How To Increase Your Chances For Success With Colour Proofing

Colour Proofing Matters and Increases Chances of SuccessColour Proofing – whether soft-proofing on a monitor or in-house hard-proofing to printed material – can be a high-stakes headache. Achieving colour accuracy and colour consistency is critical to the success of any design project. The expectations game played by a creative agency and its client is now often based on matching a colour proof to the final product no matter the substrate. Only a precisely- calibrated colour management system can make your colour proof a sure thing and not a risky gamble. As Vancouver’s recognised leader in colour management consulting, Chromalink knows how the system of ICC profiling and monitor calibration can be made to play to your advantage. So that you bet on the winning colour every time.

The First Step, Soft-proofing

Soft-proofing, or monitor-proofing, is not only the first step in the proofing of deliverables it is also the most efficient. For creative agencies, Chromalink knows that an accurately colour-managed monitor at the source is critical. First off, it frees up their creative professionals to work with riskier colours trusting that what they see on their RGB monitor will colour match to the CMYK printed material. For example, fluorescents can be favoured without worrying that they will be printed at less than full force. But an accurate soft-proof with consistent and repeatable colours also saves time, money and allows everyone involved in the project to see exactly what they will get. So a predictable ICC monitor profile provides a digital master plan for every project.

Clients could care less about these technical specifications and just want to see what they will get. For them, a colour proof becomes a hard target that they expect you to match. Being able to show how a production file will reproduce as packaging or a billboard or a magazine ad without worrying that your colours are off. Chromalink helps creative agencies turn on the accuracy and repeatability of their colours which speeds up the creative process and keeps down costs. It’s all a matter of the correct colour calculations. Chromalink makes a colour proof the first step in every success story.

Subplot Success Story with Colour Proofing

Chromalink’s client Subplot Design is great at telling colourfully – designed stories. Based in Vancouver with international reach, Subplot is a leading brand-design firm that creates category-defining campaigns. Their design services range from brand identity programs to retail environments to product brochures and colour is at the heart of every conversation. Even their own brand colour – a pop shade of pink – stands out from the pack.

For Subplot, Chromalink selected its NEC PA301 monitors and provided monitor calibration and ICC profiling, as well as soft-proofing set-up and training. Chromalink also consulted on the selection of Subplot’s Xerox DucuColor 242 printer (and provided expert calibration and ICC profiling as well) to maximise the potential of a precisely-calibrated colour managed workflow. Chromalink took away the anxiety in colour proofing so that Subplot can give their clients a trusted prediction of what the deliverables will look like in the end. Predicting colour is essential to the success – or failure – of a design project. As Matthew Clark, Subplot’s Creative Director says, “The stakes are high”

The scope of Subplot’s projects shows the enormity of the challenge. For its rebranding of Okanagan Springs Brewery, Subplot created production files based on various graphic design outputs for a wide range of different substrates. And the same colours needed to be consistent going from here to there. From lithography to laminated cardboard for 24 packs; from screen printing to metal bottle caps; from flexography onto aluminum for cans – colour must be consistent and predictable. And the colour proof sets the pace for everything that follows. As Clark warns, “the repercussions for error are massive”.

Chromalink has made Subplot’s colour proofs the gold standard. Now they can be trusted by everyone in the room – client, creative and printer alike. That’s a big gain for the small charge of Chromalink’s consulting services. Leaving nothing to chance, Clark says, “Chromalink was our lifesaver”.

If you need your life saved – or simply your monitor properly calibrated for accurate soft-proofing – book your Chromalink Colour Management in-house consultation today.

 

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How To Get Colour To Speak The Same Language

Photographer credit: Deryck Lewis

One of the accomplishments of colour management is the ability to make colour a universal language. Typically in the digital world colour gets divided into what may be considered as regional languages so that a specific shade of red seen on a particular computer screen in a certain ambient light gets translated to a different colour once it is output on a printer. And that distinct shade of red may change again on a different printer using an alternate substrate. Using custom ICC profiles and sensitive calibrating hardware, colour management creates a consistent colour no matter the platform or where you are in the workflow. So that the red in China is the same red in America so to speak.

Consistent colour is essential to a company such as ROLLOUT, a leader in the growing field of custom wallpaper and wallcoverings. From their offices in Toronto and Vancouver, they use a team of in-house and freelance illustrators, photographers and artists to create unique branded experiences and dynamic immersive spaces. Their clients include top hotels, restaurants and residential projects. But putting a custom package together is a complicated puzzle that relies on accurate and consistent colours. As Jonathan Nodrick. ROLLOUT’s President, explains, “we deal with projects from all over the world – from museums in Australia to the VIP tents of New York Fashion Week – and it is absolutely crucial that we provide consistent colour in our custom-made wallpaper”.

Working from a Pantone colour reference or swatch samples, ROLLOUT relies on the services of Chromalink to make sure that the wallpaper colours are perfectly in sync with the reference material. “Chromalink has created a system that performs to our specific needs”, Nodrick says. Along with tailormade solutions, Chromalink informs and instructs each client on how they can consistently achieve the best results from their colour workflow. Nodrick is relieved to point out that Chromalink “not only got our machines set to the media that we print on but also took the time to explain how and why things work”. Good service should also be the same in any language.

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The Black and White Truth of Colour Management

"In my photographs there’s a degree of precision that I wouldn’t be able to achieve without colour management and the assistance of Chromalink. They let me see my work more accurately." - Michael Levin.

The trouble with understanding colour management is that it’s an imprecise term that helps achieve a very precise result. Colour management is a cross-platform process that allows the appearance of colour to be consistently controlled and registered so that the colours that you see on your screen and through your workflow are the same colours that you get in the final print. Note for note. But colour management is about more than management – it’s about having confidence and being more efficient through the creative process. Creativity flows more smoothly if you don’t have to constantly double- back and make adjustments for the imperfections of colour. That makes a big difference.

So the management part of colour management doesn’t give full credit to the process. But it’s the colour part of colour management where the term really shows its limitations. It seems to offer no value to creatives who live in a black and white world. Chromalink is fortunate to work with a few black and white photographers who know otherwise – including Michael Levin who has achieved the status of International Photographer of the Year three times in his career. For Levin, colour management is key to achieving the perfect print.

“In my photographs there’s a degree of precision that I wouldn’t be able to achieve without colour management and the assistance of Chromalink. They let me see my work more accurately”.

Levin’s work is highly regarded for the way he renders light and brings clarity to a scene. He makes full use of the tonal gradations possible with black and white imagery. In some photographs, the gradual fall of smooth white clouds breaks sharply to a hard grey or a jet black. The tonal details heighten the drama in his images and keep the eye alert to the whole photograph, the full range of his ability to measure the mood in a scene.

“As I‘m working I want to see and print an image as I have it in my head. Every detail has to be the way I see it. So I like how Chromalink offers tailor-made solutions just for my specific workflow”

Chromalink started by helping Levin select the right monitor for his purposes and then properly calibrating it. We then built custom ICC profiles optimised for black and white printing specifically for Michael’s work. Standard ICC profiles provided by the manufacturer are a “one size fits all” option that often fall short for creative professionals. Using colour management and ICC profiles, Black and White prints are free of any colour cast (usually green/blue or red/brown), gradients are much smoother and densities are more controllable. With a custom profile, you can expect to see better colour accuracy, improved shadow detail and more neutral gray balance.

Despite its name, colour management lets you make more of a black and white image. To find out why Michael Levin won all his international awards, go to his website.

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Landsdown Centre Technology Fair 2011

Lansdowne Centre Technology Fair 2011

Come visit Chromalink at the Landsdown Centre Technology Fair. Chromalink will be sharing helpful information for those wishing to learn how to get the best colour accuracy from their printers and other digital devices. Photographers, graphic designers and creative professionals use colour management as part of their workflow. Visit Chromalink’s booth on Saturday November 5th and learn how you can benefit from colour management.

The Lansdowne Centre Technology Fair 2011 is your chance to access the newest and neatest in technology! This multi-media event will feature seminars, demos, activities and much more directly from some of the tech industry’s biggest names.

Some of the subjects that will be covered at the 2011 Landsdown Centre Technology Fair:

  • Digital Photography
  • Mac & PC Computers
  • Tablets
  • Smart Phones
  • Wireless Tech
  • Home Entertainment

Vendors to be featured along with Chromalink

  • Epson
  • Microsoft
  • Toshiba
  • Targus
  • Chromalink
  • Acer
  • Solidtek
  • Xerox
  • Kingston
  • Antec
  • Lacie
  • Booth Photographic
  • Global View Ent.
  • BenQ & more!

Fill out the form below and let us know if you will be attending!

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HSBC Red: How To Bank On The Perfect Colour

At Chromalink, we know how much colour matters to our clients. The right colour can make the difference between a job well done and a job completely un-done. In the case of the colour that could be called HSBC Red, there was a hard lesson to be learned by one company that forgot the value of its history.

HSBC was incorporated in 1865 as the Hong Kong and Shanghai Banking Corporation by an entrepreneurial Scotsman, Thomas Sutherland. While now based in London and tagged as “The Worldʼs Local Bank”, back in the 1800s HSBC was only a local bank, one of hundreds trying to secure clients in a developing market. Given its Scottish rectitude, the bankʼs first flag was a variation of the St. Andrewsʼ cross with red and white diamonds. But even Sutherland knew the strong value of red to China – traditionally, it represented joy and prosperity. In China, red is an auspicious colour. For HSBC, the colour proved correct.

Companies now build their brands based on a specific colour. For HSBC, the red in question is Pantone 1795 which is not Campbellʼs Soup red or Coca-Cola red or even the red in the Canadian flag. It is a very precise shade of red. And since colour matters, any firm wanting to win contracts for graphic design, printing or media content for HSBC needs to mark that colour perfectly. Proving that point is how Chromalink got caught up in this story.

A couple of years ago, a Toronto firm working under contact with HSBC, produced and mounted a large wallwrap for Torontoʼs Pearsonʼs Airport. The lengths and lengths of red plastic material went up and got torn down the same day. It was red but not the right red. The printing company had not properly calibrated its printers and the signature value of HSBC red had shifted to something of no value to the company. The contract was immediately cancelled with the Toronto company and the project was offered to the firm, Ampco Grafix, one of Vancouverʼs best sources for digital printing solutions.

Chromalink got involved at this point to ensure that Ampco could trust that the color values of their input devices perfectly matched the color values of their output devices. We call that colour confidence. Chromalink takes the guesswork out of printing colour and gives our clients the security they need to move forward with certainty. Ampco Grafix knew Chromalinkʼs reputation for providing companies accurate colour representation across all input and output devices from scanners to monitors to printers. We’re glad to say that Ampco aced the project and now has a regular client in HSBC. And that is money they can bank on.

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Custom ICC profiles

Custom ICC profiling is the process of creating a ICC profile for your specific printer, inks and paper that produces the most optimum results when printing to that combination. Printer ICC profiling helps you achieve predictability, consistency and maximum tonal correction and colour range.

While generic, outof-the-box ICC profiles do not fully consider the variables unique to your set up, Chromalink’s custom profiles achieve exceptionally accurate colour reproduction, smoother tonal transitions, neutral greys and improved shadow and highlight details. Using the most advanced profiling tools, custom printer profiles save time, money and the hassle of matching your screen colour to your print colour.

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Brian Howell’s Bottlecap Blues

Brian Howell's CartsBrian Howell is a editorial photographer who has made a smart jump into the fine art world. His first series that gained a critical following featured wrestlers – shot in smudged blacks and cool greys – with their cheap costumes and carnival styling. A later series focused on celebrity impersonators who turn a party trick into something more compelling and weird and modern. The tones here are theatrical, all black shadow and flashbulb bright. For Howell’s latest exhibition – which recently closed at Winsor Gallery on South Granville in Vancouver – he photographed individual metal shopping carts filled with a curious array of objects collected by different binners, or dumpster divers. Howell bought the carts and contents outright at whatever price the seller asked in a fair trade effort between street-smart recycling and creative re- purposing. Howell made a good deal because this collection of photographs is superb.

Each individual cart is set against a medicinal white background so that it becomes a specimen of urban behaviour. All these things got used up, worn down and thrown away only to find an odd new life as art objects. Howell’s attention to shape and colour is sharp. One cart is side- wrapped by an oversized fleamarket painting of multiple Spanish toreadors garishly coloured in flaming purples and brothel reds. In another photograph, the cart is full of plastic bottlecaps in a mix of colours – juiced up reds, artificial greens and Pepsi blues. The colours here have all the fizz of sodapop and give the image a sugary charm.

In preparing for his exhibition, Howell knew that colour would serve as a signifier for a consumerist mentality and needed to be precisely calculated. The electrical wires in one cart had to pulse with a bright yellow and juiced up green. The blue on a discarded big screen TV box had to have that washed out feel, as if weathered by rain. Howell chose to print all of the photographs himself but needed to have his wide-format printer properly calibrated. Chromalink was contracted to work with Howell to ensure that his prints achieved a truthful document of the tone and colours for every object. Even the whites had to be sharp. Chromalink aligned the colour values for every device in Howell’s studio which allowed him to work without doubting that he had the colours right. And since each print was part of a larger edition, Howell needed to know that his colours would be predictable and consistent. Chromalink gave Howell confidence in his colours and he made the most of it.

http://www.brianhowellphotography.com

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