GMG Spotcolor Editor Quick Start Guide for Spot Color Proofing (EN) Imprint
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How to Map a Spot Color to Specialty Dry Ink on the Top Layer
How to Map a Spot Color to Specialty Dry Ink GX Print Server for Iridesse Production Press Version 1.0 Overview This exercise will show the ability to output a spot color using specialty dry ink. This demonstration will use a function of the GX Print Server to map specified spot colors to specialty dry ink, positioning the ink on either the bottom/top layer of the paper. Objective By the end of this exercise users will be able to: • Find the location of the setting on the GX Print Server • Specify a spot color that will be mapped to specialty dry ink BEFORE AFTER Spot color “PANTONE 145 C” Map to Gold Map to Silver Map specified spot color Job including spot color to specialty dry ink 1 Configuration of the Job Properties Please note, this How To document is part of a set. If you cannot complete some of the following steps please refer to the other reference documents. i.e “Open the Job Properties” is further explained in the “How to import a job.pdf”. Go to: http://m1-onlinesupport.fujixerox.com/driver_downloads/OTS/OTS_gxprintserver_iridesse_EN.html 1. Open the Job Properties and select [Advanced Settings] > [Specialty Dry Ink]. Then, enable [Use Specialty Dry Ink] and click [OK]. 2. Select [Top Layer] from the side panel and enable [Map to Spot Color(s)]. Then, click [Edit]. 2 3. Click [Select] in the Edit Spot Color window. 4. Select [Pantone+ Solid Coated-V3] as [Select Categories], and select [PANTONE 145 C]. Then click [OK]. 5. Select [Add], the selected spot color is added into the list. -
Expanded Gamut Shoot-Out: Real Systems, Real Results
Expanded Gamut Shoot-Out: Real Systems, Real Results Abhay Sharma Click toRyerson edit Master University, subtitle Toronto style Advisors Roger Breton, Marc Levine, John Seymour, Bill Pope Comprehensive Report – 450+ downloads tinyurl.com/ExpandedGamut Agenda – Expanded Gamut § Why do we need Expanded Gamut? § What is Expanded Gamut? (CMYK-OGV) § Use cases – Spot Colors vs Images PANTONE 109 C § Printing Spot Colors with Kodak Spotless (KSS) § Increased Accuracy § Using only 3 inks § Print all spot colors, without spot color inks § How do I implement EG? § Issues with Adobe and Pantone § Flexo testing in 2020 Vendors and Participants Software Solutions 1. Alwan – Toolbox, ColorHub 2. CGS ORIS – X GAMUT 3. ColorLogic – ColorAnt, CoPrA, ZePrA 4. GMG Color – OpenColor, ColorServer 5. Heidelberg – Prinect ColorToolbox 6. Kodak – Kodak Spotless Software, Prinergy PDF Editor § Hybrid Software - PACKZ (pronounced “packs”) RIP/DFE § efi Fiery XF (Command WorkStation) – Epson P9000 § SmartStream Production Pro – HP Indigo 7900 Color Management Solutions § X-Rite i1Profiler Expanded Gamut Tools § PANTONE Color Manager, Adobe Acrobat Pro, Adobe Photoshop Why do we need Expanded Gamut? - because imaging systems are imperfect Printing inks and dyes CMYK color gamut is small Color negative film What are the Use Cases for Expanded Gamut? ✓ 1. Spot Colors 2. Images PANTONE 301 C PANTONE 109 C Expanded gamut is most urgently needed in spot color reproduction for labels and package printing. Orange, Green, Violet - expands the colorspace Y G O C+Y M+Y -
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. -
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 .................................................................... -
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 -
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. -
Patchtool Help
PatchTool Help Version 7.1 PatchTool Help © 2007-2020 Danny Pascale All rights reserved. No parts of this work may be reproduced in any form or by any means - graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems - without the written permission of the publisher. Products that are referred to in this document may be either trademarks and/or registered trademarks of the respective owners. While every precaution has been taken in the preparation of this document, the publisher and the author assume no responsibility for errors or omissions, or for damages resulting from the use of information contained in this document or from the use of programs and source code that may accompany it. In no event shall the publisher and the author be liable for any loss of profit or any other commercial damage caused or alleged to have been caused directly or indirectly by this document. Published in November 2020 in Montreal / Quebec / Canada. PatchTool Help -2- Version 7.1 Table of Contents 1. INTRODUCTION ................................................................................................................................ 7 1.1 WHAT YOU CAN DO WITH PATCHTOOL .................................................................................................................... 7 1.2 ADDITIONAL TECHNICAL INFORMATION ................................................................................................................. 9 2. THE PATCHTOOL WINDOWS AND DIALOGS ........................................................................... -
Prepress Terms
Prepress Terms Blueline Continuous-tone art and line art A diazo (UV-exposed and self-processed) Continuous-tone art is art, such as photo- photo print made to proof pagination, image graphs, that consists of shades of gray and position, and type. Bluelines have been made color gradations. It’s distinguished from line mostly obsolete by the digital revolution. art, such as a line drawing, which has no tonal variation. If you look closely at continuous- tone art, you can see that shades of gray or color blend smoothly without breaking into Camera-ready dots or other patterns. When the art is print- ed, the corresponding regions are reproduced Said of text or artwork ready to be photo- as arrays of different-sized dots printed in the graphed by a process camera. colors used on the press. DPI Dot gain An abbreviation for dots per inch. Refers Many variables—from ink to paper surface to the resolution at which a device, such and press used—affect the size of halftone as a monitor or printer, can display text dots. A certain amount of dot gain, or increase and graphics. in halftone dot size, occurs naturally when wet ink spreads as it’s absorbed by the paper. If too much dot gain occurs, images and colors print darker than specified. Dot gain is one of the characteristics taken into account when color-management sys- tems are applied. (See page 110 for more information on dot gain.) Line art Continuous-tone art Dot gain Halftone dots in Halftone dots a color proof after printing Halftone screens Ink is an all-or-nothing medium in the sense really looking at small printed black dots on that any spot on the paper is either inked a field of white paper. -
Ricoh Th Color Station File Preparation Guide Pro C7100X / C7110X / C7100SX / C7110SX
File Preparation Guide Creating and Printing the 5th Color Ricoh th Color Station Pro C7100X / C7110X / C7100SX / C7110SX Welcome to the Ricoh th Color Station File Preparation Guide Pro C7100X / C7110X / C7100SX / C7110SX Get ready to change the game with unique and captivating 5th Color Station techniques that will impress your customers, expand your range of creative capabilities, and open doors to new revenue streams. This informative and visual guide will walk you through the different steps for setting up and saving files to get the maximum impact with 5th Color elements. Guidelines, tips, and best practices for printing are also included to ensure your output matches the intended design. The file preparation steps in this guide assume a working knowledge of Adobe Creative Suite®, including Adobe Illustrator®, InDesign® and Photoshop®. Printing instructions assume operator experience with Fiery® Command WorkStation. Screen shots have been taken from both MAC and PC platforms and may differ slightly from what you see on your screen. Please note: The creative examples included on these printed pages do not include or reflect actual output when printed with 5th Color elements on specialty substrates. These examples are included for instructional reference only. To see the impact and effect of the White and Clear Toner, please refer to the printed samples included in your Ricoh 5th Color Station Kit. Table of Contents Creating the 5th Color Layer 1. Creating the 5th Color Layer – Clear, in Adobe Illustrator® Adding a vector Clear Spot over CMYK artwork on non-specific Media ................................................................9 2. Creating the 5th Color Layer – White, in Adobe InDesign® Adding a vector White Spot layer for use on Dark Colored Media .......................................................................13 3.