Re: Printer Profile
Re: Printer Profile
- Subject: Re: Printer Profile
- From: Ben Goren via colorsync-users <email@hidden>
- Date: Wed, 26 Jun 2019 09:06:23 -0700
On Jun 26, 2019, at 7:55 AM, zbet66--- via colorsync-users
<email@hidden> wrote:
> In answer to the other question, we are reproducing artwork and paintings so
> I want to get maximum gamut from the printers. We are not simulating presses
> or anything like that. I need "full rainbow."
As a practical matter...your printer on high-quality watercolor-like matte
paper likely barely has a gamut covering most of what’s available to a
watercolor artist. On printable canvas, you’ll do worse; all sorts of oil
paints just aren’t within reach. Especially, of course, for anything that is
highly metameric, is dependent on view angle, is metallic, etc., etc., etc. —
all the sorts of fun / fancy / unique / intriguing things artists love to play
with. Indeed, just capturing the works will be quite the challenge....
What that means to you is that, yes, you need a profile that uses the entire
printer’s gamut...but you also need a rendering intent that will do a “least
worst” job of compressing the gamut of the artwork to what your printer is
capable of. And the latter is, honestly, _far_ more important than the former.
Argyll’s perceptual intent is perfect for this.
I distinctly remember some projects I did...greeting cards, with the same image
on the card and the envelope. The card was printed on as-good-as-it-gets matte
paper; the envelope, on Crane’s Crest cotton wove watermark paper. The latter
is a lovely paper, but it’s uncoated and has the gamut of bond typing paper.
But the perceptual match between the two was remarkable...basically, it just
looked like the Crane’s Crest had a thin, translucent, nearly transparent sheet
on top of it. The coated paper really “popped,” and, of course, a spectrometer
(or even a densitometer) would tell you the real story...but degree of “pop”
really was the only perceptible difference. (Perceptual) hue angle, relative
values, all that...identical.
With impeccable capture technique, the same can be true for watercolor
reproduction, even to the point that you can hang an original and copy on
opposite walls of your office, put the artist in the middle of the room, and
she won’t be able to tell which is which. Lay the one on top of the other and
you might be able to spot differences.
For oils...again, it will depend greatly on the actual paints used. Still, with
proper technique, you should be able to get to “good enough.”
Good luck....
b&
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