Color Proofing

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This Detailed Color Proofing Guideline shows the color proofing options available at Primary Color. Using this guide, you may compare the various proof characteristics and thereby assess what might be applicable to your specific print project.

Why Proofs Are Made
Color proofs are made for a number of reasons, including the following:

Types of Proofs
Prepress proofs may be digital (contone or halftone devices) or conventional (overlay or integral). Press proofs are also considered to be a form of "conventional" proof. Desktop proofs are most commonly used for points #1-4 above, while Fuji FinalProof and conventional proofs are used after prepress production has commenced (Points 1 & 3-7 above) Another form of digital prepress proofing is "soft proofing" - viewing an image on screen. This can be done easily using PDF files, but is limited to content proofing since color representation is not accurate.

Digital proofs
Digital proofing devices take the digital color information and output the digital image onto a substrate using toners, inks, etc. Films are not needed to generate the digital proofs themselves. For most jobs, cost reductions are achievable for those projects where digital proofs may be substituted for conventional proofs, since the cost of extra films is avoided.
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Conventional proofs
Conventional prepress proofs use pigmented or dyed light-sensitive materials exposed with color separation film negatives or positives. These films are created using imagesetters which image the electronic files. At times, some manual stripping of these digitally-created films is also necessary before conventional proofs can be made.
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Proofing at Primary Color
The following proofing systems are available at Primary Color:

Digital:

Digital Contract:

• Fuji Finalproof: High resolution halftone device

• Epson Ink Jet: Inkjet device

Digital Blueline:

• Doubleproof: Inkjet device

Conventional (analog):

• Overlay (Color-Key)
  

• Integral (Fuji Color Art System, Imation MatchPrint, Dupont Waterproof System, Dupont Color Versatility System)
  

• Press Proof (4C or 6C offset litho)

Epson Inkjet
This is a continuous tone proof using the latest inkjet technologies. Combining Epson's Ultrachrome ink with a variable droplet size ink delivery system, yields a accurate and stable proof but at the same time takes advantage of the lower cost of inkjet materials. With a maximum size of 44" x 100"+, this system fills the quality and price gap between a low quality color proof and the exceptionally high quality Fuji FinalProof.

Pros:

• Inexpensive
• Fast and easy to make
• Filmless
• Useful for comps, troubleshooting tool, some contract proofing.

Cons:

• Special colors are simulated.
• Not accurate for precise measurement.
• Does not show traps or film attributes.
• Not as flexible as Fuji Finalproof when it comes to proofing substrates.

Fuji Finalproof
With the ability to produce contract quality halftone proofs, the Fuji Finalproof is at the cutting edge of digital proofing technology. Not the cheapest machine on the market, it produces proofs that are consistent and accurate with minimal operator intervention. The proof is generated directly from digital; proof is not dependent on the production of final films. Maximum size 21.5" X 32.2"; handles 4 color process; Resolution: 2400dpi / Up to 200 line screen, and can be laminated to most papers. This is the best proofing device on the market.

Pros:

• Contract Proof Quality.
• Filmless. Can match press, calibrated to our Fuji Color Art system.
• 2400 dpi resolution shows traps

Cons:

• Special colors are simulated.
• Conventional Proofs are recommended for spot color jobs.
• Not accurate for precise measurement.

Imation Color-Key Proof
A conventional overlay, film-based, prepress proof. This proof consists of four layers of plastic - one for each process color (C, M, Y, K) tacked down on a chosen substrate. This allows you to lift the layers and study each color individually. Extra layers are added to represent special colors. Maximum size is 25" X 38"; These proofs are available for both positive and negative films. We only make Color-Keys upon special request. Our experience is that Color-Key proofs are used to show color break, and are well-suited for projects where color is not critical, only 1 or 2 colors are used or a 4 color job is being printed on a two color press.

Pros:

• Affordable.
• Good for studying each color layer.
• Shows film attributes such as scratches/moires.
• Any stock may be used as a base.

Cons:

• Can't predict critical color match in all applications.
• Layers can cause a cast.
• Compared to digital proofing, this is a manual process which is more time consuming; film required.

Fuji ProofColor-Art
A conventional, integral, film-based prepress proof. This proof is made by exposing in contact, Color-Art film which carries the color emulsion. After exposing, developing (to remove unwanted emulsion) and drying in a special processor, the emulsions are transferred in sequence and registered to a receiver film. It is the receiver film which is then used to make the second transfer to the final base material, usually paper. The finished proof is then given a post exposure to stabilize the transferred image. Maximum size is 25" X 38"; available colors are 4 color process, red, orange, blue and brown. May be made using coated and uncoated (Fuji) stocks. We make Color-Art proofs as patch color, intermediate and contract proofs. Our experience is that Color-Art proofs are especially well-suited for agency work, commercial work and limited editions.

Pros:

• Good repeatability.
• Shows film attributes such as scratches/moires.
• Close to actual press dot gain.
• More stable color than cromalin proofs.

Cons:

• Limited range of special colors.
• Compared to digital proofing, this is a manual process which is more time consuming; film required.

Press Proof
In our case, a printed sheet run on either our 5 or 6 color press. Press proofs involve using a press to generate a printed image before the production press run. This is done to simulate actual printing conditions of plates, inks and substrate (i.e. paper). Ink hues are selected to match production inks. Dot gain characteristics of production conditions can be simulated so that film qualities can be properly assessed. On our presses, the maximum press proof size is 28" X 40". Press proofs offer the highest quality proof but there is extra cost. Our experience is that press proofs are well-suited for packaging (and other projects) where color is critical and also where special colors and long production runs are the norm.

Pros:

• Highest quality color proof.
• Cost effective for longer runs.
• Client can obtain a larger quantity of proofs or make a small press run for pre-release and sales samples.
• Required proof for projects using stochastic screening.

Cons:

• Extra cost due to press and paper use.
• Labor-intensive.
• Changes determined at the printing stage will increase costs.