Colour management for printing and packaging

Characterise what your press, inks and substrates actually do, before changing anything.

Grey balance and tone curves brought onto the G7 target, then verified.

Delta E limits your press can actually hold, agreed with your customer in writing.

A simple, repeatable check your operators run every shift, with records that mean something.

So the process survives after I leave, which is the part most projects get wrong.

Drift mid run, batch to batch variation, or a colour that will not match across machines.

Print and measure a test form to see how the press behaves today.

Correct tone and grey balance so the press sits on a known standard.

Prove it holds on a live job, with numbers your customer accepts.

Train the team and leave a routine that keeps the press on target.

Both. Fingerprinting and calibration usually need a visit, but tolerance setting, data review, artwork and prepress questions and ongoing support work well remotely. I am based in the UAE and work with printers worldwide.

Gravure, flexographic, offset and digital, with most of my experience in flexible packaging. The method is the same across processes: measure first, calibrate to a standard, then keep it there.

At minimum a spectrophotometer and a colour bar on every job. If you do not have one yet I can advise on what suits your process and budget before you buy.

Fingerprinting and calibration of a single press is typically a short on site exercise. The lasting benefit comes from the verification and training that follow, which we plan around your production schedule.

Yes, and that is one of the most common reasons people call. Calibrating each press to the same appearance target is what lets the same job move between machines or sites and still match.