ColorPASS-Z5000 COLOR GUIDE I N C L U D E S F I E R Y ® S O F T WA R E
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Contents Introduction About the documentation xiii Key features of ColorWise xv Chapter 1: ColorPASS Color Management Managing color on the ColorPASS 1-1 Rendering styles 1-5 RGB Source Profile 1-6 RGB Separation 1-7 CMYK Simulation Profile 1-8 CMYK Simulation Method 1-9 Output Profile 1-9 Pure Black Text/Graphics 1-10 Black Overprint 1-12 Spot Color Matching 1-13 Printer Drivers and Print Options 1-14 What a printer driver does 1-14 PostScript printer driver for Windows 95/98/Me
viii Contents Advanced workflows 2-9 Short-run printing examples 2-9 Color proofing examples 2-15 Chapter 3: Color Calibration Introduction 3-2 Understanding calibration 3-2 How calibration works 3-3 Scheduling calibration 3-4 Checking calibration status 3-5 Using a spectrophotometer 3-6 Setting up the spectrophotometer 3-6 Calibrating the spectrophotometer 3-10 Calibrating with ColorWise Pro Tools and DTP41 3-16 Using a densitometer 3-24 Setting up the densitometer 3-24 Calibr
ix Contents Color Editor 4-12 Editing Profiles 4-12 Undoing simulation edits 4-19 Checking edited profiles 4-21 Color Setup 4-23 Setting default ColorWise options 4-23 Chapter 5: Working with Color in Applications Working with color 5-1 Color reference pages 5-2 Office applications 5-3 Choosing colors in office applications 5-4 PostScript applications 5-5 Choosing colors in PostScript applications 5-5 Default output profile 5-8 CMYK simulation 5-8 Chapter 6: Office Applications
x Contents Chapter 7: Adobe Photoshop Photoshop 5.x 7-1 Photoshop 5.x color settings 7-1 ColorSync defaults 7-6 Defining colors 7-7 Saving files for importing into other documents 7-7 Selecting options when printing 7-9 Printing tips for advanced users 7-11 Photoshop 4.
xi Contents Chapter 9: Illustration Applications Working with illustration applications 9-1 Defining colors 9-1 Importing images 9-2 CMYK simulation 9-2 Adobe Illustrator 8.x for Windows and Mac OS 9-3 Defining colors 9-3 Importing images 9-3 Optional color management in Illustrator 9-4 Selecting options when printing 9-4 Saving files for importing into other documents 9-5 Macromedia FreeHand 8.
xii Contents Using color effectively A-6 A few rules of thumb A-7 Color wheel A-7 Color and text A-8 Raster images and vector images A-9 Optimizing files for processing and printing A-10 Resolution of raster images A-10 Scaling A-12 Appendix B: Color Management Controlling printed color B-1 Maintaining copier consistency B-2 Print device gamut B-2 Basics of color management B-3 Color conversion B-4 Appendix C: Importing densitometer measurements Simple ASCII Import File Format (S
xiii Introduction About the documentation Welcome to the Color Guide. This manual introduces you to the concepts and issues associated with printing to the ColorPASS-Z5000 Color Server™. It outlines key workflow scenarios, provides information on calibration and color profiles, and contains application notes that explain how to print to the ColorPASS-Z5000 Color Server from popular Microsoft Windows and Apple Mac OS applications.
xiv Introduction Color terms and concepts such as “RGB data,” “color space,” “spot color,” “gamut,” and “source profile” are used throughout this manual. If you are new to desktop color or if any terms are unfamiliar, be sure to read Appendixes A and B or check the glossary.
xv Key features of ColorWise Key features of ColorWise ColorWise® is the color management system (CMS) built into the ColorPASS and designed to provide both casual and expert users the best color output for a variety of purposes. The ColorWise default settings were specifically selected to provide great out-of-box color from many applications and Windows and Mac OS platforms. This means that casual users can get good quality output without knowing about or changing any color settings on the ColorPASS.
xvi Introduction ColorWise offers an open color architecture, letting users customize the ColorPASS to meet new printing needs as they arise. ColorWise supports ICC profiles, which are industry standard color profiles that define the color behavior of a device. By downloading ICC profiles to the ColorPASS, it can simulate a custom press (or another copier) as well as accurately print colors from a particular monitor or a particular scanner.
1 1-1 Chapter 1: ColorPASS Color Management Managing color on the ColorPASS The first part of this chapter describes the options available from the ColorWise color management system and explains how you can customize the color settings for your particular needs. It provides descriptions of the preset default settings of ColorWise and covers additional options for users who need to customize ColorWise.
1 1-2 ColorPASS Color Management ColorPASS color management generates CMYK data to be sent to the copier; additional processing may then be performed before printing begins. The diagram below illustrates the print options in the ColorPASS color management process that affect color data conversions. You access these print options when you send a print job to the ColorPASS. Most of these options and settings are described in subsequent sections of this chapter.
1 1-3 Managing color on the ColorPASS Settings for the following options can be specified via print options when you send a job to the ColorPASS. Some can also be set as defaults by the administrator during ColorPASS Setup. Settings specified via print options override the defaults.
1 1-4 ColorPASS Color Management ColorPASS color print option: Quick simulation applies one-dimensional transfer curves that adjust output density only. Full simulation applies colorimetric transformations that adjust hue as well as output density (see page 1-9).
1 1-5 Managing color on the ColorPASS Rendering styles The Rendering Style option specifies a CRD for color conversions. You can modify the Rendering Style option to control the appearance of images, such as prints from office applications or RGB photographs from Photoshop. The ColorPASS lets you select from the four rendering styles currently found in industry standard ICC profiles.
1 1-6 ColorPASS Color Management RGB Source Profile The RGB Source Profile setting allows you to define the characteristics of the RGB data in your document so that the appropriate color conversion can occur on the ColorPASS. Commonly used monitor color spaces are available from the driver and from the ColorWise Pro Tools Profile Manager. In addition, for special needs you can use ColorWise Pro Tools to download custom monitor or scanner profiles.
1 1-7 Managing color on the ColorPASS • None instructs the ColorPASS to allow the RGB sources you defined elsewhere, such as in the application, to be used. When you set RGB Source to None, the appearance of colors will not be independent of the file type. For example, RGB EPS files will look different from RGB TIFF files. With RGB Source set to None, PostScript RGB data that contains a source color space definition is converted using the CRD specified by the Rendering Style option (see page 1-5).
1 1-8 ColorPASS Color Management • Simulation converts all RGB colors into the CMYK color space for a specified simulation (make sure to select the desired simulation with the CMYK Simulation Profile print option). CMYK Simulation Profile The CMYK Simulation Profile print option allows you to print press proofs or simulations. This setting specifies the offset press standard or other color printing device that you want to simulate. This option affects CMYK data only.
1 1-9 Managing color on the ColorPASS • The Match Copy setting bypasses ColorPASS calibration to simulate the color of a copy produced by the copier. Use this setting when you print images scanned with the Fiery Scan plug-in set to Match Copy. CMYK Simulation Method The CMYK Simulation Method setting specifies the quality of simulation to perform. • Quick applies one-dimensional transfer curves that adjust output density only.
1 1-10 ColorPASS Color Management You can also use ColorWise Pro Tools’ Profile Manager to download your own output profile to the ColorPASS (see page 4-5). Downloaded output profiles are at first associated with the calibration target that is tied to the default output profile. As mentioned above, you can edit calibration target D-Max values separately.
1 1-11 Managing color on the ColorPASS N OTE : The Pure Black Text/Graphics option can be used only when printing composites, not when printing separations. Input black color Pure Black Text/Graphics On Off RGB With the default profile, prints a rich black using all toners. CMYK Prints only with black toner, because CMYK simulations preserve the black channel. The actual amount of toner used depends on the current simulation and the calibration state of the copier.
1 1-12 ColorPASS Color Management Black Overprint The Black Overprint option lets you specify whether or not black text, defined as RGB = 0, 0, 0, or as CMYK = 0%, 0%, 0%, 100%, overprints colored backgrounds. • On—Black text overprints colored backgrounds, eliminating white gaps and reducing halo effects or misregistration of colors. Setting Black Overprint to On automatically activates the Pure Black Text/Graphics option. • Off—Black text knocks out colored backgrounds.
1 1-13 Managing color on the ColorPASS Spot Color Matching The Spot Color Matching option provides automatic matching of PANTONE colors with their best CMYK equivalents. • On—The ColorPASS uses its built-in table to generate the closest CMYK matches of PANTONE colors your copier can produce. (New tables are generated when you add new output profiles.) • Off—The ColorPASS uses the CMYK equivalents defined by your application to print PANTONE colors.
1 1-14 ColorPASS Color Management Printer Drivers and Print Options This section describes the role of the printer driver and explains how to use Windows and Mac OS printer drivers for ColorPASS printing. N OTE : The term “PostScript” by itself is used to refer to Adobe PostScript Level 2 or later. What a printer driver does To take full advantage of the features of the ColorPASS, your print jobs must be sent as PostScript data.
1 1-15 Printer Drivers and Print Options PostScript printer driver for Windows 95/98/Me, Windows NT 4.0, and Windows 2000 The printer driver options described in this section can be accessed by clicking Start\Settings\Printers, right-clicking the appropriate PPD name, and selecting Properties (Windows 95/98/Me), Document Defaults (Windows NT), or Printing Preferences (Windows 2000) from the pop-up menu.
1 1-16 ColorPASS Color Management Setting color management print options for Windows 95/98/Me This section explains how to set ColorPASS color print options with the Adobe PostScript printer driver version 4.3.x for Windows 95/98/Me, a PostScript 3 printer driver that can take full advantage of the color features of the ColorPASS. Before you proceed, make sure you have completed the following procedures described in Getting Started: • Install the Adobe PostScript Printer Driver version 4.3.
1 1-17 Printer Drivers and Print Options Click Expert Settings button to access additional ColorWise options Click the Expert Settings button, then click Update to display the current ColorPASS settings. This brings up the Expert Color Settings flowchart window (below), which displays additional color settings for the ColorPASS. Each option includes a pop-up menu from which you can select settings for your specific job.
1 1-18 ColorPASS Color Management Selecting Other for RGB Source Profile brings up the following window for specifying custom RGB source settings (see page 1-6). Clicking the Update button in the lower left-hand corner of the Expert Color Settings window (on the previous page) queries the ColorPASS for the current default settings. This feature is available only when you enable Two-Way Communication in the driver (see Getting Started).
1 1-19 Printer Drivers and Print Options Setting color management print options for Windows 2000 This section explains how to set ColorPASS color print options with the Microsoft PostScript Printer Driver for Windows 2000. This is a PostScript driver that can take full advantage of the color features of the ColorPASS. Before you proceed, make sure you have completed the following procedures, as described in Getting Started: • Install the Microsoft PostScript Printer Driver and ColorPASS PPD.
1 1-20 ColorPASS Color Management Adobe PostScript printer driver for Mac OS This section explains how to set color management print options with the AdobePS 8.7 printer driver for Mac OS, a PostScript 3 driver that takes full advantage of the color features of the ColorPASS and lets you save a set of print option settings. Before you continue, make sure you have completed the following: • Install the AdobePS printer driver and the ColorPASS PPD as described in Getting Started.
1 1-21 Printer Drivers and Print Options N OTE : If you use the PostScript Color Matching option, the driver may, depending on the application you are using, attach a CMYK source definition to the CMYK data in your document. In such a case, the CMYK data in your document is reseparated using a ColorPASS CRD. The destination color space for the CRD is determined by the RGB Separation print option.
1 1-22 ColorPASS Color Management In the Color Matching pane, choose Color/Grayscale from the Print Color pop-up menu. Choose Color/Grayscale In the Printer Specific Options pane, choose settings for the print options described on page 1-3. If these settings are ones you use regularly, click Save Settings to save them for subsequent jobs.
2 2-1 Chapter 2: Simple and Advanced Workflows Workflow concepts This chapter discusses color management workflows used in short-run color printing as well as color proofing on the ColorPASS. It also gives examples of color management in specific desktop applications and the interaction between those applications and ColorWise color management. Workflow concepts The term “workflow” is used to describe the path a job follows from its creation in a desktop application to final printed output.
2 2-2 Simple and Advanced Workflows RGB, CMYK, and PANTONE colors Colors can be defined in several different color models, the most common being RGB, CMYK, and the PANTONE color matching system. Each model requires a different color conversion at the ColorPASS. These different color conversion workflows are explained below.
2 2-3 Workflow concepts Desktop versus ColorPASS color management A desktop color management system uses ICC profiles to convert colors from one device gamut to the next (see Appendix B). The color data is converted when it is passed from one application to another or when the job is sent to the copier, so the processing occurs on your computer as opposed to the ColorPASS.
2 2-4 Simple and Advanced Workflows Simple workflows Every time you print a document containing colors that were not chosen for your specific copier, those colors need to be converted, which requires color management. Colors can be defined or modified at any stage in the workflow. Since ColorWise is compatible with most other color management systems, you can use the workflow most familiar to you. This section provides examples of color workflows that should meet the needs of most ColorPASS users.
2 2-5 Simple workflows Select a short workflow Every time colors are converted, performance and color accuracy are affected. Therefore, a workflow with fewer steps minimizes the risk of error. Workflow 1 using ColorWise calibration—minimal workflow A minimal color workflow requires that you calibrate the copier.
2 2-6 Simple and Advanced Workflows Workflow 2 using ColorWise color management—standard workflow ColorPASS servers are highly optimized for the specific copier they drive, and ColorWise addresses many issues unique to your copier, including screens, individual toner response, interactions among toners, natural smoothness of blends, and the capability to render PANTONE and custom colors.
2 2-7 Simple workflows See the table on page 1-3 for the list and descriptions of ColorWise print options affecting CMYK, RGB, PANTONE, and other colors. Workflow 3 bypassing ColorWise—not recommended Bypassing ColorWise color management, while an option, is not a recommended workflow. When you bypass ColorWise, you must choose colors using only CMYK formulas designed specifically for your copier, and you must print with the CMYK Simulation option set to Match Copy.
2 2-8 Simple and Advanced Workflows • Include ICC color information in files. ColorWise will not conflict with this information, and such data can be useful to identify the specific color space used by your files. • Do not include halftone and transfer functions. • Turn off color management in the printer driver. On Windows computers, if the printer driver offers Image Color Matching options, select Printer Image Color Matching.
2 2-9 Advanced workflows Advanced workflows The following sections present advanced color management workflow examples for three short-run printing and three color proofing situations. Each workflow example consists of a brief description, steps for creating and manipulating the files, a list of the ColorWise settings used in the example, and a table that summarizes the workflow.
2 2-10 Simple and Advanced Workflows The ColorWise settings used in this example are: • RGB Source Profile set to EFIRGB or another RGB source definition • Rendering Style set to Photographic • RGB Separation set to Output The diagram below indicates the steps for this particular workflow in black.
2 2-11 Advanced workflows Photoshop RGB with Illustrator and QuarkXPress CMYK and PANTONE colors This workflow involves short-run printing of a complex page layout with images saved in Photoshop, illustrations created in Illustrator, and PANTONE spot colors. A Photoshop image is saved in an RGB color space using the EPS file format. Illustrator artwork contains objects defined as CMYK and as PANTONE spot colors selected from printed output, and they are saved using the Illustrator EPS file format.
2 2-12 Simple and Advanced Workflows The ColorWise settings used in this example are: • RGB Source Profile set to EFIRGB or another RGB source definition • Rendering Style set to Photographic • RGB Separation set to Output • CMYK Simulation set to None • Spot Color Matching set to On The diagram below indicates the steps for this particular workflow in black.
2 2-13 Advanced workflows Photoshop RGB with Illustrator CMYK and PANTONE and PowerPoint RGB This workflow involves short-run printing of a complex presentation document with images saved in Photoshop, illustrations created in Illustrator, and PANTONE spot colors. All elements are imported into PowerPoint for output. This document could be created as follows: • Create an RGB image in Photoshop and save it as Photoshop EPS.
2 2-14 Simple and Advanced Workflows The ColorWise settings used in this example are: • RGB Source Profile set to EFIRGB or another RGB source definition • Rendering Style set to Presentation • RGB Separation set to Output • CMYK Simulation set to None • Spot Color Matching set to On The diagram below indicates the steps for this particular workflow in black.
2 2-15 Advanced workflows Color proofing examples The following examples illustrate methods for simulating the output from another printing system, such as an offset press. Each of the proofing examples uses an ICC profile to describe the destination color space. While some examples use simulation profiles built in to the ColorPASS, others use ColorWise Pro Tools (see Chapter 4) to download custom ICC output profiles to the ColorPASS for use as simulation profiles. Photoshop 5.
2 2-16 Simple and Advanced Workflows The ColorWise settings used in this example are: • CMYK Simulation Profile set to the desired press standard or to the corresponding custom simulation (Simulation 1-10) if you downloaded your profile with ColorWise Pro Tools • CMYK Simulation Method set to Full The diagram below indicates the steps for this particular workflow in black. Photoshop RGB-to-CMYK workflow using ICC profile Photoshop 5.
2 2-17 Advanced workflows Photoshop 5.x Built-in RGB-to-CMYK workflow This workflow is useful for prepress environments that have not integrated ICC color management and do not have profiles for the presses they use. In this example, an image is converted from RGB to CMYK using Photoshop 5.x’s Built-in color conversion features in the CMYK Setup option. (For more information on CMYK Setup, see your Photoshop 5.x documentation.
2 2-18 Simple and Advanced Workflows The ColorWise settings used in this example are: • CMYK Simulation Profile set to Simulation-1 • CMYK Simulation Method set to Full The diagram below indicates the steps for this particular workflow in black. Photoshop5.x RGB-to-CMYK workflow Photoshop 5.
2 2-19 Advanced workflows Photoshop RGB and QuarkXPress CMYK This workflow exemplifies the use of the RGB Separation feature of ColorWise. An RGB image, originally saved in Photoshop, is printed to the ColorPASS from QuarkXPress. To simulate how the RGB image would print on an offset press, the RGB Separation feature of ColorWise is set to Simulation.
2 2-20 Simple and Advanced Workflows The ColorWise settings used in this example are: • RGB Source Profile set to EFIRGB or another RGB source definition • Rendering Style set to Photographic • RGB Separation set to Simulation • CMYK Simulation Profile set to SWOP • CMYK Simulation Method set to Full The diagram below indicates the steps for this particular workflow in black.
3 3-1 Chapter 3: Color Calibration Introduction Calibrating the ColorPASS ensures consistent, reliable color output. You can calibrate the ColorPASS with ColorWise Pro Tools using an X-Rite DTP41 automatic scanning spectrophotometer (available as an option that is purchased separately) or an X-Rite DTP32 automatic scanning densitometer (also available as an option that is purchased separately).
3 3-2 Color Calibration Introduction Calibration generates curves that adjust for the difference between the actual toner densities (measurements) and the response expected by the output profile. • Measurements represent the actual color behavior of the copier. • Calibration sets are sets of measurements. • A calibration target that describes the expected behavior of the copier is contained in each output profile.
3 3-3 Understanding calibration How calibration works Success in obtaining satisfactory print quality from a color server such as a ColorPASS connected to a copier depends on many factors. Among the most important are establishing and maintaining optimal toner densities. Density is a measure of the light absorbed by a surface. By carefully regulating toner densities, you can obtain consistent printed color.
3 3-4 Color Calibration Output profiles and calibration sets Output profiles and calibration sets define desired calibration results. One or more output profiles and one or more calibration sets are provided with the ColorPASS. When you calibrate the ColorPASS, you can select the calibration set that corresponds to the typical printing jobs at your site. This same calibration set can be associated with one or more output profiles.
3 3-5 Understanding calibration Print color reference pages, such as the Color Charts (from the Control Panel or from the Command WorkStation) and the color reference pages included with the user software (see Getting Started). All of these pages include fully saturated color patches and pale tints of cyan, magenta, yellow, and black. Images with skin tones offer a very good basis for comparison. You can save and compare pages you printed at different times.
3 3-6 Color Calibration Using a spectrophotometer ColorWise Pro Tools Calibrator is designed to work with the X-Rite DTP41 spectrophotometer, a device that measures density and color data. The DTP41 communicates directly with the Calibrator application in ColorWise Pro Tools, sending measurements to the ColorPASS automatically.
3 3-7 4. Using a spectrophotometer Attach the connector to the computer. For a Windows computer, insert the 8-pin mini-DIN end of the interface cable into the 9-pin DB9 Connector cable adapter. Insert the 9-pin end into the COM1 or COM2 port on the computer and tighten the screws. If the available port on your computer is 25-pin, you must use the 8-pin-to-25-pin adapter.
3 3-8 Color Calibration For a Mac OS computer, connect the 8-pin mini-DIN plug directly into the serial port of the computer. Unused connector Connect to serial port N OTE : For Macintosh computers with a USB port (for example, an iMac) you need an adapter to connect the DTP41 to your computer. See the X-Rite, Inc. web site (www.x-rite.com) for information on supported adapters.
3 3-9 5. Using a spectrophotometer Use the AC adapter to provide power. Plug the small connector on the adapter cable into the power input of the X-Rite DTP41 and plug the AC adapter into the power cord. Plug the power cord into a wall outlet. AC adapter Power cord Small connector 6. Turn on the computer. 7. Use ColorWise Pro Tools to calibrate the X-Rite DTP41 (see page 3-11). 8. Use ColorWise Pro Tools and the DTP41 to calibrate the ColorPASS (see page 3-16).
3 3-10 Color Calibration Calibrating the spectrophotometer For the best color accuracy, you should calibrate the X-Rite DTP41 spectrophotometer every time you calibrate the ColorPASS. You initiate the calibration sequence in ColorWise Pro Tools Calibrator as part of the process of ColorPASS calibration. The computer may also prompt you that it is necessary to calibrate the spectrophotometer. Alternately, you can initiate the DTP41 calibration process using the Instrument button on the DTP41.
3 3-11 TO Calibrating the spectrophotometer CALIBRATE THE X-R ITE DTP41: 1. Connect the spectrophotometer to the computer and supply power (see page 3-6). 2. Launch ColorWise Pro Tools and connect to the ColorPASS. For instructions on configuring the connection to the ColorPASS, see Getting Started.
3 3-12 4. Color Calibration Select DTP41 as the measurement method. X-Rite DTP41 should appear as a measurement method. This information is provided to Calibrator by the ColorPASS. If this option does not appear, make sure you are connected to the ColorPASS. 5. Under Get Measurements, click Measure. 6. In the Measurement Options dialog box, click Measure.
3 3-13 7. Calibrating the spectrophotometer Select the appropriate COM port for the DTP41 from the Available Ports menu. The Instructions field displays instructions for selecting the port. Instructions field Select port for DTP41 8. Click Utilities. 9. Click Calibrate DTP-41.
3 3-14 Color Calibration N OTE : To view version and serial number information, click Show DTP-41 Info. When finished, click Done. 10. Remove the shipping spacer from the measurement page slot, if you have not already done so. 11. Insert the end of the Color Reflection Reference strip with the arrow into the calibration strip entrance on the DTP41, centering it below the alignment mark (see the diagram on page 3-6).
3 3-15 Calibrating the spectrophotometer 13. Click Done. 14. Close the Utilities dialog box. Status field indicates DTP41 was calibrated successfully This completes DTP41 calibration. When the DTP41 requires calibration, the computer prompts you. When this dialog box appears, click Calibrate Now and follow the instructions, starting with step 9 on page 3-13. After calibrating the DTP41, calibrate the ColorPASS (see page 3-16).
3 3-16 Color Calibration Calibrating with ColorWise Pro Tools and DTP41 Using ColorWise Pro Tools’ Calibrator application and the DTP41 spectrophotometer, you can quickly measure color patches generated by the copier and automatically download these measurements to the ColorPASS. Changing the calibration has the potential to affect all jobs for all users, so you may want to limit the number of people authorized to perform calibration.
3 3-17 Calibrating with ColorWise Pro Tools and DTP41 2. Click Calibrator. 3. Select DTP41 as the measurement method. X-Rite DTP41 should appear as a measurement method. This information is provided to Calibrator by the ColorPASS. If this option does not appear, make sure you are connected to the ColorPASS. 4. Under Check Print Settings, choose the desired calibration set. Choose the appropriate calibration set for the type of media you will use most often.
3 3-18 Color Calibration 5. Under Generate Measurement Page, click Print. 6. In the Print Options dialog box that appears, choose the Page Type, Paper Size, and Input Tray to use for the measurement page and click Print. In the Page Type pop-up menu, select either 34 or 21 Sorted Patches. In the Paper Size pop-up menu, the menu will automatically select LTR/A4 for 21 Sorted Patches or 11x17/A3 for 34 Sorted Patches. In the Input Tray pop-up menu, specify the paper source.
3 3-19 9. Calibrating with ColorWise Pro Tools and DTP41 Under Get Measurements, click Measure. 10. The selected Page Type and Paper Size options appear. Click Measure. 11. If necessary, select the appropriate COM port for the DTP41 from the Available Ports pop-up menu. The Instructions field displays instructions for selecting the port. Instructions field Select port for DTP41 12. Feed the measurement page into the DTP41, starting with the cyan strip.
3 3-20 13. Color Calibration Click Read Strip. The DTP41 pulls the measurement page through automatically. 14. Status field indicates color was measured successfully Once the measurement page is read, Calibrator instructs you to insert and align the page again for the next color. Repeat the measurement process for the magenta, yellow, and black strips.
3 3-21 Calibrating with ColorWise Pro Tools and DTP41 15. When the Status field indicates that all four color strips have been read successfully, click the Accept Measurements button. 16. In the Measure dialog box, click OK.
3 3-22 Color Calibration 17. In the Calibrator window, click Apply to implement the new calibration set. 18. In the Information dialog box, click OK. Click Apply This completes the ColorPASS calibration process.
3 3-23 TO Calibrating with ColorWise Pro Tools and DTP41 RESTORE DEFAULT CALIBRATION MEASUREMENTS : 1. Launch ColorWise Pro Tools and click Calibrator. 2. Click Restore Device. 3. Click OK to restore the preset default calibration set. Click Restore Device N OTE : Restore device applies only to the currently selected calibration set.
3 3-24 Color Calibration Using a densitometer ColorWise Pro Tools are designed to work with the X-Rite DTP32 reflection densitometer that feeds color measurements to the ColorPASS automatically. N OTE : Measurements from other densitometers can be input using a simple ASCII file format (see page C-1).
3 3-25 TO Calibrating with ColorWise Pro Tools and DTP41 CONNECT THE X-R ITE DTP32 TO THE COMPUTER : 1. Turn off the computer. 2. Plug the square end of the interface cable (looks like a modular phone plug) into the I/O port on the side of the X-Rite DTP32. Square connector 3. Attach the connector to the computer. For a Windows computer, insert the 8-pin mini-DIN end of the interface cable into the 9-pin DB9 Connector cable adapter.
3 3-26 Color Calibration For a Mac OS computer, connect the 8-pin mini-DIN plug directly into the serial port of the computer. Unused connector Connect to serial port N OTE : For Macintosh computers with a USB port (for example, an iMac) you need an adapter to connect the DTP32 to your computer. See the X-Rite, Inc. web site (www.x-rite.com) for information on supported adapters. 4. Use the AC adapter to provide power.
3 3-27 Calibrating the densitometer Calibrating the densitometer You will need the black-and-white X-Rite Auto-Cal Strip included with the densitometer. Calibrating the densitometer does not require ColorWise Pro Tools. TO CALIBRATE THE X-R ITE DTP32: 1. Connect the densitometer to the computer and supply power (see page 3-24). 2. From the Main Menu on the X-Rite DTP32 display, press the p1 key once to reach p2. 3. Press the cal key.
3 3-28 Color Calibration Calibrating with ColorWise Pro Tools Using the densitometer or AutoCal2, you can quickly measure color patches and download these measurements to the ColorPASS using ColorWise Pro Tools Calibrator. N OTE : Multiple users can be connected to one server with ColorWise Pro Tools, but only one user at a time can use Calibrator. An error message appears if you try to calibrate when another user is already using ColorWise Pro Tools to calibrate.
3 3-29 Calibrating with ColorWise Pro Tools 2. Click Calibrator. 3. Select a measurement method. AutoCal2 and X-Rite DTP32 should appear as the measurement methods. This information is provided to Calibrator by the ColorPASS. If neither option appears, make sure you are connected to the ColorPASS. 4. Under Check Print Settings, choose the desired calibration set. If there is more than one option, choose the appropriate calibration set for the type of media you will use most often.
3 3-30 Color Calibration 5. Under Generate Measurement Page, click Print. 6. In the Print Options dialog box that appears, choose the Page Type, Paper Size, and Input Tray to use for the measurement page and click Print. For AutoCal2, the Page Type pop-up menu states AutoCal Page. For the densitometer method, select either 34 or 21 Sorted Patches. In the Input Tray pop-up menu, specify the paper source.
3 3-31 10. Calibrating with ColorWise Pro Tools If you chose the DTP32 method, select the Page Type and Paper Size options you selected for the measurements page, and click Measure. Follow the directions in the dialog box that appears for feeding the measurement page through the X-Rite DTP32. The Status field displays instructions for selecting the port and feeding the measurement page through the DTP32 four times, once for each color strip. 11.
3 3-32 TO Color Calibration RESTORE DEFAULT CALIBRATION MEASUREMENTS : 1. Launch ColorWise Pro Tools and click Calibrator. 2. Click Restore Device. 3. Click OK to restore the preset default calibration set. N OTE : Restore device applies only to the currently selected calibration set.
3 3-33 Calibrating with ColorWise Pro Tools Expert Mode Expert Mode offers two additional options: Print Pages and View Measurements. With the Print Pages option, you can print a calibration Comparison Page showing the results of the new measurements with any profile associated with the currently selected calibration set. You can also create a custom comparison page and save it as a PostScript or an Encapsulated PostScript (EPS) file called CALIB.PS.
3 3-34 Color Calibration With the View Measurements option, you can view the current set of measurements as a table or as a graph that shows both the measurements and the target curves (shown below). Output profile name appears here When more than one profile use the same target, an additional menu called Plot Against appears at the top right of the window above. It lists all output profiles that use that same calibration set.
3 3-35 Calibrating from the Control Panel using AutoCal2 Calibrating from the Control Panel using AutoCal2 You can calibrate the ColorPASS from the Control Panel using AutoCal2, which calibrates the ColorPASS using the copier’s built-in scanner as a densitometer. If an Administrator password has been set, you will need it for calibration. For instructions on using the ColorPASS Control Panel, see the Configuration Guide. For troubleshooting during the AutoCal2 procedure, see the Job Management Guide.
3 3-36 7. Color Calibration When prompted, select Yes to print the measurement page. This page is comprised of swatches of color that will be measured by the copier and then compared to the target color values. After the page is printed, the Measure Page screen is displayed. 8. Select Yes in the Measure Page screen. 9. When prompted on the Control Panel, place the Kodak Gray Scale strip face down along the top of the copier glass.
3 3-37 Calibrating from the Control Panel using AutoCal2 Removing calibration It is also possible to remove calibration from the ColorPASS. In general, it is not necessary because any new calibration replaces the existing one if the same calibration set is selected. TO REMOVE CALIBRATION FROM THE C ONTROL P ANEL : 1. From the ColorPASS Control Panel, access the Calibration menu as described on page 3-35. 2. Choose Remove Calibration. 3.
4 4-1 Chapter 4: ColorWise Pro Tools Profile Manager ColorWise Pro Tools are color management applications that give you flexible control of color printing. There are four tools: • Calibrator (see Chapter 3) • Color Editor • Profile Manager • Color Setup ColorWise Pro Tools for Windows and Mac OS computers are fundamentally the same; differences are noted in this chapter. The windows and dialog boxes illustrated are the Windows version.
4 4-2 ColorWise Pro Tools • RGB Source contains all monitor profiles resident on the ColorPASS. RGB Source profiles are used to define the source color space for RGB colors processed by the ColorPASS. N OTE : If you use Photoshop 5.x, you can upload the profile for your selected working space to the ColorPASS and choose that as your RGB Source profile. • Simulation contains printer profiles used to simulate another device on the ColorPASS.
4 4-3 Profile Manager Output: • 5000 A Coarse • 5000 A Fine • 5000 A Off • 5000 B Coarse • 5000 B Fine • 5000 B 2 Off N OTE : For more information on output profiles, see page 1-9. Setting the default profiles The default profiles are applied to all print jobs sent to the ColorPASS, unless you override them using print options. Therefore, the defaults should be the most commonly used profiles. TO SPECIFY A DEFAULT PROFILE : 1. Launch ColorWise Pro Tools and click Profile Manager.
4 4-4 ColorWise Pro Tools The left side of the screen lists the ICC profiles in the default directory of your computer. The right side lists each of the three types of profiles on the ColorPASS. The lock icon ( ) to the left of a profile name indicates that the profiles cannot be deleted and can be edited only if it is saved under a new name. Only Simulation and Output profiles can be edited.
4 4-5 Profile Manager For Output there is always a default profile. You can change the Output default by selecting a preset profile you want as the default and clicking Profile Settings. Or you can create a new default under a new name by selecting a preset profile and specifying your choice of the calibration set in the Use Calibration Set pop-up menu and a new name in the Profile Description menu. Downloading profiles The ColorPASS comes with default profiles.
4 4-6 3. ColorWise Pro Tools When the profile you wish to download appears in the list in the main Profile Manager window, select it. If the profile is compatible with the ColorPASS, a green arrow indicates that the profile is available for download. Only output device profiles are downloadable to Simulation and Output. Only input device profiles are downloadable to RGB Source. N OTE : On Windows computers, the profiles must have an extension of .icc or .icm to be listed.
4 4-7 Profile Manager Editing profiles The profiles on the ColorPASS can be customized to meet your specific needs and the characteristics of your copier using Color Editor either directly or through Profile Manager. See “Color Editor” on page 4-12 for more information on how to edit profiles. Managing profiles Profile Manager lets you back up profiles to ensure that no custom profiles are lost when the ColorPASS software is updated.
4 4-8 ColorWise Pro Tools Delete profiles to make sure no one uses the wrong profile and to free up disk space on the ColorPASS (although profiles are small and do not take up much space). TO DELETE PROFILES FROM THE C OLOR PASS HARD DISK : 1. Launch ColorWise Pro Tools and click Profile Manager. 2. Select the profile you wish to delete and click Delete. A Warning dialog box asks you to confirm deletion.
4 4-9 TO Profile Manager DEFINE A PROFILE : 1. Launch ColorWise Pro Tools and click Profile Manager. Custom profile created with Color Editor For the purposes of this example, assume DIC-new is a custom simulation profile created with Color Editor. As you can see, DIC-new has no information under the heading “Appear in Driver as.” 2. Select DIC-new in the Simulation list, and click Profile Settings or double-click DIC-new. 3.
4 4-10 ColorWise Pro Tools N OTE : While you cannot delete a preset profile, you can use a preset profile’s name for your edited profile when you select the “Appear in Driver as” option. This replaces the preset profile with your own profile. When you choose Profile Settings for an output profile, the Use Calibration Set option also appears. You must calibrate the ColorPASS with this calibration set before this option has any effect.
4 4-11 4. Profile Manager Click OK. DIC-new will appear in driver as Simulation-1 Simulation-1 now appears under the “Appear in Driver as” column for DIC-new. Choosing Simulation-1 from the CMYK Simulation option of the printer driver applies the DIC-new simulation to the print job. If you do not define a custom simulation profile, your job will print with CMYK Simulation Profile set to None. If you do not define a custom RGB Source or Output profile, the default profile is used.
4 4-12 ColorWise Pro Tools Color Editor Color Editor is used to customize simulation and output profiles and can be accessed either directly by clicking its icon in the ColorWise Pro Tools main window, or indirectly through the Profile Manager. Editing Profiles Color Editor allows you to create custom profiles by editing existing simulation or output profiles and saving the changes as a new profile. With Color Editor, you can fine-tune a profile on your ColorPASS to meet your exact specifications.
4 4-13 Color Editor Quick applies one-dimensional transfer curves that adjust output density only, while Full provides a more complete and accurate simulation by applying colorimetric transformations that adjust hue as well as output density (see page 1-9). N OTE : If you made edits to a master simulation after you created a linked simulation, the edits are not applied to the linked simulation. TO M ASTER M ODE C USTOM M ODE : EDIT A SIMULATION PROFILE IN OR AN OUTPUT PROFILE IN 1.
4 4-14 4. ColorWise Pro Tools For a simulation profile, choose Master from the Edit Mode menu. For an output profile, choose Custom from the Edit Mode menu. (See page 4-18 for instructions for using Quick or Full mode.) Eye icons indicate cyan, magenta, and yellow are visible and can be edited You can use this dialog box to view or edit profiles. The graph allows you to view and manipulate color output values.
4 4-15 5. Color Editor Select the colors you want to edit by turning colors off and on. The box with the eye icon to the left of each color indicates whether that color is visible on the graph and will be affected by changes to the curves, brightness, and dot gain controls. You can view and edit all four colors (cyan, magenta, yellow, and black) at once or any combination thereof. Working with only one or two colors at a time helps you fine-tune your adjustments.
4 4-16 ColorWise Pro Tools If you use Dot Gain values, you should apply the settings first so that the curves are deflected from their straight-line positions. Then make edits to the new curves. When you adjust Dot Gain values, all existing points on the curve are removed. A warning dialog box gives you the chance to cancel Dot Gain settings before they are applied. 7. Use the plus and minus buttons to adjust brightness. Changes to the brightness are reflected in the curve(s). 8.
4 4-17 Color Editor For greater precision, you can key in percentages in the Input and Output boxes or use the arrow keys on the keyboard to adjust the curve. To use the arrow keys, you must first click on the curve to establish an anchor point that serves as a reference. 9. For an output profile, you can set maximum densities of the C, M, Y, and K channels. You can enter the maximum densities, called D-Max values, of individual colors for profiles that support density settings.
4 4-18 TO ColorWise Pro Tools EDIT A SIMULATION IN Q UICK OR F ULL MODE : 1. Launch ColorWise Pro Tools and click the Color Editor. 2. Choose Simulation from the View pop-up menu, choose the simulation profile to edit, and click Select. N OTE : You can also open the Profile Manager, select a simulation profile, and click Edit. 3. Choose Quick or Full from the Edit Mode menu, and choose an output profile with which your edited simulation will be linked from the Link with menu.
4 4-19 4. Color Editor Edit and save the simulation as described in the procedure (steps 5 through 10) starting on page 4-15. For this new simulation to be automatically applied to a print job, the CMYK Simulation, Simulation Method, and Output Profile settings must be the same as those used when you edited the profile. If the Simulation Method is different or a different output profile is selected, then the Master simulation is applied.
4 4-20 ColorWise Pro Tools 3. Choose Quick or Full from the Edit Mode menu and choose the output profile with which your unwanted edits are linked from the Link with menu. 4. Click Revert to Master. N OTE : Revert to Master makes the curves for one or more linked simulations match the last saved master simulation. If you have edited and saved changes to a master simulation, your linked simulations will revert to the changed master, not the original.
4 4-21 Color Editor 5. Indicate whether you want to revert the currently selected linked simulation only, or revert all links of this simulation profile, and click OK. 6. If you choose “For all Edit Modes and all Profile Links,” a warning dialog box appears. Click OK. The curves for the linked simulation(s) now match the last saved master simulation exactly. Checking edited profiles You can view a printed sample of a profile before you save it to the ColorPASS.
4 4-22 TO ColorWise Pro Tools CHECK A PROFILE : 1. Click Test Print from the Color Editor window. 2. Select a page to print, specify the paper size and input tray (Comparison Page only), and click Print. For Comparison Page, specify the paper size (LTR/A4 or 11x17/A3) in the Paper Size pop-up menu. In the Input Tray pop-up menu, specify the paper source. N OTE : If you print the measurement page from the Stack Bypass Tray, make sure to select SB-Size at Copier in the Input Tray pop-up menu.
4 4-23 Color Setup Color Setup Color Setup is used to set the default ColorWise settings for the ColorPASS and can be accessed by clicking its icon in the ColorWise Pro Tools main window. Setting default ColorWise options Color Setup allows you to configure the default color management settings for the ColorPASS. These settings are applied to all print jobs sent to the ColorPASS, unless a user overrides them for an individual job by changing settings in the printer driver.
4 4-24 ColorWise Pro Tools For those color options that offer multiple choices, click on the down arrow and make your selection from the pop-up menu that appears. For RGB Separation and CMYK Simulation Method, make your selection by clicking on the appropriate radio button. Other options are selected simply by clicking on a checkbox next to the option’s name. Once you have made your changes, you must click OK or Apply for the changes to take effect.
5 5-1 Chapter 5: Working with Color in Applications Working with color This chapter provides guidelines for defining colors in your documents to produce the results you want.
5 5-2 Working with Color in Applications • For color proofing, use an application that writes its own PostScript and define colors in RGB, CMYK, or choose colors from the application’s PANTONE color library. Placed images can also be defined in RGB or CMYK. Choose the appropriate settings for print options affecting color output (see page 1-1). N OTE : The ColorPASS allows you to use RGB or CMYK data when printing proofs for an offset press run.
5 5-3 Office applications Office applications The ColorPASS must receive PostScript instructions to print an image or a document. Many applications do not create these PostScript instructions by themselves, and instead rely on the printer driver to create them. Included in this category are most word processors, spreadsheets, and presentation packages.
5 5-4 Working with Color in Applications Choosing colors in office applications Two RGB color reference pages, a Microsoft Word file and a Microsoft PowerPoint file, are provided with your ColorPASS user software. Print these files using different CRDs to see how the colors appear when printed to the ColorPASS. For best results, print the color reference page using the same print options you plan to use for your final document.
5 5-5 PostScript applications PostScript applications Most applications used for illustration, pixel editing, and page layout can create the PostScript information they send to PostScript copier or save in PostScript files. Illustrator, Photoshop, PageMaker, QuarkXPress, and FreeHand are all PostScript applications. PostScript applications work with color in many different ways.
Working with Color in Applications Swatch color matching ColorPASS user software includes several color reference pages (see page 5-2). By choosing colors from these reference pages, you can be sure of obtaining the same color from your copier. For best results, calibrate the ColorPASS before printing the reference pages. N OTE : Swatch color matching does not match monitor colors to printed colors. For this you must use a color management system and calibrate your monitor.
5 5-7 PostScript applications PANTONE Coated Color Reference The PANTONE Coated Color Reference included with your ColorPASS user software can help ensure predictable results with colors chosen from the PANTONE color library. The information printed by the PANTONE Coated Color Reference depends on the setting of the Spot Color Matching setting. • On—Prints swatches of the closest equivalents of PANTONE colors your copier can produce. The equivalent PANTONE color name/number is printed below each swatch.
5 5-8 Working with Color in Applications Default output profile The default output profile consists of both a profile for your copier, describing its color characteristics, and a calibration target that describes the expected behavior of the copier. The output profiles provided with the ColorPASS correspond to various Gradation Smoothing properties, which determine the amount of band smoothing the ColorPASS applies to your print job. Coarse provides more smoothing than Fine.
6 6-1 Chapter 6: Office Applications Working with office applications This chapter provides instructions for printing color documents from GDI and QuickDraw applications such as presentation, spreadsheet, and word processing software. You can use these instructions with the Microsoft Office 2000, Microsoft Office 97, and Microsoft Office 95 suite of applications.
6 6-2 Office Applications Although there are no color management options within Office applications, color conversions do occur when you import images or page elements that were not defined in RGB. To avoid such conversions with imported files, use the EPS file format for artwork that is to be imported into Office applications. All RGB images placed in a document are affected by RGB Source and Rendering Style settings.
7 7-1 Chapter 7: Adobe Photoshop Photoshop 5.x This chapter covers features of Adobe Photoshop versions 4.x and 5.x for Windows and Mac OS. The illustrations show only Mac OS dialog boxes, but the information and instructions apply equally to the Windows version of Photoshop. Photoshop 5.x Because Photoshop 5.x uses a sophisticated color management system, there are several setup steps you should take before you begin working. These steps include: • Calibrating your monitor • Adjusting Photoshop 5.
7 7-2 Adobe Photoshop Adobe Gamma control panel You can use the Adobe Gamma control panel to create and customize ICC profiles for your monitor. Photoshop properly displays images on your monitor by compensating between your chosen working space (see the following section on RGB Setup) and the description of your monitor defined by its profile. If you do not create a profile in the Adobe Gamma control panel that corresponds to your monitor, you may encounter poor monitor-to-print matching.
7 7-3 Photoshop 5.x Profile Setup From the Photoshop 5.x File menu, choose Color Settings>Profile Setup. In the Embed Profiles area, check all boxes to embed the appropriate ICC profile when saving a file. By embedding a profile during the saving process, Photoshop can link a color space (working space) definition with that file for future use. When you open an image that already contains a profile, Photoshop can alert you as to which color space the file was saved in.
7 7-4 Adobe Photoshop RGB Setup Photoshop 5.x allows you to simultaneously use two RGB spaces, one for the monitor and one for the Photoshop RGB working space. The monitor RGB space setting does not affect the image data in the file; it affects only the way the image is displayed on the monitor. Even if an RGB image has been prepared with different monitor settings, it is still correctly displayed on your monitor, without changes to the original values in the file. From the Photoshop 5.
7 7-5 Photoshop 5.x The Monitor area shows the currently selected profile in the Adobe Gamma control panel. Turn on both the Display Using Monitor Compensation and Preview options. CMYK Setup From the Photoshop 5.x File menu, choose Color Settings>CMYK Setup. Check this option Turn on the Preview option. For CMYK Model, select ICC. Previous versions of Photoshop used Photoshop Separation Tables, and you can load them for Photoshop 5.x.
7 7-6 Adobe Photoshop • From the Intent menu, choose Perceptual (Images), which is appropriate for photographs normally edited in Photoshop. The Intent setting is used only when you convert between color spaces. It is often better to turn on the Black Point Compensation option. With many ICC profiles, this check box has no effect. However, when it does, it has a dramatic effect on the dark areas of your image. If you want this effect, leave Black Point Compensation on; if not, turn it off.
7 7-7 Photoshop 5.x • CMYK default—choose the same CMYK color space that you set in Photoshop 5.x. • Preferred CMM—choose LinoColor CMM (both ColorSync 2.0 and Microsoft ICM 2.0 are based on this color management module). Defining colors You can choose colors in Photoshop with various color models including HSB, CIE Lab, RGB, and CMYK. You can also choose named colors from the PANTONE Coated color library. For best results, use the color definition methods described in Chapter 5.
7 7-8 Adobe Photoshop In the EPS Options dialog box, choose binary encoding and do not check PostScript Color Management (see the following section for more information on PostScript Color Management). Do not include transfer functions or halftone screens. A TIFF preview is compatible with both Windows and Mac OS computers.
7 7-9 Photoshop 5.x Printing RGB EPS Files Saved with PostScript Color Management When you print an RGB EPS file (that contains an embedded profile) to the ColorPASS, the working space information from the embedded RGB profile can be used as an RGB source definition for ColorPASS CRDs. To use the embedded profile’s source color space information with ColorPASS CRDs, choose None as the ColorPASS RGB Source when you print.
7 7-10 Adobe Photoshop Printing RGB images Use the following instructions to print RGB images. Choose an encoding method Choose RGB Color as the color space Do not check PostScript Color Management Choose RGB Color from the Space pop-up menu. Any other setting causes Photoshop to convert image data to that color space before sending it to the ColorPASS. With the AdobePS 8.7 printer driver for Mac OS, these options appear in the Adobe Photoshop pane of the Print dialog box.
7 7-11 Photoshop 5.x Choose CMYK Color from the Space pop-up menu. Any other setting causes Photoshop to convert image data to that color space before sending it to the ColorPASS. (With the AdobePS 8.7 printer driver for Mac OS, these options appear in the Adobe Photoshop pane of the Print dialog box.) N OTE : If you choose JPEG encoding, keep a backup of the original image saved with binary encoding until you have seen the printed results of the JPEG file.
7 7-12 Adobe Photoshop Printing CMYK images with Photoshop PostScript Color Management If you select a CMYK color space and decide to use PostScript Color Management from the Photoshop pane of the printer driver, Photoshop sends CMYK data to the ColorPASS along with PostScript color information defining this CMYK color space. Remember that when you select PostScript Color Management, a CRD will be used to perform color conversions to the CMYK color space of the ColorPASS.
7 7-13 Photoshop 4.x Photoshop 4.x A special feature of Photoshop allows you to save RGB EPS (PostScript) images that include independent source color space information. This feature is sometimes referred to as “PostScript Level 2 tagging” or “RGB tagging.” You define the source color space to apply to RGB EPS images by specifying a Monitor Setup in Photoshop.
7 7-14 Adobe Photoshop Choose Photoshop EPS or TIFF In the EPS Format dialog box, choose binary encoding and do not include transfer functions or halftone screens. A TIFF preview is compatible with both Mac OS and Windows computers. N OTE : If you experience problems printing the document in which you place the image, substitute an ASCII-encoded version of the same image, and print the document again.
7 7-15 Photoshop 4.x Selecting options when printing You can print RGB or CMYK images from Photoshop. • When you print RGB images, you can choose whether the conversion to CMYK data is performed by the ColorPASS (using a CRD), by PostScript (using PS Color Management), or by Photoshop (using Photoshop’s separation settings). • When you print CMYK images, you can print composites or color separations.
7 7-16 Adobe Photoshop • If you select Print in CMYK, Photoshop performs a color conversion and sends CMYK data to the ColorPASS. With this setting, RGB Source, Rendering Style, and Spot Color Matching settings have no effect. For printing in CMYK, consider these Photoshop separation settings: • If Photoshop is configured for separating to an offset press standard, apply the corresponding CMYK Simulation setting.
7 7-17 Photoshop 4.x Choose an encoding method. (With the AdobePS 8.7 printer driver for Mac OS, these options appear in the Adobe Photoshop pane of the Print dialog box.) For fastest print times, select JPEG encoding. You should, however, check the printed output carefully for unwanted artifacts that can appear as a result of JPEG compression. If you see unexpected results in the printed output when printing with JPEG encoding, print the job again using binary encoding.
8 8-1 Chapter 8: Page Layout Applications Working with page layout applications This chapter provides instructions for printing color documents from Adobe PageMaker 6.5, QuarkXPress 4.02, and QuarkXPress 3.32. Before printing from these applications, make sure the appropriate printer driver and the ColorPASS PPD are installed on your computer as described in Getting Started. Working with page layout applications The following sections apply to all page layout applications.
8 8-2 Page Layout Applications Importing images EPS and TIFF are the recommended formats for images imported into page layout documents. Support for importing other file formats may be provided by individual applications. All RGB images placed in a document are affected by the RGB Source and Rendering Style settings. The ColorPASS color management system applies the specified RGB Source setting to all RGB data and then uses the specified Rendering Style (CRD) to perform a color conversion.
8 8-3 Working with page layout applications CMYK simulation You can specify a CMYK Simulation and a CMYK simulation method for the job with the CMYK Simulation Profile and CMYK Simulation Method print options (see page 1-8). The CMYK Simulation setting affects all CMYK color data sent by the page layout application. It can also affect RGB data if RGB Separation is set to Simulation.
8 8-4 Page Layout Applications Adobe PageMaker 6.5 for Mac OS and Windows The Mac OS and Windows versions of PageMaker 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 For the Windows version of PageMaker 6.
8 8-5 Adobe PageMaker 6.5 for Mac OS and Windows Selecting options when printing All print settings are specified from the various Print dialog boxes in PageMaker 6.5. The printer driver interface described in Chapter 1 is not used. Choose the ColorPASS PPD Click Options In the Print Document dialog box, choose the ColorPASS PPD from the PPD menu.
8 8-6 Page Layout Applications If a document contains RGB placed images or colors defined in RGB that will not be separated to process colors, choose RGB Source and Rendering Style settings in the Print Features dialog box. If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting. When you click Print from any of the PageMaker 6.5 dialog boxes, the job is sent to the ColorPASS. N OTE : You do not see the printer driver dialog boxes described in Chapter 1.
8 8-7 QuarkXPress 4.x for Mac OS and Windows QuarkXPress 4.x for Mac OS and Windows If you have additional color management requirements not offered by ColorWise, you may want to consider using features offered by the Quark CMS XTension for QuarkXPress 4.02. These features allow advanced users to control RGB to CMYK color conversions. If you plan to use these features, make sure the Quark CMS XTension is installed before starting QuarkXPress. If it is not, use the Quark XTensions Manager to install it.
8 8-8 Page Layout Applications Selecting options when printing Choose the ColorPASS PPD from the Printer Description menu in the Print dialog box. Mac OS Choose the ColorPASS PPD Choose an output paper size Click to specify printer settings Windows Choose the ColorPASS copier Click to specify copier settings Choose the ColorPASS PPD If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting. For instructions on specifying print options, see Chapter 1.
8 8-9 QuarkXPress 3.32 for Mac OS and Windows Optional color management from QuarkXPress If you have additional color management requirements not offered by ColorWise, such as managing color on non-ColorPASS devices, you may want to consider using the color management features offered by QuarkXPress. For more information, see your QuarkXPress documentation. QuarkXPress 3.32 for Mac OS and Windows Before starting QuarkXPress 3.32, make sure the EfiColor XTension is not loaded in the XTensions folder.
8 8-10 Page Layout Applications Selecting options when printing You must select the ColorPASS PPD from the Printer Type menu in the Page Setup (Mac OS) or Printer Setup (Windows) dialog box.
8 8-11 QuarkXPress 3.32 for Mac OS and Windows If a document contains RGB-placed images or RGB colors that QuarkXPress will print without converting to CMYK, choose RGB Source and Rendering Style settings. If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting. For instructions on specifying print options, see Chapter 1.
9 9-1 Chapter 9: Illustration Applications Working with illustration applications This chapter provides instructions for using Adobe Illustrator for Windows and Mac OS, Macromedia FreeHand for Windows and Mac OS, and CorelDRAW for Windows and Mac OS. Before printing from these applications, make sure the appropriate PostScript printer driver and the ColorPASS PPD are installed on your computer as described in Getting Started.
9 9-2 Illustration Applications You can also choose named colors from the PANTONE color library. See “PANTONE Coated Color Reference” on page 5-7. Importing images In general, all images placed into illustration application documents should be in EPS format. All RGB images placed in a document are affected by the RGB Source and Rendering Style settings in the PPD.
9 9-3 Adobe Illustrator 8.x for Windows and Mac OS • If the document contains CMYK images that were separated according to the color characteristics of a custom ICC profile (not a press standard profile), select the corresponding profile from the CMYK Simulation Profile print option on the ColorPASS. N OTE : The workflow described above requires that the profile used for the separation of CMYK images in the document also resides on the ColorPASS.
9 9-4 Illustration Applications Optional color management in Illustrator If you have additional color management requirements not offered by ColorWise, such as managing color on non-ColorPASS devices, you may want to consider using the color management features offered by Illustrator. For more information, see your Illustrator documentation. Selecting options when printing For the Windows version of Illustrator, select the appropriate copier from the Name pop-up menu and select PostScript Level 2 or 3.
9 9-5 Adobe Illustrator 8.x for Windows and Mac OS For the Mac OS version of Illustrator, choose Composite output and PostScript Level 3. Mac OS Choose PostScript Level 3 Choose Composite If a document contains placed RGB images, click on the Properties button (Windows) or select Printer Specific Options from the pop-up menu (Mac OS) and choose RGB Source and Rendering Style settings for the ColorPASS.
9 9-6 Illustration Applications Macromedia FreeHand 8.x for Windows and Mac OS The information in this section applies to both the Windows and Mac OS versions of FreeHand 8.x. Only Mac OS dialog boxes are shown, but the information and instructions are identical for the Windows version of FreeHand. N OTE : If you are using ColorWise color management, you should turn off FreeHand 8.x color management features by choosing None from the Colors>Color Management>Type pop-up menu.
9 9-7 Macromedia FreeHand 8.x for Windows and Mac OS When you import an EPS image into your 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. N OTE : Before placing a CMYK EPS file, be sure the file was saved with Desktop Color Separation (DCS) set to off.
9 9-8 Illustration Applications To use ColorPASS color management features, turn off the “Convert RGB to process” checkbox in the File>Output Options dialog box. If this option is turned on, FreeHand’s color management settings are used to convert RGB colors and RGB TIFF, PICT, and JPEG images to CMYK. Turn off to use ColorPASS color management If a document contains placed RGB images, choose RGB Source and Rendering Style settings in the PPD.
9 9-9 CorelDRAW for Windows and Mac OS Optional color management in FreeHand If you have additional color management requirements not offered by ColorWise, such as managing color on non-ColorPASS devices, you may want to consider using the color management features offered by FreeHand. For more information, see your FreeHand documentation. CorelDRAW for Windows and Mac OS Defining colors Any colors defined in CorelDRAW 9.x for Windows or CorelDRAW 8.
9 9-10 Illustration Applications Selecting options when printing On Windows computers, in the Print dialog box under the General tab, make sure the correct copier and PPD are selected and check the Use PPD box. Click Properties to specify ColorPASS print options. Print device name appears here Printer driver/PPD name appears here Click Properties to access ColorPASS print options On Mac OS computers, click on the Printer button in the General Print dialog box to select the copier and print options.
9 9-11 CorelDRAW for Windows and Mac OS To use ColorPASS color management, do not check this box If a document contains placed RGB images, choose RGB Source and Rendering Style settings for your copier. With the exception of placed RGB images, these settings have no effect on colors printed with CorelDRAW. If the document contains PANTONE named colors, choose the appropriate Spot Color Matching setting.
A A-1 Appendix A: Desktop Color Primer Desktop Color Primer This appendix covers concepts that are basic to printing in color, including: • The properties of color • Printing techniques • Using color effectively • Raster images and vector images • Optimizing files 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-10) for tips on optimizing files for printing.
A A-2 Desktop Color Primer point, can adjust to the different light sources. However, color objects appear different under tungsten light than they do in sunlight because of the different spectral makeup of the two light sources. The mixture of light wavelengths emitted by a light source is reflected selectively by different objects. Different mixtures of reflected light appear as different colors.
Plate 1: Sunlight split into spectral colors by prism Plate 2: CIE chromaticity diagram
Brightness Hue Saturation Plate 3: Hue, saturation, and brightness Plate 4: Adobe Photoshop Color Picker
A A-3 Desktop Color Primer Hue, saturation, and brightness A color can be described in terms of three varying characteristics, called the HSB color model: • Hue—tint (the qualitative aspect of a color—red, green, or orange) • Saturation—the purity of the color • Brightness—relative position between white and black While the CIE chromaticity diagram (plate 2) conveys hue and saturation, a threedimensional color model is required to add the brightness component (plate 3).
A A-4 Desktop Color Primer Subtractive (CMY and CMYK) color The subtractive color model is the basis for color printing and for 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.
Plate 5: Additive color model Plate 6: Color monitor
Plate 7: Subtractive color model
A A-5 Desktop Color Primer Printing techniques Until recently, most color printing was done on printing presses using one of several printing techniques—offset lithography, flexography, and gravure, to name a few. All traditional printing techniques require lengthy preparation before a print run can take place. Short-run color printing, including ColorPASS printing, eliminates most of this preparation.
A A-6 Desktop Color Primer Halftone and continuous tone devices Halftoning is used in offset printing to print each process color at a different intensity, allowing millions of different colors to be reproduced using only the four process colors. Depending on the required intensity of a given color, toner is placed on paper in dots of different size. The grid of dots used for each toner color is called a screen.
A A-7 Desktop Color Primer A few rules of thumb Try some of the following strategies for creating successful color materials: • Rather than applying colors indiscriminately, use color to aid comprehension. In presentations, graphs, and charts, use color to highlight patterns and emphasize differences. • 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.
A A-8 Desktop Color Primer 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. The more you develop a critical facility for judging color combinations, the more you will be able to trust your own eye for color.
Plate 8: Color wheel Plate 9: Complements, split complements, and triads
STOP! STOP! De gustibus non est disputandum. Exceptio probat regulam de rebus non exceptis.
A A-9 Desktop Color Primer Raster images and vector images Two broad categories of artwork can be printed from a personal computer to a color printer: raster and vector images (plate 11). A raster image, also referred to as a bitmap, is composed of a grid of pixels, each assigned a particular color value. The grid, when sufficiently enlarged, resembles a mosaic made from square tiles.
A A-10 Desktop Color Primer 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. Resolution of raster images While a 72 ppi raster image appears sharp on a monitor, the same image would likely appear pixelated when printed to the ColorPASS.
A A-11 Desktop Color Primer In this table, the shaded areas indicate that 200 ppi is typically the best trade-off between image quality and file size. However, higher resolutions (e.g., 250 to 300 ppi) may be needed for offset printing, when quality is of the utmost importance, or for images containing sharp diagonal lines. To find the best image resolution for your purposes, make test prints of some raster artwork at different resolutions.
A A-12 Desktop Color Primer Scaling Ideally, each raster image should be saved at the actual size, and it will be placed into the document at the optimal resolution for the print device. If the image resolution is correct for the print device, there is no quality advantage to be gained by scaling an image down to a percentage of its actual size.
B B-1 Appendix B: Color Management Color Management This appendix provides information on controlling and managing color output in order to achieve predictable color results. It also discusses the basics of color management. Controlling printed color When working with color materials, whether they be presentations, illustrations, or complicated page designs, you make aesthetic decisions about the colors you use. Once you have decided on your goal, you then need to realize it in print.
B B-2 Color Management Maintaining copier consistency The factors described below affect print device consistency, as well as color fidelity and overall output quality. Paper stock and toner The paper and toner used by your copier can greatly affect printed color. For best results, use the supplies recommended by the manufacturer of the copier.
B B-3 Color Management You need to account for the gamut of your print device when designing on a color monitor. When printed, colors that fall outside the print device gamut are “mapped” to printable colors. This process, referred to as gamut mapping, takes place when color data is converted or adjusted to meet the gamut requirements of a print device. The ColorPASS is specially designed to perform gamut mapping at high speed with high quality results.
B B-4 Color Management Color conversion Before a color document can be printed, the color data in it must be converted to the gamut of the print device. Whether performed by the ColorPASS or by a host-based CMS, the process of converting color data for a print device 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.
C C-1 Appendix C: Importing densitometer measurements Importing densitometer measurements This appendix describes Simple ASCII File Format, which can be used to import density measurements from measurement devices. To use your own measurement data from an alternate densitometer, record your individual readings in a text file and structure it as described below.
C C-2 Importing densitometer measurements Example of 1D Status T density for EFI 34 patch page This file format is used to specify the Status T density measurements of the EFI 34 patch page. The value in the first column is the patch number. The first patch must be 1 and the last must be 34. #!EFI 3 # EFI ColorWise 2.0 Data type: 1DST34 # Cyan Magent Yellow Black 1 0.0300 0.0400 0.0200 0.0400 2 0.0600 0.0700 0.0800 0.0700 3 0.1000 0.1000 0.1000 0.1000 (…more data…) 33 1.6700 1.3400 0.8900 1.6700 34 1.
C C-3 Importing densitometer measurements Example of 1D Status T density for an arbitrary page This file format is used to specify the Status T density measurements of a user-defined patch page. The value in the first column is the ink/toner percentage of the patch. The first percentage must be 0 and the last percentage must be 100. The percentages must increase in between. #!EFI 3 # EFI ColorWise 2.0 Data type: 1DST # percnt Cyan Magent Yellow Black 0.0000 0.0300 0.0400 0.0200 0.0400 0.3922 0.0600 0.
Glossary additive color model blasting 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. An undesirable effect that occurs when excess amounts of toner, possibly combined with certain types of paper stock, cause objects in an image to spread beyond its boundaries as defined in the file. additive primaries Red, green, and blue light that is used in additive color systems.
G-2 Glossary color management system (CMS) composite printer System used to match color across different input, display, and output devices. 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. color rendering dictionary See CRD (color rendering dictionary). color separation The process of separating a color image into the color components for printing—cyan, magenta, yellow, and black.
G-3 Glossary DCS (Desktop Color Separation) flexography A data file standard defined by Quark, Inc., to assist in making color separations with desktop publishing system; five files are created, four color files (one each for C, M, Y, and K) and a composite color preview file of the color image. It allows an image-editing application to perform color separation and pass it through to final output with its integrity intact. A printing technology that uses flexible raised-image plates.
G-4 Glossary GIF (Graphics Interchange Format) See GDI. 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 95/98/Me, Windows NT 4.0, and Windows 2000 computers in Image Color Matching (ICM). The ColorPASS’s color management system, ColorWise, supports ICC profiles.
G-5 Glossary the screens, improper screen angles, improper alignment of halftone screens, or by the combination of a halftone screen with patterns in the image itself. named color A color that is defined according to a custom color system. For example, PANTONE 107 C is a named color. office applications Software applications commonly used for business purposes, including presentation applications, spreadsheets, and word processing programs.
G-6 Glossary colors. It is appropriate for bright saturated colors used in illustrations and graphs. primaries. Commonly used to refer to the color space, mixing system, or monitor in color computer graphics. process colors simulation profile The four ink colors used in printing to simulate full-spectrum color images: Cyan, Magenta, Yellow, and blacK (CMYK).
G-7 Glossary process colors that are printed using combinations of cyan, magenta, yellow, and black. Status T A spectral response for graphic arts reflection densitometers defined by ANSI (the American National Standards Institute). subtractive color model A system in which color is produced by combining colorants such as paint, inks, or dyes on media such as paper or transparent film or acetate. All printing devices use the subtractive color model.
Bibliography Books Adobe Print Publishing Guide. Adobe Systems Incorporated, 1995. (Comes as part of the documentation for Adobe products such as Adobe Photoshop and Adobe Illustrator, P/N 0397 0719) Blatner, David and Fraser, Bruce. Real World Photoshop 3: Industrial Strength Production Techniques. Berkeley: Peachpit Press, 1996. Bruno, Michael H., ed. Pocket Pal: A Graphic Arts Production Handbook. Seventeenth Edition. Memphis: International Paper, 1997. Hunt, R.W.G. The Reproduction of Colour.
Index Numerics 8-pin DIN plug 3-8, 3-26 A Absolute Colorimetric 1-5 accent color A-7 additive color model A-3 additive primaries A-3 Adobe Illustrator, see Illustrator Adobe PageMaker, see PageMaker Adobe Photoshop, see Photoshop Adobe PostScript Printer Driver Mac OS 1-20 Apple Standard setting, RGB Source option 1-6 AutoCal2 calibration 3-35, 3-37 B bit depth, of raster images A-9, A-10 bitmaps A-5 see also raster images Black Overprint option 1-4, 1-12 black text 1-12 line art 1-10 brightness A-1, A-3
I-2 Index spot colors 5-5, A-6 subtractive model A-3, A-4 subtractive primaries A-4 swatch color matching 5-6 text A-8 theory A-1 triads A-7 using effectively A-6 to A-8 wheel A-7 working with 5-1 colorants A-4 Color Charts 3-5 Colorimetric ICC rendering style 1-5 color management basics B-3 to B-4 ColorWise 1-1 to 1-13, 2-3 color management print options for Windows 95/98/Me 1-16 color management system (CMS) xv, B-3 color matching systems, see custom color systems color monitors, see monitors Color Refe
I-3 Index F Fiery Scan 1-9 file size, of raster images 2-3, A-10 flexography A-5 font size, for color text A-8 FreeHand 5-5, 9-6 Full simulation 1-8 Illustrator 5-5, 9-3 Image Color Matching, see ICM Image ICC rendering style 1-5 ink B-2 International Color Consortium, see ICC J JPEG 7-8, 7-11, 7-14, 7-16, 7-17 G gamma B-4 Gamma option 1-3 gamut of monitors B-2 of photographic transparencies B-2 of print devices B-1 gamut mapping B-3 GDI applications, using color in 5-3 to 5-5 Graphics Device Interface
I-4 Index O office applications 5-1, 5-3 to 5-5, 6-1 to 6-2 offset lithographic printing A-5 offset press printing A-5 to A-6 offset press print jobs, workflow issues 5-2 Other setting, RGB Source option 1-6 output profile color conversion B-4 Output Profile option 1-4 P page layout applications 8-1 PageMaker 5-5, 8-4 painting applications A-9 PANTONE color system 5-5 PANTONE Coated Color Reference 1-13, 5-2 paper stock B-2 passwords for calibration 3-2, 3-16, 3-28 Perceptual ICC rendering style 1-5 phos
I-5 Index resolution A-9, A-10 to A-11 scaling of A-12 registration of colors A-8 Relative Colorimetric 1-5 Rendering Style option 1-3 rendering styles 1-5, 5-3 resolution of raster images A-9, A-10 to A-11 RGB color model 5-3, 5-5 RGB Color Reference 5-2, 5-4 RGB images EPS, color conversion 1-7 PostScript and non-PostScript 1-7 RGB Separation option 1-3, 1-7 RGB source color space, see source color space RGB Source option 1-3, 1-6 S saturation A-1, A-3 Saturation ICC rendering style 1-5 scaling of rast
I-6 Index W white point B-4 White Point option 1-3 Windows 2000 printer driver 1-19 Windows 95/98/Me color management print options 1-16 Windows 95/98/Me printer driver 1-15 Windows Graphics Device Interface, see GDI applications Word, see Microsoft Office workflow advanced 2-9 color proofing 2-1 ICC profiles 2-15 short-run jobs 2-1 simple 2-4 with Illustrator 2-11 with Photoshop 2-9, 2-17
