to provide us with an OEM version of their technology.”
Mark Geeves, Director of Sales and Marketing for Touch7, explained: “We have targeted the digital press and printer markets with our Touch7 Soft-Proofing solution since people forget these presses are really production machines and there is a real need not to use them as proofing devices until the design is ready. If printers take six minutes of production time to produce 10 proofs a day then you have one hour of production time wasted.
“Touch7 creates an extended colour gamut separation in seconds,” continued Geeves, “which saves hours of manual masking and now with our Soft-Proofing solution, digital presses and printers are more productive as well.”
Touch7 is powered by Khaos Technology, a developer of Adobe plug-ins and software tools for the printing industry.
The Color Conference, held this past December in Phoenix, was an orgy of expanded gamut software, tools and technologies. In sunny Arizona there were solutions for expanded gamut printing from Heidelberg, Esko, Xerox, GMG, CGS and PANTONE. It is now important for commercial printers to understand this new revolution in expanded gamut printing, as more of the industry’s biggest technology providers are developing substantial products in this area.
In general, we have printed for a long time using four process colours – CMYK – and when a customer needed something more colourful we created a separate spot channel plate and ordered ink or requisitioned the ink from the in-house mixing lab. This is the way we have worked for many years in offset and flexography. Digital devices, such as the HP Indigo, are also able to print with extra colour units and Indigo customers throughout North America order their spot colour toner from a lab in Rochester. In this type of usage, the spot colour channels did not expand the overall gamut per se, they just sent some colours to the separate plates or printing units.
Colour paradigm shift
Expanded or extended gamut printing is a paradigm shift in terms of colour and colour gamut. In expanded gamut printing, we move from four-colour printing to seven-colour printing and our base set of process colourants is now seven colour, which can be different for different systems. For example, the new PANTONE+ Extended Gamut swatch book is printed using CMYK plus Orange, Green and Violet (OGV). The Xerox iGen5 has a 5th toner station and can extend the colour gamut with CMYK plus Orange, Green or Blue (OGB). The swatch book is available as a traditional swatch book as well as in software – PANTONE Color Manager – and shows how spot colours would be reproduced in seven colours (CMYK+ OGV).
We can create an ICC colour profile for this extended gamut process and analyze the extent of the expanded gamut using colour management tools. One indicator of the increase in gamut size and volume is to assess how many more spot colours can now be accurately reproduced by mix of the CMYK+OGV ink set. The big advantage is that we can reproduce many more spot colours without using separate spot colour printing! In other words, we do not need to make spot colour plates and order spot colour inks to accurately reproduce many spot colours.
In addition, we have the benefit of just keeping the press running with this expanded colourant set and no press wash-ups. Only the most colourful of spot colours with the most exacting and high-paying client would now warrant traditional spot colour treatment in making a separate plate and ordering a spot colour ink.
In an extended gamut printing process, many more spot colours will now be in gamut of a seven-colour process. An important new requirement is that software tools need to give you an indication of the accuracy with which the process can reproduce any given spot colour. Every colour management vendor at the Phoenix conference was showing new software that enabled users to gauge their seven-colour-process ability.
Proof is in the pudding
The new world of expanded gamut printing also needs to consider proofing. We still may need to create inkjet proofs for the customer. The inkjet proofer must be able to accurately proof the CMYK+OGV press sheet. An inkjet proofer does not need to have exactly the same OGV colourants as a press, but it does need to have the ability to print the increased gamut, so typically the Epson Stylus Pro 7900 has CMYK + OG, while the Epson Stylus Pro 11880 has Vivid Magenta to try and keep up with a CMYK+OGV press. It may be non-intuitive, but there is no requirement for the inkjet proofer to have cartridges that match the units on the press it is trying to simulate. An inkjet proofer can use any inks as long as it can create a sufficient colour gamut to proof the press colours.
There are pressures on commercial printing today to increase colour gamut and reduce costs. Using an expanded gamut set meets both of these requirements. It is more economical to use an expanded gamut ink set rather than wash up of spot colours for individual jobs.
We are likely to see increased use of expanded gamut tools and printing in all areas of commercial offset and flexo package printing. We have already seen installations of digital presses with an expanded gamut toner ability. Based on the tools and technologies coming to market, from all the major companies, expanded gamut printing is here today and growing tomorrow.
“Extended colour gamut grinting is nothing new to the printing industry, however, Touch7 with it’s automated and simple one-click colour palettes and plug-ins, empowers designers and prepress personnel to do in seconds, what currently can require hours in manual processing and masking,” explains Geeves, Touch7’s Director of Sales and Marketing.
“The developments by ink companies, print engines, RIP manufacturers and ICC profiling tools has been extensive over the past years, however, no one has really focused on the necessity for providing creative tools for designers, so that they can utilize these developments and reduce their cycle time to production,” continues Geeves.
He explains Touch7 is designed as an intuitive system to help brands utilize extended gamut printing at a fraction of the time and cost associated with doing manual processing, and without the necessity to send files through a dedicated colour separation system. Geeves explains this opens up extended gamut printing to some of the industry’s smallest print shops.
Richard Ainge explains the "true power" of Touch7 lies in its automated ECG colour palettes and plug-ins for Adobe CC, which allows designers to create artwork in an extended colour gamut, without having to leave the Adobe environment.
Touch7 is comprised of three primary components: Touch7 Photo, Touch7 Vector and Touch7 Soft-Proofing.
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Labelexpo Americas 2018
September 25-27, 2018
PAC to the Future II, Retail Reinvented
September 26-27, 2018
Howard Iron Works Print Expo & Fair 2018
September 29, 2018
September 30-2, 2018
Ghent Workgroup Graphic Arts Workshop
October 9, 2018
October 18-20, 2018