Electronics for Imaging RIP STATION 5000 User Manual
Color Printing Guide
RIP STATION 5000
Copyright © 1998 Electronics for Imaging, Inc. All rights reserved.
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Patents: 5,666,436; 5,553,200; 5,543,940; 5,537,516; 5,517,334; 5,506,946; 5,424,754; 5,343,311; 5,212,546; 4,941,038; 4,837,722; 4,500,919
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WARNING: FCC Regulations state that any unauthorized changes or modifications to this equipment not expressly approved by the manufacturer could void
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Class B Declaration of Conformity
Trade Name—Fiery Server (Printer Controller for Epson)
Model Number—LXFC001
Compliance Test Report Number—M71204A1
Compliance Test Report Date—December 21. 1997
Responsible Party (in USA)—Electronics for Imaging, Inc.
Address—2855 Campus Drive, San Mateo, CA 94403
Telephone—650-524-4300
This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to Part 15 of the FCC rules. These limits are designed
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If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is
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Software License Agreement
Electronics for Imaging, Inc. grants to you a non-exclusive, non-transferable license to use the software and accompanying documentation (“Software”) included
with the RIP Station 5000 you have purchased, including without limitation the PostScript® software provided by Adobe Systems Incorporated.
You may:
a. use the Software solely for your own customary business purposes and solely with RIP Station 5000;
b. use the digitally-encoded machine-readable outline and bitmap programs (“Font Programs”) provided with RIP Station 5000 in a special encrypted format
(“Coded Font Programs”) to reproduce and display designs, styles, weights, and versions of letters, numerals, characters and symbols (“Typefaces”) solely for your
own customary business purposes on the display window of RIP Station 5000 or monitor used with RIP Station 5000;
c. use the trademarks used by Electronics for Imaging to identify the Coded Font Programs and Typefaces reproduced therefrom (“Trademarks”); and
d. assign your rights under this Agreement to a transferee of all of your right, title and interest in and to RIP Station 5000 provided the transferee agrees to be
bound by all of the terms and conditions of this Agreement.
You may not:
a. make use of the Software, directly or indirectly, to print bitmap images with print resolutions of 720 dots per inch or greater, or to generate fonts or typefaces
for use other than with RIP Station 5000;
b. make or have made, or permit to be made, any copies of the Software, Coded Font Programs, accompanying documentation or portions thereof, except as
necessary for use with the RIP Station 5000 unit purchased by you; provided, however, that under no circumstances may you make or have made, or permit to
be made, any copies of that certain portion of the Software which has been included on the RIP Station 5000 hard disk drive. You may not copy the
documentation;
c. attempt to alter, disassemble, decrypt or reverse engineer the Software, Coded Font Programs or accompanying documentation.
d. rent or lease the Software.
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Contents
Introduction
About this manual
Tips for success
Chapter 1: Desktop Color Primer
The properties of color
The physics of color 1-1
CIE color model 1-2
Additive and subtractive color systems 1-3
Printing techniques
Halftone and continuous tone devices 1-5
Using color effectively
A few rules of thumb 1-6
Color wheel 1-7
Color and text 1-8
Registration and trapping 1-8
Raster images and vector images
Optimizing files for processing and printing
Resolution of raster images 1-10
Scaling 1-12
xi
xii
1-1
1-4
1-6
1-9
1-10
Workflow scenarios
Short-run color printing 1-12
Offset printing 1-13
1-12
viii Contents
Chapter 2: Color Management
Controlling printed color
Maintaining print device consistency 2-2
Print device gamut 2-2
Basics of color management
Color conversion 2-4
RIP Station color management
RGB Source 2-7
Rendering styles 2-8
Pure Black Text/Graphics 2-9
CMYK Simulation 2-9
Optional ICC color management for advanced users
Color management on Macintosh computers 2-10
Color management on Windows computers 2-12
Chapter 3: Working with Color in Applications
Working with color
Color reference pages 3-2
Office applications
Choosing colors in office applications 3-3
2-1
2-3
2-5
2-10
3-1
3-2
PostScript applications
Choosing colors in PostScript applications 3-4
CMYK simulation 3-6
Chapter 4: Printer Drivers and Print Options
What a printer driver does
Adobe PostScript Printer Driver for Macintosh
Setting color management print options 4-2
Adobe PostScript Printer Driver for Windows 95
Setting color management print options 4-5
3-4
4-1
4-2
4-5
ix Contents
Adobe PostScript Printer Driver for Windows 3.1x
Setting color management print options 4-7
Microsoft PostScript Printer Driver for Windows NT 4.0
Chapter 5: Adobe Photoshop 4.0
Before you begin
With Windows versions of Photoshop 5-1
With Photoshop 2.5 for Macintosh 5-2
Defining colors
Saving files for importing into other documents
Selecting options when printing
Printing RGB images 5-4
Printing CMYK images 5-5
Chapter 6: Page Layout Applications
Working with page layout applications
Defining colors 6-1
Importing images 6-1
CMYK simulation 6-2
4-7
4-8
5-1
5-2
5-2
5-3
6-1
Adobe PageMaker 6.5 for Macintosh and Windows
Importing images 6-3
Selecting options when printing 6-4
QuarkXPress 3.32 for Macintosh and Windows
Importing images 6-8
Selecting options when printing 6-8
Chapter 7: Illustration Applications
Working with illustration applications
Defining colors 7-1
Importing images 7-2
CMYK simulation 7-3
6-3
6-8
7-1
x Contents
Adobe Illustrator 7.0 for Macintosh and Windows
Defining colors 7-3
Importing images 7-5
Selecting options when printing 7-5
Saving files for importing into other documents 7-6
For advanced users: Using Illustrator color management 7-7
Macromedia FreeHand 7.0 for Macintosh and Windows
Defining colors 7-8
Importing images 7-8
Selecting options when printing 7-9
Saving files for importing into other documents 7-10
For advanced users: Using FreeHand color management 7-11
CorelDRAW 7.0 for Windows
Defining colors 7-12
Importing images 7-12
Selecting options when printing 7-13
Saving files for importing into other documents 7-14
For advanced users: Using CorelDRAW color management 7-14
Chapter 8: Office Applications
7-3
7-8
7-12
Working with office applications
Defining colors 8-1
Working with imported files 8-1
Selecting options when printing 8-2
Microsoft Office 97
8-1
8-2
Glossary
Bibliography
Index
xi About this manual
Introduction
Welcome to the
issues associated with printing to a RIP Station 5000 print device. It also contains
application notes that explain how to print to the RIP Station from popular Macintosh
and Windows applications.
This manual is one book in a set of documentation that also includes manuals for users
and system administrators. All the other manuals should be available at your site—
refer to them for a complete description of your documentation.
Color Printing Guide
. This manual introduces you to the concepts and
About this manual
This manual is written for anyone who prints to a RIP Station using popular Macintosh and Windows applications. It goes beyond the mechanics of sending a print job
and explains issues that affect the quality of the results, such as:
• Use of color in the document
• Resolution and file formats used for imported images
• Features of ColorWise™ color management performed by the RIP Station
• Effects of print option settings on printed color
Because each application has different options that affect color printing, detailed application notes are included.
Words in bold (for example,
Glossary. The Bibliography at the end of this manual provides sources for further
investigation of color printing issues.
additive color model
), are terms that appear in the
The phrase “RIP Station color management” refers to the ColorWise color
management system built into the RIP Station Color Server.
xii Introduction
Tips for success
The built-in ColorWise color management system of the RIP Station ensures that
every color job you print looks good. Regardless of the computer you work on, the
application you use, and the type of color work you do, your RIP Station print device
provides high-quality color output without any special effort on your part.
You can also customize the RIP Station color management system for particular types
of projects or environments. The RIP Station provides total flexibility, allowing you to
specify color settings on a job-by-job basis.
The following list summarizes the issues you should consider when you create and
print a color document.
1. Maintain print device consistency.
(Chapter 2)
2. Use the Color Reference pages when choosing and defining RGB, CMYK, and PANTONE™
colors in applications.
(Chapter 3)
3. Save raster images at the optimal resolution for your print device.
(Chapter 1)
4. Choose the appropriate settings for these print options (described in Chapter 2):
•
RGB Source
(and, for a custom RGB source space, Gamma, Phosphors, and White
Point)—affects the output of all RGB data in your document (see page 2-7)
Rendering Style
•
—determines the type of color effect produced; for example, vibrant
colors (such as for presentations) or accurate-match colors (such as for spot colors in
logos)
Brightness
•
Pure Black Text/Graphics
•
—increases or decreases the brightness of all colors in the document
—determines whether black text and line art in your
document are printed as one-color black or four-color black; can eliminate
misregistration and blasting problems; minimizes the cost of printing mostly black
documents
•
CMYK Simulation
—lets you use your RIP Station print device as a proofing device
for offset press jobs
1-1 The properties of color
1
Chapter 1: Desktop Color Primer
This chapter 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
• Workflow scenarios
If you are already familiar with color theory and digital color printing, you can skip to
the last section (page 1-10) for tips on optimizing your files for printing.
The properties of color
What we call “color” is really a perceptual ability unique to humans and a small
number of animal species. Color theory is an attempt to systematize the properties of
color perception, which by nature is relative and changeable. A color appears different
depending on the other colors around it, and individuals vary in their abilities to
perceive color.
This section introduces concepts that are basic to color theory. You will encounter
some of these concepts (such as hue, saturation, and brightness) when you work with
color in applications; others provide useful background information. Color is a
complex topic, so consider this a starting point for experimentation and further
research.
The physics of color
The human eye can see electromagnetic radiation at wavelengths between 400
nanometers (purplish blue) and 700 nanometers (red). This range is called the visible
spectrum of light. We see pure
Sunlight at midday, which we perceive as white or neutral light, is composed of light
from across the visible spectrum in more or less equal proportions. Shining sunlight
spectral light
as intensely saturated or pure colors.
1-2 Desktop Color Primer
1
through a prism separates it into its spectral components, resulting in the familiar
rainbow of colors (plate 1).
Like the sun, most light sources we encounter in our daily environment emit a mixture
of many 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. However, color objects appear different
under tungsten light than they do under 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. Some
of these mixtures appear as relatively saturated colors, but most appear to us as grays or
impure hues of a color.
CIE color model
In the 1930s, the Commission Internationale de l’Eclairage (CIE) defined a standard
color space
communication of color information. This color space is based on research on the
nature of color perception. The CIE chromaticity diagram (plate 2) is a twodimensional model of color vision. The arc around the top of the horseshoe
encompasses the pure, or spectral, colors from blue-violet to red. Although the CIE
chromaticity diagram is not perceptually uniform—some areas of the diagram seem to
compress color differences relative to others—it is a good tool for illustrating some
interesting aspects of color vision.
, a way of defining colors in mathematical terms, to help in the
By mixing any two spectral colors in different proportions, we can create all the colors
found on the straight line drawn between them in the diagram. It is possible to create
the same gray by mixing blue-green and red light or by mixing yellow-green and blueviolet light. This is possible because of a phenomenon peculiar to color vision called
metamerism
different combinations of spectral light can produce the same perceived 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.
. The eye does not distinguish individual wavelengths of light. Therefore,
1-3 The properties of color
1
Hue, saturation, and brightness
A color can be described in terms of three varying characteristics:
• Hue, or tint (the qualitative aspect of a color—red, green, or orange)
• Saturation, or the purity of the color
• Brightness, or 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).
Many computer applications include dialog boxes in which you choose colors by
manipulating hue, saturation, and brightness. For example, Photoshop uses a square
Color Picker (plate 4) which can be reconfigured according to your preference.
Additive and subtractive color systems
Color devices used in desktop publishing and printing
colors using a set of primary colors that are combined to create other colors. There are
two methods of creating a range of colors from a set of primary colors. Computer
monitors and scanners use the additive color model. Printing technologies, including
RIP Station print devices and offset presses, use the
simulate
subtractive color model
the range of visible
.
Additive (RGB) color
Color devices that use the additive color model make a range of colors by combining
varying amounts of red, green, and blue light. These colors are called the
primaries
and blue light available. Black occurs wherever all three colors are absent. Grays are
created by adding varying amounts of all three colors together. Combining varying
amounts of any two of the additive primaries creates a third, saturated hue.
A familiar device that uses this color model is the computer monitor (plate 6).
Monitors have red, green, and blue
display a given color. Scanners create digital representations of colors by measuring
their red, green, and blue components through colored filters.
(plate 5). White is created by adding the maximum amount of red, green,
phosphors
that emit varying amounts of light to
additive
1-4 Desktop Color Primer
1
Subtractive (CMY and CMYK) color
The subtractive color model is used in color printing, and in 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 uses a “white”
or neutral light source containing light of many wavelengths. Inks, toners, or other
colorants
otherwise would be reflected or transmitted by the media in question.
The
blue light, respectively (plate 7). Combining any two subtractive primaries creates a
new color that is relatively pure or saturated. For example, you can make red by
combining magenta and yellow, which absorb green and blue light, respectively. White
occurs when no colorant is applied. Combining all three subtractive primaries in
theory yields black, but due to deficiencies of cyan, magenta, and yellow colorants,
combining these three primaries actually yields a muddy brown. Black colorant is
added to compensate for the deficiencies of cyan, magenta, and yellow colorants, and
consequently color printing uses four process colors: Cyan, Magenta, Yellow, and
blacK (CMYK). The use of black ink helps in producing rich solid blacks and also
allows for improved rendition of black text.
are used to selectively absorb (subtract) certain wavelengths of light that
subtractive primaries
are cyan, magenta, and yellow; they absorb red, green, and
The CMYK colorants used in offset printing and by your RIP Station print device are
to some degree transparent. When one layer of colorant is applied on top of another,
you see the effect of both. To create a range of intermediary colors, a method is
required for varying the amount of each colorant that is applied. A technique called
halftoning is used in offset printing, while color print devices typically use a
proprietary system for applying ink or toner colors that is similar to halftoning.
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 RIP Station printing, eliminates most
of this preparation. By streamlining the process of color printing, the RIP Station
makes short print runs economically feasible.
1-5 Printing techniques
1
In contemporary offset lithographic printing, digital files from desktop computers are
output to an imagesetter, which creates film separations. The film is used to make a
prepress proof, which is an accurate predictor of the final print job, allowing an
opportunity to make corrections before going to press. Once the proof is approved, the
printer makes plates from the film and runs the print job on the press.
computer
Desktop
computer
With a RIP Station, you simply print the file. The RIP Station processes the PostScript information in the file and sends bitmaps to the print engine. The ease of
RIP Station printing makes possible experimentation that would be too costly on
press, allowing unlimited fine-tuning of color and design elements.
Imagesetter Film Proof PressDesktop Print run
E
P
S
O
N
Print device Color prints
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, ink is placed on paper in
dots of different size. The grid of dots used for each ink color is called a screen.
Halftone screens are aligned to unique angles designed to eliminate interference
patterns called moiré that can arise with halftoning.
1-6 Desktop Color Primer
1
Some color print devices are commonly referred to as continuous tone (or “contone”)
devices. They do not use traditional halftone screen patterns and angles. However, they
do apply dots (in some cases very elongated dots or lines) of different sizes to paper in a
process similar to halftoning.
Even if your color printing is done exclusively on the RIP Station, you will encounter
concepts from offset printing if you use high-end graphics applications. For example,
color controls in illustration applications such as Illustrator are geared toward
specifying color for offset printing using process and spot colors. Many applications
allow you to specify the screening used for each printing plate.
Using color effectively
The ability to print in color can greatly increase the effectiveness of your message,
whether you are printing a presentation or a newsletter, or proofing an ad concept that
will later be printed on press. Some potential benefits of using color include:
• Conveying information rapidly by using color cues
• Making use of the emotive aspects of different colors
• Increasing impact and message retention
Color can also be a source of distraction and discord if it is used poorly. This section
outlines some tips and concepts that will prove useful as you approach designing color
materials.
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.
• 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.
1-7 Using color effectively
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Color wheel
A color wheel (plate 8) is a helpful tool for understanding the interrelation of colors.
The colors on one side of the color wheel, from magenta to yellow, appear to most
people to be warm colors, while those on the other side, from green to blue, appear to
be cool. The distance between two colors on the color wheel can help predict how they
will appear when seen side by side.
Colors opposite one another on the wheel are called complements (plate 9), 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. Other bold
combinations to consider are split complements (a color and the two colors adjacent to
its complement) and triads (three colors evenly spaced on the color wheel). Colors
adjacent to one another on the color wheel result in subtle harmonies.
The color wheel simplifies color relationships for the purpose of clarity, showing only
saturated or pure colors. Adding the myriad variations of each hue to the palette (more
or less saturated, darker or lighter) creates a wealth of possibilities. Taking a pair of
complements from the color wheel and varying the saturation and brightness of one or
both colors produces a very different result from the pure complements. Combining a
light tint of a warm color with a darker shade of its cooler complement often gives
pleasing results. Combining a darker shade of a warm color with a light tint of its
cooler complement produces an unusual effect you may like.
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. The Bibliography at the back of this manual includes
books on design.
1-8 Desktop Color Primer
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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.
Color text can add flair to documents printed on paper when used skillfully, and is
widely used in presentations. When using color text, avoid dazzling text and
background combinations created from primary complements, especially red and cyan
or red and blue; they are visually fatiguing and hard to read. Color text is more legible
when distinguished from its background by a difference in lightness—for example,
dark blue text on a light beige background. In addition, using many different colors in
a string of text makes for a confused appearance and is hard to read. However, using a
single highlight color is an effective way to draw the reader’s eye to selected words. See
plate 10 for color text samples.
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 ink, while color text usually prints with two or more inks. Any
misregistration between the different inks on paper causes color text to lose definition.
You can make test prints to find the smallest point size at which color text prints
clearly. When using high-end graphics applications that allow you to specify color as
percentages of cyan, magenta, yellow, and black, you can create pure cyan or pure
magenta text that prints with the same sharpness as black text. (Pure yellow text is
extremely hard to read on anything but a dark or complementary background.)
Registration and trapping
With any print device, there is the possibility that the different inks may print slightly
out of register, producing distracting gaps between objects. Trapping is the process of
spreading one color slightly into adjacent colors to compensate for any misregistration
that might occur when the file is printed. Depending on the job’s makeup, you may
need to take trapping into consideration for best printed results. See the Bibliography
for sources of information on trapping.
1-9 Raster images and vector images
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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. Examples of raster images include scans and images
created in painting or pixel-editing applications, such as Photoshop and Painter.
The amount of information found in a raster depends on its resolution and bit depth.
The resolution of a raster describes the density of the pixels and is specified in pixels
per inch (ppi). The bit depth is the number of bits of information assigned to each
pixel. Black and white rasters require only one bit of information per pixel. For
photographic quality color, 24 bits of RGB color information are required per pixel,
yielding 256 separate levels of red, green, and blue. For CMYK images, 32 bits per
pixel are required.
When printing raster artwork, the quality of the output depends on the resolution of
the raster. If the raster’s resolution is too low, individual pixels become visible in the
printed output as small squares. This effect is sometimes called “pixelation.”
In vector images, picture elements are defined mathematically as lines or curves
between points—hence the term “vector.” Picture elements can have solid, gradient,
or patterned color fills. Vector artwork is created in illustration and drawing
applications such as Illustrator and CorelDRAW. Page layout applications such as
QuarkXPress also allow you to create simple vector artwork with their drawing tools.
PostScript fonts are vector-based as well.
Vector artwork is resolution-independent; it can be scaled to any size without danger of
pixels becoming visible in printed output.
1-10 Desktop Color Primer
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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 RIP Station. Color print devices are capable of
much greater detail than monitors, and require correspondingly higher resolution
image files. However, high-resolution files can be large, and therefore cumbersome to
transmit over a network, process for printing, store on disk, and edit.
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, along with its bit depth and physical dimensions, determine
its file size. The following table shows the file sizes of color raster images at different
dimensions and resolutions.
File size at:
Image size 100 ppi 150 ppi 200 ppi 400 ppi
RGB/CMYK RGB/CMYK RGB/CMYK RGB/CMYK
3"
x 4"
x 7"
5"
x 11"
8.5"
x 17"
11"
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.
0.4/0.5 MB 0.8/1.0 MB 1.4/1.8 MB 5.5/7.3 MB
1.0/1.3 MB 2.3/3.0 MB 4.0/5.3 MB 16.0/21.4 MB
2.7/3.6 MB 6.0/8.0 MB 10.7/14.3 MB 42.8/57.1 MB
5.4/7.1 MB 12.0/16.1 MB 21.4/28.5 MB 85.6/114.1 MB
1
Image quality
1-11 Optimizing files for processing and printing
To find the best image resolution for your purposes, make test prints of some raster
artwork at different resolutions. Start with a high-resolution image (400 ppi) and save
versions at progressively lower resolutions, down to 100 ppi, using a pixel-editing
application such as Photoshop. Always save a copy of the original high-resolution
version in case you need to 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.
100 ppi 200 ppi 300 ppi 400 ppi
Image resolution
Raster images prepared for offset printing may need to be at higher resolutions than
needed for proofing on your RIP Station.
1-12 Desktop Color Primer
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Scaling
Ideally, each raster image should be saved at the actual size it will be placed into the
document and 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. If you scale a large image down to a
percentage of its actual size, you incur unnecessary file transfer time because the image
data for the entire large image is sent to the printer. If an image is placed multiple times
at a markedly different sizes in a document, save a separate version of the 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.
Workflow scenarios
Color print jobs can be divided into two categories:
• Short-run print jobs for which the RIP Station is the final print device
• Offset print jobs being proofed on the RIP Station
For either type of job, issues of effective color usage, trapping, file optimization, and
scaling are important ones. The areas of difference between the workflows for these two
types of jobs are outlined in the following sections.
Short-run color printing
For short-run color jobs printed to the RIP Station:
• You can work in either the RGB color model or the CMYK color model (see the
application notes). When working with RGB colors, you should take advantage of
the color rendering capabilities of the RIP Station (see Chapter 2).
• When choosing or defining colors in your application, use the RIP Station color
reference pages to be assured of predictable results (see Chapter 3).
• When printing, choose the appropriate settings for print options that affect color
output (see Chapter 2).
1-13 Workflow scenarios
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Offset printing
For jobs that will be proofed on the RIP Station in preparation for being printed on an
offset press:
• Work in the CMYK color model only (see the application notes). All elements in
your document, including placed images, must be in the CMYK color model to
create film separations for printing.
• When choosing or defining colors in your application, use the RIP Station color
reference pages to be assured of predictable results (see Chapter 3).
• If cost is a factor and the document does not contain CMYK images, consider using
two or three PANTONE colors, instead of the standard four process colors (see
Chapter 3). This reduces the number of film separations and printing plates needed
to print the job. Use the PANTONE reference pages to define RGB-equivalents of
the PANTONE colors you want to print (see Chapter 3). These color definitions are
used only for proofing the job on the RIP Station.
• Choose the appropriate CMYK Simulation setting (see Chapter 2).
2-1 Controlling printed color
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Chapter 2: Color Management
This chapter provides information on the factors involved in controlling and managing
color output with the objective of achieving predictable color results, including:
• Controlling printed color
• Basics of color management
• RIP Station color management
• Optional ICC color management on Macintosh and Windows computers
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. Your color printing
system becomes an ally in this creative process to the extent that you can get results
that are predictable.
• If you have designed a brochure to print on the RIP Station, you want the printed
colors to match the design specification.
• If you are printing presentations on the RIP Station, you want to preserve the vivid
colors in the monitor display.
• If you are working with color that will print on press, you want the RIP Station
output to match prepress proofs or PANTONE color swatch books.
The type of print job and the final print device, RIP Station or offset press, determine
the methodology you use to achieve optimal results.
No matter what your goals are, two hardware factors always impact color print output:
print device consistency and the range of colors the print device can print, known as its
gamut. These factors are covered briefly in this chapter. Creating successful color
documents and presentations also requires an understanding of color management
software as it is implemented by the RIP Station and on your desktop computer. Most
of this chapter is devoted to discussing the various elements of color management that
contribute to predictable color results.
2-2 Color Management
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Maintaining print device consistency
The factors described below affect print device consistency, as well as color fidelity and
overall output quality.
Paper stock and ink
The paper and ink used by your print device can greatly affect printed color. For best
results, use the supplies recommended in the Printer Guide.
Maintenance
Problems such as banding and insufficient amounts of one or more inks may arise if
the print device does not receive periodic print head cleaning and alignment. In
addition to having it serviced regularly, monitor the condition of your print device by
making standard test prints at regular intervals. You can do this easily by printing the
RIP Station Test Page. Save the prints and show them to the service technician
whenever output densities vary from the norm or other problems appear.
Color transparency film
RGB monitor
Offset press (white)
Other print device
Print device 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 inks on paper is
smaller. This is why some colors that can be displayed on a color monitor, especially
bright saturated colors, cannot be reproduced exactly by your RIP Station print
device—nor, for that matter, can they be reproduced on press using process colors.
Moreover, different print devices have different gamuts—some colors that your print
device can produce cannot be reproduced on an offset press, and vice versa. The
following illustration provides a graphical representation of this concept.
2-3 Basics of color management
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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’s 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 color space and gamut requirements of
a print device.
The RIP Station is specially designed to perform gamut mapping at high speed with
high quality results. It provides these color management features automatically, using
either built-in default settings or settings that you specify for a particular print job. For
added flexibility, the RIP Station color management system can also be used in
combination with color management systems on Macintosh and Windows computers
(see page 2-10).
Basics of color management
The past several years have seen progress toward standardization in the field of digital
color management systems. Both the Macintosh and Windows 95 operating systems
now support a standard format developed by the International Color Consortium
(ICC). This ICC format is implemented on Macintosh computers in ColorSync™ 2.x
and on Windows 95 and Windows NT 4.0 computers in Image Color Matching
(ICM). More and more software developers are also incorporating color management
systems into high-end applications. The RIP Station provides a custom color
management system that can be used independent of, or together with, platform-based
and application-based color management tools.
A color management system, or CMS, is a “translator” between the color space of the
image source (the monitor, or a scanner, for example) and the color space of the target
print device. The CMS uses a device-independent color space, such as CIELAB, as its
reference point (see page 1-2). To perform its translation, the CMS needs information
about the color space of the image source and the color space and gamut of the print
device. This information is provided in the form of profiles, often created by the
makers of the monitor or print device. The end product of a CMS conversion is a
printed document or an image file in the color space and gamut needed for a particular
print device.
2-4 Color Management
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NOTE: If color matching between computer display and printed output is critical,
calibrate your monitor as closely as possible to the printed output. For most users,
predictability of printed color output is adequate and monitor calibration is not
necessary. For information on monitor calibration, see your Photoshop or Illustrator
documentation.
Color conversion
Before a color document can be printed, the color data in it must be converted to the
color space and gamut of the print device. Whether performed by RIP Station color
management or by an ICC 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 target profile.
Color management system
Source
profile
Device-independent
color standard
Input data
The source profile defines the RGB color space characteristics of the image’s source—
characteristics such as the white point, the gamma, and the type of phosphors used.
The target profile defines the color space characteristics and gamut of the target print
device. The RIP Station (or the ICC CMS) uses a device-independent color standard
to translate between the source color space and the target color space.
The RIP Station allows you to specify default and override settings for the source color
space information and the target profile information (see “RIP Station color
management” on page 2-5). When you use these settings, you do not need to use the
features of other color management systems. Your RIP Station user software includes
ICC profiles for use with other color management systems if you choose to use them.
Color management systems can also be used to adjust color data to conform to the
gamut of a print device other than the one to which you are printing. This process of
simulating another print device is commonly used for proofing jobs that will print on
an offset press. The RIP Station simulation feature is described on page 2-9.
Target
profile
Printed data
or file
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