1 2 3 4 5c 6c 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 3C 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60

5mm 6 - color ©2002 X-Rite Incorporated

What is color? L* 100 What is the effect of

People commonly describe colors by pairing them with
light on color?
+b*
h 90
O
familiar objects: “lime green,” “sky blue,” or “fire engine Since color can not exist without light, the lighting condi-
red.” While this may be sufficient for everyday conversa- tions under which color is evaluated have a considerable
tion, professional applications require an absolute value influence on color perception.
for color that is independent of the viewer. Theoretical, standardized lighting
-a* L* 50 +a*
0
O conditions called “illuminants” are
h 180 C* 0
O

By arranging color in a three-dimensional graph called h 360

O

used in color measurement to

a Color Space (shown on the right), we can assign an simulate lighting conditions, such
absolute value to any color using three independent C* 60
Quarry Bay, Hong Kong as fluorescent for a business or store
X-RITE ASIA PACIFIC LTD.

FAX (852) 2-885-8610

FAX 81-3-5439-5972
(852) 2-568-6283 variables: Lightness, Chroma, and Hue (LCh) and incandescent for a home. The
81-3-5439-5971
-b*
Tokyo, Japan h 270
O
graphic arts industry has standardized
Lightness (also called “Value”) – Lightness is plotted on an illuminant called D50, which is
vertically in the Color Space graph, with the darkest colors based on natural daylight. Metameric Colors
L* 0
FAX 86-21-6427-5816

at the bottom, lightest colors at the top.

Shanghai, PR China
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86-21-6427-2426

The colored square above contains a symbol in

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Colors can appear differently under various lighting

Chroma (also called “Saturation”) – A color that is very
saturated or intense has a high chroma. As colors become
more chromatic they move in a horizontal direction away
FAX (00) 420 517-320-335
Color Space – color by the numbers a matching, metameric color. The symbol will
conditions because of their chemistry. In fact, two
closely match the background when viewed
Color can be described verbally or numerically using the similar colors may be perceived or measured as an exact
under a 5000°K light source, but will be visible

same characteristics of Lightness, Chroma and Hue. match in one lighting condition, yet not match in another.
Vyskov, Czech Republic
FAX (49) 2203-914519

(00) 420 517-320-331

from the center of the Color Space. in other light sources.

This phenomenon is called “metamerism” (see sidebar),
(49) 2203-91450
Köln, Germany

and has important implications on the evaluation of color

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Hue – The basic color of an object, such as “red,” When measured using the D50 illuminant, the
matches in the graphic arts.
“yellow,” or “green.” Hue is located around the perimeter color difference will be small, but under another
Evaluating Color Difference
illuminant the color difference will be noticeable.
FAX (39) 02-967-30681

of the Color Space.

FAX 33 1-6953-0052
X-RITE MÉDITERRANÉE

(39) 02-967-34266
Origgio (VA), Italy

With a spectrophotometer, measure the color difference of

33 1-6953-6620
Massy, France

the colors below from the red target color (circled color). How can you best

Lightness
Do the LCh and ∆E numbers correlate with what you see?
Repeat this with a densitometer and compare the results.
communicate color? Physical Color Sample
FAX 44 (0) 1625 871444

How do we Color measurement data is a universal language. New Record the color measurement data for the
44 (0) 1625 871100
Poynton, Cheshire

measure color physical color sample below.

United Kingdom

and software solutions are available that create a color data

X-RITE LTD.

color difference? file, which can be shared electronically. These files are an
efficient and accurate way to quickly communicate color.
Chroma
www.x-rite.com

Coral Springs, Florida USA

Using a device called a spectrophotometer we can

measure a color’s LCh and assign the color a unique Color measurement data should include the illuminant
X-RITE LATIN AMERICA

FAX 954-603-0476

Hue
954-603-0475

numerical value on the Color Space graph. We can then (typically D50 in graphic arts), aperture size, observer angle
measure the LCh of another color and plot its location (typically 2° in graphic arts) and the make and model of L* C* h°
on the graph to determine the direction and degree of your measurement
X-RITE INTERNATIONAL, B.V.

color variation between the two colors. The linear dis- instrument. Observer Angle
TARGET
FAX (31) 70-3538333

tance from one plotted color value to another is called L* C* h°

(31) 70-3538132
The Netherlands

Illuminant
the “total color difference.” This value is labeled Delta-E
The Hague

MEASURED
L* C* h° Aperature Size
(∆E) and is the most commonly used measure of color
L7-158 (12/02) Printed in U.S.A.

difference in industrial color applications. ∆E Make/ Model

X-RITE WORLD HEADQUARTERS
Grandville, Michigan USA

FAX (616) 534-8960

(616) 534-7663
(800) 248-9748
 Printing ink sequence:
Black A - Cyan - Magenta - Yellow - PMS 375 - Meta A - Meta B - Black B

Density Tone value (dot area) Trap Gray balance

50% 50% 50% 50%
Density—the primary control element used on press—is K C M Y K C M Y Trap indicates how well a printed ink will accept a second Gray balance is a simple concept that can be used to
a measurement of light reflected off the press sheet. A ink printed over it compared to how well paper accepts evaluate and control ink levels in order to reproduce
densitometer measures ink density on a color bar, telling that same second ink. Poor trapping will result in a color pleasing color results. Combining nearly equal* tint
the press operator how to adjust the ink level. Proper shift and may make it difficult to achieve proper color in values of cyan, magenta, and yellow (CMY) ink results in
density values are checked in each ink zone using a color
bar or other areas of solid single-color ink.
different areas of the same image. a neutral gray color. This fact can be used as the basis for
a simple method of evaluating color reproduction. ColorBasics
Trap is measured from a color bar using patches
K C M Y representing the two-color over-print, the two individual Because a gray balance patch includes all three of the
Most of the detail in printed images is located in the tonal
inks, and paper. colored inks, maintaining equal CMY densities will ensure
areas. To control the highlight, mid-tone, and shadow

*Actually, the cyan tint value should be 8 – 10% higher than the magenta and yellow values due to impurities in the magenta and yellow inks
that both the neutral and the colored areas of a reproduc-
areas for each color, a color bar typically has 25%, 50% C M Y Y/C Y/M M/C tion have the right proportion of inks. This means that red,
(40%) and 75% (80%) patches. Monitoring throughout
Status Status
green, and blue, referred to as memory colors, will be
the press run gives a quick indication of halftone repro-
T E printed with the right hue, ensuring pleasing color results.
Status duction. Equal values for each color are critical for gray
balance and proper hue of overprint colors.
Using the density function you can measure a CMY gray
Status refers to the kind of filters used in the densitometer. 50% tone patch and compare the CMY density levels to see if they
enlarged
There are several different status filter sets, but Status T
and Status E are the most common in the graphic arts.
Backing Print contrast
are equal. If the density of one color is higher or lower
than the others, an adjustment is required.
The difference between these two is in the filter used to
Backing what you measure against, can affect measure-
measure yellow. Print Contrast is a comparison of the solid ink density Usually the press ink level is adjusted when gray is not in
ments. ISO standards specify black backing be used for
and the shadow tint density (75% or 80%). This makes balance, although if dot gain is suspected to be the issue,
consistent results. The tear off BLACK cover flap of this
it a good indicator of print quality because shadow detail ink and water balance may be the cause and the water
brochure can be used for this purpose.
often carries important information. Print Contrast values level may be adjusted. In some cases, ink trapping or
correlate well to the subjective print quality evaluations of registration will affect gray balance, but often only density
Always include status, backing and aperture size when
“flat” (low contrast) vs. “jumps off the page” (high contrast). and water adjustments are used to keep the colors in
communicating density data. 75% tone Print Contrast is also used as a guide for maintaining balance.
enlarged proper ink and water balance.
The main disadvantage of using only gray balance to con-
Aperture 75%
K
75%
C
75%
M
75%
Y K C M Y
trol color is the inability to troubleshoot and find the root
cause of unbalanced color. Sometimes two or three types
Depending on the model of your color measurement Apertures determine the size of the of gray balance patches are used to evaluate the highlight,
instrument, a variety of aperture sizes may be available. area measured, so always use a mid-tone, and shadow.
common aperture when comparing
The X-Rite 500 Series has user-changeable round measurements. ANSI and ISO stan-
apertures in 2.0-, 3.4-, or 6.0mm diameters. A special dards recommend the following
factory-installed micro-spot aperture of 1.6mm X 3.2mm minimum aperture sizes be used 1 2 3
(rectangle) is also available. The X-Rite 939 and 938
Spectrodensitometers have user-changeable round
when measuring tone values with
the corresponding screen ruling.
Hue Error / Grayness
apertures in 4.0-, 8.0-, and 16.0mm diameters. If you are measuring tone values
(dot area, for instance), refer to this chart to ensure your
Hue Error describes the variation of a printed color from a Gray Evaluation
theoretical pure color. Grayness indicates the presence of
aperture is large enough for your printed screen ruling. Use the area below to record
gray in a color that makes it appear less saturated.
the density of the samples above.
2.0 x 3.2 mm 4 - color © 2000 X-Rite Incorporated
Nominal Screen X-Rite ANSI Hue Error and Grayness are used to check for color
Used for micro-spot 500’s aperture ➡ Frequency Aperture ISO Are the samples in balance?
consistency throughout a press run. Today, colorimetric
lines/inch lines/cm Minimum Minimum measurements are often substituted for Hue Error and What press adjustments would you make?

65 26 4.0 3.8 Grayness because they correlate better to visual evaluation.

3 . 2 mm 4 - color © 2000 X-Rite Incorporated 85 33 3.4 3.0 C M Y
Used for 2.0mm 500’s aperture ➡ 100 39 3.4 2.6
120 47 3.4 2.1
133 52 2.0 1.9
1.
150 59 2.0 1.7
175 69 2.0 1.4 2.
4.5 mm 4 - color © 1996-1997 X-Rite Incorporated
200 79 2.0 1.3
Used for 3.4mm 500’s aperture ➡ Theoretically Relative Theoretically Relative 3.
Pure Hue Error Pure Grayness