All in all, I’m sure I can refer to this project as a risky job, since the whole color management work was done practically blinded. At that time, we were following a tigh series of deadlines for the upcoming ITS#SEVEN event, so we had no extra resources to spend on the catalogue itself (read Time, the biggest resource ever). I realized early that printing full color high-quality photo shoots on uncoated paper would have been problematic but… I just could not imagine so really poor results brought by color proofs. All those delicate color nuances… all those subtle shades of grey… all gone… all pure black… well, nearly. However, it was unacceptable nonetheless for such an high-quality product (as it was in our intentions). Moreover we had no time for trials an errors, we had just enough time to go for the final printing process!
I had to examine carefully all the proofs, plus paper’s technical specification: I remember I was searching for useful clues, something that would shred some light on a viable color management solution. I noted down everything relevant and problematic and built a suitable undercolor removal curve upon my considerations. Last but not least, I crossed all of my fingers while building the final PDF file.
Maybe not expertise, maybe not a gut feeling, maybe we owe something to an Unnamed God: the fact is that the final result, even if less then perfect, was fine enough to please expert eyes!
More about Andrea Di Marco
With in-depth maturity in visual design, art-direction and communication for top level brands, Andrea has proven skills, education, experience, abilities and knowledge in developing marketing research and building today's branding cultural discourse.
