the magazine of GMG worldwide Spring 2016
Inside: Producing a catalogue to FOGRA51,
OpenColor getting spot-on results for Janoschka,
and how to soak up more color knowledge.
Knowledge sharing:
good for business or just
the right thing to do?
CONTENTS
4-9: GMG OpenColor case
study – Janoschka
11-13: The new Epson
SureColor P-Series
14-15: The UV Effect
16-17: GMG Know-how
and where to get it
18-19: The Academy
20-21: Catalogue
Production based on
FOGRA51
22-23: Software updates
GMG GmbH & Co. KG , Moempelgarder Weg 10,
72072 Tuebingen, Germany.
e: info@gmgcolor.com
Design and editing: Juan Scott.
Contact: juanscott@me.com.
Do not reproduce without permission.
After 30 years of pioneering the way the print industry controls and
predicts its color, it should come as no surprise that GMG has amassed
huge amounts of knowledge and data on the subject. There’s little doubt
our company has a reservoir of color management expertise that’s second
to none; we truly have many clever people working for us who
are industry leaders and innovators.
The challenge we’ve been dealing with in recent years
is how we unlock this knowledge to the benefit of our
customers, our company, and ultimately the creative arts
industry.
I’m pleased to say our customers and the industry
now have a number of ways they can take
advantage of our expertise.
These include the GMG Academy
based at our HQ in Germany. Here,
there are many workshops available
covering all areas of our software
and the latest changes in the
industry – including FOGRA51/52.
In small groups led by our best
color management brains,
attendees get hands-on
experience with our software.
Our updated website contains
many white papers and you
can also access our pre-recorded
seminars there. We’re also investing
more than ever in our GMG
Services and GMG Consulting, where
customers have even more opportunity
to get in direct contact with one of our
experts.
The fact is, it’s in our interest to grow the
knowledge base of color management and
the quality of the people who work in the
industry. It’s an investment that should pay
off years down the line.
Ian Scott. MD. GMG GmbH & Co. KG
HOW JANOSCHKA
CLEARED UP THEIR
SPOT PROBLEMS.
During his discussions with printing
companies, Rainer Geiger, Managing
Director of Fentsch Packaging Solutions, a
subsidiary of Janoschka based in Ismaning,
Germany, is often asked, “How can we
improve the proof quality of spot colors
in challenging print designs and achieve a
better match between the proof and the
final print?”
Flexographic and gravure printing companies
are important customers for Mr. Geiger, and they
regularly meet to discuss the latest trends in the
market. In addition to printing firms, Fentsch’s client
base also includes renowned brand owners, who
benefit from the company’s expertise and years
of experience in central repro and printing plate
production.
Print designs with spot colors are common-place for
the company and its customers and present special
challenges on a regular basis. These jobs cover a wide
range of packaging and labels, including cleaning
products, household items, foodstuffs, and cigarettes,
and are printed using flexo and gravure printing
technologies.
But back to the original question…
Specific challenges arise during proofing when spot
colors are components of an image, for example,
or the packaging design involves processes for
overprinting spot colors. It was when one of its
printing partners was increasingly coming up against
such challenges that Fentsch decided to try out the
GMG OpenColor software in the summer of 2014.
4
5
“All of our partners
have been delighted
with the proof qualities
obtained using GMG
OpenColor and the final
print colors achieved.
We are now including
more and more
printing companies
and substrates in the
workflow - a result that
speaks for itself”
Rainer Geiger, Managing Director, Fentsch Packaging Solutions
6
7
Because Janoschka had been creating all of its proofs
using GMG ColorProof and Epson Printers for a
number of years, it made total sense to evaluate the
GMG OpenColor extension for use with challenging
print designs involving spot colors.
In conjunction with the printing firm’s technical
manager, the color management specialists analyzed
the structure of the job and discussed the approach
needed in generating the color profiles. Based on
the most frequently used spot colors, they decided
to create two fingerprints using CMYK and multiple
spot colors, which were produced using special
multicolor test charts. Additional spot colors were
added based on specific data from production print
samples. The test was a complete success. All of those
involved were delighted by the close match between
the digital proof and final print that was achieved
using GMG’s technology. Since then, Fentsch has
been able to convince other customers, too, about
the advantages of OpenColor and as a result is now
using OpenColor with a large portfolio of substrates,
printing machines, and spot colors.
Further challenges lie in the complex nature of
flexographic printing. In addition to the role played
by the substrate and printing machine, print color
quality is also critically influenced by the Anilox
rollers and printing plates used — including the grid
system (HD Flexo being a hot topic). This is where the
OpenColor database structure comes into its own, as
colorimetric data and profiles can be supplemented
with additional information that enables them to be
specifically selected later on.
Since the test, a variety of color profiles have been
saved in the OpenColor database, with more being
added every week as a result of the systematic
evaluation of control strips from production print runs.
8
GMG’s patented OpenColor
technology is unique. It enables
accurate proof simulation of the
overprinting effects of spot colors
using special multicolor profiles.
The spectral data calculation
includes printing technologies,
media types and printing order and
its results are so reliable that profile
iterations are no longer necessary.
Calculate the behaviour of
over-printing spot colors
GMG OpenColor
The facts
Multi-award
winning
technology
A complete press
simulator - even in CMYK
Mini strip instead of Mega
test print for fingerprinting
Change of color sequence order?
Change of substrate? GMG
OpenColor immediately calculates
a new profile. Instead of printing
on the machine again and again, the
result of changed conditions can
now be predicted accurately and
with minimal expenditure.
9
DÜSSELDORF
GERMANY
HALL
8A
B10
MAY 31JUNE 10
2016
‘We’re bringing ground-breaking color
technology to drupa as well as some of
the industries leading experts!’
Patrick Peters, GMG Service & Consulting
Click here for more information
THE NEW EPSON
SURECOLOR P-SERIES
%
%
99
%
99
OF ALL KNOWN
SPOT COLORS
ACCURACY &
CONSISTENCY
12
Epson’s newest range of printers is the SureColor-P
series (above) – direct successor of the Epson Stylus
Pro x890 and x900 series. With the addition of a
violet ink set in the 7000 and 9000 SC-P Series you
can now print a larger gamut and reproduce 99%
of the PANTONE ® Formula Guide Solid Coated. It
also offers a photo black pigment that is 1.5 times
denser than the previous generation ink set.
Other new features at a glance:
• Next generation Epson Ultrachrome inks with new
chemical composition for higher durability and
improved lack density
• Latest print head technology with new screening
and advanced droplet technology
• Automatic or manual Photo to Matte Black ink switching
• Advanced media handling
+
GMG’s latest update of its ColorProof software
now supports the new Epson SC-P printer series,
bringing new levels of control and accuracy to
these industry-leading machines. There is no better
way to get outstanding spot color simulation and
support for expanded color spaces such as those
provided by the Epson SC-P 7000 and 9000
printers.
Other features at a glance:
• Support of FOGRA51/52 datasets
• GMG solution for optical brightened media
• Support of new measuring device ILS30EP
• New calibration sets for Spectroproofer ILS30(M1)
• Hot folder technology for increased automation and
connection to other systems
• Load balancing and nesting for maximum productivity
13
Know-how: Printing and proofing with
optical brightening agents (OBA)
Viewing
condition
Print on
Offset paper with OBA
Proof on
GMG ProofPaper OBA
Proof on
GMG ProofPaper non-OBA
Amount of UV
THE UV EFFECT:
How to keep the same visual impression of print and proof
under different viewing conditions
HOW TO CORRECTLY VIEW OBA PAPER.
Black light
More and more of the production papers in
publication printing are containing OBAs (optical
brightening agents), you may have noticed that
printing on such paper looks slightly different
depending on the light conditions of where you
are looking at it. Depending on the amount of
ultra violet (UV) wavelengths in your actual
environment, those OBAs are showing a bluish
fluorescent effect. Having UV in the light will
make your print look blueish, or having low or
no UV makes your print appear more yellow. This
is demonstrated in the viewing condition guide
below.
What does this mean for your print and
proof match?
The purpose of a proof is to be the best prediction
of a print, so the use of OBA proofing paper
in front of a OBA, in such a comparison, print
production is a significant improvement. If you
use proof paper containing OBA, in such a
comparison, the proof will always – for all
viewing conditions – show a comparable visual
appearance as your print: the optical brighteners
are showing the same effect both on print and
proof. A proof paper with no optical brighteners
willcan work perfectly under norm light due to
adding of a bluish touch to the proof. But this
simulation then matches only for one specific
viewing condition. For other viewing conditions,
the bluish touch and the lack of the effect of
optical brighteners will lead to a mismatch
between print and proof.
How does the industry adapt to the typical use
of optical brighteners?
Following the ISO revisions for color measurement,
viewing and offset printing (all taking into
account the typical use of optical brighteners),
the new FOGRA51 and FOGRA52 datasets
complement the new tool set that allows for
improved color communication throughout all
print stages.
Norm light
(D50)
Under norm light, the
visual impression of print
and proof is identical on
both GMG papers.
Do you want to optimize your workflow in
accordance with the latest standards?
As part of the research group behind
FOGRA51/52, we are happy to share our knowhow with you. Our Consulting Team will be
happy to assist you in adapting your workflow.
Click here to get in touch with us.
GMG ProofPaper semimatte 250 OBA.
Our OBA proofing media is specifically designed
to predict accurate color results when using OBA
offset paper. All GMG substrates are specified,
manufactured and controlled to the highest
quality requirements of contract proofing.
Click here for more information.
LED
Light bulb
20
21
GMG_OBA_Sampleinfo_EN_RZ.indd 1
04.09.15 12:18
GMG Academy
trueColors magazine
GMG Academy offers a range of ways to share our
color expertise. Whether it’s an in-depth course, a
visit to GMG headquarters in Germany or a webinar
in your own time, there is an option to suit everyone.
Courses are in German and English. Check out our
2016 courses here.
GMG Support
Our worldwide help desks are on the end of the
phone whenever you may need them. All experts
in our color management solutions, they will help
answer any questions and readily impart their
knowledge onto you. Click here.
Yes, the one you’re reading!
Published every quarter, trueColors features news on
product launches, great customer case studies, the
latest versions of GMG software, articles by GMG
experts on the latest advances in color management,
features on how to get the best from GMG products,
and insights into achieving better color results.
Interested in previous editions? You’ll find them here.
Be a color sponge
Where to improve your color
management knowledge
with GMG.
Webinars
We frequently run webinars in German and English
on the hot topics within color management. These
are broadcast live, but if you can’t make one we
also have a library of webinars available for you to
catch up on here. Upcoming webinars include the
characterization of data and workflows. For more
info click here.
Social media
GMG Consulting
GMG Consulting supports business in the graphic
arts industry to develop efficient and sustainable
color management strategies. Our experts will look
beyond your product portfolio and future-proof your
business. Click here for more info.
16
GMG Color are active on social media. We use
various platforms to communicate and share our
knowledge about color management and printing.
Why not start a conversion with one of product
managers or support team?
Click one of the icons below.
17
TOPIC: GMG SmartProfiler Continued
When to apply the linearization: In the
RIP or in ColorServer/SmartProfiler?
TOPIC: GMG SmartProfiler
Are you maximizing your software
investment? Here are some tips and
tricks on how to get the best out of
GMG ColorServer and GMG SmartProfiler
to create calibrations and profiles for
digital printing devices.
Check the printing system before you
start profiling!
Essentially in the creation of good calibrations
and profiles in SmartProfiler is the condition of
the output device. GMG has developed tools
(test pages) to simply evaluate the printing
quality in advance of any action in
GMG SmartProfiler or ColorServer. You can use
a test page dedicated to digital presses/laser
devices or a test page for Inkjet based systems
such as large format or UV inkjet printers.
Make sure the printer is in a technical good
condition before you start the profiling process
with SmartProfiler.
On the GMG Support page you will find three
GMG SmartProfiler test charts to evaluate the
printing quality. Printing these charts will help
you to point out potential machine failures or
errors in advance. You can also utilize the files
to ask the client to do the test prints in advance
of an onsite visit.
These test charts allow you to get an impression
of whether or not the existing configuration is
capable of delivering printouts in sufficient and
consistent quality and verify if the workflow is
configured properly.
Use only printers with CMYK inks and
no gamut extending inks like RGB or
orange, violet or green.
GMG ColorServer has no influence on the
ink-splitting from CMYK to CMYK++ inside of
the printers frontend RIP, this mostly cause a
system condition that avoids the appliance of a
calibration or profile in advance of the devicedriving RIP system. Even if ColorServer outputs
a multicolor PDF or image file we cannot
ensure or predict the behaviour of the printers
frontend RIP when driving printers with gamut
extending inks such as RGB, orange, violet or
others.
Therefore we recommend profiling only
printers which are using CMYK ink sets plus
light inks.
Generally, the GMG linearization feature
produces a perfectly linear printing behaviour
in the output devices. Whenever possible
you should use it when you create a new
GMG printer calibration. Nevertheless, a base
linearization in the RIP system of the printing
device is beneficial. Utilize the GMG testforms
mentioned earlier to achieve the best possible
linearization with the printers RIP.
Technical background information:
In usual production environments, images
and PDF files are made with 8bit color depth.
When applying a high ink-reduction or a
strong gradation correction in the linearization
on PDF/Image files with ColorServer, 8bit
quantization effects might become visible
in the printed result. In such cases you have
to utilize the linearization capabilities of the
printer frontend. We are working on a technical
solution to address this inside of SmartProfiler.
Hints on how to improve
measurements with UV printers.
Prints of UV inkjet printers usually have a
uneven surface caused by the UV ink thickness
on the media. If you make a reverse-side
print on transparent media, this effect can be
ignored since you measure the flat backside
of the print. In case of a front-side print, the
unevenness may lead to measurement faults
when measuring with the i1-iO in scan mode.
In this event you should use the i1iO patch
measurement mode instead of the scan mode,
or the Barbieri Spectro LFP.
Using the polarization filer (M3) is
counterproductive in this case. The smooth/
bigger printer color space cannot be used for
profile creation since the reference data is not
using M3 (Pol Filter).
GMG SmartProfiler SetCards
The SmartProfiler SetCards are very useful
when you configure your ColorServer/
SmartProfiler for the first time. The single set
cards describe with just a few words how to
configure a new workflow for Toner, LFP or
conventional presses.
The SetCards are part of the software
documentation and stored in C:\Program
Files (x86)\GMG\SmartProfiler\AppData\
Documentation, in the subfolder “Check Lists”.
Currently, there are six different SetCards
available. The SetCards are differentiated by
their individual use cases as well as in the
different printing technologies as described
above. Each SetCard describes how to set up
the printing device step-by-step. They then go
on to explain how to configure ColorServer in
a particular workflow, before in the last step,
how to create a profile in SmartProfiler.
Learn more about SmartProfiler in our
webinars, available in the GMG library.
Upcoming Profiling webinars
GMG Profiling in Digital Printing - Part 1: SmartProfiler
for Inkjet Systems. 60 minutes / 60,- €
GMG Profiling in Digital Printing - Part 2: SmartProfiler
for Tonerbased Systems. 60 minutes / 60,- €
Check here for dates.
Color in Use:
Catalog Production
based on FOGRA51
Color in Use:
Catalog
Production
Color
in Use:
basedProduction
on FOGRA51
Catalog
Project: 32-page brochure, published fortnightly
"With this switch, we changed every parameter at once
(proof paper, separation, and color adjustment) yet still hit
ourthis
target
on thewe
firstchanged
run," saysevery
a veryparameter
happy Michael
Ste"With
switch,
at once
phen,
Head
of Visualization
at Peter
Becker. yet still hit
(proof
paper,
separation,
and color
adjustment)
Repro: Peter Becker GmbH, Würzburg
Print: M+E Druckhaus, Belm
GMG Solutions: GMG ColorProof, GMG ProofControl, GMG ColorServer, GMG ProofMedia
Prints that Match the Proofs:
Reliable Production in line with the
Latest Standards
Belm – Successful retailers are living proof of how print
advertisements can be used to support sales and define a
brand. Quality is key. Any business that wants to play a
leading role in this area therefore needs to keep pace with
new developments and standards.
Both prepress activities and the printing of the catalog were
completed in accordance with the new criteria. During the
process, the repro team utilized GMG ColorServer, GMG
ColorProof, and GMG ProofControl, while the proofs were
printed on GMG ProofPaper semimatte 250 OBA.
based on FOGRA51
our target on the first run," says a very happy Michael Stephen, Head of Visualization at Peter Becker.
Lars Hoecker-Goedecker, Head of Print at M+E Druckhaus
All of the partners involved in the process came together to
sign off the final print run at M&E's premises in Belm, Germany. GMG's color management experts were also present, as was the client company, which sent its production
manager. Also represented at the printing press was Peter
Becker GmbH, which was in charge of the repro process.
Michael
Stephan
quantum
leap
to be made with regard to printing
and prepress."
"Thanks to the media-neutral preparation process
using the RGB color model, switching over is a
manageable change for repro. Using the GMG
ColorServer,
we achieve stable
separations
that are
"Thanks
to the media-neutral
preparation
process
adapted to work with FOGRA51, thereby enabling
using the RGB color model, switching over is a
brand new quality standards for the print industry."
manageable change for repro. Using the GMG
Michael Stephan, Head of Visualization at Peter Becker
ColorServer, we achieve stable separations that are
adapted
to work
with FOGRA51,
thereby
enabling
For both
the printing
company and
its client,
the proof
brand
new quality
the print
industry."
approval
process standards
in particularfor
involved
a move
into uncharted
territory.
previouslyatapproval
took place
Michael
Stephan,
HeadWhile
of Visualization
Peter Becker
"In response to specific customer requests, we'll
be completing our first in-house productions in
accordance with the new standard from early 2016
onwards."
"Switching repro operations to the FOGRA51
standard represents a further milestone in
standardization
foroperations
the printing to
sector
and allows a
"Switching repro
the FOGRA51
quantum
to be made
with milestone
regard to printing
standardleap
represents
a further
in
and
prepress." for the printing sector and allows a
standardization
using the FOGRA39 data set on brightener-free paper,
now—forcompany
the first time—takes
account
the
For FOGRA51
both the printing
and its client,
the of
proof
effect process
of opticalinbrighteners
typically coated
production
approval
particularininvolved
a move
into unstock;territory.
the proofWhile
could therefore
be approval
printed ontook
OBA place
proof
charted
previously
paper
with
its
significant
fluorescent
effect.
This
allowed
using the FOGRA39 data set on brightener-free paper,
the repronow—for
specialiststhe
at Peter
Becker to establish
in practice
FOGRA51
first time—takes
account
of the
just how well the various GMG components work toeffect of optical brighteners in typically coated production
gether even for optically brightened references.
stock; the proof could therefore be printed on OBA proof
paper with its significant fluorescent effect. This allowed
the repro specialists at Peter Becker to establish in practice
just how well the various GMG components work together even for optically brightened references.
M+E Druckhaus, too, was eager to implement the new
Michael Stephan
standard immediately. Ahead of the print date, CTP curves
were identified to ensure that printing would comply with
M+E Druckhaus, too, was eager to implement the new
the modified description of the dot gain curves in the ISO
standard immediately.
of the print date, of
CTP
curves
12647-2:2013
standard. Ahead
Lars Höcker-Gödecker
M+E
were
identified
to
ensure
that
printing
would
comply
summarizes the technical details of the printing process aswith
the modified
description
of the on
dota gain
curves
the ISO
follows:
"The print
was completed
coated
offsetin
paper
12647-2:2013
standard.thatLars
Höcker-Gödecker
of M+E
with
a color coordinate
matches
the F51 paper tone
summarizes
technical
details
of the of
printing
process
relatively
well.the
Through
a slight
adjustment
the print
den- as
sities,
a proof-to-print
match
was quickly
For the
follows:
"The print was
completed
on aachieved.
coated offset
paper
second
form no further
with a printing
color coordinate
that readjustment
matches the was
F51needed.
paper tone
Ultimately,
not aThrough
lot has changed
us in the printing
pro-denrelatively well.
a slight for
adjustment
of the print
cess.
The
densities
are
nearly
identical
with
the
previously
sities, a proof-to-print match was quickly achieved. For the
used
values
and we
were
comfortable
withwas
the new
second
printing
form
no soon
further
readjustment
needed.
plate curve. However, the proof now matches the final print
Ultimately, not a lot has changed for us in the printing promuch more closely!"
cess. The densities are nearly identical with the previously
used values and we were soon comfortable with the new
"Both the fact that the optical brighteners can be
plate curve.
However,
matches the final print
taken
into account
andthe
theproof
newnow
characterization
much
more
closely!"
data have exceeded our expectations in the
approval process."
"Both
the fact that the
Lars
Hoecker-Goedecker
optical brighteners can be
taken into account and the new characterization
The
Hamburg-based
production in
manager
dataexperienced
have exceeded
our expectations
the added
his ownprocess."
drily humorous comment concerning the geapproval
nerally
positive impression of this first production run based
Lars Hoecker-Goedecker
on the new standard: "It's annoying—I didn't have anything
to
complain
about!"Hamburg-based production manager adThe
experienced
ded his own drily humorous comment concerning the generally positive impression of this first production run based
on the new standard: "It's annoying—I didn't have anything
to complain about!"
The M+E Druckhaus in Belm
For the high-profile client of M+E Druckhaus International
Print & Mediaservices, top quality in terms of both product
and communication is vital. For this reason color reproduction is an area of particular concern. For the most recent
edition of a 32-page brochure published every two weeks,
the production team therefore decided to directly implement the latest standards for offset printing. The brochure
was produced in line with the ISO 12647-2:2013 standard
using FOGRA51 data even before the new standard had
been officially released, as part of an initial trial by the repro
and printing teams supported by GMG.
So what form does technical implementation take at Peter
Becker? First of all, the image is processed in the RGB format. Automated conversions into CMYK are completed in
an automated final stage using GMG ColorServer. In order
to provide the best possible data for printing on optically
brightened paper, Peter Becker decided in this project to
use the FOGRA51 data set for the first time. Thanks to the
new output intent already stored within GMG ColorServer
and GMG ColorProof, the switch to the new system proved extremely straightforward. Use of GMG ProofPaper
semimatte 250 OBA constituted the final element in the
consistent overall system.
A number of changes have been seen over recent years in the interplay of the various tools and standards for communicating
about and evaluating color, resulting in improved color communication. After the standards for color measurement (ISO
13655:2009) and viewing (ISO 3664:2009) were enhanced in 2009 with narrower tolerances, the ISO standard 12647-2,
relating to offset printing, was similarly revised in 2013. However, the familiar characterization data (FOGRA39 to 50), which
still referred to the framework parameters from the 2004 standard revision, no longer produce a match with a standard-
A number of changes have been seen over recent years in the interplay of the various tools and standards for communicating
compliant print. In contrast, the FOGRA51 data set takes account of the new standards. The brightening effect typical of
about and evaluating color, resulting in improved color communication. After the standards for color measurement (ISO
coated offset paper is described with precision in FOGRA51. With the latest processes and tools, including proof paper
13655:2009) and viewing (ISO 3664:2009) were enhanced in 2009 with narrower tolerances, the ISO standard 12647-2,
stocks containing optical brightening agents, the color effect of these materials can be authentically reproduced even at the
relating to offset printing, was similarly revised in 2013. However, the familiar characterization data (FOGRA39 to 50), which
proofing stage.
still referred to the framework parameters from the 2004 standard revision, no longer produce a match with a standardcompliant print. In contrast, the FOGRA51 data set takes account of the new standards. The brightening effect typical of
14
coated offset paper is described with precision in FOGRA51. With the latest processes and tools, including proof paper
stocks containing optical brightening agents, the color effect of these materials can be authentically reproduced even at the
proofing stage.
15
GMG DotProof
5.7
• Supports new
FOGRA51/52 datasets.
• Support of Epson SC-P
printer series.
• GMG solution for
optical brightened
media.
• Support of new
measuring device
ILS30EP.
• New calibration sets for
Spectroproofer ILS30(M1).
• Spot color verification
can now be verified by
Delta-E tolerances using
ProofControl Inline.
• 84 new PANTONE PLUS
spot colors installed.
• Parallel ripping to
dramatically enhanse
data processing speed.
• E-mail notification
option for media mismatches.
• Enhanced channel
mapping.
• Users have the option
to set duplicated jobs on
hold to save waste.
• Ability to define specific
input from a specific.
dongle number using
remote proofing.
• Color accurate content
approval.
• Supports all standard
file formats, incl.
multimedia content.
• ‘Pay per job’ –
licensing for unlimited
number of users
without causing any
additional costs.
• Content 100% safe!
No more email
forwarding, configurable
download access
and limited visibility,
easy to manage
permission options.
• Unique and intuitive
mark-up tools for your
online proofing.
• Fully HTML5 compliant.
4.10
2.0
• Support for new FOGRA
51/52 Profiles.
• Support for latest
Adobe PDF Library11.0
• Support of X-Rite i1
Pro2 and X-Rite i1iO
generation 2 with the
measurement conditions
M0, M1 and M2.
• Extremely accurate
CMYK to RGB lossless
conversion process
that enlarges the color
space back to the file’s
original.
• Improved paper
adaption tool:
Wizard driven adaption
of the conversion to the
actual paper tint in use.
• The PDF-to-PDF
processing on x64
operating systems now
occurs with 64-bit
technology. As a result
a larger volume of
data can be processed.
• Brighter spot colors for
digital printing.
• Noticeable faster image
processing in PDF file.
• Updated driver for
measurement device
i1(iO) in SmartProfiler.
• Patented spectral color
engine, for multichannel
profiling to accurately
predict the overprinting
behavior for Flexo,
Offset and Gravure
printing with very little
measurement data.
• OpenColor can be
connected to the cloudbased color management systems
PantoneLIVE and
matchmycolor.
• New user interface.
• Approved color data
and profiles are published to ColorProof.
• Provides correction
tools for optimizing
measurement data and
editing OpenColor
profiles.
• On-the-fly test chart
generation.
5.7
• Production reliability
due to screen control.
• Simple workflow
integration with real
ROOM concept.
• Supports all common
spot color systems
and processes up to
64 separations in one
image.
• A WebClient enables
multiple users to
simultaneously create,
edit and monitor
proofing jobs on any
PC or Mac within the
corporate network.
• Improved currogated
card board simulation.
4.10
2.1
5.7
• Efficient and simple
calculation of savings.
• Easy-to-create
hotfolders.
• Plus all the advantages
of ColorServer 4.10.
• Consistent quality
throughout all images in
source database.
• Once-only color
correction – regardless
of the ultimate output
standard.
• Fewer and shorter
production cycles
through process
automation.
• Direct output to any
media standard, without
further file alterations.
• Shorter print makeready
times, and consistent
print quality.
• Efficient use of resources
and considerable cost
savings.
• Color-accurate halftone
proofs in verifiable
contract proof quality.
• Simple integration
through direct
processing of the
original imagesetter
data.
• Extensive spot color
functionality and XG
proofing.
• Quality control via
control strips and proof
label.
• Production reliability and
cost savings through
early detection of
potential printing
problems.
• Fail-proof color management by internal
validation of the
selected parameters.
• Location independent
remote proofing via
FTP, WebClient or the
integrated GMG
CoZone connection.
• Integrated raster image
processor with the
latest Adobe Print
Engine Technology.
• Load balancing and
nesting for maximum
productivity and
minimal waste.
GMG InkOptimizer with
G-Turbo:
Reduce ink usage by up
to 47% compared to
the original file which
is an increased CMY
reduction of around 17%
over previous strong
ink optimization. This
extreme reduction of
ink also improves drying
time, reduces rub off as
well as chemicals that
are associated with the
solvent inks, and pays for
itself quickly. All this while
preserving the original
color intergrity.
The backPage color
Paul Van Tongeren,
Technician,
GMG UK
Paris Green
C60 M0 Y40 K22
Paris Green is a highly toxic emeraldgreen crystalline powder that, despite
its toxicity (it’s made using arsenic), has
also been used as a pigment. The color of
Paris Green is said to range from a pale,
vivid, blue-ish green in its finely ground
form, to a deeper green when coarsely
ground. It was used to kill rats in the
sewers of Paris. Hence the name.
Were some of the world’s
greatest painters killed with
their own paint?
Paris green was a popular pigment used in artists’
paints by (among others) the English painter
W. Turner, Impressionists such as Monet and
Renoir and Post-Impressionists such as Gauguin,
Cézanne and Van Gogh. Cezanne developed
severe diabetes, which
is a symptom of chronic
arsenic poisoning.
Monet’s blindness and
Van Gogh’s neurological disorders are likely
directly related to their
use of Emerald Green, a
version of Paris Green.
Paris Green was once a
popular pigment for
painting ships, as its
toxicity prevented the
accumulation of barnacles.
No other chemical
produces a
better blue color
in a firework than
Paris Green
Right: Renoir’s grave
1900
the backPage
interview
The year Americans were using
Paris Green blended with lead
arsenate as an insecticide for
apples. Life expectancy for a man
in America then was around 46.
What is your favorite color and why?
Blue. Always has been my favourite color
since I was a toddler.
What books are you reading right now?
Color Management Basics … not really! At
the moment nothing.
Tell us something about you that will shock
and amaze the readers of trueColors!
I’m scared of heights and the dark!
When you’re not working what do you do?
I work 23.5 hours a day normally, so sleep.
Do you sleep with the light on?
No. Can’t afford the electric on my wage
to leave it on!
What do you wish you were better at?
Documentation (I’m bad according to my
manager).
Have you ever won a competition?
Can’t remember. I did however win a
bottle of champagne recently for being
the only person to get a blackflag at
karting.
Cat or dog?
Dog, but I’m not at home enough so I
have cats (Bengal Tigers).
If you could work for GMG in another country,
which would it be and why?
Spain. Warmer weather and two hour
lunch breaks!
What’s your favourite GMG product and why?
ColorProof – first product I ever installed,
so memorable.
If you weren’t at GMG what would you want
to be?
A presenter on something like Top Gear
but with motorcycles too!
What was the last movie that made you cry?
The Notebook I believe … big softy for a
love story.
It’s the color questions! What do you like to do
once in a blue moon?
Listening to my partner (according to her).
What or who makes you green with envy?
Valentino Rossi [motorcycle rider]…
Would love to have the skill that guy has.
Red or white wine?
White.
The Stones’ Brown Sugar or Beatles Yellow
Submarine?
Yellow Submarine. Reminds me of being
at school.
Your school was underwater...?