Dear …,
As I’m working at a graphic design agency where we most of the time create packaging
designs for our clients, I was wondering which colour profile we should use as default CMYK
colour profile. At this moment all our applications use ISO coated v2 as default CMYK profile.
But on your website I see a new CMYK colour profile is available for offset printing.
Should we switch to PSO Coated v3 or stay at ISO coated v2 for the moment?
Kind regards,
Frens Veldstra
Mountain
Scheveningseweg 42
2517 KV, The Hague
The Netherlands
www.mountain.nl
+31 (0)70 302 20 80
[Mountain]<http://www.mountain.nl/>
[Facebook icon]<https://www.facebook.com/MOUNTAIN-DESIGN-377586212371218/> [LinkedIn icon] <https://www.linkedin.com/company/mountain-design> [Twitter icon] <https://twitter.com/mountaindesign> [Instagram icon] <https://www.instagram.com/mountaindenhaag/>
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Peter,
No direct experience printing on textiles -- so far.
The same kinds of “rules” ought to apply to textiles as on any other kinds of substrates.
Someone has to find out what a realistic TAC is and communicate that through.
I have a friend who works at Fuji. He tells me he has a client who prints on textile through large-format inkjet printers, driven by Caldera RIP. I never asked him specifically how he does its ink limiting but he uses Barbieri 8mm aperture to collect measurements for ICC profiling.
Once the profile is made, with a “realistic TAC”, it goes into the RIP.
But I’m not privy to the rest of their workflow. If anyone uses the printer profile upstream, in Photoshop…
Does that help?
MfG / Roger
From: eci-en-bounces(a)lists.callassoftware.com <eci-en-bounces(a)lists.callassoftware.com> On Behalf Of Peter Kleinheider
Sent: Wednesday, October 24, 2018 1:43 AM
To: eci-en(a)lists.callassoftware.com
Subject: Re: [ECI-EN] Linearization
Roger,
as the original question relates to inkjet printing on textile, what is your experience there.
best
Peter
On 23.10.2018, at 14:20, graxx(a)videotron.ca <mailto:graxx@videotron.ca> wrote:
Further to Kamil und Peter excellent komments,
The only “sensible” solution, in my opinion, whenever TAC is deemed so important, is to defer its judgement as further down the line as possible, in terms of workflow. In other words, use a full RGB workflow at the client side and let the printer, who knows most about print conditions, decide. Let him carry the responsibility should something “go wrong”.
Most printers don’t have the time or the resource to do any kind of testing, not the ones that I know and worked with or for over the past. No wonder they are so conservative! At the very least, in my opinion, a printer should be able to honor “bare-minimum” kind of industry practices, like Adobe Photoshop 260% Uncoated, 260% is a age-old figure associated with Uncoated paper in the industry. It traces its day to Advertising Rates & Data. To me, it is universally agreed-upon “standard” (target). If a printer finds himself unable to meet 260% TAC on Uncoated paper, perhaps it is time to consider changing printer or having a serious conversation with the printer technical representative, which is usually the prepress manager who does not have a clue as to what is going on with color reproduction… (I’m not trying to be sarcastic, just “realistic”)
Know that I personally consider 260% to be “conservative” in terms of TAC and, given the knowledge of some presses, and some past work I seen printed on Uncoated paper, like some Cirque du Soleil lavish, 4 color process brochures, 270% -- 280% and even 290%, it is not far-fetch. Anything is possible when you have the customer sitting by the press side and willing to pay for additional press time and material.
As a prepress policy, I would not do all Uncoated jobs at 280% but for those that are warranted, why not? The customer is not going to be disappointed. I suspect many shops have slowly increased their TAC over time. At least, the “better” printers I know have. It’s not that hard to determine but it takes the time of one person, like Peter, to do it!
TAC for Coated paper ought to be 320%, at least. Depends on the nature of the ink coverage over all.
It should be dictated by the images, whether they are heavy and what is the surface represented by those “dark areas”?
At one extreme, you could get away with 400% TAC in small areas but never over large areas, that’s asking for trouble.
Higher TAC remains useful to push contrast in images but here are some last comments…
A) It comes down to prepress policy. I have worked in environments where they privilege “automation” over “customization” or “optimization”, meaning, they don’t stop the line to look at individual images. PDFs come in through the FTP pipeline and away to plates they go. The least people touch the job on the way to the press, the happier management is. So all arrangements, if any, have to be made ahead of time with customers, that’s the only alternative.
B) If discussions are made ahead of production, a certain kind of planning becomes possible and TAC *can* be discussed between the client and the printer.
C) Most printers I know here are not that knowledgeable, technically. It seems to me that “technical printing knowledge” is slowly disappearing from the face of the earth, on both sides of the print equation, on the client side and on the printer side.
D) It takes time to build quality. At the rate everything is going today, quality becomes second to quantity, the idea is to produce an ever larger number of widgets at decreasing costs. Economics is the driving factor.
My VERY humble set of experiences.
/ Roger Breton
<http://www.graxx.ca/> www.graxx.ca
From: <mailto:eci-en-bounces@lists.callassoftware.com> eci-en-bounces(a)lists.callassoftware.com < <mailto:eci-en-bounces@lists.callassoftware.com> eci-en-bounces(a)lists.callassoftware.com> On Behalf Of Kamil Tresnak
Sent: Tuesday, October 23, 2018 6:36 AM
To: <mailto:eci-en@lists.callassoftware.com> eci-en(a)lists.callassoftware.com
Subject: Re: [ECI-EN] Linearization
Hi Dwight, in accordance with Peter (and by my long term experinece) - I do not use algorithms (even if the RIP contains it). Much better is have printed a good TAC target, make some measurement with a good handheld, and a carefully examine the material and overprint patches.
Cheers, Kamil,
On Tue, Oct 23, 2018 at 12:50 AM Peter Kleinheider < <mailto:peter@inpetto.cc> peter(a)inpetto.cc> wrote:
Dwight,
For ink limit, we work with values from experience. It depends on various variables like the used ink, the substrate, the resolution, the printing speed, usage of light inks, ...
We have not yet found an algorithm that calculates it based on the linearized single channels. Hence we use a TAC chart when we have a new combination of parameters. As printed ares above the maximum ink threshold may have "artefacts" that cannot get caught using a spectrophotopmeter, a user has to decide what limit to set. Important: it shall define the maximum TAC that can get printed on that substrate. A further reduction to less TAC should be done when generating the ICC profile.
Happy to hear about other experiences.
best
Peter
> On 22.10.2018, at 13:31, Dwight Kelly < <mailto:dkelly@apago.com> dkelly(a)apago.com> wrote:
>
> Hello,
>
> I’m looking for references on device linearization techniques and algorithms.
>
> Have an inkjet textile printer that’s proving difficult to characterize because of the amount of ink it lays down. Don’t want to just pick an arbitrary ink limit. Would rather calculate it empirically.
> _______________________________________________
> ECI-EN mailing list
> <mailto:ECI-EN@lists.callassoftware.com> ECI-EN(a)lists.callassoftware.com
> <http://lists.callassoftware.com/mailman/listinfo/eci-en> http://lists.callassoftware.com/mailman/listinfo/eci-en
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Further to Kamil und Peter excellent komments,
The only “sensible” solution, in my opinion, whenever TAC is deemed so important, is to defer its judgement as further down the line as possible, in terms of workflow. In other words, use a full RGB workflow at the client side and let the printer, who knows most about print conditions, decide. Let him carry the responsibility should something “go wrong”.
Most printers don’t have the time or the resource to do any kind of testing, not the ones that I know and worked with or for over the past. No wonder they are so conservative! At the very least, in my opinion, a printer should be able to honor “bare-minimum” kind of industry practices, like Adobe Photoshop 260% Uncoated, 260% is a age-old figure associated with Uncoated paper in the industry. It traces its day to Advertising Rates & Data. To me, it is universally agreed-upon “standard” (target). If a printer finds himself unable to meet 260% TAC on Uncoated paper, perhaps it is time to consider changing printer or having a serious conversation with the printer technical representative, which is usually the prepress manager who does not have a clue as to what is going on with color reproduction… (I’m not trying to be sarcastic, just “realistic”)
Know that I personally consider 260% to be “conservative” in terms of TAC and, given the knowledge of some presses, and some past work I seen printed on Uncoated paper, like some Cirque du Soleil lavish, 4 color process brochures, 270% -- 280% and even 290%, it is not far-fetch. Anything is possible when you have the customer sitting by the press side and willing to pay for additional press time and material.
As a prepress policy, I would not do all Uncoated jobs at 280% but for those that are warranted, why not? The customer is not going to be disappointed. I suspect many shops have slowly increased their TAC over time. At least, the “better” printers I know have. It’s not that hard to determine but it takes the time of one person, like Peter, to do it!
TAC for Coated paper ought to be 320%, at least. Depends on the nature of the ink coverage over all.
It should be dictated by the images, whether they are heavy and what is the surface represented by those “dark areas”?
At one extreme, you could get away with 400% TAC in small areas but never over large areas, that’s asking for trouble.
Higher TAC remains useful to push contrast in images but here are some last comments…
A) It comes down to prepress policy. I have worked in environments where they privilege “automation” over “customization” or “optimization”, meaning, they don’t stop the line to look at individual images. PDFs come in through the FTP pipeline and away to plates they go. The least people touch the job on the way to the press, the happier management is. So all arrangements, if any, have to be made ahead of time with customers, that’s the only alternative.
B) If discussions are made ahead of production, a certain kind of planning becomes possible and TAC *can* be discussed between the client and the printer.
C) Most printers I know here are not that knowledgeable, technically. It seems to me that “technical printing knowledge” is slowly disappearing from the face of the earth, on both sides of the print equation, on the client side and on the printer side.
D) It takes time to build quality. At the rate everything is going today, quality becomes second to quantity, the idea is to produce an ever larger number of widgets at decreasing costs. Economics is the driving factor.
My VERY humble set of experiences.
/ Roger Breton
www.graxx.ca
From: eci-en-bounces(a)lists.callassoftware.com <eci-en-bounces(a)lists.callassoftware.com> On Behalf Of Kamil Tresnak
Sent: Tuesday, October 23, 2018 6:36 AM
To: eci-en(a)lists.callassoftware.com
Subject: Re: [ECI-EN] Linearization
Hi Dwight, in accordance with Peter (and by my long term experinece) - I do not use algorithms (even if the RIP contains it). Much better is have printed a good TAC target, make some measurement with a good handheld, and a carefully examine the material and overprint patches.
Cheers, Kamil,
On Tue, Oct 23, 2018 at 12:50 AM Peter Kleinheider <peter(a)inpetto.cc <mailto:peter@inpetto.cc> > wrote:
Dwight,
For ink limit, we work with values from experience. It depends on various variables like the used ink, the substrate, the resolution, the printing speed, usage of light inks, ...
We have not yet found an algorithm that calculates it based on the linearized single channels. Hence we use a TAC chart when we have a new combination of parameters. As printed ares above the maximum ink threshold may have "artefacts" that cannot get caught using a spectrophotopmeter, a user has to decide what limit to set. Important: it shall define the maximum TAC that can get printed on that substrate. A further reduction to less TAC should be done when generating the ICC profile.
Happy to hear about other experiences.
best
Peter
> On 22.10.2018, at 13:31, Dwight Kelly <dkelly(a)apago.com <mailto:dkelly@apago.com> > wrote:
>
> Hello,
>
> I’m looking for references on device linearization techniques and algorithms.
>
> Have an inkjet textile printer that’s proving difficult to characterize because of the amount of ink it lays down. Don’t want to just pick an arbitrary ink limit. Would rather calculate it empirically.
> _______________________________________________
> ECI-EN mailing list
> ECI-EN(a)lists.callassoftware.com <mailto:ECI-EN@lists.callassoftware.com>
> http://lists.callassoftware.com/mailman/listinfo/eci-en
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ECI-EN(a)lists.callassoftware.com <mailto:ECI-EN@lists.callassoftware.com>
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Hello,
I’m looking for references on device linearization techniques and algorithms.
Have an inkjet textile printer that’s proving difficult to characterize because of the amount of ink it lays down. Don’t want to just pick an arbitrary ink limit. Would rather calculate it empirically.
*Dear ECI experts,*
In your opinion, what is the best way to replace a print on both sides of a
transparent substrate with a one-sided print (offset), without losing too
much density (visual).
*Kinds regards.*
Hervé
--
Herve LYAUDET
Responsable colorimétrie et flux de production
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Hi Folks,
I've done some tests earlier about gloss laminating. Based on these, the
reason for color shift is twofold:
1. The adhesive and the foil provide an effect optically as a "wet stone",
that is, as a planparalel plate. (For thermal foils, the glue is almost
exclusively causes the color shift effect, using matte foil the "culprit"
is the foil.) The colors become more saturated and darker.
2. Saturated and darker colors also cause optical Dot gain. And it is very
important, for lower TV we always get bigger TVI, because the paper color
will be changed also. This is the reason we never get the same effect on
proofs. The proof use different screening. This a very important isue.
Both problems can be eliminated by decreasing density, on the one hand
reducing TVI. Matt foil typically lightens the black, and can compensated
for it by increasing density. The question is always whether we want to
compensate these effects or not? The answer is always we do not want to
change the color shift.
Regards,
Pal Bekesy
Hungary
2018-02-27 11:37 GMT+01:00 <eci-en-request(a)lists.callassoftware.com>:
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> Today's Topics:
>
> 1. Re: Question about velvet lamination (LYAUDET, Herve)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 27 Feb 2018 19:20:55 +0900
> From: "LYAUDET, Herve" <h.lyaudet(a)altavia-paris.com>
> Subject: Re: [ECI-EN] Question about velvet lamination
> To: eci-en(a)lists.callassoftware.com
> Message-ID:
> <CA+1uu_aEtsL1QHcuv+nroVD8sqnWLj0ekFGUKZbam-AOMS3_
> og(a)mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> *Hello everyone,*
>
> I appreciate your time and attention, your answers are very important for
> me.
> Velvet seems to be a less matte stratification that F49. But the result
> seems to be very low reflectance and does make the colour lighter and a
> touch yellower.
>
> *'The alternative can be to laminate the proof with the same film, if you
> have access to such equipment.*
>
> *Important: then you need also a profile (or "gamut" in GMG-speak) of the
> laminated proof (print an ECI2002 or IT8.7/4 with a linear transformation
> on your proofer, laminate and measure). *
>
> *Do not assume that you can simply make a F39 proof and laminate it to get
> the same optical effect and color shift as on the print - much of the color
> shift is additional optical dot gain which depends on the screen.'*
>
> Thanks for the tip :) If I'm lucky, maybe I could do a press test and
> laminate.
>
> *Gentlemen, thank you very much.*
>
> *Best regards.*
>
> Herv?
>
> 2018-02-27 4:23 GMT+09:00 Nick Burton <nick.burton(a)magharl.co.uk>:
>
> > Hi all
> >
> > I am wondering if ?velvet? refers to what is normally stated as a soft
> > touch varnish this normally should be having very low reflectance and
> does
> > make the colour lighter and a touch yellower.
> >
> > For spot colours we normally give printers pre and post values to help
> mix
> > the ink where as with process we ask to see sheets unvarnished and check
> to
> > 12647 as I don?t believe a standard has been created for this kind of
> work
> > yet.
> >
> > Would be interesting to hear any other opinions or whether this is
> > something of an ISO consideration.
> >
> > Kind regards
> > Nick
> >
> >
> > On Mon, 26 Feb 2018 at 17:43, Kleeberg, Dieter (bvdm) <dk(a)bvdm-online.de
> >
> > wrote:
> >
> >> Salut Herv?,
> >>
> >>
> >>
> >> additionally to Hanno?s answer: A prerequisite of use of the profile
> >> ?PSO_Coated_v2_300_Matte_laminate_eci.icc? (seems to be the right
> choice
> >> for velvet) is a tone value increase 10% higher compared to Fogra39.
> That
> >> means, in the 40% tone you should set an increase value of 13% + 10% =
> 23%
> >> for CMY and of 16% + 10% = 26% for K. I don?t know the effects of
> ?velvet?
> >> but I think you should not go beyond 10%+ because that increase is a
> >> compensation of the light refraction in the film layer depending on its
> >> typical thickness. This is only a rough rule of thumb, and for glossy
> >> laminate you can work with the same curves.
> >>
> >>
> >>
> >> Best regards,
> >>
> >> Dieter
> >>
> >>
> >>
> >>
> >>
> >> *Von:* eci-en-bounces(a)lists.callassoftware.com [mailto:
> >> eci-en-bounces(a)lists.callassoftware.com] *Im Auftrag von *Hanno
> Hoffstadt
> >> *Gesendet:* Montag, 26. Februar 2018 09:40
> >> *An:* eci-en(a)lists.callassoftware.com
> >> *Betreff:* Re: [ECI-EN] Question about velvet lamination
> >>
> >>
> >>
> >> Hi Herv?,
> >>
> >>
> >>
> >> I am not familiar with "velvet films" as a term. Are they very silky,
> >> matte (fuzzy) and at the same time with a wide "glossy sheen" which
> >> captures much of the ambient light, but directional? So that intensity
> >> changes with orientation?
> >>
> >> This is what I assume for the following...
> >>
> >>
> >>
> >> It is a difficult case for proofing. The characterization data are for
> >> 45/0 geometry, but the viewing is more like diffuse illumination with an
> >> overall direction, which in this case can make a big difference.
> >>
> >> It may help to get the viewing closer to a 45/0 or 0/45 situation by
> >> blocking much of the other diffuse ambient light. Then a print-to-proof
> >> match which measures close to 0 Delta E will also appear close.
> >>
> >>
> >>
> >> F49 is probably a bit too light in the shadows, you may see more
> contrast
> >> on the laminated print. But it should get the color shift approximately
> >> right if your screen is around 150-180 lpi.
> >>
> >> (F49 and F50 are not well suited for extremely fine or coarse or NP/FM
> >> screens, where the color shifts will be smaller.)
> >>
> >> But this is only the colorimetric part of the story... without the
> >> surface properties.
> >>
> >>
> >>
> >> There is no proofing substrate which matches the surface of matte and
> >> silky lamination well.
> >>
> >> The alternative can be to laminate the proof with the same film, if you
> >> have access to such equipment.
> >>
> >> Important: then you need also a profile (or "gamut" in GMG-speak) of the
> >> laminated proof (print an ECI2002 or IT8.7/4 with a linear
> transformation
> >> on your proofer, laminate and measure).
> >>
> >> Do not assume that you can simply make a F39 proof and laminate it to
> get
> >> the same optical effect and color shift as on the print - much of the
> color
> >> shift is additional optical dot gain which depends on the screen.
> >>
> >>
> >>
> >> Best regards
> >>
> >> Hanno
> >>
> >>
> >>
> >> --
> >>
> >> Dr. Hanno Hoffstadt
> >> Senior Color Scientist
> >> ------------------------------------------------------------
> ------------
> >> Markbronner Weg 6
> >> D-89077 Ulm
> >> Germany
> >>
> >> phone: +49 731 1406 4651 <+49%20731%2014064651>
> >>
> >> skype: hannohoffstadt
> >>
> >>
> >> GMG GmbH & Co. KG
> >> Moempelgarder Weg 10
> >> 72072 Tuebingen
> >> Germany
> >> Phone: +49 7071 93874-0
> >> Fax: +49 7071 93874-22 <+49%207071%209387422>
> >> mail to: hanno.hoffstadt(a)gmgcolor.com
> >> www.gmgcolor.com
> >> ------------------------------------------------------------
> ------------
> >>
> >> GMG is a leading developer and supplier of high-end color management
> >> software solutions. Our customers span a wide range of industries and
> >> application areas including advertising agencies, prepress houses,
> offset,
> >> flexo, packaging, digital, and large-format printers as well as gravure
> >> printers.
> >>
> >>
> >>
> >> GMG GmbH & Co. KG. Registered Office: Tuebingen. Court of Registration:
> >> Stuttgart Local Court, No. HRA 381463.
> >> General Partner: GMG Verwaltung GmbH. Registered Office: Tuebingen.
> Court
> >> of Registration: Stuttgart Local Court, No. HRB 382505.
> >> Managing Directors: Ian Scott, Joerg Weihing, Robert Weihing
> >>
> >>
> >>
> >> CONFIDENTIALITY
> >>
> >> The information in this e-mail and in any attachments is confidential
> and
> >> may be privileged or otherwise protected from disclosure. It is intended
> >> solely for the attention and use of the named addressee(s). If you are
> not
> >> the intended recipient, please telephone or e-mail the sender and delete
> >> this message and any attachment from your system.
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >> Am 26.02.2018 um 03:09 schrieb LYAUDET, Herve <
> >> h.lyaudet(a)altavia-paris.com>:
> >>
> >>
> >>
> >> *Hello everyone,*
> >>
> >>
> >>
> >> I request an expert opinion about velvet lamination. Maybe one of the
> ECI
> >> members can help me ?
> >>
> >> Can i use the F49 matte laminate characterization for a velvet
> lamination?
> >>
> >> ..Velvet lamination is very specific..
> >>
> >>
> >>
> >> *Best regards.*
> >>
> >>
> >>
> >> Herv?
> >>
> >>
> >>
> >> --
> >>
> >> *Herve LYAUDET*
> >>
> >> Responsable colorim?trie et flux de production
> >>
> >>
> >>
> >> *ALTAVIA PARIS*
> >>
> >> Phone: +33 1 49 48 82 32 <+33%201%2049%2048%2082%2032>
> >>
> >> Cell: +33 6 27 78 47 53 <+33%206%2027%2078%2047%2053>
> >>
> >> www.altavia-group.com
> >>
> >> www.altaviawatch.com
> >>
> >>
> >> _______________________________________________
> >> ECI-EN mailing list
> >> ECI-EN(a)lists.callassoftware.com
> >> http://lists.callassoftware.com/mailman/listinfo/eci-en
> >>
> > --
> > Nick Burton Print Quality Manager DDI 01895 432 460 ? Main 01895 432 400
> ?
> > nick.burton(a)magharl.co.uk
> >
> > <http://www.magharl.co.uk>
> >
> > A Magnet Harlequin Group Company.
> >
> > *Please consider the environment before printing this email*
> >
> > <http://www.magharl.co.uk/> <https://twitter.com/magnetharlequin>
> > <https://www.linkedin.com/company/magnet-harlequin>
> > <https://www.facebook.com/magnetharlequin/>
> >
> > Magnet Harlequin Limited is a Limited Liability Company registered at
> > Companies House, Cardiff. Registration No 1708356.
> > Registered Address: Unit F, Tomo Estate, Packet Boat Lane, Cowley,
> > Uxbridge, Middlesex, UB8 2JP.
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> Herve LYAUDET
> Responsable colorim?trie et flux de production
>
> ALTAVIA PARIS
> Phone: +33 1 49 48 82 32 <+33%201%2049%2048%2082%2032>
> Cell: +33 6 27 78 47 53 <+33%206%2027%2078%2047%2053>
> www.altavia-group.com
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> Watch] <https://twitter.com/AltaviaWatch>
>
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> End of ECI-EN Digest, Vol 82, Issue 7
> *************************************
>
Dear all,
as of now the 2018 edition of "MediaStandard Print" / "MedienStandard Druck" substitutes the 2016 edition. Please feel free to download the German and English version from this website
https://www.bvdm-online.de/handreichungen
where you will find a short description. You are invited to share the download resource, but *only this original permalink URL*.
What's new in 2018 edition?
The bvdm is responding to changes in the current standardization process. Specifically, the following additions in text, tables and glossary have been made:
* New ECI working colour space, i.e. the M1 char'data-based eciCMYK CMYK exchange colour space;
* Generation and exchange of CxF/X-4 spot colour data in accordance with ISO 17972 and their use for Spot colour tone value curves in accordance with ISO 20654 (SCTV);
* New separate "6-B" standard printing condition with the M1 char'data-based PSO SC-B paper v3 (FOGRA54) ECI profile;
* New M1 char'data-based ECI-PSR profiles for publication gravure [the upload to ECI website is still expected!];
* Another typical digital printing application: PDF/X for variable digital print content in accordance with ISO 16612-2 PDF/VT and ISO 16613-1 PDF/VCR-1;
* A supplemented ISO 15930 conformity survey from PDF/X-1a to PDF/X-6/-6p/-6n [publication expected in 2018?];
* New Fogra MultiColor MediaWedge 3.0 5c/5c/7c/8c;
* More precise M0 and M1 measurement modes in accordance with the 2017 revision of ISO 13655:2009.
Best regards,
Dieter
Dieter Kleeberg
Referent Technik + Forschung
[cid:image001.png@01D0CED7.BA383280]
Bundesverband Druck und Medien e.V. (bvdm)
German Printing and Media Industries Federation (bvdm)
Friedrichstraße 194-199
D-10117 Berlin
Telefon +49 (0) 30 / 20 91 39-164
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Telefax +49 (0) 30 / 20 91 39-113
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Folgen Sie uns auf Twitter: http://twitter.com/Der_bvdm
Publikationen: www.bvdm-online.de/shop/<http://www.bvdm-online.de/shop/>
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PSO ProcessStandard Offset ISO 12647 www.pso-insider.de<http://www.pso-insider.de/>
R16 roman16 bvdm Reference Images www.roman16.com<http://www.roman16.com/>
ATS2+ Altona Test Suite 2.0 + Update 2016 www.altonatestsuite.com<http://www.altonatestsuite.com/>
CO2 Klimainitiative bvdm - Climate initiative www.klima-druck.de<http://www.klima-druck.de/>
MSD - Teilen Sie diesen originalen Link mit Ihren Kunden und Partnern: https://www.bvdm-online.de/handreichungen
MSP - Share this permalink with your clients and partners: https://www.bvdm-online.de/handreichungen
*Hello everyone,*
I request an expert opinion about velvet lamination. Maybe one of the ECI
members can help me ?
Can i use the F49 matte laminate characterization for a velvet lamination?
..Velvet lamination is very specific..
*Best regards.*
Hervé
--
Herve LYAUDET
Responsable colorimétrie et flux de production
ALTAVIA PARIS
Phone: +33 1 49 48 82 32 <+33%201%2049%2048%2082%2032>
Cell: +33 6 27 78 47 53 <+33%206%2027%2078%2047%2053>
www.altavia-group.comwww.altaviawatch.com
[image: www.altavia-group.com] <http://www.altavia-group.com>
[image: Facebook Altavia] <https://www.facebook.com/altavia.group> [image:
Linkedin Altavia] <https://fr.linkedin.com/company/altavia> [image: Twitter
Altavia Group] <https://twitter.com/altaviagroup> [image: Twitter Altavia
Watch] <https://twitter.com/AltaviaWatch>
--
The information in this email and any attachments are the property of
ALTAVIA or its affiliates and may contain proprietary and confidential
information that is intended for the addressee(s) only. If you are not the
intended recipient, please refrain from any disclosure, copying,
distribution, retention or use of this information. You are hereby notified that
such actions are prohibited and could be illegal. If you have received this
e-mail in error, please immediately contact the sender and delete the
e-mail. We appreciate your cooperation. Email transmissions being not
guaranteed, ALTAVIA and its affiliates decline their liability due to this
email transmission, specifically when altered, modified or falsified.Les
informations contenues dans cet e-mail ainsi que les fichiers joints sont
la propriété d’ALTAVIA et / ou ses filiales et peuvent être des
informations confidentielles et privées qui sont adressées à l’attention de
leur destinataire uniquement. Si vous n’êtes pas le destinataire du message
merci de ne pas divulguer, copier, diffuser, conserver ou utiliser ces
informations. Vous êtes par la présente notifié que ces agissements sont
interdits et peuvent être illégaux. Si vous avez reçu cet e-mail par
erreur, merci de prendre contact immédiatement avec l’expéditeur et de
détruire cet e-mail. Nous vous remercions de votre coopération. La
correspondance en ligne n’étant pas un moyen entièrement sécurisé, ALTAVIA
et ses filiales déclinent toute responsabilité au titre de cette
transmission, notamment si son contenu a été altéré, déformé ou falsifié
Dear all,
I read a lot of discussions in several forums about the F53 CMYK working space presented by FOGRA.
But, until now, I did not saw anything in the real life production.
I know it’s often difficult to change attitudes and even more habits.
Nevertheless, I was wondering if this ICC profile could be considered and used in a almost certain Media Neutral Workflow like the one used in RGB?
After all, it could be maybe easier for non-specialist Creative Agencies to give a PDF “neutral” CMYK rather than very exotic.
What do you think about it?
Best,
Axel
Axel Robert | Prepress Manager
UBISOFT |EMEA Manufacturing
28, rue Armand Carrel | 93100 Montreuil | France
Tel: +33(0)1 48 18 52 03 | Skype: axelprepress
[soft+Horizontal+Logo+BLACK (1)]
Dear all,
I started a discussion exactly one year ago. ☺
Time goes fast even if days are very long indeed.
I would like to know if you possibly planned or scheduled to provide new ICC laminate profiles according to F51?
I know it’s a lot of work for all of us and you are very busy men.
Nevertheless it has been so interesting for the production; I am wondering if this project will start.
Many thanks for the invaluable research you already shared.
Bet regards,
Axel
Axel Robert | Prepress Manager
UBISOFT |EMEA Manufacturing
28, rue Armand Carrel | 93100 Montreuil | France
Tel: +33(0)1 48 18 52 03 | Skype: axelprepress
[soft+Horizontal+Logo+BLACK (1)]
