Devicen Color Space and Color Model
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Color Management
Color Management hotoshop 5.0 was justifiably praised as a ground- breaking upgrade when it was released in the summer of 1998, although the changes made to the color P management setup were less well received in some quarters. This was because the revised system was perceived to be complex and unnecessary. Bruce Fraser once said of the Photoshop 5.0 color management system ‘it’s push-button simple, as long as you know which of the 60 or so buttons to push!’ Attitudes have changed since then (as has the interface) and it is fair to say that most people working today in the pre-press industry are now using ICC color profile managed workflows. The aim of this chapter is to introduce the basic concepts of color management before looking at the color management interface in Photoshop and the various color management settings. 1 Color management Adobe Photoshop CS6 for Photographers: www.photoshopforphotographers.com The need for color management An advertising agency art buyer was once invited to address a meeting of photographers. The chair, Mike Laye, suggested we could ask him anything we wanted, except ‘Would you like to see my book?’ And if he had already seen your book, we couldn’t ask him why he hadn’t called it back in again. And if he had called it in again we were not allowed to ask why we didn’t get the job. And finally, if we did get the job we were absolutely forbidden to ask why the color in the printed ad looked nothing like the original photograph! That in a nutshell is a problem which has bugged many of us throughout our working lives, and it is one which will be familiar to anyone who has ever experienced the difficulty of matching colors on a computer display with the original or a printed output. -
Federal Wage System Glossary of Printing Terms for the 4400 Job Family
Glossary of Printing Terms for the 4400 Job Family TS-45 October 1981 Federal Wage System Glossary of Printing Terms for the 4400 Job Family The terms and definitions contained in this glossary are intended to facilitate the application of published job grading standards to occupations in the Printing Family. The glossary does not represent a comprehensive listing of technical terms and processes common to printing occupations. Additional information may be found in dictionaries, and technical publications such as agency guides, trade magazines, and technical manuals. Aluminum Plate. A thin sheet of aluminum used in lithography for some press plates; image applied photographically; used for both surface-type and deep-etch offset plates. Aperture. A small opening in a plate or sheet. In cameras, the aperture is usually variable in the form of an iris diaphragm and regulates the amount of light which passes through the lens. The working aperture is the diameter of that part of the lens actually used. Asphaltum. A bituminous mixture used as an acid resist or protectant in photomechanics. In lithography, used to make printing image on press plate permanently ink-receptive. Autoscreen (Film). A photographic film embodying the halftone screen; exposed to a continuous-tone image, produces a dot pattern automatically just as if a halftone screen had been used in the camera. Backing-Up. Printing the other side, of a printed sheet. Back Pressure. The squeeze pressure between the blanket (offset) cylinder and the impression cylinder; sometimes called "impression pressure." Base Color. A first color used as a background on which other colors are printed. -
Harlequin RIP OEM Manual
0RIPMate for Windows operating systems Harlequin PLUS Server RIP v9.0 June 2011 AG12325 Rev. 13 Copyright and Trademarks Harlequin PLUS Server RIP June 2011 Part number: HK‚9.0‚ÄìOEM‚ÄìWIN Document issue: 106 Copyright ¬© 2011 Global Graphics Software Ltd. All rights reserved. Certificate of Computer Registration of Computer Software. Registration No. 2006SR05517 No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, elec- tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Global Graphics Software Ltd. The information in this publication is provided for information only and is subject to change without notice. Global Graphics Software Ltd and its affiliates assume no responsibility or liability for any loss or damage that may arise from the use of any information in this publication. The software described in this book is furnished under license and may only be used or cop- ied in accordance with the terms of that license. Harlequin is a registered trademark of Global Graphics Software Ltd. The Global Graphics Software logo, the Harlequin at Heart Logo, Cortex, Harlequin RIP, Harlequin ColorPro, EasyTrap, FireWorks, FlatOut, Harlequin Color Management System (HCMS), Harlequin Color Production Solutions (HCPS), Harlequin Color Proofing (HCP), Harlequin Error Diffusion Screening Plugin 1-bit (HEDS1), Harlequin Error Diffusion Screening Plugin 2-bit (HEDS2), Harlequin Full Color System (HFCS), Harlequin ICC Profile Processor (HIPP), Harlequin Standard Color System (HSCS), Harlequin Chain Screening (HCS), Harlequin Display List Technology (HDLT), Harlequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS), Harlequin Precision Screening (HPS), HQcrypt, Harlequin Screening Library (HSL), ProofReady, Scalable Open Architecture (SOAR), SetGold, SetGoldPro, TrapMaster, TrapWorks, TrapPro, TrapProLite, Harlequin RIP Eclipse Release and Harlequin RIP Genesis Release are all trademarks of Global Graphics Software Ltd. -
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 .................................................................... -
Duotone Setup and File Submission Instructions DUOTONE PRINTING > OVERVIEW CONVEYOR ARTS PAGE 02
CONVEYOR ARTS PAGE 01 Duotone Setup and File Submission Instructions DUOTONE PRINTING > OVERVIEW CONVEYOR ARTS PAGE 02 Duotone printing utilizes grey and black ink to achieve a rich print with a wide tonal range, while maintaining a completely neutral black and white print. This printing process requires us to create separations for the press manually, which makes for a different workflow between you and Conveyor Arts. Unlike with other types of printing, you will need to provide us with a packaged INDD folder, rather than a PDF. Here are a few things to keep in mind as you’re preparing to submit your project: 1. All files to be printed in duotone must be flattened 8-bit PSDs with an embedded grayscale ICC profile (We like Gray Gamma 2.2). 2. All files to be printed in duotone must be placed in a subfolder titled “duotone” within the “links” folder of your packaged Indesign file. IMAGE PREP CONVEYOR ARTS PAGE 03 All files to be printed in duotone must be flattened 8-bit PSDs with an embedded grayscale ICC profile. Image > Mode > Grayscale Image > Mode > 8 Bits/Channel IMAGE PREP CONVEYOR ARTS PAGE 04 Edit > C o nv e r t To Pr o file... IMAGE PREP CONVEYOR ARTS PAGE 05 Select Gray Gamma 2.2 and click OK PACKAGING YOUR INDESIGN FILE CONVEYOR ARTS PAGE 06 Once you’ve finished laying out your book in InDesign, go to File > Pa c k a g e... *Before making the final package, double check that all fonts are activated, and all links are connected. -
Download Here
POTTERY SOUTHWEST Volume 26, Nos. 1 and 2 July, 2007 Spring/Summer 2007 ($3.00) ISSN 0738-8020 In This Issue: Editorial Board member Peter J. McKenna presents recent observations on Isleta Red on Tan and proposes answers to some interesting questions. In Max Sokol's article he provides a comparative study of labor expenditure on two phases of Mesa Verde Black-on- White. Thanks to Leslie Cohen for taking the lead editorial role for this issue. Ongoing features include "Recent Dissertations and Theses" with abstracts by permission from Proquest, "On the Shelf", and "On View". Finally, we provide some technical tips on submissions. An electronic publication creates formatting challenges beyond those of conventional printing or photocopying. These tips make publishing in Pottery Southwest easier for our contributors. We hope you will take advantage of them and send in your submissions (see Page 37 for how-to). CONTENTS Page Observations on Isleta Red on Tan by Peter J. McKenna.................................................................................................... 2-15 Human Resource Expenditure for Mesa Verde Black-on-White Pottery Production by Maxwell Lee Sokol............................................................................................... 16-28 Recent Dissertations and Theses Abstracts from ProQuest El Paso Polychrome in the Casas Grandes Region, Chihuahua, Mexico: Ceramic exchange between Paquime and the Jornada Mogollon by: Jessica Prue Burgett, Ph.D............... 29 Production, exchange, and social identity: A study of Chupadero black-on-white pottery (New Mexico) by Tiffany C. Clark, Ph.D................................................................................. 30 The emergence of Jicarilla Apache enclave economy during the 19th century in northern New Mexico by: Tiffany C. Clark, Ph.D................................................................................. 31 On the Shelf: Recent Publications of Interest...................................................................... -
HIFI Color Printing Within a Color Management System
HIFI Color Printing within a Color Management System Marc Mahy and Dirk De Baer Agfa-Gevaert N.V., Mortsel, Belgium Introduction This transformation to device color values should be colo- rimetrically correct e.g. neutrals should remain neutral, pre- About five years ago the concept of high fidelity color1-4 serve detail both in the low lights as in the high lights, was introduced in the graphic arts community as a reaction reproduce powerful images, and no artifacts or banding to digital color reproduction systems such as video and the should be present. internet. Graphic arts manufacturers, suppliers and provid- In general the best image quality is obtained with de- ers unified their forces to develop new technologies for vices with a high resolution and a large dynamic range, making print more vivid, more convenient and economi- both in gray values as in color saturation. This range, also cal. However, each provider has its own interpretation to referred to as the gamut of the device, should be large reach this goal and as a result there is no clear difference enough so that images from any source can be reproduced between conventional offset and Hifi color printing. Be- exactly. In general however, the gamut of color reproduc- cause also with conventional offset techniques very pleas- tion devices is too small to reproduce all the colors of the ing images can be obtained, the main criterion for Hifi color most common input devices. One of the tasks of a CMS is printing is related to the quality of the printing process and to map the out of gamut colors onto printable colors in such hence we assume that Hifi color printing corresponds to a way that the visual difference between the out of gamut high quality printing. -
Hexachrome Reprint 8/30/05 11:50 AM Page 1 Hexachrome Reprint 8/30/05 11:50 AM Page 2
Hexachrome reprint 8/30/05 11:50 AM Page 1 Hexachrome reprint 8/30/05 11:50 AM Page 2 REPRINTED FROM DIGITAL OUTPUT AUGUST 2005. THE ONLY MAGAZINE DEDICATED TO >CAPTURE >CREATION >OUTPUT >FINISHING Hexachrome Print Process Primary Considerations for Implementing Hexachrome Printing by Dan Reid need to drastically improve this additional color is a safe color reproduction. way to ensure important col- ave you considered what ors are reproduced correctly. Hexachrome can add to your When Hexachrome was The downside of using printing process? introduced in 1994, CMYK Pantone spot color is the H was the standard within the additional cost of using a Hexachrome was created industry, and it was question- special ink. Each additional with the intent to provide a able whether users would Pantone spot color incurs wider color gamut for the invest in an expensive more expense and is limited print and design world. upgrade. Although said to by the number of inks a press dramatically improve color can print in a single run. The range and accuracy over tra- additional printing cost of ditional four-color process using a special ink has printing, years went by before always been difficult to sell the popularity of to customers. A four-color Hexachrome appeared. Now build is more cost-effective to the technology is catching on print since most presses are and retaining loyal users. already configured as such Figure 1: Depiction of of Solid PMS 2925 coated, Process but lack the vibrancy of coated, and Hexachrome coated Pantone, Inc., a well-known using a special color. -
PANTONE Hexware 2.0 Manual
® PANTONE HexWare® 2.0 Product for Windows® and for Mac user manual PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards. Consult current PANTONE Publications for accurate color. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to user for use only in combination with PANTONE® HexWare® 2.0. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of PANTONE® HexWare® 2.0. PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. All other product names and trademarks are the property of their respective owners. Adobe, Illustrator, InDesign and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. ColorSync, Macintosh and Mac are trademarks of Apple Computer, Inc., registered in the U.S. and/or other countries. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. QuarkXPress is a trademark of Quark, Inc. and all applicable affiliated companies, Reg. U.S. Pat & Tm Off., and in many other countries. Macromedia and FreeHand are trademarks or registered trademarks of Macromedia Inc. in the United States and/or other countries. GretagMacbeth is a registered trademark of Gretag-Macbeth Holding AG. ProfileMaker is a trademark of LOGO GmbH, a GretagMacbeth Group Company. ITEC™ and ColorBlind™ are trademarks of Imaging Technologies Corporation. Monaco and MonacoPROFILER are either registered trademarks or trademarks of Monoco Systems, Inc. -
Acquisition Et Reproduction D'images Couleur: Approches Colorimétrique
Acquisition et reproduction d’images couleur : approches colorimétrique et multispectrale Jon Hardeberg To cite this version: Jon Hardeberg. Acquisition et reproduction d’images couleur : approches colorimétrique et multispec- trale. Interface homme-machine [cs.HC]. Télécom ParisTech, 1999. Français. tel-00005657 HAL Id: tel-00005657 https://pastel.archives-ouvertes.fr/tel-00005657 Submitted on 5 Apr 2004 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Thèse Presentée pour obtenir le grade de docteur de l’Ecole Nationale Supérieure des Télécommunications Specialité : Signal et Images Jon Yngve Hardeberg Acquisition et reproduction d'images couleur : approches colorimétrique et multispectrale Acquisition and reproduction of colour images: colorimetric and multispectral approaches ENST 99 E 021 Soutenue le 15 janvier 1999 devant le jury composé de Roger D. Hersch Président Jean-Marc Chassery Rapporteurs Jean-François Le Nest Hans Brettel Directeurs de thèse Francis Schmitt Kadi Bouatouch Examinateurs Robert Sève Ecole Nationale Supérieure des Télécommunications -
Creating Duotones and Monochrome Images in Coreldraw Graphics Suite
Creating Duotones and Monochrome Images in CorelDRAW Graphics Suite by Ariel Garaza Diaz, CorelDRAW Master There are many ways you can adjust the color of images in CorelDRAW® Graphics Suite to create duotone and monochrome effects. This tutorial will show you some different techniques and I will be outlining some of the tools I use, but this is not an exhaustive list. There are many ways to adjust the color of images in CorelDRAW Graphics Suite and I encourage you to look around and experiment with the tools and effects available in the software. Index: 1 – Duotone Mode 2 – Image Effects Settings 3 – Color-adjustments in Corel PHOTO-PAINT 4 – Tone curve 5 – Monochrome images 6 – PowerTRACE 7 – Lenses 1 – Duotone Mode Generally, duotone images are made by one or more direct color tones, such as Pantone inks. The result is different from what you would get with mix of colors (RGB or CMYK). To start, open a photo or bitmap in CorelDRAW. The original color mode of the image does not matter. To bring up the control panel go to Bitmaps > Mode > Duotone. There are four options available in the dialog box, depending on the amount of inks you’re using: Monotone (one single ink), Duotone (two inks), Tritone (three inks) and Quadtone (four direct inks) In the Type dropdown, select Monotone, and click the Edit button to change the color (by default, Pantone Process Black) and choose another color if needed. It is important to clarify that if an RGB or CMYK color is selected, the program will replace it with the closest Pantone color. -
Color Appreciation
Col or Appreciation presented by Dave Watterson Art Director, GATF Color Appreciation • Color theory • Additive color system • Subtractive color system • Color communication • Color viewing Color •A phenomenon of light •A visual sensation Phenomenon •Known through the senses, rather than through thought or intuition Theory •A scientifically acceptable general principle offered to explain phenomenon •An unproved assumption Color • All color is in light •Without light there is no color •Light is radiant or electromagnetic energy • The absence of light is black The Physical Origins of Color • Rods––A type of nerve ending in the eye that is sensitive to low levels of light. Responsible for night vision. • Cones––A type of nerve ending in the eye that can distinguish between the individual components of light. •This ability to distinguish between the individual components of the light creates the sensation we call color. If you had no cones in your eyes, color would not exist. Rods and Cones Color • If an ideal white light were perfectly dissected by the use of a prism, it would reveal three beams known as the primary colors of light • We have been taught to call these visual sensations by the names red, green and blue • Nearly every color you see can be created by a combination of red, green and blue light Color • Visible light has been classified as the narrow range of electromagnetic energy located near the center of the electromagnetic spectrum • The human eye is sensitive to only a portion of this electro- magnetic range, which we call