Juergen Roesch has been introducing thousands of users to color management all around the globe yet has spent most of the time in the USA and UK. He’s been driving print color standardization and established proofing standards for sheetfed, web, gravure and packaging. The last 10 years he’s been driving color standardization in display graphics and signage and for the past 2 years he focuses on raising the bar for predictable and consistent color output in digital textile printing both on already dyed garments as well as blank rolls of fabric. Optimizing control mechanisms for white ink on colored fabrics, ink saving possibilities as well as using ink layering for haptic surface structures keeps him from getting bored.
Sunday, 1:00 p.m. – 1:50 p.m. Printing onto Colored Substrates and Other Uses for White Ink
Substrate is generally considered the 5th color. But what happens when the substrate is black, blue, red, or brushed aluminum instead of white? White ink must be used as a separator for colors to print correctly and vibrantly. This session will delve into the role white ink plays when printing onto different substrates and the considerations that might apply to color management. Learn how much white you should use under black image areas when printing onto dark materials which is very important in direct-to-garment printing—an interesting challenge for current color management applications.
We’ll also look into what creative role white ink can play in layered printing onto clear or translucent substrates, and all about special effects that are possible when using – typically white – ink layers under color such as used for haptic/structure printing or for security features used as counterfeit prevention.