54 email: editor@signlink.co.uk Issue 265 - June | July he says without proper control, the same file can produce visibly different results from one device or material to another. “From a business perspective, that inconsistency translates directly into waste, reprints, and dissatisfied customers,” Hanssens explains, continuing: “Brand colours that don’t match, gradients that break, or signage that looks different in-store versus in production are not minor issues, they really affect brand trust and profitability. “Good colour management is about repeatability and predictability. It allows sign-makers and wide-format printers to hit the same result today, tomorrow, and across locations. That consistency is what enables scalable production, faster approvals, and ultimately higher margins and is something which is a priority for Caldera.” On this, Hanssens goes on to say the most common mistakes are not about lack of tools, but more about inconsistent processes. He explains that skipping proper profiling for each substrate, relying on visual adjustments instead of standards, ignoring embedded profiles, or mismatching colour spaces are some examples of this. “A profile built for one material cannot simply be reused on another,” he says, continuing: “Each combination behaves differently, and failing to profile accordingly leads to immediate inconsistencies. Manual tweaks in the RIP might fix one job, but they are not repeatable. Without standardised profiles, results vary from operator to operator and job to job. Ultimately, the biggest issue is treating colour management as a one-time setup rather than an ongoing production process.” Structured Workflow So, what are the most important tools and processes to have in place to achieve consistent colour across different devices and substrates? Hanssens says consistency does not come from a single tool but is instead the result of a structured workflow that combines colour measurement and colour profiling, with accurate measurement and profiling, ICC-based colour management, and spot colour management all being key. “You should be using spectrophotometers to measure how each printer, ink, or substrate combination behaves and generating ICC profiles accordingly,” Hanssens says, adding: “This is important because every device interprets colour differently. “Standardised input, simulation, and output profiles will ensure that files are translated correctly from design (RGB or CMYK) to the final print conditions. Meanwhile, access to libraries such as Pantone or RAL and tools for spot colour matching and replacement is essential in signage, where brand colours must be exact. All of these are included in Caldera solutions.” The good news, Hanssens continues, is that colour management is becoming significantly more automated, integrated, and accessible. He notes that some of the key trends seen at Caldera include the automation of complex processes, crosstechnology consistency, and data-driven and repeatable production. Tasks like media profiling, calibration, and job preparation are increasingly automated within RIP workflows, reducing the need for deep specialist expertise and speeding up onboarding. In addition, signmakers and printers diversify across textile, rigid, soft signage, and industrial work, Hanssens says that solutions are evolving Brand colours that don’t match, gradients that break, or signage that looks different in-store versus in production are not minor issues, they really affect brand trust and profitability According to Caldera, colour management is becoming significantly more automated, integrated, and accessible The human eye can distinguish around 10 million different colours 10million COLOUR MANAGEMENT | ROB FLETCHER
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