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I agree - Pos. or Neg. as long as the values on the plate are the same as before, however, now would be a great time to develop the separate (K_C_M_Y) curves based on SNAP or IFRA numbers for gray balance. Dan Remaley 412.889.7643

There nothing to rethink, nothings changed- dots are put on plates, either film or CTP but the press IS where change is needed, so the standard deviation can be improved. Are you saying that Felix Brunner's documented research, is "fuzzy"? I believe he has done more than all of us put together...

some color theory some color theory GATF designed a great little product called a proof comparator, it was designed to measure a proof's neutrality in the 25-50-75% areas with ONLY Y-M-C (black would only make it darker). With 0 and 100% + the 25-50-75% you can develop a gray balance curve. So...

On a side bar, Brunner's gray balance is NOT based on color. >>>>I know, he and Heid. got in a great tiff about it He does not use colorimetry (page 5 from your PDF: "Colorimetry is absolutely unsuitable for controlling the printing process and detecting process faults in illustration...

press finger printing press finger printing I believe that the 'correct color' should be represented by the proof. The proof should be represent the separation. Most seps. are made in Photoshop by the customer. Most use SWOP or U.S. Prepress. All of the screen builds, logos and tints are based...

matching proof to press matching proof to press I believe a 'better' match would be to use the ISO profile on your proofer and make the press match it! Remember, most RGB>CMYK conversions are done in Photoshop, which in turn is simulated around ISO, SWOP, Gracol (6) there about -anyway...

If you are currently using film, you could measure a 1%-99% scale of a correctly made plate and transfer those numbers to the new CTP system. All separations are created in Photoshop with a 20% midtone gain. This means that the 50% patch should print as 70% on press. If you print with 15% gain...

I'll assume that your using POSITIVE films to burn your plates. The correct exposure is 6 to 8 microns on a UGRA scale. You may need to make a (protection) "mask" of the image area and expose the plate a second time to clear out the background. Negative plates should develop with no background...

Press dot gain Press dot gain A 50% in file should read 70% on paper at press. This is optical and mechanical gain, including any plate curves. photoshop converts all RGB to CMYK with -20% gain (in the midtones). the proof adds the gain back in to represent the press gain. If you print with...

choose a print standard - ISO choose a print standard - ISO Hi Adam, I would attempt to hit the ISO standard. The proofer will be managed thru their ICC profile(s) (free) for coated and uncoated. They also have the density, dot gain numbers that will create gray balance at press. It's pretty...

dry dot gain dry dot gain The typical dot gain for commerical color separations, is around 20% (a 50% in file =70% at press). Call me offline and I can get you the entire tone scale. Dan 412.889.7643

You might begin by developing a TPM (Total Production Mantenance) program on your own. Or a (TQM) Total Quality Management program. Books are available at GATF whoops -PIA.

loss of color loss of color Loss of color could be a sharpening of the dot structure. I place a 2% dot in the color bar for 3 reasons. 1-to confirm that the platesetter can hold a 2% dot. 2-Make sure the press can print a 2% dot and check it throughout the run (looking for sharpening). 3-...