 My name is Holger. I'm coming from northern Germany. My colleague is Jan Peter. He's coming from Berlin. And we want to introduce to you our association that we founded, Freie Farbe. This is a German word, meaning free colour association. It's a non-profit association that we founded. And, okay, why did we found this association? Why did we see the need for this idea? Because in fact, you know, colour is not free. I will show you, I will give you some examples for that. So, in practical work, you have to do with many colour systems. So, you work maybe on the computer, you work on RGB and CMRK, but in practice, you have to work with phantom, neural, HKS, foil systems, textiles systems. If you go into a do-it-yourself shopping anywhere, you have walls full of colour samples from many, many manufacturers. So, this is a limitation that you have to see when you work with colours. Another point is these colour trademarks. Colour trademarks are there for some special areas of our economy. For example, Nivea is a dark ultra marine blue, which is there only for Nivea. You cannot, if you are a manufacturer of cosmetics, you cannot put your cosmetics in another tin with the same colour. It's forbidden. It's not allowed. So, this colour is taken. So, another point to say colour is not free. And there is this copyright protection, another point, which I show you into examples. So, you have some very big restrictive licence conditions. For example, in the point of Pantone, which is in every Pantone Fender, you find these licence conditions, which are mainly telling you you may not spread this colour system because it's copyright protected. So, we are here on this library of graphics meeting to bring another point to this library of graphics, the colour. And another colour system, which is on the same way, is the Royal system, which tells you also you may not spread the system to others. You may not publish our system. There are no tables in the internet of CMYK or RGB values for the Pantone of the Royal system because you immediately will get a letter from their lawyer that it's forbidden. It's not allowed. They see it as some kind of music or let's say some kind of software or something. They see the word which is copyright protected. So then, we see the solution in free colour. Free colour means for us mathematical colour. Mathematics is not copyright protected. If you say one and one equals two, it's not a copyright question. This is common. This is allowed to everyone to publish these information. And there are some mathematical systems which, for colour, which are not copyright protected or protectable. So, for example, the RGB or the CMYK or the LAVC system which has the other way around the HLC will tell it better later. There's no licensing necessary. If you want to include Pantone colours in your software, pay a lot of licence fee. It's not allowed for free. If you want to include CLAP or RGB, of course it is licence free. It's possible. It's there on any computer from the operating system. So it's not a problem. The advantage of these mathematical systems is they are computable as the name says mathematical. They are calculated fully. You can, for example, examine intermediate colours. The colours which are between two other colours. Or the opposite colours, which is the question of colour harmony, can be found. You will not be able to make this by itself, by a mathematical calculation, with Pantone or RAL or these manufacturer systems, because you don't have these mathematical formulas. Unless you don't have the CLAP. So, another practical question is this comparison with other systems. Which RAL colour is another Pantone colour? Or which CMYK is it? Which RGB is it? Which HSB and so on. Everything is possible with mathematical calculation. So it is available anywhere. So why we don't use it? This is our idea in mind to found this association. We want to bring this idea to public. So we decided to promote the CLAP model, which is from 1976, which is very widely spread in professional colour measurement, for example colour formulation, textile industry, industrial areas. The CLAP system is the main system which is used there. This is the LAB values, which you find, for example, if you want to enter colour in Photoshop. For example, Photoshop and so on. You have an input field for this LAB value. This is the model you see, the graphic form of this in 3D. And this has some more advantages compared to RGB and CMYK. In CLAP you have the full gamut. There is no restriction to gamut in CLAP. You have, until the rainbow colours, which are the most intense colours which are possible, you have every colour can be defined clearly in LAB. The model is perceptive. It is better from the theoretical point of our vision to model our vision. It is better than the RGB or the CMYK, because these are only technical calculations. And the perception has been included anyhow by formulas into the CLAP system. So it got the standard colour measurement and is also already included in many. Software applications. And this is what we want to encourage you to include this model, this best of, in our idea, in our head, the best model which is existing from the point of freedom, liberation of colour, and from the point of mathematical and perception colour to include colour into software. So we would like to encourage you to bring the CLAP system into your software. There is one calculation from the CLAP values, which is even better than the LAB values. This is the LCH. The LCH is the polar coordinates of these Cartesian rectangular LAB coordinates. And this LCH, which we bring into the order HLC, is in our eyes the better one, because you can immediately imagine a colour or value as a colour. If you are a little familiar with these values in the colour circle, which is the basic, and which gives the H values, the U values. So then the colour is defined by three dimensions, HLC, which can be immediately understood as U lightness and chromacity, chroma. So this is the saturation. So then we would like to encourage you to also include HLC. One minute still. One minute, one minute. Okay. So then we made an atlas. I gave it to you. Jan Peter will present more inside these files that we are making. And we put together all these HLC values to a printed version and to a downloadable version. And if you see the model here, or you see the gradients for one colour, H60, which was in the circle at the 60 degrees angle, there is orange. And this is then there on one of these pages of our atlas that we made, is then divided into the lightness in vertical direction and into the chroma or saturation, some kind of saturation in the horizontal direction. So then there are non-profit associations. We have 50 members. Among them are some bigger companies, like for example Colourgate or Hayflow or some players from the graphical industry. We are coming from Switzerland and Germany. Spiegel was very much engaged in our team by doing some scripts. Gregory Pittman. He made some scripts for the atlas. Without this it would not have been possible to have our printed atlas. So we give a big thank you to Gregory. What we are wanting to do is promotion of open free colour communication. So now I give over the word to Jan Peter. What our goal is to make an ecosystem of commercial application is also to deliver graphics to humanity using the same tools to exchange colour without any license fees. So in order for RGB and CMYK it's quite easy task that there are no license fees. But at the moment if you need a real world colour then all the slicing issues are and that's the main power of companies like Pentome that they make it easy to order in packets just by number. Our goal is also to make it easy to order an ink packet without renaming Patronas. So what we will do with our system, so we have the HLC colour space and for the general specification of colour and in the divine stage if you're working for office web, mobile media you're converting through colour management profiles these colours to SRGB. If you're going to CMYK for printing you're converting through CMYK output profile to your CMYK and if you need an ink our system provides the spectral data this is normally mostly hidden in Pentome you will never get any spectral values out of Pentome that's the most hidden secret and our secret you can download the spectral values for every HLC colour and we have standards developed in the packaging industry from professionals which are fed off Pentome that we haven't standard to order it's currently used only by professional big packaging companies but it will come. We are working together with standards organisations like D and developed the DSPEC 16699 Open Colour Communication this describes how colour values can be exchanged it's based on HLC LA based colour specification it describes how physical colour samples are made how the creation of spectral data is made from these colour standards and you can download the specification from the authority board D I will change this. So we have a project called HLC Colour Atlas which is going on about I have one here and so it's mainly about the reference implementation of the DSPEC 16699 and it has this systematically written you get the PDF and colour libraries you get the creative commons license you can integrate in the egregraphic software and if needed we also provide the spectral data for communication with ink suppliers and our goal is that the spectral data will later be a normal reference for the supply that we can order an ink just by its HLC number but this currently needs a little bit of time that we have a real simple order process now we have to provide prototypes and talk with ink suppliers which are currently using the Atlas is targeting the professional users it's produced with highly improving systems and it has a very low colour tolerance even better than the Pentone Fandex and we provide SRGB and CMYK colour values as free of charge with the data and every Atlas has a quality Are you selling those? Yes, the selling Atlas is 149 but because it's a lot of work to do but all the colour libraries are free and you even would be allowed to print your own Atlas you can change the DSPEC and read the spec and everyone is allowed to make his own Atlas and I just will show a little bit a very short moment the digital version of our Atlas so we have a small and big version this is a really big version here and this is a PDF file it has several layers so these are the theoretical colours of the U195 to a glass tone and you can see which are of these colours could be printed in SRGB and you see you have a lot of light colours there are the main colours but if you go let's say to a typical print profile for off-day printing that some colours which are printable not printable in SRGB or you have some colours already printable in CMYK and then you can choose that's very close to CMYK primary C that's very close to CMYK primary C so you can use the colour Atlas just to choose colours which are easily printable but also for the web but if you see the gamut which we have used for the colour Atlas it's a high-end system which has much bigger colour space than the normal CMYK off-day process so it's all the colours who really can order special colours or spot colours this is our project and we hope to have a real usable alternative to can tone in some time thank you