I’ve been working with large-format printers for quite some time, starting a few years after the International Color Consortium (ICC) was established. I remember when Photoshop 5 introduced colour management, including the widely used ICC Adobe 1998 profile. This profile became integral across various devices and software. Soon after, publishing applications began incorporating colour spaces and rendering intents to convert one ICC profile to another effectively. By the early 2000s, colour management had clearly become essential in the large-format printing industry.

Spending countless hours colour correcting artwork was valuable for understanding how curves work, but it was disheartening to realise that the manufacturer-supplied output profiles couldn’t always deliver the desired results.

The first book I read on the topic was Real World Color Management: Industrial-Strength Production Techniques. It was an excellent resource for grasping the terminology and objectives of colour management. However, as software continuously updates, the book quickly became outdated, despite the release of new editions.

After reading it, I became a strong advocate for colour management, and I remain one today. I’ve observed its ability to reduce colour corrections to primarily subjective or lighting-specific issues. It has significantly decreased ink usage and improved shadow detail rendering that was previously unattainable. Hard copy proofing has become nearly redundant (though not entirely), as most proofs are signed off with confidence due to accurate results facilitated by colour management.

It also ensures consistent colour output despite head wear and replacement, ink batch changes, substrate variations, and even when switching printers.

If your company hasn’t yet implemented colour management, consider doing so for the benefit of your clients and staff. It has never been easier, with RIPs now featuring robust wizards that support spectrophotometers and guide you through the process. While there is a learning curve that can be frustrating, and some time and material investment is required, the benefits are substantial. Numerous resources are available from RIP developers, printer manufacturers, substrate makers, and user forums.

A high-quality spectrophotometer from brands like Barbieri or X-Rite is indeed a significant investment. However, if you work with backlit products, fabrics, or prefer not to spend hours manually reading swatches, investing in top-tier equipment is worthwhile. These devices generally have a long lifespan, often lasting around a decade.

Weigh this cost against the time your prepress team spends correcting files, potential reprints due to colour shifts, and the challenge of consistently meeting client expectations. The advantages of colour management far outweigh the initial investment.