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1) Is this really true? Lets say that I have a two different black ink types (A and B), where A has a greater pigment concentration then B. If I print a rectangle (100% K) with exactly the same ink film thickness (same amount of ink usage). I assume that A would not only look more black...

To be able to print a specific (big) gamut does not IMHO equal ’fildelity’, it’s just a small part of getting a good looking print result. An often forgotten variable is how the image is converted from RGB to CMYK. Gamut mapping, gradiation, GCR (to reduce metamerism) and rendering method have...

I recently made some full gamut profiles for fine art printing on our Epson SC-P9500. I was using i1 Profiler to export an RGB target and measured the target with an Xrite i1Pro 2. I then exported the measurements as CGATS and generated the profiles in MYIROTools (I prefer the gamut mapping in...

Remember that a physical print changes color over time, especially if the paper contains OBA. Tyrus, could you explain your calibration workflow in more detail?

What does th No-Tox documantation say? Are the ink produced within a certain color standard?

Hi Cameron, In a color managed workflow, no one should be able to see a visual difference between different TAC's (280% - 330%). TAC is only used to limit the total amount of ink for a specific combination of paper and print machine. Different TAC's should (in a normal case) not be visible in...

I think that you need a license called ProofControl Inline (PCI), contact your GMG reseller.

You could do this in many ways, the best approach depends of your skillset and tools. 1. Measure the press and make your own LUTs in the HP PrintOS to mimic your wanted target DG. 2. Fingerprint the HP press at it's current state and create a DeviceLink Profile (from your wanted target to the...

To achieve image (3) you first assign the profile 'UV s Avana X M0' to the image, then convert the image to Fogra39 with the rendering intent set to Absolute. That should give you what you are looking for.

The background tone is called 'paper simulation' and it's a feature in a lot of proof rips. It's there to be able to simulate the exact Lab value of the target paper color (often the whitepoint of the ICC or from the Lab target aka proof standard). That doesn't mean that it's always for the...

You should use the Pitstop Server configurator to do this.

Ignoring the input CMYK profile should result in the same result as in setting the output profile to "none", since your wanted behavior is "do not convert CMYK images in RIP". Well I hope you got a solution that works for you now.

What RIP software are you using and what settings are there? I would also suggest that you turn off color management for CMYK objects in the RIP. That setting might be called ’ignore embedded CMYK profiles’ or similar.

After some support from an engineer at X-Rite I was told to click the ’Full black separation” check box. (Never tried it..) This solved the issue with to much of cmy in the highlights.

A colleague of mine was helpful and generated three ICC-profiles from the following profiling softwares: 1. Profile Maker 5 2. Prinect Color Toolbox 3. Binuscan Profiler It seems like the problem (or anomaly) is indeed i1Profiler...

Here the CGATS-file with the characterization data if anyone could try calculate the profile in an other software with similar GCR settings.

Hi, I'm making a CMYK icc-profile for our HP Indigo Press with X-rite i1Profiler (v 3.3.0) and i1Pro2 (IO-table). For production reasons (metamerism etc) I would like maximum GCR and black start at 0. But although I put all sliders to the max the final ICC-profile generates a lot of CMY in near...

Hi, we are a mid-size printer that are looking for a new imposing software to use with Enfocus Switch. We do sheet-fed digital printing (SRA3), web-fed digital printing, sheet-fed offset and large format printing. Today we use different imposing software for the different output's, but we are...

I've made som 7-color profiles with i1Profiler and I merged the separations EPS's in Photoshop as CMYK + 3 channels PSD-file. Then I placed the PSD in Indesign and export as PDF/X-4. Worked fine but the process is far from perfect..

If spot color is used and two objects have the same spot color name, but different 'alternate colorspace' the same file could look different in different Acrobat readers since the first spot color the software 'sees' will determine what the other objects with the same named spot color will look...