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Scott,
I'm not sure I follow your comments. During this profile
test process, we press proof 2 versions of the image, or product. One version is
the image which the client approved and typically just has the CMYK profile of
the pre-press or printing company applied. The other "version" of the image,
again after final approval by the client, is converted to our newly made "matte
lamination" profile. We then send both out for matte film lamination to compare
the differences, always comparing to the target image which is the approved
press proof prior to lamination and prior to being converted to the new profile.
Of course the image that was laminated without the profile is just like the way
they used to get it...colors change significantly. The proof with our profile is
nearly a dead ringer to the target press proof, except, as I mentioned, a few
occasional colors that can't be matched. It does no good to look at the image
after the profile is applied because it will NOT represent the target proof at
all. For example, most colors will appear overly saturated, because once the
lamination is applied, the color will fall back to what is much closer to the
match. My point is that "seeing the results on the proofs" is not possible
because what you're seeing does not represent the target color, but a more
saturated color shifted color, which is taking into account the next step, the
lamination.
Strange things are obviously happening to the light as it
is reflected back through the matte lamination. I'm not a scientist, but I
suppose that perhaps the colors of some pigments are being absorbed or scattered
in such a way coming through the lamination that the target color just can't be
accomplished. Again this is only with some colors, and the example I gave was
the rich burgundy maroon color, which comes out a bit too brown. Reddish brown,
and somewhat close, but not nearly what we're after. And yet every other color
on the page is essentially perfect.
So are you suggesting that we might try altering the TAC or
Max Black settings and regenerate the profile again? We are using the same TAC
and other settings in the profile as is normally used for the printer's
profiles. Because in fact, we are still beginning the process by printing the
product. We are not printing the product any differently than we would normally
for a non-laminated product. Because other attempts at actually editing the
profile appear to cause too many other colors to then wander
off.
I greatly appreciate your input and guidance with this.
It's totally fascinating to me.
Regards,
Bob Rock
I myself have recently done significant work
preparing profiles for
laminated printed material.
I've been color managing a number of highly eccentric (and highly
challenging) printing process for almost a decade. I have got clients that print
onto wood, glass, metal, silk, one that prints with his own blood and one that
actually laminates inkjet prints with melamine (think digitally imaged Formica).
Measuring and profiling the final, laminated product is essential.
After building the profiles, we went back and
press proofed several sample
test images or actual products. You will find that
you can get spot on to
most colors. But there are some colors that you
just can't nail. ... For example, a nice
rich burgundy will turn towards brown after matte
lamination. All the other
colors will look great, except this
color.
If you measure and profile the final laminated product wouldn't your proofs
simulate that brown color? Less than optimal separation parameters could effect
those darker colors as well but you should still see the results on the
proofs.
Scott Martin
www.on-sight.com
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