TVI is the Tone Value Increase. Print dots increase when they are printed on paper. A 50 % magenta on a printing plate can show a tone value (TV) of 70 % when printed, so the TVI is 20 %. In the past, these measurements were referred to as ‘dot area’ and ‘dot gain’, which correspond to the tonal value (TV) and the dot gain (TVI). The paper was always 0, the solid tone always 100.
This dot gain was used to adjust a printing press to a specific printing condition.
ISO 12647 recommends TVI target values to which printing presses should be calibrated. This was usually done densitometrically, i.e. ‘density-based’. The ink film thickness was set to specific target densities. TVI and densitometric measurement for solid colours and tonal values have proven their worth in CMYK printing, as density filters in measuring devices are designed to correspond to standard CMY printing inks. However, densitometric measurements are less reliable for spot colours that lie between the standard CMY printing colours. For this reason, the colour in LAB or spectral is often used as a definition.
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
The most important colour management event takes place every two years in Munich: the Fogra Colour Management Symposium. Once again this year, all professionals are invited to make the pilgrimage to Munich: two days of lectures, discussions and a Bavarian evening await participants. Matthias Betz, owner of proof.de, will also be there again: for many years, he has been taking advantage of the opportunity to exchange ideas with colleagues and friends, learn about new technologies, hardware and software, and talk to colleagues from Fogra, freieFarbe, GMG and many more. In … read more
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.
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
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
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
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
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 … read more
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