New edition of ISOCoatedV2 in M1 in sight?

Even almost 9 years after the introduction of the successor colour space PSOCoatedV3, ISOCoatedV2 / FOGRA39 is still the most widespread colour space in Europe. We at Proof GmbH count around 200 jobs from time to time for the German Printing and Media Industries Federation, among others. In the last count, proofs in ISOCoatedV2 accounted for around 68% of all proof jobs at our company. This is a clear sign of the continued widespread use of the colour space.

ISOCoatedV2: From the classic colour space to the beacon of the industry

In addition to the print proofs for offset printing on image printing paper, numerous other applications also come to mind: ISOCoatedV2 is also used for many other, non-standardised or less standardised printing processes and is used as an exchange colour space: From digital printing in exhibition stand construction to packaging printing in flexo and gravure printing: almost all major players in the market rely on the power of ISOCoatedV2.

At the Fogra 2024 colour management symposium in Munich, we heard a lot about how companies and large print service providers from printing processes other than offset printing also rely on ISOCoatedV2 as a colour space reference for their applications. They are virtually following ISOCoatedV2 from the “master standard” and simply orienting themselves to the “largest ship in the colour space sea: ISOCoatedV2”, which is well established among all players in the market such as agencies and designers. Over the last few years, this has turned a successful colour space into a de facto standard.

Updated and future-proof? ISOCoatedV2 is “growing up”

It is therefore not surprising that there has been a call to provide the less popular PSOCoatedV3 with a modernised older brother: An updated FOGRA39/ISOCoatedV2, which, at the age of almost 18 years, can leave the most important legacy issues behind in order to perform its lighthouse function even better as a renewed replacement colour space.

The advantages of a new ISOCoatedV2 in M1:

  • Adaptation to the new measurement condition M1 in force since 2015 and the new standardised light D50 in accordance with ISO 3664:2009
  • Conversion of the old GDMI Gretag-Macbeth measuring base to the new XRGA for better comparability of measured values and higher precision
  • This improves process control thanks to updated H values for full tones for cyan and magenta
  • Retention of the white point of LAB 95/0/-2 and the proof on papers with few optical brighteners (OBA)
  • Classic ISOCoatedV2 proofs would still be valid, but with the new ISOCoatedV2 M1 printing condition, “new” proofs could produce more consistent and better results
ISOCoatedV2 / FOGRA39 Relaunch in M1?

Jürgen Seitz from GMG already presented this outlook at the last DPWG meeting of Fogra in Aschheim and already presented a new FOGRA39 data set in XRGA M1 for discussion. We in the proofing sector could then print a classic FOGRA39 proof on low-lightener proofing paper and measure it with M1 (like all new standards) – with the best results. However, the overriding aim is not so much to update an existing printing condition, but rather to make an exchange colour space fit for the future. The proposal for the profile name of the ICC profile for the ECI: ISOCoated_v2_M1.icc.

What speaks against an updated ISOCoatedV2?

Colour management expert Jan-Peter Homann from Berlin points out: “Users use characterisation data for separation, proofing and controlling the printing process. However, a new characterisation data set would not be suitable for print process control due to the white point with M1. The small but still existing differences to the classic ISOCoatedV2 FOGRA39 data set could unsettle users and make communication between prepress, proof and print more complicated and cause misunderstandings. Jan-Peter Homann therefore fears that an updated ISOCoatedV2 would be ignored by the market.

Colour deviations in 2023 PANTONE Color Bridge Guides

PANTONE Color Bridge Coated Comparison 2023 and 2022 CMYK an Solid Coated colour deviations in DeltaE00

After Eddy Hagen pointed out in this posts, that there were some major colour deviations between the brand new PANTONE Solid Coated Guide 2023 and the previous version especially for the PANTONE 2635 C, I was curious to lookup the same colours in the new PANTONE Color Bridge Coated Guide of 2023 and compare the colours with the previous version.

I measured a dE00 of 8,15 between the two colours that Eddy mentioned, which is really far apart from how accurate PANTONE colours should match between the different PANTONE guides.

Even on the first glance it was clear, that there are not only large deviations in the Solid Coated PANTONE Colours, but as well in the colour swatches with the CMYK equivalents.

I have measured both PANTONE fandecks with an i1 Pro2 and Babelcolor in M2 D50/2° and compared the measurements in Delta-E2000.

The maximum deviation of two PANTONE Solid Coated C Colours is Delta-E00 of 7,01, the maximum deviation of two PANTONE Color Bridge CMYK Colours is Delta-E00 of 5,67.

The lowest DeltaE00 of all PANTONE Colours of that specific page is the one of the PANTONE base colour PANTONE Violet C. That might take into account, that the change in recipies might account for more deviations than anticipated by PANTONE.

Color Deviations between
We compared the current 2023 version PANTONE Color Bridge Guide with the predecessor version of the guide. Both version are official PANTONE versions in March 2023 and are both being sold on the PANTONE online shop.

We compared the current 2023 version PANTONE Color Bridge Guide with the predecessor version of the guide. Both version are official PANTONE versions in March 2023 and are both being sold on the PANTONE online shop.

New PANTONE Formula Guides with incorrect ink formulations

PANTONE Fächer Solid Uncoated 2023 mit Fehlern in der Farbrezeptur. Detailansicht der identischen Rezepturwerte für unterschiedlichen PANTONE Farben.

Several errors have crept into the new PANTONE 2023 fan decks. In both the PANTONE Solid Coated and the Solid Uncoated color fans, there are colours for which the new ink formulations are incorrect.

In the PANTONE Formula Guide Solid Coated fan 2023, PANTONE 107 C and PANTONE 108 C have absolutely identical ink recipes, as well as PANTONE 113 C and PANTONE 114 C. As the colors differ, this cannot be the correct.

Several errors in the PANTONE Solid Uncoated fan 2023

In the PANTONE Solid Uncoated fan 2023 it gets even more critical: In the new fan, PANTONE 106 U and PANTONE 107 U have exactly the same ink formulation, the same applies to the formulations of PANTONE 108 U and PANTONE 109 U as well as for PANTONE 113 U and PANTONE 114 U which also have identical colour formulations.

PANTONE Connect also with formulation errors

But not only in print are the formulations wrong, in PANTONE Connect the shown formulations are identically wrong. In one case, in PANTONE Connect, the PANTONE 109 U spot colour even has a different, but nevertheless incorrect formulation, as it shows the exact ink percentages of the PANTONE 110 U.

At the same time, there are 3 formulations for 1 colour:

Currently there are three formulations for PANTONE 109 U within PANTONE, as the former fandecks are still available for sale on the PANTONE website: Of the three formulations, one is old and the two new ones are wrong.

PANTONE 109 U

  • The “old” formulation of the still available previous fans:
    PANTONE Yellow: 98.5%
    PANTONE Warm Red 1.50%
  • The new formulation of the 2023 fan, probably wrong:
    PANTONE Yellow PY 12: 27.01%
    PANTONE Orange 016: 1.07%
    PANTONE HD Extender: 71.92%
  • The new formulation from PANTONE Connect, probably wrong:
    PANTONE Yellow PY 12: 51.95%
    PANTONE Orange 016: 3.28%
    PANTONE HD Extender: 44,77%

An annoying mishap that PANTONE has made here. I am curious if and when PANTONE will correct the mistakes. In PANTONE Connect it can be done with a simple update, but current colour fans will hardly be able to be exchanged or supplemented with corrected pages.

MYIRO-9: New Spectrophotometer from KonicaMinolta in action

MYIRO-9: New measuring device from KonicaMinolta in use at Proof.de

Over the last few months, we at Proof.de have been thinking about further improving our already very good colour measurement technology in terms of speed and measurement precision. Relatively quickly it became clear that only two devices would come into question: The KonicaMinolta MYIRO-9, the successor of the former FD-9, or the X-Rite ISIS 2 XL. 

The starting point: Since we at Proof GmbH have 5 proofing devices, the calibration of targets for profile optimisation is a time-critical undertaking for us. Therefore, we had been looking around for an upgrade of our previous X-Rite i1-iO measurement device for the last few months, because here we always had the difficulty: When we started an iterative colour measurement for profile optimisation, we always had to measure two measurement targets per measurement run. And the calibration on the i1-iO means: Click three times on the target and then click again to start the measurement. After a few minutes, the first target was measured, which then had to be removed from the measuring table, the new target placed on it, clicked three times again, then clicked on “Measure” and at some point an IT8 chart with 1617 or, with a modified target, over 1800 measuring fields was measured. The whole thing was then optimised, and then went into the next print, measure and optimise round, and – depending on the result of the optimisation – this was repeated 3-4 times per printer and per proof substrate. Since the iO also has to scan each line twice for M1 measurements, the measuring speed was reduced even further for all proof substrates containing OBA.

Our choice: The KonicaMinolta MYIRO-9

After some deliberation, we decided on the KonicaMinolta MYIRO-9. 
Why? There were some clear reasons for the X-Rite ISIS 2 XL: We would have stayed further in the X-Rite world, the device is fast and has a low deviation from meter to meter and from measurement to measurement … and due to the good alignment within the X-Rite family, we would have surely come to very good results. But the MYIRO-9 is simply a notch better in speed and measuring precision than the competing device from X-Rite. 

Das neue MYIRO-9 von KonicaMinolta bei der Proof GmbH in Tübingen im Einsatz

Read more

Proof.de is featured twice in the “Fogra Aktuell” magazine

In the current issue of Fogra News “Fogra Aktuell” Proof GmbH is involved in two places.

Firstly, a summary of the Fogra report on our first FOGRA55 certification for seven-colour printing with extended colour space in CMYKOGV appeared.

Photo: “Fogra Aktuell” report on Proof GmbH’s certification for Fogra55, the first CMYKOGV exchange colour space for extended seven-colour printing.

You can also find more information on our FOGRA55 certification on the Fogra website: https://fogra.org/en/press-releases/fogracert-erste-cpc-zertifizierung-fuer-fogra55-cmykogv-330

and on proofing.de:

  • We passed the first proof certification for the 7C proof under FOGRA55

    We passed the first proof certification for the 7C proof under FOGRA55

    A few days ago Proof GmbH was the first company to be certified for proofing for the new 7C exchange colour space FOGRA55. Fogra has developed characterisation data for extended multicolour printing with the printing colours CMYKOGV – i.e. cyan, magenta, yellow, black (contrast), orange, green and violet – FOGRA55 as part of a research…


And secondly, there was a report on the completion of the research project for textile digital printing, FOGRA58, in which we were allowed to investigate and test the proof capability of the new textile RGB colour space TextileRGB in relation to practice.

Detailed information on FOGRA58 can be found on the Fogra homepage: https://fogra.org/en/research/digital-printing/textilergb-13006

Information about our presentation at the Colormanagement Symposium can be found on proofing.de: https://proofing.de/look-back-fogra-color-management-symposium-2020/

  • Look back: Fogra Color Management Symposium 2020

    The 7th Fogra Color Management Symposium was held in Munich from February 12 to 13, 2020, to which I was invited as a speaker for the area of proofing in Session 6. I reported on our tests in proofing for the Fogra58-Beta-Textile-RGB Standard for textile digital printing. The Fogra Color Management Symposium is one of…

    Look back: Fogra Color Management Symposium 2020

You can download the current issue 72 here: https://fogra.org/fileadmin/files/7_downloads/veroeffentlichungen/news/fogra-news-72.pdf

All older issues can also be downloaded free of charge from Fogra: https://fogra.org/en/downloads/publications/fogra-news

“Digital First” often means “Colour Problems Second!”

Recently, we have been receiving more and more colour management consulting enquiries where “digital first” designs reach their limits: Namely, always when, after a few months or years, the first trade fair appearance, the first annual report or the first catalogue in classic online printing is due. And it is precisely at this moment that it occurs to everyone involved that they do not even know how their “digital first” colour strategy is supposed to look in print. But let’s take a look at the problem from the beginning:

Digital First = First priority for digital online media. But what if it’s time to print?

Whether it’s a large global corporation or a small company, the following often applies to designs or redesigns today: we develop everything for digital first. Agencies therefore create RGB colour worlds for the new corporate design, often with crisp, saturated screen colours and strong pastel tones. And if colours are used for different products or communication lines, then a complete corporate colour world with many corporate design colours in RGB is created, presented and approved, the online presentation portfolio is launched and the company is presented digitally in a new corporate design light.

The whole thing works well at first, and everyone looks at it on their monitor and is satisfied. But then, after a year, the first trade fair and the first printed annual report arrive. All right, think agency and client, let’s take our “digital-first” colours and print them in offset in our annual report and in digital print on our trade fair wall and on posters. But by the time the first design draft comes out of the laser printer and the printer has printed the first pages of the catalogue, a colour hangover breakfast is in order.

  • “Oh no, that looks completely different from what I see online on my monitor.”
  • “The blue is kind of too purple now, isn’t it? Or is the purple now blue?”
  • “It kind of looked different and better in the presentation on the big screen TV, didn’t it?”
  • “The crisp ultramarine is quite washed out and pale on the uncoated paper…”
  • “Idea: If we print with PANTONE colours, it will be more colourful. But which ones?
  • ” For John, the PANTONE fan was a great match for the screen, but for Hannah it wasn’t at all.”
  • “And what, printing three PANTONE colours and CMYK costs a lot more?”

By now, at the latest, it is clear to all those involved that things are going to get difficult and that they have a lot of work ahead of them. Using a real-life example from the past, let’s assume: For more than 10 sRGB colour tones, matches for spot colours and CMYK for picture printing and uncoated paper have to be found quickly. This is where important questions arise:

  • Who decided the colour design based on what view a year ago?
  • Did they see the colours on the monitor? On the beamer? On the iPad? On the big-screen TV? Were the devices calibrated?
  • Is it to be printed with PANTONE or with CMYK or both? Coated? Uncoated?
  • “The printer was kind enough to select a PANTONE colour for all our shades.”
  • A PANTONE colour? For coated and uncoated? What did they base it on? And how did they determine the best matching PANTONE colour? By eye? Measurement? Calculation?

Proof.de makes ” Digital First” colour worlds printable.

Optimised CMYK implementation of spot colours as PANTONE, RAL, HKS, Oracal and more

We have been able to assist many clients in making decisions and converting “Digital First” sRGB online colour worlds into printable colours. This does not mean that we have been able to find optimal CMYK or PANTONE spot colour conversions for all online colours. But it does mean that we were able to determine good conversion values for all colours and, in the case of strong deviations, explain why these occurred and on the basis of which criteria we decided on the best of the bad conversions. How far was the original colour “out of gamut”? Are we better off going for the greatest possible colourfulness, or for the best possible brightness match, which is then perhaps less colourful? Can we use the same PANTONE spot colour for picture printing and uncoated paper, or do we use different colours for coated and uncoated?

We do not rely on mumbo jumbo for such colour consulting jobs, but on measuring, determining and calculating colour distances.

It is often easier to talk about colours when you talk about measurements rather than feelings. With a colour matrix, it is often possible to show what more or less cyan and magenta would look like in a colour mix. With a sample or a fan as a reference, it is easier to sample colours and better understand where the limitations of a CMYK conversion and colour space lie.

PANTONE to CMYK optimisation by Proof.de: Colour matrix for matching existing prints and colour templates such as PANTONE fans or coated references.
Pantone to CMYK optimization

In the end, we work with the customer to determine the best colour conversion for their application: If the layout is written in white on a colourful sRGB colour field, then it is probably more helpful to use a more saturated and therefore somewhat darker colour value, which increases the contrast and legibility of the white font to the colourful background. If, on the other hand, black is written on the surface, then it is often helpful to keep the brightness close to the sRGB or PANTONE original, and to do without “more” colourfulness. Do we define different PANTONE colours for coated and uncoated, or do we use only one colour for consistency and ease of communication? And for the same reasons, do we use the same CMYK values for image printing and uncoated paper, or different ones?

You need an sRGB to CMYK conversion? Talk to us.

If you have a need for a conversion of RGB colours from “Digital First” coproprate designs to CMYK, then please feel free to contact us at any time. We will advise and help you transparently and competently to achieve the best possible solution for you and with you.

We passed the first proof certification for the 7C proof under FOGRA55

Proof GmbH Tübingen Fogra Certification FOGRA55 7C Matthias Betz examines 7C test form
Fogra Zertifikat Proof GmbH 2021 Fogra 55 7C CMYKOGV eCG 34807

A few days ago Proof GmbH was the first company to be certified for proofing for the new 7C exchange colour space FOGRA55.

Fogra has developed characterisation data for extended multicolour printing with the printing colours CMYKOGV – i.e. cyan, magenta, yellow, black (contrast), orange, green and violet – FOGRA55 as part of a research project over the past few years. The characterisation data and the ICC profile Ref-ECG-CMYKOGV_FOGRA55_TAC300.icc have been published on the Fogra website in recent weeks. We have now carried out the certification via GMG ColorProof, as GMG software can create and process multicolour profiles and already supports the new Fogra MediaWedge Multicolor V1 7C.

Proof GmbH Tübingen Fogra Certification FOGRA55 7C Matthias Betz examines 7C test form
Matthias Betz and Martin Streckfuß look at a proof of the various Fogra 7C test forms for FOGRA55 certification under standard light. Two Fogra Media Wedges Multicolour V1 7C can be seen on the left of the test form, which was output with the test form via GMG ColorProof.

Since the white point and the CMYK components correspond to FOGRA51 (PSOCoatedV3), we have used GMG ProofMedia premium OBA semiMatte 250 for the certification, as this GMG proof paper was specially developed for the output of PSOCoatedV3 proofs.

We are pleased to have received confirmation of successful certification from Fogra a few days ago.

Proof GmbH: FograCert: First CPC certification for FOGRA55 CMYKOGV

In the next few days we will offer the seven-colour proofs according to FOGRA55 in our Proof Shop.

Proof GmbH FOGRA55 Certificate CMYKOGV ECG 7C-Proof Preview

Fogra60 proofs for metal decor printing available

From now on you can order proofs for metal decor printing on white sheet metal at proof.de: The ICC profile for Fogra60 is Metal-Printing_MPC1_FOGRA60.icc

Shortly after ISO 12647-9:2021, part 9 of the printing standard for the metal decorating process with offset lithography, the characterisation data for Fogra60 and the matching ICC profile have now also been published by the ECI.

The colour profile is suitable for the production of CMYK offset prints on metallic substrates that have been printed with a white coating, i.e. flat printed metal sheets according to MC1 or Metal1. It doesn’t apply to formed or pre-formed metal, such as pre-formed cans.

Printing on metal is different from offset printing on paper or board according to ISO 12647-2, especially due to the colour values of the typical white coated metal substrate. The white of the metal in LAB is 84/-2/-6, which is not nearly as white as most offset papers.

From now on you can order proofs for metal decor printing on shop.proof.de. The Fogra60 profile is directly selectable in all formats from DIN A6 to DIN A0+. The information on the profile and the characterisation data can also be found on the Fogra and ECI websites:

Metal-Printing MPC1 FOGRA60 – Metal print on white lacquered sheet metal New 2022
Profile: Metal-Printing_MPC1_FOGRA60.icc
The characterisation data FOGRA60 apply to offset printing on white lacquered sheet metal (Metal 1) according to ISO 12647-9:2021.
Characterisation data: FOGRA60.txt

Cross-media colour management really works

Video by Peter Jäger Pro2Media: 3 minutes for simple cross-media color management

My Swiss friend Peter Jäger is an advocate of colour management that works reliably across the boundaries of printers and monitors, computers and colour systems, web and print products: In short, cross-media. And since more and more companies and software from the media industry, such as the products of Colorgate from Hanover, support open systems like the freieFarbe CIELAB HLC colour atlas, cross-media colour management is becoming simpler, more transparent and: Simply more consistent. After all, it is good if it works and achieves accurate, transparent and replicable results.

In his new video, he shows how he lives cross-media in the everyday life of brand colours, which tools he uses, and how good the results are.

3 Minuten Zeit für ein simples Farbmanagement? (tranls.: Do you have 3 minutes for some simple colour management?) by Peter Jäger on Vimeo.

If you want to learn more about colour management and user software, you can access Peter Jäger’s entire training series on pro2media.ch and dokumaster.ch: From free Adobe Bridge videos to individual colour management training to PDF output for cross-media or archiving purposes, there is something for everyone.

Proof.de: New video online

Proof.de Imagevideo

Regardless of what we write here in the blog: Sometimes pictures speak louder than words. That’s why we’ve put a short video online that introduces us and our work. It gives you a brief overview of who we are and what drives us. What do you think of our short film? We are looking forward to your feedback!

Current Proof Standards 2024

Offset and Newsprint

ISO Coated v2 (ECI) / ISO Coated v2 300% (ECI)
Profile: ISOcoated_v2_eci.icc
Standard for glossy and matte coated paper
Paper: Types 1 and 2, gloss and matte coated
Tone value increase curves A (CMY) and B (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA39L

ISOUncoated
Profile: ISOUncoated.icc
Standard for uncoated white natural paper
Paper: paper grade 4, uncoated white offset, dot gain curves C (CMY) and D (K) from ISO 12647-2: 2004
Characterisation Data: FOGRA29L

PSOCoatedV3 / Fogra 51
Profile: PSOcoated_v3.icc
The successor of ISOCoatedV2 for glossy and matte coated paper with moderate optical brighteners
Paper: paper type 1, glossy and matte coated paper with moderate optical brighteners (8-14 DeltaB according to ISO 15397)
Tone value increase curve A (CMYK) according to ISO 12647-2:2013
Paper white: CIELAB=95;1,5;-6
Characterisation Data: Fogra51 / Fogra 51 Spectral (M1)

PSOuncoated_v3 / Fogra 52
Profile: PSOuncoated_v3_FOGRA52.icc
The successor of PSOUncoated for uncoated, wood-free natural paper with many optical brighteners
Paper: Paper type 5, wood-free uncoated, with high OBAs (more than 14 DeltaB according to ISO 15397)
Tonal value increase curves C (CMYK) according to ISO 12647-2:2013
Paper white: CIELAB=93.5;2.5;-10
Characterisation Data: PresumablyFogra52L (M1)

PSO Uncoated ISO12647 (ECI)
Profile: PSO_Uncoated_ISO12647_eci.icc
The successor of ISOUncoated
Paper: Type 4, uncoated white offset
Tone value increase curves C (CMY) and D (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA47L

PSO LWC Improved (ECI)
Profile: PSO_LWC_Improved_eci.icc
Improved LWC paper, glossy coated, successor of ISO Web Coated
Paper: Paper type 3, improved gloss coated (LWC)
Tone value increase curves B (CMY) and C (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA45L

PSO LWC Standard (ECI)
Profile: PSO_LWC_Standard_eci.icc
LWC paper standard, glossy coated
Paper: Paper type 3, standard glossy coated (LWC)
Tone value increase curves B (CMY) and C (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA46L

ISO Web Coated
Profile: ISOwebcoated.icc
LWC paper standard, glossy
Paper: Paper grade 3, standard glossy coated (LWC), dot gain curves B (CMY) and C (K) from ISO 12647-2: 2004
Characterisation Data: FOGRA28L

ISO Uncoated Yellowish
Profile: ISOuncoatedyellowish.icc
Uncoated natural paper slightly yellowish (chamois)
Paper: Type 5, uncoated yellowish offset
Tone value increase curves C (CMY) and D (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA30L

SC Paper (ECI)
Profile: SC_paper_eci.icc
Paper: SC (Super Calendered) Paper
Tone value increase curves B (CMY) and C (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA40L

PSO SC-B Paper v3
Profile:  PSOsc-b_paper_v3_FOGRA54.icc
SC-B Paper, Super calendered Papier, satin-finished
Paper: Commercial offset, SC-B paper (super-calendered, satin), printing condition PC6
Tone value increase curve 2013-B, white measurement base.
Characterisation Data: FOGRA54

PSO MFC Paper (ECI)
Profile: PSO_MFC_paper_eci.icc
Paper: MFC, Machine finished coating
Tone value increase curves B (CMY) and C (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA41L

PSO SNP Paper (ECI)
Profile: PSO_SNP_paper_eci.icc
Newsprint
Paper: SNP, Standard newsprint, heatset web offset printing
Tone value increase curves C (CMY) and D (K) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA42L

WAN-IFRA Newspaper 26
Profiles with different max. ink application: 180%: TIC180_WANIFRA_NP26.icc,  200%: TIC200_WANIFRA_NP26.icc,  220%: TIC220_WANIFRA_NP26.icc
Colour space: Primary and secondary colours according to ISO 12647-3: 2013
Maximum paint application: 180%/ 200%/ 220%

WAN-IFRAnewspaper 26v5
Profile: WAN-IFRAnewspaper26v5.icc
Colour space: Primary and secondary colours according to ISO 12647-3: 2013
Dot gain: 26%
Maximum paint application: 220%
Maximum GCR: Long black with an early black start

ISONewspaper 26v4
Profile: ISONewspaper26v4.icc
Newspaper
Paper: paper type SNP, standard newsprint, heatset web offset, dot gain curves C (CMY) and D (K) from ISO 12647-2: 2004
Characterisation Data: IFRA26

PSO Coated NPscreen ISO12647 (ECI)
Profile: PSO_Coated_NPscreen_ISO12647_eci.icc
glossy and matte coated paper, FM screen
Paper: Paper types 1 and 2, glossy and matt coated paper, non-periodic screen (NPscreen), 20 µm,
Tone value increase curve F (CMYK) from ISO 12647-2:2004
Characterisation Data: FOGRA43L

PSO Coated 300% NPscreen ISO12647 (ECI)
Profile: PSO_Coated_300_NPscreen_ISO12647_eci.icc
glossy and matte coated paper, FM screen
Paper: type 1 and 2, gloss and matte coated
non-periodic screening (NPscreen), 20 μm
Tone value increase curve F (CMYK) as defined in ISO12647-2:2004
Characterisation Data: FOGRA43L

PSO Uncoated NPscreen ISO12647 (ECI)
Profile: PSO_Uncoated_NPscreen_ISO12647_eci.icc
Uncoated white natural paper, non-periodic screening (NPscreen), 30 μm
Paper: type 4, uncoated white offset
Tone value increase curve F (CMYK) as defined in ISO 12647-2:2004
Characterisation Data: FOGRA44L

Improved Newsprint, INP / PSO INP Paper (ECI)
Profile: PSO_INP_Paper_eci.icc
Commercial and specialty offset, INP paper (improved news print), positive plates
Paper: improved newsprint
Tone value increase curves C (CMY) and D (K), white measurement base
Characterisation Data: FOGRA48L

PSO Coated v2 300% Glossy laminate (ECI)
Profile: PSO_Coated_v2_300_Glossy_laminate_eci.icc
Commercial offset printing, positive copy, AM screen with 60-80 lines/cm, with subsequent gloss foil lamination (typical OPP gloss foil 12-15 μm), white measurement base.
The profile is consistent with the old profiles ISOcoated_v2_eci.icc and ISOcoated_v2_300_eci.icc and shows the matching gloss finished result.
Tone value increase curves A (CMY) and B (K) according to ISO 12647-2:2004
Characterisation Data: FOGRA50L

PSO Coated v2 300% Matte laminate (ECI)
Profile: PSO_Coated_v2_300_Matte_laminate_eci.icc
Commercial offset printing, positive copy, AM screen with 60-80 lines/cm, with subsequent matt film lamination (typical OPP matt film 15 μm with medium opacity ~70%, i.e. brightening ΔL* = 6 on black solid tone after finishing), white measurement base.
The profile is consistent with the old profiles ISOcoated_v2_eci.icc and ISOcoated_v2_300_eci.icc and shows the matching matt-finished result.
Tone value increase curves A (CMY) and B (K) according to ISO 12647-2:2004
Characterisation Data: FOGRA49L

PSO Coated v3 Matte laminate (ECI) New 2020!
Profile: PSO_Coated_v3_Matte_laminate.icc
 The ECI offset profile PSO_Coated_v3_Matte_ laminate.icc is based on the characterisation data set “FOGRA56.txt” applicable to the following reference printing condition according to the international standard ISO 12647-2:2013: Commercial and specialty offset, Premium coated paper, tone value increase curve 2013-A, after lamination with matte film (typical OPP matte film 15 μm with average opacity ~70%, i. e. brightening by ΔL* = 6 on the black solid after lamination), white backing.
The profile is consistent with the profile PSOcoated_v3.icc and shows the corresponding glossy laminated result. The profile was created using the Heidelberg Color Toolbox 2019 with the following settings: black length 9 (starting point 10%), black width 10, total dot area 300%, maximum black 96%.
Characterisation Data: FOGRA56.txt

PSO Coated v3 Glossy laminate (ECI) New 2020!
Profile: PSO_Coated_v3_Glossy_laminate.icc
The ECI offset profile PSO_Coated_v3_Glossy_ laminate.icc is based on the characterisation data set “FOGRA57.txt” applicable to the following reference printing condition according to the international standard ISO 12647-2:2013: Commercial and specialty offset, Premium coated paper, tone value increase curve 2013-A, after lamination with glossy film (typical OPP glossy film 12–15 μm), white backing.
The profile is consistent with the profile PSOcoated_v3.icc and shows the corresponding glossy laminated result. The profile was created using the Heidelberg Color Toolbox 2019 with the following settings: black length 9 (starting point 10%), black width 10, total dot area 300%, maximum black 96%.
Characterisation Data: FOGRA57.txt

eciCMYK (Fogra 53) – CMYK exchange colour space
Profile: eciCMYK.icc
FOGRA53 is a CMYK exchange colour space and is used for colour communication in print production.

eciCMYK_v2 (Fogra 59) – CMYK exchange colour space New 2020!
Profile: eciCMYK_v2.icc
eciCMYK_v2 (Fogra 59) is the successor of eciCMYK (Fogra 53).

Heaven42
The absolute white tone opens up the greatest scope of colours for design and printing afforded by any coated paper worldwide. The perfect foundation for extreme contrasts and combination with ultra white natural papers. The absolutely white paper shade of heaven 42 impacts on the printing process as well as on the pre-press stage. With the same colouring and dot gain, the printed image can look significantly colder if separation remains unchanged (e.g. with
ICC-profile “IsoCoated_v2”).

We proof Heaven42 on proof paper with optical brighteners and measure the Proof in M1 Standard. Please note: Our Heaven42 proofs represent a good simulation of the original Heaven42 ICC Profile, but are not – as an ISOcoatedv2 Proof – colouraccurate and legally binding.

Scheufelen offers two ICC-Profiles for download, we proof the colour profile of Heidelberger Druck (“_HD”).
Profile: Heaven42_AM_U280_K98_G80_HD.icc (Heidelberger Druck)
Ink Coverage: ~280 % (U)
Black: GCR , 80 % (G)
Black Generation: 98 % (K)
Proofpaper: EFI Proof Paper 8245 OBA Semimatt
Characterisation Data: Made from Reference Data
Measuring method: M1 with optical brighteners (OBAs)

PaC.Space
Profile: PaC.Space_CMYK_gravure_V1a.icc
PaC.Space is the first common colour standard for packaging gravure printing, which enables to process an interface from the supplied prepress data or printer-specific requirements.
Paper: Coated substrates and films for packaging gravure
Characterisation Data: FOGRA_PaCSpace_MKCheck11

Metal-Printing

Metal-Printing MPC1 FOGRA60 New 2022!
Profile: Metal-Printing_MPC1_FOGRA60.icc
For the printing condition “Metal-Printing on white coated metal 1 (MPC1)” the profile “Metal-Printing_MPC1_FOGRA60.icc” based on the Fogra colour characterisation data set FOGRA60.
Characterisation Data: FOGRA60.txt

Rotogravure Profiles

ECI Rotogravure profiles for the Process Standard Rotogravure (PSR)

PSR LWC Plus V2 M1 v2 (2019)
Profile: PSR_LWC_PLUS_V2_M1_v2.icc
The Successor of PSR LWC Plus V2 (PSR_LWC_PLUS_V2_PT.icc)
Paper: Roll gravure, LWCplus glossy coated
Measuring base: unprinted LWCplus paper
Characterisation Data: PSR_LWC_PLUS_V2_M1

PSR LWC Plus V2 (2009)
Profile: PSR_LWC_PLUS_V2_PT.icc
The successor of HWC
Paper: Improved LWC (light weight coated) paper
Characterisation Data: ECI_PSR_LWC_PLUS_V2

PSR LWC Standard V2 M1 (2019)
Profile: PSR_LWC_STD_V2_M1.icc
The successor of PSR LWC Standard V2
Paper: Rotogravure, LWC
Measuring base: unprinted LWC paper (self backing)
Charakterisierungsdaten: SR_LWC_STD_V2_M1

PSR LWC Standard V2 (2009)
Profile: PSR_LWC_STD_V2_PT.icc
Paper: LWC (light weight coated) paper
Characterisation Data: ECI_PSR_LWC_STD_V2

PSR SC Plus V2 M1 (2019)
Profile: PSR_SC_PLUS_V2_M1.icc
The successor of PSR SC Plus V2
Paper: Rotogravure, SC Plus
Measuring base: Unprinted SC Plus paper
Characterisation Data: PSR_SC_Plus_V2_M1

PSR SC Plus V2 (2009)
Profile: PSR_SC_PLUS_V2_PT.icc
Paper: whiter super calandered paper
Characterisation Data: ECI_PSR_SC_Plus_V2

PSR SC Standard V2 M1 (2019)
Profile: PSR_SC_STD_V2_M1.icc
The successor of PSR SC Standard V2
Paper: Roll gravure, SC paper
Measurement document: Unprinted SC paper
Characterisation Data: PSR_SC_STD_V2_M1

PSR SC Standard V2 (2009)
Profile: PSR_SC_STD_V2_PT.icc
Paper: super calandered paper
Characterisation Data: ECI_PSR_SC_STD_V2

PSR MF V2 M1 (2019)
Profile: PSR_MF_V2_M1.icc
Paper: Rotogravure, paper type MF or INP, 55 g/m2
Measuring base: unprinted MF or INP paper
Characterisation Data: PSR_MF_V2_M1

PSR News Plus
Profile: PSRgravureMF.icc
PSRgravureMF is now reffered to as News Plus
Paper: Paper News Plus
Characterisation Data: PSRgravureMF_ECI2002

US / International Proof Profiles

GRACoL2006_Coated1v2
Profile: GRACoL2006_Coated1v2.icc
GRACol interpretation of ISO 12647-2.
Paper: Type 1 and 2, glossy and matt coated paper
Dot gain curves: NPDC (Neutral Print Density Curves)
Characterisation Data: GRACoL2006_Coated1, a derivation from Fogra 39

SWOP2006_Coated3v2
Profile: SWOP2006_Coated3v2
SWOP interpretation of ISO12647-2 for web offset printing on thin coated paper.
Paper: Thin, coated paper
Tonwertzunahmekurven: NPDC (Neutral Print Density Curves)
Characterisation Data: SWOP2006_Coated3, a derivative of Adobe USWebCoated v2

SWOP2006_Coated5v2
Profile: SWOP2006_Coated5v2
Other SWOP interpretation of ISO12647-2 for web offset printing on thin coated paper
Paper: Thin, coated paper with a slightly different white tone to SWOP2006_Coated3V2
Dot gain curves: NPDC (Neutral Print Density Curves)
Characterisation Data: SWOP2006_Coated5, a derivative of Adobe USWebCoated v2

Japan Color 2011 Coated
Profile: JapanColor2011Coated.icc
The new standard of Japan Printing Machinery Association (JPMA).
Characterisation Data: JapanColor

Japan Color 2001 Coated
Profile: JapanColor2001Coated.icc
Printing process definition: ISO 12647-2:1996, sheet-fed offset printing, positive plates
Paper: Type 1, (coated, 105 gsm), screen frequency 69/cm.

SWOP 2013 C3
Profile: SWOP2013_CRPC5.icc or SWOP2013C3-CPRC5.icc
The profile is measured in M1 mode in consideration of optical brighteners and is printed on proofing papers with optical brighteners.
TAC: 260%
GCR: Medium+
Max K: 100%
TVI: CMY 16%, K19%
Paper: Grade #3 paper
Characterisation Data: CGATS21-2-CRPC5

GRACoL 2013 Uncoated
Profile: GRACoL2013UNC_CRPC3.icc
The profile is being measured in M1 Mode taking into account the Optical Brightening Agents in the paper.
TAC: 260%
GCR: Medium+
Max K: 100%
TVI: CMY 16%, K19%
Paper: N.N.
Characterisation Data: CGATS21-2-CRPC3

GRACoL 2013
Profile: GRACoL2013_CRPC6.icc
The profile is being measured in M1 Mode taking into account the Optical Brightening Agents in the paper.
TAC: 320%
GCR: Medium+
Max K: 100%
TVI: CMY 16%, K19,1%
Paper: N.N.
Characterisation Data: CGATS21-2-CRPC6

Proof GmbH 2021 Certified Again by Fogra with Fogra “Spot cert”

Title Test Report Fogra Certificate Proof GmbH 2021 Fogra Contract Proof Creation 34558

Fogra Certificate Proof GmbH 2021 Fogra Contract Proof Creation 34558

This year we have again submitted proofs for Fogra certification. We thus prove that we not only deliver excellent 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 proof prints certified for the seventh year in a row.

Already in 2019, we were among the first to also be certified for the representation of spot colours (“Spot-cert”), and in 2020 we also went through Spot-cert in addition. And all in all, we have been successfully certified by Fogra for the ninth time in a row. Sometimes customers ask:

“You get Fogra certified every year. Won’t that become unnecessary at some point? You know you can do it …”

Yes, that is sometimes true. Every certification means effort and costs, the prints have to be made, sheets have to be filled in, everything has to be sent to Munich and invoices have to be transferred. And that’s just so that we can have the same high quality confirmed as in previous years. On the other hand, this isn’t true either.

Proofing is only superficially “service by the book as always”. In real life, no two years are the same. Proofing software, for example, is not sold on the mass market, so every update brings difficulties: Important functions fail, protocols are output incorrectly, optimisations do not optimise but worsen the results…: What we haven’t had to experience! Especially here it is important to have the security of certification by Fogra that even with the latest software revision all relevant processes still run cleanly.

The same applies to the hardware, which can be just as troublesome as the software: sometimes we have a generation change of proof printers, which always involves a change of inks and colour pigments, sometimes the driver or firmware is renewed, sometimes faulty print heads have been replaced …: Here, too, there are many possible sources of error that keep us on our toes. And here, too, the certifications bring us security for daily production – our everyday business. And that, too, is often not commonplace at proof.de:

Verifiably precise …

Our so-called “everyday business” is often characterised by special cases, exceptions and special requirements. Admittedly: We like to work off Fogra39 proofs in ISOCoatedV2, where all data is delivered in CMYK. Something like that just runs really smoothly for us. But apart from these “standards”, we process much more for our customers: we produce high-precision colour samples, proof individual proof profiles for metal decor printing, process thick, high-gloss papers for proofs and extremely thin, matt papers for art projects, apply PANTONE colours to roll-ups, fine art prints in AdobeRGB on cotton canvas, ECI-RGB-V2 on Hahnemühle papers, print XYZ colour targets for multispectral cameras and …:

Our so-called “everyday business” is often characterised by special cases, exceptions and special requirements. Admittedly: We like to work off Fogra39 proofs in ISOCoatedV2, where all data is delivered in CMYK. Something like that just runs really smoothly for us. But apart from these “standards”, we process much more for our customers: we produce high-precision colour samples, proof individual proof profiles for metal decor printing, process thick, high-gloss papers for proofs and extremely thin, matt papers for art projects, apply PANTONE colours to roll-ups, fine art prints in AdobeRGB on cotton canvas, ECI-RGB-V2 on Hahnemühle papers, print XYZ colour targets for multispectral cameras and …:

Read more

Adobe Software Without PANTONE Colours

CIELAB HLC Colour Atlas XL Colour Wheel v1

This was not the announcement that was expected: As of March 2022, new Adobe software products will no longer include included PANTONE colour libraries. Adobe said: “In March 2022, Pantone colour libraries pre-installed in Adobe Photoshop, Illustrator, InDesign, Adobe Color and Adobe Capture will be removed from future software updates.”

https://helpx.adobe.com/creative-cloud/adobe-color.html

That Adobe and PANTONE have become increasingly estranged in recent years has been noticeable for some time.

The integration of current PANTONE libraries was sluggish or, in recent times, no longer automatic; anyone who wanted current libraries had to export them via the PANTONE Color Manager and import them into Adobe software … a tedious and error-prone system. Presumably, however, it was the licensing costs that prompted Adobe to take the final step. The clear leader in software production was probably simply tired of being bullied by PANTONE in terms of licensing law and took the logical step: no more PANTONE palettes for Adobe products.

Will the users care? Anyone who has designs in PANTONE colours in their computer still has all the colours available in their software, every AI or EPS from Illustrator placed in InDesign has the PANTONE spot colours created there imported directly back into InDesign. And another colour is also quickly created manually – well, maybe not with the latest LAB values from PANTONE, but a CMYK equivalent from the gut is also good to be able to see the colour at least halfway on the screen. So I don’t think the phone lines will be ringing off the hook because our customers can no longer find their PANTONE colours.

But nevertheless: it is a shift in paradigm that Adobe is carrying out here:

After all, PANTONE has not been able to improve as much over the years as the industry had hoped. Holger Everding from freieFarbe summarised this appropriately in his blog entry. He writes:

“The lack of quality of the system should be known to most readers of these lines:

  • confusing variety of colour guides and the colour tones they contain
  • the associated incomplete software integration
  • lack of accuracy and high metamerism of the colour guides and shades, due to various manufacturers with different papers and pigments
  • very restrictive licensing policy, no freely accessible source for colour values”.

 

But does the rift hurt PANTONE or Adobe?

I am divided on this. Presumably both partners will quickly get their act together: PANTONE will certainly take the understandable path of changing and softening the restrictive licensing policy of recent years: they must offer more standard features free of charge for all users. Small businesses and designers in particular want to and can pay my monthly subscription costs for the non-slimmed-down version of Adobe Connect. After all, Pantone is just a guide, there are many other ways to determine colours. And Adobe? Adobe will certainly take the opportunity to put out feelers for practical alternatives to PANTONE and implement them voluntarily in Adobe in order to free itself from PANTONE’s licensing pressure. After all, competition is known to stimulate business. And once free colour systems such as the free colour CIELAB HLC system were integrated into Adobe, PANTONE would surely quickly understand that they do not have a “monopoly” on special colours, on the contrary:

If Adobe were to integrate freely available, precise and transparent colour systems into their software, PANTONE would finally have to take the overdue steps to position itself better and more consistently in order to ever find its way back into Adobe software. If this does not happen, PANTONE will quickly become one of the dinosaur colour systems that have not survived an impact. Because better, more open and more transparent systems are not only waiting in the wings: they already exist today.

 

PDF 2.0 and PDF/X-6 – The New PDF Standards

PDF 2.0 Standard: The new standard for PDF files

PDF 2.0 Standard: The new standard for PDF filesFor 20 years now, PDF/X standards have been available for the printing industry and have enjoyed great popularity. Now, with the introduction of PDF 2.0 in 2017, another milestone in PDF standards has been introduced, having been developed by numerous PDF experts over many years. And just recently, the ISO published a new revision of PDF 2.0. Soon, the new printing standard PDF/X-6 will also take shape, which contains several innovations in detail compared to PDF/X-3 published in 2002 and PDF/X-4 adopted in 2008. The old PDF standards will retain their validity, but the new ones will certainly find their way successively into the software and processes of the printing industry.

New in PDF 2.0:

  • PDF/A-4 according to ISO 19905-4:2020 – PDFs for archiving
    • The creation of PDF/X-4 data for long-term archiving is getting leaner, as some specifications have been dropped. Digital signatures are facilitated, form fields are now supported.
  • PDF/X-6 according to ISO 15930-9:2020 – PDFs for professional printing
    • The most important innovation is the page-based output intent: A brochure whose cover is printed on coated paper and the inner part on uncoated paper can now be exported as one PDF file with two output conditions: PSOCoatedV3 and PSOUncoatedV3, mixed according to pages. Previously, a file could only contain one output profile. Also new is the depth compensation and the embedding of spectral data for spot colours according to CxF-4. This makes it possible to transfer spot colours with a spectral definition and not just write a LAB or CMYK value into the PDF. Also new is the support of multicolour profiles, i.e. ICC profiles with more than four colour channels. The new PDF/X-6 standard is very similar to PDF/X-4 in many aspects.
  • PDF/VT-3 according to ISO 16612-3:2020 – PDF exchange format for transactional printing
    • The term transactional printing may not be familiar to many media designers. It covers the printing and processing of data for the creation and printing of invoices or account statements, for example. Transactional printing refers to all processes, i.e. from the export of data from an SAP system etc. to the printing, processing and dispatch by post or email to the return of the dispatch into SAP. The new VT-3 PDF standard specifies the parameters for this variable, transactional printing.
  • PDF/R-1 according to ISO 23504-1:2020 for scanning in PDF data
    • A brand new standard is the R-1 PDF standard, the “raster” standard. Developed by the Twain people, it is only relevant for the creation of raster image documents, i.e. scans of pages or images.

The most important innovations for us in the printing sector with the introduction of the PDF 2.0 standard are, of course, the PDF/X innovations with the leap from PDF/X-4 to PDF/X-6, which is being developed on the basis of PDF 2.0.

  • Page-related output conditions: The best examples of applications in these areas are certainly brochures with covers: If, for example, the cover was previously printed in 4/4 colour on glossy picture print and the inner section on uncoated paper, then this could only be realised via two PDFs, one for the cover, one for the inner section. Now a brochure PDF can carry both output conditions, even a colourful cover and a black and white inner section can be combined into one PDF.
    But in application we would certainly like to use this for typesetting work at any time. For us in proofing, this probably has little practical effect, because coated and uncoated paper would also be printed on different proofing papers, so we would have to split the one file into two proofing jobs. Of course, we could also go the comfortable way and proof the uncoated paper on a proof paper for coated paper, but this would not be very comfortable for the viewer in terms of the effect. Sampling a natural paper interior from a natural paper proof onto the production paper is much more coherent and visually better. In laser print-based environments, however, individual paper trays and processing methods of a printer could be assigned to profiles, for example, so that these features could be better used here in daily work. Up to now, this could be done via a job ticket that was created and processed with the PDF file, but now it could be done directly in a document.
  • Spectral data according to CxF-4: Spot colours can now be defined spectrally. The new CxF-4 format, which has also become an ISO standard, is used for this. This is certainly important in two cases: On the one hand, spectral data can contribute to a more precise colour definition of spot colours than pure LAB, RGB or CMYK values are capable of. Especially on modern seven- and multi-colour printing systems with their enormous colour gamut, almost the entire PANTONE colour palette can be reproduced. Especially here, the use of spectral spot colour definitions would certainly prove its worth.
    For us, this is not really an issue in proofing at the moment, as we will probably see little spectral data in customer data. However, in our special applications such as the HLC Colour Atlas or the production of calibration targets for customers, we could well imagine the more frequent use of spectral data. In the new generation of ICC profiles, multicolour ICC profiles can also be used, and the colour sequence in the printing units and the overprinting behaviour can now be better defined. Here, too, we are curious to see how the latest developments will find their way into our work.

Sphere Head Spectrophotometers and Specular Component explained

Specular Component Spectrophotometric Measurement SCI / SPIN and SCE / SPEX explained

Different surfaces can influence both the colour and the appearance of objects. A colourful and glossy object will usually appear more saturated to the eye, while a similar object with a matte, diffuse surface will appear duller.

If you form a glossy, a semi-matte and a matte surface from the same black plastic, the glossy surface will often appear blackest, while the very matte surface will appear much lighter. The same effect can be reproduced with film lamination of prints: a glossy laminated dark blue or black appears more saturated and darker, a matt laminated black becomes lighter and greyer to the human eye due to diffuse light refraction.

Humans perceive the colour of objects through the light reflected from them, and different surfaces reflect light differently. In general, therefore, there are two ways in which light is reflected from an object: The specular and the diffuse reflection.

 

Specular and diffuse light reflection of matt and glossy objects

Specular reflection

Specular reflection occurs when light is reflected from the light source at an equal but opposite angle. Simply put, you can think of it as a ball bouncing off a smooth floor and bouncing back at the same angle. This reflection occurs mainly on objects with shiny, smooth surfaces.

Diffuse reflection

If, on the other hand, the reflected light is scattered in numerous different directions, we speak of diffuse reflection. This reflection occurs on objects with matt and irregular surfaces. A ball would bounce off such a surface – for example, an irregular floor consisting of numerous pyramids of different sizes – sometimes at one angle and sometimes at a completely different angle.

Spectrophotometers with an integrating sphere

Today, when colour and gloss are to be evaluated in global supply chains and on different surfaces, this is often done with sphere head spectrophotometers such as the KonicaMinolta CM-26d, with which we at Proof GmbH have also measured the semi-matt and matt free-colour CIELAB HLC Colour Alas XL. With the d:8° geometry and the integrated 60° gloss sensor, which can handle both the SCI – “Specular Component Included” and SCE – “Specular Component Excluded” measuring modes, this measuring device can measure colour and gloss within less than a second without having to use an additional measuring device for gloss and always having to be set up and aligned again.

 

Proof.de: KonicaMinolta CM26d Kugelkopf Spektralmessgeraet mit SCI und SCE Messung: Messung des freieFarbe CIELAB HLC Colour Atlas XL

 

Proof.de: KonicaMinolta CM26d Kugelkopf Spektralmessgeraet mit SCI und SCE Messung: Displayanzeige

 

Proof.de: KonicaMinolta CM26d Kugelkopf Spektralmessgeraet mit SCI und SCE Messung: Beim CK-26d kann durch eine zurückschiebbare Klappe direkt in die Ulbricht-Kugel gesehen werden, und so der Messausschnitt durch die Kugel noch einmal visuell kontrolliert werden.
With the KonicaMinolta CM-26d it is possible to look directly into the integrating sphere through a flap that can be pushed back, and thus the measuring section can be visually checked and readjusted through the sphere once again.

With integrating sphere measuring instruments, the surfaces to be measured are usually illuminated at all angles and measured at an angle of 8 degrees from the vertical axis. This measurement condition is referred to as d/8 or d:8. Most of the integrating sphere measuring devices such as the CM-26d can measure with or without a gloss component as previously described.
In contrast, the 45/0 models used in the printing industry such as the X-Rite i1 Pro2 always measure without the specular reflection. The reflection of the sample surface is therefore perceived differently by the optical geometries d:8 with gloss component – SCI – , d:8 without gloss component – SCE – and 45/0 respectively.

 

Specular Component Spectrophotometric Measurement SCI / SPIN and SCE / SPEX explained

SCI measurement mode

To measure the true colour of an object without the influence of surface texture, the Specular Component Included (SCI) measurement mode is used. SCI mode includes both specular and diffuse reflected light and is ideal for quality control and colour quality monitoring.

  • Illuminates the sample evenly from all sides.
  • Takes into account the total surface reflection.
  • Has good repeatability and is insensitive to surface variations or artefacts.
  • Does not perceive gloss differences of the sample and therefore does not simulate visual assessment.

SCE measurement mode

The Specular Component Excluded (SCE) measurement mode, on the other hand, which excludes specularly reflected light, is used to evaluate the colour of an object to match the visual perception of the human eye. In SCE mode, a glossy surface is typically measured darker than a matte surface of the same colour; similar to how the human eye sees it. This mode is typically used in quality control testing to ensure that colour matches colour standards through visual inspection.

  • Illuminates the sample evenly from all sides, but not in the reflection angle of the measurement.
  • Excludes specular surface reflection, although usually not completely
  • Includes diffuse surface reflection.
  • Is somewhat sensitive to surface variability and unevenness.
  • Measures the colour of a surface similar to how the human eye sees it.

Proof.de parcel labels: Now paper instead of plastic

Proof.de: More eco-friendly shipping labels made of paper instead of plastic

We have found a more environmentally friendly parcel sticker for our brown shipping boxes: Instead of a classic PVC sticker, we can now save the environment a little plastic with a paper label produced in offset printing, without compromising on quality and appearance. Admittedly, perhaps not a big step. But every small contribution helps to save our environment a little bit.

Proof.de: More environmentally friendly parcel labels made of paper instead of plastic

 

We have always used electricity from 100% hydroelectric power, print invoices and letters using energy-saving inkjet printing and have switched our IT to increasingly energy-saving computers, servers and NAS devices.

In addition, for the past two years we have been participating in the German Packaging Act through our partner Veolia, with the aim of minimising the impact of packaging waste on the environment in Germany.

Our annual disposal contribution serves to implement Directive 94/62/EC on packaging and packaging waste. The aim is to further increase recycling rates in Germany.

 

Proof.de / Proof GmbH is a Member of Fogra

Proof.de Proof GmbH Tübingen is a member of Fogra Research Institute for Media Technologies e.V.

 

Proof.de Proof GmbH Tübingen is a member of Fogra Research Institute for Media Technologies e.V.Proof GmbH is a member of Fogra – Forschungsinstitut für Medientechnologien e.V.. Why? In recent years, we have been able to draw on the support of Fogra with numerous projects, or work together with Fogra, for example for Fogra58 beta – Textile-RGB (where Matthias Betz was also able to report on our experiences as a speaker at the Fogra Colour Management Symposium 2020 in Munich as part of the presentation “Proofing of Fogra58beta”) or have contributed test prints and proofs to the research project “11.004L – Improving the printability and readability of bar and 2D codes in inkjet printing”.

In addition, we have been certified by Fogra every year since 2013 for the production of proofs (https://shop.proof.de/en/info/fogra-certification.html) and are very grateful for the services of Fogra, which confirm the quality of our proofs every year, also externally.

Our most important contact person, Dr. Andreas Kraushaar, has often promoted membership to us, and now we have actually taken the step, although we still think that the membership fee is poorly structured, especially for small companies like Proof GmbH (companies with 1-100 employees pay the same membership fee) and we would like to see a more favourable entry. But on the other hand it is true: Fogra with its expertise, its competence and its always competent, helpful, quick and fit contact persons like Andi Kraushaar, Yuan Li and many more also deserves the support of companies that benefit from Fogra’s activities like we do.

We would therefore like to thank Fogra for all the support we have received and knowledge we have gained over the years. From now on, we are a member of Fogra and look forward to many more discussions, projects, ideas and initiatives.

New at Proof.de: The EPSON SureColor SC-P9500 Spectro

Proof.de: Our new EPSON SureColor SC-P9500 Spectroproofer

For whatever reason: December is traditionally the month in which we make the most important new acquisitions. In order not to break with this tradition, the new proof printer generation from EPSON moved in with us this year: The SureColor SC-P9500 Spectroproofer.

Unpacking traditionally has to be done in front of the door, we wouldn’t be able to get the printer into the office on the two-metre-long pallet, but once it’s on rollers, it works fine.

Proof.de: Our new EPSON SureColor SC-P9500 Spectroproofer











The new SureColor P9500 complements our range of SureColor 7000 and 9000 proof printers and, above all, hopefully brings us a further plus in speed, especially for larger jobs. Thanks to a newly developed and now fully loaded print head with 12 inks with up to 800 nozzles each, it is said to print up to 2.4 times faster than our other proof printers, which is particularly advantageous for large proof volumes.

An overview of the most important new features of the EPSON SureColor 9500

  • High productivity thanks to higher production speed
  • Reliability thanks to better automatic jet inspection and dust protection
  • LCD display with 4.3 inch (10.9 cm) touch panel
  • Simultaneous use of glossy black and matte black, eliminating the need to switch inks
  • Lighting at the paper feed for better visibility of the printing process
  • Prints now fall on the reverse side in the delivery, which should reduce scratches
  • Higher print resolution with 1200×2400 DPI
  • “Black Enhancement Overcoating” technology for higher perceptible black density

We are currently still in the process of measuring the large number of media we use on the new printer and gaining experience with the new proof printer. Many of the “advantages” are not really relevant for us, as we have very specific requirements in proof printing. In terms of gamut, i.e. the maximum colour space that can be achieved, we were unfortunately unable to determine any real gain. According to our measurements, the colour space has changed marginally compared to the previous proof printers, but not really increased.

2.4 times the printing speed does not automatically mean that the proof printing will also be faster … 🙂

For example: Admittedly, the printer prints much faster than our other printers. But in return, it takes much longer to transport the proof paper to the fans for drying, and the subsequent measurement of the media wedge also takes longer than on the 7000 and 9000 systems. For an A4 proof with media wedge and test report, the 9500 is only 8 seconds faster, taking just over 8 minutes. In other words, the higher print speed is almost completely lost in other areas.

Therefore, A4 proofs will not be the domain of this printer, but rather we will try to proof the larger formats on the 9500, where the speed advantage comes into play more.

This reminds me a little of the upgrade to Fiery 7, which was supposed to be up to 5 times faster than the previous version with FastRIP technology. In fact, the FastRIP technology was and is so error-prone that we were never able to use it, as we felt that every 20th job was processed incorrectly or could not be processed at all. On the other hand, with the version upgrade, the entire proofing software became considerably slower … So for us as non-FastRIP users, all that was left on average was a slower system.

Conclusion:

And so we are still making our experiences with the new proof printer. The first conclusion we can draw is that many things are better, some are worse and some are simply different. The fact that the printer is still quite new is also evident from the fact that new media updates are constantly being added. We have already run some good jobs through the printer and it has not disappointed us. In this respect, the first conclusion looks fairly optimistic.

Proof GmbH 2020 once again Fogra and Fogra “Spot Cert” certified

Proof.de Proof GmbH Fogra Certification 2020 according to Fogra Spot Cert for ISOCoatedV2, PSOCoatedV3, PSOUncoatedV3 and eciCMYK-v2
Proof.de Proof GmbH Fogra Certification 2020 according to Fogra Spot Cert for ISOCoatedV2, PSOCoatedV3, PSOUncoatedV3 and eciCMYK-v2

This year we have again submitted proofs for Fogra certification. We thus prove that we not only deliver excellent 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 proof prints certified for the seventh year in a row. Already in 2019, we have also been certified for the representation of spot colours (“Spot-cert”), and in 2020 we were the first company ever to add the Fogra-59 certification:

  • We were certified for the new Fogra 59 eciCMYK-V2 standard for the first time
  • We have again carried out a certification for PANTONE spot colours for all four printing conditions, the “Spot cert”. We certified the spot colours PANTONE 2270 C, PANTONE 151 C and PANTONE Cool Gray 6 C for the proof standards ISOCoatedV2, PSOCoatedV3 and eciCMYK-V2 and PANTONE 2270 U, PANTONE 151 U and PANTONE Cool Gray 6 U for the standard PSOUncoatedV3.

The quality of our prints and our spot colour reproduction of PANTONE colours has been confirmed to us by Fogra for all four proof standards.

You can download the complete 14-page test report from Fogra here. 

We have implemented the new certifications on the current software revision Fiery XF 7.1.3 and on the papers EFI Gravure Proof Paper 4245 Semimatt, EFI Proof Paper 8245OBA Semimatt and EFI Proof Paper 8175OBA Matt.

Publication of Fogra 56/57 for Glossy and Matte Film Lamination of PSOCoatedV3 Prints

Offset film lamination with matt or glossy OPP film of a print according to Fogra51 PSO Coated V3

A few days ago Fogra published the characterisation data for the new printing standards Fogra56 and Fogra57 while ECI provided the respective ICC profiles for download on the eci.org website.

FOGRA56 and FOGRA57 are the separation and printing standards for matte and glossy film lamination of “PSO Coated v3” / Fogra51 prints.

Offset film lamination with matt or glossy OPP film of a print according to Fogra51 PSO Coated V3
Offset film lamination using matt OPP film on a print according to Fogra51 PSO Coated V3 | shutterstock | zefart

At Proof.de, with regard to the two predecessor standards Fogra49 and Fogra50 for glossy and matte film lamination of ISOCoatedV2 / Fogra39 prints, the majority of inquiries were for the standard for matte film lamination only, as this is where the greater and more difficult effects occur with regard to colour changes due to the lamination process. Particularly in the area of colour-critical prints, such as catalogues for the automotive industry, extensive tests are sometimes carried out with different film laminations in order to be able to recognise and compensate for differences between a normal matte film lamination and a scratch-resistant matte OPP lamination, for example. We also expect a higher demand for consulting and proofing for Fogra56 and Fogra57 for matte film lamination.

The European Colour Initiative ECI states on its website that the differences between different glossy films are rather small, while matte films are available in very different opacities. According to the ECI, the “average” matte film used as a reference in FOGRA56 leads to a lightening of ∆L* = 6 in the black solid tone and fits well with typical production. The lightening is lower with more transparent foils and higher with matte foils. In order to be able to assess one’s own films, the ECI recommends measuring the black solid tone before and after finishing on the same field on the same sheet.

You can download the new finishing profiles here from the ECI or from Proof.de. You can find the matching characterisation data here on the Fogra pages.

Fogra56 / PSO Coated V3 Matte Laminate

The ECI offset profile PSO_Coated_v3_Matte_laminate.icc is based on the characterisation file “FOGRA56.txt” and applies to the following printing conditions according to the international standard ISO12647-2:2013:

  • Commercial offset, premium coated paper, dot gain curve 2013-A, followed by matte film lamination (typical OPP matte film 15 μm with medium opacity ~70%, i.e. lightening ΔL* = 6 on black solid after finishing), white measuring base.
  • The profile is consistent with the PSOcoated_v3.icc profile and shows the matching glossy finished result.
  • The profile was calculated using Heidelberg ColorToolbox 2019 with the following settings: Black length 9 (insertion point 10%), Black width 10, max. area coverage 300%, max. black 96%.

Fogra57 / PSO Coated V3 Glossy Laminate

The ECI offset profile PSO_Coated_v3_Glossy_laminate.icc is based on the characterisation file “FOGRA57.txt” and applies to the following printing conditions according to the international standard ISO12647-2:2013:

  • Commercial offset, premium coated paper, dot gain curve 2013-A, followed by glossy film lamination (typical OPP glossy film 12-15 μm), white measuring pad.
  • The profile is consistent with the PSOcoated_v3.icc profile and shows the matching gloss finished result.
  • The profile calculation was done with Heidelberg ColorToolbox 2019 with the following settings: Black length 9 (insertion point 10%) , Black width 10, max. area coverage 300%, max. black 96%.

 

Proofs according to Fogra56 and Fogra57 for matt film laminated or glossy film laminated prints according to Fogra51 can now be ordered directly in the Proof Shop at shop.proof.de.

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