Copyright Copyright Sharp AR-C360P EFI Color Reference Guide P/N 59379101, Revision 1.1 September, 2005 Every effort has been made to ensure that the information in this document is complete, accurate, and up-to-date. The manufacturer assumes no responsibility for the results of errors beyond its control. The manufacturer also cannot guarantee that changes in software and equipment made by other manufacturers and referred to in this guide will not affect the applicability of the information in it.
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Contents About the Documentation Introduction About this guide 12 For additional information 12 Chapter 1: Overview of Color Management Concepts Understanding color management systems 1-14 How color management works 1-14 Using ColorWise and application color management 1-16 Using ColorWise color management tools 1-17 Chapter 2: Using Color Management Workflows Understanding workflows 2-19 Standard recommended workflow 2-22 Choosing colors 2-23 Understanding color models 2-24 Optimizing f
Contents Ensuring color accuracy when you save a file 3-32 Chapter 4: Managing Color in PostScript Applications Working with PostScript applications 4-33 Using color matching tools with PostScript applications 4-34 Using swatch color matching tools 4-34 Using the CMYK Color Reference 4-34 Using the PANTONE reference 4-35 Defining colors 4-37 Working with imported images 4-39 Using CMYK simulations 4-40 Using application-defined halftone screens 4-40 Ensuring color accuracy when you s
Contents Selecting options when printing 6-65 Using optional Color Management from PageMaker 6-67 QuarkXPress 5.x and 4.
Contents Appendix A:Desktop Color Primer The properties of color A-88 The physics of color CIE color model Hue, saturation, and brightness A-88 A-90 A-91 Additive and subtractive color systems A-92 Understanding color gamut A-96 Printing techniques A-97 Halftone and continuous tone devices A-97 Using color effectively A-98 A few rules of thumb A-98 Color wheel A-99 Color and text A-102 Raster images and vector graphics A-103 Optimizing files for processing and printing A-105 Res
About the Documentation About the Documentation This manual is part of a set of Fiery documentation that includes the following manuals for users and system administrators. Most are available as Acrobat PDF (Portable Document Format) files on the User Documentation CD. • The EFI User Software Installation Guide describes how to install software from the User Software CD to enable users to print to the Fiery, and also describes setting up printing connections to the Fiery.
Introduction About this guide This guide provides a reference for information about optimizing color printing with the Sharp AR-C360P and improving color quality and performance for all printer models. Specific features and options may vary, depending on the Sharp AR-C360P model at your site. About this guide This guide provides an overview of general color concepts, with a specific focus on color management for print output.
For additional information • User Software Installation Guide—for information about the software provided with your Fiery, including sample color reference pages used to verify print results. • Job Management Guide—for information about performing color management tasks and using ColorWise Pro Tools™. For general information about printing in color, see Appendix A and the sources in the Bibliography.
1 1-14 Understanding color management systems Chapter 1: Overview of Color Management Concepts To create successful color documents and presentations, you can take advantage of the features of color management software as they are implemented by the Fiery and on your desktop computer. This chapter is devoted to various elements of color management that contribute to predictable color results.
1 1-15 Understanding color management systems converted to the gamut of the printer. Whether performed by the Fiery or a host-based CMS, the process of converting color data for a printer is the same: the CMS interprets RGB image data according to a specified source profile and adjusts both RGB and CMYK data according to a specified output profile, also called a destination profile by some color management systems.
1 1-16 Overview of Color Management Concepts The type of print job and the final output device—Fiery or offset press—determines the workflow that allows you to achieve the best results. For information about choosing workflows, see “Using Color Management Workflows” on page 2-19. Using ColorWise and application color management The Fiery color management system, ColorWise is designed to provide both casual and expert users the best color output for a variety of purposes.
1 1-17 Using ColorWise and application color management • Eliminating the potential for undesirable color managementrelated conflicts, such as iterative color conversions and inconsistent color. The Fiery applies global corrections to specific groups of RGB, CMYK, and spot colors to avoid such conflicts. • Accepting RGB files in addition to larger CMYK files from applications, which minimizes network traffic and enables jobs to print faster.
1 1-18 Overview of Color Management Concepts • Process Simulation of PANTONE Solid Coated Colors—a 19-page downloadable PostScript file of color patches showing CMYK equivalents of PANTONE Coated colors. This file prints differently depending on the setting of the Spot Color Matching option (see “Using the PANTONE reference” on page 4-35). In addition, you can print RGB, CMY, and PANTONE color charts from the Fiery.
2 2-19 Understanding workflows Chapter 2: Using Color Management Workflows A workflow is the path a print job follows from creation to destination. In the workflow of any job, there are various 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.
2 2-20 Using Color Management Workflows DOCUMENT C M Y K Spot R G B Application CMS: Off Disable the color management options provided by the application to ensure that the Fiery receives color data properly and prints it accurately. For information, see the documentation provided with your application. Select colors based on the desired output (see “Choosing colors” on page 2-23).
2 2-21 Understanding workflows Calibration Color Server Device maintenance Calibrate as described in the Color Guide. Perform regular maintenance as recommended by the printer manufacturer. Use the paper stock, toner, and other materials recommended by the printer manufacturer.
2 2-22 Using Color Management Workflows Standard recommended workflow The Fiery controller is highly optimized for the Sharp AR-C360P. ColorWise addresses issues unique to your printer, including screens, individual toner response, interactions among toners, natural smoothness of blends, and the capability to render spot and custom colors.
2 2-23 Choosing colors • Set other ColorWise print options as appropriate. For a list and descriptions of ColorWise print options that affect CMYK, RGB, spot, and other colors, see the Color Guide Chapter 1. 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 Fiery to realize your design in print.
2 2-24 Using Color Management Workflows • Using color matching tools—the Fiery provides several tools to preview colors available on a device and define them within an application. Understanding color models Colors can be defined in several different color models, the most common being RGB, CMYK, and the 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.
2 2-25 Choosing colors • Illustration applications use both the RGB and CMYK color models, but typically transmit only CMYK data to the Fiery. • Pixel-editing applications use both the RGB and CMYK color models. They can transmit either RGB or CMYK data to the Fiery. Optimizing for output type The Fiery can be used for on-demand color printing and for color proofing. On-demand color printing refers to those jobs for which the Sharp AR-C360P is the final print device.
2 2-26 Using Color Management Workflows The type of printing you plan for the document—on-demand color printing on the Sharp AR-C360P versus color proofing for eventual printing on an offset press—determines the way you define colors, as well as the print option settings you choose. • For on-demand color printing on the Sharp AR-C360P, use any application and define colors in either RGB or CMYK. If your application supports it, you can also choose colors from the PANTONE color library.
2 2-27 Choosing colors • If displayed colors are more important, trust your eyes and your monitor. Visually select colors on your monitor, but be aware that colors will be optimized only for your monitor. When the document is opened on other monitors, the colors may look different. And even though printed colors may not match those on your monitor, they will still print to the Fiery with good results. • If printed colors are your priority, choose colors from printed samples.
3 3-28 Using office applications Chapter 3: Managing Color in Office Applications 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 Graphics Device Interface (GDI) and QuickDraw applications, such as presentation, spreadsheet, and word processing applications.
3 3-29 Using office applications • The range of colors that can be displayed in RGB on your monitor is much larger than the range of colors that can be printed on your printer. When you print the document, out-ofgamut RGB colors are mapped to the colors your printer can produce. • Office applications send only RGB data to the Fiery. You control the rendering style of the color conversion with your selection of a CRD.
3 3-30 Managing Color in Office Applications RGB Color Reference (Microsoft PowerPoint) Working with office applications Before printing from these applications, make sure the appropriate printer driver and the Fiery PPD are installed on your computer, as described in the User Software Installation Guide. Defining color Office applications use the RGB color model.
3 3-31 Working with office applications 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. Note: If you are unable to import EPS elements, it may be necessary to perform a “custom install” of your Microsoft Office applications.
3 3-32 Managing Color in Office Applications Because office applications send RGB data to the Fiery, your choice of RGB Source and Rendering Style settings are important. Specify the appropriate CRD for the desired color effect (see the Color Guide Chapter 1). Output profiles All color data in the job is affected by the output profile on the Fiery.
4 4-33 Working with PostScript applications Chapter 4: Managing Color in PostScript Applications This chapter provides guidelines for using applications that have the ability to write their own PostScript, such as some page layout, illustration, and pixel-editing applications. For information about using specific applications, see “Managing Color in Adobe Photoshop” on page 5-42, “Managing Color in Page Layout Applications” on page 6-56, or “Managing Color in Illustration Applications” on page 7-72.
4 4-34 Managing Color in PostScript Applications in these applications may not match Sharp AR-C360P output exactly, and named colors may not print accurately on the Sharp AR-C360P, since these colors typically require custom inks. Using color matching tools with PostScript applications With PostScript applications, you can work with colors created with any of the color models supported by the application.
4 4-35 Using color matching tools with PostScript applications combinations look when printed on your Sharp AR-C360P. To print the CMYK Color Reference, download the file to the Fiery. The printed pages display groups of color patches in graduated combinations of yellow, magenta, and cyan, and smaller patches that include 25%, 50%, and 75% black. Refer to these pages to pick colors and specify process color values in your application.
4 4-36 Managing Color in PostScript Applications • Spot Color Matching Off—Prints swatches of the CMYK equivalents of PANTONE colors as defined by PANTONE. (These are the same CMYK values defined in applications that include PANTONE libraries.) The CMYK values used to produce the color, as well as the PANTONE color name/number, are printed below each swatch. To print the reference, download the file to the Fiery.
4 4-37 Defining colors Defining colors The methods and options available for defining colors depend on the type of PostScript application that you are using. Color model Application type Color definition notes Photoshop In Photoshop you can choose colors with various color models, including HSB, CIE Lab, RGB, and CMYK. Page layout application Page layout applications generally use the CMYK color model.
4 4-38 Managing Color in PostScript Applications Color model Application type Color definition notes Photoshop Choose colors in Photoshop with various color models, including HSB, CIE Lab, RGB, and CMYK. Page layout application If the application allows you to define colors in RGB, determine whether it converts the RGB data to CMYK before sending it to the Fiery. If it does, this will determine which ColorWise print options affect your job.
4 4-39 Working with imported images Working with imported images You can import images into documents created in illustration applications (such as Illustrator) and page layout applications (such as QuarkXPress). The recommended formats for images imported into page layout documents are EPS (or EPSF) and TIFF. If you encounter a problem using a TIFF format image, use the EPS file format. Support for importing other file formats may be provided by individual applications.
4 4-40 Managing Color in PostScript Applications Using CMYK simulations You can specify a CMYK Simulation profile and a CMYK simulation method for a job using the CMYK Simulation Profile and CMYK Simulation Method print options (see the Color Guide Chapter 1). The CMYK Simulation setting affects all CMYK color data sent by the page layout or illustration application. It can also affect RGB data sent to a page layout application if RGB Separation is set to Simulation.
4 4-41 Ensuring color accuracy when you save a file default (PageMaker, Photoshop, and Illustrator 9),the halftone dots may be a different shape. When you print the job, choose Application Defined for the Halftone Screen print option. The Frequency and Angle settings in the Application Defined halftone screen are used regardless of whether the setting for Combine Separations is set to On or Off.
5 5-42 Specifying color settings Chapter 5: Managing Color in Adobe Photoshop This chapter covers features of Adobe Photoshop versions 7.x and 6.x for Windows and Mac OS. The illustrations show Mac OS dialog boxes, but the information and instructions apply equally to the Windows version of Photoshop. Because Photoshop uses a sophisticated color management system, you should perform some color management tasks before you use Photoshop.
5 5-43 Specifying color settings 3. 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 for documents that are newly created. It also defines color space of a document converted to RGB, CMYK, or Grayscale color modes, and for spot colors in a document. Choose an appropriate ICC profile to embed when saving a file for each color space.
5 5-44 Managing Color in Adobe Photoshop to manage color on your monitor. If you choose sRGB as a working space, you must print with the ColorWise RGB Source option set to sRGB. New RGB documents you create in Photoshop will use this working space. Note: EFIRGB is set as the default RGB source color space on the Fiery. No matter what RGB space you select, make sure it is available on the Fiery. For more information on downloading RGB source profiles to the Fiery, see theColor Guide Chapter 3.
5 5-45 Specifying color settings This is recommended so that you will be notified before any application color management is applied. 6. In the Conversion Options area, specify settings for converting between color spaces. Choose Adobe (ACE) from the Engine menu to use the built-in color management engine for Photoshop. Choose a rendering intent from the Intent menu that will optimize the color quality of the conversion. For guidelines on choosing the rendering intent, see your Photoshop documentation.
5 5-46 Managing Color in Adobe Photoshop Saving files from Photoshop Before saving a file from Photoshop, perform any necessary rotating, cropping, and resizing. This speeds processing when printing from the application in which the image is placed. When saving a document from Photoshop 6.x, you have the option to embed a color profile in the document. We recommend that you disable this option if you are sending the document to the Fiery.
5 5-47 Saving files from Photoshop 2. Specify settings in the Save As dialog box. • Specify a name, file format, and location for the document. • Clear the Embed Color Profile option (Mac OS) or ICC Profile option (Windows). 3. Click Save. If you chose Photoshop EPS as the format, the EPS Options dialog box appears.
5 5-48 Managing Color in Adobe Photoshop 4. Specify EPS options and click OK. • Choose a TIFF preview option. A TIFF preview is compatible with both Windows and Mac OS computers. • Do not select the PostScript Color Management option. For more information about PostScript Color Management, see the following section. • Do not select Include Transfer Function or Include Halftone Screen.
5 5-49 Selecting options when printing Selecting options when printing You can print RGB or CMYK images from Photoshop. • When you print an RGB image, you choose whether the conversion to CMYK is performed by the Fiery (using a CRD), PostScript (using PostScript Color Management), or Photoshop built-in color management. • When you print a CMYK graphic, you can print composites or color separations. Note: Make sure that the Fiery Combine Separations print option is set to Off.
5 5-50 Managing Color in Adobe Photoshop Photoshop 7.x 2. Select Show More Options. 3. Select Output. 4. Choose an Encoding method. Note: If you choose JPEG encoding, save a backup of the original image 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 the binary version. 5. Select Color Management.
5 5-51 Selecting options when printing Photoshop 7.x 6. Choose Same as Source from the Profile menu to specify the color space for printing the image. Any other setting causes Photoshop to convert image data to that color space before sending it to the Fiery. 7. Click Print. To print images from Photoshop 6.x 1. Choose Print from the File menu. The Print dialog box appears.
5 5-52 Managing Color in Adobe Photoshop Photoshop 6.x 2. Choose the Fiery from the Printer menu, and then choose Adobe Photoshop from the pop-up menu. 3. Choose an Encoding method. Note: If you choose JPEG encoding, save a backup of the original image 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 the binary version. 4.
5 5-53 Selecting options when printing Note: To use PostScript color management with Photoshop 6.x, choose PostScript Color Management from the Profile menu in the Photoshop pane of the printer driver. Saving EPS documents with PostScript Color Management Selecting the PostScript Color Management option when saving either a CMYK or RGB EPS file prompts Photoshop to embed PostScript color information—which is independent of ICC profiles—in the resulting document.
5 5-54 Managing Color in Adobe Photoshop For fastest print times, choose JPEG encoding, but inspect printed output carefully for unwanted artifacts that may appear as a result of JPEG compression. If you see unexpected results in the printed output, reprint the job using Binary or ASCII encoding.
5 5-55 Selecting options when printing Photoshop converts spot colors to CMYK values when you work in CMYK mode. • If the graphic was separated for an offset press standard, apply the corresponding CMYK Simulation setting. For example, if the graphic is separated for SWOP, choose SWOP as the CMYK Simulation setting. • If Photoshop is configured for a custom separation using a ICC profile, choose the corresponding profile for the ColorWise CMYK Simulation option.
6 6-56 Adobe InDesign 2.0.1 and 1.5.2 Chapter 6: Managing Color in Page Layout Applications This chapter provides instructions for printing color documents from Adobe InDesign, Adobe PageMaker, and QuarkXPress. Before printing from these applications, make sure the appropriate printer driver and the Fiery PostScript printer description file (PPD) are installed on your computer, as described in the User Software Installation Guide. Adobe InDesign 2.0.1 and 1.5.
6 6-57 Adobe InDesign 2.0.1 and 1.5.2 To disable InDesign 1.52 color management 1. Choose Color Settings > Document Color Settings from the Edit menu. 2. Clear the Enable Color Management option and click OK.
6 6-58 Managing Color in Page Layout Applications Importing images All RGB images placed in a document, except for RGB TIFF images, are affected by your RGB Source and Rendering Style settings. For best results with placed images, use the instructions in “Working with imported images” on page 4-39. Note: InDesign converts placed RGB TIFF images to CMYK. Disable InDesign color management when placing images in a document. To disable InDesign 2.0.1 color management when importing images 1.
6 6-59 Adobe InDesign 2.0.1 and 1.5.2 3. Select the file you want to import and click Place. 4. Choose Color Settings from the option menu. Make sure the Enable Color Management option is cleared, and click OK. Selecting options when printing You can use the standard Fiery printer driver interface to select print options from InDesign. To set print options from the Windows version of InDesign 2.0.1 1. Choose Print from the File menu. 2. Choose the Fiery from the Printer menu.
6 6-60 Managing Color in Page Layout Applications 3. Click Setup. The Windows Print dialog box appears. 4. Click Properties. 5. Click the Fiery Printing tab in the dialog box that appears. The standard printer driver interface for the Fiery appears. 6. Choose the desired print options. For information on setting ColorWise print options, see the Color Guide Chapter 1. 7. Click Print. To set print options from the Mac OS version of InDesign 2.0.1 1. Choose Print from the File menu. 2.
6 6-61 Adobe InDesign 2.0.1 and 1.5.2 3. Click Printer. The AdobePS Print dialog box appears. 4. Choose Printer Specific Options. The Fiery print options appear. 5. Select the desired options.
6 6-62 Managing Color in Page Layout Applications For information on setting ColorWise print options, see the Color Guide Chapter 1. 6. Click Print. To set print options from the Windows version of InDesign 1.5.2 1. Choose Print from the File menu. The Print dialog box appears. 2. Choose the Fiery from the Name menu. 3. Click Properties. 4. Click the Fiery Printing tab in the dialog box that appears. The standard printer driver interface for the Fiery appears.
6 6-63 Adobe InDesign 2.0.1 and 1.5.2 5. Choose the desired print options. For information on setting ColorWise print options, see the Color Guide Chapter 1. To set print options from the Mac OS version of InDesign 1.5.2 1. Choose Print from the File menu. The Print dialog box appears. 2. Choose the Fiery from the Printer menu. 3. Choose Printer Specific Options. The Fiery print options appear. 4. Select the desired options.
6 6-64 Managing Color in Page Layout Applications Adobe PageMaker 7.x and 6.5 for Mac OS and Windows The Mac OS and Windows versions of PageMaker 7.x and 6.5 are essentially the same. The illustrations in this section show only the Windows version, except where differences exist between the two versions. Windows version requirement To use the Windows version of PageMaker 6.
6 6-65 Adobe PageMaker 7.x and 6.5 for Mac OS and Windows To disable color management for a bitmapped image 1. Select the bitmapped image in the document. 2. Choose Image > CMS Source from the Element menu. 3. Choose None from the This Item Uses menu and click OK. Importing images All RGB images placed in a document are affected by your RGB Source and Rendering Style settings. For best results with placed images, use the instructions in “Working with imported images” on page 4-39.
6 6-66 Managing Color in Page Layout Applications Choose the Fiery PPD Click Options 2. Click Options. 3. Choose Normal from the “Send image data” menu in the Print Options dialog box and click Features. To ensure that TIFF images print at their full resolution, do not choose the Optimized Subsampling default from the “Send image data” menu. 4.
6 6-67 QuarkXPress 5.x and 4.x for Mac OS 5. Click Print from any of the PageMaker dialog boxes to send the job to the Fiery. Using optional Color Management from PageMaker If you have additional color management requirements not offered by ColorWise, such as managing color on devices not controlled by the Fiery, consider using the PageMaker color management features. For more information, see your PageMaker documentation. QuarkXPress 5.x and 4.
6 6-68 Managing Color in Page Layout Applications Selecting options when printing The following procedure provides instructions on printing files to the Fiery. To set print options in QuarkXPress 5.x or 4.x 1. Choose the Fiery printer description name from the Printer Description menu in the Print dialog box. Choose the Fiery Choose an output paper size Click to specify printer settings Mac OS 2. If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting.
6 6-69 QuarkXPress 5.x and 4.x for Mac OS For QuarkXPress 4.02, consider using Quark CMS XTension. These features allow advanced users to control RGB to CMYK color conversions. If you plan to use these features, make sure that Quark CMS XTension is installed before starting QuarkXPress. If it is not installed, use the Quark XTensions Manager to install it. For instructions, see your QuarkXPress documentation.
6 6-70 Managing Color in Page Layout Applications To select print options in QuarkXPress 3.3 1. Choose the Fiery printer description from the Printer Type menu in the Page Setup (Mac OS) or Printer Setup (Windows) dialog box. Choose the Fiery Choose an output paper size Choose Binary Mac OS Choose output paper size Choose the Fiery Choose Binary Windows 2.
6 6-71 QuarkXPress 5.x and 4.x for Mac OS If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting. For instructions on specifying print options, see the Color Guide Chapter 1.
7 7-72 Adobe Illustrator for Windows and Mac OS Chapter 7: Managing Color in Illustration Applications You can print directly from an illustration application or use it to create and save files that will be imported into a page layout document. To print from an illustration application, use the printer driver and print settings recommended in the Color Guide Chapter 1. As a general rule, use the EPS file format when saving files with an illustration application.
7 7-73 Adobe Illustrator for Windows and Mac OS can handle both RGB and CMYK colors for a variety of colormanaged workflows. By customizing color settings, you specify the amount of color management you want to use while working in Illustrator. These color settings include: Working spaces—Default color spaces to use when working with RGB and CMYK documents. ICC color profiles describe the gamut and color characteristics of these working spaces.
7 7-74 Managing Color in Illustration Applications 2. Select Advanced Mode. In Advanced Mode, a more extensive list of options is displayed. 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 EFIRGB. This profile represents the default RGB color space used by the Fiery. New RGB documents you create in Illustrator will use this working space.
7 7-75 Adobe Illustrator for Windows and Mac OS 4. Choose policies for handling documents without embedded profiles or with embedded profiles that differ from the working space in the Color Management Policies area. Choose Off from the RGB and CMYK menus. This option discards the original profile embedded in a document if it differs from the specified working space. In the Profile Mismatches area, select the Ask When Opening option.
7 7-76 Managing Color in Illustration Applications same file). In the case of Illustrator files imported into Photoshop, however, vector data from the Illustrator file is rasterized into bitmaps in Photoshop, and the final color space of the bitmap data is determined by the color mode you set in Photoshop. Specifying print options The following procedure explains how to set print options when printing a document from Illustrator to the Fiery. To set print options in Illustrator 1.
7 7-77 Adobe Illustrator for Windows and Mac OS Click Properties to set print options Select the device name Choose Composite Illustrator 10.
7 7-78 Managing Color in Illustration Applications Click Properties to set print options Select the device name Choose Composite Choose PostScript Level 2 or 3 Illustrator 8.x and 9.x for 3. For the Mac OS version of Illustrator, specify appropriate print options. • Choose the Fiery device from the Printer menu. • Choose Adobe Illustrator from the option menu below the Printer menu. • Choose Composite from the Output menu. • Choose Level 3 from the PostScript menu.
7 7-79 Adobe Illustrator for Windows and Mac OS Choose Composite Illustrator 10.x for Mac OS Choose Composite Choose PostScript Level 3 Illustrator 8.x and 9.
7 7-80 Managing Color in Illustration Applications 4. If necessary, click Properties (Windows) or choose Printer Specific Options from the option menu (Mac OS) and choose RGB Source and Rendering Style settings for the Fiery. You only need to specify these settings if you have a CMYK document containing placed RGB images, or an RGB document in Illustrator 9.x. In all other cases, colors remain unaffected by the settings. 5.
7 7-81 FreeHand 10.x, 9.x, and 8.x for Windows and Mac OS 2. Click the Colors category in the Preferences dialog box. Click Colors to access the color management settings 3. Choose None for the type of color management. Defining colors Any colors defined in FreeHand are sent to the device in CMYK— even those defined using other color models. For best results, use the color definition methods described on page 4-34.
7 7-82 Managing Color in Illustration Applications Importing images A number of file types can be imported into FreeHand, but once imported, all are treated as EPS images, TIFF images, or editable paths. For details, see your FreeHand documentation. When you import an EPS image into a document, FreeHand inserts a link to the image rather than embedding the original file, resulting in a smaller file size. If the image is a CMYK EPS file, the colors print just as they would from the originating application.
7 7-83 FreeHand 10.x, 9.x, and 8.x for Windows and Mac OS Selecting options when printing To set options when printing from FreeHand 1. Select the Use PPD option in the Print dialog box. Click to access FreeHand Print Setup Choose Normal Click to select a printer description (Name appears at right) 2. Choose Normal from the Print setting menu. • If the Use PPD option is selected, a plus sign (+) appears in front of the word “Normal.
7 7-84 Managing Color in Illustration Applications The Output Options dialog box appears. Clear option to use ColorWise color management 4. Make sure the “Convert RGB to process” option is cleared. If this option is selected, FreeHand color management settings are used to convert RGB colors and RGB TIFF, PICT, and JPEG images to CMYK. 5. If a document contains placed RGB images, choose RGB Source and Rendering Style settings.
7 7-85 CorelDRAW for Windows and Mac OS CorelDRAW for Windows and Mac OS The following sections describe the recommended color settings for CorelDRAW 9.x and 8.x. Defining colors Any colors defined in CorelDRAW 9.x for Windows or CorelDRAW 8.x for Mac OS are sent to the device in CMYK—even those defined using other color models. For best results, use the color definition methods described in “Using color matching tools with PostScript applications” on page 4-34.
7 7-86 Managing Color in Illustration Applications case of CorelDRAW files imported into Photoshop, however, vector data from the CorelDRAW file is rasterized into bitmaps in Photoshop, and the final color space of the bitmap data is determined by the color mode you set in Photoshop. Specifying print options The following procedure outlines how to set print options when printing from CorelDRAW to the Fiery. To set print options in CorelDRAW 1.
7 7-87 CorelDRAW for Windows and Mac OS To use ColorWise color management, make sure the “Use color profile” option on the Misc tab of the Print dialog box is cleared. If this option is selected, CorelDRAW color management settings are used to convert RGB colors and images to CMYK. Clear this option to use ColorWise Color Management 5. If a document contains placed RGB images, choose RGB Source and Rendering Style settings for your device.
A A-88 Appendix A: Desktop Color Primer The properties of color This appendix 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, you can skip to the last section (“Optimizing files for processing and printing” on page A-105) for tips on optimizing files for printing.
A A-89 The properties of color Like the sun, most light sources we encounter in our daily environment emit a mixture of light wavelengths, although the particular distribution of wavelengths can vary considerably. Light from a tungsten light bulb, for example, contains much less blue light than sunlight. Tungsten light appears white to the human eye, which, up to a point, can adjust to the different light sources.
A A-90 Desktop Color Primer 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. The arc around the top of the horseshoe encompasses the pure, or spectral, colors from blue-violet to red.
A A-91 The properties of color Purple colors, which do not exist in the spectrum of pure light, are found at the bottom of the diagram. Purples are mixtures of red and blue light—the opposite ends of the spectrum.
A A-92 Desktop Color Primer Many computer applications include dialog boxes in which you choose colors by manipulating hue, saturation, and brightness. For example, some applications use a color picker that can be reconfigured according to your preference (as shown below).
A A-93 The properties of color 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. Printing technologies, including the Fiery and offset presses, are based on the subtractive color model. Additive (RGB) color Color devices that use the additive color model create a range of colors by combining varying amounts of red, green, and blue light.
A A-94 Desktop Color Primer Subtractive (CMY and CMYK) color The subtractive color model is the basis for color printing, color photographic prints, and transparencies. While the additive color model simulates the visible spectrum of color by adding light of three primary hues, the subtractive color model starts with a “white” or neutral light source containing light of many wavelengths.
A A-95 The properties of color Magenta, Yellow, and blacK (CMYK). The use of black toner produces rich, solid blacks and allows for improved rendering of black text.
A A-96 Desktop Color Primer 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.
A A-97 Printing techniques Printing techniques Until recently, most color printing was done on printing presses using one of several printing techniques—offset lithography, flexography, or gravure, to name a few. All traditional printing techniques require lengthy preparation before a press run can take place. Short-run color printing, including Fiery printing, eliminates most of this preparation. By streamlining the process of color printing, the Fiery makes short print runs economically feasible.
A A-98 Desktop Color Primer Some color printers are commonly referred to as continuous tone (contone) devices. They do not use traditional halftone screen patterns and angles. Contone devices are capable of varying the intensity of individual dots. Even if your color printing is done exclusively on the Fiery, you will encounter concepts from offset printing if you use high-end graphics applications.
A A-99 Using color effectively • Use color sparingly. In general, fewer colors work better than many colors. • Use red as an accent color. Red is particularly effective when used in otherwise monochromatic materials. • Consider the tastes of your target audience when choosing colors. • Keep a file of printed color pieces that appeal to you or strike you as effective. Refer to it for ideas when designing your own documents.
A A-100 Desktop Color Primer 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.
A A-101 Using color effectively pleasing results. Combining a darker shade of a warm color with a light tint of its cooler complement produces an unusual effect that may appeal to you. Once you have mastered the concept of the color wheel, you have a good framework for experimenting with color combinations. Many books targeted at graphic designers show groups of preselected color combinations. Some are organized by themes or moods, and some are based on a custom color system, such as PANTONE.
A A-102 Desktop Color Primer 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. For many color materials, using black text on a white background and confining color to graphic elements and headings is a good choice. When used skillfully, color text can add flair to documents printed on paper. This technique is widely used in presentations.
A A-103 Raster images and vector graphics STOP! STOP! De gustibus non est disputandum. Exceptio probat regulam de rebus non exceptis. When using color text, keep in mind that small font sizes typically do not print in color with the same sharpness as in black. In most applications, black text prints exclusively in black toner, while color text usually prints with two or more toners. Any misregistration between the different toners on paper causes color text to lose definition.
A A-104 Desktop Color Primer A raster image, also referred to as a bitmap, is composed of a grid of pixels, each assigned a particular color value (as shown in example a in the following figure). The grid, when sufficiently enlarged, resembles a mosaic made from square tiles. Examples of raster images include scans and images created in painting or pixel-editing applications, such as Photoshop and Corel Painter. The amount of data found in a raster image depends on its resolution and bit depth.
A A-105 Optimizing files for processing and printing a b Vector artwork is resolution-independent; it can be scaled to any size and resolution without danger of pixels becoming visible in printed output. Optimizing files for processing and printing The following sections provide tips on how to create image files that produce the highest possible print quality while minimizing the processing time and disk space they require.
A A-106 Desktop Color Primer Beyond a certain threshold, a higher image resolution greatly increases file size while having a minimal effect on output quality. The optimal image resolution depends on the resolution of the final print device. Aim for the resolution that optimizes both file size and output quality. The resolution of a raster image, along with its bit depth and physical dimensions, determine its file size.
A A-107 Optimizing files for processing and printing original high-resolution version, in case you must revert to it. The high-resolution data cannot be recreated from a lower resolution version. 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.
A A-108 Desktop Color Primer image at the correct size for each placement. If you need to place an image at greater than 100% in a document, remember that the output image resolution is affected. For example, if you scale a 200 ppi image to 200%, the image is printed at 100 ppi.
G-109 Glossary additive color model A system in which colors are produced by combining red, green, and blue light (the additive primaries). An RGB video monitor is based on an additive color model. additive primaries Red, green, and blue light used in additive color systems. When blended together in proper amounts, these colors of light produce white. artifact A visible defect in an image, usually caused by limitations in the input or output process (hardware or software); a blemish or error.
-110 calibration target (or calibration set) A set of measurements that describe the expected density response of a printing device. Calibration targets are associated with the output profile of the device. CMS See color management system. CMYK A subtractive color model that uses cyan, magenta, yellow, and black, or process colors, used in color printing; a color model used in the printing of colors in four-color process printing.
-111 ColorWise See ColorWise color management. ColorWise color management An ICC-open color management solution, which is an easy-to-use system that addresses the needs of both casual and experienced color management users. composite printer Any output device that can print directly in color without first creating color separations. A composite print can be used as an early proof of an offset print job.
-112 density A measurement of the light-absorbing quality of a photographic or printed image. desktop color separation See DCS. DIC A Japanese standard of specifications for separations, proofs, and color printing. EPS (or EPSF) See Encapsulated PostScript. Encapsulated PostScript A PostScript file format designed to be embedded in another PostScript stream. Euroscale A European standard of specifications for separations, proofs, and color printing.
-113 GDI (Graphics Device Interface) Graphics and display technology used by computers running Windows. GDI applications rely on GDI (rather than the PostScript language) to send text and pictures to devices. GIF (Graphics Interchange Format) A standard developed by CompuServe for bitmap graphics of up to 256 colors and used for posting photographic images on the Internet or intranet pages; rarely used for professional printing.
-114 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. ICC profiles are implemented on Mac OS computers in ColorSync and on Windows computers in Image Color Matching (ICM).
-115 output See output profile. output profile A file that describes the color characteristics of a printing device. The output profile is associated with a calibration target that defines the expected density response of the device. phosphor Material used in making computer monitors; phosphors glow and emit red, green, and blue light when struck by an electron beam, thus creating an image. photographic rendering A color rendering style that preserves tonal relationships in images.
-116 process colors The colors used in printing to simulate full-spectrum color images: Cyan, Magenta, Yellow, blacK (CMYK). profile Systematically describes how a color maps to a particular space. By identifying a source profile and an output profile, you initiate the appropriate workflow to maintain consistent color values. QuickDraw Graphics and display technology built into Mac OS computers.
-117 source color space The color environment of the originating source of a colored element, including scanners and color monitors. source profile A file used by the color management system to determine the characteristics of the color values specified in a source digital image. spectral light The wavelengths of electromagnetic radiation emitted by a given light source that can be seen by the human eye.
-118 SWOP The abbreviation for Specifications for Web Offset Publications. A standard of specifications for separations, proofs, and color printing on a web offset press (not a sheet fed press). TIFF (Tag Image File Format) A common format for exchanging raster graphics (bitmap) images between application programs. undercolor removal (UCR) A method for improving wet ink trapping and reducing ink costs in process color printing.
B-119 Bibliography Books Adobe Print Publishing Guide. Adobe Press, 1998. ISBN: 1568304684 Blatner, David and Fraser, Bruce. Real World Adobe Photoshop 7. Berkeley: Peachpit Press, 2002. ISBN: 0321115600 Bruno, Michael H., ed. Pocket Pal ®: A Graphic Arts Production Handbook. Eighteenth Edition. GATFPress, 2000. ISBN: 0883623382 Hunt, R.W.G. The Reproduction of Color. Sixth Edition. Surrey: Fountain Press, 2002. ISBN: 0863433685 Kieran, Michael. The Color Scanning Success Handbook.
InIndex A accent color A-99 additive color model A-93 additive primaries A-93 Adobe Adobe (ACE) conversion option Illustrator 7-75 Photoshop 5-45 Adobe Illustrator, see Illustrator Adobe InDesign, see InDesign Adobe Photoshop, see Photoshop B bit depth, of raster images A-104, A-106 bitmaps see raster images Blend RGB Colors Using Gamma, Photoshop setting 5-45 brightness A-88, A-91 C charts, using color in A-98 choosing color 2-23 CIE chromaticity diagram A-90, A-91 color model A-90 CIELAB color space
I-121 Index color proofing 2-25 color space A-90 color theory A-88 color wheel A-99 ColorSync 1-14 ColorWise 1-14, 1-16 advantages 1-16 Combine Separations, Photoshop 5-49 Commission Internationale de l’Eclairage, see CIE complements, color A-100 compression, JPEG 5-48, 5-50, 5-52, 5-54 computer monitors, see monitors continuous tone devices A-98 Conversion Options, Photoshop setting 5-45 Convert RGB to process, Freehand setting 7-84 CorelDRAW 7-85 to 7-87 CRDs bypassing 3-31, 4-39 rendering intent 3-29 c
I-122 Index halftone screen 4-40 halftoning A-97 HSB color model 4-33, A-91 HSL color model 3-28, 4-33 HSV color model 3-28 hue, saturation, and brightness A-88, A-91 Microsoft Word, see Microsoft Office misregistration of colors A-103 moiré A-97 monitor color management 2-26 monitors color model A-93 gamut of A-96 phosphors A-93 Multi-channel, Photoshop 5-54 I N gravure A-97 H ICC profiles about 5-43 included with user software 1-15 ICC standard for color management systems 1-14 illustration applic
I-123 Index importing CorelDRAW data 7-86 using 5-42 to 5-55 Photoshop Multi-channel 5-54 physics of color A-88 pixel-editing applications A-104, A-106 pixels in raster images A-104 PostScript applications color handling 4-33 using color in 4-33 to 4-41 PostScript Color Management, Photoshop option 5-48, 5-53 PostScript printer drivers 3-31 PowerPoint, see Microsoft Office prepress proof A-97 presentation print jobs, using color in A-98 press simulation, see CMYK Simulation option Print Space, Photoshop s
I-124 Index subtractive color model A-93, A-94 subtractive primaries A-94 sunlight A-88 swatch color matching 4-34 T text font size A-103 using color with A-102 TIFF images assigning ICC profiles to 4-39 preview 5-48 printing at full resolution 6-66 recommended for imported images 4-39, 5-46 tint A-91 transparencies (photographic) A-94, A-96 triads A-100 V vector images A-103, A-104 visible spectrum of light A-88 W white point 1-15 Windows Graphics Device Interface, see GDI applications Word, see Mi
