Six Degrees of Separation: a Look at the Hexachrome™ High Fidelity Color Reproduction System

Six degrees of separation: A look at the hexachrome™ high fidelity color reproduction system

by Scott Fry for Professor Dan Wilson

A broadening of the gamut of 46). A hi-fi color reproduction Q&A, 1998, p. 1–4). The addi- reproducible process colors system dates back to 1972, when tion of these two colors to the would be welcomed by the print- it was devised by Harald Küpper. reproduction process allows ing industry. The quest for better His theory was to increase the Hexachrome to exceed the RGB process inks have been a step in printable gamut by using cleaner spectrum in all but the green area the right direction but still has ink pigments and adding orange, of the spectrum (see Figure 1.1). not produced “perfect” inks. green and violet. This system was Through this system, offset With the advent of extra-trinary researched by German ink man- printers can now reproduce col- color separations (more than ufacturers who developed the ors beyond the gamut of the three primary colorants) printers Küpper colorant set. Other high monitor and even into the fluo- have been exploring the possibil- fidelity systems, like the Davis rescent and pastel range ( Jeffrey, ities by which colors gamuts Hi-Fi Color Project, use CMYK 1995 p. 46). In addition to this, could be expanded (Lamparter, +RGV inks to expand the color Hexachrome can accurately re- 1994, p. 52–3). The Hexa- gamut (Lamparter, 1994, p. 53). produce 90% of all PANTONE chrome™ system from PAN- A system by DuPont, called spot colors, compared to the 55% TONE® has offered one viable HyperColor, uses only CMYK of matches available from con- solution for printers who want to inks to reproduce an image. ventional CMYK process (Wil- expand their color capabilities. However, HyperColor achieves son, 1995, p. 31). This package, consisting of a few its expanded color gamut by software plug-ins, plus a calibra- increasing ink film density. Installation of Hexachrome tion program, will allow printers “Bump plates” are added to to reproduce a broader color printing units to print additional To produce Hexachrome sepa- space with only minor changes in layers of ink in one or all four rations, the minimum desktop prepress workflow. colors (Whitcher, 1998, p. 70). requirements are a PowerPC or The term hi-fi color (short for PANTONE introduced Hexa- 68040 or better Macintosh, high fidelity color) was coined by chrome in 1994. This color Adobe Photoshop 3.0 or later, Don Carli as a comparison to reproduction system takes the and a page layout application high fidelity stereo equipment, basic CMYK inks, reformulates capable of placing a DCS 2.0 which reproduces sound with lit- them, and adds green and orange file. As it currently stands, tle distortion ( Jeffrey, 1995 p. inks to the process (Hexachrome PANTONE only manufactures this

Visual Communications Journal 1999 Page 49 The hard drive contains the ity would be lost due to gamut HexWrench folder, which con- clipping (Hexachrome Q&A, sists of a PDF manual and the 1996, p. 4). Changing the color third piece of the puzzle: Hex- space of an image from RGB to Wrench Tuner. This is the cali- CMYK can result in a 25% brator of the system. After print- reduction in color range (Whit- ing a control swatch, measure- cher, 1998, p. 70). No special ments can be taken from each alterations are necessary during Figure 1.1. Hexachrone color patch with a ColorTron or the image manipulation process. gamut Spectroline colorimeter to create Color casts, sharpening, and all an ICC profile, which Hex- other image correction tech- Wrench then uses to create sepa- niques are unaffected by system for the Macintosh plat- rations. The result of this calibra- Hexachrome (Hexachrome Q& form (Studion Soft, 1996, p. 2.4). tion is what HexWrench uses to A, 1996, p. 4). Three main components are determine dot gain compensa- Once an RGB image is ready loaded during the installation of tion (Studion Soft, 1996, p. 6.2- to undergo separation, pulling the PANTONE HexWrench soft- 6.10). down the “filter” menu and going ware. First loaded is SAME to “color” will initiate the Hex- (Studion Appearance Matching Hexachrome workflow Wrench plug-in. Here a control Environment), a control panel window appears, displaying the which acts like a color manage- With these software elements image and the settings for creat- ment tool for the purpose of in place, the Hexachrome work- ing separations (see Figure 1.2). compensating color differences flow can begin. Scanning and This is where the user may select between input devices, output image capture can be performed wether they want to create an devices, and monitors (Mac as usual, but all images must image screened at 175 lpi, 200 World, 1998, p. 46). remain in RGB space. If images lpi, 14µ or 21µ stochastic. The Second loaded is HexWrench, were to be transformed into user also selects coated or un- which consists of two Photoshop CMYK at any point, their viabil- coated paper and adjusts the total plug-ins. These plug-ins are what allow the six-way separation to occur. The biggest advantage that these plug-ins offer is the ability to control the separation process. Users can select image segments and alter the separation settings and then view the effect via soft proof. Dif- ferences between coated and uncoated paper, total ink limit, screening and even CMYK vs. Hexachrome can all be proofed on screen before any separation takes place (Studion Soft, 1996, p. 5.1–5.14). Figure 1.2. Creating separations with Pantone HexWrench

Page 50 Six degrees of separation ink limit (which PANTONE calls er controls are available regarding creating separations in Hex- the black modifier). Information the nature by which the images Wrench. This is the only way about the origin of the image is will be separated (Moretta, 1998, that dot gain compensation can also specified. HexWrench in- p. 6-8). occur. By reading the test patch- quires as to the nature of the es with a ColorTron or Sepectro- original media, reflection or Proofing concerns line colorimeter, the profile will transmission and which scanner be built and incorporated into profile captured the image, Proofing systems are available the SAME list of profiles allowing SAME to compensate for Hexachrome, but mainly in (Studion Soft, 1996, p. 6.2– for color variation. analog form. Agfa, Dupont, Fuji, 6.10). Profiles are also requested After the settings have been and TransCal are the major sup- in making separations from changed to their correct posi- pliers of proofing materials for QuarkXPress 4.0 and any other tions, a set of separations are the Hexachrome System (Hexa- Hexachrome compatible soft- generated by clicking the “sepa- chrome Q&A, 1998, p.4). ware that integrates color man- rate” button. After the separation Digital proofs can be made to agement directly into the appli- process is complete, seven files simulate Hexachrome output. cation (Anderson, 1998, p. 12). will appear on the desktop. Six of Some digital color output devices these files are color channels and have a gamut that is over 50% Press considerations one file is a DCS 2.0 that can be greater than conventional process placed into almost any page lay- color work. For example, the When someone uses the term out application (Studion Soft, gamut of the Scitex Iris proofing “hi-fi color,” the thought of a six- 1996, p. 5.1–5.14). system for example, encompasses color press printing stochastic With the release of new appli- almost all of the Hexachrome screens comes to mind. With this cation versions that support gamut, making it an acceptable scenario comes some serious Hexachrome, a less complex digital proof for hi-fi color press concerns. While many workflow is available. While (Andersson, 1998, p. 21). The printers assume that stochastic image capture and manipulation Epson Stylus Pro 5000 can also screening is used exclusively for still follow the same procedures, be used to create Hexachrome hi-fi, this is not the case. Hex- rather than creating separations proofs. Both of these printers can achrome repeats two of the out of Photoshop they are made give designers an idea of what screen angles to eliminate a upon output from a page layout the printed result will look like. moiré pattern with conventional application. With Hexachrome However they are not considered screens. Orange is printed at the supported software, RGB images a contract grade proof (Whit- same angle as cyan. Green is can be placed directly into the cher, 1998, p. 70). printed at the same angle as application. Once placed, pro- magenta (Whitcher, 1998, p. grams like QuarkXPress 4.0, Hexachrome calibration 69). Adobe PageMaker 6.5, Corel Another substantial concern Draw and Macromedia Free- HexWrench Tuner is a stand- to experienced lithographers is hand 7.0 will automatically cre- alone application that produces how to control the total ink limit. ate separations. The advantage of ICC profiles for presses. The cre- To print a total possible 600% this workflow is that the user is ation of a profile is critical to ink film would represent a nearly required to perform fewer steps. producing good Hexachrome impossible task with the mark- However this is also the work- separations. The profile for the ing, picking, curling, and drying flow’s disadvantage because few- target device is asked for when difficulties that would occur.

Visual Communications Journal 1999 Page 51 Unfortunately, this is a weakness low pigment, but with the addi- gies, like stochastic screening and of Hexachrome. The black mod- tion of fluorescent pigments. waterless lithography, there is no ifier in the HexWrench plug-in This yellow has more than dou- justification for the modified is the only place that the total ink ble the lightfastness of its tradi- workflow and increased budget- film can be regulated. Here, only tional counterpart. Hexachrome ed hourly rates that six color three options are possible: from magenta is based on the rubine process printing would require normal (0); thin (-2) and thick pigment (rather than rodomine), (p.54). Some experts believe that (+2) (Studion Soft, 1996, p. but with the addition of fluores- for a magazine, a switch to hi-fi 5.10). cent pigments. Cyan is without color could add an extra 20% to One aspect of Hexachrome fluorescent pigments as it’s puri- their printing cost (Wilson, that experienced lithographers ty was increased by reformula- 1995, p. 31). will appreciate is it's ease of color tion, yielding 20% more potency. Others among the industry modification on press. For exam- Green and black are also without recognize that there has been, ple, press operators can enrich fluorescent pigments. and always will be, a market for the greens in a reproduction of a Despite the relative simplicity printing of the highest caliber. lush woodland scene by increas- that this system offers on the For example, educational pub- ing the amount of green ink. desktop, Hexachrome perhaps lishers are starting to use hi-fi to This is significantly easier than most significantly represents an create bold textbook covers. A increasing cyan and yellow. By advancement in ink formulation vivid design on the cover a math only altering one color, operators (Lustig, 1998, p. 82). The impor- or reading book attracts the will not have to be concerned tance of this innovation in ink is attention of it’s end users—chil- with changing an image’s gray that printers who only choose to dren and teenagers. Some print balance ( Jeffrey, 1995 p. 48). run the reformulated CMYK customers can actually save The standard process color inks can still benefit from an money using hi-fi color. For inks used in conventional color increased color gamut ( Jeffrey, example, clients who specify printing cannot be used in the 1995 p. 47). For a six color press multiple spot colors can save Hexachrome process. PANTONE the suggested run sequence is money by running hi-fi because specifies a set of special Hexa- black, cyan, green, magenta, yel- of the number of spot colors that chrome process inks that must be low and orange (Studion Soft, it can reproduce. (Whitcher, used for this process to properly 1998, p. 7.1). 1998 p. 70). Another economic achieve the expanded gamut. advantage of hi-fi color, accord- According to PANTONE, these The Hi-Fi debate ing to PANTONE, is savings made inks have been reformulated for in paper buying. Printing can be more than the purpose of tack But why bother with hi-fi done on lower priced, cheaper control and wet ink trapping. color? Some among the industry grades of paper, and, due to hi- PANTONE research and develop- believe that Hexachrome and fi’s vibrant color, can still result in ment experts experimented to other hi-fi color systems are just high production quality (Wilson, find cleaner process inks. a gimmick and will never become 1995 p. 31). Through testing, an optimum commercially successful (Lam- For now, hi-fi color is consid- formulation was found by com- parter, 1994, p. 53). A commonly ered by most to be a niche. Mark bining fluorescent and conven- held opinion is that modern Tennant of Anderson Litho, a tional pigments. For example, presses are printing better color Hexachrome beta test site, says Hexachrome yellow is composed images at higher resolutions than “Our clients have the highest of the traditional Diarylide yel- ever. Along with new technolo- demands and are willing to move

Page 52 Six degrees of separation beyond four-color process if it and print all or most of their Morretta, Rosemary. (1998). differentiates their products” products with hi-fi. Realizing the Pantone Hexachrome: Process (Jeffrey, 1995 p. 46). In the final opportunity to give their cus- Workflow White Paper [Bro- analysis according to Mills tomers a value added service has chure]. PANTONE Inc., Carlstadt, Davis, “...it’s like high tech gas at kept them up to date in an ever NJ. the pump: it costs more, but not changing market. PANTONE Inc. (1998). Hexa- a lot more” (Wilson, 1995 p. 31). chrome Q&A [Brochure]. Carl- References stadt, NJ. Final thoughts Studion Soft. (1996). Users Andersson, Mattias. (1998). Manual, PANTONE HexWrench by In this age of increasing digital Pantone Hexachrome: Process Studion Soft. technology, print customers are Workflow White Paper [Bro- Whitcher, Joann Strashum. demanding more out of a tradi- chure]. PANTONE Inc.: Carlstadt, (1998). Hi-Fi Color Shows New tional media. Printing must NJ. Promise. Graphic Arts Monthly, strive to meet the new expecta- Jeffery, Noel. (1995). Premium VOL109 (5), 69-72. tions of its customers. High Colors. American Printer, 214 Wilson, Steve. (1995). fidelity printing is a step in this (2), 46-48. Hexachrome Not Yet Palette- direction. Traditional print cus- Lamparter, William C. able For Most Magazine tomers are interested in the cut- (1994). Hi-Fi Color: Nonsense Budgets. The Electronic Magazine ting edge that this new vibrant or Niche. American Printer, 213 (8), 31. color can give their products and (5), 52-4. images. As this market steadily Lustig, Theodore. (1998). About the author grows and high fidelity print Closing in on Better Process becomes more commonplace, Color Printing. Graphic Arts Scott Fry is a student in the printers will be forced to take a Monthly, VOL111 (7), 82. Printing & Publishing Tech- second look at this process. MacWorld. (1998). Photo- nology degree program at Penn- Competitive printers have al- shop Color Plug-Ins. MacWorld, sylvania College of Technology. ready adapted their workflow (4), 46.

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