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The ink sequence is KBCGMOY. The profiling target is randomly generated for 7-colors by i1Profiler. 1,260 patches - too little, I know, but it's just a preliminary profile. I don't believe the low patch count is the source of this problem.

I'm profiling one of our 7-color presses (I work at Landa). It's basically a large format inkjet press that doesn't print directly onto the substrate.

Hey Mike, This is the CIELab of the color I posted: L*: 11.41, a*: 24.63, b*: -55.92. Other winners of the "Worst Transformation Competition" are: L*: 14.05, a*: 23.04, b*: -57.47 L*: 9.16, a*: 29.24, b*: -45.36 You can see the problem concentrates in the deep blue region of the gamut. Orange...

On rare occasions, I write a Python script that generates a PostScript file to automate some complex task (e.g. a special swatch book or patch layout). This method is actually really quick and efficient for me due to its simplicity - no special libraries or software, just a simple text file...

Thank you, Tim, I'll have a look at the webinar. I think I have Esko's color profiling tools laying around here somewhere, I'll try to use them and see if the results are better. For some strange reason, we actually bought Pantone's Extended Gamut fan deck a while ago. I don't see any swatch...

If you have an i1Pro, then you should also have i1Profiler, which is X-rite's main software for creating ICC profiles. Use it to create profiles for both the camera and the press. Whether to embed the profile in the image depends on your pre-press workflow, it's not necessarily required. I'm...

Well, using "full black" separation or heavy GCR did not change anything dramatically. I'm chalking this up to bad color math. I'll try a different profile creation software and see what happens. Thanks

Normally I like to help people who are new to color management. However, as someone who learned color management and color science all by himself, I advise you to get a professional to help you with this project. If you are not familiar with this subject, it will take you too much time, effort...

Hey everyone, I'm creating a 7-color ICC profile using X-rite's i1Profiler (1.7.1), and an i1Pro2. The colorants are CMYK + orange, green and blue. In some specific areas, especially deep blue colors, I'm getting very ugly transformations. For example: C87 M57 Y1 K8 O16 G7 B98. This is...

The ink is not supplied or used in powder form, but suspended in liquid. It Is not airborne.

Thank you, Tim, for the follow-up. I see the movement from CIELab based color-management to spectral based as a good thing. An open standard would be better, of course.

Great, thank you both, guys.

Thank you, Stephen, but I seem to have a problem: Suppose I have a spot called "Special Orange", and its alternate color space is in CMYK. I want to change it to CIELab, so that a RIP could use these values combined with an ICC profile and give me the correct CMYK values for printing. I want to...

Hey everyone, I have a spot color in a PDF with a CMYK alternate color space. I want to change its alternate color space to some CIELab values, and do this over the entire file. Can this be done using an action? Thanks for helping!

Thanks, I'd like to hear more about it. I'm quite interested in GMG's approach to color management.

Sorry, what does that mean? What data is discarded? In order to convert a spectrum to CIEXYZ and then to CIELab, you multiply the spectrum by the standard observer spectra and the illuminant, and compute an integral over the result. Nothing is discarded - everything is required to calculate...

Yes, this refers to the web's width, which in turn affects all the subsystems, components and finishing chain of the product. It is akin to sizes of sheets in sheet-fed presses - B1, B2, B3 etc. Sorry, I don't know the widths, I only worked on a narrow web press - 20-33cm wide.

I agree with arossetti, this statement is problematic when used categorically: since the ICC does not define how to implement the rendering intent tables, it is up to the vendor and its "secret sauce", so the results might be better for one vendor but worse for another. Also, it depends on the...

The algorithms are different: the "Color Halftone" filter takes an area of the image, averages its value and draws a circle with a size proportional to that averaged value. The bitmap conversion does actual halftoning using a point-process method (one pixel at a time) and a halftone screen...

Fogra has the M-Score method to test for uniformity across the sheet - look it up. It's meant for toner-based digital presses but might give you a meaningful result. You basically cover the sheet with patches of a single gray combination, measure the patches using a spectrophotometer, and use...