With the increasing use of UV curing on sheet-fed offset litho presses, shown by the number of new installations and retro fits of UV curing to existing machines, the area covered below becomes very important and interesting due to the higher inks costs of the inks for all flavours of UV curing, [...]
Many printing markets, such as packaging, point of sale and areas of the commercial sectors, due to the demands of the client, need to match brand, Pantone and other colours very accurately, often within De2000 2.5. This is a very [...]
PrimaPress is a lightweight uncoated (LWU) mechanical paper with lightweight coated (LWC) properties. PrimaPress has a brilliant print gloss, high whiteness, opacity as well as with excellent runnability. It is for heat set web offset production and designed to replace lightweight coated papers.
The standard range [...]
So is this problem? Well it could be if you are trying to print to exactly match the CMYK and white paper Lab figures from in the current ISO 12647/2 2013 standard.
The reason for the difference is, in itself, reasonable. The white paper Lab figures for the 8 ‘new’ papers in the standard, called [...]
But how many transparencies or colour prints do we see these days; very few I think. Over the last 12 years, digital photography has taken over in both [...]
The image shows a Fogra 51 coated profile in wireframe, with a Fogra 52 uncoated profile within. Both in the grey frame which is CIE Lab
This latest version of ISO 12647/2 standard printing conditions for offset litho was published in late 2014. The Fogra 51, coated, and 52, uncoated, colour datasets [...]
Well, the tube manufactories state a life of 2,500 effective hours. Of course the tube life is much longer, but they are not [...]
Well, there are many colour management issues, but the one that comes up time and again, even from printers with a good colour managed workflow, is the management of colour within PDFs supplied by their clients.
This area can cost printers hundreds of hours and tens of thousands of pounds in unrecovered costs [...]
Colour management is a maturing technology, based on the International Color Consortium (ICC) specifications. Most graphic arts software uses ICC colour management to control the display, colour space conversion and output of colour.
These include desktop publishing packages such as Adobes CC suite, Quark Express and Coral.
Proofing rips from GMG, EFI, Print [...]
Colour accuracy, consistency and appearance are becoming an increasing requirement for all areas of printed products. The wide format market cannot stand apart from this issue. This blog looks at how a colour-managed workflow can save money, assure quality and retain clients.
1. A rip is not a workflow!
The wide format rips from the [...]
The blog is based on a briefing paper I wrote for CMA Imaging, so is published with many thanks to them.
For the last few years the International Standards Organisation, the ISO TC130 international committee, which develops all the printing industry related standards, ISO 12647, 12646, 3664, etc, has been slowly amending [...]
It has been said that a digital image without a profile is like buying a burger from a dodgy burger van; is it beef, lamb, dog or [...]
- Paul Sherfield who runs the consultancy is well known in the printing and pre-media industry as having considerable knowledge on digital workflows, with a special expertise on the business reasoning behind such systems.
He has installed some of the most successful digital pre-press and pre media systems in the UK. For 2 years he worked on a number of medium term projects before starting the consultancy in July 2000. Before this he was a partner in what became one of the leading pre-press/printing companies in London.
He is active in a number of industry groups including the BPIF Technical Standards Committee, ISO TC 130 printing standards committees and is chair of the BPIF steering group for ISO 12647/2 UK certification, He is a regular speaker at seminars and conferences.