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- Subject: (no subject)
- From: Henrik Holmegaard <email@hidden>
- Date: Wed, 2 Oct 2002 10:41:28 +0200
"Darrian Young" <email@hidden> wrote:
>ad agencies and designers are the most difficult to get into
>color management. Maybe it is the faith that somewhere down the line
>someone else will be responsible for fixing any problems with color, 8
>Pantone files, etc. might have something to do with it.
This neatly sums up the headache of what to do with the cookbook
project.
As prepress is absorbed into content creation and the press room
implements automatic color control systems, there are different ideas
of how to address the situation where full page PDF documents are
handed off. Preflight technology that tries to automate upstream PDF
creation problems and RIP technology that tries to address PDF creation
problems downstream are broad concepts which can be wrapped into ease
of use products. Education is another broad concept which by nature
must explain the goal of each workflow step, the route to reach it, and
the possible difficulties which cannot be wrapped into an ease of use
product (let alone a pair of slim covers -:)). There are few people at
this stage who believe the approach through education will do anything
except scare both the content side with the complexity and the printing
side with the thought of creatives clamouring over dE 0.5 deviations
between proof and print. I like to think of the process as the
spectrophotometer climbing onto the desktop in the trail of the homely
mouse, but reading the printing lists it seems to me there are also
folks who think of pointing devices and instruments more as vermin -:).
>There is definintely a need for some sort of general proof
>when the exact printing conditions are not known, or it is not
practical to
>prepare a job for certain conditions (Ej. an ad which will go several
>different printing plants.)
There is no problem in setting up a chain from RGB working space to RGB
monitor space, but this does not offer the ability to anticipate
anything. My monitor is not something I can share with others outside
my own room -:).
The reason I try to push the ISO approach is that it is not tied to the
FOGRA data in the ICC registry, but allows printing companies to
calibrate their workflow to the ISO specification and use their own
custom measurements ... if they are within the standard. One can
discuss whether the ISO approach has too much leeway for deviation, but
in the nature of the case there has to be a CMYK default in an ICC
workflow, and the way I see it raising awareness for the ISO approach
makes the most sense overall.
>Maybe someone from IFRA would like to jump in here - I don't
understand, for
>example, the Quiz idea which has a number of newspapers print targets
and
>then these targets are averaged for this one magical newspaper profile
which
>everyone should use. Wasn't the big step for each to have his own
>particular profile due to different paper, inks, environmental
conditions,
>etc. the goal?
This discussion has run in the Swedish newspaper printing project (see
posts by Mattias Nyman in the list archives), it has run on the
internal ECI list, and I'm sure it's running and will go on running in
many places. But the point is that the upstream workflow is faced with
the practical problem of creating pages, and to do that CMYK printer
profiles are needed -:). If any old CMYK printer profiles are used
there are going to be more problems downstream than if printer profiles
are used which conform to a known workflow calibration standard. And if
the press room is driven to realise that such a standard exists, then
more press rooms will in fact try to calibrate to the standard in order
to be able to print more incoming work reasonably. It's just like
tennis, you can play to win on aces and loose the game or you can play
to keep the ball moving and win on averages.
Thanks,
Henrik
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