What is G7 and what does it mean to you?

IIDEAlliance's G7 is a revolutionary new methodology for calibrating proof-to-press and press-to-press across any printing method.

Developed by our industry's leading color experts, the G7 methodology includes revolutionary techniques for dramatically improving print quality and consistency. 

As G7 'Experts', we can provide step-by-step training within your company to calibrate proofing and printing systems using the latest G7 methodology. 

G7 methods have been adopted worldwide: files and proofs created anywhere in the world using the G7 methods, can be matched in any pressroom.

For your business, this means improved color fidelity, press sheets that match the proof resulting in quicker make-readies, faster time-to-market, and lower manufacturing costs. 

Take the first simple steps toward better printing: contact us at Cathay America: jpasky@gmail.com

G7 on a Post-it Note

A guide to getting repeatable color matches on press, everyday

The G7 methodology has been critisized as being 'too complicated'.
It is not. 
Here is a very nice summary of the process that was orignially published by Glenn Andrews of Schawk in Los Angeles. (with a couple of small changes of mine).

1. Use good paper and good ink.
2. Have the press in good running condition.
3. Include color bars with solids, overprints, a 50%C 40%M 40%Y neutral and a 50% or 53% midtone K patch.
4. Run to industry-standard solid ink densities.
5. Mid-tone density must be 0.54 plus the density of the paper.
6. 50%C 40%M 40%Y neutral must be exactly the same color and value as the mid-tone K.

A press sheet run to these specifications will match a good proof.

Wednesday, October 1, 2008

My approach to G7 on a Post-it Note

Earlier this week I was posting a few thoughts at Adam Dewitz's PrintCEOblog (www.printCEOblog.com) I was explaining my thinking behind the simplified press color bar that I use when doing color ok's for clients here in China. Few printers here run control bars. I'm sure that 1/4" of paper at the tail-end of the sheet is their profit margin. In any case, most are 'eyeballing' the sheet to the proof. They don't do a bad job, but they are making the assumption that the proof represents the file and that the press can actually print what's on the proof.

When I'm 'shepherding' books through the manufacturing process, I first check their proofs for compliance with the ISO standard by insisting that they make me a proof of the Idealliance proofing bar. I check it with my EyeOne. I like to see the proof as close as possible to a Delta E of 1.0. If they are making good proofs, we're half-way home!. I then have them proof the job and send it to my client for his approval.

When we're ready to print, I ask them to include my press control bar on the forms. I also ask them to make a proof the color bar. I ask the press operator to begin by matching the color bar on the sheet to the color bar proof. This way I know that the press is printing a good gray balance and that the tone reproduction is correct.

After the bar looks good on the presssheet, we can start fine-tuning the images, but typically there is very little adjustment that needs to be made to match the proof. 

In using this simplified technique on press, I have to make the assumption that the inks are close to ISO requirements. I'm not in a situation where I can tell them to change ink if they are 'off' a bit. The inks being used in most printing plants are so close to 'standard' that any differences will be very minor. As a matter of fact, in checking through a stack of sample press sheets that I've run this past year, all of the ink sets are within the ISO tolerance. 

1 comment:

Albert said...

That statue is very detailed. I wonder if it comes to life at night, when you're not around.
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