![]() These ICC profiles are specific to the substrate in use as well as the toner or ink and of course to the individual device. But Colin Osborne, Konica Minolta’s head of colour management, says that whereas a litho operator will monitor and adjust TVI (tonal value increase, what used to be referred to as “dot gain”) curves and ink density to hit LAB values, digital devices rely on ICC profiles to tune the device’s capability to a particular substrate. When it comes to colour management, all printing processes use the same basic approach of linearising the press to a known standard and manually checking the printed output with a spectrophotometer. But, of course, those of us that work in print know that in reality these colours can be measured and specified precisely in LAB values and that the people paying for the print expect to see exactly the same colours on the last sheet as on the first. It’s easy to see the romance of a delicate pastel, the warmth of certain reddish tones and to feel hope embodied in bright yellowy tints. Yet colour is able to subtly provoke feelings and emotions. To some extent, colour, like beauty, lies in the eye of the beholder, with each of us seeing slightly different colours. ![]() Nessan Cleary looks at how it’s becoming increasingly integrated in current digital presses. Ricoh has produced swatch books to show how its neon yellow and pink can be combined with CMYK on the Pro C7200 pressĬolour management is a vital part of any workflow, providing you can tie the different parts together. ![]()
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