Expanded Gamut Shoot-Out: Real Systems, Real Results
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NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production
NEC MultiSync® PA311D Wide gamut color critical display designed for photography and video production 1419058943 High resolution and incredible, predictable color accuracy. The 31” MultiSync PA311D is the ultimate desktop display for applications where precise color is essential. The innovative wide-gamut LED backlight provides 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3, enabling more accurate colors to be displayed on screen. Utilizing a high performance IPS LCD panel and backed by a 4 year warranty with Advanced Exchange, the MultiSync PA311D delivers high quality, accurate images simply and beautifully. Impeccable Image Performance The wide-gamut LED LCD backlight combined with NEC’s exclusive SpectraView Engine deliver precise color in every environment. • True 4K resolution (4096 x 2160) offers a high pixel density • Up to 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3 • 10-bit HDMI and DisplayPort inputs display up to 1.07 billion colors out of a palette of 4.3 trillion colors Ultimate Color Management The sophisticated SpectraView Engine provides extensive, intuitive control over color settings. • MultiProfiler software and on-screen controls provide access to thousands of color gamut, gamma, white point, brightness and contrast combinations • Internal 14-bit 3D lookup tables (LUTs) work with optional SpectraViewII color calibration solution for unparalleled color accuracy A Perfect Fit for Your Workspace A Better Workflow Future-proof connectivity, great ergonomics, and VESA mount Exclusive, -
Medtronic Brand Color Chart
Medtronic Brand Color Chart Medtronic Visual Identity System: Color Ratios Navy Blue Medtronic Blue Cobalt Blue Charcoal Blue Gray Dark Gray Yellow Light Orange Gray Orange Medium Blue Sky Blue Light Blue Light Gray Pale Gray White Purple Green Turquoise Primary Blue Color Palette 70% Primary Neutral Color Palette 20% Accent Color Palette 10% The Medtronic Brand Color Palette was created for use in all material. Please use the CMYK, RGB, HEX, and LAB values as often as possible. If you are not able to use the LAB values, you can use the Pantone equivalents, but be aware the color output will vary from the other four color breakdowns. If you need a spot color, the preference is for you to use the LAB values. Primary Blue Color Palette Navy Blue Medtronic Blue C: 100 C: 99 R: 0 L: 15 R: 0 L: 31 M: 94 Web/HEX Pantone M: 74 Web/HEX Pantone G: 30 A: 2 G: 75 A: -2 Y: 47 #001E46 533 C Y: 17 #004B87 2154 C B: 70 B: -20 B: 135 B: -40 K: 43 K: 4 Cobalt Blue Medium Blue C: 81 C: 73 R: 0 L: 52 R: 0 L: 64 M: 35 Web/HEX Pantone M: 12 Web/HEX Pantone G: 133 A: -12 G: 169 A: -23 Y: 0 #0085CA 2382 C Y: 0 #00A9E0 2191 C B: 202 B: -45 B: 224 B: -39 K: 0 K : 0 Sky Blue Light Blue C: 55 C: 29 R: 113 L: 75 R: 185 L: 85 M: 4 Web/HEX Pantone M: 5 Web/HEX Pantone G: 197 A: -20 G: 217 A: -9 Y: 4 #71C5E8 297 C Y: 5 #B9D9EB 290 C B: 232 B: -26 B: 235 B: -13 K: 0 K: 0 Primary Neutral Color Palette Charcoal Gray Blue Gray C: 0 Pantone C: 68 R: 83 L: 36 R: 91 L: 51 M: 0 Web/HEX Cool M: 40 Web/HEX Pantone G: 86 A: 0 G: 127 A: -9 Y: 0 #53565a Gray Y: 28 #5B7F95 5415 -
Pantone® Supply Guide SM
PANTONE® Supply Guide SM World's Largest Inventory of PANTONE Products! SWATCHES SEE PAGE 2 NEW LOOK! NEW PRODUCT! SEE PAGES 6 - 9 Swatch FILES SEE PAGE 3 COLOR CHIP SET SOLID COLOR GUIDES NEW! SOLID CHIPS-TWO BOOK SET SEE PAGE 6 CMYK GUIDES PASTEL AND NEON GUIDE COLOR BRIDGES EXT. CALL: 1-800-234-9288 302 or ORDER ONLINE AT: www.hyatts.com PREMIUM METALLIC FORMULA GUIDE GRAPHICS REPLACEMENT PAGES SEE PAGE 8 PANTONE Fashion+Home Swatches Cotton Swatches Double folded fabric measues 4" x 4". Unfolded swatch 2 measures 4" x 8". All 1,925 Colors Each swatch is individually sealed in a UV protective plastic to resist fading due to light exposure. IN STOCK! Hyatt's Price $8.75 LIST $9.35 Call for Volume Discounts! Each card is identified with four PANTONE Color name and number strips so that a swatch can be cut when being used. FREE 2-Day Delivery on All Close-Out! 4" X 4" COTTON Page and Swatch TEXTILE SwaTCHES Orders Over $200 n These textile swatch cards were the standard in industry for years. in the n continental U.S. Recently replaced by new 4"x 8" size. Individual unbacked loose fabric swatches Hyatt's Price available for all $4.95 1,925 colors! LIST $6.25 Available while supplies last. SM World’s Largest PANTONE Inventory © 2010 Hyatt’s—All Things Creative. All product names throughout this catalog are trademarks or registered trademarks of their respective holders. Hyatt’s is not responsible for typographical errors. Prices subject to change without notice. -
Accurately Reproducing Pantone Colors on Digital Presses
Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings. -
Organic Pigments for Digital Color Printing
Organic Pigments For Digital Color Printing Ruediger Baur and Hans-Tobias Macholdt R&D Pigments, Hoechst AG, Frankfurt/Main, Germany Abstract ency (decreasing transparency automatically means in- creasing hiding power). Also, aspects like lightfastness, Digital color printing (DCP) is becoming more important thermostability and eco/toxicology have to be covered by a versus traditional printing technologies. For electro-graphic- suitable organic pigment for toner use. These aspects are based printers, colored tribo (friction) toner creates the full influenced by both chemical constitution and solid state color image. Typically organic color pigments provide the parameters7 (particle size distribution, particle shape, crys- required color. They have to fulfil both coloristic and tallinity etc.) . electrostatic properties. These properties are the result of To attain the needed coloristic properties the dispersion the chemical constitution and solid-state characteristics of behaviour is of special relevance. In general, solid pigment the pigment. Low electrostatic influence together with high particles are classified in three groups7: tinctorial strength and appropriate transparency is useful. A new yellow pigment type of the benzimidazolone class 1. pigment agglomerates (particle size approx. 0.2-10µm) combines these aspects. The final electrostatic charge of the 2. pigment aggregates (particle size approx. < 1µm) toner is achieved by adding suitable charge control agents 3. primary pigment particles (particle size approx.<<1µm) (CCAs) to control toner charge both in magnitude and sign. Organic color pigments are typically provided in pow- Introduction der form. The single powder particles usually consist of agglomerates. Agglomerates are groups of small crystals In general terms, digital printing means a direct connection and/or smaller aggregates, joined at their corner and edges. -
Predictability of Spot Color Overprints
Predictability of Spot Color Overprints Robert Chung, Michael Riordan, and Sri Prakhya Rochester Institute of Technology School of Print Media 69 Lomb Memorial Drive, Rochester, NY 14623, USA emails: [email protected], [email protected], [email protected] Keywords spot color, overprint, color management, portability, predictability Abstract Pre-media software packages, e.g., Adobe Illustrator, do amazing things. They give designers endless choices of how line, area, color, and transparency can interact with one another while providing the display that simulates printed results. Most prepress practitioners are thrilled with pre-media software when working with process colors. This research encountered a color management gap in pre-media software’s ability to predict spot color overprint accurately between display and print. In order to understand the problem, this paper (1) describes the concepts of color portability and color predictability in the context of color management, (2) describes an experimental set-up whereby display and print are viewed under bright viewing surround, (3) conducts display-to-print comparison of process color patches, (4) conducts display-to-print comparison of spot color solids, and, finally, (5) conducts display-to-print comparison of spot color overprints. In doing so, this research points out why the display-to-print match works for process colors, and fails for spot color overprints. Like Genie out of the bottle, there is no turning back nor quick fix to reconcile the problem with predictability of spot color overprints in pre-media software for some time to come. 1. Introduction Color portability is a key concept in ICC color management. -
The Printer's Guide to Expanded Gamut
DISTRIBUTED BY TECHKON USA February 2017 THE PRINTER’S GUIDE TO EXPANDED GAMUT Understanding the technology landscape and implementation approach By Ron Ellis Printer’s Guide to Expanded Gamut Page | 1 Printer’s Guide to Expanded Gamut Whitepaper By Ron Ellis Table of Contents What is Expanded Gamut ............................................................................................................... 4 ......................................................................................................................................................... 5 Why Expanded Gamut .................................................................................................................... 6 The Current Expanded Gamut Landscape ...................................................................................... 9 Standardization and Expanded Gamut ......................................................................................... 10 Methods of Producing Expanded Gamut...................................................................................... 11 Techkon and Expanded Gamut ..................................................................................................... 11 CMYK expanded gamut ................................................................................................................. 12 The CMYK Expanded Gamut Workflow ........................................................................................ 16 Conversion from source to CMYK Expanded gamut .................................................................... -
Color Printing Techniques
4-H Photography Skill Guide Color Printing Techniques Enlarging Color Negatives Making your own color prints from Color Relations color negatives provides a whole new area of Before going ahead into this fascinating photography for you to enjoy. You can make subject of color printing, let’s make sure we prints nearly any size you want, from small ones understand some basic photographic color and to big enlargements. You can crop pictures for the visual relationships. composition that’s most pleasing to you. You can 1. White light (sunlight or the light from an control the lightness or darkness of the print, as enlarger lamp) is made up of three primary well as the color balance, and you can experiment colors: red, green, and blue. These colors are with control techniques to achieve just the effect known as additive primary colors. When you’re looking for. The possibilities for creating added together in approximately equal beautiful color prints are as great as your own amounts, they produce white light. imagination. You can print color negatives on conventional 2. Color‑negative film has a separate light‑ color printing paper. It’s the kind of paper your sensitive layer to correspond with each photofinisher uses. It requires precise processing of these three additive primary colors. in two or three chemical solutions and several Images recorded on these layers appear as washes in water. It can be processed in trays or a complementary (opposite) colors. drum processor. • A red subject records on the red‑sensitive layer as cyan (blue‑green). • A green subject records on the green‑ sensitive layer as magenta (blue‑red). -
PMS Color Chart
Pantone® Matching System Color Chart PMS Colors Used For Printing Use this guide to assist your color selection and specification process. This chart is a reference guide only. Pantone colors on computer screens may vary based on the graphics card and monitor used in your system. For true accuracy use the Pantone Color Publication. Pantone Process Yellow PMS 100 PMS 101 PMS 102 PMS 103 PMS 104 Yellow PMS 105 PMS 106 PMS 107 PMS 108 PMS 109 PMS 110 PMS 111 PMS 112 PMS 113 PMS 114 PMS 115 PMS 116 PMS 117 PMS 118 PMS 119 PMS 120 PMS 121 PMS 122 PMS 123 PMS 124 PMS 125 PMS 1205 PMS 1215 PMS 1225 PMS 1235 PMS 1245 PMS 1255 PMS 1265 PMS 127 PMS 128 PMS 129 PMS 130 PMS 131 PMS 132 PMS 133 PMS 134 PMS 135 PMS 136 PMS 137 PMS 138 PMS 139 PMS 140 PMS 1345 PMS 1355 PMS 1365 PMS 1375 PMS 1385 PMS 1395 PMS 1405 PMS 141 PMS 142 PMS 143 PMS 144 PMS 145 PMS 146 PMS 147 PMS 148 PMS 149 PMS 150 PMS 151 PMS 152 PMS 153 PMS 154 PMS 1485 PMS 1495 PMS 1505 Orange 021 PMS 1525 PMS 1535 PMS 1545 PMS 155 PMS 156 PMS 157 PMS 158 PMS 159 PMS 160 PMS 161 PMS 1555 PMS 1565 PMS 1575 PMS 1585 PMS 1595 PMS 1605 PMS 1615 PMS 162 PMS 163 PMS 164 PMS 165 PMS 166 PMS 167 PMS 168 PMS 1625 PMS 1635 PMS 1645 PMS 1655 PMS 1665 PMS 1675 PMS 1685 PMS 169 PMS 170 PMS 171 PMS 172 PMS 173 PMS 174 PMS 175 PMS 176 PMS 177 PMS 178 Warm Red PMS 179 PMS 180 PMS 181 PMS 1765 PMS 1775 PMS 1785 PMS 1788 PMS 1795 PMS 1805 PMS 1815 PMS 1767 PMS 1777 PMS 1787 Red 032 PMS 1797 PMS 1807 PMS 1817 PMS 182 PMS 183 PMS 184 PMS 185 PMS 186 PMS 187 PMS 188 PMS 189 PMS 190 PMS 191 PMS 192 PMS 193 PMS -
Designing Your Best Ad For
WOW File Requirements and Design Services WOW has an entirely electronic workflow. See below for specific print design requirements. All WOW products are perfect bound and printed in CMYK process color. Please remove all spot colors from ads. All ad materials are due by the 5th of each month. On larger ads, relevant information must be positioned inside of the safe zone (page 3). REQUIRED FILE FORMATS PREFERRED: Adobe® Acrobat PDF files set for press quality, CMYK output (300 DPI) and embedded fonts. PC-based, EPS or TIF, CMYK Adobe® InDesign, Photoshop or Illustrator for layout with fonts outlined. Files should not exceed 10 MB. WOW is not responsible for unconverted file problems. Unsupported program files include PageMaker, Corel Draw, QuarkXPress, and Freehand. Files must be converted to press quality, CMYK PDFs before submission. WOW is not responsible for final quality when faxes, scans and materials from Publisher, PowerPoint and Microsoft Word are provided; nor when RGB files are converted to CMYK. Type should not be smaller than 6 pt. to ensure readability. AD MATERIALS As a courtesy to advertisers, WOW provides professional design services. All materials for WOW design must be received by the 5th of each month. All ad graphics and photos must be set at a resolution of 300 DPI and CMYK. Files submitted as RGB may incur an additional fee. Logos should be submitted as CMYK, vector EPS files. Simple set-up or reconstruction of ads is free of charge up to 10 minutes of design time. After 10 minutes, advertisers will be billed $57 per hour. -
Monitor Color Gamut What Does “Percent of NTSC” Mean?
Technical white paper Monitor color gamut What does “percent of NTSC” mean? What is color gamut? With rare exceptions, all LCD monitors operate by presenting just three primary colors to the eye: red, green and blue. All the colors you can see on the monitor are actually different blends of the three primaries. This works because of the way the human eye works. The complete set of colors that a monitor can present is called the “native color gamut”, and is determined by the exact colors of the three primaries. Different monitors have slight (or not so slight) differences in the three primaries. These differences are a consequence of the technologies used in the LCD panel and the backlight, and sometimes of the age of the unit. There are two diagrams commonly used for representing how color gamuts relate to the set of all colors visible to the human eye. These are called “chromaticity” diagrams. The first (left), which is commonly used, is the “CIE 1931” diagram, which uses the coordinates x and y. The second diagram (right), which is newer (and, actually, a better representation of how we perceive color) is the “CIE 1976 UCS” diagram, which uses the coordinates u’ and v’ (called “u prime” and “v prime”). Any three-primary color gamut for a monitor can be plotted on these diagrams as a triangle of which the vertices are the exact colors of the red, green and blue primaries. The NTSC color space There are many standard three-primary color spaces used in the industry. The NTSC color space, defined in 1953, is, however, not commonly used, as no displays at the time had primaries which matched it. -
Comparing Measures of Gamut Area
Comparing Measures of Gamut Area Michael P Royer1 1Pacific Northwest National Laboratory 620 SW 5th Avenue, Suite 810 Portland, OR 97204 [email protected] This is an archival copy of an article published in LEUKOS. Please cite as: Royer MP. 2018. Comparing Measures of Gamut Area. LEUKOS. Online Before Print. DOI: 10.1080/15502724.2018.1500485. PNNL-SA-132222 ▪ November 2018 COMPARING MEASURES OF GAMUT AREA Abstract This article examines how the color sample set, color space, and other calculation elements influence the quantification of gamut area. The IES TM-30-18 Gamut Index (Rg) serves as a baseline, with comparisons made to several other measures documented in scientific literature and 12 new measures formulated for this analysis using various components of existing measures. The results demonstrate that changes in the color sample set, color space, and calculation procedure can all lead to substantial differences in light source performance characterizations. It is impossible to determine the relative “accuracy” of any given measure outright, because gamut area is not directly correlated with any subjective quality of an illuminated environment. However, the utility of different approaches was considered based on the merits of individual components of the gamut area calculation and based on the ability of a measure to provide useful information within a complete system for evaluating color rendition. For gamut area measures, it is important to have a reasonably uniform distribution of color samples (or averaged coordinates) across hue angle—avoiding exclusive use of high-chroma samples—with sufficient quantity to ensure robustness but enough difference to avoid incidents of the hue-angle order of the samples varying between the test and reference conditions.