In 2010, one of the central innovations at Pantone was the new system for graphic designers, service providers and printers: The Pantone palette was extended by numerous colours and was given a new name: Pantone Plus
The extension by 560 colours was done in two steps:
In 2010, the Pantone palette was extended by 224 colours, which are named from 7548 to 7771 in the Pantone classification. All new colours could continue to be mixed with the previous 14 Pantone basic colours in the print shop.
In 2012, the Pantone Plus palette was expanded by additional 336 colours, which in the Pantone classification are named from 2001 to 2336. In order to achieve these colours, the previous 14 Pantone base colours were extended by 4 new colours to a total of 18 base colours. The new colours borrowed from the Pantone GOE palette are:
Unfortunately, Pantone did not communicate these changes very well. A typical example can be seen in a screenshot from November 8, 2013: On the German and English Pantone pages, there are two completely different numbers for new colours; only the total number of colours on the two Pantone country pages is the same.
The Moiré effect, or in other words a halftone screen overlay, is a common phenomenon when viewing prints. It occurs when two even patterns overlap unevenly.
Moire is always created when screens overlap. Typical examples:
If you own Adobe Photoshop, you can do these conversions directly there. In Photoshop CC all well-known color books are stored with values.
Let’s assume we are looking for the Pantone equivalent and the matching CMYK color of HKS 43 K.
1: Open the color palette in Adobe Photoshop and select HKS K as the book and then the color HKS 43 K. All well-known colour books are directly stored in Photoshop.
Handling wrong profiles with CMYK data / “Profile Mismatch
If we have only received CMYK data from you, we will ignore all input and output profiles and only use the CMYK values that we bring to the ordered output colour space.
You send a file with the profile ISOCoated and a colour area in CMYK 100/70/0/0 and order a proof according to ISOCoatedV2.
We ignore the ISOCoated profile and proof the pure colour value 100/70/0/0 according to ISOCoatedV2.
Why do we do this?
In our proofs, we try to reproduce the “lived reality” of the print as well as possible. In many conversations with printers we have seen that in almost 100% of the cases they do not convert profiles from CMYK to CMYK, but instead put a colour value of 100/70/0/0 on the plate without taking CMYK profiles into account, insert paper and print in conformity with the standards. So we also map this way, although it would actually be “more correct” to perform a colour space transfer from ISOCoated 100/70/0/0 to ISOCoatedV2. However, this results in a different colour value, for example 100/63/1/6 for relatively colorimetric conversion with depth compensation or 100/63/3/15 perceptively with depth compensation!
One of our customers did not proof 30 slightly different, dark blue colour areas in ISOCoatedV2 on our premises, but on the premises of a colleague, under each of which the CMYK value was in black lettering, in order to sample the colour of a powder-coated surface. The customer defined a very well fitting CMYK colour value on the basis of the proofed colour areas, inserted it into his brochures and started the print jobs. Result: The dark blue was a distinctly different blue than on the reference proof, customer and agency were very dissatisfied and went on troubleshooting. Now the case came to us.
We received a file for proofing according to ISOCoatedV2 and compared it with our colleague’s proof. The colours with the same black CMYK values printed underneath were clearly different, but both proofs were provided with media wedges and measured correctly. After some troubleshooting, we came up with the idea of requesting the original proof from our colleague, which also existed. In this one there was a Fogra27Coated profile, thus an implementation of the old ISOCoated. A proof according to ISOCoatedV2 had been ordered at that time. Had it happened? The colleague had taken the input profiles into account, which resulted in a significant change in the CMYK values of the colour patches, as mentioned above, due to a colour space transfer from CMYK to CMYK. The black printed CMYK values under the colour patches had of course not changed. The patterned CMYK value therefore did not correspond to the proofed value at all. Our customer fell from all clouds: “How, our CMYK values were not proofed”. This would not have happened with us, because we would ignore the embedded profile with CMYK data. In this case this would also have been our customer’s expectations.
After almost two hours, we had determined the “error” (or perhaps rather: the “difference”), created a proof for our customer that was “in line with expectations”, which he could use to determine the appropriate CMYK value in ISOCoatedV2, and solved the problem. (more…)
eciCMYK is the colour space for CMYK print production and complements the other Fogra colour spaces, but in contrast to these it does not represent a specific printing process, but is rather “neutral CMYK”. Due to the large gamut of eciCMYK all classical printing processes can be represented, it can be proofed on modern proofing systems without any problems and corresponds in its characteristics to typical CMYK printing colour spaces.
Proofs in eciCMYK / Fogra 53 can now be easily ordered in our Proof Shop, you can select the profile directly when ordering.
Further information on Fogra 53 can also be found on the homepage of the European Color Initiative ECI. Andreas Kraushaar from Fogra also presented the colour space in the Fogra aktuell issue 201, which you can download for free.
We have looked into this question: UPM EcoPrime 76 H is printed on web offset paper in a large print shop. The information of the customer service there was:
EAN, by the way, stands for “European Article Number” and was replaced in 2009 by the global GTIN, “Global Trade Item Number”. The EAN or GTIN is a barcode that can be read automatically and read by barcode readers.
For graphic designers in Europe, two standards from the almost infinite number of EAN codes in use worldwide are primarily important in the product area. EAN 13 and EAN 8, i.e. a barcode of either 13 or 8 digits. What do these numbers actually mean?
From now on you can conveniently order proofs at shop.proof.de:
Users from the print sector have known the ISO PDF-X standards for many years. If the name PDF stands for “Portable Document Format”, i.e. the portable and thus transferable document, PDF “X” is a version specialized for “eXchange”, i.e. the exchange of PDF files. In concrete terms, this means that many of the functions that a PDF file can potentially display (form fields, calculations, 3D elements, films, etc.) but which cannot be controlled in print are prohibited in PDF/X in order to ensure secure data exchange. (more…)
The answer is simple: In contrast to current PDF printing standards such as PDF/X-4:2010, which is exported as PDF 1.6 standard, the PDF-X/3:2002 standard often required by printers uses PDF format 1.3, in which transparency is prohibited. As a result, when you create drop shadows in Adobe InDesign, for example, they are converted into rectangular images. If such drop shadows are still used on background images, the white lines appear, which run horizontally and vertically through the PDF at the shadow points. But why do these lines disappear in print and are not visible in other applications like MacOS Preview?
Acrobat has a preview that applies anti-aliasing to vector elements to make edges as smooth as possible. However, this setting also affects paths and masks that are not actually visible at all. The pixel images of the reduced transparencies are therefore slightly blurred. And this is exactly where the white lines of the blur appear, which are actually zero in size and therefore disappear when printed on postscript-capable printers. Not PS printers partially print the screen display, whereby the lines remain disturbingly.
Most graphic artists know the effect, have postscript printers and simply live with it. However, if you are very annoyed by the white lines or if they also appear in the printout, you can simply switch off anti-aliasing in the Acrobat preferences. Under Acrobat > Preferences > Page Display you can simply deselect the checkbox “Smooth vector graphics”. This makes the edges of vector data slightly more pixelated, but the white lines of anti-aliasing disappear immediately.
This is the first incomplete list. You know of other good reasons? We look forward to any comments and would be happy to add further points.
The sRGB color space is widely used in digital cameras and is the industry leader in the consumer segment. Problem for printing: sRGB is a relatively small color space, and does not cover the color possibilities of modern offset printing systems and digital printers. Since offset printing profiles such as ISOCoated_v2 have a much larger color space, it makes little sense to perform retouching in sRGB.
From our point of view eciRGB_V2, a further development of eciRGB, is optimal. This color space has been specially created for use in the printing sector and offers some strengths:
The AdobeRGB 1998 color space, which has been widely used by Adobe since Photoshop 5.5 and today in all parts of the Adobe product range, is also well suited for the printing sector, but works with a gamma of 2.2 and is designed for degrees of whiteness from D50 to D65. All common print color spaces can also be well mapped in AdobeRGB 1998. You can find Adobe documentation on this color space here.
The background to this is that especially the big german discounters like Aldi, Lidl, Hofer & Co. want to see a packaging proof from their suppliers in advance for approval. This packaging proof is not only visually assessed according to colour, but also the legibility of the printed EAN codes is evaluated using a measuring device and must meet certain criteria: Symbol contrast, modulation, decodability, defects, blemish: all this is measured and graded.
This involves two different risks for the advertising agency or the reproduction company that processes this data: Firstly – according to our information – in most cases the proofs are not viewed under D50 standard light, but under TL84 – the light under which the packaging will also be seen in the later sales situation. This is understandable, since the sales process takes place under TL84 and not under the standard light of a printer. On the other hand, retouching under TL84 is not mandatory, since the spectral behavior of “standard” neon means that it is not possible to produce such a reproducible and “color-accurate” result as under D50. In addition, a colour matching box with D50 and TL84 is available in very few companies, which makes it possible to view the result under both light conditions in the colour retouching.
Secondly, the proofed GTIN barcodes are measured by a measuring device and checked for their mechanical legibility. Whereas a few years ago a press proof was the standard for such tests, today mostly the digital proof is used, since it is much cheaper. But until now, the manufacturers of proofing software have always only paid attention to the representation of color, but never to the verifiability of black and white lines.
Especially with Fiery proofs, but also with GMG Color, the lines of the GTIN barcodes are usually reproduced in such a way that they correspond exactly to the black value of the required profile in terms of color, but only school grades of 3 or even 4 are achieved during the examination, depending on the discipline. Most scanner cash registers could still read and process these barcodes without problems. However, ALDI Süd or Hofer with their own GTIN codes require at least a second grade in all disciplines: The proofs all fall through the test grid of the discounters. In particular, the decodability of EAN codes has probably not been of particular importance to proof manufacturers up to now.
After detailed tests, the width increases of the GTIN bars in the digital proof and the blurring of these bars seem to be the biggest problem for the verifiability of the codes. Farbproofs.de has developed a solution together with one of the testing companies for barcodes that makes it possible to print testable GTIN codes in accordance with the strict ALDI standards, which also comply with the current proofing standards. A proof is therefore sufficient for colour matching and for checking the GTIN numbers. However, the EAN must be created and edited specifically for this purpose. This still costs far less than a conventional proof, but it is not satisfactory. Manufacturers of proofing software such as EFI and GMG Color are therefore called upon to improve the calculation of black and white line representations in writing and GTIN codes.
Until now, the focus has always been on color accuracy, but the proof increasingly demands services that were previously reserved for proofing. At costs of 5-10 EURO for a digital proof in DIN A4 format and 150-300 EURO for a proof in the same format this is more than understandable.
An article with tips for the creation of EAN / GTIN codes for graphic designers and the problems of verifiability of EAN and GTIN codes for e.g. Aldi, Hofer, Lidl and Co can be found here.
How does this check work?
What is the advantage of automated creation and checking of the media wedge directly in the proofing device?
Further information on the test report, the media wedge and on the work and responsibility of UGRA/Fogra can be found at www.ugra.ch and www.fogra.org.
Since the current proofing profiles are available only in preliminary beta versions, the versions are of course not color binding and legally binding. Nevertheless, interested agencies and printers can get a picture of the current state of development and evaluate the coming changes of the OBA proofing papers used better match the colors of the new proofing standards.
The Fogra 51/52 Beta proofs are listed as follows:
Proof profiles Uncoated:
PSO_Uncoated_blueish_v3_ (ECI) -Fred15-July.icc
Software: Fiery XF 6.1
Proof printer: EPSON 7900/9900
Measurement: Epson / X-Rite SpectroProofer ILS30
Measuring standard: M1 with UV
Proof Paper Coated: EFI Proof Paper 8245OBA Semimatt 245gr / sqm
Proof Paper Uncoated: EFI Proof Paper 8175OBA Matt 175gr / sqm