Re: Changing inks
Re: Changing inks
- Subject: Re: Changing inks
- From: Marco Ugolini <email@hidden>
- Date: Wed, 01 Mar 2006 21:49:33 -0800
In a message dated 3/1/06 7:58 AM, Mike Eddington wrote:
> Well, it's not something I would want to do...not only matching solids,
> but overprints as well to a proofer. Would you be deviating from ISO
> 2846-1 compliant inks? I personally don't see the importance of keeping
> a "dot" proofer for the sake of the dot structure on the proof, which is
> often a simulation anyway. Seems like it would be much simpler to match
> the proofer to the press and give up the dot worshipping aspect of
> proofing for a more colorimetric match.
Hi to all.
I am honestly straining to understand from as logical a point of view as
possible why it is so important for some clients to "see a dot" on the proof
(no, even better: not just a dot, but *the* dot! Ah!). Inertia has a lot to
do with it, probably, but doesn't explain it completely.
Let's see: the dot structure on the proof does not really exactly match that
on the final separation, does it? All that effort, and it may well end up
being different anyway: the start points might be slightly different (enough
so to create unreliable results); the screen angles themselves may not match
the final ones, for any of a number of reasons; the dot shape may not be the
same; etc.
This reverence for "the dot" borders on the irrational, and seems to me more
a sign of unfounded fear of the new than a valid position in today's
production environments.
The whole world seems to be going the way of *appearance* matches, not dot
matches, and it's doing so at a fast clip. It's far from the fad that the
"dotsters" would like to think it is: it is a proven way to get better
results while saving money. That combination by itself dooms the
competition. Who can hope to run against that tide and remain afloat?
Regards.
--------------
Marco Ugolini
Mill Valley, CA
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