Good color management!

[rfulford]

Does anyone have a suggestion for a spectrophotometer? I'm running Onyx and the Epson GS6000.

An Eye One Pro is a solid choice. I would get a unit with out the built in UV Cut filter for use with Onyx. You can upgrade it to an Eye-One IO if you want automation. Believe me, eventually you will want to automate your readings. If you have money to burn, look at the barbieri LFP. It is pretty much the top of the line these days.

 

[signswi]

As a heads up Onyx x10 added support for black point compensation, as well as support for 16-bit processing which is also pertinent to this conversation.

 

[Custom_Grafx]

I'm about to buy an i1 extreme and have been asked if I want the UV cut version or not. I totally have no idea which one so I asked what the difference was. I have also been searching all day on line for stuff but it's hard to find info on this topic. All I know, is that UV cut is required if there are brighteners in the stock. I print roland eco-sol on polymeric white vinyl most of the time. Any help would be appreciated thank you in advance!

 

[bbeens]

I have heard arguments for both. Some people think the UV cut should happen on the software side other say hardware is the way to go. Check if the profiling software can do the UV cut, some do some don't.

As for whether your media does contain optical brighteners, I believe a black light will cause these optical brighteners to 'glow'. I have never performed this test personally.

When profiling I tend to use our devices with UV filters more than our devices without.

Bryan

 

[Rooster]

Ive always used one with a UV cut filter and it's never failed me (X-Rite - DTP41UV).

 

[Custom_Grafx]

Thanks so much for your replies guys. I'm using VersaWorks 4. I've looked everywhere and can't see any settings for UV compensation. Is this correct? Does this mean I should go with the UV cut version?

Thanks again,
John

I have heard arguments for both. Some people think the UV cut should happen on the software side other say hardware is the way to go. Check if the profiling software can do the UV cut, some do some don't.

As for whether your media does contain optical brighteners, I believe a black light will cause these optical brighteners to 'glow'. I have never performed this test personally.

When profiling I tend to use our devices with UV filters more than our devices without.

Bryan

 

[Spaceflunky]

thanks for the links! I will be looking more into them.

 

[Andy_warp]

I think alot of these problems come from designers using Pantone colors, which are really a special mix of pigments and not made up of cmyk.

Jim

We've been having really good luck with a spot color workflow through Onyx.
The profiling in the new version is great, but you do have to have a basic understanding of color mgmt.

The flexibility you have at the rip with spot color tools is great for finicky vector files that are effect heavy.
We've found that converting to cmyk from spots can throw tints and such for a loop.
I'd say the key to any useful color management is having some kind of process control in place first.
The trick is getting everything to a point that can be reproduced everytime.
A spectro and x-rite software isn't going to magically solve all of your problems.

We did a job for pepsi with over thirty spot colors in it!
Our profile saved us probably three shifts worth of color correcting.

We run grand format fabric, it's a little tought to replicate the process for a proof.
I suggest creating custom profiles to anyone...

 

[chillGMS]

We've been having really good luck with a spot color workflow through Onyx.
The profiling in the new version is great, but you do have to have a basic understanding of color mgmt.

The flexibility you have at the rip with spot color tools is great for finicky vector files that are effect heavy.
We've found that converting to cmyk from spots can throw tints and such for a loop.
I'd say the key to any useful color management is having some kind of process control in place first.
The trick is getting everything to a point that can be reproduced everytime.
A spectro and x-rite software isn't going to magically solve all of your problems.

We did a job for pepsi with over thirty spot colors in it!
Our profile saved us probably three shifts worth of color correcting.

We run grand format fabric, it's a little tought to replicate the process for a proof.
I suggest creating custom profiles to anyone...

I agree as to understanding color management is very important.

Equally important is the expectation that is put on the accuracy of the color. Is it a Delta-E value or something far more subjective?

4-Color type process printers can match many spot colors very accurately, but can't come close to the cleaner colors in the spectrum.

It really comes back down to the basics of what is achievable within a given color system, once you have a good understanding of that, it's purely mechanical.

 

[artisJet UV printer]

Very useful information, thanks！
——————————————————————————
Mars Chan
artisJet inkjet printing technology co.,ltd
flatbed printer supplier

 

[adendo]

You may also want to check out adendo.com. We have color management experts that can do one-on-one training to help you get the best color possible out of whatever printer and RIP your using.

 

[lmsmiletou22]

That was fantastic and thank you.
Happy new year and good luck to you all in 2022.
Start my work and good luck to myself.
And a few hours ago I choosed a useful tool to help my printing work better and faster - Uccsoft Smart Vizor variable data printing software.
Wish to share with each other more digital printing technologies and tools.

 

[CMYKENGINEERING]

You boys here look like you've got funeral faces — chill out, for goodness' sake. ICC is not difficult, almost an automatic way nowadays to make

 

[Humble PM]

You boys here look like you've got funeral faces — chill out, for goodness' sake. ICC is not difficult, almost an automatic way nowadays to make

to make...
It's not, but I'd love to hear the end of your sentenc

 

[netsol]

so would i

 

[BenR]

I have been profiling for 25+ years. Starting with X-Rite Eye-One back in the day, and now using a Barbieri LFP. I’ve worked across a wide range of RIPs including ColorGate, ColorBurst, Wasatch and currently Onyx Thrive.

For profiling software, I’ve used built-in RIP profiling tools, which can produce acceptable results depending on the environment, but they never quite suited my workflow. Over the years I’ve mainly used ProfileMaker with ColorLogic CoPrA, along with utilities such as ColourThink, ColorAnt. This has included producing both reflective and backlit profiles.

The printers I’ve worked with range from RGB photographic systems such as the Fire1000, LVT and LightJet 430/5000, through to CMYK production printers including the Encad NovaJet, HP5000, Kodak inkjet systems, Mimaki JV5, VUTEk 3360, VUTEk PressVu 320/400, Arizona 550/2280/2380, HP Latex L22500 and 360, Colorado 1640 and M-series, Epson SureColor F9460 and Epson 20560.

Each print technology and ink set has its own challenges — photographic RGB laser, aqueous, solvent, latex, UV and dye-sublimation all behave differently.

Creating a profile itself is not particularly difficult if you have a proper process or guide to follow. You will get a result. Whether it is a good result is another matter entirely.

A good profile will save ink, reduce wasted time, and produce predictable, repeatable prints across a wide range of materials.

 

[Ron at Forest Litho]

I have this problem as well. All my printers print differently and my monitor is RGB of course so what it is doing has nothing to do with CMYK.
IF I'm printing on my machines I can adjust color on the fly, But if I am putting it on press it is a free-for-all. Sometimes I make a 2-sided business card set up with like 18 color swatch boxes on each side. (with little ID numbers on each box) Then print 250 2-sided business cards on ctd stock at Zoo Printing using their economy card print. With shipping its $18 for an offset color test. And I can get an idea of where I stand.