re: Creating Separations for Dai Nippon
re: Creating Separations for Dai Nippon
- Subject: re: Creating Separations for Dai Nippon
- From: Dick Busher <email@hidden>
- Date: Sun, 23 Jun 2002 11:44:46 -0700
- Organization: Cosgrove Editions
Hi Tyler, John, et al.
This thread is of considerable interest to me, and is similar to a
thread currently on the ASMP Architectural Photographers list serve.
I have had great success supplying North American printers with cmyk
separations, as well as with a few off shore printers (ads for
photographers in Blackbook and Workbook). I prepare my seps in PS4, not
PS6 or 7 (although I have those apps, and use them for their tool sets).
Tyler has seen some of my results, and they speak for themselves.
I have begun tests with a printer in Singapore that are extremely
promising. Tests with two printers in Hong Kong have been less
promising. I believe the differences are due to corporate culture. The
last thing I would do with an off shore printer, or any printer for that
matter, is send rgb files. I also suspect that there are very few off
shore printers that I would be able to work with sending cmyk files.
However, with the right company I think results could be as successful
as results I have achieved in North America
If one is willing to do the work, I believe the key to creating
successful separations is to have measurements of the output color space
gamut, and to do tests to determine dot gain for each color. You must
then add to this equation your and your printer's desires for total ink
and black ink limits, and the shape of the black generation curve. These
elements are partially based on the quality of the paper used, the
quality of the presses, and very much on the skills of the press
operators. They are also based on economics, i.e. the cost of paper,
ink, and the speed at which one can run the presses.
You must also realize that no one profile (I have italicized the word
profile because my profiles are not generated using profile making
software, and my files are not tagged) works all the time, and that you
may need more than one profile for each printer. For example I find that
I need at least one profile for colorful images, and a different profile
for quadtone cmyk images. In addition, no profile works satisfactorily
with out of gamut colors. They require a work around, and I have not
found a work flow for doing this that works with all situations. In
other words, each image is treated individually.
My files are trapped by the printer's RIP, and may have adjustment
curves applied to them to accommodate their proofing system. They co
have a set of adjustment curves applied to them to accommodate their
plate making equipment and press conditions. Among other things, dot
gain is a function of screening frequency, and different curves are
necessary for different screening conditions, papers, inks, etc. The
second set is usually not applied on top of the first set, if there is a
first set. It is applied to the original file.
My job is to create accurate profiles for their proofing systems. If I
do my measurements carefully, and (this is essential) if their proofing
system is consistent I find that my first proof is satisfactory 70 - 80%
of the time. Minor editing of the remaining files is usually all that is
required, and rarely do I need a third proof.
Scanning. Separations. Printing. Three links. All equally important.
None of them can be done automatically. They all require
hardware/software. They all require thought and knowledge gained by
experience. My .02.
Cheers,
Dick Busher
Cosgrove Editions
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