Ink coverage in printing refers to the amount of ink applied to a printed surface. It is also referred to as ink coverage or ink density. The ink application is an important parameter in the printing process as it influences the intensity and saturation of the colours.
A high ink application can lead to more intense colours and a higher saturation, but also to longer drying times and possibly to problems such as the ink bleeding through the paper. A low ink application, on the other hand, can lead to pale or washed-out colours.
The ink coverage is usually given as a percentage and indicates what percentage of the print area is covered with ink. An ink coverage of 100% means that the entire surface is completely covered with ink, while an ink coverage of 0% means that no ink is applied and the surface remains empty. ISOCoatedV2 has a maximum ink coverage of 330%, ISOCoatedV2 300% – as the name suggests – has a reduced ink coverage of only 300%. The successor standard PSOCoatedV3 was only created and published in a version with a maximum ink coverage of 300%.
There are several reasons why the maximum colour application is limited to 300% with PSOCoatedV3. Here are some of the main reasons:
A high ink application can lead to problems such as overprinting, wet printing behaviour, ink smearing and longer drying times. These problems can impair the print quality or cause the motif to be transferred to the opposite side during folding. In some cases, the folding machines are so smeared and dirty after folding a print that is still too ‘wet’ that they first have to be cleaned at great expense. By limiting the ink application to 300%, these potential problems are minimised.
However, environmental and cost aspects also play a role: a high ink application means a greater amount of ink or printing ink being applied, which can lead to higher ink consumption and potentially to environmental impacts. By limiting the amount of ink applied, a certain saving in ink consumption is achieved, which in turn contributes to a more environmentally friendly printing process.
Today, the ink coverage is often subsequently reduced from 300% to even lower values using so-called ‘ink savers’. So if you deliver a file with 300% ink coverage to a print shop, you cannot be sure that you will receive a print with 300% ink coverage.
From now on, it’s much easier and faster: in the Proof Shop, you can call up and reorder entire orders or individual proofs directly from your order history. This saves you from having to re-enter every detail and gives you the assurance that all settings will be exactly the same as last time. With just a few clicks, your proofs are reordered – reliably, easily and in no time at all. What exactly is new? You can find your order history in your customer account. There are two new options … read more
In recent years, various problems have arisen with our previous proof paper supplier. On the one hand, we sometimes had to wait more than three months for paper deliveries; on the other hand, we sometimes had significant problems with batch-to-batch discrepancies, surface defects and much more. After lengthy deliberations, we decided in December to replace all the paper. We therefore received pallets of new paper at the turn of the year, which we are now gradually incorporating into our production. There will be no hard cut, but the new papers … read more
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
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
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?
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. … 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
Peter Jäger is an expert in colour management that reliably works across the boundaries of printers and monitors, web and print – essentially: cross-media.
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
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