Fiery TASKalfa 3051ci Reference Manual
Color reference
Hide thumbs
Also See for TASKalfa 3051ci:
- Printing manual (110 pages) ,
- Configuration (59 pages) ,
- Manual (39 pages)
Table of Contents
Related Manuals for Fiery TASKalfa 3051ci
Summary of Contents for Fiery TASKalfa 3051ci
- Page 1 Fiery ® Color Server Fiery Color Reference...
- Page 2 © 2009 Electronics for Imaging, Inc. The information in this publication is covered under Legal Notices for this product. 45087207 1 September 2009...
-
Page 3: Table Of Contents
ONTENTS ONTENTS ONTENTS NTRODUCTION About this document For additional information VERVIEW OF OLOR ANAGEMENT ONCEPTS Understanding color management systems How color management works Using ColorWise and application color management Using ColorWise color management tools SING OLOR ANAGEMENT ORKFLOWS Understanding workflows Standard recommended workflow Choosing colors Understanding color models... - Page 4 ONTENTS ANAGING OLOR IN CRIPT PPLICATIONS Working with PostScript applications Color matching with PostScript applications Using color reference pages to match color Using the CMYK Color Reference Using the PANTONE reference Working with imported objects Mixing object types (Advanced color management) Using CMYK source profiles Using application-defined halftones Ensuring color accuracy when you save a file...
- Page 5 ONTENTS ANAGING OLOR IN LLUSTRATION PPLICATIONS Adobe Illustrator Note about color models in Illustrator Illustrator color settings Saving files for importing into other documents Specifying print options Using Illustrator color management CorelDRAW Defining colors Importing objects Saving files for importing into other documents Specifying print options Optional color management in CorelDRAW ANAGING...
- Page 6 ONTENTS Raster images and vector graphics Optimizing files for processing and printing Resolution of raster images Scaling IBLIOGRAPHY LOSSARY NDEX...
-
Page 7: Introduction
NTRODUCTION NTRODUCTION This document provides a reference for information about optimizing color printing with the Color Server and improving color quality and performance for all Color Server models. Specific features and options may vary, depending on the Color Server model at your site. -
Page 8: Overview Of Color Management Concepts
VERVIEW OF OLOR ANAGEMENT ONCEPTS VERVIEW OF OLOR ANAGEMENT ONCEPTS To create successful color documents and presentations, you can take advantage of the features of color management software as they are implemented by the Color Server and on your desktop computer. This chapter is devoted to various elements of color management that contribute to predictable color results. -
Page 9: How Color Management Works
VERVIEW OF OLOR ANAGEMENT ONCEPTS How color management works Before you can print a color document, the color data in it must be converted to the gamut of the printer. Whether performed by the Color Server or a host-based CMS, the process of converting color data for a printer is the same: the CMS interprets object data according to a specified... -
Page 10: Using Colorwise And Application Color Management
VERVIEW OF OLOR ANAGEMENT ONCEPTS Using ColorWise and application color management The Color Server CMS, ColorWise, is designed to provide casual and expert users the best color output for a variety of purposes. Several applications also provide their own CMS. This document describes how to optimize print output using ColorWise color management and application color management. -
Page 11: Using Colorwise Color Management Tools
VERVIEW OF OLOR ANAGEMENT ONCEPTS Using ColorWise color management tools Your Color Server user software includes several types of color reference pages that allow you to see the range of colors that can be printed on your printer. For predictable color, use the color reference pages when defining the colors in your document. -
Page 12: Using Color Management Workflows
SING OLOR ANAGEMENT ORKFLOWS SING OLOR ANAGEMENT ORKFLOWS A workflow is the path a print job follows from creation to destination. The workflow of any job includes points at which decisions are made about how to define, use, and translate color. The choices made, and the point at which they are made, impact the color output produced. - Page 13 SING OLOR ANAGEMENT ORKFLOWS Application and operating system color management: DOCUMENT Turn off Disable any CMS provided by the application or operating system to ensure that the Color Server receives color data properly and prints it accurately. For information, see the documentation that accompanies your application.
-
Page 14: Standard Recommended Workflow
SING OLOR ANAGEMENT ORKFLOWS Standard recommended workflow The Color Server is highly optimized for the specific printer it supports. ColorWise addresses issues unique to your printer, including halftones, individual toner response, interactions among toners, natural smoothness of blends, and the capability to render spot and custom colors. -
Page 15: Choosing Colors
SING OLOR ANAGEMENT ORKFLOWS Choosing colors When working with color materials, whether they are presentations, illustrations, or complicated page designs, you make aesthetic decisions about the colors you use. After you set a goal, you must make the best use of the capabilities of your Color Server to realize your design in print. -
Page 16: Understanding Color Models
SING OLOR ANAGEMENT ORKFLOWS Understanding color models You can define colors in several different color models, most commonly RGB, CMYK, and a spot color matching system (such as PANTONE). Depending on the application you use, you may or may not have a choice of the color model. colors are used when you take output from an RGB device such as a digital camera or scanner. -
Page 17: Optimizing For Output Type
SING OLOR ANAGEMENT ORKFLOWS Optimizing for output type You can use the Color Server for on-demand color printing and color proofing. On-demand color printing refers to those jobs for which the Color Server is the final print device. Printing jobs to the Color Server in preparation for printing on an offset press is referred to as color proofing. -
Page 18: Maintaining Color Accuracy
SING OLOR ANAGEMENT ORKFLOWS Maintaining color accuracy For the colors you see on your monitor to match those on your printed output, they must go through color management, including precise calibration of your monitor and Color Server. If viewing colors on the monitor is critical, consider using a professional profiling software package and instrument, such as the EFI Color Profiler Suite, to create a monitor profile. -
Page 19: Managing Color In Office Applications
ANAGING OLOR IN FFICE PPLICATIONS ANAGING OLOR IN FFICE PPLICATIONS The ColorWise color management system provides complete color management for jobs printed from office applications and other applications that do not generate PostScript. This chapter provides instructions for printing color documents from applications such as word processing, spreadsheet, and presentation graphics applications. -
Page 20: Color Matching With Office Applications
ANAGING OLOR IN FFICE PPLICATIONS Color matching with office applications Your Color Server user software includes two RGB color reference pages, a Microsoft Word file and a Microsoft PowerPoint file. You can print these files using different RGB print options to see how the colors appear when printed to the Color Server. For best results, print the color reference page using the same print options you plan to use for your final document. -
Page 21: Working With Imported Files
ANAGING OLOR IN FFICE PPLICATIONS Working with imported files Your application may allow you to import a variety of file formats. If you encounter printing problems when using other imported file formats, such as TIFF and PICT, EPS files are recommended. -
Page 22: Output Profiles
ANAGING OLOR IN FFICE PPLICATIONS Output profiles All color data in a job is affected by the output profile on the Color Server. This profile may be the one designed for your device and shipped with the Color Server, or it may be a custom profile created at your site (see Color Printing). -
Page 23: Managing Color In Post Script Applications
ANAGING OLOR IN CRIPT PPLICATIONS ANAGING OLOR IN CRIPT PPLICATIONS This chapter provides guidelines for using applications that can write their own PostScript, such as some illustration, pixel editing, and page layout applications. For information about using specific applications, see “Managing Color in Adobe Photoshop”... -
Page 24: Color Matching With Postscript Applications
ANAGING OLOR IN CRIPT PPLICATIONS Color matching with PostScript applications All PostScript applications support CMYK. Some also support RGB and other color models based on monitor display values. PostScript applications also allow you to choose named colors using one or more color libraries, such as PANTONE (see page 25). -
Page 25: Using The Pantone Reference
ANAGING OLOR IN CRIPT PPLICATIONS Using the PANTONE reference Use the PANTONE reference (Process Simulation of PANTONE Solid Coated Colors) included with your Color Server user software to help ensure predictable results with colors chosen from the PANTONE color library. The information printed by this reference varies depending on the Spot Color Matching setting. -
Page 26: Mixing Object Types (Advanced Color Management)
ANAGING OLOR IN CRIPT PPLICATIONS Mixing object types (Advanced color management) If you place multiple RGB objects, mixed non-photographic and photographic, in a file, a single rendering intent may not optimize output for all the objects. In this case, you can have the photographic objects bypass the rendering intent altogether. -
Page 27: Using Application-Defined Halftones
ANAGING OLOR IN CRIPT PPLICATIONS Using application-defined halftones If your site has installed the Graphic Arts Package (not available for all Color Server models), you can define halftones from several PostScript applications and use them when printing. The results may vary, depending on the application. To define a halftone, use the application to adjust the Frequency and Angle values of the halftone. -
Page 28: Managing Color In Adobe Photoshop
ANAGING OLOR IN DOBE HOTOSHOP ANAGING OLOR IN DOBE HOTOSHOP This chapter covers features of Adobe Photoshop CS3 for Windows and Mac OS. The illustrations show the Windows user interface, but the information and instructions apply equally to the Mac OS version of Photoshop, unless otherwise specified. Before using Photoshop, install the RGB source profile and CMYK source profile or output profile that you will use when printing to the Color Server. - Page 29 ANAGING OLOR IN DOBE HOTOSHOP O SPECIFY COLOR SETTINGS FOR HOTOSHOP 1 Choose Color Settings from the Edit menu. The Color Settings dialog box appears. If More Options appears (rather than Fewer Options), click More Options. 2 Choose the desired working space profile for each color mode in the Working Spaces area. A working space specifies the color profile for documents that have no color profile associations or documents that are newly created.
- Page 30 ANAGING OLOR IN DOBE HOTOSHOP Choose an appropriate ICC profile to embed when saving a file for each color space. Use the following guidelines for specifying working spaces: • For RGB, choose the profile for the default RGB color space used by the Color Server, for example, Fiery RGB or EFIRGB.
-
Page 31: Saving Files From Photoshop
ANAGING OLOR IN DOBE HOTOSHOP 6 Clear the Desaturate Monitor Colors By and Blend RGB Colors Using Gamma options in the Advanced Controls area. Clearing these options helps to ensure a match between your monitor display and the printed output. 7 Click Save to save the current group of color settings. - Page 32 ANAGING OLOR IN DOBE HOTOSHOP O SAVE A DOCUMENT FROM HOTOSHOP 1 Choose Save As from the File menu. The Save As dialog box appears. 2 Specify settings in the Save As dialog box. • Browse to a location for the document. •...
- Page 33 ANAGING OLOR IN DOBE HOTOSHOP 3 Click Save. If you chose Photoshop EPS as the format, the EPS Options dialog box appears. 4 Specify EPS options, and then click OK. • Choose a TIFF preview option. A TIFF preview is compatible with Windows and Mac OS computers.
-
Page 34: Selecting Options When Printing
ANAGING OLOR IN DOBE HOTOSHOP Selecting options when printing You can print RGB or CMYK objects from Photoshop. • When you print an RGB object, you choose whether the conversion to CMYK is performed by the Color Server (using ColorWise RGB print options), PostScript (using the PostScript Color Management option), or Photoshop built-in color management. - Page 35 ANAGING OLOR IN DOBE HOTOSHOP 3 Choose an Encoding method. If you choose JPEG encoding, save a backup of the original object with Binary encoding until you see the printed results of the JPEG file. Occasionally, the compression used for JPEG encoding produces unwanted artifacts. If you see unexpected results in the printed output of a JPEG file, revert to Binary encoding.
-
Page 36: Advanced Tips For Using Postscript Color Management
ANAGING OLOR IN DOBE HOTOSHOP Advanced tips for using PostScript color management Use the following information to implement alternative, more complex, color workflows with Photoshop. Saving EPS documents with PostScript color management If you select the PostScript Color Management option (in the EPS Options dialog box) when you save a CMYK or RGB EPS file, Photoshop embeds PostScript color information, which is independent of ICC profiles, in the resulting document. - Page 37 ANAGING OLOR IN DOBE HOTOSHOP Printing CMYK EPS files saved with PostScript color management If you select the Photoshop PostScript Color Management option when you save a CMYK EPS object, Photoshop embeds PostScript color information that defines the CMYK source color space of the object.
-
Page 38: Managing Color In Page Layout Applications
ANAGING OLOR IN AYOUT PPLICATIONS ANAGING OLOR IN AYOUT PPLICATIONS This chapter provides instructions for printing color documents from Adobe InDesign CS3 and QuarkXPress 7 for Windows and Mac OS. The illustrations show the Windows user interface, but the information and instructions apply equally to the Mac OS version of each application, unless otherwise specified. -
Page 39: Adobe Indesign
ANAGING OLOR IN AYOUT PPLICATIONS Adobe InDesign The following sections outline the recommended settings for using Adobe InDesign CS3 with the Color Server. InDesign color settings When using ColorWise color management, turn off the InDesign color management features. O DISABLE ESIGN COLOR MANAGEMENT 1 Choose Color Settings from the Edit menu. - Page 40 ANAGING OLOR IN AYOUT PPLICATIONS 3 Choose the desired working space profile for each mode in the Working Spaces area. Use the following guidelines for specifying working spaces: • For RGB, choose the profile for the default RGB color space used by the Color Server, for example, Fiery RGB or EFIRGB.
-
Page 41: Importing Objects
ANAGING OLOR IN AYOUT PPLICATIONS Importing objects All RGB objects placed in a document, except for RGB TIFF objects, are affected by your RGB print settings. For best results with placed objects, follow the instructions in “Working with imported objects” on page 25. -
Page 42: Selecting Options When Printing
ANAGING OLOR IN AYOUT PPLICATIONS Selecting options when printing Use the standard Color Server printer driver interface to select print options from InDesign. O SET PRINT OPTIONS FROM ESIGN 1 Choose Print from the File menu. 2 Choose the Color Server device name from the Printer menu. 3 Select Output. - Page 43 ANAGING OLOR IN AYOUT PPLICATIONS 5 Select Graphics. Graphics options appear. Select Graphics Choose PostScript setting 6 Choose Level 3 from the PostScript menu. If you encounter problems, you can also use Level 2. 7 Select Color Management. Color management options appear. Select Color Management Choose Color Handling setting...
- Page 44 ANAGING OLOR IN AYOUT PPLICATIONS 8 Confirm that Color Handling is set to No Color Management. 9 Click Setup (Windows) or Printer (Mac OS) at the bottom of the dialog box. The operating system Print dialog box appears. 10 Windows: Click Preferences, and then click the Fiery Printing tab in the dialog box that appears.
-
Page 45: Quarkxpress
ANAGING OLOR IN AYOUT PPLICATIONS QuarkXPress Importing objects Only RGB objects saved in EPS format are affected by RGB print options. For best results with placed objects, follow the instructions in “Working with imported objects” on page 25. Selecting options when printing The following procedure provides instructions on printing files to the Color Server. -
Page 46: Optional Color Management From Quarkxpress
ANAGING OLOR IN AYOUT PPLICATIONS 4 Select Color. Color management options appear. Select Color Choose Mode setting Choose Setup setting 5 Choose Composite from the Mode menu. 6 Choose As Is from the Setup menu. Use this setting if you want the color managed by the Color Server. This means that each color in the document should be described in the space from which the color was created. -
Page 47: Managing Color In Illustration Applications
ANAGING OLOR IN LLUSTRATION PPLICATIONS ANAGING OLOR IN LLUSTRATION PPLICATIONS This chapter provides instructions for using Illustrator for Windows and Mac OS and CorelDRAW for Windows. The illustrations show the Windows user interface, but the information and instructions apply equally to the Mac OS version of Illustrator, unless otherwise specified. -
Page 48: Illustrator Color Settings
ANAGING OLOR IN LLUSTRATION PPLICATIONS Illustrator color settings Illustrator uses a sophisticated color management system that can handle both RGB and CMYK colors for a variety of color-managed workflows. By customizing color settings, you specify the amount of color management that you want to use while working in Illustrator. Illustrator color settings include the following: Default color spaces to use when working with RGB and CMYK documents. - Page 49 ANAGING OLOR IN LLUSTRATION PPLICATIONS 3 Choose the appropriate working space profile for each mode in the Working Spaces area. • For RGB, choose the profile for the default RGB color space used by the Color Server, for example, Fiery RGB or EFIRGB. New RGB documents you create in Illustrator will use this working space.
-
Page 50: Saving Files For Importing Into Other Documents
ANAGING OLOR IN LLUSTRATION PPLICATIONS Saving files for importing into other documents When saving files in Illustrator for importing into other types of documents, use the EPS file format. Illustrator can save color information in both RGB and CMYK. The ColorWise RGB print options affect color output of RGB artwork saved in Illustrator EPS and imported into other kinds of documents (even when both RGB and CMYK artwork exist in the same file). - Page 51 ANAGING OLOR IN LLUSTRATION PPLICATIONS 5 Make sure that the Printer Profile setting matches the displayed Document Profile setting. 6 Select Output. Output options appear. Select Output Choose Mode setting 7 Choose Composite from the Mode menu.
- Page 52 ANAGING OLOR IN LLUSTRATION PPLICATIONS 8 Select Graphics. Graphics options appear. Select Graphics Choose PostScript setting 9 Choose Language Level 3 from the PostScript menu. If you encounter problems, you can also use Level 2. 10 Click Setup (Windows) or Printer (Mac OS) at the bottom of the dialog box. The operating system Print dialog box appears.
-
Page 53: Using Illustrator Color Management
ANAGING OLOR IN LLUSTRATION PPLICATIONS Using Illustrator color management If you have color management requirements that are not offered by ColorWise, such as managing color on devices not controlled by the Color Server, consider using the Illustrator color management features. For more information, see the documentation that accompanies Illustrator. -
Page 54: Importing Objects
ANAGING OLOR IN LLUSTRATION PPLICATIONS Importing objects All RGB objects placed in a document are affected by the RGB print settings. For best results with placed objects, follow the instructions in “Working with imported objects” on page 25. Saving files for importing into other documents When saving files in CorelDRAW for importing into other types of documents, use the EPS file format. -
Page 55: Optional Color Management In Coreldraw
ANAGING OLOR IN LLUSTRATION PPLICATIONS 3 On the Misc tab, clear the Apply ICC profile option. If this option is selected, CorelDRAW color management settings are used to convert RGB colors and objects to CMYK. Clear this option to use ColorWise color management 4 On the General tab, click Properties. -
Page 56: Managing Color In Adobe Acrobat
ANAGING OLOR IN DOBE CROBAT ANAGING OLOR IN DOBE CROBAT This chapter covers features of Adobe Acrobat 7.0 Professional for Windows and Mac OS. The illustrations show the Windows user interface, but the information and instructions apply equally to the Mac OS version of Acrobat, unless otherwise specified. Before using Acrobat, install the RGB source profile and CMYK source profile or output profile that you will use when printing to the Color Server. -
Page 57: Specifying Color Settings
ANAGING OLOR IN DOBE CROBAT Specifying color settings When using ColorWise color management, turn off the Acrobat color management features. O SPECIFY COLOR SETTINGS FOR CROBAT 1 Choose Preferences from the Edit menu (Windows) or Acrobat menu (Mac OS). If Enfocus Pitstop is installed, choose Preferences > General from the Edit menu. 2 Select Color Management. -
Page 58: Selecting Options When Printing
ANAGING OLOR IN DOBE CROBAT Selecting options when printing You can use the standard Color Server printer driver interface to select print options from Acrobat. O PRINT A DOCUMENT FROM CROBAT 1 Choose Print from the File menu. The Print dialog box appears. 2 Choose the Color Server device from the Name menu (Windows) or Printer menu (Mac OS). - Page 59 ANAGING OLOR IN DOBE CROBAT 5 Select Output. Select Output Choose Color Profile 6 Choose Same as Source (No Color Management) from the Color Profile list. Acrobat does not convert object data to another color space before sending it to the Color Server.
-
Page 60: Desktop Color Primer
ESKTOP OLOR RIMER ESKTOP OLOR RIMER This chapter covers concepts that are basic to printing in color, including: • Properties of color • Printing techniques • Effective use of color • Raster images and vector graphics • File optimization for processing and printing If you are already familiar with color theory and digital color printing, proceed to “Optimizing files for processing and printing”... -
Page 61: The Physics Of Color
ESKTOP OLOR RIMER The physics of color The human eye can see electromagnetic radiation at wavelengths between 400 nanometers (purplish blue) and 700 nanometers (red). This range is called the visible spectrum of light. We see pure spectral light as intensely saturated or pure colors. Sunlight at midday, which we perceive as white or neutral light, is composed of light from across the visible spectrum in more or less equal proportions. -
Page 62: Cie Color Model
ESKTOP OLOR RIMER CIE color model In the 1930s, the Commission Internationale de l’Eclairage (CIE) defined a standard color space, a way of defining colors in mathematical terms, to help in the communication of color information. This color space is based on research on the nature of color perception. The following CIE chromaticity diagram is a two-dimensional model of color vision. - Page 63 ESKTOP OLOR RIMER While the CIE chromaticity diagram illustrated earlier conveys hue and saturation, a three-dimensional color model is required to add the brightness component, as illustrated in the following figure. Brightness Saturation Many computer applications include dialog boxes in which you choose colors by manipulating hue, saturation, and brightness.
-
Page 64: Additive And Subtractive Color Systems
ESKTOP OLOR RIMER Additive and subtractive color systems Color devices used in desktop publishing and printing simulate the range of visible colors using a set of primary colors that are combined to create other colors. There are two methods for creating a range of colors from a set of primary colors. Computer monitors and scanners are based on the additive color model. - Page 65 ESKTOP OLOR RIMER A familiar device that is based on this color model is the computer monitor, illustrated in the following figure. Monitors have red, green, and blue phosphors that emit varying amounts of light to display a given color. Scanners create digital representations of colors by measuring their red, green, and blue components through colored filters.
- Page 66 ESKTOP OLOR RIMER subtractive primaries are cyan, magenta, and yellow; they absorb red, green, and blue light, respectively (as illustrated in the following figure). Combining any two subtractive primaries creates a new color that is relatively pure or saturated. For example, you can make red by combining magenta and yellow, which absorb green and blue light, respectively.
-
Page 67: Understanding Color Gamut
ESKTOP OLOR RIMER Understanding color gamut Different color reproduction techniques have different color capabilities, or gamuts. Color transparency films have comparatively large gamuts, as do color monitors. The color gamut that can be produced using process inks or CMYK toners on paper is smaller. This is why some colors that can be displayed on a color monitor, especially bright saturated colors, cannot be reproduced exactly by your Color Server, nor can they be reproduced on a press using... -
Page 68: Halftone And Continuous Tone Devices
ESKTOP OLOR RIMER With the Color Server, you simply print the file. The Color Server processes the PostScript information in the file and sends four bitmaps (one each for cyan, magenta, yellow, and black) to the printer. The ease of Color Server printing makes possible experimentation that would be too costly on a press, allowing unlimited fine-tuning of color and design elements. -
Page 69: General Guidelines
ESKTOP OLOR RIMER General guidelines To create successful color materials, consider the following: • Use color to aid comprehension, rather than applying colors indiscriminately. In presentations, graphs, and charts, use color to highlight patterns and emphasize differences. • Use color sparingly. In general, fewer colors work better than many colors. •... - Page 70 ESKTOP OLOR RIMER Colors opposite one another on the color wheel are called complements (see example a in the following figure), and create a striking contrast side by side. This can be the basis for a bold graphical design, but it is an effect you should use with discretion, since it can be visually fatiguing.
-
Page 71: Color And Text
ESKTOP OLOR RIMER Color and text It is not a coincidence that the overwhelming majority of text you see is printed in black on white paper. Text in black on white is highly legible and is not fatiguing to read for extended periods. -
Page 72: Raster Images And Vector Graphics
ESKTOP OLOR RIMER Raster images and vector graphics Two broad categories of artwork can be printed from a personal computer to a color printer: raster images vector graphics. A raster image, also referred to as a bitmap, is composed of a grid of pixels, each assigned a particular color value (as illustrated in example a in the following figure). -
Page 73: Optimizing Files For Processing And Printing
ESKTOP OLOR RIMER Optimizing files for processing and printing The following sections provide information about 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 Color Server. -
Page 74: Scaling
ESKTOP OLOR RIMER Print the files and examine the output. You will likely begin to see a marked deterioration in output quality at resolutions below 200 ppi, while above 200 ppi the improvement may be very subtle. 100 ppi 200 ppi 300 ppi 400 ppi 500 ppi... -
Page 75: Bibliography
IBLIOGRAPHY IBLIOGRAPHY Books Bruno, Michael H., ed. Pocket Pal: A Graphic Arts Production Handbook. Nineteenth Edition. International Paper, 2004. Fraser, Bruce and Blatner, David. Real World Adobe Photoshop CS2. Berkeley: Peachpit Press, 2006. Hunt, R.W.G. The Reproduction of Colour. Sixth Edition. Wiley, 2004. Kieran, Michael. -
Page 77: Glossary
LOSSARY LOSSARY This Glossary contains some terms that are industry concepts and may not be explicitly referenced in the documentation set. additive color model A system in which colors are produced by combining red, green, and blue light (the additive primaries). - Page 78 LOSSARY blasting An undesirable effect that occurs when excess amounts of toner, possibly combined with certain types of paper stock, cause objects in an image to spread beyond the boundaries defined in the file. brightness Both the saturation and lightness of product color. calibration The process of adjusting the basic setting of a monitor, printer, or other device to standard values in order to ensure uniform and consistent results over time.
- Page 79 LOSSARY color channel A single-color image that can be edited separately from the other color channels in a color space; for example, the red channel of an RGB image. color gamut See gamut. color management system (CMS) System used to match color across different input, display, and output devices. color rendering dictionary See CRD (Color Rendering Dictionary).
- Page 80 LOSSARY consumable Material such as ink, toner, paper, or lubricants that must be replenished regularly in order for the print device to function properly. continuous tone (contone) A photographic image that contains gradient tones from black to white (such as a 35mm transparency or a photograph).
- Page 81 LOSSARY device-independent colors Colors described using a model based on human visual perception instead of being device-specific. A Japanese standard of specifications for separations, proofs, and color printing. Encapsulated PostScript (EPS) A PostScript file format designed to be embedded in another PostScript stream. Euroscale A European standard of specifications for separations, proofs, and color printing.
- Page 82 LOSSARY GDI (Graphics Device Interface) Graphics and display technology used by Windows computers. GDI applications rely on GDI (rather than the PostScript language) to send text and pictures to a print device. GIF (Graphics Interchange Format) A standard for bitmap graphics of up to 256 colors used for posting photographic images on Internet or intranet pages;...
- Page 83 LOSSARY ICC profile An industry standard color profile format developed by the International Color Consortium (ICC) that describes the color capabilities, including the gamut, of a color device based on the differences between an ideal and the current device. The ideal is often provided by the manufacturer as a color reference file.
- Page 84 LOSSARY named color A color that is defined according to a custom color system. For example, PANTONE 107 C is a named color; also referred to as a spot color. office applications Software applications commonly used for business purposes, including presentation, spreadsheet, and word processing applications.
- Page 85 LOSSARY pixel The smallest distinct element of a raster image. The term is a combination of the words “picture” and “element.” PostScript A device-independent page description language that is used to print and display pictures and text. PostScript 3 includes many enhancements to older versions of PostScript, including improved image quality and color.
- Page 86 LOSSARY resolution The number of pixels per inch (ppi) in a bitmap image or the number of dots per inch (dpi) that a device can render. An additive color model that makes a range of colors by combining red, green, and blue light, called the additive primaries.
- Page 87 LOSSARY subtractive color model A system in which color is produced by combining colorants such as paint, inks, or dyes on media such as paper, acetate, or transparent film. All printing devices use the subtractive color model. subtractive primaries Cyan, magenta, and yellow colorants used in subtractive color systems for color printing. Combining the subtractive primaries produces darker colors.
-
Page 89: Index
NDEX NDEX physics of 61 process colors 68 accent color 69 properties of 60 Acrobat 56 to 59 reference pages 11 additive color model 64 RGB model 19, 23 additive primaries 64 split complements 70 Adobe (ACE) conversion option subtractive model 64, 65 Illustrator 49 subtractive primaries 66 InDesign 40... - Page 90 NDEX Illustrator 23, 47 InDesign 39 to 44 Desaturate Monitor Colors by, Photoshop International Color Consortium 8 setting 31 device profiles 8 Document Color Mode, Illustrator 47 JPEG 33, 35, 36 documentation light 61 to 62 EFIRGB line art, see vector graphics Photoshop 30, 40, 49, 57 Encoding, Photoshop setting 35 EPS (Encapsulated PostScript)
- Page 91 NDEX Photoshop Multi-channel 37 physics of color 61 saturation 60, 62 pixel-editing applications 72, 73 scaling of raster images 74 Postflight 23 scanners 64, 65 PostScript applications screens, used in halftoning 68 color handling 23 Separations, printing with Photoshop 34 using color in 23 to 27 short-run printing 17 PostScript Color Management, Photoshop...