Brighteners (also called optical brighteners or OBAs – Optical Brightning Agents) are chemical compounds used in the printing industry to improve the brightness and whiteness of paper. They absorb UV light and emit it as visible blue light, giving the paper a ‘brighter’ and ‘fresher’ white tone. This effect increases the brilliance of printed products, making the paper look whiter and more valuable.
Optical brighteners are used in paper production, but brighteners are also used in printing inks to increase contrast and colour intensity, particularly in photo and colour printing. Their use is particularly important in the production of high-quality printing papers and packaging, where a brilliant appearance is essential.
The most commonly used brighteners in the paper industry are stilbene brighteners, which are particularly effective at brightening paper. They are based on the stilbene basic structure. Other types are benzoxazole and triazole brighteners, which are used for special applications. Benzoxazole brighteners are often used in special applications, such as in the manufacture of transparent paper or in the textile industry. They are also effective, but their use is less common compared to stilbene compounds. Triazole brighteners are mainly used in the production of speciality papers. Each brightener has specific properties that make it suitable for different papers and applications.
One disadvantage of brighteners is that their effect can diminish over time. In addition, high concentrations can disrupt the printing process and lead to undesirable reflections or colour changes. Nevertheless, brighteners are also used for environmental reasons: they save on chemical bleach for bright white papers, which is even more harmful to the environment than the brighteners. And companies are constantly working on more sustainable, biodegradable brighteners.
Today I received an email in which PANTONE asked how it should orientate its products and services in the future. The users were asked which countries, industries and company sizes they come from, but also what PANTONE products should look like in the future and what customers would be prepared to pay for PANTONE services in the future. Question: How much can PANTONE services cost? PANTONE appears to be orientating itself on the PANTONE Connect prices: All price queries have the lowest price category < $ 7,- / month, i.e. … read more
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 … read more
This year we once again created proofs for Fogra certification and sent them to Munich-Aschheim for testing. With these proof prints, which we print according to three different proof standards and on three different papers, we point out that we not only deliver excellent proof quality through internal quality controls and checks, but that the quality of our proofs is also measured and confirmed by external experts. We have now had test prints certified by Fogra for the 12th time. We have also been “Spot-cert” certified for the display of … read more
Adobe products are ideal for image retouching and layout and handle RGB and CMYK colour profiles very well. However, when editing and retouching grayscale images, for example for a black-and-white photo book, the experience is quite different. Suddenly, images look completely different in InDesign than they do in Photoshop, and even when exporting the image to PDF, greyscale images are suddenly treated differently. This article explains where the problems lie with black-and-white images and greyscale profiles in InDesign and Photoshop layouts, and how you can work in a more ‘colour-accurate’ … read more
Peter Jäger is an expert in colour management that reliably works across the boundaries of printers and monitors, web and print – essentially: cross-media.
In recent weeks, there have been lengthy discussions on the Fogra digital printing mailing list as to whether a research project should be launched to define standardised tonal value gradations for spot colours. What is this all about? In the field of CMYK and seven-colour printing, the definition of clear, printable and proofable standards is well established and has been tried and tested in practice. If the paper or paper class is known and defined, a measuring standard such as M0/M1/M2 has been established and the content of optical brighteners … read more
RGB colour spaces are colour systems that represent different hues with the three primary colours red, green and blue. RGB colour spaces are used in digital image processing, photography and computer technology to precisely define colours. The most important RGB colour spaces and their special features are: sRGB sRGB is the most widely used RGB colour space and is used by most monitors, printers and digital cameras. It was developed by HP and Microsoft in the 1990s to create a standard for colour representation on the internet and on various … read more
A new generation of colour measuring devices is entering the market: in contrast to the classic measuring devices, which are available as a fully encapsulated system either as a colourimeter or as a spectrophotometer, and then supply the data to a computer via an interface or app or display it directly, the new generation of colour measuring devices consist only of lighting and software, with the optics of a modern iPhone from Apple being used as the sensor. Until now, there have been two categories of measuring devices on the … read more
In this short image video we – the Proof GmbH – introduce us and our work. Find out who we are and what drives us. What do you think of our short film?
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 … read more