is a "specification"
is a "feature"
Over here in packaging land the buyers will love this, the designers will fight it tooth and nail and the QA people will be just be incredibly confused because none of it's based on actual standards beyond what the printer says.I'm sitting here just laughing to myself . . . . I can just see a designer jump on this "new" technology and design a "masterpiece" . . . then he goes to a printer and gets a quote . . . after the paramedics shock them back to life he says . . . but - but - but - why is it so much more than the last job I printed . . . .
If I understand things correctly, you may not need a 7 colour press, depending on the specific colour or variety of hues in the spot colours being simulated.I thought this was interesting. Now I just need a 7-color press
[FONT=Calibri, Verdana, Helvetica, Arial]http://www.pantone.com/press-release...color-printing[/FONT]
The breakdown is in the guide and I will promise to confirm it applies to Flexo as well. Thanks for the question!
This book is unique in that there is no true Ink formulation. We used ISO mono-pigmented inks for CMYK and OGV inks that align to the recommendations coming out of the flexo industry associations. This is an Expanded Gamut process guide that uses different combinations of screen percentages to create the best possible match to the PANTONE PLUS SERIES FORMULA GUIDE Coated. This in effect removes the need for traditional ink formulation and utilizes the prepress workflow to “separate” the spot color into percentages of CMYKOGV. While this guide was printed offset this product can still be used as a guide for the flexo industry. We feel that this guide provides a great communication tool for the industry to use when helping customers understand how the Expanded Gamut process may affect their design intent, both positive and negative.
Note, there is no information that I am aware of if there is a multi-channel ICC profile available for proofing, nor if there is any CxF/X-4 data available, nor a good old LUT, nor if this supported via a PantoneLive subscription. I don’t even know if there are L*a*b* target values for the colours. Nor is there any information on how one is supposed to colour separate raster content for this process. It would appear that this process is only intended for manual creation of spot colour builds (not wider gamut photos) in authoring software with no way to soft or hard proof the results.Pantone represents the language of color. We respond to market needs. Since the PMS guides are distributed globally, our own clients asked for a gamut that matched PMS color schemes. Formula guides are just that and do not pretend to be science. Our market is being driven now by the design world and the brands, so we vendors just have to respond to the latest market need. By the way, ink companies arent crazy in love with EG, but they know its here to stay, so they just deal with it, as we all do.thanks for writing!
Some observations...Note, there is no information that I am aware of if there is a multi-channel ICC profile available for proofing, nor if there is any CxF/X-4 data available, nor a good old LUT, nor if this supported via a PantoneLive subscription. I don’t even know if there are L*a*b* target values for the colours. Nor is there any information on how one is supposed to colour separate raster content for this process. It would appear that this process is only intended for manual creation of spot colour builds (not wider gamut photos) in authoring software with no way to soft or hard proof the results.
Right, it's actually not a solution.So it is not an “out of the box” solution, no more than standard CMYK printing to match the Pantone Color Bridge CMYK is “out of the box” for the same tint builds? ;]
I found the following link more helpful than the Pantone link provided earlier in the thread:
Thanks, I had forgotten about that topic thread, all sorted!Regarding expiration of Pantone Color Manager:
Iâ€‹ hear you, some cheap as they come stock is most likely a house sheetIt is progress. However, it's more of the "comrade we'll tell you what to do and how to like it" sort. Pantone somehow has managed to maintain the mindset Microsoft had 10 years ago. They throw around terms like "specification", "certified", "industry standard" like they own it. I'm guessing the management over there hasn't done marketing surveys in >10 years. Thinking (I'm using that term loosely here) things like 100 lb. text-weight paper stock is the most commonly printed substate for Pantone inks. I don't have the data to prove it but I'd almost guarantee that the case is more likely a label substrate or carton SBS. Not that this matters to begin with though as an CIELAB based substrate white point should be prescribed and maintained! They're still pushing density based color for crying out loud.
I've been absent from pp for awhile. Has anyone encountered this in the wild?
And any fixed palette printing method would benefit greatly is all the units printed a very consistent and predictable solid density. You can guess where I am going with that.What is good about what Pantone/ Esko/X-Rite has done is to, at the very least, raise the visibility of fixed palette printing.
You might be misunderstand the term positive ink feed or ink flow. Positive ink feed is a term also used by Goss and it related to ink feed that is not affected by changes in the conditions in the press. They usually equate it to their positive displacement pumps which are used on their digital inkers. The ink feed is supplied to the press at an average rate, no matter what the water conditions are or the roller train temperatures are. They correctly state that their system is more consistent. One of their marketing statements was "Set and forget".I think that positive ink flow is irrelevant, because even though the ink train is only receiving ink from the ductor every two or three revolutions (sheets), every sheet holds density consistently.
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