Due to our involvement with freeColour e.V., at the last meeting in Switzerland the desire for a cross-media tool for designers was expressed with which one can create intersections of colourspaces from the freieFarbe CIELAB HLC Colour Atlas XL.
With Gamutmap, Proof GmbH has now created such a tool, which is available to all designers free of charge. With Gamutmap nearly 100 individual colour spaces can be indicated from 34.250 colours of the entire CIELAB colour space, or intersections from many combined colour spaces can be indicated.
An example: As a designer you are looking for colours for a new corporate design, which are available in sRGB for the internet, in ISOCoatedV2 for printing image brochures and in PSOUncoatedV3 for printing stationery. For video productions, the Rec.709 colour space is also to be taken into account.
In Gamutmap you can now easily select the colour spaces sRGB, ISOCoatedV2, PSOUncoatedV3 and Rec.709 and then click on “show”. After a few seconds you will only see the colours that are available in all selected colour spaces. If you move the mouse over a colour field, you will directly see the absolute colorimetric values of the colour in all selected colour spaces and you can copy them directly to your clipboard.
Since the hex value of the sRGB colour space was also still interesting, this colour space was additionally marked for display. The HLC and Lab values of all colours can be read directly in the colour table. All other colour values can be copied to the clipboard simply by moving the mouse to the desired colour field. For the colour field shown in the example above, it looks like this:
HLC: H005 | L055 | C035
Lab: 55 | 34,867 | 3,05
sRGB: 188 | 106 | 128
sRGB (HEX): #BC6A80
Rec. ITU-R BT.709-5: 188 | 87 | 115
ISO Coated V2 (ECI): 14 | 64 | 27 | 11
PSO Uncoated V3 (Fogra52): 10 | 70 | 34 | 8
We are sure that gamutmap will be a great help to many designers in creating cross-media corporate designs and are very happy that we were able to start and push the project with the members of freieFarbe e.V. For us, gamutmap is “work in progress”, which means: In the coming weeks we will add further functionalities and features to gamutmap. For example, a German version is in progress, and the download of spectral D50 CxF data of the selected colours should be possible in the future directly while hovering over the respective colour field, if the field is in the gamut of the freefarbe CIELAB HLC Colour Atlas XL. Further function extensions are already on our wish list… 🙂
We welcome suggestions, criticism, wishes and any support for the expansion and addition of Gamutmap.
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 the events in the field of colour management and brings together scientists and users from all over the world for a two-day exchange of ideas in Munich. A total of 21 speakers and 7 moderators reported on the topics multicolour printing, proofing, print procurement, customer expectations, colour management for 3D printing and colour management for textile digital printing, the topic to which I was also assigned.
I arrived one day earlier, because there was a “Speakers Dinner” the evening before, and I also had to discuss with Jan-Peter Homann and Joe Tschudi the structure and selection of our patterns in terms of textile RGB. On site in Munich we set up the standard light booth LED Color Viewing Light XL HYBRID 2.0 provided by Just-Normlicht and coordinated once again which samples we would show best during the Color Management Symposium.
During the Speakers Dinner I had the opportunity to talk to Jürgen Seitz from GMG, the moderator of my session, and Jeffrey Stauffer from oneflexo GmbH, in order to organize our session on day 2 well. Gerardo Cerros from CMA Imaging Belgium SPRL, the third speaker of our session arrived directly for his presentation. Furthermore we could test our presentations on the Fogra computers and already got to know the lecture room and familiarize ourselves with the stage. On the stage sat the three speakers per session plus the moderator of the session. All presentations, moderations, questions etc. were translated live from English to German and German to English. I held my presentation in German, but I had kept the slides in “Denglish” so that they were understandable for Germans as well as for everyone else.
The complete programme of the symposium can be found on the Fogra website. The topics of the seven sessions were:
1. Managing customer expectations – Managing colours throughout the food chain
2. Creating colour credibility in CMYK and extended gamut printing
3. Real-world multicolour packaging implementations (ECG)
4. Industrial Printing application: High Speed Inkjet beyond commercial and packaging printing
KEYNOTE: Colour workflows in the motion picture world – How HDR & Wide Gamut change the game (Harald Brendl, ARRI)
5. Colour communication for fashion textile applications
6. Colour Proofing for Packacking & textile applications
7. Colour in 3D (3D Softproof & Appearance measurement)
You can download the presentation of my lecture “Proofing in textile printing: Contract proofs for RGB-(FOGRA58) based textile workflows” here
After the session, there were lively discussions at our Fogra58 stand and the fabric/proof comparisons exhibited were discussed. Special attention was paid to a pattern with different shades of grey by Joe Tschudi. The proof was quite neutral grey for the human eye, but the fabric had a clearly visible green cast. In terms of measurement, however, the two patterns were only DeltaE00 0.3 apart for an i1Pro2, and a ball-head meter also showed a similar distance. A nice example to demonstrate the difficulty between textile printing and proof, between measuring devices and human perception.
Many thanks to Andreas Kraushaar and the entire Fogra team for the excellent organisation and support during the entire Colour Management Symposium. An outstanding event that shows current developments in colour management and broadens the view to new markets and segments.
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.
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.
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.
eciCMYK is the colour space for CMYK print production and complements the other Fogra colour spaces, but in contrast to these it does not represent a specific printing process, but is rather “neutral CMYK”. Due to the large gamut of eciCMYK all classical printing processes can be represented, it can be proofed on modern proofing systems without any problems and corresponds in its characteristics to typical CMYK printing colour spaces.
Proofs in eciCMYK / Fogra 53 can now be easily ordered in our Proof Shop, you can select the profile directly when ordering.
Further information on Fogra 53 can also be found on the homepage of the European Color Initiative ECI. Andreas Kraushaar from Fogra also presented the colour space in the Fogra aktuell issue 201, which you can download for free.
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.
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.
Handling wrong profiles with CMYK data / “Profile Mismatch
If we have only received CMYK data from you, we will ignore all input and output profiles and only use the CMYK values that we bring to the ordered output colour space.
You send a file with the profile ISOCoated and a colour area in CMYK 100/70/0/0 and order a proof according to ISOCoatedV2.
We ignore the ISOCoated profile and proof the pure colour value 100/70/0/0 according to ISOCoatedV2.
Why do we do this?
In our proofs, we try to reproduce the “lived reality” of the print as well as possible. In many conversations with printers we have seen that in almost 100% of the cases they do not convert profiles from CMYK to CMYK, but instead put a colour value of 100/70/0/0 on the plate without taking CMYK profiles into account, insert paper and print in conformity with the standards. So we also map this way, although it would actually be “more correct” to perform a colour space transfer from ISOCoated 100/70/0/0 to ISOCoatedV2. However, this results in a different colour value, for example 100/63/1/6 for relatively colorimetric conversion with depth compensation or 100/63/3/15 perceptively with depth compensation!
One of our customers did not proof 30 slightly different, dark blue colour areas in ISOCoatedV2 on our premises, but on the premises of a colleague, under each of which the CMYK value was in black lettering, in order to sample the colour of a powder-coated surface. The customer defined a very well fitting CMYK colour value on the basis of the proofed colour areas, inserted it into his brochures and started the print jobs. Result: The dark blue was a distinctly different blue than on the reference proof, customer and agency were very dissatisfied and went on troubleshooting. Now the case came to us.
We received a file for proofing according to ISOCoatedV2 and compared it with our colleague’s proof. The colours with the same black CMYK values printed underneath were clearly different, but both proofs were provided with media wedges and measured correctly. After some troubleshooting, we came up with the idea of requesting the original proof from our colleague, which also existed. In this one there was a Fogra27Coated profile, thus an implementation of the old ISOCoated. A proof according to ISOCoatedV2 had been ordered at that time. Had it happened? The colleague had taken the input profiles into account, which resulted in a significant change in the CMYK values of the colour patches, as mentioned above, due to a colour space transfer from CMYK to CMYK. The black printed CMYK values under the colour patches had of course not changed. The patterned CMYK value therefore did not correspond to the proofed value at all. Our customer fell from all clouds: “How, our CMYK values were not proofed”. This would not have happened with us, because we would ignore the embedded profile with CMYK data. In this case this would also have been our customer’s expectations.
After almost two hours, we had determined the “error” (or perhaps rather: the “difference”), created a proof for our customer that was “in line with expectations”, which he could use to determine the appropriate CMYK value in ISOCoatedV2, and solved the problem. (more…)
On the last weekend in September the general meeting of the association freieFarbe e.V. took place in Tübingen. From Friday to Sunday, the members worked, discussed, conceived and, as you can see on the picture, ” punted” in and with new products and ideas in the best weather on the Neckar river.
After a meeting with the colour management specialists from GMG on Friday, who support the association with software and proofing media, work continued on the new CIELAB HLC Colour Atlas in the afternoon, to wrap up the day with tarte flambée and wine at Matthias Betz’ house.
On Saturday, the general meeting followed at Lorettoplatz at Proof GmbH, where the past year was discussed and the coming year was touched upon. With the CIELAB HLC Colour Atlas and the DIN SPEC 16699 Open Colour Communication much was reached and accomplished, but numerous ideas need to be evaluated, weighted, financed and worked on.
Present were: From Germany Matthias Betz from Proof GmbH as this year’s host, Jan-Peter Homann from Homann Colormanagement in Berlin, Holger Everding from DTP Studio in Oldenburg and the Swiss Peter Jäger from pre2media in Hombrechtikon, Eric A. Soder from pixsource in Uster and Matteo Baschera from galledia in Zurich.
With DieDruckerei.de, the first well-known online printer has switched to PSOCoatedV3 and PSOUncoatedV3. A sign that almost exactly three years after the new Fogra51/52 standards appeared, they are increasingly being used in production and as a requirement for printers to produce data.
The fact that also here the conversion does not run completely smoothly, shows up in the data requirements, which recognize beside the new PSOCoatedV3 also a 300% variant of the profile – a legacy from the ISOCoatedV2 300% times, PSOCoatedV3 is present only in a 300% version, a profile PSOCoatedV3 300% does not exist therefore.
Nevertheless, the conversion shows that the new Fogra 51 and Fogra 52 profiles are also increasingly being used in online printing. A replacement of ISOCoatedV2 is still a long way off, the profile is simply too successfully anchored in the market and also well established as a defacto master standard for numerous printing processes in digital printing, trade fair construction, flexo printing and much more, so that this will take several more years. But with every major player in the printing market that advocates the conversion, the spread will increase and the new profiles will also be used in prepress.
It has taken almost a year, but we are all the more pleased now: The “CIELAB HLC Colour Atlas” is completed and can be ordered in our shop. The HLC Colour Atlas is a open source, high-precision colour system based on open standards.
The CIELAB HLC Colour Atlas offers professional users of colour three decisive advantages:
freeColor e. V. is a consortium of German and Swiss color experts who work to produce consistent color in all areas of application. Sounds reasonable? Exactly. That is the issue that is of central importance to our proofing customers. Therefore we are currently working in a project with the colleagues of FreieFarbe e. V. and are now also as Proof GmbH member and partner of FreieFarbe e. V.
FreeColor relies on open standards such as LAB and HLC, which have long been integrated in computer software and want to show: the computer is an ideal tool for color, it can make color free! The association FreieFarbe e. V. aims to promote colour communication without pursuing commercial goals.
freeColor e. V. would like to promote developments that…
In recent months, Holger Everding, Peter Jäger, Eric A. Soder and Jan-Peter Homann have developed a completely new approach to this, which we were able to develop together with our colleagues into a product that we will present shortly.
We would like to take this opportunity to point out a great feature of the website of FreieFarbe. de: The colour database: Here you can look up the most important colour values for more than 300 colour systems and calculate colour comparisons of all kinds.
For the work within the association FreieFarbe e. V. the association is always looking for competent companions. If you, like us, are touched by the subject of colour in a variety of ways, there are many opportunities at fF to contribute with your knowledge and strengths. If you feel like our good cause, please contact us!
The ISO 12647-7 proofing standard was revised in November 2016 and the test criteria for FograCert contract proof creation were adapted. We have now incorporated these changed criteria into our proofing system and are now working to the stricter tolerances of the latest ISO 12647-7:2016.
The good news is: you won’t notice that our proofs are now precisely produced according to the latest standards. Why? Quite simply: Because our demands on our proofing system, our FIERY proofing software, our EFI proofing papers and the X-Rite measuring decvices are already so high that all components of our proofing system – and of course our proofs themselves – have been meeting the new criteria of the revised November 2016 standard for years.
The new standard brings the classical formula for the colour distance Delta-E from the traditional definition of 1976 (CIELAB 1976) to the updated version of 2000 (CIEDE2000). Since the values cannot be converted directly, new tolerances for the test report are introduced, which are valid immediately. These new tolerances and new criteria are also the only difference that you will notice on our proof when you take a closer look at it.
Why this change: Fogra used measurements from the 116 Contract Proof Certifications from 2016 to show that the old and new tolerances of the old? These colors have so far had a? E-value that is too high in relation to the visual assessment. The new Delta-E values, on the other hand, are much more “equidistant”, i. e. with the human assessment of the colour distance, which Fogra has also demonstrated in tests.
The deviations of the gray axis and hue are now also determined more precisely, the evaluation of the hue spacing? You can also see this on the test report. The Fogra writes:”Since HC mainly depends on the hue angle, the evaluation of neutral grey or similar colours with sometimes very large differences in brightness and saturation did not yield meaningful results. The measure?Ch now describes the actual distance of a color pair in the CIEa*b* plane and is therefore no longer suitable only for the evaluation of the colorfulness difference of very rich colors.
The ageing tests for proof papers were clarified more clearly with the introduction of the new standard. All certified proof papers undergo the following tests: (more…)
The WAN-IFRA Standard Profile for newsprint “ISOnewspaper26v4.icc” is contained in countless newspaper printing specifications around the world, almost every German newspaper is printing to this proven standard.
Now the IFRA has placed a successor with the new ISO Newspaper 26v5 to the starting line, that increasingly conquers market shares. The new profile adapts the changes in ISO 12647-3: 2013, in particular with a decreased total ink coverage. The current ICC Profill called ISOnewspaper26v5.icc contains a total ink coverage of 220% and a dot gain of 26%. The name of the new profile is “WAN IFRAnewspaper26v5.icc”. The new newspaper printing profileWAN-IFRAnewspaper26v5 Proof Profil available.
Since today we offer proofs in ISONewspaper26v5.
No further documentation was available at that point on the IDEAlliance Website. The ICC files can be downloaded in a ZIP file here:
Following today’s kick-off of the new Fogra 51 (PSO Coated V3) and Fogra 52 (PSO Uncoated V3) printing conditions, Fogra and ECI (European Color Initiative) have published the new profiles and associated characterisation data on their respective websites.
In each download you will also find PDF files with explanations and notes on the respective profiles and characterisation data. On the Fogra page you will also find the current colour values for the UGRA/Fogra Media Wedges CMYK 3.0 for the new printing conditions PSO Coated V3 and PSO Uncoated V3.
The Proof GmbH has thus reaffirmed it’s quality by the strict criteria of Fogra. The tests Fogra conducted went far beyond the pure colorimetric readout of a media wedge. The special proofs for Fogra were evaluated among the following criteria:
The color matching our proofs submitted for the test was confirmed by Fogra with date of September 24, 2015. The Proof GmbH is thus the world’s first company that has certification for the production of contract proofs on a Fogra 51 and Fogra 52.
We are very pleased that our preparation and the efforts of the past few months were rewarded by a successful certification. You can order Fogra51/52 proofs in our proofing shop Order Fogra 51 / Fogra 52 Proofs (PSOCoatedV3 and PSOUncoatedV3).
The full, 12-page report from Fogra can be downloaded here:
Fogra certification report on Proof GmbH of 2015 No. 29712
With long delay, the new printing conditions Fogra Fogra 51 and 52 – PSOCoatedV3 and PSOUncoatedV3 – will be presented at the end of September and finally come into practice. The German bvdm invites together with Fogra and ECI to a joint “kick-off” of the new printing conditions in the “Hochschule der Medien” in Stuttgart.
On Wednesday, the 30th of September 2015 from 10 o’clock representatives of the associations will introduce in the university the innovations, Karl Michael Meinecke wrote of the ECI mailing list.
In this kick-off the new, jointly developed printing conditions and to implement the ISO 12647-2:2013 are presented to printing and media professionals. Attendance is expected to be free, but registration with name and company to the email address firstname.lastname@example.org is requested. The event takes place at the HdM in auditorium i003 in the Nobel Straße 10, D-70569 Stuttgart (Vaihingen) in the Stuttgart Media University.
Fogra51 and Fogra52: A difficult start
The launch of Fogra51 and Fogra52 had been marked by delays and disruptions. Large series of measurements had to be discarded after testing, measurement technology as the new SpectroProofer ILS 30 or new proofing papers were delivered only with great delay. Several seminars on how to manage the change to the new ISO standards in the Fogra are running since late last year with numerous participants in full swing – only the new standards were still not in sight. Now there is at least the kick-off date at the end of September in sight.
Cirtainly, all involved representatives of associations and interested companies were often reminded of the negative model of the US standardization bodies:
The IDEAlliance had presented in 2013 probably too hastily developed new printing conditions for GRACol 2013 and SWOP 2013, but so far they hardly play any role in practice. Why? Even the IDEAlliance open most their publications on the new standards with the tenor: “If you are not extremely color-critical, there is no reason to change from the old standards to the new ones … Conclusion: Please stay with their established, old workflow with profiles from 2006 … we are currently working on numerous ‘supplements’ …”
PSOCoatedV3 and PSOUncoatedV3: What definitely comes
But it is clear: The new standards will bring many changes to companies in printing and prepress: The individual changes in detail: (more…)
Recently Proof GmbH made available in their proof online shop the new US Proof Standards of SWOP and GRACoL with their 2013 profiles. Unlike the new Fogra51 and Fogra52 profiles from their Munich colleagues, the IDEAlliance have pushed their new standards forward and published new M1-based profiles already in 2013 – M1 meaning, that the new standards are measured in consideration of optical brightening agents (OBAs), and also contain a different white point than the previous SWOP and GRACoL profiles of 2006.
The release was perhaps a bit too early – even the Americans feel uneasy. So several documents of IDEAlliance regarding GRACoL 2013 and GRACoL 2006 almost discourages a necessity of a change towards the new profiles.
Ron Ellis and Don Hutcheson wrote: “The few minor changes are barely visible in most subject matter and should not significantly affect printers, designers or print buyers. […] In fact the differences are smaller than the typical variation between two good offset press runs “Not even image data or proofs must be adapted to the new standards”. The really good news Is that legacy image files and proofs produced using GRACoL 2006 Should not need to be adjusted or converted for printing or proofing to GRACoL 2013 (and vice-versa), except in rare situations.” GRACoL 2013 Guidelines
LAB values of the primary colors, white paper and more have of course changed, therefore the reluctance can be explained only by a degree of uncertainty, as the Fogra and the ECI will implement their new Printing Conditions Fogra51 and Fogra52 at the end of September 2015. But ont thing is for shure: When it comes to dot gain and paper white, the American profiles are noticeably different from the new PSOCoated standards of the German Fogra.