Archive for the 'color' Category

Kuler is not cooler - by Michael Jahn

Published
by
Jim Raffel
on April 28, 2008
in L*a*b*, blogging, calibration, color, gray balance and web-to-print
. 0 Comments

Michael Jahn, a JimRaffel.com reader replied to me via email about a previous post and I found his comments enlightening about how scary the world of color has become for those of us in the graphic arts that have to actually print this stuff.

So, for the first time ever (I think) a guest contributor at JimRaffel.com….

Hi Jim,

Read you blog about Kuler;

As I suggest in my subject like, I do not think Kuler is cooler.

Okay, I will give you it has a sweet looking thing to look at, but so was that Brazilian chick I dated.

example - go to Kuler - in the search tool, enter “swop”

notkloseinkuler.jpg

See attached (this is made from several screen captures - Kuler runs in a browser, so that is RGB - I did my screen captures in Photoshop building while in CMYK, profile was SWOP version 2 - not wanting to debate the fine points, as Kuler seems to have no real notion of CMYK that one wonders why they offer it at all…

So, my gripe is that if one were specifying in CMYK

– 50k should look fairly close to 50c, 38m, 38 y, 0k - in Kuler (TOP) they don’t, and in Photoshop, (BOTTOM) they do

and 50c, 50m, 50y 0k should look a bit warmish brownish, in Kuler it is neutral (incorrect) and in Photoshop it is a bit warmish brownish (correct)

I have no explanation as to why 19c, 0m, 0y, 38k should look like 50c, 38m, 38 y, 0k - in Kuler, or anything that might create, display, report proof, print or plate.

Clearly - This is not ready for prime time for color specifying in the world of print

–
Michael Jahn
Jahn & Associates
PDF Color Conversion Specialist

Virtual Proofing - Oh Boy!

Published
by
Jim Raffel
on April 17, 2008
in blogging, calibration, color, inkjet, measurement, monitors and proofing
. 1 Comment

I believe virtual proofing is at the same cross roads ink jet proofing was around 2001.  I am both hearing and observing information that provides growing support in my own mind for this position.  First, I am not going to name any names in this post.  Why?  Because gut feelings and intuition are not fact.

Think back to 2001 and earlier as it relates to ink jet proofing.  For a frame of reference think Print ‘01 in Chicago, just try not to remember that 9/11 fell right in the middle of the show :(   We finally had a good stable pigment based printer.  We had a few good RIPs emerging from the pack, but you still really needed 3rd party color management software to make the whole thing work.  Of course there was the nightmare of the day which was trying to find a suitable media for Graphic Arts proofing purposes.

The reality was if you understood all the steps involved (or hired a good color management consultant) you could make decent ink jet proofs that rivaled the standard analog and digital proofs of the day.

Now think about virtual proofing today.  While I believe there are at least two (and quite likely more) solid products capable of producing virtual proofs rivaling the ink jet proofs now carrying the standards flag; getting even those two systems to work in multiple locations can and does prove tricky at best.  This is no knock on the virtual proofing software vendors, but instead really an issue of hardware.

Putting together a solid ink jet proofing system requires an end-user to source a printer, media, a RIP, a computer to run the RIP, and probably a good color management consultant as well.  Putting together a solid virtual proofing system requires sourcing a display…let’s stop right there.  There is more to it, but the display is proving (at least my gut tells me this) to be a huge thorn in the side of virtual proofing working in multiple locations.

I am hearing some crazy numbers like less than 1 in 10 “qualified” displays can be used in a 2 or more location virtual proofing set-up.  If this is true (and I am starting to think it is), than it is no wonder virtual proofing is being used more and more for intermediate color (as I predicted in a previous post) and good old reliable ink jet proofs are still being produced as a final contract proof.

I still believe virtual proofing will continue to make gains over hard copy proofing.  I just think it may be a little slower than we thought until this display issues gets worked out.  Part of the problem is that measuring displays is not the easiest thing in the world to do….but that could be a whole post or even a complete white paper.

kuler - Another Big Company Reinvents Spelling

Published
by
Jim Raffel
on April 15, 2008
in blogging and color
. 2 Comments

A while ago I ran across a cool Adobe Labs web application called kuler. I guess it is geared more to the design community, but if you love color (note C O L O R not k u l e r) like I do you will have fun playing around with it. (Oh, I suppose colour would be OK as well.) If you have never looked around at Adobe Labs, I would suggest you take a few minutes (or hours as I did) to look at the kind of projects they are working on.

Today I would also like to mention a web-site I ran across called Prepress Pilgrim authored by DJ Dunkerley. I did not so much run across DJ’s site as he did mine. One of the neat things about WordPress is I get an alert when someone else links to one of my posts. Thanks for the cross-link DJ.

So, what is with X-Rite spelling MONKEY munki and Adobe spelling COLOR kuler? Does that mean would should have named ProofPass.com PruufPass.com? Oh wait, I need to go register that domain before I publish this post….I’m kidding really I am!

…I’m back…so if X-Rite and Adobe merged would it become the kulermunki?

X-Rite colormunki

Published
by
Jim Raffel
on April 14, 2008
in blogging and color
. 0 Comments

More than just a few of you have been asking for my thoughts and comments about the recently announced X-Rite colormunki.  Because X-Rite has clearly positioned this device for the Photography and Design markets, for now we at ColorMetrix are taking a wait and see position.  Rest assured I have plenty of thought and comments and they will be coming once I get the opportunity to personally test a colormunki out.

Until that time, I did find a good review over at Photographyblog.com.  Jon Canfield posted this review on April 9th, and he seems to be impressed.

I am going to be trying to make more short posts like this as I find content on other web-sites that I think my readers will be interested in.  I will then summarize them in a (hopefully) weekly  e-mail that may or may not contain one of my now famous Golden Nuggets.

#69 IDEAlliance Proofing Summit in Review

Published
by
Jim Raffel
on March 18, 2008
in GRACoL, ISO, blogging, calibration, color, conferences, delta E and guidelines
. 0 Comments

Recently I attended the IDEAlliance Proofing Summit held in conjunction with the Publishing Business Conference and Expo at the Marriott Marquis in New York City. During the one day summit I managed to take three pages of notes focused on the meeting’s key topic of Virtual Proofing to the Numbers.

During the initial industry panel a question was raised about how to deal with virtual proofing systems from multiple vendors. Large publishers obviously deal with many printing companies and those companies make use of many of the different virtual proofing systems now available on the market. While it did not seem appropriate to make a comment during the meeting, I will remind my readers that ProofPass.com allows verification of ANY virtual proofing system with centralization of the results on a ProofPass.com internet server.

Bill Pope (of FTA) then spoke about the 2008 Virtual Proofing Systems Certification Program. Bill made a great point that sound color management is the key to successful virtual proofing. While ISO specs inks that most printers are now using, good color management is required to simulate those colorants on a monitor. Bill also made a great point about dealing with proofing disappointment up front. While I loved the comment, I think we all know that customers want what they expect x not necessarily what they see….

A fairly technical overview of the certification program was then provided. I found two items of particular interest during this portion; 1. A shift is being made to utilization of Delta E2000 for virtual proofing verification (already supported in ProofPass.com); 2. One of Bill’s key steps to verify that nothing has been “fudged” by the vendor is almost identical to the ProofPass.com verification procedure.

Some other comments I picked up throughout the day:

  • Pressroom monitors will need to be replaced approximately every 18 months.
  • Office/prepress monitors should last about three years
  • About 90% of the Pantone spot colors can be achieved with a high degree of accuracy on monitors costing about $5,000.
  • Grey balance uniformity corner to corner on a monitor is key
  • Color clipping on monitors might be overstated – it is localized to fully saturated colors and just results in a slightly duller rendition of the color.

All in all, it was a day well spent with the publishing and agency side of our business.

#67 Metamerism: Hard copy vs Monitor

Published
by
Jim Raffel
on January 16, 2008
in GATF, RHEM indicator, calibration, color, delta E, illuminants, matamerism, measurement, monitors and viewing conditions
. 4 Comments

The most visited post on JimRaffel.com in 2007 is #16 written October 2005 and addressing metamerism. Because of the popularity of this post I have decided to revisit the topic. I will start with some basic terminology and definitions. Then, I am going to present a real world example we are dealing with right now at ColorMetrix.

Definitions: First, metamerism requires a pair of objects. The two objects are often referred to as a metameric pair. In order to be considered metameric the pair must; match under at least one combination of illuminant and observer; not match under at least one combination of illuminant and observer; and have different spectral response curves.

Metramerism Tests: Post #16 shows an example of the GATF REHM indicator used for visual assessment of light sources. This is also an excellent of example of a visual test for metamerism. The two samples may also be measured by a spectrophotometer, and then an instrument test for metamerism can be performed. If the two samples exhibit a small Delta E under one illuminant observer combination, but have different spectral curves that cross at least three (3) times they are metameric.

Our ProofPass.com system was recently used to measure two samples. Below I have provided the L*C*h* values of a ‘Red’ swatch measured on a hard copy proof and then reproduced and measured on an LCD monitor.

  Hard copy Monitor
L* 40.56 43.02
C* 60.85 61.31
h* 28.44 27.9

The CMC(2:1) Delta E of the above two samples is 1.34 in a D50/2 degree environment.

Now, take a look at the spectral reflectance and emission curves of the two swatches. (Library Reading = Hard copy and Sample Reading = Monitor)

graph_spectralphp.png

Again the instrument test for metamerism states that if the spectral curves differ, and cross each other at least three times, then the objects are metameric. The curves look different and I count at least 10 crosses.

As long as the physical sample is viewed in a proper viewing booth, and the monitor continues to be calibrated and also viewed in proper conditions, the metamerism effects of hard copy vs. monitor proofing above should not be a problem. My concerns about this type of metamerism extend to placing a package on a retail shelf which is seldom a D50/2 degree environment.

65-2: New Media vs. Old Media at a Trade Show

Published
by
Jim Raffel
on October 30, 2007
in blogging, color, conferences, measurement, proofing and wide format
. 1 Comment

As a member of the new media I would like to thank the SGIA show management for their recognition of the shift that is occurring in the way people gather news and information. While JimRaffel.com is not listed among the 22 most popular blogs in the world we do a pretty good job reaching those interested in color measurement and process control. After a review of the site, SGIA show management was enlightened enough to grant me press credentials for the show.

What do new media writers have to offer a show like SGIA? When I planned my trip to SGIA I had two meetings planned as Jim Raffel, the CEO of ColorMetrix. Thus, I decided to make good use of my “spare” time at the show learning more about the specialty graphic market and sharing that knowledge with you, my readers. I think the key item that differentiates me from a traditional media writer is that I have no deadlines and no publisher demanding that I put out a specific number of words or posts each day, week, month, etc. I write only when there is sufficient copy to write about something, and by and large only as it relates to color measurement and color process control.

I do not visit the press room and pick up press releases. I observed most of the traditional media representatives picking up press releases at the press room. Then, they all make the rounds of the booths with the most compelling releases and speak with the marketing people there for the benefit of the company with the press release. I am not saying this is a bad thing, well maybe I am… We have a journalism graduate speaking to a marketing graduate, neither of which has probably ever worked an image in Photoshop, made a plate, run a press, etc… It is, however, a great way for those companies’ issuing press releases to get the information out.

Take a look at my previous post. Do you think the average trade magazine author in our industry could explain to you why Canon’s move back to an 8 color printer is significant? Would they understand that none of the RIP manufacturers could figure out how to properly render the RGB inks in the Canon’s 12 color printer? In this industry we just seem to do better with 8 color CMYK printers to render images. As a result it is difficult to hit a lot of the spot colors, but if the spot color looks great and the photograph of the kids eating the chips next to it looks awful, that is a problem.

If you do not believe me take a look at the redesigned Graphic Arts Monthly website and notice how prominent the blogs are. WhatTheyThink.com is another a good example of a new media site even if one does have to pay for the content that really matters. WhatTheyThink.com provided very significant coverage of GraphExpo (A printing industry trade show) all in digital form.

As for SGIA show coverage I had planned on more, but the Jim Raffel CEO guy got busy with many unplanned meetings. Many of my contacts from the more traditional side of graphic arts turned out at the SGIA show and are expressing a greater interest in bringing color measurement and color process control to the Specialty Graphic market.

#65: Color in the Specialty Graphic Market & SGIA Live

Published
by
Jim Raffel
on October 19, 2007
in blogging, color, conferences and wide format
. 0 Comments

I will be attending the SGIA (Specialty Graphic Imaging Association) conference and expo in Orlando next week. As I reviewed the conference sessions and expo web-site it became clear this would be a great opportunity to get back to writing for JimRaffel.com. Since GraphExpo I have been busy with show follow-up and have not had the time to write a Golden Nugget. So, next week keep an eye on JimRaffel.com for daily posts, and at the end of the week I will email an overall digest format of the week’s posts like I did after GraphExpo.

Color is becoming an increasingly important factor in a market that by and large (there are always exceptions) has not paid very close attention to color. In the three years since my first SGIA experience I have kept tabs on the specialty graphic market and have even sold a fair amount of software into the industry. What better indicator could there be that color is becoming increasingly important?

The specialty graphic market is making the move to digital at a rate that exceeds that of traditional graphic arts. I believe the move to digital is driving the increased interest in color. Digital printing allows specialty printers to move into markets once controlled by traditional printers, and vice versa. As a result specialty graphic printers are now dealing with more color critical customers like consumer product companies.

I plan to address three themes in my SGIA Live coverage:

  • Increased interest in color verification and process control
  • The move to digital imaging and printing
  • Cross-over with traditional print as the industry goes digital

Remember to keep your eyes on JimRaffel.com for daily show coverage.

#61: Get Over Your Measurement Fear

Published
by
Jim Raffel
on August 22, 2007
in color and measurement
. 0 Comments

Fear lies clearly in the path of all roads to success. In order to succeed at anything in life one must first get past the fear associated with the task. Think back to the days when you were learning to throw and catch a baseball. Throwing was no real problem was it? No fear there. Now think about learning to catch the ball. Remember having to get over the fear of being hit by the ball? Remember the coach telling you to keep you body in front of the ball and never let the ball get by you even if it hits you and not the glove? Most of us have been hit by enough baseballs to know that it’s an irrational fear as it relates to succeeding as a baseball player at any skill level.

Measuring color with passion, persistence and pride as discussed in #60 is all about getting over your fear of the results. The first time someone brought up color measurement you probably thought “Oh no, what if the results are bad? What will we do then?” Once you started measuring, however, you realized that the numbers helped you solve many more problems than the numbers alone uncovered. (Look back at #60 and read about the air exchanger in the web pressroom.)

If you do not measure color you cannot control color. If you cannot control color you cannot increase productivity and profitability in every phase of your printing business. Assume for a moment that the above statement is true. So, by fearing color measurement, you really fear increased productivity and profitability! Does that even begin to make sense? No, fear of color measurement is as irrational as the fear of getting hit by a baseball while playing the game. I know you want to be a printer who operates in the profit leader category of the PIA/GATF ratios, so get over your fears of color measurement and start measuring color today.

#58: I Still Love the Smell of Ink in the Morning

Published
by
Jim Raffel
on June 28, 2007
in calibration, color, color bars, density, measurement, press run and process capability
. 0 Comments

I have been so immersed in virtual proofing over the last several posts, that I had almost forgotten how much I still love the smell of ink in the morning. Last week I had the privilege of spending two days assisting a customer in the set-up of our software primarily for use as a pressroom monitoring tool.

The experience reminded me of #55: Just Measure It! The customer is a web offset shop and has the same problem that most of our digital printing customers have (Oh, I love the smell of toner in the morning too!). The problem is that their press product is finished product and has no trim. Color bars are not an option on production work, and changing the design to incorporate color swatches would also be impractical at this time.

The solution turned out to be the same solution we employee with our digital printing customers. A test form is put on press twice a day and the results of those measurements are used to verify conformance to density standards across the web. A second control strip can be scanned to gather other print metrics like TVI, Print Contrast, etc.

The results in a sister shop have been improved consistency from day to day and the ability to monitor changes in density and TVI from morning (cold press) to afternoon (warm press). In a perfect world I would love to see color bars on every job, but we thought outside the box and found them a solution that allowed us to measure. Once they started measuring quality and consistency improved. Profitability and productivity are never far behind quality and consistency improvements.

I raise the challenge again…today start measuring something in your color workflow that you are not measuring today. Within seven days those measurements will point the direction you need to go to improve the quality and consistency of that process.