Gravure Press Calibration by G7 Simulation

Robert Chung*, Chiawei Wu**, and Jing Sheng**

Keywords: standard, calibration, gray balance, gravure

Abstract

This is a feasibility study that evaluates what it takes to implement the

G7 press calibration in a gravure package printing workflow. Since
gravure printing is known for its repeatability, the study uses the
characterization data from the initial press run (Run 1) and the G7 press
adjustment curves to simulate the calibration press run (Run 2). The
results show that G7 methodology can be adopted in gravure packaging
printing, and gravure printers can continue to use their legacy
non-standard inks and non-standard papers to facilitate “shared neutral”
appearance between printed jobs.

Introduction
G7 press calibration methodology was spearheaded by IDEAlliance to
promote printing to “shared neutral” appearance. G7 has been adopted
with success in offset and digital printing industries.

There are two motivations in conducting this study. The first motivation
comes from the industry side, i.e., Packaging Corporation of America
(PCA), a gravure package printer in Waco, Texas. PCA is interested in
G7 benefits, learning how G7 works and what it takes to calibrate their
engraving and gravure printing workflow to G7 conformance. The other
____________  
*  RIT  School  of  Media  Sciences,  Rochester,  NY  
**  Packaging  Corporation  of  America,  Waco,  TX  
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motivation in conducting this study comes from the education side, i.e.,
RIT School of Media Sciences wishes to collaborate with a gravure
printer by engaging its faculty and graduate student to build a case
study to practice what’s taught and learned in the classroom.

Literature Review

G7 press calibration method is specified mathematically in the CGATS

TR 015 (2011). Based on a set of specific CMY triplets and an
ink-paper-press condition (substrate color, CMY solid, and K solid), TR
015 specifies tone reproduction and gray balance aims for a given
printing conditions.

When G7 adjustment curves are applied in raster image processing prior

to platemaking or engraving, different printing conditions will render
the pre-defined CMY triplets the same, thus, makes the “shared neutral
appearance” of printed jobs possible across multiple substrates and
multiple printing conditions.

Terminology

The following terms and definitions are relevant and helpful in

understanding the underlying G7 principles.

Reference Printing Condition (RPC) -- RPC defines the relationship

between device CMYK values and color, enables ICC profile
construction, and facilitates digital data exchange.

Simulation – The use of the A-to-B LUT of an ICC profile to find out the
relationship between input (tonal values) and output (CIELAB) of an
ink-paper-press printing condition. Simulation is like a virtual press run,
we can predict the color measurement of a unprinted test target. Adobe
Photoshop offers simulation of printed pictorial color reproduction and
ColorThink Pro simulates color measurement of printed test targets, e.g.,
P2P, IT8.7/4, etc.
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CMY ramp – Pre-defined CMY dot area combinations, including

50C/40M/40Y/0K, to be rendered as neutral. The CMY ramp in the G7
calibration method is also known as the G7 triplets.

Tone reproduction – Tonal relationship from highlight to midtone to

shadow of a gray scale or ramp. CGATS TR015 specifies tone
reproduction requirements of a CMY ramp and K ramp.

Gray balance – There are two definitions of gray balance with very
different consequences: (1) gray balance is the outcome of an
ink-paper-press condition where some CMY combinations are rendered
as neutral. This means that different printing conditions render
pre-defined the CMY triplets differently. (2) gray balance is the outcome
of any ink-paper-press conditions where G7 triplets are used in the press
calibration stage. This means that different printing conditions render
the G7 CMY triplet the same when G7 adjustment curves are used in the
raster image processing prior to CTP or engraving. This is what makes
the “shared neutral appearance” possible across multiple substrates and
multiple printing conditions.

Objectives

The objective of this study is to introduce G7 calibration to the Cerutti

gravure press at PCA. This involves (1) printing and assessing solid color,
tone reproduction, and gray balance conformity of the calibration run
(Run_1), (2) generating G7 adjustment curves and simulating engraving
and printing (Run_2), and (3) assessing G7 conformity of the simulated
press run.

Methodology

The benefit of a color-managed printing workflow, i.e., the use of ICC

profiles in color space exchange, e.g., RGB-to-CMYK, is well known.
Using color management principles to simulate a press run, although
less known, but extremely valuable, can be explained below:
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1. Organize a press run, including test image/form design.

Figure 1 illustrates the contents in the test form. Two things are of
importance: (a) the size of the test form occupies one-half of the
printing impression so that the other half of the cylinder can be used
for Run_2, and (b) the 25-step P2P target is the target to be measured
and adjustment curves generated.

Figure 1. PCA test form design

2. Engrave and print to SWOP3 solid color aims (Run_1).

3. Measure the press sheet with a scanning spectrophotometer. If this is

already done and there is an Cerutti press ICC profile available, we
can extract the measurement data from the simulation procedure
listed below:
a) Open P2P.txt in Chromix CTPro s/w.
b) Assign the Cerutti ICC profile and choose “Absolute
Colorimetric” intent in the worksheet.
c) Save the “Source & Destination” values from the colorlist.

4. Generate G7 adjustment curves in the Chromix Curve2 software.

a) Select “SWOP2006_Grade_3” as the reference target.
b) Go to the “Calibrate” tab and load Run_1 file.
c) Verify G7 conformance of Run_1 to SWOP3.
d) Create and save the curve adjustment file.
e) Generate a Run_1 report.
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5. Apply G7 adjustment curves in engraving. In simulation mode, the

adjustment curves are applied to test images in Adobe Photoshop.
a) Open the P2P target in Photoshop and go to Edit/Assign
Profile, select Run_1 ICC profile. The effect of tone
reproduction and gray balance of the initial printing condition
should be visible in Column 4 and 5 of the P2P target.
b) Apply the curve adjustment by going to
Image/Adjustment/Curves. If the adjustment is done correctly
and the printing is repeatable, Column 5 (CMY ramp) will
visually match Column (Column 4) in tonality and gray
balance closely.
c) Save the adjusted tiff image, P2P_curved.tif, as an embedded
file.
6. Simulate press Run_2 in ColorThink Pro 3.0.3.
a) Open the adjusted TIFF image, P2P_curved.tif in the s/w.
b) Use the custom marquee (12 x 25) to select target values. This
result is a colorlist.
c) Select the absolute colorimetric intent from the embedded ICC
profile and save the colorlist.
d) Open the above text file in Excel, and replace the curved CMYK
input values by the original P2P CMYK input values, and
rename the file.
Note: This is equivalent to repeating the Run_1 printing
condition and measuring the curved P2P target
colorimetrically.
7. Verify Run_2 for G7 conformance.

Results
1. Run_1 assessment
Solid color conformity – Figure 2 illustrates the a*b* plot of the single
color (C, M, Y) and two-two overprint (R, G, B) and ∆Es between the
measurements and the SWOP3 aims. Colorimetric tolerances for
single color solids is 5 ∆E* (G7 Pass/Fail, 2012). Run_1 results
ab
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indicate that magenta, yellow, and black solids are either marginally
conform or out of conformance.

Figure 2. Run_1 solid color conformity

Figure 3 shows the result of average and maximum values of tone

reproduction and gray balance for CMY triplets and K-only tints of
Run_1. In Figure 3 (top), the ∆L* for cmy is color-coded in orange
and the ∆L* for k is color-coded in gray.
In Figure 3 (bottom), the ∆a* for cmy is color-coded in red; ∆b* for
cmy triplets is color-coded in blue; and the ∆C is color-coded in
h

green.

Figure 3. Tone reproduction (∆L*) and gray balance (∆C ) result of Run_1
h

Tone reproduction conformity -- The average Delta-L for CMY and K

ramps are 1.3 and 1.4 respectively. The maximum Delta-L for CMY
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was 2.8 and 2.6 for K-only. According to the G7 Pass/Fail

Requirements, the average weighted Delta-L equals to 1.5 and the
maximum Delta-L equals to 3.0. Therefore, tone reproduction of K
and CMY ramps conform to G7 requirements.

Gray balance conformity -- The average ∆C (∆F in the figure) for

h

gray balance was 2.4 and the maximum was 4.3. According to the
“G7 Pass/Fail Requirements”, the average weighted ∆C tolerance
h

for the CMY ramp is 1.5 and the maximum weighted ∆C toleranceh

for the CMY ramp is 3.0. Therefore, both gray balance metrics,
weighted average ∆C and weighted maximum ∆C , are out of the
h h

tolerance.

The G7 adjustments are derived so that the Deltas are accounted for
in the four (CMYK) 1-D adjustment curves. For example, when the
b* value (the blue line in the bottom of Figure 3) of the triplet in the
midtone is positive, less yellow tints are called for in the adjustment.

Figure 4. G7 adjustment curves

2. Run_2 assessment by simulation

Solid color conformity – G7 method only adjusts tints and has no
effect on the solid colorimetrically. Thus, Run_2 results are identical
as Run_1 regarding magenta, yellow, and black solids conformance.
Figure 5 shows the result of average and maximum values of CMY
and K-only of Run_2. Notice that the Deltas in tone reproduction
and gray balance are smaller in comparison to Run_1.
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Tone reproduction conformity -- According to the G7 Pass/Fail

Requirements, , the average weighted Delta-L tolerance is 1.5 and the
maximum weighted Delta-L tolerance is 3.0. Run_2 indicates that
tone reproduction of K ramp (0.1 and 0.7) and CMY ramps (0.5 and
1.1) both conform to G7 requirements.

Figure 5. Tone reproduction (∆L*) and gray balance (∆C ) result of Run_2
h

Gray balance conformity -- The weighted average and weighted

maximum ∆C for gray balance are 0.9 and 2.1 respectively. Run_2
h

simulation also conforms to G7 requirements.

Discussions

This case study describes how to use color management tools, ICC
profiles, and test targets to calibrate a gravure press to G7 conformity.
The results show that a G7 calibrated press, improves gray balance as
well as tone reproduction in a simulated press run.

The TVI curves in Run_1, plotted using ‘P2P_sim1.txt’ Figure 6a, are
higher and equal (greater than 20%). The TVI curves in Run_2, plotted
using ‘P2P_sim2b.txt’ in Figure 6b, are lowered and unequal because TVI
gave precedence to tone reproduction and gray balance. This indicates
that (1) similar TVI curves (Run_1) do not yield gray balance when
nonconforming SWOP inks are used, and (2) gray balance (Run_2) can
be achieved using non-standard inks or substrates by the G7 press
calibration method.
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30" 30"
TVI_C" TVI_C"
TVI_M" TVI_M"
25" 25"
TVI_Y" TVI_Y"

TVI_K" TVI_K"
20" 20"
TVI$

TVI$
15" 15"

10" 10"

5" 5"

0" 0"
0" 20" 40" 60" 80" 100" 0" 20" 40" 60" 80" 100"
%TV$ %TV$

Figure 6a. TVIs in Run_1 Figure 6b. TVIs in Run_2

Conclusions

G7 press calibration benefit gravure printers because (1) gravure printing

is inherently stable, (2) they can continue to use their legacy
non-standard inks and non-standard papers because G7 recognizes the
color of the substrate and manages its gray balance based on paper color.
Gravure printer can print to a larger color gamut if needed. There is still
a challenge, i.e., to streamline the G7 adjustment curves with the
RIP/engraving operations.

On a different note, this project started as collaboration between RIT and

PCA. RIT graduate student and co-author of this paper, Jing Sheng,
worked on the project as a co-op student. PCA management was pleased
with the project outcome and hired Jing as a full-time employee. PCA
plans to implement the G7 gravure press calibration and to seek G7
Master qualification status in the future.

Acknowledgments

We wish to express our appreciation to Professor Chris Bondy, RIT

School of Media Sciences for his administrative support of faculty
member in standards development activities at industry, national, and
international level. We also wish to express our appreciation to Mr.
Jeffrey Slick, General Manager of the Packaging Corporation of America,
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for his collaboration with RIT School of Media Sciences to embrace the
G7 methodology using PCA’s Cerutti gravure packaging press.

References

ANSI/CGATS TR 015 (2013), Graphic technology — Methodology for

Establishing Printing Aims Based on Shared Near-neutral Gray-scale
Appearance

IDEAlliance (2012), G7® & G7® Process Control Pass/Fail Guidelines.

Retrieved from www.idealliance.org/downloads/