If you're any sort of wide-format printer, from an artist with an Epson 9900 doing limited-edition prints to a sign shop with a Gandi Jeti 5024 doing building wraps, you're probably to some degree or another aware that you're out there on the very bleeding edge of the already cutting edge digital color industry.

Not only that, but in many ways, digital color management as it's been conceived and created and evolved has in large part been driven by your segment of the imaging industry.

Not only that, but moreso than any other part of the digital imaging industry, you have to be aware that you have digital color management in place just to get a result.

Of course "wide format" is a pretty loose term. It can include anything from that artist making fine-art prints on an Epson all the way up to a grand-format shop using solvent printers to print building wraps, to shops running high-speed direct-to-substrate UV, with almost everything imaginable in between.

And what's interesting is: If you want to find the very edge; if you want to get out there and see just where the knife cuts into the tender skin; if--to mix metaphors--you want to know where the men are truly separated from the boys in color management, it isn't with the guys doing fine art on aqueous machines. Actually those machines tend to be very stable; they print very well and very consistently; they're typically indoors in controlled environments; their droplet size is tiny and their technology tends by now to be fairly well refined.

No, it's the guys running large solvent and UV machines that--of anyone anywhere in the imaging industry--who face the biggest obstacles in their struggle to get control of color and make it work for them. That's the true frontier of color management. If you can make it there, as Frank said, you can make it anywhere.

And that's where Correct Color has made it.

Large-format imaging is where Correct Color got its start; grand-format imaging is where Correct Color made its reputation; and wide-format imaging of any kind is still our first love. In fact, Mike Adams, principle of Correct Color, is the color management columnist for Wide-Format Imaging Magazine. It's making these machines perform that makes us want to come to work every morning.

If you're a large-format digital imager, no doubt you have seen or struggle with color management issues such as: Getting any and all types of files from clients and keeping their color integrity from application to application to RIP to print; struggling to find the right profile to use with each machine on your floor for each resolution and media; achieving spot colors and PMS colors; getting all the capability out of your investment in your equipment; wasting time and materials in a search for colors that look one way on your design screens and print another; neutrals that print with a color cast; and on, and on...

Well, we can fix that for you.

Guaranteed.