ColorPASS-Z5000 COLOR GUIDE ® I N C L U D E S F I E R Y S O F T W A R E...
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Contents Introduction About the documentation xiii Key features of ColorWise Chapter 1: ColorPASS Color Management Managing color on the ColorPASS Rendering styles RGB Source Proﬁle RGB Separation CMYK Simulation Proﬁle CMYK Simulation Method Output Proﬁle Pure Black Text/Graphics 1-10 Black Overprint 1-12 Spot Color Matching 1-13...
viii Contents Advanced workﬂows Short-run printing examples Color prooﬁng examples 2-15 Chapter 3: Color Calibration Introduction Understanding calibration How calibration works Scheduling calibration Checking calibration status Using a spectrophotometer Setting up the spectrophotometer Calibrating the spectrophotometer 3-10 Calibrating with ColorWise Pro Tools and DTP41 3-16 Using a densitometer 3-24...
ix Contents Color Editor 4-12 Editing Proﬁles 4-12 Undoing simulation edits 4-19 Checking edited proﬁles 4-21 Color Setup 4-23 Setting default ColorWise options 4-23 Chapter 5: Working with Color in Applications Working with color Color reference pages Ofﬁce applications Choosing colors in ofﬁce applications PostScript applications Choosing colors in PostScript applications Default output proﬁle...
x Contents Chapter 7: Adobe Photoshop Photoshop 5.x Photoshop 5.x color settings ColorSync defaults Deﬁning colors Saving ﬁles for importing into other documents Selecting options when printing Printing tips for advanced users 7-11 Photoshop 4.x 7-13 Deﬁning colors 7-13 Saving ﬁles for importing into other documents 7-13 Selecting options when printing 7-15...
xi Contents Chapter 9: Illustration Applications Working with illustration applications Deﬁning colors Importing images CMYK simulation Adobe Illustrator 8.x for Windows and Mac OS Deﬁning colors Importing images Optional color management in Illustrator Selecting options when printing Saving ﬁles for importing into other documents Macromedia FreeHand 8.x for Windows and Mac OS Deﬁning colors Importing images...
xii Contents Using color effectively A few rules of thumb Color wheel Color and text Raster images and vector images Optimizing ﬁles for processing and printing A-10 Resolution of raster images A-10 Scaling A-12 Appendix B: Color Management Controlling printed color Maintaining copier consistency Print device gamut Basics of color management...
ColorPASS-Z5000 Color Server. The term “ColorPASS” is used in this manual to refer to the ColorPASS-Z5000 Color Server. The ColorPASS supports the CLC5000 color copier. The term “copier” is used in this manual to refer to this supported device.
xiv Introduction Color terms and concepts such as “RGB data,” “color space,” “spot color,” “gamut,” and “source proﬁle” are used throughout this manual. If you are new to desktop color or if any terms are unfamiliar, be sure to read Appendixes A and B or check the glossary.
xv Key features of ColorWise Key features of ColorWise ColorWise ® is the color management system (CMS) built into the ColorPASS and designed to provide both casual and expert users the best color output for a variety of purposes. The ColorWise default settings were speciﬁcally selected to provide great out-of-box color from many applications and Windows and Mac OS platforms.
xvi Introduction ColorWise offers an open color architecture, letting users customize the ColorPASS to meet new printing needs as they arise. ColorWise supports ICC proﬁles, which are industry standard color proﬁles that deﬁne the color behavior of a device. By downloading ICC proﬁles to the ColorPASS, it can simulate a custom press (or another copier) as well as accurately print colors from a particular monitor or a particular scanner.
1-1 Managing color on the ColorPASS The ﬁrst part of this chapter describes the options available from the ColorWise color Chapter 1: management system and explains how you can customize the color settings for your ColorPASS Color particular needs. It provides descriptions of the preset default settings of ColorWise Management and covers additional options for users who need to customize ColorWise.
1-2 ColorPASS Color Management ColorPASS color management generates CMYK data to be sent to the copier; additional processing may then be performed before printing begins. The diagram below illustrates the print options in the ColorPASS color management process that affect color data conversions. You access these print options when you send a print job to the ColorPASS.
1-3 Managing color on the ColorPASS Settings for the following options can be speciﬁed via print options when you send a job to the ColorPASS. Some can also be set as defaults by the administrator during ColorPASS Setup. Settings speciﬁed via print options override the defaults. ColorPASS color print option: What it does: Brightness...
1-4 ColorPASS Color Management ColorPASS color print option: What it does: CMYK Simulation Method Quick simulation applies one-dimensional transfer curves that adjust output Quick/Full density only. Full simulation applies colorimetric transformations that adjust (Default set at Setup or in hue as well as output density (see page 1-9). ColorWise Pro Tools) Output Proﬁle The Output Proﬁle is applied to all data in the print job (see page 1-9).
1-5 Managing color on the ColorPASS Rendering styles The Rendering Style option speciﬁes a CRD for color conversions. You can modify the Rendering Style option to control the appearance of images, such as prints from ofﬁce applications or RGB photographs from Photoshop. The ColorPASS lets you select from the four rendering styles currently found in industry standard ICC proﬁles.
1-6 ColorPASS Color Management RGB Source Proﬁle The RGB Source Proﬁle setting allows you to deﬁne the characteristics of the RGB data in your document so that the appropriate color conversion can occur on the ColorPASS. Commonly used monitor color spaces are available from the driver and from the ColorWise Pro Tools Proﬁle Manager.
1-7 Managing color on the ColorPASS • instructs the ColorPASS to allow the RGB sources you deﬁned elsewhere, such None as in the application, to be used. When you set RGB Source to None, the appearance of colors will not be independent of the ﬁle type. For example, RGB EPS ﬁles will look different from RGB TIFF ﬁles.
1-8 ColorPASS Color Management • converts all RGB colors into the CMYK color space for a speciﬁed Simulation simulation (make sure to select the desired simulation with the CMYK Simulation Proﬁle print option). CMYK Simulation Proﬁle The CMYK Simulation Proﬁle print option allows you to print press proofs or simulations.
1-9 Managing color on the ColorPASS • The Match Copy setting bypasses ColorPASS calibration to simulate the color of a copy produced by the copier. Use this setting when you print images scanned with the Fiery Scan plug-in set to Match Copy. CMYK Simulation Method The CMYK Simulation Method setting speciﬁes the quality of simulation to perform.
1-10 ColorPASS Color Management You can also use ColorWise Pro Tools’ Proﬁle Manager to download your own output proﬁle to the ColorPASS (see page 4-5). Downloaded output proﬁles are at ﬁrst associated with the calibration target that is tied to the default output proﬁle. As mentioned above, you can edit calibration target D-Max values separately.
1-11 Managing color on the ColorPASS The Pure Black Text/Graphics option can be used only when printing composites, not when printing separations. Pure Black Text/Graphics Input black color With the default proﬁle, prints a rich black using all toners. CMYK Prints only with black toner, because CMYK simulations preserve the black channel.
1-12 ColorPASS Color Management Black Overprint The Black Overprint option lets you specify whether or not black text, deﬁned as RGB = 0, 0, 0, or as CMYK = 0%, 0%, 0%, 100%, overprints colored backgrounds. • —Black text overprints colored backgrounds, eliminating white gaps and reducing halo effects or misregistration of colors.
1-13 Managing color on the ColorPASS Spot Color Matching The Spot Color Matching option provides automatic matching of PANTONE colors with their best CMYK equivalents. • —The ColorPASS uses its built-in table to generate the closest CMYK matches of PANTONE colors your copier can produce. (New tables are generated when you add new output proﬁles.) •...
1-14 ColorPASS Color Management Printer Drivers and Print Options This section describes the role of the printer driver and explains how to use Windows and Mac OS printer drivers for ColorPASS printing. The term “PostScript” by itself is used to refer to Adobe PostScript Level 2 or later.
1-15 Printer Drivers and Print Options PostScript printer driver for Windows 95/98/Me, Windows NT 4.0, and Windows 2000 The printer driver options described in this section can be accessed by clicking Start\Settings\Printers, right-clicking the appropriate PPD name, and selecting Properties (Windows 95/98/Me), Document Defaults (Windows NT), or Printing Preferences (Windows 2000) from the pop-up menu.
1-16 ColorPASS Color Management Setting color management print options for Windows 95/98/Me This section explains how to set ColorPASS color print options with the Adobe PostScript printer driver version 4.3.x for Windows 95/98/Me, a PostScript 3 printer driver that can take full advantage of the color features of the ColorPASS. Before you proceed, make sure you have completed the following procedures described in Getting Started: •...
1-17 Printer Drivers and Print Options Click Expert Settings button to access additional ColorWise options Click the Expert Settings button, then click Update to display the current ColorPASS settings. This brings up the Expert Color Settings ﬂowchart window (below), which displays additional color settings for the ColorPASS.
1-18 ColorPASS Color Management Selecting Other for RGB Source Proﬁle brings up the following window for specifying custom RGB source settings (see page 1-6). Clicking the Update button in the lower left-hand corner of the Expert Color Settings window (on the previous page) queries the ColorPASS for the current default settings. This feature is available only when you enable Two-Way Communication in the driver (see Getting Started).
1-19 Printer Drivers and Print Options Setting color management print options for Windows 2000 This section explains how to set ColorPASS color print options with the Microsoft PostScript Printer Driver for Windows 2000. This is a PostScript driver that can take full advantage of the color features of the ColorPASS.
1-20 ColorPASS Color Management Adobe PostScript printer driver for Mac OS This section explains how to set color management print options with the AdobePS 8.7 printer driver for Mac OS, a PostScript 3 driver that takes full advantage of the color features of the ColorPASS and lets you save a set of print option settings. Before you continue, make sure you have completed the following: •...
1-21 Printer Drivers and Print Options If you use the PostScript Color Matching option, the driver may, depending on the application you are using, attach a CMYK source deﬁnition to the CMYK data in your document. In such a case, the CMYK data in your document is reseparated using a ColorPASS CRD.
1-22 ColorPASS Color Management In the Color Matching pane, choose Color/Grayscale from the Print Color pop-up menu. Choose Color/Grayscale In the Printer Speciﬁc Options pane, choose settings for the print options described on page 1-3. If these settings are ones you use regularly, click Save Settings to save them for subsequent jobs.
2-1 Workﬂow concepts This chapter discusses color management workﬂows used in short-run color printing Chapter 2: as well as color prooﬁng on the ColorPASS. It also gives examples of color Simple and management in speciﬁc desktop applications and the interaction between those Advanced applications and ColorWise color management.
2-2 Simple and Advanced Workﬂows RGB, CMYK, and PANTONE colors Colors can be deﬁned in several different color models, the most common being RGB, CMYK, and the PANTONE color matching system. Each model requires a different color conversion at the ColorPASS. These different color conversion workﬂows are explained below.
2-3 Workﬂow concepts Desktop versus ColorPASS color management A desktop color management system uses ICC proﬁles to convert colors from one device gamut to the next (see Appendix B). The color data is converted when it is passed from one application to another or when the job is sent to the copier, so the processing occurs on your computer as opposed to the ColorPASS.
2-4 Simple and Advanced Workﬂows Simple workﬂows Every time you print a document containing colors that were not chosen for your speciﬁc copier, those colors need to be converted, which requires color management. Colors can be deﬁned or modiﬁed at any stage in the workﬂow. Since ColorWise is compatible with most other color management systems, you can use the workﬂow most familiar to you.
2-5 Simple workﬂows Select a short workﬂow Every time colors are converted, performance and color accuracy are affected. Therefore, a workﬂow with fewer steps minimizes the risk of error. Workﬂow 1 using ColorWise calibration—minimal workﬂow A minimal color workﬂow requires that you calibrate the copier. Select from printed colors as described above, and set the CMYK Simulation option to None, since simulation is not needed when colors are already deﬁned using CMYK values optimized for your calibrated copier.
2-6 Simple and Advanced Workﬂows Workﬂow 2 using ColorWise color management—standard workﬂow ColorPASS servers are highly optimized for the speciﬁc copier they drive, and ColorWise addresses many issues unique to your copier, including screens, individual toner response, interactions among toners, natural smoothness of blends, and the capability to render PANTONE and custom colors.
2-7 Simple workﬂows See the table on page 1-3 for the list and descriptions of ColorWise print options affecting CMYK, RGB, PANTONE, and other colors. Workﬂow 3 bypassing ColorWise—not recommended Bypassing ColorWise color management, while an option, is not a recommended workﬂow.
2-8 Simple and Advanced Workﬂows • Include ICC color information in ﬁles. ColorWise will not conﬂict with this information, and such data can be useful to identify the speciﬁc color space used by your ﬁles. • Do not include halftone and transfer functions. •...
2-9 Advanced workﬂows Advanced workﬂows The following sections present advanced color management workﬂow examples for three short-run printing and three color prooﬁng situations. Each workﬂow example consists of a brief description, steps for creating and manipulating the ﬁles, a list of the ColorWise settings used in the example, and a table that summarizes the workﬂow.
2-10 Simple and Advanced Workﬂows The ColorWise settings used in this example are: • RGB Source Proﬁle set to EFIRGB or another RGB source deﬁnition • Rendering Style set to Photographic • RGB Separation set to Output The diagram below indicates the steps for this particular workﬂow in black. Photoshop RGB workﬂow ColorWise Photoshop...
2-11 Advanced workﬂows Photoshop RGB with Illustrator and QuarkXPress CMYK and PANTONE colors This workﬂow involves short-run printing of a complex page layout with images saved in Photoshop, illustrations created in Illustrator, and PANTONE spot colors. A Photoshop image is saved in an RGB color space using the EPS ﬁle format. Illustrator artwork contains objects deﬁned as CMYK and as PANTONE spot colors selected from printed output, and they are saved using the Illustrator EPS ﬁle format.
2-12 Simple and Advanced Workﬂows The ColorWise settings used in this example are: • RGB Source Proﬁle set to EFIRGB or another RGB source deﬁnition • Rendering Style set to Photographic • RGB Separation set to Output • CMYK Simulation set to None •...
2-13 Advanced workﬂows Photoshop RGB with Illustrator CMYK and PANTONE and PowerPoint RGB This workﬂow involves short-run printing of a complex presentation document with images saved in Photoshop, illustrations created in Illustrator, and PANTONE spot colors. All elements are imported into PowerPoint for output. This document could be created as follows: •...
2-14 Simple and Advanced Workﬂows The ColorWise settings used in this example are: • RGB Source Proﬁle set to EFIRGB or another RGB source deﬁnition • Rendering Style set to Presentation • RGB Separation set to Output • CMYK Simulation set to None •...
2-15 Advanced workﬂows Color prooﬁng examples The following examples illustrate methods for simulating the output from another printing system, such as an offset press. Each of the prooﬁng examples uses an ICC proﬁle to describe the destination color space. While some examples use simulation proﬁles built in to the ColorPASS, others use ColorWise Pro Tools (see Chapter 4) to download custom ICC output proﬁles to the ColorPASS for use as simulation proﬁles.
2-16 Simple and Advanced Workﬂows The ColorWise settings used in this example are: • CMYK Simulation Proﬁle set to the desired press standard or to the corresponding custom simulation (Simulation 1-10) if you downloaded your proﬁle with ColorWise Pro Tools •...
2-17 Advanced workﬂows Photoshop 5.x Built-in RGB-to-CMYK workﬂow This workﬂow is useful for prepress environments that have not integrated ICC color management and do not have proﬁles for the presses they use. In this example, an image is converted from RGB to CMYK using Photoshop 5.x’s Built-in color conversion features in the CMYK Setup option.
2-18 Simple and Advanced Workﬂows The ColorWise settings used in this example are: • CMYK Simulation Proﬁle set to Simulation-1 • CMYK Simulation Method set to Full The diagram below indicates the steps for this particular workﬂow in black. Photoshop5.x RGB-to-CMYK workﬂow ColorWise Photoshop 5.x Printer driver...
2-19 Advanced workﬂows Photoshop RGB and QuarkXPress CMYK This workﬂow exempliﬁes the use of the RGB Separation feature of ColorWise. An RGB image, originally saved in Photoshop, is printed to the ColorPASS from QuarkXPress. To simulate how the RGB image would print on an offset press, the RGB Separation feature of ColorWise is set to Simulation.
2-20 Simple and Advanced Workﬂows The ColorWise settings used in this example are: • RGB Source Proﬁle set to EFIRGB or another RGB source deﬁnition • Rendering Style set to Photographic • RGB Separation set to Simulation • CMYK Simulation Proﬁle set to SWOP •...
3-1 Introduction Calibrating the ColorPASS ensures consistent, reliable color output. You can calibrate Chapter 3: the ColorPASS with ColorWise Pro Tools using an X-Rite DTP41 automatic scanning Color Calibration spectrophotometer (available as an option that is purchased separately) or an X-Rite DTP32 automatic scanning densitometer (also available as an option that is purchased separately).
3-2 Color Calibration Introduction Calibration generates curves that adjust for the difference between the actual toner densities (measurements) and the response expected by the output proﬁle. • Measurements represent the actual color behavior of the copier. • Calibration sets are sets of measurements. •...
3-3 Understanding calibration How calibration works Success in obtaining satisfactory print quality from a color server such as a ColorPASS connected to a copier depends on many factors. Among the most important are establishing and maintaining optimal toner densities. Density is a measure of the light absorbed by a surface.
3-4 Color Calibration Output proﬁles and calibration sets Output proﬁles and calibration sets deﬁne desired calibration results. One or more output proﬁles and one or more calibration sets are provided with the ColorPASS. When you calibrate the ColorPASS, you can select the calibration set that corresponds to the typical printing jobs at your site.
3-5 Understanding calibration Print color reference pages, such as the Color Charts (from the Control Panel or from the Command WorkStation) and the color reference pages included with the user software (see Getting Started). All of these pages include fully saturated color patches and pale tints of cyan, magenta, yellow, and black.
3-6 Color Calibration Using a spectrophotometer ColorWise Pro Tools Calibrator is designed to work with the X-Rite DTP41 spectrophotometer, a device that measures density and color data. The DTP41 communicates directly with the Calibrator application in ColorWise Pro Tools, sending measurements to the ColorPASS automatically. Setting up the spectrophotometer Before you calibrate the ColorPASS, you need to connect, conﬁgure, and calibrate the spectrophotometer to prepare for measuring the printed patches (see “Calibrating the...
3-7 Using a spectrophotometer 4. Attach the connector to the computer. For a Windows computer, insert the 8-pin mini-DIN end of the interface cable into the 9-pin DB9 Connector cable adapter. Insert the 9-pin end into the COM1 or COM2 port on the computer and tighten the screws. If the available port on your computer is 25-pin, you must use the 8-pin-to-25-pin adapter.
3-8 Color Calibration For a Mac OS computer, connect the 8-pin mini-DIN plug directly into the serial port of the computer. Unused connector Connect to serial port For Macintosh computers with a USB port (for example, an iMac) you need an adapter to connect the DTP41 to your computer.
3-9 Using a spectrophotometer 5. Use the AC adapter to provide power. Plug the small connector on the adapter cable into the power input of the X-Rite DTP41 and plug the AC adapter into the power cord. Plug the power cord into a wall outlet.
3-10 Color Calibration Calibrating the spectrophotometer For the best color accuracy, you should calibrate the X-Rite DTP41 spectrophotometer every time you calibrate the ColorPASS. You initiate the calibration sequence in ColorWise Pro Tools Calibrator as part of the process of ColorPASS calibration. The computer may also prompt you that it is necessary to calibrate the spectrophotometer.
3-11 Calibrating the spectrophotometer DTP41: O CALIBRATE THE 1. Connect the spectrophotometer to the computer and supply power (see page 3-6). 2. Launch ColorWise Pro Tools and connect to the ColorPASS. For instructions on conﬁguring the connection to the ColorPASS, see Getting Started. If the connection to the ColorPASS from Command WorkStation that also allows for access to ColorWise Pro Tools is not established, you can directly launch ColorWise Pro Tools independently of Command WorkStation.
3-12 Color Calibration 4. Select DTP41 as the measurement method. X-Rite DTP41 should appear as a measurement method. This information is provided to Calibrator by the ColorPASS. If this option does not appear, make sure you are connected to the ColorPASS. 5.
3-13 Calibrating the spectrophotometer 7. Select the appropriate COM port for the DTP41 from the Available Ports menu. The Instructions ﬁeld displays instructions for selecting the port. Instructions ﬁeld Select port for DTP41 8. Click Utilities. 9. Click Calibrate DTP-41.
3-14 Color Calibration To view version and serial number information, click Show DTP-41 Info. When ﬁnished, click Done. 10. Remove the shipping spacer from the measurement page slot, if you have not already done so. 11. Insert the end of the Color Reﬂection Reference strip with the arrow into the calibration strip entrance on the DTP41, centering it below the alignment mark (see the diagram on page 3-6).
3-15 Calibrating the spectrophotometer 13. Click Done. Status ﬁeld indicates DTP41 was calibrated successfully 14. Close the Utilities dialog box. This completes DTP41 calibration. When the DTP41 requires calibration, the computer prompts you. When this dialog box appears, click Calibrate Now and follow the instructions, starting with step 9 on page 3-13.
3-16 Color Calibration Calibrating with ColorWise Pro Tools and DTP41 Using ColorWise Pro Tools’ Calibrator application and the DTP41 spectrophotometer, you can quickly measure color patches generated by the copier and automatically download these measurements to the ColorPASS. Changing the calibration has the potential to affect all jobs for all users, so you may want to limit the number of people authorized to perform calibration.
3-17 Calibrating with ColorWise Pro Tools and DTP41 2. Click Calibrator. 3. Select DTP41 as the measurement method. X-Rite DTP41 should appear as a measurement method. This information is provided to Calibrator by the ColorPASS. If this option does not appear, make sure you are connected to the ColorPASS.
3-18 Color Calibration 5. Under Generate Measurement Page, click Print. 6. In the Print Options dialog box that appears, choose the Page Type, Paper Size, and Input Tray to use for the measurement page and click Print. In the Page Type pop-up menu, select either 34 or 21 Sorted Patches. In the Paper Size pop-up menu, the menu will automatically select LTR/A4 for 21 Sorted Patches or 11 17/A3 for 34 Sorted Patches.
3-19 Calibrating with ColorWise Pro Tools and DTP41 9. Under Get Measurements, click Measure. 10. The selected Page Type and Paper Size options appear. Click Measure. 11. If necessary, select the appropriate COM port for the DTP41 from the Available Ports pop-up menu.
3-20 Color Calibration 13. Click Read Strip. The DTP41 pulls the measurement page through automatically. 14. Once the measurement page is read, Calibrator instructs you to insert and align the page again for the next color. Repeat the measurement process for the magenta, yellow, and black strips.
3-21 Calibrating with ColorWise Pro Tools and DTP41 15. When the Status ﬁeld indicates that all four color strips have been read successfully, click the Accept Measurements button. Click Accept Measurements 16. In the Measure dialog box, click OK.
3-22 Color Calibration 17. In the Calibrator window, click Apply to implement the new calibration set. Click Apply 18. In the Information dialog box, click OK. This completes the ColorPASS calibration process.
3-23 Calibrating with ColorWise Pro Tools and DTP41 O RESTORE DEFAULT CALIBRATION MEASUREMENTS 1. Launch ColorWise Pro Tools and click Calibrator. Click Restore Device 2. Click Restore Device. 3. Click OK to restore the preset default calibration set. Restore device applies only to the currently selected calibration set.
3-24 Color Calibration Using a densitometer ColorWise Pro Tools are designed to work with the X-Rite DTP32 reﬂection densitometer that feeds color measurements to the ColorPASS automatically. Measurements from other densitometers can be input using a simple ASCII ﬁle format (see page C-1). Setting up the densitometer Before you calibrate the ColorPASS using the X-Rite DTP32, you need to connect, conﬁgure, and calibrate the densitometer to prepare for measuring the printed patches...
3-25 Calibrating with ColorWise Pro Tools and DTP41 DTP32 O CONNECT THE TO THE COMPUTER 1. Turn off the computer. 2. Plug the square end of the interface cable (looks like a modular phone plug) into the I/O port on the side of the X-Rite DTP32. Square connector 3.
3-26 Color Calibration For a Mac OS computer, connect the 8-pin mini-DIN plug directly into the serial port of the computer. Unused connector Connect to serial port For Macintosh computers with a USB port (for example, an iMac) you need an adapter to connect the DTP32 to your computer.
3-27 Calibrating the densitometer Calibrating the densitometer You will need the black-and-white X-Rite Auto-Cal Strip included with the densitometer. Calibrating the densitometer does not require ColorWise Pro Tools. DTP32: O CALIBRATE THE 1. Connect the densitometer to the computer and supply power (see page 3-24). 2.
3-28 Color Calibration Calibrating with ColorWise Pro Tools Using the densitometer or AutoCal2, you can quickly measure color patches and download these measurements to the ColorPASS using ColorWise Pro Tools Calibrator. Multiple users can be connected to one server with ColorWise Pro Tools, but only one user at a time can use Calibrator.
3-29 Calibrating with ColorWise Pro Tools 2. Click Calibrator. 3. Select a measurement method. AutoCal2 and X-Rite DTP32 should appear as the measurement methods. This information is provided to Calibrator by the ColorPASS. If neither option appears, make sure you are connected to the ColorPASS. 4.
3-30 Color Calibration 5. Under Generate Measurement Page, click Print. 6. In the Print Options dialog box that appears, choose the Page Type, Paper Size, and Input Tray to use for the measurement page and click Print. For AutoCal2, the Page Type pop-up menu states AutoCal Page. For the densitometer method, select either 34 or 21 Sorted Patches.
3-31 Calibrating with ColorWise Pro Tools 10. If you chose the DTP32 method, select the Page Type and Paper Size options you selected for the measurements page, and click Measure. Follow the directions in the dialog box that appears for feeding the measurement page through the X-Rite DTP32.
3-32 Color Calibration O RESTORE DEFAULT CALIBRATION MEASUREMENTS 1. Launch ColorWise Pro Tools and click Calibrator. 2. Click Restore Device. 3. Click OK to restore the preset default calibration set. Restore device applies only to the currently selected calibration set.
3-33 Calibrating with ColorWise Pro Tools Expert Mode Expert Mode offers two additional options: Print Pages and View Measurements. With the Print Pages option, you can print a calibration Comparison Page showing the results of the new measurements with any proﬁle associated with the currently selected calibration set.
3-34 Color Calibration With the View Measurements option, you can view the current set of measurements as a table or as a graph that shows both the measurements and the target curves (shown below). Output proﬁle name appears here When more than one proﬁle use the same target, an additional menu called Plot Against appears at the top right of the window above.
3-35 Calibrating from the Control Panel using AutoCal2 Calibrating from the Control Panel using AutoCal2 You can calibrate the ColorPASS from the Control Panel using AutoCal2, which calibrates the ColorPASS using the copier’s built-in scanner as a densitometer. If an Administrator password has been set, you will need it for calibration.
3-36 Color Calibration 7. When prompted, select Yes to print the measurement page. This page is comprised of swatches of color that will be measured by the copier and then compared to the target color values. After the page is printed, the Measure Page screen is displayed.
3-37 Calibrating from the Control Panel using AutoCal2 Removing calibration It is also possible to remove calibration from the ColorPASS. In general, it is not necessary because any new calibration replaces the existing one if the same calibration set is selected. O REMOVE CALIBRATION FROM THE ONTROL ANEL...
4-1 Proﬁle Manager ColorWise Pro Tools are color management applications that give you ﬂexible control Chapter 4: of color printing. There are four tools: ColorWise Pro Tools • Calibrator (see Chapter 3) • Color Editor • Proﬁle Manager • Color Setup ColorWise Pro Tools for Windows and Mac OS computers are fundamentally the same;...
4-2 ColorWise Pro Tools • contains all monitor proﬁles resident on the ColorPASS. RGB Source RGB Source proﬁles are used to deﬁne the source color space for RGB colors processed by the ColorPASS. If you use Photoshop 5.x, you can upload the proﬁle for your selected working space to the ColorPASS and choose that as your RGB Source proﬁle.
4-3 Proﬁle Manager Output: • 5000 A Coarse • 5000 A Fine • 5000 A Off • 5000 B Coarse • 5000 B Fine • 5000 B 2 Off For more information on output proﬁles, see page 1-9. Setting the default proﬁles The default proﬁles are applied to all print jobs sent to the ColorPASS, unless you override them using print options.
4-4 ColorWise Pro Tools The left side of the screen lists the ICC proﬁles in the default directory of your computer. The right side lists each of the three types of proﬁles on the ColorPASS. The lock icon ( ) to the left of a proﬁle name indicates that the proﬁles cannot be deleted and can be edited only if it is saved under a new name.
4-5 Proﬁle Manager For Output there is always a default proﬁle. You can change the Output default by selecting a preset proﬁle you want as the default and clicking Proﬁle Settings. Or you can create a new default under a new name by selecting a preset proﬁle and specifying your choice of the calibration set in the Use Calibration Set pop-up menu and a new name in the Proﬁle Description menu.
4-6 ColorWise Pro Tools 3. When the proﬁle you wish to download appears in the list in the main Proﬁle Manager window, select it. If the proﬁle is compatible with the ColorPASS, a green arrow indicates that the proﬁle is available for download. Only output device proﬁles are downloadable to Simulation and Output.
4-7 Proﬁle Manager Editing proﬁles The proﬁles on the ColorPASS can be customized to meet your speciﬁc needs and the characteristics of your copier using Color Editor either directly or through Proﬁle Manager. See “Color Editor” on page 4-12 for more information on how to edit proﬁles.
4-8 ColorWise Pro Tools Delete proﬁles to make sure no one uses the wrong proﬁle and to free up disk space on the ColorPASS (although proﬁles are small and do not take up much space). PASS O DELETE PROFILES FROM THE OLOR HARD DISK 1.
4-9 Proﬁle Manager O DEFINE A PROFILE 1. Launch ColorWise Pro Tools and click Proﬁle Manager. Custom proﬁle created with Color Editor For the purposes of this example, assume DIC-new is a custom simulation proﬁle created with Color Editor. As you can see, DIC-new has no information under the heading “Appear in Driver as.”...
4-10 ColorWise Pro Tools While you cannot delete a preset proﬁle, you can use a preset proﬁle’s name for your edited proﬁle when you select the “Appear in Driver as” option. This replaces the preset proﬁle with your own proﬁle. When you choose Proﬁle Settings for an output proﬁle, the Use Calibration Set option also appears.
4-11 Proﬁle Manager 4. Click OK. DIC-new will appear in driver as Simulation-1 Simulation-1 now appears under the “Appear in Driver as” column for DIC-new. Choosing Simulation-1 from the CMYK Simulation option of the printer driver applies the DIC-new simulation to the print job. If you do not deﬁne a custom simulation proﬁle, your job will print with CMYK Simulation Proﬁle set to None.
4-12 ColorWise Pro Tools Color Editor Color Editor is used to customize simulation and output proﬁles and can be accessed either directly by clicking its icon in the ColorWise Pro Tools main window, or indirectly through the Proﬁle Manager. Editing Proﬁles Color Editor allows you to create custom proﬁles by editing existing simulation or output proﬁles and saving the changes as a new proﬁle.
4-13 Color Editor Quick applies one-dimensional transfer curves that adjust output density only, while Full provides a more complete and accurate simulation by applying colorimetric transformations that adjust hue as well as output density (see page 1-9). If you made edits to a master simulation after you created a linked simulation, the edits are not applied to the linked simulation.
4-14 ColorWise Pro Tools 4. For a simulation proﬁle, choose Master from the Edit Mode menu. For an output proﬁle, choose Custom from the Edit Mode menu. (See page 4-18 for instructions for using Quick or Full mode.) Eye icons indicate cyan, magenta, and yellow are visible and can be edited You can use this dialog box to view or edit proﬁles.
4-15 Color Editor 5. Select the colors you want to edit by turning colors off and on. The box with the eye icon to the left of each color indicates whether that color is visible on the graph and will be affected by changes to the curves, brightness, and dot gain controls.
4-16 ColorWise Pro Tools If you use Dot Gain values, you should apply the settings ﬁrst so that the curves are deﬂected from their straight-line positions. Then make edits to the new curves. When you adjust Dot Gain values, all existing points on the curve are removed. A warning dialog box gives you the chance to cancel Dot Gain settings before they are applied.
4-17 Color Editor For greater precision, you can key in percentages in the Input and Output boxes or use the arrow keys on the keyboard to adjust the curve. To use the arrow keys, you must ﬁrst click on the curve to establish an anchor point that serves as a reference. 9.
4-18 ColorWise Pro Tools O EDIT A SIMULATION IN UICK OR ULL MODE 1. Launch ColorWise Pro Tools and click the Color Editor. 2. Choose Simulation from the View pop-up menu, choose the simulation proﬁle to edit, and click Select. You can also open the Proﬁle Manager, select a simulation proﬁle, and click Edit.
4-19 Color Editor 4. Edit and save the simulation as described in the procedure (steps 5 through 10) starting on page 4-15. For this new simulation to be automatically applied to a print job, the CMYK Simulation, Simulation Method, and Output Proﬁle settings must be the same as those used when you edited the proﬁle.
4-20 ColorWise Pro Tools 3. Choose Quick or Full from the Edit Mode menu and choose the output proﬁle with which your unwanted edits are linked from the Link with menu. 4. Click Revert to Master. Revert to Master makes the curves for one or more linked simulations match the last saved master simulation.
4-21 Color Editor 5. Indicate whether you want to revert the currently selected linked simulation only, or revert all links of this simulation proﬁle, and click OK. 6. If you choose “For all Edit Modes and all Proﬁle Links,” a warning dialog box appears. Click OK.
4-22 ColorWise Pro Tools O CHECK A PROFILE 1. Click Test Print from the Color Editor window. 2. Select a page to print, specify the paper size and input tray (Comparison Page only), and click Print. For Comparison Page, specify the paper size (LTR/A4 or 11 17/A3) in the Paper Size pop-up menu.
4-23 Color Setup Color Setup Color Setup is used to set the default ColorWise settings for the ColorPASS and can be accessed by clicking its icon in the ColorWise Pro Tools main window. Setting default ColorWise options Color Setup allows you to conﬁgure the default color management settings for the ColorPASS.
4-24 ColorWise Pro Tools For those color options that offer multiple choices, click on the down arrow and make your selection from the pop-up menu that appears. For RGB Separation and CMYK Simulation Method, make your selection by clicking on the appropriate radio button. Other options are selected simply by clicking on a checkbox next to the option’s name.
5-1 Working with color This chapter provides guidelines for deﬁning colors in your documents to produce the Chapter 5: results you want. The following topics are covered: Working with Color in • Factors affecting how you work with color Applications •...
5-2 Working with Color in Applications • For color prooﬁng, use an application that writes its own PostScript and deﬁne colors in RGB, CMYK, or choose colors from the application’s PANTONE color library. Placed images can also be deﬁned in RGB or CMYK. Choose the appropriate settings for print options affecting color output (see page 1-1).
5-3 Ofﬁce applications Ofﬁce applications The ColorPASS must receive PostScript instructions to print an image or a document. Many applications do not create these PostScript instructions by themselves, and instead rely on the printer driver to create them. Included in this category are most word processors, spreadsheets, and presentation packages.
5-4 Working with Color in Applications Choosing colors in ofﬁce applications Two RGB color reference pages, a Microsoft Word ﬁle and a Microsoft PowerPoint ﬁle, are provided with your ColorPASS user software. Print these ﬁles using different CRDs to see how the colors appear when printed to the ColorPASS. For best results, print the color reference page using the same print options you plan to use for your ﬁnal document.
5-5 PostScript applications PostScript applications Most applications used for illustration, pixel editing, and page layout can create the PostScript information they send to PostScript copier or save in PostScript ﬁles. Illustrator, Photoshop, PageMaker, QuarkXPress, and FreeHand are all PostScript applications. PostScript applications work with color in many different ways.
5-6 Working with Color in Applications Swatch color matching ColorPASS user software includes several color reference pages (see page 5-2). By choosing colors from these reference pages, you can be sure of obtaining the same color from your copier. For best results, calibrate the ColorPASS before printing the reference pages.
5-7 PostScript applications PANTONE Coated Color Reference The PANTONE Coated Color Reference included with your ColorPASS user software can help ensure predictable results with colors chosen from the PANTONE color library. The information printed by the PANTONE Coated Color Reference depends on the setting of the Spot Color Matching setting.
5-8 Working with Color in Applications Default output proﬁle The default output proﬁle consists of both a proﬁle for your copier, describing its color characteristics, and a calibration target that describes the expected behavior of the copier. The output proﬁles provided with the ColorPASS correspond to various Gradation Smoothing properties, which determine the amount of band smoothing the ColorPASS applies to your print job.
6-1 Working with ofﬁce applications This chapter provides instructions for printing color documents from GDI and Chapter 6: QuickDraw applications such as presentation, spreadsheet, and word processing Ofﬁce software. You can use these instructions with the Microsoft Ofﬁce 2000, Applications Microsoft Ofﬁce 97, and Microsoft Ofﬁce 95 suite of applications.
6-2 Ofﬁce Applications Although there are no color management options within Ofﬁce applications, color conversions do occur when you import images or page elements that were not deﬁned in RGB. To avoid such conversions with imported ﬁles, use the EPS ﬁle format for artwork that is to be imported into Ofﬁce applications.
7-1 Photoshop 5.x This chapter covers features of Adobe Photoshop versions 4.x and 5.x for Windows Chapter 7: and Mac OS. The illustrations show only Mac OS dialog boxes, but the information Adobe and instructions apply equally to the Windows version of Photoshop. Photoshop Photoshop 5.x Because Photoshop 5.x uses a sophisticated color management system, there are several...
7-2 Adobe Photoshop Adobe Gamma control panel You can use the Adobe Gamma control panel to create and customize ICC proﬁles for your monitor. Photoshop properly displays images on your monitor by compensating between your chosen working space (see the following section on RGB Setup) and the description of your monitor deﬁned by its proﬁle.
7-3 Photoshop 5.x Proﬁle Setup From the Photoshop 5.x File menu, choose Color Settings>Proﬁle Setup. In the Embed Proﬁles area, check all boxes to embed the appropriate ICC proﬁle when saving a ﬁle. By embedding a proﬁle during the saving process, Photoshop can link a color space (working space) deﬁnition with that ﬁle for future use.
7-4 Adobe Photoshop RGB Setup Photoshop 5.x allows you to simultaneously use two RGB spaces, one for the monitor and one for the Photoshop RGB working space. The monitor RGB space setting does not affect the image data in the ﬁle; it affects only the way the image is displayed on the monitor.
7-5 Photoshop 5.x The Monitor area shows the currently selected proﬁle in the Adobe Gamma control panel. Turn on both the Display Using Monitor Compensation and Preview options. CMYK Setup From the Photoshop 5.x File menu, choose Color Settings>CMYK Setup. Check this option Turn on the Preview option.
7-6 Adobe Photoshop • From the Intent menu, choose Perceptual (Images), which is appropriate for photographs normally edited in Photoshop. The Intent setting is used only when you convert between color spaces. It is often better to turn on the Black Point Compensation option. With many ICC proﬁles, this check box has no effect.
7-7 Photoshop 5.x • —choose the same CMYK color space that you set in Photoshop 5.x. CMYK default • —choose LinoColor CMM (both ColorSync 2.0 and Microsoft Preferred CMM ICM 2.0 are based on this color management module). Deﬁning colors You can choose colors in Photoshop with various color models including HSB, CIE Lab, RGB, and CMYK.
7-8 Adobe Photoshop In the EPS Options dialog box, choose binary encoding and do not check PostScript Color Management (see the following section for more information on PostScript Color Management). Do not include transfer functions or halftone screens. A TIFF preview is compatible with both Windows and Mac OS computers.
7-9 Photoshop 5.x Printing RGB EPS Files Saved with PostScript Color Management When you print an RGB EPS ﬁle (that contains an embedded proﬁle) to the ColorPASS, the working space information from the embedded RGB proﬁle can be used as an RGB source deﬁnition for ColorPASS CRDs. To use the embedded proﬁle’s source color space information with ColorPASS CRDs, choose None as the ColorPASS RGB Source when you print.
7-10 Adobe Photoshop Printing RGB images Use the following instructions to print RGB images. Choose an encoding method Choose RGB Color as the color space Do not check PostScript Color Management Choose RGB Color from the Space pop-up menu. Any other setting causes Photoshop to convert image data to that color space before sending it to the ColorPASS.
7-11 Photoshop 5.x Choose CMYK Color from the Space pop-up menu. Any other setting causes Photoshop to convert image data to that color space before sending it to the ColorPASS. (With the AdobePS 8.7 printer driver for Mac OS, these options appear in the Adobe Photoshop pane of the Print dialog box.) If you choose JPEG encoding, keep a backup of the original image saved with binary encoding until you have seen the printed results of the JPEG ﬁle.
7-12 Adobe Photoshop Printing CMYK images with Photoshop PostScript Color Management If you select a CMYK color space and decide to use PostScript Color Management from the Photoshop pane of the printer driver, Photoshop sends CMYK data to the ColorPASS along with PostScript color information deﬁning this CMYK color space. Remember that when you select PostScript Color Management, a CRD will be used to perform color conversions to the CMYK color space of the ColorPASS.
7-13 Photoshop 4.x Photoshop 4.x A special feature of Photoshop allows you to save RGB EPS (PostScript) images that include independent source color space information. This feature is sometimes referred to as “PostScript Level 2 tagging” or “RGB tagging.” You deﬁne the source color space to apply to RGB EPS images by specifying a Monitor Setup in Photoshop.
7-14 Adobe Photoshop Choose Photoshop EPS or TIFF In the EPS Format dialog box, choose binary encoding and do not include transfer functions or halftone screens. A TIFF preview is compatible with both Mac OS and Windows computers. If you experience problems printing the document in which you place the image, substitute an ASCII-encoded version of the same image, and print the document again.
7-15 Photoshop 4.x Selecting options when printing You can print RGB or CMYK images from Photoshop. • When you print RGB images, you can choose whether the conversion to CMYK data is performed by the ColorPASS (using a CRD), by PostScript (using PS Color Management), or by Photoshop (using Photoshop’s separation settings).
7-16 Adobe Photoshop • If you select , Photoshop performs a color conversion and sends Print in CMYK CMYK data to the ColorPASS. With this setting, RGB Source, Rendering Style, and Spot Color Matching settings have no effect. For printing in CMYK, consider these Photoshop separation settings: •...
7-17 Photoshop 4.x Choose an encoding method. (With the AdobePS 8.7 printer driver for Mac OS, these options appear in the Adobe Photoshop pane of the Print dialog box.) For fastest print times, select JPEG encoding. You should, however, check the printed output carefully for unwanted artifacts that can appear as a result of JPEG compression.
8-1 Working with page layout applications This chapter provides instructions for printing color documents from Adobe Chapter 8: PageMaker 6.5, QuarkXPress 4.02, and QuarkXPress 3.32. Page Layout Applications Before printing from these applications, make sure the appropriate printer driver and the ColorPASS PPD are installed on your computer as described in Getting Started.
8-2 Page Layout Applications Importing images EPS and TIFF are the recommended formats for images imported into page layout documents. Support for importing other ﬁle formats may be provided by individual applications. All RGB images placed in a document are affected by the RGB Source and Rendering Style settings.
8-3 Working with page layout applications CMYK simulation You can specify a CMYK Simulation and a CMYK simulation method for the job with the CMYK Simulation Proﬁle and CMYK Simulation Method print options (see page 1-8). The CMYK Simulation setting affects all CMYK color data sent by the page layout application.
8-4 Page Layout Applications Adobe PageMaker 6.5 for Mac OS and Windows The Mac OS and Windows versions of PageMaker 6.5 are essentially the same. The illustrations in this section show only the Windows version, except where differences exist between the two versions. Windows version requirement For the Windows version of PageMaker 6.5, make sure a copy of the ColorPASS PPD ﬁle is in both of the following folders:...
8-5 Adobe PageMaker 6.5 for Mac OS and Windows Selecting options when printing All print settings are speciﬁed from the various Print dialog boxes in PageMaker 6.5. The printer driver interface described in Chapter 1 is not used. Choose the ColorPASS PPD Click Options In the Print Document dialog box, choose the ColorPASS PPD from the PPD menu.
8-6 Page Layout Applications If a document contains RGB placed images or colors deﬁned in RGB that will not be separated to process colors, choose RGB Source and Rendering Style settings in the Print Features dialog box. If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting.
8-7 QuarkXPress 4.x for Mac OS and Windows QuarkXPress 4.x for Mac OS and Windows If you have additional color management requirements not offered by ColorWise, you may want to consider using features offered by the Quark CMS XTension for QuarkXPress 4.02.
8-8 Page Layout Applications Selecting options when printing Choose the ColorPASS PPD from the Printer Description menu in the Print dialog box. Mac OS Choose the ColorPASS PPD Choose an output paper size Click to specify printer settings Windows Click to specify Choose the ColorPASS copier copier settings Choose the ColorPASS PPD...
8-9 QuarkXPress 3.32 for Mac OS and Windows Optional color management from QuarkXPress If you have additional color management requirements not offered by ColorWise, such as managing color on non-ColorPASS devices, you may want to consider using the color management features offered by QuarkXPress. For more information, see your QuarkXPress documentation.
8-10 Page Layout Applications Selecting options when printing You must select the ColorPASS PPD from the Printer Type menu in the Page Setup (Mac OS) or Printer Setup (Windows) dialog box. Mac OS version Choose the ColorPASS PPD Choose an output paper size Choose Binary Windows version Choose an output...
8-11 QuarkXPress 3.32 for Mac OS and Windows If a document contains RGB-placed images or RGB colors that QuarkXPress will print without converting to CMYK, choose RGB Source and Rendering Style settings. If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting.
9-1 Working with illustration applications This chapter provides instructions for using Adobe Illustrator for Windows and Chapter 9: Mac OS, Macromedia FreeHand for Windows and Mac OS, and CorelDRAW for Illustration Windows and Mac OS. Applications Before printing from these applications, make sure the appropriate PostScript printer driver and the ColorPASS PPD are installed on your computer as described in Getting Started.
9-2 Illustration Applications You can also choose named colors from the PANTONE color library. See “PANTONE Coated Color Reference” on page 5-7. Importing images In general, all images placed into illustration application documents should be in EPS format. All RGB images placed in a document are affected by the RGB Source and Rendering Style settings in the PPD.
9-3 Adobe Illustrator 8.x for Windows and Mac OS • If the document contains CMYK images that were separated according to the color characteristics of a custom ICC proﬁle (not a press standard proﬁle), select the corresponding proﬁle from the CMYK Simulation Proﬁle print option on the ColorPASS.
9-4 Illustration Applications Optional color management in Illustrator If you have additional color management requirements not offered by ColorWise, such as managing color on non-ColorPASS devices, you may want to consider using the color management features offered by Illustrator. For more information, see your Illustrator documentation.
9-5 Adobe Illustrator 8.x for Windows and Mac OS For the Mac OS version of Illustrator, choose Composite output and PostScript Level 3. Mac OS Choose PostScript Choose Composite Level 3 If a document contains placed RGB images, click on the Properties button (Windows) or select Printer Speciﬁc Options from the pop-up menu (Mac OS) and choose RGB Source and Rendering Style settings for the ColorPASS.
9-6 Illustration Applications Macromedia FreeHand 8.x for Windows and Mac OS The information in this section applies to both the Windows and Mac OS versions of FreeHand 8.x. Only Mac OS dialog boxes are shown, but the information and instructions are identical for the Windows version of FreeHand. If you are using ColorWise color management, you should turn off FreeHand 8.x color management features by choosing None from the Colors>Color Management>Type pop-up menu.
9-7 Macromedia FreeHand 8.x for Windows and Mac OS When you import an EPS image into your document, FreeHand inserts a link to the image rather than embedding the original ﬁle, resulting in a smaller ﬁle size. If the image is a CMYK EPS ﬁle, the colors print just as they would from the originating application.
9-8 Illustration Applications To use ColorPASS color management features, turn off the “Convert RGB to process” checkbox in the File>Output Options dialog box. If this option is turned on, FreeHand’s color management settings are used to convert RGB colors and RGB TIFF, PICT, and JPEG images to CMYK.
9-9 CorelDRAW for Windows and Mac OS Optional color management in FreeHand If you have additional color management requirements not offered by ColorWise, such as managing color on non-ColorPASS devices, you may want to consider using the color management features offered by FreeHand. For more information, see your FreeHand documentation.
9-10 Illustration Applications Selecting options when printing On Windows computers, in the Print dialog box under the General tab, make sure the correct copier and PPD are selected and check the Use PPD box. Click Properties to specify ColorPASS print options. Print device name appears here Click Properties to access Printer driver/PPD name...
9-11 CorelDRAW for Windows and Mac OS To use ColorPASS color management, do not check this box If a document contains placed RGB images, choose RGB Source and Rendering Style settings for your copier. With the exception of placed RGB images, these settings have no effect on colors printed with CorelDRAW.
A-1 Desktop Color Primer This appendix covers concepts that are basic to printing in color, including: Appendix A: Desktop Color • The properties of color Primer • Printing techniques • Using color effectively • Raster images and vector images • Optimizing ﬁles for processing and printing If you are already familiar with color theory and digital color printing, you can skip to the last section (“Optimizing ﬁles for processing and printing”...
A-2 Desktop Color Primer point, can adjust to the different light sources. However, color objects appear different under tungsten light than they do in sunlight because of the different spectral makeup of the two light sources. The mixture of light wavelengths emitted by a light source is reﬂected selectively by different objects.
Plate 1: Sunlight split into spectral colors by prism Plate 2: CIE chromaticity diagram...
Brightness Saturation Plate 3: Hue, saturation, and brightness Plate 4: Adobe Photoshop Color Picker...
A-3 Desktop Color Primer Hue, saturation, and brightness A color can be described in terms of three varying characteristics, called the HSB color model: • Hue—tint (the qualitative aspect of a color—red, green, or orange) • Saturation—the purity of the color •...
A-4 Desktop Color Primer Subtractive (CMY and CMYK) color The subtractive color model is the basis for color printing and for color photographic prints and transparencies. While the additive color model simulates the visible spectrum of color by adding light of three primary hues, the subtractive color model starts with a “white”...
Plate 5: Additive color model Plate 6: Color monitor...
Plate 7: Subtractive color model...
A-5 Desktop Color Primer Printing techniques Until recently, most color printing was done on printing presses using one of several printing techniques—offset lithography, ﬂexography, and gravure, to name a few. All traditional printing techniques require lengthy preparation before a print run can take place.
A-6 Desktop Color Primer Halftone and continuous tone devices Halftoning is used in offset printing to print each process color at a different intensity, allowing millions of different colors to be reproduced using only the four process colors. Depending on the required intensity of a given color, toner is placed on paper in dots of different size.
A-7 Desktop Color Primer A few rules of thumb Try some of the following strategies for creating successful color materials: • Rather than applying colors indiscriminately, use color to aid comprehension. In presentations, graphs, and charts, use color to highlight patterns and emphasize differences.
A-8 Desktop Color Primer Once you have mastered the concept of the color wheel, you have a good framework for experimenting with color combinations. Many books targeted at graphic designers show groups of preselected color combinations. Some are organized by themes or moods, and some are based on a custom color system such as PANTONE.
Plate 8: Color wheel Plate 9: Complements, split complements, and triads...
STOP! STOP! gustibus Exceptio probat non est regulam de rebus disputandum. non exceptis. Plate 10: Good and bad uses of color with text Plate 11: Raster versus vector artwork...
A-9 Desktop Color Primer Raster images and vector images Two broad categories of artwork can be printed from a personal computer to a color printer: raster and vector images (plate 11). A raster image, also referred to as a bitmap, is composed of a grid of pixels, each assigned a particular color value.
A-10 Desktop Color Primer Optimizing ﬁles for processing and printing The following sections provide tips on how to create image ﬁles that produce the highest possible print quality while minimizing the processing time and disk space they require. Resolution of raster images While a 72 ppi raster image appears sharp on a monitor, the same image would likely appear pixelated when printed to the ColorPASS.
A-11 Desktop Color Primer In this table, the shaded areas indicate that 200 ppi is typically the best trade-off between image quality and ﬁle size. However, higher resolutions (e.g., 250 to 300 ppi) may be needed for offset printing, when quality is of the utmost importance, or for images containing sharp diagonal lines.
A-12 Desktop Color Primer Scaling Ideally, each raster image should be saved at the actual size, and it will be placed into the document at the optimal resolution for the print device. If the image resolution is correct for the print device, there is no quality advantage to be gained by scaling an image down to a percentage of its actual size.
B-1 Color Management This appendix provides information on controlling and managing color output in Appendix B: order to achieve predictable color results. It also discusses the basics of color Color management. Management Controlling printed color When working with color materials, whether they be presentations, illustrations, or complicated page designs, you make aesthetic decisions about the colors you use.
B-2 Color Management Maintaining copier consistency The factors described below affect print device consistency, as well as color ﬁdelity and overall output quality. Paper stock and toner The paper and toner used by your copier can greatly affect printed color. For best results, use the supplies recommended by the manufacturer of the copier.
B-3 Color Management You need to account for the gamut of your print device when designing on a color monitor. When printed, colors that fall outside the print device gamut are “mapped” to printable colors. This process, referred to as gamut mapping, takes place when color data is converted or adjusted to meet the gamut requirements of a print device.
B-4 Color Management Color conversion Before a color document can be printed, the color data in it must be converted to the gamut of the print device. Whether performed by the ColorPASS or by a host-based CMS, the process of converting color data for a print device is the same: the CMS interprets RGB image data according to a speciﬁed source proﬁle and adjusts both RGB and CMYK data according to a speciﬁed output proﬁle, also called a destination proﬁle by some color management systems.
C-1 Importing densitometer measurements This appendix describes Simple ASCII File Format, which can be used to import Appendix C: density measurements from measurement devices. To use your own measurement data Importing from an alternate densitometer, record your individual readings in a text ﬁle and densitometer structure it as described below.
C-2 Importing densitometer measurements Example of 1D Status T density for EFI 34 patch page This ﬁle format is used to specify the Status T density measurements of the EFI 34 patch page. The value in the ﬁrst column is the patch number. The ﬁrst patch must be 1 and the last must be 34.
C-3 Importing densitometer measurements Example of 1D Status T density for an arbitrary page This ﬁle format is used to specify the Status T density measurements of a user-deﬁned patch page. The value in the ﬁrst column is the ink/toner percentage of the patch. The ﬁrst percentage must be 0 and the last percentage must be 100.
Glossary additive color model blasting A system in which colors are produced An undesirable effect that occurs when by combining red, green, and blue light excess amounts of toner, possibly (the additive primaries). An RGB video combined with certain types of paper monitor is based on an additive color stock, cause objects in an image to model.
G-2 Glossary color management system (CMS) composite printer System used to match color across Any output device that can print directly different input, display, and output in color without ﬁrst creating color devices. separations. A composite print can be used as an early proof of an offset print color rendering dictionary job.
G-3 Glossary DCS (Desktop Color Separation) ﬂexography A data ﬁle standard deﬁned by Quark, A printing technology that uses ﬂexible Inc., to assist in making color separations raised-image plates. Flexography can be with desktop publishing system; ﬁve ﬁles used to print on non-ﬂat materials such are created, four color ﬁles (one each for as cans.
G-4 Glossary GIF (Graphics Interchange Format) the color capabilities, including the A standard developed by CompuServe gamut, of a color device based on the for bitmap graphics of up to 256 colors differences between an ideal and the and used for posting photographic current device.
G-5 Glossary the screens, improper screen angles, printable colors in a way that retains improper alignment of halftone screens, differences in lightness, sacriﬁcing color or by the combination of a halftone accuracy as necessary. screen with patterns in the image itself. pixel The smallest distinct element of a raster named color...
G-6 Glossary colors. It is appropriate for bright primaries. Commonly used to refer to saturated colors used in illustrations and the color space, mixing system, or graphs. monitor in color computer graphics. process colors simulation proﬁle The four ink colors used in printing to The simulation proﬁle describes the simulate full-spectrum color images: color characteristics of another print...
G-7 Glossary process colors that are printed using undercolor removal In areas where all three process colors (C, combinations of cyan, magenta, yellow, and black. M, Y) overprint, the amounts of those colors are reduced and replaced by black. Status T This improves wet ink trapping and A spectral response for graphic arts reduces ink costs in process color...
Bibliography Books Adobe Print Publishing Guide. Adobe Systems Incorporated, 1995. (Comes as part of the documentation for Adobe products such as Adobe Photoshop and Adobe Illustrator, P/N 0397 0719) Blatner, David and Fraser, Bruce. Real World Photoshop 3: Industrial Strength Production Techniques.
Index Numerics scheduling 3-4 targets 3-2, 3-3 8-pin DIN plug 3-8, 3-26 see also densitometer, ColorWise Pro Tools Absolute Colorimetric 1-5 see also spectrophotometer, ColorWise accent color A-7 Pro Tools additive color model A-3 calibration patch page 3-3 additive primaries A-3 charts, using color in A-7 Adobe Illustrator, see Illustrator Adobe PageMaker, see PageMaker...
I-2 Index spot colors 5-5, A-6 computer monitors, see monitors subtractive model A-3, A-4 Conﬁguration page subtractive primaries A-4 calibration status 3-5 swatch color matching 5-6 continuous tone devices A-6 text A-8 Contrast ICC rendering style 1-5 theory A-1 Control Panel triads A-7 calibration from 3-2, 3-16, 3-28 using effectively A-6 to A-8...
I-3 Index Illustrator 5-5, 9-3 Image Color Matching, see ICM Fiery Scan 1-9 Image ICC rendering style 1-5 ﬁle size, of raster images 2-3, A-10 ink B-2 ﬂexography A-5 International Color Consortium, see ICC font size, for color text A-8 FreeHand 5-5, 9-6 Full simulation 1-8 JPEG 7-8, 7-11, 7-14, 7-16, 7-17...
I-4 Index PostScript printer drivers 6-2 PowerPoint, see Microsoft Ofﬁce ofﬁce applications 5-1, 5-3 to 5-5, 6-1 to 6-2 PPD 1-14, 1-16, 1-19, 1-20, G-5 offset lithographic printing A-5 prepress proof A-5, B-1 offset press printing A-5 to A-6 presentation print jobs offset press print jobs, workﬂow issues 5-2 rendering styles appropriate for 1-5 Other setting, RGB Source option 1-6...
I-5 Index resolution A-9, A-10 to A-11 spectrophotometer scaling of A-12 calibrating 3-10 registration of colors A-8 split complements A-7 Relative Colorimetric 1-5 Spot Color Matching option 1-4, 1-13, 5-7 Rendering Style option 1-3 spot colors 5-5, A-6 rendering styles 1-5, 5-3 Status T C-1 resolution of raster images A-9, A-10 to subtractive color model A-3, A-4...
I-6 Index white point B-4 White Point option 1-3 Windows 2000 printer driver 1-19 Windows 95/98/Me color management print options 1-16 Windows 95/98/Me printer driver 1-15 Windows Graphics Device Interface, see GDI applications Word, see Microsoft Ofﬁce workﬂow advanced 2-9 color prooﬁng 2-1 ICC proﬁles 2-15 short-run jobs 2-1...