Fogra49 and Fogra50 describe two colour spaces as they are created by foil lamination not after printing but after printing and finishing.
Print finishing plays an increasingly important role in the further processing of printed matter. The application of a printing varnish, for example, is nowadays usually done directly during the printing process, e.g. with dispersion varnish in a 5th inking unit. The print image is usually only slightly changed in the process: An dispersion varnish, for example, results in a dot gain of 2-3 percent, a UV varnish up to around 5-7 percent. In contrast, foil lamination with OPP foil has a much stronger (more…)
Im Jahr 2010 stand eine der zentralen Neuerungen im Hause Pantone für Grafiker, Dienstleister und Druckereien an: Die Pantone Palette wurde um zahlreiche Farben erweitert und bekam einen neuen Namen: Pantone Plus
Die Erweiterung um 560 Farben erfolgte in zwei Schritten:
Im Jahr 2010 wurde die Pantone Palette um 224 Farben erweitert, die in der Pantone Nomenglatur die Farbnamen von 7548 bis 7771 tragen. Alle neuen Farben konnten weiter in der Druckerei mit bisherigen 14 Pantone Basisfarben angemischt werden.
Im Jahr 2012 wurde die Pantone Plus Palette um weitere 336 Farben erweitert, die in der Pantone Nomenglatur die Farbnamen von 2001 bis 2336 tragen. Damit diese Farben erzielt werden können, wurden die bisherigen 14 Pantone Basisfarben um 4 neue Farben auf insgesamt 18 Basisfarben erweitert. Die neuen, aus der Pantone GOE Palette entlehnten Farben sind:
Diese Änderungen wurden ungeschickterweise von Pantone nur sehr ungenügend kommuniziert. Ein typisches Beispiel zeigt ein Screenshot vom 08. November 2013: Auf der deutschen und der englischen Pantone Seite werden zwei völlig (more…)
Recently we received a PDF file from a Swiss customer who asked us to proof it according to ISOCoatedV2. The format was PDFX-4, we could open the file, preflight it and also display it in Acrobat. However, when proofing in Fiery XF 5.2, the file was only output after a RIP time of over 3 hours.
We have recorded the screen layout on a modern Macbook Pro with four processor cores and the latest Acrobat Pro version to illustrate the enormous demands on computing power.
It was clear from the screen layout that the RIP time would be quite long, but three hours with just one use was quite unusual, especially since in our RIP two instances of the Adobe PDF Print Engine work simultaneously. Where exactly the error lies in the extremely high RIP time is not yet clear. Both EFI, as the manufacturer of the Fiery RIPS, and Adobe, as the manufacturer of the PDF Print Engine (APPE), have been given the information that on a Harlequin RIP the file was probably ripped within a few minutes. So a bug in the Adobe PDF Print Engine might also be a reason for the long processing time.
It’ s a typical problem. From creation programs such as InDesign and Illustrator, the flattening of file elements with X/4 is passed on to the RIP in the print shop or proof printer.
The case in question was calculated on a quad-core system with SSDs with two instances of the Adobe PDF Print Engine and output correctly for three hours 47 minutes. However, since the final product cover is not expected to be produced in Europe, but in Asia, it was decided to break down the complex graphics with transparencies, drop shadows, etc. in Photoshop and then reuse it as a transparent PSD file. The resulting PDF X/3 file was ripped and proofed within seconds. The colour result was identical to the X4 file.
This example shows: PDF X4 is not just a modified data format. It also shifts the computing power and software requirements from the data creator to the data processor or printing house. But especially with complex graphics this can lead to unpredictable effects. Although PDF X/4-capable solutions such as Fiery XF 5.2 do exist today, a RIP time of over three hours is of course not practical.
With the new SpectroProofer ILS30 made by X-Rite, Proof GmbH has created the basis for automated measurements and Proof verifications according to M1 standard. Proofs with optical brighteners (OBAs – Optical Brightning Agents) can now be measured. Contrary to earlier announcements, the new SpectroProofer are also able to measure the current proofing standards as before in M0 measurement standard.
We received a call from a new customer today: He proofs for Chinese suppliers, and up to now he is producing proofs in Japan Color 2001 Coated (JapanColor2001Coated.icc). We had not yet set up the profile in our RIP, but within a short time we were able to load the profile into our RIP, create workflows, and make the profile available for order in the shop.
We proof more than 50 international proof standards, but there are always one or two standards that we do not yet offer. Often ink manufacturers or paper producers also offer ICC profiles like Aniva or Heaven42 and the Munken, Amber and Arctic paper series from Arctic Paper. Or have you measured a house standard for your printing parameters which you would like to use for proofs? Then please contact us. We will be happy to support you.
A few days ago we received a call from a customer in the field of design, who sent open Adobe InDesign data in ISOCoatedV2 300% with contained RGB images to the production company for a complex CD production on the advice of the producing company (“The printing company still has a prepress stage, which can then prepare your data optimally…”). The result of the finished printed CD booklets and inlays did not correspond at all to the calibrated monitor image of our customer, the client was also unhappy and requested the print data about the production company from the print shop responsible for the print to troubleshoot. Data in the “US Web Coated” color space with 350% ink coverage came back from the printer. For troubleshooting, the customer then had a proof of his data created by us, but had chosen the settings “Convert to target profile (retain values)” as usual when writing the proof PDF; we thus received completely CMYK data, of which we produced a proof according to ISOCoatedV2 300%, which completely met our customer’s expectations. So it seems that the designer created the data correctly and printed the print shop incorrectly.
On closer inspection, our error analysis revealed two serious weaknesses:
In this case, a complaint of the designer to the printing company will of course be difficult, as on the one hand, non-profiled RGB data were sent to the production company, and on the other hand, no print PDF generated by the data creator in the correct output color space ISOCoatedV2 300% was supplied.
If this had been done, one could at least have argued that the expected color of the production print would have been comprehensively known. Thus, one can only refer to the fact that the printer would have had to ask the designer for RGB data without an embedded color profile, and should not have assigned the data somehow to a profile “blindly”. The fact that the print shop with its crude US Web Coated workflow certainly did not create a correct print file, but a wrong one for the output, can indeed be stated, but the print shop can always talk its way out to “systems with in-house standard”.
If we receive a PDF file that contains RGB images, the next step is to check if the file is a valid PDF/X-3 or PDF/X-4. If this is the case, we check whether all input RGB profiles are correctly marked with color space (sRGB / AdobeRGB / ECI-RGB-V2 etc.) and rendering intent, then we check whether the correct output color space was used as output intent and whether also contained CMYK data have the correct input profiles. If yes, then we proof the file with the settings: “Consider all input and output color spaces”.
In this case, the file is reproduced 100% exactly as our customer created and defined the color profiles. If he has made a mistake and e.g. marked an image with a wrong RGB profile, this will also be “incorrectly proofed” exactly as correctly.
If RGB data should not contain a profile, e.g. if they are created in Device RGB, we generate a “data incorrect” e-mail in which we explain our procedure as follows:
“Dear customer, the data check has shown that RGB elements are contained in your data. RGB elements can only be safely interpreted in the proof if they are marked with a color profile and a rendering intent. This is the case, for example, with correct PDF/X-3 and PDF/X-4 data. The correct output intent must also be specified.
At least one of these criteria does not seem to be the case for your file. The safest way would be to convert the contained RGB data to CMYK. This has the advantage that you have control over the conversion and can view the CMYK result again in Acrobat before uploading the file again for proofing. We can then reliably use your CMYK values for the proof. To do this, call up the current order in your customer account, delete the incorrect data and upload the corrected data.
If, for example, the RGB element should only be a small image that is not relevant for the overall impression of the proof, or if you do not have another file available for the proof, then of course we can also use your RGB data for the proof. If available, we use your RGB source profiles and rendering intents, otherwise we use the sRGB standard and the rendering intent “relatively colorimetric with depth compensation”, which in most cases will lead to correct proof results. If you would like us to proof the supplied RGB data in this way, please let us know. Please do not hesitate to contact us if you have any questions. Best regards, your proofing team”.
In our case, the CD production case would also not have occurred in the proof, as we reject RGB data not provided with an ICC profile with the error message mentioned above, and do not convert them, as we cannot predict precisely how our customer would have liked the data to be converted.
We are aware that our approach is not 100% the ultimate best approach in all cases, but to the best of our knowledge and belief it is best in line with market practice and the expectations of our customers.
However, we are also happy to accept your individual requirements and circumstances. Give us a call or send us an email and describe your processing requirements.
By the way: We are happy to put our knowledge and data competence at your service: If you also have a problem, a question about print data, data preparation, or – as in the above example – a misprint has already occurred and you need external expertise and assistance for the complaint: Give us a call. We will be happy to advise you and help you where we can help. We will charge you for our advice and analysis at an hourly rate of EUR 90,- plus VAT, and you will be billed for 15 minutes each. An initial consultation and assessment is of course free of charge.
A few days ago, our DIN SPEC 16699 “Open Colour Communication” was published and is now available for free download from DIN’s Beuth-Verlag.
Matthias Betz from Proof GmbH, Holger Everding from DTP Studio Oldenburg, Jan-Peter Homann from Homann Colormanagement in Berlin and Eric. A Soder from Pixsource in Switzerland, all members of the association freieFarbe e.V., have shown in the bilingual DIN specification a way to create high-precision color samples on the basis of open source, license-free standards and have shown ways for cross-media color communication.
The 44-page PDF is bilingual in German and English and can be ordered directly from Beuth Verlag, which distributes the DIN standards in Germany, and downloaded free of charge after a short registration.
In general, the paper white in a proof is precisely defined in the proof standard and is also measured in every test report.
For PSOUncoated it is 95.00 / 0.00 / -2.00 in CIELAB and for PSOUncoatedV3 it is 93.50 / 2.50 / -10.00, i.e. slightly darker (93.50 instead of 95.00 for brightness L) and significantly bluer (-10.00 instead of -2.00 on the B axis, i.e. the blue-yellow axis in the blue direction).
Recycling papers differ not only greatly from type to type in the area of paper white, but even from batch to batch. So if a printing company orders the same recycling paper in January and in February, the paper mill may well deliver a slightly different white value of the paper, as the paper white of course depends strongly on the recycled paper qualities used for production.
A colour-binding proof for recycling paper is therefore not possible, as no standard has ever been worked out due to the different paper qualities and white tones.
It is recommended for the proof to choose a classic proof standard such as PSOUncoated / Fogra 47, which shows a rather neutral, unbrightened paper white in the proof. Place one side of the recycled paper next to the proof and mentally transfer the colour of the proof to the white tone of your recycled paper. This way you can imagine the later printing result quite well.
We spectrally measured the paper white tone and the proportion of optical brighteners of over 1,000 papers of the most important paper manufacturers such as Berberich and Papier Union as well as online printing companies such as Flyeralarm and wir-machen-druck.de.
Only a few paper manufacturers currently publish data on paper whiteness and the proportion of optical brighteners in their papers, but only technical indicators such as whiteness according to ISO 2470-2 or CIE ISO 11475. However, designers can hardly record paper whiteness with these values. In addition, it is not possible to read from these data whether and what proportion of optical brighteners the paper has.
Example above: Spectral data comparison of Antalis Coqueror CX 22 white for the measurement standards M0 and M1. Below you can also see the color deviation in Delta-E00 of 1.97 and the two paper white values in LAB and LCH.
Left: CGATS.17 Data for measurement conditions M1 and M0 for paper Antalis Conqueror CX 22 white
We have therefore measured the most important papers and dyes of all central paper producers and paper distributors as well as online printers in the three measurement standards M0, M1 and M2. From the difference in the paper whiteness of the two measurements M2 (UV cut without UV portion) and M1 (ISO 3664:2009 with noticeable UV portion), we determined the color distance on the yellow-blue axis of LAB in Delta-b and derived from this the proportion of optical brighteners according to Delta-B according to ISO 15397 and evaluated it.
Parallel to the images of the spectra, we have also provided spectral data in CGATS format for the measurement modes M0, M1 and M2, which can be downloaded for any paper. These values can be used, for example, in proofing software to calculate a paper white simulation for a specific production paper.
Throughout Germany shipping costs for packages from Proof A3 were reduced to only 9,-€.
In international shipping, costs were partially reduced by almost 50%. Proofs can now be sent quickly and conveniently wordwide. shipping costs and options are directly calculated in the shop so that a quick and direct proof order is possible. Express delivery in the EU is now from 35, – €, Switzerland and the United States from only 45, – €. Even for Afghanistan and Nigeria, shipping costs for DIN A0 proofs are only 75, – €. In international express, delivery time is between one to four days…
The exact prices and per country can be seen here:
Please note: Express delivery and standard delivery to countries in located in different shipping zones. So the standard shipping in the US through DHL is nearly as “expensive”, as the express delivery. So express delivery for only 10 Euro more certainly is the more attractive option for time-critical goods such proofs.
This year we have again submitted proofs for Fogra certification. We thus prove that we not only deliver outstanding proof quality through internal quality controls and checks, but that the quality of our proofs is also confirmed by an external body. We have therefore had proofs certified for the seventh year in succession.
In 2019 we have made two innovations in Fogra certification.
The quality of our prints and our spot colour reproduction of the PANTONE colours was confirmed by Fogra for all four proof standards.
These new certifications have been implemented on the current software revision Fiery XF 7.1.3 and have been applied to the papers EFI Gravure Proof Paper 4245 Semimatt, EFI Proof Paper 8245OBA Semimatt and EFI Proof Paper 8175OBA Matt.
After the association freieFarbe e.V. had met last year in Tübingen for their annual general meeting, this year we met in a rustic hut in the Appenzeller Land, which Peter Jäger from pre2media and Eric A. Soder from pixsource.com had excellently chosen, just like the sunny weather that should accompany us from Friday to Sunday.
The chairman of the association, Holger Everding from DTP Studio Oldenburg and Jan-Peter Homann from Homann Colormanagement in Berlin arrived in Tübingen on Thursday, and after a first long night full of discussions and a meeting in the Proof.de office on Friday morning around noon, the three of us continued our journey to Switzerland. After a joint dinner with Peter Jäger and Eric A. Soder (from Tübingen, we had taken some Swabian potato salad and my handmade Maultaschen with us the evening before), an evening full of planning and a strategy workshop for the tasks and goals of the next year began. Without question, this evening was also spent discussing, developing, laughing and working creatively until late into the night between Flensburger Pils, Swiss mountain beer and wine in attractive red and light yellow shades.
After breakfast, we continued on Saturday to swissQprint, where we had the opportunity to learn more about the status quo of large format digital printing from association member Guy Flüeli, as well as visit the production facilities and conduct print tests on the Karibu and other SwissQPrint presses.
Epson has incorporated many improvements into the new printer generation. For example, fully loaded print heads now work in the new printers, which can finally handle photo black, matt black and the two grey tones LightGray and LightLightGray as well as the colours orange, green and violet simultaneously in one print head. For cyan and magenta there are also the light variants light-cyan and light-magenta, so that besides yellow, cyan and magenta, 12 full colours are available in the print head. The printer uses the new UltraChrome Pro12 ink set, which could possibly bring some detail improvements to the classic K3 inks, although nothing more is known about this yet.
A very frequent topic for us in the area of proofing is the optimal conversion of PANTONE colours in CMYK for classic, inexpensive four-colour printing. In the last few days, there has been a lively discussion on this topic in the Adobe Forum and in the colour management forum of hilfdirselbst.ch, which I would like to summarise briefly, as our customers often struggle with the same issues.
The central question is to which standard or colour profile a CMYK value of a PANTONE colour in Bridge actually refers. Specifically, a user asked for the conversion of PANTONE 116 C, a colour tone that is specified in the PANTONE Bridge fan in CMYK 0/14/100/0 (here you can see the original value in PANTONE). But if you now convert the underlying PANTONE Lab color value in InDesign or Photoshop into different CMYK profiles, you will get different, significantly different color values. “What does the PANTONE Bridge CMYK colour value refer to” was the original question of the discussion.
But one thing is clear: without precise information on the substrate, print density, inks used, etc., the information provided there has only limited validity. If, for example, one converts the LAB colour value of PANTONE 116 C into the SWOP Web coated commonly used in the USA, then one reaches a value of 20 in magenta instead of 14 as indicated in the PANTONE Bridge Fan.
If you compare the original PANTONE LAB values and the PANTONE Bridge CMYK values in European standards such as ISOCoatedV2 or PSOCoatedV3 for coated or PSOUncoated or PSOUncoatedV3 for uncoated paper, there are sometimes serious colour deviations. The PANTONE Cool Gray 2 is much too light in CMYK conversion, the PANTONE Cool Gray 11 is always much too dark. For the PANTONE 3278 C, the Bridge CMYK value for PSOCoatedV3 fits quite well, but the same comparison for Uncoated is noticeably worse. What is the reason for this?
One thing is clear: there are no system errors. PANTONE knows what they do. But it is surprising that the bridge values have apparently been fluctuating by several percentage points for many years. Perhaps one reason for this is that different base pigments have been used over the years and the values have therefore been adjusted. But it was not possible in any way to find out how the values are created, what profiles or logic could be behind the values. Some discussion participants thought of a deliberate system error: “Cui bono? Why should a spot colour manufacturer deliver perfect CMYK replacement values for his products? That would be detrimental to business.”
This is an exciting approach which, at second glance at the latest, does not lack a certain logic. If the head of the company has only seen bad CMYK conversions of his PANTONE spot colour for long enough, he will sigh and agree to any surcharge for a five-colour print, only to finally find his corporate colour correctly reproduced again.
But another thesis is also very plausible:
Let’s assume that a PANTONE “Green1” corresponds colorimetrically to a CMYK of 30/0/100/0. If two more saturated green tones (“Green2” and “Green3”) are displayed in the fan, which theoretically should be displayed with CMYK 35/0/110/0 and CMYK 40/0/120/0, what then?
To set all three green tones to CMYK 30/0/100/0, i.e. the next CMYK value that can be achieved absolutely colorimetrically? That would actually be the most obvious way, especially since it is very unlikely in practice that two adjacent PANTONE colours would ever be used in CMYK conversions. Because a company has either green1 or green2 as its corporate colour, but hardly both at the same time.
On the other hand, buyers of PANTONE Bridge fans would probably be very surprised if different PANTONE colours in the fan had the same CMYK value.
Therefore, a psychological-sales-department correction is obvious: In order to avoid identical CMYK values, we set the most saturated green tone to the not matching CMYK 30/0/100/0, and then the less saturated colors to 25/0/0/90/0 and 20/0/0/80/0, i.e. also not matching CMYK values. Now nothing fits anymore, but at least all colors have different CMYK values.
Practice shows: An adjusted conversion via ICC profiles often provides a better CMYK color value for the conversion of PANTONE colors like the CMYK value from the PANTONE Bridge.
We have converted the PANTONE colours used in the above mentioned graphics also via ICC profiles partly absolutely colorimetrically and relatively colorimetrically with depth compensation (marked with an “r” behind the CMYK colour value) into the two output colour spaces PSOCoatedV3 and PSOUncoatedV3 and have mapped the visually best match in each case.
In most cases, this conversion adapted to the output color space delivers the significantly better results. See for yourself:
If you need the best possible conversion of one or more PANTONE colours to CMYK, we will be happy to support you with our know-how and our measuring and proofing technology. We determine and compare different imaging variants of a PANTONE colour in CMYK and show you the best determined conversions in CMYK with metrological evaluations in Delta-E00.
We have added 140 additional paper white values from Arctic Paper, Peyer, Igepa, Antalis and Mondi. As a result, a total of almost 1400 paper whites are now available in our database.
From the company Peyer we have added the colour shades of the Surbalin product range, although we have not covered all surfaces individually here. However, we have now also included other Peyer products such as Peytan, Peydur, Peyprint and Comet in the paper white database.
You can find the paper white database at shop.proof.de:
Today a customer called who wanted to order a proof of several HKS N spot colours on an uncoated paper. “Which proof profile should I choose? And how exactly can you match my special colours in the proof? I probably have to proof several HKS N red tones in comparison. By the way, the printing is to be done on Fly Cream, a slightly yellowish paper.”
First of all, I searched with the customer for the production paper in our paper white database. A quick look via full text search revealed that we have measured Fly Cream from Papier Union:
With a B-value in LAB of 9.2, Fly Cream is really not just a little yellowish, as the customer said, but clearly yellowish, chamois, creamy … whatever you want to call it. So it was natural to check the proof profile “ISOUncoatedYellowish”, Fogra 30, to see to what extent the paper white could match.
Together with the customer we looked up our “paper white of proof profiles” table:
Contrary to the customer’s expectations, the paper white of ISOUncoatedYellowish is not even as yellowish as the paper white of the edition paper Fly cream, which is more yellowish by more than 5 steps on the B axis. So it was clear: PSOUncoated as a brighter-free uncoated paper proof standard is clearly too white, ISOUncoatedYellowish is much more suitable.
As is well known, elections are always around the corner, and the trend towards ever larger and more numerous election posters is unbroken. In the past, only Mother Nature made the landscapes colourful in spring, but today every local, state, federal and European election does so easily. Every candidate, every large or small party now has the technical and financial means to transform entire streets into a colourful sea of messages and faces. Once the photographer has captured the election candidates well in the studio, the pictures go off for retouching and then for layout.
Until a few years ago, election posters were usually produced in classic offset printing and then glued onto hardboard with paste, drilled or screwed onto roof batten stands and then attached to street lamps with wire. And if the election took place in the summer, the posters were printed in a double edition, so that in an emergency the faded prints could be pasted over and refreshed with new ones after one month for the final spurt.
Today, however, the corrugated plastic poster is becoming more and more popular, as it is supplied pre-drilled and ready to use, retains its colour for several months and can be attached to street lamps with cable ties. But how should print data be created and how should data be prepared and proofed?
Corrugated plastic posters are produced on different systems. Sometimes four colours are used, sometimes six, sometimes more colours. Therefore, there are no binding proof standards for most digital print products produced in this way.
Instead, it works the other way around: Since most of these digital printing systems have at least the colour gamut of offset printing on picture printing paper, these printing systems are based on the established colour gamut of ISOCoatedV2.
For example, Printpartner-XXL writes: “For colour-critical motifs, we therefore recommend a prepress proof on the original material or the delivery of a colour-binding proof (with media wedge and date). Data that is delivered without colour information is provided and produced with the standard profile “ISO Coated v2”. In such a case, a colour complaint cannot be accepted.
Eine Reklamation der Farbe kann in so einem Fall nicht anerkannt werden.
From our point of view, most printing specialists demand ISOCoatedV2, some like flyeralarm and wir-machen-druck ISOCoatedV2 300%. Some want black exclusively as pure black, some exclusively as CMYK 50/50/50/100 colour black … and some do not give any information about the required colour profiles … but if you don’t specify anything, you probably won’t stick to anything … so if you want to be on the safe side, you should choose a supplier with a functioning colour management system and specifications for colour profiles.
Current proofing systems can reproduce spot colours such as HKS or Pantone very well. With the Fiery XF 6.5.2 proofing software and the Epson SureColor-P9000V Spectro proof printer, we have evaluated the colour deviation in Delta-E00 with which the various PANTONE and HKS colours can be proofed. On shop.proof.de, the tables are now available for all important PANTONE and HKS colour systems, sorted by colour fans.
A distinction is made between the proofing substrates that we use, since the surface texture and the paper white also have an influence on the representability of the colours. The colour deviations were calculated by the proofing software on the basis of the measured colour space of the proof.de proofing system. Deviations are therefore possible in practice. However, it turns out that almost all spot colours can be simulated quite well in the large colour space of our proofing devices. The smaller the ∆E00 value, the smaller the colour distance from the spot colour reference to the proofed colour. Higher ∆E00 values show which colours can be reproduced more poorly in the digital proof.
As a rough guide: From ∆E00 > 1 a colour difference is visible to the human eye, below it it can only be measured, but not seen.
After almost a year of work the time has finally come. The CIELAB HLC Colour Atlas XL saw the light of day. The new HLC Colour Atlas XL is the basis for all stages of professional colour communication – from design to the finished product. The standard version contains 2040, the new XL version even 13283 mathematically-systematically graded CIELAB colour tones on 74 pages.
The free file package contains the layer PDF version with several gamuts for the analysis and research of colors, as well as the spectral data (380-730 nm) of all color tones for recipe software, an Excel table with the measured values and spectra as well as color value tables for all common CMYK color spaces and sRGB. All files are available for free download under a CC license.
Only the HLC Color Atlas XL printed by Proof GmbH is subject to a fee, as production is very labour-intensive and cost-intensive. We at freieFarbe e.V. and Proof GmbH see the “CIELAB HLC Colour Atlas XL” as a genuine, transparent and high-precision alternative to the hundreds of proprietary colour systems, which often make fast and precise cross-media communication in design and production very difficult.
Adobe has updated its colour picker in the 2019 version. Especially in Adobe InDesign 2019, decimal places are now possible for LAB and CMYK during colour input, which is a long-desired feature especially in the high-end colour area. Up to now it was already possible in Adobe InDesign to enter colour values e.g. in CMYK with decimal places and to write them into the PDF during PDF export, but only integer values were displayed.
In Adobe InDesign 2019, three decimal places can now be entered for LAB and CMYK and can also be read out again. However, these values are not adopted in the automatic labelling of the colour fields, although this can always be adjusted manually.
Also in Adobe Illustrator 2019 CMYK inputs with decimal places are now possible, although only two decimal places are possible here. With LAB, only an integer entry is still possible.
Only Adobe Photoshop still does not allow any decimal places, but only whole numbers, it does not matter whether the file is in 8Bit or 16Bit. This applies equally to LAB, RGB, CMYK and grayscale: In none of the colour systems is a specification with decimal places allowed.