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Canon ColorPASS-Z5000 Color Manual

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ColorPASS-Z5000
COLOR GUIDE
®
I N C L U D E S F I E R Y
S O F T W A R E

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Summary of Contents for Canon ColorPASS-Z5000

  • Page 1 ColorPASS-Z5000 COLOR GUIDE ® I N C L U D E S F I E R Y S O F T W A R E...
  • Page 3 Electronics For Imaging, Inc. Canon is a registered trademark of Canon Inc. ColorPASS is a trademark of Canon Inc. Adobe, the Adobe logo, Adobe Illustrator, PostScript, Adobe Photoshop, Adobe Separator, and Adobe PageMaker are trademarks of Adobe Systems Incorporated, registered in certain jurisdictions.
  • Page 4 FCC Information WARNING: FCC Regulations state that any unauthorized changes or modifications to this equipment not expressly approved by the manufacturer could void the user’s authority to operate this equipment. Class A Compliance This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment.
  • Page 5 Limited Warranty And Disclaimer Electronics For Imaging warrants that, for a period of ninety (90) days from the date of delivery to you, the Software under normal use will perform without significant errors that make it unusable. Electronics For Imaging’s entire liability and your exclusive remedy under this warranty (which is subject to you returning ColorPASS to Electronics For Imaging or an authorized dealer) will be, at Electronics For Imaging’s option, to use reasonable commercial efforts to attempt to correct or work around errors, to replace the Software with functionally equivalent software, or to refund the purchase price and terminate this Agreement.

  • Page 7: Table Of Contents

    Contents Introduction About the documentation xiii Key features of ColorWise Chapter 1: ColorPASS Color Management Managing color on the ColorPASS Rendering styles RGB Source Profile RGB Separation CMYK Simulation Profile CMYK Simulation Method Output Profile Pure Black Text/Graphics 1-10 Black Overprint 1-12 Spot Color Matching 1-13...
  • Page 8 viii Contents Advanced workflows Short-run printing examples Color proofing examples 2-15 Chapter 3: Color Calibration Introduction Understanding calibration How calibration works Scheduling calibration Checking calibration status Using a spectrophotometer Setting up the spectrophotometer Calibrating the spectrophotometer 3-10 Calibrating with ColorWise Pro Tools and DTP41 3-16 Using a densitometer 3-24...
  • Page 9 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 Color reference pages Office applications Choosing colors in office applications PostScript applications Choosing colors in PostScript applications Default output profile...
  • Page 10 x Contents Chapter 7: Adobe Photoshop Photoshop 5.x Photoshop 5.x color settings ColorSync defaults Defining colors Saving files for importing into other documents Selecting options when printing Printing tips for advanced users 7-11 Photoshop 4.x 7-13 Defining colors 7-13 Saving files for importing into other documents 7-13 Selecting options when printing 7-15...
  • Page 11 xi Contents Chapter 9: Illustration Applications Working with illustration applications Defining colors Importing images CMYK simulation Adobe Illustrator 8.x for Windows and Mac OS Defining colors Importing images Optional color management in Illustrator Selecting options when printing Saving files for importing into other documents Macromedia FreeHand 8.x for Windows and Mac OS Defining colors Importing images...
  • Page 12 xii Contents Using color effectively A few rules of thumb Color wheel Color and text Raster images and vector images Optimizing files for processing and printing A-10 Resolution of raster images A-10 Scaling A-12 Appendix B: Color Management Controlling printed color Maintaining copier consistency Print device gamut Basics of color management...

  • Page 13: About The Documentation

    ColorPASS-Z5000 Color Server. The term “ColorPASS” is used in this manual to refer to the ColorPASS-Z5000 Color Server. The ColorPASS supports the CLC5000 color copier. The term “copier” is used in this manual to refer to this supported device.
  • Page 14 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.

  • Page 15: Key Features Of Colorwise

    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.
  • Page 16 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.

  • Page 17: Chapter 1: Colorpass Color Management

    1-1 Managing color on the ColorPASS The first part of this chapter describes the options available from the ColorWise color Chapter 1: management system and explains how you can customize the color settings for your ColorPASS Color particular needs. It provides descriptions of the preset default settings of ColorWise Management and covers additional options for users who need to customize ColorWise.
  • Page 18 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.
  • Page 19 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. ColorPASS color print option: What it does: Brightness...
  • Page 20 1-4 ColorPASS Color Management ColorPASS color print option: What it does: CMYK Simulation Method Quick simulation applies one-dimensional transfer curves that adjust output Quick/Full density only. Full simulation applies colorimetric transformations that adjust (Default set at Setup or in hue as well as output density (see page 1-9). ColorWise Pro Tools) Output Profile The Output Profile is applied to all data in the print job (see page 1-9).

  • Page 21: Rendering Styles

    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.

  • Page 22: Rgb Source Profile

    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.

  • Page 23: Rgb Separation

    1-7 Managing color on the ColorPASS • instructs the ColorPASS to allow the RGB sources you defined elsewhere, such None 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.

  • Page 24: Cmyk Simulation Profile

    1-8 ColorPASS Color Management • converts all RGB colors into the CMYK color space for a specified Simulation 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.

  • Page 25: Cmyk Simulation Method

    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.

  • Page 26: Pure Black Text/Graphics

    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.
  • Page 27 1-11 Managing color on the ColorPASS The Pure Black Text/Graphics option can be used only when printing composites, not when printing separations. Pure Black Text/Graphics Input black color With the default profile, prints a rich black using all toners. CMYK Prints only with black toner, because CMYK simulations preserve the black channel.

  • Page 28: Black Overprint

    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. • —Black text overprints colored backgrounds, eliminating white gaps and reducing halo effects or misregistration of colors.

  • Page 29: Spot Color Matching

    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. • —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.) •...

  • Page 30: Printer Drivers And Print Options

    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. The term “PostScript” by itself is used to refer to Adobe PostScript Level 2 or later.

  • Page 31: Postscript Printer Driver For Windows 95/98/Me, Windows Nt 4.0, And Windows 2000

    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.
  • Page 32 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: •...
  • Page 33 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.
  • Page 34 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).
  • Page 35 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.

  • Page 36: Adobe Postscript Printer Driver For Mac Os

    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: •...
  • Page 37 1-21 Printer Drivers and Print Options 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.
  • Page 38 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.

  • Page 39: Chapter 2: Simple And Advanced Workflows

    2-1 Workflow concepts This chapter discusses color management workflows used in short-run color printing Chapter 2: as well as color proofing on the ColorPASS. It also gives examples of color Simple and management in specific desktop applications and the interaction between those Advanced applications and ColorWise color management.

  • Page 40: Rgb, Cmyk, And Pantone Colors

    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.

  • Page 41: Desktop Versus Colorpass Color Management

    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.

  • Page 42: Simple Workflows

    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.

  • Page 43: Select A Short Workflow

    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. Select from printed colors as described above, and set the CMYK Simulation option to None, since simulation is not needed when colors are already defined using CMYK values optimized for your calibrated copier.
  • Page 44 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.
  • Page 45 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.
  • Page 46 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. •...

  • Page 47: Advanced Workflows

    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.
  • Page 48 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. Photoshop RGB workflow ColorWise Photoshop...
  • Page 49 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.
  • Page 50 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 •...
  • Page 51 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: •...
  • Page 52 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 •...

  • Page 53: Color Proofing Examples

    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.
  • Page 54 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 •...
  • Page 55 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.
  • Page 56 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 ColorWise Photoshop 5.x Printer driver...
  • Page 57 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.
  • Page 58 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 •...

  • Page 59: Chapter 3: Color Calibration

    3-1 Introduction Calibrating the ColorPASS ensures consistent, reliable color output. You can calibrate Chapter 3: the ColorPASS with ColorWise Pro Tools using an X-Rite DTP41 automatic scanning Color Calibration 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).

  • Page 60: Introduction

    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. •...

  • Page 61: How Calibration Works

    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.

  • Page 62: Scheduling Calibration

    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.

  • Page 63: Checking Calibration Status

    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.

  • Page 64: Using A Spectrophotometer

    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. Setting up the spectrophotometer Before you calibrate the ColorPASS, you need to connect, configure, and calibrate the spectrophotometer to prepare for measuring the printed patches (see “Calibrating the...
  • Page 65 3-7 Using a spectrophotometer 4. 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.
  • Page 66 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 For Macintosh computers with a USB port (for example, an iMac) you need an adapter to connect the DTP41 to your computer.
  • Page 67 3-9 Using a spectrophotometer 5. 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.

  • Page 68: Calibrating The Spectrophotometer

    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.
  • Page 69 3-11 Calibrating the spectrophotometer DTP41: O CALIBRATE THE 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. If the connection to the ColorPASS from Command WorkStation that also allows for access to ColorWise Pro Tools is not established, you can directly launch ColorWise Pro Tools independently of Command WorkStation.
  • Page 70 3-12 Color Calibration 4. 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.
  • Page 71 3-13 Calibrating the spectrophotometer 7. 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.
  • Page 72 3-14 Color Calibration 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).
  • Page 73 3-15 Calibrating the spectrophotometer 13. Click Done. Status field indicates DTP41 was calibrated successfully 14. Close the Utilities dialog box. 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.

  • Page 74: Calibrating With Colorwise Pro Tools And Dtp41

    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.
  • Page 75 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.
  • Page 76 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 11 17/A3 for 34 Sorted Patches.
  • Page 77 3-19 Calibrating with ColorWise Pro Tools and DTP41 9. 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.
  • Page 78 3-20 Color Calibration 13. Click Read Strip. The DTP41 pulls the measurement page through automatically. 14. 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.
  • Page 79 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. Click Accept Measurements 16. In the Measure dialog box, click OK.
  • Page 80 3-22 Color Calibration 17. In the Calibrator window, click Apply to implement the new calibration set. Click Apply 18. In the Information dialog box, click OK. This completes the ColorPASS calibration process.
  • Page 81 3-23 Calibrating with ColorWise Pro Tools and DTP41 O RESTORE DEFAULT CALIBRATION MEASUREMENTS 1. Launch ColorWise Pro Tools and click Calibrator. Click Restore Device 2. Click Restore Device. 3. Click OK to restore the preset default calibration set. Restore device applies only to the currently selected calibration set.

  • Page 82: Using A Densitometer

    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. Measurements from other densitometers can be input using a simple ASCII file format (see page C-1). Setting up the densitometer Before you calibrate the ColorPASS using the X-Rite DTP32, you need to connect, configure, and calibrate the densitometer to prepare for measuring the printed patches...
  • Page 83 3-25 Calibrating with ColorWise Pro Tools and DTP41 DTP32 O CONNECT THE 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.
  • Page 84 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 For Macintosh computers with a USB port (for example, an iMac) you need an adapter to connect the DTP32 to your computer.

  • Page 85: Calibrating The Densitometer

    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. DTP32: O CALIBRATE THE 1. Connect the densitometer to the computer and supply power (see page 3-24). 2.

  • Page 86: Calibrating With Colorwise Pro Tools

    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. Multiple users can be connected to one server with ColorWise Pro Tools, but only one user at a time can use Calibrator.
  • Page 87 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.
  • Page 88 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.
  • Page 89 3-31 Calibrating with ColorWise Pro Tools 10. 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.
  • Page 90 3-32 Color Calibration O 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. Restore device applies only to the currently selected calibration set.

  • Page 91: Expert Mode

    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.
  • Page 92 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.

  • Page 93: Calibrating From The Control Panel Using Autocal2

    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.
  • Page 94 3-36 Color Calibration 7. 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.

  • Page 95: Removing Calibration

    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. O REMOVE CALIBRATION FROM THE ONTROL ANEL...

  • Page 97: Chapter 4: Colorwise Protools

    4-1 Profile Manager ColorWise Pro Tools are color management applications that give you flexible control Chapter 4: of color printing. There are four tools: ColorWise Pro Tools • Calibrator (see Chapter 3) • Color Editor • Profile Manager • Color Setup ColorWise Pro Tools for Windows and Mac OS computers are fundamentally the same;...
  • Page 98 4-2 ColorWise Pro Tools • contains all monitor profiles resident on the ColorPASS. RGB Source RGB Source profiles are used to define the source color space for RGB colors processed by the ColorPASS. 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.

  • Page 99: Setting The Default Profiles

    4-3 Profile Manager Output: • 5000 A Coarse • 5000 A Fine • 5000 A Off • 5000 B Coarse • 5000 B Fine • 5000 B 2 Off 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.
  • Page 100 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.

  • Page 101: Downloading Profiles

    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.
  • Page 102 4-6 ColorWise Pro Tools 3. 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.

  • Page 103: Editing Profiles

    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.

  • Page 104: Defining Profiles

    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). PASS O DELETE PROFILES FROM THE OLOR HARD DISK 1.
  • Page 105 4-9 Profile Manager O 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.”...
  • Page 106 4-10 ColorWise Pro Tools 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.
  • Page 107 4-11 Profile Manager 4. 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.

  • Page 108: Color Editor

    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.
  • Page 109 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). If you made edits to a master simulation after you created a linked simulation, the edits are not applied to the linked simulation.
  • Page 110 4-14 ColorWise Pro Tools 4. 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.
  • Page 111 4-15 Color Editor 5. 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.
  • Page 112 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.
  • Page 113 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.
  • Page 114 4-18 ColorWise Pro Tools O EDIT A SIMULATION IN UICK OR 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. You can also open the Profile Manager, select a simulation profile, and click Edit.

  • Page 115: Undoing Simulation Edits

    4-19 Color Editor 4. 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.
  • Page 116 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. Revert to Master makes the curves for one or more linked simulations match the last saved master simulation.

  • Page 117: Checking Edited Profiles

    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.
  • Page 118 4-22 ColorWise Pro Tools O 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 11 17/A3) in the Paper Size pop-up menu.

  • Page 119: Color Setup

    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.
  • Page 120 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.

  • Page 121: Chapter 5: Working With Color In Applications

    5-1 Working with color This chapter provides guidelines for defining colors in your documents to produce the Chapter 5: results you want. The following topics are covered: Working with Color in • Factors affecting how you work with color Applications •...

  • Page 122: Color Reference Pages

    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).

  • Page 123: Office Applications

    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.

  • Page 124: Choosing Colors In Office Applications

    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.

  • Page 125: Postscript Applications

    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.
  • Page 126 5-6 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.
  • Page 127 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.

  • Page 128: Default Output Profile

    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.

  • Page 129: Chapter 6: Office Applications

    6-1 Working with office applications This chapter provides instructions for printing color documents from GDI and Chapter 6: QuickDraw applications such as presentation, spreadsheet, and word processing Office software. You can use these instructions with the Microsoft Office 2000, Applications Microsoft Office 97, and Microsoft Office 95 suite of applications.

  • Page 130: Selecting Options When Printing

    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.

  • Page 131: Chapter 7: Adobe Photoshop

    7-1 Photoshop 5.x This chapter covers features of Adobe Photoshop versions 4.x and 5.x for Windows Chapter 7: and Mac OS. The illustrations show only Mac OS dialog boxes, but the information Adobe and instructions apply equally to the Windows version of Photoshop. Photoshop Photoshop 5.x Because Photoshop 5.x uses a sophisticated color management system, there are several...
  • Page 132 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.
  • Page 133 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.
  • Page 134 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.
  • Page 135 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.

  • Page 136: Colorsync Defaults

    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.

  • Page 137: Defining Colors

    7-7 Photoshop 5.x • —choose the same CMYK color space that you set in Photoshop 5.x. CMYK default • —choose LinoColor CMM (both ColorSync 2.0 and Microsoft Preferred CMM 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.
  • Page 138 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.

  • Page 139: Selecting Options When Printing

    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.
  • Page 140 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.

  • Page 141: Printing Tips For Advanced Users

    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.) 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.
  • Page 142 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.

  • Page 143: Photoshop 4.X

    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.
  • Page 144 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. 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.

  • Page 145: Selecting Options When Printing

    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).
  • Page 146 7-16 Adobe Photoshop • If you select , Photoshop performs a color conversion and sends Print in CMYK 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: •...
  • Page 147 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.

  • Page 149: Chapter 8: Page Layout Applications

    8-1 Working with page layout applications This chapter provides instructions for printing color documents from Adobe Chapter 8: PageMaker 6.5, QuarkXPress 4.02, and QuarkXPress 3.32. Page Layout Applications 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.

  • Page 150: Importing Images

    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.

  • Page 151: Cmyk Simulation

    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.

  • Page 152: Adobe Pagemaker 6.5 For Mac Os And Windows

    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 6.5, make sure a copy of the ColorPASS PPD file is in both of the following folders:...

  • Page 153: Selecting Options When Printing

    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.

  • Page 154: Optional Color Management From Pagemaker

    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.

  • Page 155: Quarkxpress 4.X For Mac Os And Windows

    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.

  • Page 156: Selecting Options When Printing

    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 Click to specify Choose the ColorPASS copier copier settings Choose the ColorPASS PPD...

  • Page 157: Optional Color Management From Quarkxpress

    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.

  • Page 158: Selecting Options When Printing

    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. Mac OS version Choose the ColorPASS PPD Choose an output paper size Choose Binary Windows version Choose an output...
  • Page 159 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.

  • Page 161: Chapter 9: Illustration Applications

    9-1 Working with illustration applications This chapter provides instructions for using Adobe Illustrator for Windows and Chapter 9: Mac OS, Macromedia FreeHand for Windows and Mac OS, and CorelDRAW for Illustration Windows and Mac OS. Applications 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.

  • Page 162: Importing Images

    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.

  • Page 163: Adobe Illustrator 8.X For Windows And Mac Os

    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.

  • Page 164: Optional Color Management In Illustrator

    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.

  • Page 165: Saving Files For Importing Into Other Documents

    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 Choose Composite Level 3 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.

  • Page 166: Macromedia Freehand 8.X For Windows And Mac Os

    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. 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.

  • Page 167: Selecting Options When Printing From Freehand

    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.

  • Page 168: Saving Files For Importing Into Other Documents

    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.

  • Page 169: Optional Color Management In Freehand

    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.

  • Page 170: Selecting Options When Printing

    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 Click Properties to access Printer driver/PPD name...

  • Page 171: Saving Files For Importing Into Other Documents

    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.

  • Page 173: Appendix A: Desktop Color Primer

    A-1 Desktop Color Primer This appendix covers concepts that are basic to printing in color, including: Appendix A: Desktop Color • The properties of color Primer • 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”...

  • Page 174: Cie Color Model

    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.
  • Page 175 Plate 1: Sunlight split into spectral colors by prism Plate 2: CIE chromaticity diagram...
  • Page 176 Brightness Saturation Plate 3: Hue, saturation, and brightness Plate 4: Adobe Photoshop Color Picker...

  • Page 177: Hue, Saturation, And Brightness

    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 •...
  • Page 178 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”...
  • Page 179 Plate 5: Additive color model Plate 6: Color monitor...
  • Page 180 Plate 7: Subtractive color model...

  • Page 181: Printing Techniques

    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.

  • Page 182: Halftone And Continuous Tone Devices

    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.

  • Page 183: A Few Rules Of Thumb

    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.

  • Page 184: Color And Text

    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.
  • Page 185 Plate 8: Color wheel Plate 9: Complements, split complements, and triads...
  • Page 186 STOP! STOP! gustibus Exceptio probat non est regulam de rebus disputandum. non exceptis. Plate 10: Good and bad uses of color with text Plate 11: Raster versus vector artwork...

  • Page 187: Raster Images And Vector Images

    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.

  • Page 188: Optimizing Files For Processing And Printing

    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.
  • Page 189 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.

  • Page 190: Scaling

    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.

  • Page 191: Appendix B: Color Management

    B-1 Color Management This appendix provides information on controlling and managing color output in Appendix B: order to achieve predictable color results. It also discusses the basics of color Color management. 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.

  • Page 192: Maintaining Copier Consistency

    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.

  • Page 193: Basics Of Color Management

    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.

  • Page 194: Color Conversion

    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.

  • Page 195: Appendix C: Importing Densitometer Measurements

    C-1 Importing densitometer measurements This appendix describes Simple ASCII File Format, which can be used to import Appendix C: density measurements from measurement devices. To use your own measurement data Importing from an alternate densitometer, record your individual readings in a text file and densitometer structure it as described below.

  • Page 196: Example Of 1D Status T Density For Efi 34 Patch Page

    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.

  • Page 197: Example Of 1D Status T Density For An Arbitrary Page

    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.

  • Page 199: Glossary

    Glossary additive color model blasting A system in which colors are produced An undesirable effect that occurs when by combining red, green, and blue light excess amounts of toner, possibly (the additive primaries). An RGB video combined with certain types of paper monitor is based on an additive color stock, cause objects in an image to model.
  • Page 200 G-2 Glossary color management system (CMS) composite printer System used to match color across Any output device that can print directly different input, display, and output in color without first creating color devices. separations. A composite print can be used as an early proof of an offset print color rendering dictionary job.
  • Page 201 G-3 Glossary DCS (Desktop Color Separation) flexography A data file standard defined by Quark, A printing technology that uses flexible Inc., to assist in making color separations raised-image plates. Flexography can be with desktop publishing system; five files used to print on non-flat materials such are created, four color files (one each for as cans.
  • Page 202 G-4 Glossary GIF (Graphics Interchange Format) the color capabilities, including the A standard developed by CompuServe gamut, of a color device based on the for bitmap graphics of up to 256 colors differences between an ideal and the and used for posting photographic current device.
  • Page 203 G-5 Glossary the screens, improper screen angles, printable colors in a way that retains improper alignment of halftone screens, differences in lightness, sacrificing color or by the combination of a halftone accuracy as necessary. screen with patterns in the image itself. pixel The smallest distinct element of a raster named color...
  • Page 204 G-6 Glossary colors. It is appropriate for bright primaries. Commonly used to refer to saturated colors used in illustrations and the color space, mixing system, or graphs. monitor in color computer graphics. process colors simulation profile The four ink colors used in printing to The simulation profile describes the simulate full-spectrum color images: color characteristics of another print...
  • Page 205 G-7 Glossary process colors that are printed using undercolor removal In areas where all three process colors (C, combinations of cyan, magenta, yellow, and black. M, Y) overprint, the amounts of those colors are reduced and replaced by black. Status T This improves wet ink trapping and A spectral response for graphic arts reduces ink costs in process color...

  • Page 207: Bibliography

    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.

  • Page 209: Index

    Index Numerics scheduling 3-4 targets 3-2, 3-3 8-pin DIN plug 3-8, 3-26 see also densitometer, ColorWise Pro Tools Absolute Colorimetric 1-5 see also spectrophotometer, ColorWise accent color A-7 Pro Tools additive color model A-3 calibration patch page 3-3 additive primaries A-3 charts, using color in A-7 Adobe Illustrator, see Illustrator Adobe PageMaker, see PageMaker...
  • Page 210 I-2 Index spot colors 5-5, A-6 computer monitors, see monitors subtractive model A-3, A-4 Configuration page subtractive primaries A-4 calibration status 3-5 swatch color matching 5-6 continuous tone devices A-6 text A-8 Contrast ICC rendering style 1-5 theory A-1 Control Panel triads A-7 calibration from 3-2, 3-16, 3-28 using effectively A-6 to A-8...
  • Page 211 I-3 Index Illustrator 5-5, 9-3 Image Color Matching, see ICM Fiery Scan 1-9 Image ICC rendering style 1-5 file size, of raster images 2-3, A-10 ink B-2 flexography A-5 International Color Consortium, see ICC font size, for color text A-8 FreeHand 5-5, 9-6 Full simulation 1-8 JPEG 7-8, 7-11, 7-14, 7-16, 7-17...
  • Page 212 I-4 Index PostScript printer drivers 6-2 PowerPoint, see Microsoft Office office applications 5-1, 5-3 to 5-5, 6-1 to 6-2 PPD 1-14, 1-16, 1-19, 1-20, G-5 offset lithographic printing A-5 prepress proof A-5, B-1 offset press printing A-5 to A-6 presentation print jobs offset press print jobs, workflow issues 5-2 rendering styles appropriate for 1-5 Other setting, RGB Source option 1-6...
  • Page 213 I-5 Index resolution A-9, A-10 to A-11 spectrophotometer scaling of A-12 calibrating 3-10 registration of colors A-8 split complements A-7 Relative Colorimetric 1-5 Spot Color Matching option 1-4, 1-13, 5-7 Rendering Style option 1-3 spot colors 5-5, A-6 rendering styles 1-5, 5-3 Status T C-1 resolution of raster images A-9, A-10 to subtractive color model A-3, A-4...
  • Page 214 I-6 Index 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...

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