UnderstandingColor PDF

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Understanding
Color
In a Digital Workflow
Kenneth F. Hoffmann
Understanding
Color
In a Digital Workflow
Kenneth F. Hoffmann
Digital Imaging & Publishing Technology
National Technical Institute for the Deaf
Rochester Institute of Technology
1999
Table of Contents
Part One: Color from Design to Print . . . . . . . . . . . . . . . . . . . 1

1. Project planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2. Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
3. Conventional prepress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
4. Digital prepress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
5. Digital file output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
6. File to print options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
7. Choosing a print process . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Part Two: How Do We See Color, Anyway . . . . . . . . . . . . . . . 10

1. The human eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2. The electromagnetic spectrum . . . . . . . . . . . . . . . . . . . . . . . 12
3. Absorption and reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
4. Color perception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5. The language of color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6. Color and emotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
7. Emotional & physiological responses to color . . . . . . . . . . . 19
8. Physiological factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
9. Temperature of light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
10. Why do we print in color? . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Part Three: Comparative Color Models . . . . . . . . . . . . . . . . . 25

1. Additive color: RGB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
2. Subtractive color: CMYK . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
3. Artists color wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4. Alternate artists color wheel and color triangles . . . . . . . . . 29
5. CIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
6. Munsell color: Hue Value Chroma . . . . . . . . . . . . . . . . . . . . 32
Part Four: What is Color Separation? . . . . . . . . . . . . . . . . . . 33

1. How do color scanners work? . . . . . . . . . . . . . . . . . . . . . . . . 34
2. How do digital cameras work? . . . . . . . . . . . . . . . . . . . . . . . 36
3. Analog to digital conversion . . . . . . . . . . . . . . . . . . . . . . . . . 37
4. Process color printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
5. Steps to good color reproduction . . . . . . . . . . . . . . . . . . . . . 39
6. The function of ink and toner on paper . . . . . . . . . . . . . . . . 40
7. The halftone dot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
8. Stochastic screening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
9. Dot gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10. GCR and UCR Color Replacement . . . . . . . . . . . . . . . . . . . . . 46
Understanding Color in a Digital Workflow Kenneth F. Hoffmann page i

Table of Contents
Part Five: Working With Digital Files . . . . . . . . . . . . . . . . . . 47

1. Bitmapped images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2. Grayscale and color bitmapped images . . . . . . . . . . . . . . . . . 49
3. Bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4. Vector graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
5. Fonts are vector images . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
6. Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
7. Interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
8. Resolution rules for scanning . . . . . . . . . . . . . . . . . . . . . . . . 57
9. Output resolution, lpi, and gray levels . . . . . . . . . . . . . . . . . 58
10. File types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
11. File types and sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
12. File Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Part Six: Using Color Within Applications . . . . . . . . . . . . . . . 63

1. Choosing color with a color picker . . . . . . . . . . . . . . . . . . . . 64
2. Process versus Solid Color . . . . . . . . . . . . . . . . . . . . . . . . . . 69
3. High-Fidelity Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
4. Pantone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
5. Trumatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
6. Color Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Part Seven: Color Management . . . . . . . . . . . . . . . . . . . . . . . 78

1. Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
2. Need for Color Management . . . . . . . . . . . . . . . . . . . . . . . . . 81
3. Color Predictability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
4. Tools for Color Management . . . . . . . . . . . . . . . . . . . . . . . . 83
5. Color Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
6. Device Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
7. Color Management Modules . . . . . . . . . . . . . . . . . . . . . . . . . 86
Part Eight: Digital Color Printing . . . . . . . . . . . . . . . . . . . . . 87

1. Xerography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2. Steps in the xerogrphy process . . . . . . . . . . . . . . . . . . . . . . . 89
3. Ink-jet printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
4. Digital Printing Market . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
5. Defining Run Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
6. Variable Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
7. Print-On-Demand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
8. Competitive Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Understanding Color in a Digital Workflow Kenneth F. Hoffmann page ii

Part One:
Color from Design to Print Overview of Part One
Printing is one of the few industries

in which customers take an active
part in manufacturing...Customers
and printers work together through-

out the process.
Part One: Mark Beach and Eric Kenly
Color from Design to Print

How is a print job produced? What are the design and production considerations? What are
the steps needed to produce a color print job? What print process technology is best used?
What decisions and compromises need to be made? In this part you will learn the compare
the steps needed to produce a print job by conventional and digital processes and understand
the decision-making processes involved.
Objectives: at the completion of this part, you will be able to:
1. Explain the major factors to be considered when planning a print project.
2. Explain how project variables may influence cost, design, substrate, print
process, and binding.
3. Compare the steps required to print a job on a digital press and an offset press.
Key words to learn in this part: Part One: Color from Design
to Print
Turnaround time Substrate
Conventional prepress Digital prepress 1. Project planning and the
impact on design and
Preflighting Trapping
production
Imposition Proofing 2. Conventional prepress
Raster Image Processor Workflow workflow steps
Imagesetter Platesetter 3. Digital prepress work-
flow steps
Output device Digital printer
4. Comparison of digital
Computer-to-film Reverse engineering printing and offset print-
Computer-to-plate Offset lithography ing workflows
Computer-to-press Gravure 5. Factors in choosing a
printing process
Analog Flexography
Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 1

Part One:
Color from Design to Print Project Planning
Project Planning & Graphic Design

Quality is best achieved when expectations
and product or performance requirements are

clearly defined in the planning stages. (GRACoL)
Planning ahead influences both the quality and the cost of the
final product. Projects should be reverse engineered to
guarantee that the planned project can actually be produced
to specifications with given resources.
Project Questions
GRACoL (General Requirements for Applications in Commercial
Offset Lithography) from Graphic Communications Association
(GCA) is a set of guidelines established to encourage communica-
tion at all steps of the production process.
Following is a series of questions, loosely based on the GRACoL
guidelines. Similar questions apply equally well when planning
offset printing, digital printing, and digital media projects.
Project planning may also include the distribution requirements. Things to Do
Cost: what is your budget for the project?
Develop a set of job
Be realistic and plan within your means. Make appropriate specifications including
compromises. Cost will impact everything from design such aspects as project
effort, quantity, colors, paper selection, size and layout, description, budget,
and printing method, to binding and finishing procedures quantity, audience, time-
for function and appearance enhancement. line, and the substrate.
Audience: who is the intended user/viewer? Create a role playing
The audience will impact everything from product type, scenario for customer,
design, appearance, and font selection to distribution designer, print buyer, and
strategies, product function and permanence. printers customer ser-
vice representative.
Turnaround time: when is the project needed?
As the virtual project is
The needed delivery time may impact choice of printing planned, designed, and
technology (e.g., digital vs. offset), print supplier, substrate produced, see how the
availability, binding and finishing methods. Is the project specification variables
timeline measured in hours or days? impact the project.
Substrate: what is the project purpose? Remember, problem
The type of substrate is dependent on project function, analysis and problem
intended permanence, finishing effects, bulk and weight solving requires breaking
limitations, appearance, printing and binding spec. the big problem into a
series of small problems.

Part One:
Color from Design to Print Project Planning
Planning Colors: how many colors are needed? desired? afford-

able?
While some products require special spot colors,
process (CMYK) colors may be used to substitute for

spot colors in all printing processes. Digital printing
is most often either black only or process color
(there are some highlight color digital print devices).
The choice of colors may impact cost, project time-
Budget lines, and printing method.
Proofing: what proofing is expected? who need to
evaluate the proofs? local or remote?
The type and frequency of proofs required for a given
project can vary widely based on the different costs
and quality levels expected of the project, as well as
the complexity and difficulty of the project.
Designing
Proofing can surely prevent costly errors but exces-

sive proofing can unnecessarily add to turnaround
time and overall project costs.
What special finishing is required?
Some finishing procedures such as embossing, foil
stamping, varnishing, and thermography may have
Product aesthetic value only. The cost vs. impact value should
type be evaluated.
Some finishing procedures such as trimming, fold-
ing, die cutting, coating may have product perfor-
mance functions. Some finishing may be both func-
tional and aesthetic in value.
Deadlines
What binding method is required?

Product permanence, flexibility, function, user pref-
erences, cost, and turnaround time may all impact
the choice of binding methods.
Where will production steps be completed?
Production can be done at locations anywhere. What
are the workflow, cost, quality, and time implications
when a project moves through several locations?
Print-then-distribute or distribute-then-print?
Location

Part One:
Color from Design to Print Workflow
The Print Production Workflow Segments

Pre-Press
From design to production of the image carrier

Press
The process for transferring image to substrate
Post-Press
Final manufacturing processes: folding, conversion, binding, forming, die cutting, etc.
There is No "One" Workflow

Workflow variables include:
Planning/Scheduling
Job specifications from design to finishing
Quantity to be delivered
Turnaround time for delivery
Equipment capacities and capabilities
Distribution strategies
Personnel availability and capabilities
Solutions to unforeseen problems
Reverse Engineering
Print production is a manufacturing process. Like any manufacturing process, production
needs to be carefully planned. Reverse engineering the print project means identifying the
exact production needs and timelines required before the project gets started in the produc-
tion sequence. Material specifications are determined. Specific press and post-press equip-
ment is identified and reserved for the project. Project cost estimates depend on accurate
planning and scheduling.

Part One:
Color from Design to Print Conventional Prepress
Conventional Prepress Disappearing Procedures,

Conventional prepress is based on the need to build
Forgotten Vocabulary
individual analog page images, convert the page

images to film, and use the film to expose proofs and These procedures and materials have
printing plates. Timelines measured in hours and days. essentially disappeared, or are rapidly
These procedures are still being practiced in the print- disappearing from the prepress work-
ing industry today, but their use is already extinct in flow of many companies:
most companies and rapidly declining in all segments Airbrush retouching
of the printing and publishing marketplace.
Typesetting
With the advent of desktop publishing and the ability
to easily make digital pages, including complex image Paste-up
and color specifications, conventional prepress crafts- Mechanical art
manship is being replaced by computer skills.
Press type
Conventional prepress workflow:
Diffusion transfer stats
Design developed and sketched Each production step usually completed by separate craftsperson. Camera line negatives
Camera halftones
Type is set on phototypesetter Contact screens
Screen tints
Pages are made on paste-ups Camera separations

Wet dot-etching
Line negatives made of pages Dry dot etching

Amberlith/rubylith masking
Halftone negatives made of photos X-acto knife

Rubber cement
Waxers
Color separation negatives made
Contacts and dupes
Spreads and Chokes
Page negatives stripped onto flats
Construction stripping
Analog platemaking
Proofs made from film flats
Plates made from film flats

Part One:
Color from Design to Print Digital Prepress
Digital Prepress New Procedures

When the term desktop publishing was first coined,
New Tools
many printers associated the process with lesser quali-

ty, amateurish document files that would not produce
the desired and expected results. Now, no printing
New Vocabulary
business can successfully compete and grow without The evolution of digital prepress has
desktop prepress or digital prepress as now termed. dramatically changed the creative and
Digital prepress today is clearly superior than conven- production procedures, tools and
tional prepress. Pages are produced faster, with a much vocabulary. A 15- to 20-year old
higher quality level, and at less cost. Color is far easier graphic arts textbook would likely
to design into a project and far easier to produce. have no references to these items:
Digital prepress enables those with computer skills and Adobe Photoshop
knowledge of quality criteria to replace traditional pre- Adobe Illustrator
press crafts. The mouse has replaced the X-acto knife.
Adobe PageMaker
Adobe Acrobat
Design options developed
Adobe InDesign
All tasks done on computer.
QuarkXPress
Type created in word processing
Macromedia Freehand
KPT Bryce
Graphic images made on computer
Painter
Kais Power Tools
Photos are scanned: b&w or color
Plug-ins and XTensions
WACOM tablet, digital pen
Page layouts made on computer
PostScript, PDF,TIFF, JPEG
Lossy compression
Text & images combined on page
Lossless compression
RAM
Pages are digitally proofed
Internet
RIP options
Raster Image Processor

Pages output to film /analog plates Imagesetter
Computer-to-Plate
Pages output to digital plates

Part One:
Color from Design to Print Digital File Output
Server
Output
Device
Desktop network connectivity
Publishing among all devices imagesetter
Workstations Raster Image platesetter
Processor printer
(RIP)
Preflighting
The process of verifying that all graphic, page, and document files have been prepared follow-
ing all design and production specifications prior to file output.
Trapping
The overlap of adjacent image edges to allow for a registration tolerance between color units
on the (non-digital) printing press. Trapping software is used to alter the digital image files
per specific production requirements. Trapping is a production, not a design, responsibility.
Trapping can be performed by workstation application or RIP software.
Imposition
The positioning of page images on the press sheet to meet all press, finishing, and binding
requirements. Imposition is a production, not a design, responsibility. Imposition can be per-
formed by workstation application or RIP software.
RIP (raster image processor)
The RIP (raster image processor) is the computer for an output device that receives and
interprets the PostScript page description and drives the imaging mechanism in the output
device.
PostScript Output Device
Imagesetters are PostScript output devices which image films that are used in analog
platemaking workflows. A computer-to-plate platesetter makes plates off the press. A com-
puter-to-press platemaking system images the plates on the press printing unit. A digital
printer is a PostScript output device with a re-imageable image carrier.

Part One:
Color from Design to Print File to Print Options
File to Print Options

When a digital file is ready for offset or digital printing production, there are four options
which are commonly used in the industry today:

Computer-to-digital printer - Pages are directly imaged on re-imageable surface and
printed with the xerographic process or variation. Printing can be either simplex or
duplex and is immediately dry when printed.
Computer-to-film (CTF) output - partially or fully imposed films are produced on an
imagesetter. Pin-register systems are frequently used to automate the registration
process and to eliminate any manual film mounting and registration procedures on
a light table. Analog platemaking is required from the films.
Computer-to-plate (CTP) output - fully imposed pages are produced directly onto
the plate by a platesetter. No films are needed or produced, Pin-register systems are
used to automate the plate registration and plate mounting on the offset press.
Computer-to-press (CTPr) output - pages are directly imaged onto plates already
positioned on the offset press cylinders. Laser imaging devices are incorporated in
the press unit. Usually, waterless offset printing technology is utilized. Also called
direct imaging (DI) offset and hybrid digital/offset.
Comparative File-to-Print Workflows and Timelines

Computer-to-Film (CTF) Sheetfed Offset
Digital Analog Proofs and Plates Lithography Printing
File
Preparation Digital Proofs Sheetfed Offset
Computer-to-Plate (CTP) Lithography Printing
Digital proofing and computer-to-plate

Digital File Direct workflow can save many hours compared
to CTF, analog proofing and analog
Preparation Imaging platemaking workflow.
and Offset
Proofing Printing Sheetfed offset and direct-imaging offset
printing may require significant ink drying
time between sides and prior to finishing
and binding procedures.
Digital File Digital printing has no delay for platemak-
Preparation Digital ing; toners are fused and dry immediately;
and Printing duplex printing capability is the norm.
Proofing Production times measured in minutes and
hours, rather than hours and days.

Part One:
Color from Design to Print Choosing a Print Process
Choosing a Printing Process

The primary printing processes today include:
Offset Lithography - printing from a flat plate, usually onto paper substrate, but can
print on some plastic films and even metal; sheetfed and web press configurations;
single and two-sided press configurations; web press often has in-line drying and
finishing operations.
Digital - includes toner and ink jet systems; usually printing onto paper, but some
systems enable printing onto polyester film; sheet fed and web configurations;
duplex printing capability on most systems; some systems have in-line finishing and
binding operations.
Flexography - printing from a soft compressible, raised image plate; can print on a
wide variety of web fed substrates including tissue, paper, corrugated board, foil,
metalized paper, and several varieties of plastic; fast-drying, fluid ink; can be config-
ured with in-line finishing operations.
Gravure - printing from a hard, recessed engraved-image cylinder; used to print
high volume products on a wide variety of substrates including paper, paperboard,
foil, plastic films, plastic laminates (e.g. Formica), and vinyl flooring; cylinders
can average 6 to 7 million impressions.
The factors used to select a print process include:
Type of product Quantity
Substrate Image quality requirements
Image variability requirements Cost per piece
Color requirements Turnaround time requirements
Finishing and binding requirements
Many of the print processes are competitive in the same product markets. For example, mag-
azines and catalogs may be printed by gravure, offset, and even digital printing processes
with quantity being the primary determining factor. Other products, such as plastic laminate,
are exclusively printed by only one process. Variable data can only be done by digital printing.
Xerography vs. Offset Lithography

An important and emerging print market battle exists between xerography and offset lithog-
raphy. Quality and affordable full-color printing in short- to medium-run lengths may be best
achieved by digital printing systems. Offset printing can best print specific spot colors. Only
digital can print variable data. Turnaround time, with immediately dry digital printing, favors
digital over offset, even on longer print runs. Numerous off-line binding options for cut-sheet
favor both digital and offset, but especially enable fast turnaround on bound, digitally-printed
products.

Part Two:
How do we see color, anyway? Overview of Part Two
Cold hearted orb that rules the night,

Removes the colours from our sight.
Red is grey and yellow white,
But we decide which is right.

And which is an illusion???
Part Two: The Moody Blues
How do we see color, anyway?

What is green? Why is the sky blue? What is candy apple red? How do we see color, anyway?
In this part you will learn how people perceive color. Most importantly, you will learn why
different people see colors differently, and why individuals might see the same color different-
ly under different conditions.
1. Identify the parts of the human eye and explain their role in color perception.
2. Identify visible light as a component of the electromagnetic spectrum.
3. Explain the concepts of light absorption and reflection.
4. Explain the concept of the temperature of light and the impact on color
perception.
5. Explain major physiological and psychological aspects of color perception.
Key words to learn in this part: Part Two:

How Do We See Color, Anyway?
Absorption
Color perception 1. The human eye
Cones 2. The electromagnetic
Electromagnetic radiation spectrum
Electromagnetic spectrum 3. Absorption and reflec-
Fatigue tion
Kelvin 4. The language of color
Memory color 5. Temperature of light
Nanometers 6. Physiological factors
Reflection 7. Why do we print in
Rods color?
Visible light
Visible spectrum
Wavelengths
Understanding Color Kenneth F. Hoffmann page 10

Part Two:
How do we see color, anyway? The Human Eye
The Human Eye

The human eye is the bodys physical receptor of light energy unless, of course, you
include the skin when we get sun burns and sun tan. The lens of the eye focuses the light on
the retina, a light-sensitive surface around the back of the eye. The retina is made up of rods
and cones, which are the photosensitive cells. The rods and cones convert the light energy
into different nerve impulses. Vision is a function of light energy reaching the rods and
cones.
Did You
Know?
There are around 100
million rods in the reti-
na. Rods function in dim
The Rods and light conditions and pro-
duce monochromatic
Cones are on vision: white and black
the Retina, the and shades of gray.
lining on the There are more than six

million bulbous cones in
back of the eye. each eye. Cones see
color such as red, green,
and blue and also see
white, black and gray.
Cones need higher lev-
els of illumination to
produce color vision.
The eye consists of red-sensitive, blue-sensitive, and green-sensitive
cones. It would be extremely unlikely that different individuals have Bright colors at midday
the same number and distribution of each color-sensitive cone. are seen as a result of
Therefore, different individuals are unlikely to perceive colors different wavelengths
exactly the same. stimulating the cones.
The same scene in the
Even in a color prepress work environment, with standard viewing darkening dusk appears
conditions, individuals will describe colors different because of muted, even as shades of
their differences in color sensitivity. gray, as there is only
The eye sees colors in nature that can not be reproduced by any enough light energy to
photographic or print methods the eye is the perfect color-sensi- stimulate the rods in the
tive photoreceptor! retina.

Part Two:
How do we see color, anyway? The Full EM Spectrum
The Electromagnetic Spectrum

Our environment is filled with electromagentic radiation. The electromagnetic radiation
consists of a wide range of wavelengths from radio waves to cosmic rays. This range of radia-
tion wavelengths is called the electromagnetic spectrum. Visible light is merely the compo-
nent of the electromagnetic spectrum that our human eye can perceive.
Long Wave Radio Television Microwave Visible Light X-Rays Cosmic Rays
VHF Radio Radar Infrared Ultraviolet Gamma Rays
The wavelengths of energy in the electromagnetic spec-

Did You Know? trum range from the extremely short cosmic energy waves
Going from the values of radio at one billionth of a millimeter to the extremely long
waves to those of visible light is like wavelengths of radio at more than a kilometer in length.
comparing the thickness of this Telescopes, such as Hubble Space Telescope and Chandra
page with the distance of the Earth Telescope see a lot more than the visible energy in the
from the Sun, which represents an electromagnetic spectrum. Sensors can detect energy at
increase by a factor of a million bil- almost all wavelengths: cosmic rays, gamma rays, x-rays,
lion. ultraviolet, visible light, infrared, microwave, radar, radio.
Similarly, going from the values of The beautiful images from the Hubble Space Telescope are
visible light to the very much larger not always in natural colors. Rather, some of the electro-
ones of gamma rays represents magnetic energy from the nebulae and galaxies are inter-
another increase in frequency by a preted and assigned colors in the visible spectrum for us
factor of a million billion. to enjoy.

Part Two:
How do we see color, anyway? Visible Light Spectrum
The wavelengths in the visible light portion of of the electromag-

netic spectrum range from 380 nanometers (deep violet) to 780 Did You
nanometers (deep red). A nanometer (nm) is one billionth
Know?
(11,000,000,000) of a meter. Visible light is between the ultraviolet

and infrared energy wavelengths.
Sir Isaac Newton was
We see different wavelengths between 380 nm and 780 nm as dif- not the first to believe
ferent colors. When we detect energy wavelengths at 420 - 480 nm, in the theory that white
we see blue. When our eyes detect wavelengths around 580 nm we light is the sum of all
see greenish-yellow. When we see all of the wavelengths in about colors.The Greek
equal measures, we see white light. philosopher, Aristotle,
believed that white light
The prism can be used to separate white light into the visible spec-
was light in its pristine
trum because the different wavelengths bend and refract at differ-
form.Aristotle believed
ent angles within the prism.
that certain color phe-
nomena, such as the
rainbow, arise from a
modification of light.
Newton was right about
light refraction and the
fact that different colors
of light had different
properties. However,
Newton incorrectly
believed that light was
made of particles (rays)
of matter at different
sizes, rather than the
waves of electromechan-
ical energy that we
720 nm The visible light spectrum. 380 nm know today.
Points to Ponder and Debate...

There is an age-old question about sound;If a tree falls in the forest and there is nobody to hear it fall,
does the falling tree make any noise?
Likewise...
If there is no one around to see an object, does that object have any color? If an object is red when
seen in bright light conditions, is the object still red in a darkened room?
Color science states that there is no color without light, an object, the human eye, and an interpretive
brain; all four are necessary for what we call color.

Part Two:
How do we see color, anyway? Absorption/Reflection
Absorption and Reflection

As white light (the sum of all visible wavelengths) strikes an object, some of the light energy
wavelengths are absorbed and some of the light energy wavelengths are reflected When white
(sun) light strikes the flower petals, the object surface absorbs blue light and reflects green
and red light. We see the mixture of green and red light as yellow.
When red, green, and blue light reflects evenly (or nearly
so) from a surface, then we see that surface as white.

Part Two:
How do we see color, anyway? Color Perception
Color Perception is Not Exact

Human color perception is not exact. Colors appear different because of their surrounding
regions. Two gray squares may be objectively the same, but will appear different based on the
density or the color of the surrounding regions.
The gray patch

surrounded by
yellow appears
darker than the
exact same value
gray surrounded
by blue-purple.
The magenta
patch surrounded
by light gray
appears darker
than the exact
same magenta
value surrounded
by dark gray.
Gradients and shades can often be perceived incorrectly. This is actually an even 20% black
positioned inside a larger gradient (90% to 10%).
The size of an
object affects
color perception.
Colors of larger
objects are more
easily distinguished.

Part Two:
How do we see color, anyway? Language of Color
Hue
The wavelength of light of a particular color in its purest state without any added black or
white is called the hue. The hue in the main attribute of a color that distinguishes itself
from other colors. The name of the hue itself is a subjective term different in each lan-
guage that refers to an objectively measured wavelength of radiant energy. Hue is the per-
ceived color of an object. Here are some colors in familiar hues.
Purple Orange Brown Green Yellow Blue Red
Saturation
The intensity of a particular hue is called saturation. Saturation refers to the value of a color,
the extent to which that color is made of a selected hue rather than of white. Saturation is
the property of a color that makes pale pink different from bright red. The scale for measur-
ing and describing saturation ranges from 0% to 100%. We often refer to a color with low
saturation as looking washed out. Saturation can also refer to the amount of grey in a
color. Less grey results in more saturation.
Brightness (also called Lightness, Luminance)

Brightness is the amount of light being reflected from a surface. Brightness is the intensity
or dullness of a color. A hue in its purest state is at its brightest. In printing, brightness is
affected by the reflectance of the paper.
Brightness also refers to the lightness or dullness of a color due to the kind of light hitting
the object. A barn may be bright red on a sunny day, but a dull red on a rainy, overcast
evening. The darker the viewing conditions, the darker are the colors that we perceive.

Part Two:
How do we see color, anyway? Language of Color
What is Green?
Few objects in nature either fully absorb
or fully reflect the primary colors of red,

green, and blue. Therefore, there are
numerous shades of many colors. Green,
for example, appears is an infinite variety
of hues. We sometimes call these distinc-
tions color shades.
What is a Color Family?

The name of a color is sometimes very vague. What is light blue? The name may have dif-
ferent meaning to different people. Other color names are more specific. What is navy blue?
In this case the answer would probable be similar from most people: a dark, cool near black
shade of blue.
We have many names for the shades within a given hue. A color family is the colors that are
referred to as being similar in hue. Some members of the Blue family include Baby,
Periwinkle, Navy, Sky, Medium, Royal, Gem, Blueberry, Aquamarine,
Cornflower, Indigo, and Carolina. Mitsubishi even has a auto color called Celtic Blue
Pearl try describing that one! Every printer knows Reflex blue and Process blue.
Meet Some Members

of the Blue Family

Part Two:
How do we see color, anyway? Color and Emotion
Color and Emotion

Hot, warm, cool, cold: these are words often used to describe colors. We associate tempera-
ture, emotions, feelings with colors. We we refer to a color as being warm or cool we
mean an emotional or aesthetic quality, not the actual physical quality of the color or light. A
warm gray is somewhat reddish or yellowish. A cool gray has a blue or green color cast to it.
The early light of dawn casts a warm glow

on this mountain lake scene.
The blue cast on this wintry landscape makes

it feel even colder than the snow itself might
suggest to the viewer.
You dont need a desert to evoke

the feeling of a hot location.
The deep green forest fern bed suggests a cool

atmosphere on even the hottest day.

Part Two:
How do we see color, anyway? Color and Emotion
Emotional Responses to Color

The most intense emotional responses are associated with bright colors at both ends of the
visible spectrum (red and purple).

Warm colors, such as reds, oranges, and yellows, are used to represent action, vitality, fun.
They can denote aggressiveness and appear close.
Cool colors, such as blues and greens, are seen as restful and quiet. They represent status,
background information, and work. They denote calming assurance and appear remote.
But, there are cultural differences. In France, red is associated with aristocracy; in Japan, yel-
low is associated with nobility and grace. Some holidays have strong color associations.
Valentines Day: red, pink. Easter: purple, white, yellow. St. Patricks Day: green. Halloween:
orange, black. Christmas: red, green.
Infants and young children choose bright, saturated colors. Adults prefer more desaturated
colors as they grow older. Blue is the most universally liked and recognized color, even
among those who are color-impaired.
Physiological Responses to Color

Our bodies respond differently to different colors that we see. For example:
RED increases electroencephalographic activity, chronic tension,
muscular activity, eye blinks
BLUE decreases all of the above.
These physiological responses to color is probably why
blue is considered a professional color that communi-
cates calmness and control. Blues is a popu-
lar color in corporate logos and for cor-
porate uniforms.
Red effectively calls attention to criti-
cal information and to danger warn-
ings in communications. Red is often used
for emphasis in package labels and signage.

Part Two:
How do we see color, anyway? Physiological Factors
The Physiological Factors of Color Perception

In the imaging and publishing field, we must understand color compres-
sion. The human eye can see over nine million colors; color film only
Color 10,000 to 15,000; the sheetfed press only 5000 to 6000; and the web press
Compression can only deliver 2000 to 3000 colors. Nothing that we produce as a photo
or a printed sheet will ever exactly match the colors in the real world.
Vision is susceptible to sensory adaptation. There is a reduction in sensi-
tivity to stimulation as the stimulus persists for a period of time stay
Adaptation to out in bright sunlight, eyes become less sensitive; your eyes will take time
Stimulus to adapt to a sudden change such as entering a dark room. Likewise, there
is an increase in sensitivity when there is a lack of stimulation when in
a dark room for a while the eye becomes sensitive to very low levels of
light energy.
There are also physical differences in color vision: people see and describe
color differently per one's own sensitivity. Subjective differences may
People See and result from physical adaptation over time: production workers on day
Describe Color shifts may perceive color differently than the night shift crew. Describing
Differently color is difficult due to the lack of a standard vocabulary or set of terms to
explain visual differences a fact often overlooked in making color
approvals or describing color corrections.
Aging is a real factor. The need for increased illumination is greater as one
ages. A person at age 50 may need 50% more illumination than when
Aging is a Real he/she was age 20.
Factor
We cannot memorize color or tonal gradation: we can only compare color
under a standard light source. Color can appear unchanged even under
No Color different conditions. White and object colors that are part of a color scene
Memory may still appear the same under different lighting conditions what
appears as a white surface may in fact be a light gray when compared to
other white values. The eye focuses on contrast and context rather than
memory.
Color fatigue is the cause of the negative afterimage from over stimula-
tion. Stare at a color for a minute and quickly look away and you often get
Color Fatigue a negative (opposite color) afterimage floating, for a few seconds, in your
new field of vision. Color fatigue increases in effect when person becomes
tired or mentally exhausted This phenomenon will vary from individual to
individual but we are all affected and should be aware of the potential
when doing color evaluations. The negative afterimage from color fatigue
impacts the visual evaluation of color or hue.

Part Two:
How do we see color, anyway? Temperature of Light
Temperature of Light
Color temperature, measured in degrees Kelvin, is the temperature to which a black object
must be heated to produce a certain color light. As an object is heated, it emits radiation of a
characteristic color. Color temperature is a system of numbers used for measuring the color
of light. The color varies according to its temperature which is measured in degrees Kelvin.
Candle light, at 1800K, has emitted radiation that is relatively red. 2900K is representative of
a tungsten lamp. At 4800K, light is relatively yellow. At 6500K the color of light is neutral
due to an even distribution of wavelengths. At 9300K, the color of light is relatively blue.
5000K is close to the color temperature of direct sunlight and is considered the standard
light temperature for viewing conditions during color evaluation for the imaging, publishing,
and printing industry.
This image
Kelvin appears as it
would under
Scale standard 5000K
color evaluation
The Kelvin Scale
and viewing
(abbreviated by
conditions.
the letter K) is a
system of absolute
temperature
invented by
William Thompson
Kelvin.The Kelvin
scale uses the
same degrees as
the Celsius (C) The color temperature of the viewing conditions will directly impact the
scale, but defines appearance of the photo, proof, or printed sheet being evaluated.
absolute zero
(0K) as the tem-
perature at which
all atomic activity
stops.
0Kelvin = minus This image
273.16Celsius. appears with a
Numerically, the greenish color
Kelvin tempera- cast as it would
ture is equal to under standard
the Celsius tem- fluorescent
perature plus 273 light viewing
degrees. conditions.

Part Two:
How do we see color, anyway? Why Do We Print in Color?
Why Do We Print in Color, Anyway?

While color is not necessary for visual communication, studies have clearly shown the many
advantages of added color in documents. Color can add significant impact to a design. Color
can increase the effectiveness of print/media communication. Color can add interest.
Marketing studies have clearly shown that the use of color results in return rates significant-
ly higher than those for black& white printing. Sometimes the results with color images can
be ten or more times higher than black and white printing.
This illustration
may be consid-
ered as more
effective in color
than when in
grayscale.
Many magazine
advertisements
are printed in
grayscale and
are very effective.
Would this
nin g
poster be as
d ope
appealing and
interesting with-
gran
out the use of

ur
color?
go
cin
un
no
An
Overall, color is
proven to be a
more effective
communication
strategy than
grayscale or
black & white.
Cambria Museum of Art

Join us for an evening of live music, refreshment, and art in celebration of our new location at the heart
of downtown Cambria. Featuring a true Cambria treasure: 100 years of local artwork.

Part Two:
Research has proven that using color in business documents can have
measurable results. The following examples have been selected from a
variety of sources to demonstrate the power that black and white

documents can achieve when printed in color.
Color Captures Attention

Color emphasizes critical information and conveys a sense of
professionalism

Color increases readers attention spans and recall by 82%
Color gains readership by 80%
82%
Color makes an impression that is 39% more memorable Color increases
Telephone listings printed in color can increase response by 44% readers attention
spans and recall by
People are more likely to pick up a full color piece of mail first. 82%.
Color emphasizes critical information and conveys a sense of

professionalism
Color Improves Communications

Color increases comprehension by as much as 73% 78%
Color speeds learning and retention by 78%
Color can boost survey participation by 80% Color speeds learn-
ing and retention
Reader comprehension has been found to be 14% better with by 78%.
highlight color rather than with bold text
Color Sells
Color helps sell up to 80% more
Color can improve brand recognition by up to 80% 80%
Color helps sell up
to 80% more.

Part Two:
Color Enhances Productivity

Color reduces search time by as much as 80%
Color reduces errors by 80%

Information can be located 70% faster if it is in color 82%
Document sorting improves by 15% when highlight color is used
Highlight color improves search time by 39% when compared to Color increases
readers attention
using different fonts
spans and recall by
Color can increase payment response by up to 30% 82%.
People are 2.5% more likely to pay the full amount when it is
shown in color.
Color Attracts Attention
Color Clarifies
Color Sells

Part Three:
Comparative Color Models Overview of Part Three
Understanding color and how it is

reproduced is one of the most difficult
concepts in the graphic arts, but it is

also one of the most rewarding to
understand.
Part Three: Thomas E. Schildgen
Comparative Color Models

Over the years, the ability to understand, visualize, communicate, and reproduce color has
been analyzed and defined. We have used scientific, perceptive, quantitative, and qualitative
descriptors and measures. Fundamentally, color is a human sensation and the business of
color remains a subjective evaluation by the customer.
1. Explain the principles and application of additive color model.

2. Explain the principles and application of subtractive color model.
3. Explain the principles and application of the artists color wheel.
4. Explain the principles and application of the CIE color models.
5. Explain the principles and application of the Munsell Color System.
Key words to learn in this part: Part Three:

Mixing Systems
Comparative Color Models
Additive color 1. Additive Color: RGB
Subtractive color
2. Subtractive Color: CMYK
RGB
CMYK 3. Artists Color Wheel
Primary 4. CIE color models
Secondary
Tertiary 5. Munsel Color
Intermediate
Complementary
Color wheel
CIE
Chromaticity
Chromaticity diagram
Gamut
Munsell Color System
Perceptual
Chroma

Part Three:
Comparative Color Models Additive Color Model
In both print and non-print media, we mix some colors to make additional colors. There are
two widely used mixing systems: the additive color model and the subtractive color model.
The Additive Color Model primary colors are Red, Green, and Blue.
Each of these three primary colors is one-
We see light. The additive color model builds third of the visible light spectrum. As the
color with light. Televisions and computer amounts (intensity) of RGB lights are varied,
monitors build color with the additive color new colors are made. A RGB monitor can dis-
model. The additive color model is often play millions of colors, all made from combi-
referred to as RGB Color because the three nations of only red, green, and blue lights.
To best understand the additive color

model, imagine a white wall in a dark-
ened room.
A beam of red light makes a circle on the
white wall a RED circle, of course.
A beam of blue light makes a BLUE circle
that overlaps the red circle. In the area
where red and blue overlap, a new,
lighter color is made. This new color has
2/3 of the visible light spectrum and is
named MAGENTA. (R + B = Magenta)
There is no green in magenta.
A beam of green light makes a GREEN
circle that overlaps the blue and red cir-
cles. In the area where green and blue
overlap, a new, lighter color is made. This
new color has 2/3 of the visible light
spectrum and is named CYAN.
(G + B = Cyan) There is no red in cyan. Additive Color Model
In the area where green and red overlap,
a new, lighter color is made. This new Primary Colors
color has 2/3 of the visible light spectrum
and is named YELLOW. (G + R = Yellow)
Red, Green, Blue
There is no blue in yellow.
Secondary Colors
In the area where red, green and blue
overlap, a new, lighter color is made. This Red + Blue = Magenta
new color has all of the visible light spec- Blue + Green = Cyan
trum and is named WHITE. (R + G + B = Red + Green = Yellow
White)
Red + Green + Blue = White

Part Three:
Comparative Color Models Subtractive Color Model
The Subtractive Color Model ors subtracts one-third of the visible light
spectrum. Black is used as a correcting color
We see light. But, we do not print with light. to add neutral density to the colors. As the
Printing systems use the subtractive color amounts (coverage area) of CMYK inks or
model by subtracting color from white light. toners are varied and mixed, new colors are
The subtractive color model is often referred made. A CMYK color mixing and printing
to as CMYK Color because the three sub- system can make millions of colors, all made
tractive primary colors are Cyan, Magenta, from combinations of only cyan, magenta,
and Yellow. Each of these three primary col- yellow, and black.
To best understand the subtractive

color model, imagine a white sheet
of paper in a white lighted room.
A patch of CYAN ink makes a cyan
square on the paper. We see cyan
because the red has been subtracted
from the reflected light.
A patch of MAGENTA ink makes a
magenta square on the paper. We
see cyan because the green has
been subtracted from the reflected
light. Where the cyan and magenta
overlap we see BLUE, because all of
the red and green have been sub-
tracted from the reflected light.
A patch of YELLOW ink makes a
yellow square on the paper. We see
yellow because the blue has been
subtracted from the reflected light. Subtractive Color Model
Where the yellow and magenta
overlap we see RED, because all of Primary Colors
the blue and green have been sub- Cyan, Magenta, Yellow
tracted from the reflected light.
Where the yellow and cyan overlap Secondary Colors
we see GREEN, because all of the Cyan + Magenta = Blue
blue and red have been subtracted
from the reflected light. Cyan + Yellow = Green
Where all three colors (CMY) over- Magenta + Yellow = Red
lap, the result is almost black. Black C + M + Y = (almost black)
is used as a fourth color to add neu-
tral density. Black is indicated by Black (K) is used to increase density.
the letter K; B is for blue.

Part Three:
Comparative Color Models Artists Color Wheel
The Artists Color Wheel The colors on the color wheel are called
hues. They are divided into primary,
Perhaps, you remember a different color secondary, and tertiary colors. The left side of
model from art class. Called the Artists Color the wheel (Yellow through Red-Purple) are
Wheel, this model shows red, yellow, and referred to as warm colors. The right side
blue as the primary colors. A color wheel is of the wheel (Yellow-Green through Purple)
a visual reference chart of colors. are called the cool colors.
The artist Marc Chagall said,

All colors are the friends of their neighbors and the lovers of their opposites.
Did You Know?

P
The Jesuit teacher Franois d'Aguilon,
in 1613, declared that there were three T T
primary colors: red, yellow, blue, which
together with white and black could be
combined to make all colors.
S S
Sir Isaac Newton not only studied the
visible light spectrum, he also arranged
to colors of the spectrum into a circle T Neutral T
to study the colors. Many color wheels
have since been developed.This color
wheel was defined by Herbert Ives,
based on the work of Newton. P P
A primary color is one that cannot
T T
be made by mixing two other colors,
but, theoretically, primary colors can
S
be mixed to produce other colors.
A secondary color is one that results from
the mixing of two primary colors. Primary Colors
A tertiary color (sometimes called intermedi- Red, Blue, Yellow
ate color) results from the combination of a Secondary Colors
secondary and a primary color. For a tertiary
color mix, the name of the primary color is Orange, Green, Purple
given first. Tertiary Colors
The artist may use the color wheel to help Yellow-Orange Blue-Purple
plan a design. The color directly opposite any
Yellow-Green Red-Purple
selected color on the wheel is called a com-
plementary color. Complementary colors Blue-Green Red-Orange
would go together well in design.

Part Three:
Comparative Color Models Artists Color Wheel
Alternate Artists Color Wheel and Color Triangles

In various art texts the color wheel has different variations. Below is a common color wheel
that combines and emphasizes the RGB and CMY colors. Which are the primary colors and
which are the secondary colors depends on which model (additive or subtractive) is empha-
sized. The mixture of the primary and secondary colors are called Intermediate colors.
The concept of complementary

colors is often expanded. Opposite
Y colors on the color wheel are called
I I complementary.
Near complements are colors which
G R align in a Y pattern in the wheel.
An example is indicated by the
magenta lines. Twelve different Y
patterns can be made to define 12
I Neutral I different near complement groups.
Triadic complements are formed in
a triangular pattern, as indicated by
C M the cyan lines. Four different triadic
complement groups can be defined.
I I Near and triadic complements are

B formed on both the standard and
the alternate artists color wheels.
Artists may use a color triangle to show

color shades (intermediates between a hue
and a black), tints (intermediates between
a hue and white), and tones (intermedi-
ates between a hue and gray).
With the simple use of shades,

tones, and tints, shapes can be
given a three-dimensional
appearance.

Part Three:
Comparative Color Models CIE
CIE Color Models sampled 1,700 individuals to establish a stan-

dard red, green, and blue wavelength of light
CIE is the abbreviation for Commission that represented the average observer.
Internationale de lEclairage (International

A chromaticity diagram is a two-dimensional
Commission on Illumination), an organiza-
plotting of the CIE three-dimensional color
tion that defined a visual color model in
space. The 1931 CIE-XYZ diagram (left) was
1931. This group established specifications
developed to show the entire gamut (range)
for the standard observer color vision sensi-
of perceivable colors, expressed in chromatic-
tivity. Their work in 1931 established what
ity. Chromaticity is a color quality of light
has become the most universally accepted
that is defined by wavelength and saturation,
system of color measurement.
independent of brightness or luminance.
The CIE system developed a device-indepen-
A significant and frequently used application
dent, uniform color model. The CIE system
of the CIE-XYZ diagram is its adaptation
has evolved into four different color spaces to
(right) to show the relative gamut for colors
meet the needs of different market sectors.
that can be reproduced on photographic film,
The measurements used by the CIE were on a computer monitor, and on an offset
based on a standard observer. The CIE printing press.
520 CIE model in 1931.

530
Wavelength numbers Film
540
510 are in nanometers
550
Monitor
560
570 Printing
500 580 Press
590
600
610
620
490 630
650
700-750
480
470
460
450 400-380
Did You Know?

James Maxwell, a Scottish physicist, brought mathematics to the search for a color model. In 1872, he
developed an equilateral triangle chart that placed the three primary colors (RGB) at the corners. He
stated that all color could be located within the triangle. His work is the basis for the 1931CIE system.

Part Three:
Comparative Color Models CIE
In 1976, in an effort
Yellow
to better refine color + b*
measurement,
CIELAB and CIE LUV

were developed. Hue
60
CIE LAB (also known 50
as CIE L*a*b*) is
40
based on CIE XYZ. 30
The L* values repre- 20
sent lightness. The Green 10 Red
chromaticity coordi- - a* + a*
nates are indicated by
a* and b* a* is the
green/red and b*
indicates the blue/
yellow. The CIE LAB
model is used pri-
marily for reflective
color, including
printed sheets. simulation Blue
- b*
The CIE LUV color space L=100

white
model is very similar to the
CIE LAB model. The CIE
LUV model is primarily (+v*)
used for TV and computer +b* yellow
monitor displays.
(-u*) L*
value
-a*
green (+u*)
+a*
red
(-v*)
-b*
blue
L= 0
black

Part Three:
Comparative Color Models Munsell Color
The Munsell Color System Called the Munsell Color Tree, the model
uses a vertical axis to represent the lightness
The Munsell Color System is a perceptual or value of a color, and the horizontal axis to
color system that defines colors by hue, represent the chroma or saturation of a
value, and chroma. Introduced in 1913 by color. The purest color is located on the
Albert H. Munsell, and American artist and outer edge of the model. Ten hue regions are
teacher, used chips of color for visual refer- arranged in a circle around the brightness/
ence and identification. lightness value axis.
In the Munsell
color system,
the ten hue white
regions are
value
arranged so
red-purple 9
complement red
colors are oppo-
site each other. 8
hue
Munsell identi- 7 yellow-red
fied five main
hues: 6 yellow
chroma
purple- 4
Red (R), purple green-
Yellow (Y)
blue 5 6
8 yellow
Green (G) 10
Blue (B) 4
Purple (P) blue green
Five intermedi- blue-green
ate hues are:
2
Yellow-Red (YR),
Green-Yellow (GY)
Blue-Green (BG) 1
Purple-Blue (PB)
Red-Purple (RP) black
Steps in
between these hues are given a number from 1 to 10 preceding the letter, as in 5R or 4.5PB.
The value or lightness of a color ranges from 1 to 10, in perceptually uniform steps. The
chroma or saturation of a color also is arranged in perceptually uniform steps. The maximum
chroma differs for each Munsell hue, ranging as high as 15 for the yellows and 16 for the
reds. Neutral whites, grays, and blacks have a chroma of zero.
The three attributes of the Munsell color system hue, value, chroma are given in a
notation form HV/C. For example, the notation 7.5RP 8/10 would indicate a color 7.5 steps
around the color wheel from the red-purple, of medium-high brightness, and high saturation.

Part Four:
What is Color Separation? Overview of Part Four
A good scan is as important as a good

original to successful reproduction of
an image; neither digital retouching

nor high-quality output can make up
for an inadequate scan.
Part Four: Agfa, A Guide to Color Separation
What is Color Separation?

How do colors separate? How do we put them back together again? Why are we always being
corrected? What are we screening for? How does your dot grow? To moir or not to moir: is
that an option? How many pixels do you need to make a dot? Or, is that how many dots make
a spot? Color separation: an art, a craft, a science, or a technology or all of the above?
1. Identify and describe the function of the primary component parts in scanners
and digital cameras.
2. Explain the color concepts of process color separation.
3. Explain the basic procedures in preparing color images for best print quality.
4. Explain the role of the halftone dot and stochastic screening spot.
5. Explain how halftone and stochastic images are made in PostScript.
6. Explain the concept of dot gain.
Key words to learn in this part: Part Four:

What is Color Separation?
scanners drum scanners
flatbed scanners analog 1. Image capture: color
digital linear array scanners and
matrix array megapixel digital cameras
A/D conversion binary 2. CMYK printing process
bit depth process color 3. Steps to good color
color separation tone reproduction 4. The function of ink and
gray balance color correction toner on paper
halftone screen angle 5. The halftone dot
screen frequency dot size 6. Stochastic screening
dot shape misregistration 7. Dot gain
algorithm stochastic screening
dot gain FM screening
optical dot gain

Part Four:
What is Color Separation? Image Capture: Color Scanners
How Do Scanners Work?

A scanner uses a light source, optics (mirrors and lenses), and filters (RGB). The scanner
measures the RGB color values of light that reflect off the image (for reflective photographs or
art) or shine through the image (for slides/transparencies). The scanner records those values
in an electronic file with data for each of the three RGB channels. As the image is measured,
each sample point is recorded as a separate pixel (picture element) comprised of the different
values of RGB light. The resulting bitmap of the pixelized image can be reconstructed on a
computer screen.
PMT - Photomultiplier Tube PMT - Photomultiplier Tube Scanners

Drum scanners, in which the flexible film or
Advantages
print original is mounted on a rotating glass
drum, use three (RGB) PMT sensors which High speed
convert light into voltages or electrical
Wide density range
charges. These electrical charges are analog,
continuous signals of varying intensity. The High resolution
PMT can sense very low light levels by ampli-
Preview accuracy
fying the signals during the sensing. The sig-
nals are converted into a digital form and Preview-level color control
sent to the computer for image display and
Preview-level sharpening control
file storage.
File format choices
Drum scanners, using PMT technology, are
capable of registering a wide density range Reflection and transparency
and for many years were the standard for
Interchangeable drums for off-
high quality color separation scans in the
publishing industry. However, PMT scanners scanner image mounting
have very high manufacturing and mainte- Disadvantages
nance costs due to their complexity.
Extensive manual controls in most PMT Proprietary high-cost systems at
scanners require the operator to have a very high end of market
high level of knowledge and expertise. Mounting flexible images is time-
Because of the curved surface and high-speed consuming
spinning of the scanner drum on which the High operator knowledge and
film or print is mounted, only flexible mate- skill required
rials are supported. Rigid originals must be
copied onto film. Precious flexible originals Risk to original on spinning drum
were often duplicated to avoid any risk of Cannot scan rigid originals
damage during scanning. Many color separa-
tions were made from second-generation Current Market Status
images. Therefore, drum scanners have often Rapidly declining market share
been replaced by the top-of-the line flatbed
scanners in many production environments.

Part Four:
What is Color Separation? Image Capture: Color Scanners
CCD - Charge-Coupled Device CCD - Charge-Coupled Device Scanners

Flatbed scanners, in which the copy is
Advantages
placed on a glass plate, use triple-array,
RGB-filtered, light capturing CCD elements. Wide range of devices for many
CCD's are semiconductor chips that convert markets and budgets
light into voltages or electrical charges.
Density ranges from 24-bit to
These electrical charges are analog, contin-
uous signals of varying intensity. The inten- 48-bit
sity is relative to the strength of the light Improved optics
that hits the sample point on the CCD array.
Improved user-friendly software
The signals are converted into a digital form
and sent to the computer for image display Reflection and transparency now
and file storage. on most scanners
Flatbed scanner CCD technology at the end 3D object scans on some models
of 1999 is a very mature technology. The
Dedicated slide scanners
high-end flatbed scanners register density
ranges that match or exceed drum scanners. Wide range of flatbed sizes
Once considered poor quality and slow
Increasing automation of scan-
speed compared to drum scanners, CCD
flatbed scanners are now the most widely ning process.
used scanners. Scanner resolutions, optics, High productivity levels of top-of-
software, consistency, and speed have all sig- line scanners
nificantly improved in recent years.
Disadvantages
Software controlling the flatbed scanners
today enables one to make scans without Diversity of market choices for
requiring a high level of color knowledge scanners can lead to purchase of
and expertise. scanner with capabilities which
either do not meet or exceed
Flatbed CCD color scanners today range needs of user.
from nicely capable home and office devices
costing under $200 to mid-range professional Current Market Status
scanners costing around $8,000 to high-end Rapidly increasing market share
professional scanners costing around
due to range of device features
$50,000. Quality, versatility, and productivity
and overall decreasing cost of
determine the cost and appropriate use.
highly-capable scanners.
Evolution of the Scanner

1970: $400,000.00 scanner with a free computer as part of its system!
1999: $1,500.00 computer with a free scanner!

Part Four:
What is Color Separation? Image Capture: Digital Cameras
How Do Digital Cameras Work?

Digital photography usually includes traditional camera optic and mechanisms, but uses elec-
tronic light sensors rather than film. Many digital cameras have unique camera bodies
designed especially for their digital purpose. Other digital cameras are built with camera bod-
ies that fully utilize the same lenses as conventional film cameras. Studio cameras use inter-
changeable conventional film and digital camera backs for total versatility and economy.
Digital cameras are becom-

ing an increasingly impor- A Typical Digital Workflow for Publishing
tant component of a fully
digital publishing and print-
ing workflow, as shown in Text and Image Acquisition
this workflow diagram.
Text - word processing
A digital camera can be Graphics - computer illustrations
described as a scanner with
a lens in front. Digital Photos - digital cameras
cameras use CCD light sens-
ing elements. The CCDs are
composed of thousands of
minute elements in a linear Digital Document Creation
array (grouped in a row) or
matrix array (grouped in
rectangular block).
Linear arrays are moved in
steps across the image plane Digital Proofing
of the camera and are often
used for capturing high-res-
olution images of non-mov-
ing subjects.
Matrix arrays, also known as Digital Printing
area arrays, capture the full
scene in a fraction of a sec-
ond, permitting subject
movement. Both types of
arrays include RGB filters to Do You Know?
make the color channels.
Matrix arrays are often How many pixels equals a megapixel? (One million pixels)
described by total pixels as How do you calculate a megapixel? The Nikon D1 camera model has a
well as by width and height 2.74-megapixel CCD for ultrahigh-definition images.This camera
pixel measurements. makes an image with a resolution of 2,012 x 1,324 effective pixels
(2,663,888 pixels = 2.66 megapixels).

Part Four:
What is Color Separation? A/D Conversion
Analog to Digital (A/D)

255
Conversion
The conversion of an analog (continuous)

signal into its digital (discrete) equivalent
is essential. Computers can only display,
manipulate, and store digital data. The
A/D converter measures input voltage and
outputs a digitally encoded number cor-
responding to that voltage.
Counting in binary format (zeros and
ones) an 8-bit converter can sample 256
gray levels (0 through 255 00000000
through 11111111).
Pixels in an RGB image requires an 8-bit
number for each color channel, offering a
Time
gamut of 16.7 million colors (256 x 256 x 0
256). the resulting 24-bit RGB image Analog Digital
requires three times the storage space of
the monochrome image. When an RGB
file is converted to a CMYK file for Scanners and digital cameras do not make the
process color printing, four 8-bit chan- RGB to CMYK conversion. This conversion is
nels are created from the previous three, done by image editing software applications or
making a 32-bit depth file. utilities.
Shopping for Scanners and Digital Cameras

When shopping for a color scanner or a digital camera, many issues are very similar:
Resolution - how much image data is sampled.This determines the detail of any image that is cap-
tured and the enlargement potential of any image for a given output requirement.
Bit depth - how many tones and colors can be recognized and recorded.
Optics (lenses and mirrors) - the quality of the optics determine such important factors as image
sharpness and light-level sensitivity.
Speed - the productivity of the scanner (scan time) and the digital camera (frames per second).
Scanner considerations also include reflection/transparency and size of scanning area. Digital camera
considerations include lens types and options, viewing, relative shutter speeds and f-stops, and memory
storage and image file downloading.
Use the Internet to search for various color scanner and digital camera manufactures. Compare fea-
tures and costs.You will find a very wide range of scanner and camera models. Digital cameras and color
scanners are becoming increasingly more capable at steadily decreasing costs.

Part Four:
What is Color Separation? Process Color Printing
Cyan
Magenta Yellow
C+M C+M+Y
blacK CMYK
Process Color Printing

Printing full-color pictures with inks or toners
uses the subtractive color model (CMYK). Each
layer of color subtracts color reflecting from the
paper. The amount of color subtracted depends on
the size of the spots of printing ink or toner.

Part Four:
What is Color Separation? Steps to Good Color
Steps to Good Color Reproduction

Optimum color reproduction depends on three elements:
1. Tone reproduction image contrast, highlight, midtone, and shadow densities

2. Gray balance (cast correction) adjusting the proportions of CMY to produce a
neutral gray.
3. Color correction achieving accurate hue and realistic saturation
Tone and gray balance corrections must be accomplished before color correction is attempted.
Unsharp masking followed by RGB to CMYK conversion, if needed, complete the process.
original image
tone & cast

corrected
color corrected
sharpened

Part Four:
What is Color Separation? Ink/Toner on Paper
Function of Ink/Toner on Paper in Process

Color Printing
The three primary colors of white light are Red, Green, and Blue.
White paper reflects all three colors evenly.
Ink and toner act like a filter on the surface of the paper. Color layers each filter out (absorb,
subtract) some color from the reflection of light off of the paper surface.
Cyan ink or toner on paper Cyan and magenta ink or

subtracts red light. (the toner on paper subtracts
remaining light reflections both red and green light.
are: B + G = Cyan) (the remaining light reflec-
tions is Blue
So, Why do We Need Black?

Theory and Reality do not match exactly. The CMY inks and toners
are not pure colors. The slight imperfections mean that some light
still reflects off of the paper. These slight imperfections cause some
light to reflect off of the sheet. The result is a less-than-pure black.
Fast Factoid
The dye, magenta, invented in 1859, was named
in honor of Napoleon IIIs victory over Austria
at the Lombard town of Magenta, Italy.

Part Four:
What is Color Separation? The Halftone Dot
Halftone Dots (Spots) in Process Color Printing

A conventional or digital printing press has inks and toners each with a single density. A
printer varies the amount of cyan, magenta, yellow, and black ink/toner coverage by using
dots or spots, all with the same density.
We just learned that ink and toner act like a filter on the surface of the paper and that these
color layers each filter out (absorb, subtract) some color from the reflection of light off of the
paper surface. The size of the CMYK dots or spots of coverage determines how much RGB
light is subtracted from the reflected light.
The most common method for controlling ink coverage is the conventional halftone.
In conventional halftones, the image is made of vary-

ing-size, evenly-spaced, equal density dots which create
the illusion of a gradation of tones. A K=45
The four primary characteristics of halftones include: M=75

screen angle C=105
screen frequency
dot size Y=90
dot shape.
Screen Angles
In process color printing, each color halftone at made
with its dot pattern at a different angle.
B K=45
In conventional color separations, the halftone screen M=55

angles are black at 45, magenta at 75, cyan at 105, C=105
and yellow at 90. (Figure A)
Y=90
Incorrect screen angles will result in a moir pattern
an unwanted interference pattern caused by varia-
tions in the way the color halftone dots overlap.
(Figure B)
Misregistration of the halftones will result in blurry
image detail and possible color shifts since the halftone
dots do not line up and overlap correctly. (Figure C)
C K=45
M=75
(shifted
right)
C=105
Y=90

Part Four:
Screen Frequency
Screen frequency is the count of parallel lines or rows of dots per unit of measure: lines per
This copy for internal Xerox use
inch or lines (lpi) per centimeter (L/cm). The higher the number of halftone dots per inch,
the greater the amount of image detail that can be rendered. The screen frequency is chosen
after considering print method, resolution, and substrate.
Dot Size
Halftone dot size is stated in terms of percent dot area the percentage of the area that is
covered by ink. Screen tints use the same terminology.
A binary digital printing system renders a halftone by controlling the placement of the printer
dots on the substrate. The size of the halftone dot is constructed point by point or pixel by
pixel. This is true of imagesetter films, printing plates, and laser printed sheets.
The resolution of the rasterized page is defined as pixels per inch or dots per inch. The entire
page is comprised of addressable pixels in a grid pattern (bitmap). Halftone dots are defined as
sections of the pages grid pattern; these grid sections for each halftone dot are called cells.
The total number of imaged pixels, divided by the total number of pixels in each halftone cell,
is the percent dot area for that specific halftone dot.
Below are simulated halftone cells with imaged pixels that are clustered to make the individ-
ual halftone dots.
4/256 = 1.5% 104/256 = 40.6% 216/256 = 84.3%

Part Four:
Dot Shape
In conventional (photographic process) halftones, the halftone dot was made as light passed
through a halftone screen film. Dots grew outward, evenly from a center core. Halftone
screens were made with round, elliptical, or square dot shapes at the 50% midpoint dot size.
Different shapes yield different results in varying print conditions. For example, round dots
are preferred over elliptical dots in web offset printing because of the potential for slight
stretching of the dot shape.
In digital halftone rendering with dots that are built pixel by pixel, the possible shapes are
many. With PostScript halftone rendering, each pixel at the output device resolution is
addressed and controlled. Therefore, a wide variety of dot shapes are possible. Screen fre-
quency, output device resolution, and screen angle are all factors in dot shape.
Dot Shapes and PostScript

PostScript must address each pixel on the
page bitmap. All pixels must be used.The A
halftone cell easily aligns to the bitmap grid
at both the 90 and the 45 screen angles.
Figure A shows a 10 x 10 cell at 90.
In Figure B, the same size cell does not align
to the grid at the 75 screen angle.
Figure C simulates how PostScript will adjust
the cell shape to fit the bitmap grid at the
best possible screen angle and nearest
screen frequency.
Imagesetter and platesetter vendors have
their own screening algorithms to get the
best dot shapes with their systems.
B C

Part Four:
What is Color Separation? Stochastic Screening
Stochastic Screening
In conventional halftones, the dots are evenly spaced and vary in size. Stochastic screening
uses same-sized micro dots that are precisely placed in a way that seems randomly spaced.
Stochastic screening will render a photographic image with much higher detail than conven-
tional screening because of the smaller image elements.
The algorithm (mathematical calculation) that controls stochastic screening dot placement
uses information about the image densities, output device resolution, and minimum dot size
(usually the printers resolution setting. The grayscale image density is recreated in print by a
seemingly random distribution of the imaged pixels. (see figures in the box below).
Many digital printers provide the option to render images in a photographic or continuous
tone mode. These printers use a method called diffusion dithering which, in effect, is very
similar to stochastic screening, rather than printing with the geometric grid pattern of con-
ventional halftones. The result is smoother images with higher amount of detail.
The terms photographic and continuous tone are actually misused since the printed images
are built with four toner colors (CMYK), each with consistent density. The photographic
images throughout this curriculum course book are imaged with a digital printer using the
photographic or continuous tone option.
4/256 = 1.5% 104/256 = 40.6% 216/256 = 84.3%
4/256 = 1.5% 104/256 = 40.6% 216/256 = 84.3%

Part Four:
What is Color Separation? Dot Gain
Ink and Toner Printing Difference: Dot Gain Issue

In offset printing, there is a phenomenon called dot gain. Essentially, the halftone dot size on
the printed sheet is larger than the dot size on the offset plate. Dot gain is caused by four
major factors, some are more important than others depending on the specific situation.
- the inking of the plate: a dot with ink is slightly larger than a dot without ink
- the pressures of transferring the ink from plate to blanket to paper
- the absorption or spread of ink on the paper
- the color light spread within the paper (optical dot gain) makes the dot appear larger
than it really is.
Dot gain is inevitable; dot gain cannot be eliminated in offset printing. However, dot gain can
be calibrated and controlled. When dot gain is out of control (such as in the magenta ink on
the image below) then a color shift will occur.
Digital printing with toner spots does not have true dot gain. There is not a plate to compare
before and after dots. However, each digital printing device does have its unique print
gamut the range of colors which it can reproduce.
Simulated Good Dot Gain Simulated Excessive Dot Gain
Optical dot gain is caused by the

shadow of the color ink or toner
within the paper. Therefore, the
paper as well as the printing
method is a factor in overall
dot gain or color appearance.
Dot gain can be measured and com-

pensated for in prepress procedures.
Uncompensated
Desired Dot Area On Press Sheet
Compensated
Prepress On Press Sheet

Part Four:
What is Color Separation? GCR and UCR
GCR and UCR Color Replacement

When we print color separations, the three additive colors (red, green, and blue) are translat-
ed into their subtractive counterparts (cyan, magenta, and yellow). In theory, equal parts of
cyan, magenta, and yellow would combine to subtract all light reflected from the paper and
result in black. However, due to printing papers, print conditions, and impurities present in
all printing inks, a mix of 100% CMY instead yields a muddy brown. In standard color separa-
tion CMYK printing, black ink or toner is used to add neutral density and increase the depth
of shadow colors.
In addition, many printers remove some cyan, magenta, and yellow in areas where the three
colors exist in equal amounts, and they add black ink. Prepress operators typically use one of
two ways to generate black in print: gray component replacement (GCR) or undercolor
removal (UCR):
With GCR, black ink is used to replace portions of cyan, magenta, and yellow ink in
colored areas as well as in neutral areas. GCR separations tend to reproduce dark,
saturated colors somewhat better than UCR separations do and maintain gray bal-
ance better on press.
With UCR, black ink is used to replace cyan, magenta, and yellow ink in neutral
areas only (that is, areas with equal amounts of cyan, magenta, and yellow). This
results in less ink and greater depth in shadows. Because it uses less ink, UCR is
generally used for newsprint and uncoated stock.
UCA (undercolor
addition) compen-
sates for the loss of
ink density in neu-
tral shadow areas.
This additional ink
produces rich, dark
shadows in areas
that might appear
flat if printed with
only black ink. This
option is available
only for GCR separa-
tions.
Increasing the UCA
amount increases
the amount of CMY
added to shadow
areas.

Part Five:
Working with Digital Files Overview of Part Five
The digital revolution is upon us. From

art and design to printing and publishing,
the graphic arts world has been reduced

to bits and bytes. We now live and work in
or near cyberspace.
Part Five: Prof. Frank. J. Romano
Working with Digital Files

What does bitmapped mean? What is a vector? Is a bezier curve a baseball pitch? Why do we
need pixels? To rasterize or not to rasterize? What is resolution? Can you understand an
interpolated image? Do you know your file type? How do you pronounce GIF? Digital image
files require careful planning and production. You need to fully understand the variables in
order to produce optimum quality images for print and non-print media.
1. Identify and explain the differences between bitmapped and vector images.
2. Explain the different characteristics of grayscale and color bitmapped images.
3. Explain and identify the characteristics of images at varying bit depth.
4. Explain why fonts are able to be visually modified.
5. Explain the difference between input and output resolutions.
6. Explain the relationship of input resolution and file size.
7. Calculate optimum resolution requirements for scanning.
8. Explain the relationship between output resolution, lpi, and gray levels
9. Explain the characteristics and uses of various image file types.
Key words to learn in this part: Part Five:

Working with Digital Files
bitmapped pixel
grayscale bit depth 1. Bitmapped images
bit byte 2. Grayscale and color
vector object-oriented bitmapped images
bezier curve rasterized 3. Bit depth
font resolution input resolution 4. Vector graphics
output resolution interpolation 5. Fonts are vector images
downsizing downsampling 6. Resolution
resolution rules gray levels 7. Interpolation
file types compression 8. Resolution rules for
EPS EPS/DCS scanning
PICT TIFF 9. Output resolution, lpi,
JPEG PDF and gray levels
PhotoCD LZW 10. File types
GIF

Part Five:
Working With Digital Files Bitmapped Images
What is a Bitmapped Image?

Bitmapped images are images that are made of picture elements (pixels) tiny squares of
color. Images that you scan, photos that you make with a digital camera, and images that
you make on the computer using paint or photo-realism applications are bitmapped images.
Bitmapped images are resolution dependent. If a bitmapped image has the correct image cap-
ture resolution, and is prepared for the correct page layout size requirements, then the pixels
are not noticeable. If a bitmapped image has the image capture resolution too low, or is
enlarged after being placed on the page layout, then the pixels can become very noticeable
this is sometimes a desired artistic effect.

Part Five:
What is Grayscale and Color Bitmapped Image?

Grayscale bitmapped images are made of many thousands of pixels that are white, black, or in
shades of grey. Color bitmapped images are made from thousands of pixels that are black,
white, and many different colors.
Did You
Original computer-generated images, such as those made with the appli-
Know? cations Painter and KPT Bryce3 (below), are also bitmapped images.
The size of a
bitmapped image
is often given in
two dimensions:
actual pixel width
by pixel height.
An image that is
3072x2048 pixels
will be 10.24
wide by 8.827
high when shown
at 300 ppi and
will be 42.667
wide by 28.444
high when shown
at 72 ppi.The
image detail does
not change.

Part Five:
What is Bit Depth? Did You

Bit depth is the number of bits used to record the information for one Know?
pixel of a displayed image. The greater the number of bits used, the
A bit (contraction
greater the number of different colors a pixel can have. Each pixel in a
for BInary digiT) is
bitmapped image is given a color value based on the bit depth of the
the smallest piece
file.
of information in a
An image with a bit depth of one has only two color values: solid color digital system.A bit
and white. An image with two bits of information per pixel has four can either be a 1
possible values (22 = 4). An image with eight bits per pixel can have 256 meaning on or a
(28) values of the same color, or 256 different colors (Index color). A 24- 0 meaning off.
bit image has eight bits each for the red, blue, and green channels and Eight bits equals
yields 16.7+ million colors (256 x 256 x 256). one byte.
2 Bit
1 Bit 4 Colors
2 Colors
24 Bit
16.7 Million
Colors
8 Bit 8 Bit
256 Shades of Gray 256 (Index) Colors

Part Five:
Working With Digital Files Vector Graphics
What is a Vector Image?

Vector images, also called object-oriented images, are made of mathematically defined lines
(paths). Images made with applications such as Adobe Illustrator and Macromedia Freehand
are vector images. Object-oriented applications store the image as a list of drawing instruc-
tions that are complied from menu instructions and mouse movements.
A graphic image drawn in Adobe

Illustrator is a vector image. All
of the detail in the image is made
from individually drawn parts.
The image file keeps track of each
item in the drawing so you can
easily move, enlarge, or edit any
part of the drawing.
The vector paths can be made of

many bzier curves, sort of like
mathematical rubber bands that
can be easily re-shaped to make
a new outline for the object. A
bzier curve has two end, or
anchor, points (one serves as a
control point) and a handle
which shapes the curve.
Many bzier curves can be
linked together without any dis-
continuity to make a complex
and smooth curved line.

Part Five:
You would often

make a vector
drawing in many
parts and layers.

A,B. You can
remove the bee
from the rest of
the picture. You
can view the A.
flower without the
bee so you can
easily edit the
drawing. You can
manage objects as
if each item were
drawn on separate B.
clear layers.
Objects can be C.
moved freely and
can be stacked and
hidden by other
objects without
being erased.
C. Each part of a
vector drawing is
made of many
lines. For exam-
ple, you need to
draw dozens of
lines to make the
details of the bee.
D. You can also
draw the bee in
many separate
parts.
E. You can make
each section
such as the orange
D.
bee stripes with
many smaller sec-
tions that you can
lock together as a
E.
group.

Part Five:
F. When you
enlarge a vector
image, you will be
able to keep good

image quality. The
program mathe-
matically describes
the object to the
printer, which ren-
ders the object at
the highest resolu-
tion possible to F.
that printer.
G. You can color
the lines and
shapes of a vector G.
drawing. You can
easily change the
colors.
H. You can
enlarge, reduce,
rotate, reshape,
and refill any
object. The appli-
cation program
will redraw the
object without any
loss of quality.
Did You Know?

When a vector image is dis-
played on a monitor, it has H.
been rasterized.The monitor is
a raster device and the image
is converted to bitmap pixels
for display by the monitors
Raster Image Processor (RIP).
Likewise, when a vector image
is printed or imaged onto film
or plates, the RIP converts the
vectors to bitmap pixels.

Part Five:
Working With Digital Files Fonts
Fonts are Vector Images

PostScript printer fonts and TrueType fonts are outline font formats that use vectors to create
the outlines of the font character. The font characters can be resized, scaled, angled, skewed,
and rotated without any loss of quality. The program mathematically describes the font char-
acter outline for the printer.
In the following example, the font GillSans Bold Italic is set at 36 pt. in each variation.
GillSans BI GillSans BI
36 point 36 point
Horizontal scale = 150%
Normal
GillSans BI GillSans BI
36 point
Skewed at 30
36 point
n s BI Vertical scale = 150%
GillSa
po in t I
36 ns B
Text box rotated 10
illS a
G int
a ns B I po
Text angled GillS 36
15
Horizontal
36 po int Text angled and skewed at 30
scale = 50%

Part Five:
Working With Digital Files Resolution
Unraveling the Mysteries of Resolution

There seems to be no consistent use of the resolution and frequency digital imaging terms in
books, articles, and even in product advertising. The terms dpi (dots), ppi (pixels), and spi
(samples or spots) are often interchangeably used for input or output device resolution. Lpi
refers only to halftone dot screen frequency. In effect, there are limited meanings: input
(scanning) resolution, output (imaging/printing) resolution, and halftone screen frequency.
Input resolution - how much data is sampled; defined as samples-per-inch (spi) and
pixels-per-inch (ppi) in most instances.
Output resolution - the absolute number of distinct points with which a system can render
a visible image: pixels-per-inch on a monitor, dots-per-inch on a digitally printed page.
Screen frequency - the number of lines or rows of dots per unit measure on a halftone
image: lines-per-inch (lpi) or lines-per-centimeter (L/cm).
Resolution and File Size
The input resolution of
an image has a direct
relationship on the file
size of the image. (fig. A) A
The width and height of
an image can be defined
in pixel dimensions.
Digital cameras and con-
tinuous-tone film
recorders most often
define image size in pixel
dimensions.
B
Monitor resolutions are
stated in pixel dimen-
sions: 640 x 480, 832 x
624, 1024 x 768
Kodak PhotoCD and
some CD-ROM digital
C
image files are stated in
pixel dimensions (fig. B)
The pixel dimension vs.
actual image reproduc-
tion size is directly relat-
ed to image resolution.
(fig. C)

Part Five:
Working With Digital Files Resolution
Increasing Input Resolution: Interpolation

Interpolation is the algorithmic increase of image resolution by the addition of new pixels
throughout the image, the colors of which are based on neighboring pixels, providing a high-
er apparent resolution. Interpolation may be a function of the scanner software or may occur
in image manipulation.
Interpolation cannot add more detail information to a scanned image. Detail is determined at
the time of the original scan or digital image capture. Interpolation can help smooth jagged
edges in photos and line art when the image is enlarged because interpolation provides more
data points.
The original image resolution for this

RGB JPEG picture file was 170 ppi. The
pixel dimension of 340 x 508 made a
non-compressed file size of 507K. The
print image size is 2 x 2.988 inches.
The interpolated (resampled to be at

higher resolution) image resolution for
this RGB JPEG picture file is 300 ppi.
The pixel dimension of 600 x 896 made a
non-compressed file size of 1.54MB. The
print image size is still 2 x 2.988 inches.
The opposite procedure when an
image is resampled to result in a lower
image resolution is called either
downsizing or downsampling.
An image that undergoes repeated inter-
polation and/or downsizing will likely
have significant quality degradation.

Part Five:
Working With Digital Files Resolution Rules
Resolution Rules for Scanning (based on Agfa publications)

The scan (input) resolution needed for any specific image depends on the percentage of
reproduction (original image size layout size), and the output method.
For Line Art:

Scan Res (R) = Output Device Res x % of reproduction (R = maximum of 1200 dpi)
examples:
Res = 600 dpi x 1.25 (125%) = 750 dpi
Res = 600 dpi x 1.5 (150%) = 900 dpi
Res = 1200 dpi x 1.5 (150%) = 1200 dpi (maximum needed)
For halftone output (e.g. film, CTP):
Input Resolution (R) = lpi x % of reproduction x QF (Quality Factor)
QF = 1.5 if lpi > 133 QF = 2 if lpi 133 (some advocate a QF of 3 if lpi 85)
examples:
Res = 133 lpi x .75 (75%) x 2 = 200 dpi (199.5)
Res = 133 lpi x 1 (100%) x 2 = 266 dpi
Res = 133 lpi x 1.5 (150%) x 2 = 400 dpi (399)
Res = 200 lpi x .75 (75%) x 1.5 = 225 dpi
Res = 200 lpi x 1 (100%) x 1.5 = 300 dpi
Res = 150 lpi x 6.5 (650%) x 1.5 = 1500 dpi (1462.3)
For continuous tone output (e.g. ink jet, dye sub):
Input Resolution (R) = % of reproduction x Output Device Resolution
examples:
Res = .75 (75%) x 400 dpi = 300 dpi R = 1 (100%) x 400 dpi = 400 dpi
Res = 3 (300%) x 400 dpi = 1200 dpi
For stochastic screening (FM)
Input resolution (R) = comparative lpi x % of reproduction
examples:
Res = 200 lpi x 1 (100%) = 200 dpi
Res = 200 lpi x 1.5 (150%) = 300 dpi
Res = 300 lpi x 1.5 (150%) = 450 dpi
Important note:
When a digital printer has a built-in scanner interface, the system software will calculate the
needed scan resolution based on percentage of reproduction and printer output resolution.
Most digital color printers have a continuous tone or photographic image rendering option.
Rather than use conventional halftone screen ruling patterns, these digital printers use FM
screening. One should get information from the vendor regarding optimal image resolution.

Part Five:
Working With Digital Files Resolution & Gray Levels
Output Res, lpi, & Gray Levels

The printer/imagesetter output resolution, the halftone screen frequency, and the gray levels
(printable gray tones) are all inter-dependent.

The higher the screen frequency, the fewer the levels of gray you can get at a given output
resolution. Reduce the screen frequency, or increase the output resolution, and you get more
printable gray tones or gray levels. This is a critical concept in tone and color reproduction
and in gradient blends.
The number of gray levels is determined by the number of dots (pixels) in a halftone cell. If a
cell is 8 x 8 (64 dots) there are 65 possible gray levels including white and black all dots
off and all dots on. A cell that is 16x16 yields 257 (256) gray levels.
A halftone cell A halftone cell

based on an 8 x 8 based on an 16 x 16
pixel grid has 64 pixel grid has 256
total pixels. Each total pixels. Each
additional pixel additional pixel
imaged will increase imaged will increase
the percent dot area the percent dot area
by 1/64 or 1.5%. by 1/256 or .03%.
Number of printable gray tones (gray levels) = (output

Inverse Rule of resolution dpi halftone lpi)2 + 1.
Printable Gray Tones examples:
The number of pixels in each halftone (2400 dpi 150 lpi)2 = 162 = 256 + 1 = 257 gray levels
cell determines the number of print-
able gray tones or gray levels. (2400 dpi 200 lpi)2 = 122 = 144 + 1 = 145 gray levels
The formula for calculating the print- (1800 dpi 150 lpi)2 = 122 = 144 + 1 = 145 gray levels
able gray tones is: (1800 dpi 100 lpi)2 = 182 = 324 + 1 = 325 gray levels
number of gray tones = (dpi/lpi)2 + 1
(1200 dpi 100 lpi)2 = 122 = 144 + 1 = 145 gray levels
At any given printer resolution, there
is an inverse relationship between the (1200 dpi 120 lpi)2 = 102 = 100 + 1 = 101 gray levels
screen frequency and the number of
printable gray tones. (600 dpi 60 lpi)2 = 102 = 100 + 1 = 101 gray levels
Increase the halftone lpi and the (600 dpi 100 lpi)2 = 62 = 36 + 1 = 37 gray levels
number of gray levels will decrease.
Decrease the halftone lpi at the same printer resolution and the number of printable gray levels will
increase. Below about 1200 dpi, a digital printer cannot use conventional halftone screening and achieve
both smooth gray scale tone rendering and halftone dot rendering small enough to avoid detection at a
normal viewing distance.

Part Five:
Working With Digital Files File Types
File Types: Alphabet Soup

There are many image and document file types. Photographic image files may be saved as
Photoshop, TIFF, EPS, PDF, JPEG, GIF, PICT, PhotoCD and more. Each application has a
native file type. Files can be saved as PostScript and as Acrobat PDF.
What do these different file types mean? What is the need for, and impact of, all these file
types? How do you choose the right file type for your specific need and situation?
File Types Glossary

EPS Encapsulated PostScript - A file format used to transfer PostScript image infor-
mation from one program and platform to another. The file includes PostScript
code and a low res bitmapped representation of the image.
EPS/DCS EPS Desktop Color Separation - An image file format that creates five files for
each color image: one PostScript file for each CMYK channel and one preview file.
GIF Graphics Interchange Format - A standard developed by CompuServe for bitmap
images up to 256 colors and used for World Wide Web images, not for commer-
cial printing.
JPEG Joint Photographic Experts Group - A set of standards developed by this group for
compressing and decompressing digitized still graphic images. JPEG is a lossy
compression method. JPEG is widely used on the World Wide Web, but is not pre-
ferred for use in professional commercial printing, since image quality is degrad-
ed due to data loss. JPEG files require a compromise decision to determine level
of image quality and amount of file compression.
LZW Non-lossy compression method often used with TIFF files. With grayscale and
color images, LZW usually yields about a 2:1 compression ratio.
PDF Portable Document Format - A PostScript-based streamlined file format devel-
oped by Adobe for the transfer of pages across platforms and output strategies.
PhotoCD A proprietary image file format developed by Eastman Kodak for storing photo-
graphic images in multiple resolutions on a CD. Images can be easily accessed for
use in professional printing.
PICT A common file format for defining bitmapped images on the Macintosh.
PostScript A page description language from Adobe that comprises software commands that
form the desired image on an output device when translated through a RIP.
TIFF Tagged Image File Format - A file format used to represent black-and-white,
grayscale, and color bitmapped images, particularly those produced by a scanner.
TIFF/IT An ANSI- and ISO- accredited standard page file format that provides a high level
of file security (difficult to modify) and cross-platform portability.

Part Five:
File Types and Sizes

Different file types yield widely different file sizes. The following list of files are all for the
same image that has the same resolution.

The image files ID#
are listed in
1
ascending order
by file size. 2
3
The explanation
of each file is 4
listed below. 5
6
7
8
9
10
11
12
13
14
ID# Description
1 JPEG - Quality Low (1), Compression Highest
2 JPEG - Quality Low (3), Compression High
3 JPEG - Quality Medium (6), Compression Medium
4 EPS RGB file with medium JPEG compression selected in EPS dialog box
5 GIF export file
6. Photoshop PDF file
7. JPEG - Quality Maximum (10), Compression Minimum
8. TIFF (RGB) with LZW compression
9. Original PhotoCD image
10. Photoshop native file
11. PICT file
12. TIFF (RGB) without LZW compression
13. EPS (RGB)
14. EPS (CMYK)

Part Five:
The EPS/DCS file format

can only be used with
CMYK color image files.
The DCS format allows

each high resolution
color channel to be
saved separately and
opened as needed for
output to the PostScript
film, proof, or plate
exposure system.
A Kodak PhotoCD
image file can be
opened in five differ-
ent pixel resolutions:
3072 x 2048
1536 x 1024 2048
768 x 512
384 x 256
192 x 128
Having five resolu-
tions allows for a
better match of file
and image size and
output requirements.

Part Five:
Working With Digital Files File Compression
File Compression
Lossless
With a lossless compression scheme no data is lost. Compression utilities, such as StuffIt,
CompactPro, PKZIP, WinZIP, and LZW, images or other types of data are copied in a way that
all original data is shorthanded to eliminate redundant segments of code. The resulting
compressed file size depends on the complexity of the data and can range anywhere from the
same size to a small fraction of the original.
Lossy
A lossy image file-compression scheme is one in which some of the color information is
thrown away when an image is saved. The viewer typically is unaware that lossy compression
has been performed on an original image file because the lost image data areas are
extremely subtle, and mostly unimportant to the human eye. JPEG is a lossy compression
scheme.
JPEG
JPEG (JPG) is a file format and a lossy
compression scheme developed by the
Joint Photographers Experts Group. An
image saved as JPEG retains most of the
images visual information, while com-
pressing the file by from 5 to 100 times
the size of the original file depending
on the file size vs. quality compromise
level that you choose.
When saving an image to the JPEG for-
mat you can choose from have several
different formats: Baseline (Standard),
Baseline Optimized, and Progressive.
Baseline Optimized retains more color
fidelity. Progressive produces a very
small file that can be placed in a World
Wide Web page. Progressive JPEG
images open on the Web by showing
successively more detailed versions
until the maximum resolution of the
file is reached.
Repeated JPEG save-open-save at high
compression levels will quickly flatten
an image resulting in noticeable detail
loss as shown in the images at the left.

Part Six:
Using Color Within Applications Overview of Part Six
White does not exist in nature.
Pierre-Auguste Renoir
artist
Part Six:
Using Color Within Applications
Why do we sometimes want more than merely CMYK? What is a color picker? What is a
spot color? What is the difference between a solid color and a process color? What are fac-
tors affecting your choices? Can a solid color really become a process color? Why are Hi-Fi
colors called Hi-Fi? What are the features of Pantone and Trumatch process color speci-
fication systems? How many different ink colors do we need and when do we need them?
1. Identify the characteristics and uses of application color pickers.

2. Identify the characteristics and uses of solid and process colors.
3. Explain the color printing capabilities of offset lithography and digital printing.
4. Identify the components of the Pantone color system.
5. Explain the organization of the Trumatch color system.
6. Explain the importance of accurate color naming.
Key words to learn in this part: Part Six:

Using Color Within Applications
Color picker
1. Color Pickers
Color libraries
2. Process vs. Solid Colors
Pantone
3. High-Fidelity Color
Trumatch
4. Pantone
Process color
5. Trumatch
Spot color
6. Color Naming
Solid color
High-fidelity color

Part Six:
Using Color Within Applications Color Pickers
Choosing Colors with a Color Picker

When working on an image or page within a document, we often must select specific colors
for text, fills, shades, and lines. These specific colors are defined and selected with similar
tools perhaps with different terminology within different applications. These color
selection tools are generally called color pickers.
CMY
RGB K
o n e
n t
Pa Tru
ma
HSB tch
PostScrip
t
u ic kD r a w G DI
Q r
co lo
ce ss Spot color
Pro
There are two main factors that influence the way we work with color in our documents in
order to achieve our desired results: the application we are using and the final output device.
Applications vary in the processes they provide for selecting colors and in the way
that they transmit color to the output device. Some applications work best with the
RGB color model and others work with the CMYK model.
The type of output you intend for the document conventional printing, digital
printing, monitor display determines both the way you choose color as well as
the way you define the output/print settings. Some devices require CMYK, some
RGB, and some handle both models.
When you select a color for a part of your image or page, you need to know the requirements
for your specific job. This way you can plan for and get the best possible results.

Part Six:
Choosing Color in Office Applications

Most digital printers must receive PostScript instructions to print an image or a document.
Office applications, such as presentation, spreadsheet and word processing programs, do not
create these PostScript instructions by themselves; they rely on the printer devices to create
them. To display and print, these applications use QuickDraw with the Macintosh operating
system and Graphics Device Interface (GDI) with the Windows operating system.
Office applications use the RGB color model for the color monitor display. They often include
a palette with preselected colors. Some applications may allow you to add new colors to the
palette with a color picker.
With some office applications you are able to select colors base on hue, saturation, and
brightness, or even CMYK, but these applications always send RGB color data to the digital
printer. An exception is when a CMYK EPS file is placed in a document; this images is send as
CMYK data.
The color picker

in the Microsoft
Office suite of
applications,
enables you to
choose colors
using RGB and
HSB color mod-
els. At the left is
the color picker
from MS Word
in Office 98 for
the Macintosh.
Notice the ter-
minology; this
color picker uses
the term
Luminance
rather than
Brightness.
When working with the RGB color model for documents which are intended for print output,
remember that the RGB color space (gamut) is different than the CMYK color space of the
printer. When you print the document, out-of-gamut RGB colors are converted to colors that
your printing device can produce.

Part Six:
Choosing Color in PostScript Applications

Most applications for pixel editing, illustration, and page layout can create the PostScript
information that they send to PostScript printers or save in PostScript files. Adobe
Photoshop, Adobe Illustrator, Adobe PageMaker, QuarkXPress, and Macromedia FreeHand are
all PostScript applications.
PostScript applications enable us to specify and work with color in a variety of ways: CYMK,
named colors (Pantone, Trumatch), and, in some applications, RGB, HSB, or other color
models and libraries. Below, the QuarkXPress 4.0 Edit Color dialog box lists the color
models available in the color picker.
Generally, PostScript applications send color information to a printer as CMYK. With some
color printers, RGB images may be placed in the page being printed; the printers RIP will
make the necessary RGB to CMYK conversions.
When you create and choose a color, remember that the displayed version will likely appear
different on different color printers. You can get software utilities which enable you to print
color reference (swatch) sheets on each of the color printers in your facility. This enables you
to select accurate colors. These reference pages should be printed on a color printer which has
been calibrated for optimized print quality.

Part Six:
This copy for internal Xerox use only. Using Color Within Applications Color Pickers
With many applications, the same color or nearly the same can be specified in more
than one color model. The two purples shown here are almost exactly the same when dis-
played on a monitor. Are they the same in print you be the judge.

Part Six:
Some colors cannot be matched between RGB and CMYK color models. These colors are not
common to both gamuts. Green is a good example. 100% green in the RGB color model
does not come close to matching green in the CMYK color model as made by 100% cyan and
100% yellow.
Green RGB Green CMYK

100G 100C + 100Y
When a RGB color model green is converted by QuarkXPress into CMYK green the result is a
closer, but still does not match. 100% green (RGB) becomes a CMYK mix of 77.3%C, 0.4% M,
100%Y, and 0.4%K. The magenta and black are negligible and probably would not print.
Things To Do...
The best way to determine the exact colors printed by a specific printer is to simply print a reference
file. After the printer has been properly serviced to be in optimum condition, print a reference file of
color swatches.There are software utilities from Pantone and Trumatch as well as from RIPs such as
Fiery and Splash. By choosing colors from these reference charts, you can be sure of getting the same
results from your printer.
Caution: the reference charts will likely not match the monitor display.To match the monitor and print
output you need color management and calibration of the monitor to the output.

Part Six:
Using Color Within Applications Process vs. Solid Colors
Process Colors (also called Separated colors)

As learned in part two of this guide, the subtractive colors of cyan, magenta, yellow, with
black (CMYK) can be combined to make a seemingly limitless palette of colors. The amount
of each process (CMYK) color is controlled by the percentage of area covered. We can omit a
specific CMYK color (0% = not used), or we may use a screen tint percent, or we may use a
solid (100%) coverage. In fact, however, the CMYK process color model does not enable the
printing of all possible colors. Sometimes solid colors are needed for a design.
Solid Colors (also called Spot colors)

A solid color is one that is printed with a single color of ink that has been blended to a spe-
cific hue, saturation, and brightness. We may print a bright red ink, a deep burgundy red, a
pale red. We may print with orange ink, purple, brown, forest green, or metallic gold ink.
These solid color inks may, of course, be printed at various percent dot area tint patterns in
order to achieve a multi-color effect with a single ink color.
A process color may require up to four inks

Cyan = 45%
and, therefore, must be on four plates. A solid
color prints in a single color of ink from a
Magenta = 100% single plate.
Yellow = 27%
Purple Ink (simulated)
Black = 11%
Purple
When are Process and Solid Colors Used

Process colors are used for printing color type and graphic shapes when:
the job design already has process color separation photographs and/or illustrations
such as in magazines and catalogs.
the job design is being printed on a press or digital printer that is limited to CMYK.
Solid colors are used for printing color type and graphic shapes when:
the job design has no process color separation photographs and/or illustrations
the job design has process color separation photographs and/or illustrations but
additional specific colors are desired for the text and graphic shapes, such as in
package labeling and product brochures.

Part Six:
Using Color Within Applications Process vs. Solid Colors
Solid-to-Process Color Conversion

Often an illustration or a page has colors that are specified as spot or solid colors.
Sometimes this is intentional that is the color of ink that will be used for printing that
part of the design. Sometimes, this is merely an error in the way that the color has been
specified within the application; a separate ink color is not intended. The opposite is also
true. A color may be created and the specification as a spot or solid color may have been
inadvertently omitted.
So, what is the problem?
When printing the job with conventional ink-based printing systems, if a color is specified as
a spot or solid color, then a separate printing film or plate will be imaged. Likewise, a color
that is not designated as a spot color my really be intended as a separate ink color. In this
case there would be a missing film or plate for the job.
However, in digital color printing almost all output is with CMYK toners or ink jet inks. With
digital color printing, all colors process and solid are printed in CMYK. Solid colors are
rendered in CMYK according to the color rendering software of the printer.
When solid colors are
rendered in CMYK,
some color matches are
on target while others
can be way off the
mark.
So, what is the solu-
tion?
Color selections should
be made with the print
method considered.
If the job will be printed
with a conventional
ink-based printing
method, then we need
to be sure that all color
specification meet both
design and production needs.
If the job will be printed with a digital color (CMYK) printer, then all colors should be made
as separated colors. If you have a printed color reference file (see page 54), then colors can be
selected from that print. Separated RGB and separated CMYK colors can be used, depending
on the specific document application and the digital printer.

Part Six:
Using Color Within Applications Hi-Fi Color
High-Fidelity Color
As stated earlier in Part Two, the range of colors (gamut) of RGB and CMYK are both smaller
than the gamut of visible light and are slightly different from each other. A method of
increasing the gamut for color printing is called high-fidelity (Hi-Fi). There are two very dif-
ferent methods for printing Hi-Fi color:
Pantone Hexachrome - This method uses six colors: enhanced CMYK plus a
special green and orange.
maxCMY (also called CMYK,CMY and seven color Hi-Fi) - This method uses seven
plates: two each for CMY plus black. Where the photo has colors outside the normal
gamut of CMYK, additional plates are used to print more CMY, as needed, on top of
the first printing of those colors. The double printing provides for increased color
saturation in the same way colors are deeper when we put a second coat of paint on
a wall. Since the additional CMY dots are printed on solid areas the same dot angles
and screen frequency are used.
DuPont recently has discontinued marketing its Hi-Fi color product, HyperColor, which used
the maxCMY seven-color model. Pantone Hexachrome as the dominant Hi-Fi model.
Scanner RGB
Monitor RGB
Offset CMYK
Offset Hi-Fidelity
Using Hi-Fi
Hi-fi printed pages often
look quite different from
CMYK pages, prompting
its use for the impact of a
different appearance.
Hi-fi printing is used in
packaging and catalogs
for improved product
color matching.
Hi-fi printing can replace
the need for 10-12 colors
for packaging and labels.

Part Six:
Using Color Within Applications Pantone
The Pantone System

Pantone is a company that makes a widely-used system of color specification. This system is
used by virtually every designer and printer and components are licensed into all PostScript
illustration, pixel-editing, and page layout applications.
Pantone does not make ink. Pantone specifies colors, in solid ink colors as well as process
colors, RGB Web-safe colors, and high-fidelity colors.
A key point to always remember is that the selection guides are exactly that guides. We
will not be printing with the exact same presses, inks, and on the same substrate so we can
never exactly match the colors in the guides. This is especially important when comparing
ink and toner printing systems.
A second point to remember is that the colors in the printed guides cannot be displayed
exactly on an RGB monitor. We can come close with color management, but even then we
need to be aware of the potential differences.
Selected Pantone system components

Formula Guide (A)
This guide displays on both coated and
uncoated papers, the approximately 1000
solid ink colors in the main Pantone
A
library.
Fourteen basic ink colors, plus transpar-
ent white and black, are used in this
guide. An ink supplier, or the printing
company may be responsible for mixing
the ink color.
Some metallic and special colors are
included in the Formula Guide.
Process guide (B)
This guide displays on coated paper only
the approximately 3000 colors specified
B
with CMYK tints.
Tints are specified in 5% and 10% incre-
ments of CMYK.
The Process guide can be used for both
conventional ink printing and for digital
printing.

Part Six:
Selected Pantone system components - continued

Solid to Process guide (C)
This guide converts the Formula Guide

colors to process colors using a 26-step
tint system. Tint values for each CMYK
C
color are designated by the letters A
through Z with the letter O designat-
ed as zero percent and the letter Z
meaning 100% of that color.
The history of this guide is important; it
was developed before digital prepress.
Film screen tints for the 26-step system
were used for analog platemaking in off-
set lithography. Digital printing can easi-
ly create values in more than 26 steps.
In software applications, such as
QuarkXPress, when a solid ink color (for
example, PANTONE 285) is converted
within the document to a CMYK color,
D
this is the method of conversion.
With many colors, the conversion does
not make a match that is close to the
original color.
Pantone also makes color swatch guides metal-
lic ink colors (D), pastel ink colors (E), for
Hexachrome high-fidelity colors, and for
textile colors, printed on cotton and paper.
The Pantone system also includes a variety of
software utilities, such as ColorDrive, OfficeColor
Assistant, and Personal Color Calibrator to enable
better color specification and print consistency.
E
The Pantone system is more than and ink color
specification system. While the Pantone system
was created for conventional prepress, and many
of the components are specifically for that
process, the growth of digital printing and non-
print media have led to the development of prod-
ucts for these markets.

Part Six:
Pantone Hexachrome
Pantone Hexachrome builds upon a known color printing concept; adding any two colors
to the CMYK process color printing system expands the color gamut by at least 20 percent.
The Hexachrome ink set includes a vibrant green and orange with a new enhanced CMYK ink
set that is purer than traditional CMYK ink sets.
As a result, Hexachrome can print all of the traditional CMYK colors plus 90 percent of the
Pantone solid colors. Hexachrome has a gamut that is larger than the RGB color gamut dis-
played on a monitor.
Designers and printers

may use the Pantone
Hexachrome fan books for
coated and uncoated
papers which show the
2000+ colors in the
Hexachrome model.
The Solids in Hexachrome
fan books shows which of
the Pantone solids can
be printed in Hexachrome.
Pantone HexImage is
a plug-in for Adobe
Photoshop which can
make six-color
Hexachrome separations
from RGB, CMYK, or
L*a*b* images for place-
ment in page layout files.

Part Six:
Using Color Within Applications Trumatch
The Trumatch System

The Trumatch color system focuses on the digital prepress procedures. Specifications are
only given for process color, none for solid colors. Two swatch books are available, one for
coated paper and one for uncoated paper. Software utilities for printing color reference charts
are also available.
The pages on the Trumatch swatch book, and the columns in the dialog box are organized
by hue, saturation, and brightness characteristics.
Depending on the software application you are using, you need to verify the process color
versus spot color designation. Some application color pickers may not clear or retain the
selection, as needed, when the color model designation is changed.
The Pantone Process and Trumatch color libraries are correctly used as process colors.
The Pantone Coated and Uncoated color libraries are correctly used as spot colors.

Part Six:
Using Color Within Applications Color Naming
Color Naming
Names for colors are added to a page layout document file in three ways:
The Pantone and Trumatch color systems provide named colors.

Custom colors are often given custom color names.
When colors are used in vector illustrations and special effect image files (such as a
duotone), the names for the colors used in these images are imported with the
images into page layout files.
Problems arise when one or more of the following situations happen:
Two or more color names are given to the same ink color, such as cyan and
process cyan. In this case the film or plate separations will likely have multiple
cyan plates.
Custom color names are used such as orange bee stripes which may be the same
color as Pantone S 18-1. This can result in inconsistent color rendering.
Colors intended to be process colors are specified as solids, and vice versa. This can
result in an incorrect number of printing plates.
Custom color names often

do not provide any clue to
their actual construction
and specification.
A color may be a a separated
CMYK color, a separated
RGB color, or a spot color in
either CMYK or RGB. The
color army green at left is
specified as a spot color
despite the CMYK construc-
tion. This will be output as a
separate film or plate.
Pantone and Trumatch
have name codes which
identify their construction
as spot or process colors.
However, these names can
be misleading if someone
has incorrectly selected or
left unselected the spot
color designation.

Part Six:
Using Color Within Applications Color Naming
A complex job with many pages and illustrations may have a

document-based colors palette that could seem excessive. If
they are all used and specified properly, then there is little or no
problem with a lengthy color list.

An easy way to verify that the color specifications match the job
requirements is to view applications print specifications dialog
box and compare the number of separate plates listed, as in this
example, with the job requirements. How many colors of ink
will be needed for that job?
This color naming problem
is not an issue when print-
ing to a CMYK digital color
printing system; there are
no separated plate colors
and no spot color inks.
This image of a lovebird was prepared as a duotone in Adobe

Photoshop. The duotone ink colors were defined as black and
Pantone Process Cyan CV, a standard color name in the Pantone
Coated library. The color Pantone Process Cyan CV is carried
with the EPS image file when it is placed in a QuarkXPress page.
QuarkXPress will see Pantone Process Cyan CV as a different and
separate color than Process Cyan.

Part Seven:
Color Management Overview of Part Seven
The rude awakening came after

the printing was done. The colors
had been much more brilliant on

the original. Even on-screen, every-
thing had looked a lot better.
Part Seven: PrintProcess publication
Color Management
Why is color printing so difficult? What causes the problems? When did color management
get started? Can color ever really be managed?
Consistent use of color standards will help prevent misunderstandings and mistakes in the
print production process. In this part you will learn the key issues in color management and
the solutions that are being developed.
1. Identify the components in a color printing workflow.

2. Identify key causes of color mismatch in print production
3. Explain the role of the ICC (International Color Consortium) in developing color
management solutions.
4. Explain the key components in a color management system.
Key words to learn in this part: Part Seven:

Color Management
ANSI Color management
CGATS module (CMM) 1. Need for Standards
IT8 Perceptive mapping 2. Need for Color
Reference target Absolute colorimetric Management
Profile mapping 3. Color Predictability
Characterization Relative colorimetric 4. Tools for Color
Color rendering mapping Management
Color Management Saturation mapping 5. Color Mapping
System (CMS) 6. Device Profiles
Densitometer 7. Color Management
Spectrophotometer Modules
Colorimeter
Tristimulus

Part Seven:
Color Management Standards
The Need for Standards

Prior to the mid 1980s, the standards movement in graphic arts was almost non-existent
except for ANSI (American National Standards Institute) safety, typography and the photo-
graphic industry standards for film density measurement and color viewing conditions.
The Digital Data Exchange Standards (DDES) group, formed by vendors of color electronic
prepress systems, recognized significant problems with the mix-and-match world faced by
printers at that time; color scanning, display, proofing, and printing were inconsistent and
without standards. This led to the formation, and ANSI accreditation, of the IT.8 committee,
which, in turn, led to the formation of CGATS. ANSI does not create standards, which in the
U.S. are voluntary. ANSI accredited industry groups create the standards. Two graphic arts
groups are:
Image Technology Committee #8 (IT8), formed in 1987, concerns itself with the
exchange of digital data between color electronic systems and peripherals; since
1994, a ;subworking group of CGATS. Three IT8 color reference targets were estab-
lished as standards in 1993.
The Committee for Graphic Arts Technology Standards (CGATS), established 1989.
This group acts as an umbrella group to assist with graphic arts standards.
The IT8 7.1 is used to
measure the values of
transmissive color
being read by a scan-
ner or other input
device.
On the IT8 7.1 trans-
missive color refer-
ence target are color
patches in six cate-
gories:
shadows
middletones
highlights
CMYK colors
RGB colors
skin tones and
frequently occur-
ring colors

Part Seven:
Color Management Standards
The IT8 7.2 is used to

measure the values of
reflection color being
read by a scanner or
other input device.
On the IT8 7.2 reflec-
tion color reference
target are color patch-
es in six categories:
shadows
middletones
highlights
CMYK colors
RGB colors
skin tones and
frequently occur-
ring colors
The IT8 7.3 is a digi-

tal file of input data
for characterization
of four-color process
printing.
On the IT8 7.3 digital
reference target are
color patches in
eight categories:
shadows
high total ink
saturated color
with no black
saturated color
with 20% black
CMY solid colors
CMYK dot gain
CMYK neutral
gray balance
frequent colors

Part Seven:
Color Management Color Management
The Need for Color Management

Even with established standards, color is not easy to print and display consistently. The work-
flow process begins with image capture. continues through rendering the image on-screen,
and output by digital proofing, digital printing, and preparation of plates for color printing.
All these systems function well independently, but color and visual perception are not pre-
cisely controlled. Without color management, the components of the color printing repro-
duction process do not match.
Each device in the imaging

workflow relies on a different
method to process colors.
The technology utilized by
each device limits the range
of colors (gamut) captured or
displayed.
The purpose of color manage-
ment is to provide color con-
sistency and predictability
throughout the entire work-
flow. The color management
system (CMS) does this by
correcting for the differences
in color introduced by each
device in the workflow.

Part Seven:
Color Management Color Predictability
Color Predictability
The differences in color space (gamut) often leads to misunderstanding and concern because
color may have unexpected and unpredictable results.

There are two primary reasons why good color predictability is difficult to achieve:
The difference in color gamut among the various devices in the workflow. For
example, a print on an ink-jet printer used for proofing cannot match the press
sheet from an offset printing press.
Deviations from the standard performance of any device in the workflow. For
example, a specific digital printer may not perform to the output standard for that
model.
Color Management and Color Predictability
Color management can remedy the problems and become the solution providing for color
consistency and predictability.
CMS manages device color space differences.
CMS transforms RGB scan data for colors into the CIE color space.
CMS can provide the final transform into the printers CMYK color space.
CMS can convert CMYK data for one device color space into CMYK data for another
device or print reproduction.
CMS can develop a characterization profile for any particular device.
CMS can be set to correct color by automatically factor device profiles.
The purpose of color management is to compensate for the lack of color consistency between
input and output devices. CMS provides color predictability which ensures that the color data
is converted in a reproducible way.
What is Calibration? Why is it Needed?

Calibration is the term for measuring and adjusting the performance of a device. Devices,
such as scanners, monitors, and printers, need to be calibrated in order to achieve consistent
color from day to day and from device to device.
We must recalibrate when the devices performance expectation parameters change. These
parameters can change simply over time as the device shifts from its normalized performance.
Heat, as the device warms to normal operating temperatures, as well as environmental
changes, such as humidity and ambient room temperature, may cause performance shifts.
Printer toners and inks may have slight differences; calibration helps to reestablish normal-
ized performance when consumables are changed.

Part Seven:
Color Management Color Measurement
Tools for Color Measurement

The IT8 color reference targets cannot be evaluated by perception. Accurate color measure-
ment is critical to the color management process. Three devices used for color measurement
each have different capabilities and purposes: densitometers, colorimeters, and spectropho-
tometers. These devices are available to measure transmitive or reflective color devices, as
appropriate. Devices are available to measure monitor color, printed color, and colors on film
emulsions.
A reflection densitometer measures the

reflective color reference target and the
color bar on the press sheet to monitor
color print reproduction. The density of
solid ink patches and the percent dot area
of a tint patch cannot be measured visual-
ly. At best, one can make a good guess at
percent dot area. A densitometer is need-
ed to accurately read ink densities and
percent dot area.
Colorimeters mea- standards, using CIE

sure light much like color space models.
the human eye does
A colorimeter may
using tristimulus
be used to measure
red, green, and blue
printed colors where
receptors.
product's appearance
Colorimeters
is critical for buyer's
express colors
acceptance.
numerically accord-
ing to international
Spectrophotometers measures light at many

points on the visual spectrum and formulates
the color of various products such as plastic,
paints, inks, ceramics, metals. With a spec-
trophotometer, we can obtain the same types
of numerical data as with a colorimeter and
also get a spectral reflectance graph. With its
high-precision sensor and the inclusion of
data for variety of illuminant conditions, the
spectrophotometer can provide higher accura-
cy than a tristimulus colorimeter.

Part Seven:
Color Management Color Mapping
Color Mapping source gamut

There are different methods for mapping colors
that are used by color management systems.
Perceptive Mapping
In perceptive mapping, all or most of the colors
in the original color space are adjusted in a way
that maintains the relationships between the
colors. Since the human eye is more sensitive to
color comparisons and relationships than to
recognition of a specific wavelength, this
method of color mapping preserves these rela-
target gamut
tionships. Most people will not be able to notice
that the colors in the image have been adjusted.
In perceptive mapping, the colors in the
original (source) gamut are rescaled to
Absolute Colorimetric Mapping be within the target device gamut.
Colors already withing the target gamut
In absolute colorimetric mapping, all of the col- are also moved in order to maintain
ors in the source image which are outside the color relationships.
target gamut are lost. These out-of-gamut colors
are clipped on the gamut boundary. This map- source gamut
ping method may result in an image that seems
noticeably different than the original image.
Relative Colorimetric Mapping

In relative colorimetric mapping, all of the col-
ors in the source image which are outside the
target gamut are replaced with colors that are
inside the target gamut, while preserving the
hue and lightness of the original color.
Saturation Mapping target gamut

In saturation mapping, all of the colors in the
source image which are outside the target In absolute colorimetric mapping, the
gamut are scaled to the brightest saturation pos- colors in the original (source) gamut
sible. the hue remains the same, but the light- which fall outside the target gamut are
ness may change. replaced with colors along the target
gamut boundary.

Part Seven:
Color Management Device Profiling
Device Profiles
The first step in establishing and using a color management system is calibrating the input
device (scanner). Each scanner is different in how it recognizes color and may introduce
small color changes each time an image is scanned. When the calibration process is complete,
the information about the device is called a profile. This calibration process is also called
characterization.
Making a Profile
Characterization defining a device profile is not a complex procedure, but it does
require careful procedures. Here are the typical steps for making a profile for a scanner.
The scanner must be allowed to warm to full operating temperature. The color con-
sistency of the light source is dependent on the scanner being fully warmed up.
The scanner settings must be calibrated to the manufacturers recommendations. All
settings should be set for normal operating conditions.
Scan a reference target (IT8 7.1 for transmission, IT8 7.2 for reflection). Turn off
any settings for descreening, sharpness, or tone curve adjustment.
Record and compare the color values to the values of the colors on the original
target. The manufacturer of the IT8 target supplies the color value data with each
target.
CMS software enables one to compare the scanned color data with the supplied
color data in order to create a profile of the device. When the CMS software has the
device profile information, it will control any color shifts accordingly and yield
results that correspond to the original. The device color profile is described in terms
of the device-independent CIE color model, not RGB or CMYK.
After the color profile is saved, perform some scan tests to verify that the profile
yields desirable results.
Profiles for monitors and print output devices and presses complete the list of profiles needed
in a complete color management system. A monitors color output is measured using a col-
orimeter which attaches to the monitor and measures the actual colors. A profiles for each
printer is necessary. In some situations, such as sheetfed offset printing, different profiles are
needed for variables such as substrate and ink sets.
There are pre-made profiles that are available from device manufacturers. These profiles are
generic to a given model and often are valid and acceptable. However, these supplied profiles
may not match the performance of an individual unit.
CMS uses the device profiles to bring consistency and predictability to the color printing
workflow. Without CMS, color printing is haphazard guesswork.

Part Seven:
Color Management CMMs
Color Management Modules

Desktop computer operating systems now incorporate color management functions in their
operating systems. Operating system-level color management provides applications, peripher-

als, and operating system components with a common interface and file format for control-
ling color and converting colors between devices. This approach to color management assists
in getting consistent color from different application on different output devices.
Color management modules (CMMs) convert color from one mode to another, such as RGB
to CMYK, or one devices CMYK to another devices CMYK. CMMs are one of three compo-
nents in OS-level color management, working with device profiles and a system level applica-
tions programming interface. CMMs are third-party plug-ins for Apple's ColorSync on the
Mac OS, and available soon for Windows.
The CMM is a color translation engine (mathematical algorithm) that provides the interface
between the device profiles and the image files that need to be transformed between color
spaces. The CMM applies the data from both the source profile and the target profile to the
image.
The CMYK setup in

Adobe Photoshop
enables selection of
color management
settings for the print
device profile, the
engine (CMM), and
the rendering intent
for mapping out-of-
gamut colors.
The Apple
ColorSync control
panel enables users
to select a preferred
CMM or, by select-
ing Automatic, let
ColorSync use the
CMM specified in
each profile.

Part Eight:
Digital Color Printing Overview of Part Eight
Color sells!
anonymous
Part Eight:
Digital Color Printing
Data in, printed sheets out is the commonly accepted definition of digital printing.What are
the technologies used? What are the market forces? What is the importance of variable data
printing? What is on-demand printing? What are the digital printing system choices?
Digital printing is forecast to grow rapidly over the next decade, taking work form conven-
tional printing processes and creating new market opportunities.
1. Explain how xerography (electrostatic, electrophotography) printing and ink jet

printing technology work.
2. Describe the market forces which are driving the increase in digital color
printing.
3. Explain the concept of variable data printing.
4. Explain what is meant by on-demand printing.
5. Compare the capabilities of competitive digital printing systems.
Key words to learn in this part: Part Eight:

Digital Color Printing
electrophotography electrostatic
xerography selenium 1. What is electrophotography?
toner ink jet 2. What is ink-jet printing?
drop-on-demand continuous ink jet
3. Digital printing market
array bubble jet
piezoelectric crystals nozzle 4. Defining run length
run length turnaround time 5. Variable printing
variable printing target marketing 6. Print-on-demand
versionalization individualization
7. Competitive products
personalization print-on-demand
a. black & white
b. color

Part Eight:
Digital Color Printing Xerography
Xerography
Xerography (also called electrostatic printing and electrophotography) is a printing process
which uses electrostatic forces to produce images on the paper or other substrate.
Xerography typically uses an aluminum drum coated with a layer of positively-charged sele-
nium. Light passed through the document to be copied, reflected from its surface, or imaged
by a diode or a laser light source reaches the selenium surface. Areas exposed by light lose
their charge and do not attract the negatively charged particles of toner which are sprayed
onto the selenium surface and form an image of the document on the drum. A sheet of copy
paper is passed close to the drum, and a positive electric charge under the sheet attracts the
negatively charged ink particles, resulting in the transfer of the image to the copy paper.
Heat is then applied to
2. laser imaging
fuse the toner particles photoconductive surface
to the paper. of selenium
Later improvements 3. toner is applied
have made it possible to 1. charge drum

print in full color and selenium surface
print on both sides of
Re-imageable
the paper. drum
Digital copiers are now 6. clean
paper
replacing optical
copiers. Digital
copier/printer/fax 4. transfer toner by electrostatic
devices are networked charge
5. fuse toner with heat
Did You Know?

Chester F. Carlson (1906 - 1968),American physicist, was the inventor of xerography (dry writing).
When working in the patent department of a New York electronics firm, Carlson was plagued by the
difficulty of getting copies of patent drawings and specifications. In 1934, he began to look for a quick,
convenient way to copy line drawings and text. Since others were already working on photographic or
chemical copying processes, he turned to electrostatics for a solution to the problem. Four years later
he succeeded in making the first xerographic copy. Carlson obtained the first of many patents for the
xerographic process in 1940 and for the next four years tried unsuccessfully to interest someone in
developing and marketing his invention. More than 20 companies turned him down. Finally, in 1944, he
persuaded Battelle Memorial Institute, Columbus, Ohio, a nonprofit industrial research organization, to
undertake developmental work. In 1947 a small firm in Rochester, N.Y., the Haloid Company (later the
Xerox Corporation), obtained the commercial rights to xerography, and 11 years later Xerox intro-
duced its first office copier. Carlson's royalty rights and stock in Xerox Corporation made him a multi-
millionaire.
Factoid: Xerographic machines for full color copying became available in the 1970s.

Part Eight:
Digital Color Printing Xerography
Xerography Process
One does not need to be a physicist to
+ +
understand the principle of xerography.

In fact, there are only two things that
one needs to remember:

Like electrostatic charges repel
Opposite electrostatic charges
attract
+
Xerography takes advantage of these two principles via a device called a photoreceptor. The
photoreceptor receives, processes, and transferes images using static electricity. There are
two types of photoreceptors: belt and drum.
The photoreceptor is coated with a light sensitive semiconductive material such as selenium.
If a strong static charge is applied to the surface (selenium), the charge remains there as
long as the surface is dark. When light strikes the photoreceptor, it becomes a conductor
allowing the current to flow. the charge is then allowed to pass to the substrate.
Six Steps in the Xerography Process
There are six simple steps in the xerography process:
Charging - The photoreceptor is positively charged with static electricity by a high-
voltage wire, called the charge corona
Imaging/exposing - Either reflected light image (copier) or a laser light (printer) is
used to create the latent (unseen) image on the photoreceptor selenium surface.
Where light exposes the surface, the charge is dissipated. The unexposed surface
retains the positive static electricity charge. This is the image that will print.
Development - The positively charged latent image on the photoreceptor is exposed
to negatively charged toner. The toner is supplied to the photoreceptor via a devel-
oper unit which has mixed the toner with a developer made of fine grain plastic and
a magnetic material. The latent image becomes a visible image on the photoreceptor.
Transfer to substrate - The substrate is positioned in register between the photore-
ceptor and another high-voltage corona which gives a positive charge on the paper.
The positive charge on the paper attracts the negatively charged toner from the pho-
toreceptor surface. A second corona removes the charge from the paper to allow
separation from the photoreceptor.
Fusing - Heat and pressure are used to bond the toner to the substrate.
Cleaning - the photoreceptor is cleared of any remaining toner.
In color xerography, steps 1-4 are repeated for each color before fusing. The four-color image
is built layer upon layer either directly onto the paper or (better and faster) onto an interme-
diate belt for a single transfer of the full color image onto the substrate.

Part Eight:
Digital Color Printing Ink Jet
Ink Jet Printing

Ink jet printing processes produce color and density on a substrate by controlling the deposit
of tiny droplets of ink which form an image. Special coated papers are needed to result in
vibrant, saturated colors. There are two basic categories of ink jet printers: continuous ink jet
typical of high-speed production systems and drop-on-demand ink jet typical of desktop
and short-run units.
Continuous ink jet is based on a simple principle: a thin stream of liquid ink can be broken
up into a steady stream of uniform-sized droplets when subjected to high frequency vibration.
Modern continuous ink jet systems use piezoelectric crystals that produce hundreds of thou-
sands individual droplets each second.
The stream of droplets is controlled and directed by a charging electrode which deflects
unwanted droplets into a catcher and returned to the ink reservoir. Undeflected droplets fly
onto the moving substrate to form the image. Continuous array ink jet printers use one or
more arrays or groups of ink jet nozzles to achieve high printing speeds. A typical high speed
array has 240 nozzles per inch in a 4.25" array (1020 nozzles). Two adjacent arrays will cover
an 8.5" page size. Special coated papers are needed to result in vibrant, saturated colors.
Desktop and short-run wide format ink jet printers use drop-on-demand ink-jet printing. In
drop-on-demand ink jet, droplets are only formed when needed for the page image. The two
most common ink-ejection mechanisms are bubble jet and piezoelectric crystal. Both cause
ejection of a tiny droplet from an ink chamber, which is immediately refilled from the ink
reservoir to repeat the cycle as needed. Drop-on-demand is a relatively slow print technology.
deflector charge electrodes
Continuous ink jet piezoelectric crystals
substrate
return to ink tank
ink reservoir
Two Drop-on-Demand ink jet types: piezoelectric crystal and bubble jet
piezoelectric crystal heating plate
nozzle nozzle
ink ink
ink reservoir chamber ink reservoir chamber
piezoelectric crystal vaporized ink

deforms forms bubble
ink ejects and ink ejects and

forms droplet forms droplet

Part Eight:
Digital Color Printing Digital Printing Market
Digital Printing Markets

The digital printing market is focused on short to medium run length, with a rapidly growing
emphasis on variable data printing.

Fixed Data/Images - Short to Medium Run hybrid digital offset systems
Variable Data/Images - Short to Medium Run b&w and color digital printing systems
Variable Data/Images - Long Run ink jet; xerographic products in development
high offset
Economics of Printing digital
cost per sheet

Offset printing has high initial (start-up) costs.
Offset printing has a rapidly decreasing cost-per-
page as the run length increases.
Digital printing has a nearly flat-line cost-per-
page profile; cost of first copy is essentially the
same as the cost of 100th, 1000th, 5000th, etc.
low print run length high
What is the Print Customer Buying?

Fast turnaround time (<2 days) Acceptable quality
Cost advantages over offset (short run) No or minimal inventory
Documents with value (less obsolescence) Variability or personalization
NOT merely buying technology
Faster Print Job Turnaround Times in Future

At the end of 1995, 50% of all jobs were delivered within one week; by 2005, 80% of all jobs
will be delivered within one week. (source: GATF, GAMA)
Next day or sooner: 2% in 1995, 41% in 2005
In two days: 21% in 1995, 22% in 2005
Within one week: 28% in 1995, 24% in 2005
Within two weeks: 36% in 1995, 11% in 2005
Within one month: 7% in 1995, 1% in 2005
More than one month: 6% in 1995, 1% in 2005

What will be the market and technological hurdles to be solved to enable faster job turnaround?

Part Eight:
Digital Color Printing Defining Run Length
Defining Print Run Length

Print run length refers to the number of copies of the job that are printed in a single print
session. Usually the run length equals the total number of copies needed, including the
amount of sheets needed for the projected spoilage in the printing, finishing, and binding
procedures. The printing industry records a lot of data from many companies in order to
determine print run length patterns and projections. Paper making companies also use
similar data to project the amounts of various papers that will be needed in the future.
Print Run Length Categories

1 copy Ultra Short Run
2-500 copies Very Short Run
501-2,000 Short Run
2,001-5,000 Moderate Short Run
5,001-10,000 Moderate Run
10,001-50,000 Average Run
50,001-250,000 Moderate Long Run
250,001-750,000 Long Run
750,001-1,000,000+ Very Long Run
Market Share of Run Lengths

1-500 copies 16.6% (of total market)
500-2,000 33.5%
2,001-5,000 22.3%
5,001-10,000 13.8%
10,000-100,000 5.6%
>100,000 8.2%
Product Size and Run Length

1-100 101-500 501-2000 2001-5000 over 5000
under 10 pgs 13% 14% 17% 9% 47%
11-20 pgs 11% 9% 43% 19% 18%
21-50 pgs 2% 11% 32% 29% 26%
51-100 pgs 7% 12% 35% 17% 29%
101-200 pgs 3% 9% 38% 29% 21%
over 200 pgs 2% 6% 36% 31% 25%

What conclusions can you make from the above two data charts:Market Share of Run Length and
Product Size and Run Length? What is the potential market share for digital printing? Is the digital
printing market limited by product size?

Part Eight:
Digital Color Printing Variable Printing
Variable Printing
Variable printing means that the individual pages can have different text and/or graphics.
Variable information from re-imageable image carriers results in variable printing, the
critical component of customized printing. Offset lithography has a fixed image plate and
cannot do variable printing every press sheet in the run is the same as the others. Printing
from fixed-image image carriers (e.g., offset plates) is called static printing
Variable printing itself has many variations: target marketing, variable versions, personalized
printing, customized printing, and one-to-one marketing. The market for variable printing
includes direct marketing (dont say junk mail), catalog marketing, and variable data print-
ing from a database. Why is everyone interested in variable printing? Value added and high
response rates!
Database Publishing
Database publishing enables customized, personalized, and variable printing a key market
influence on the growth of digital printing.
Often repeated quote:
The power of technology is in the hands of those who have the database.
Target Marketing
Versionalization: creating several versions tailored to the particular circumstances.
Individualization: creating a unique product based on an in-depth database of known
characteristics (not always recognized as such by the end-user).
Personalization: combines database and other marketing strategies to target specific
individuals.
Personalization Levels (level #12 has highest amount of personalization)

12. Every pixel is personalized
11. Rules-based database and image merge, dynamic layout
10. Database and image merge
9. Hybrid documents (personalized with static printing)
8. Database merge (link to all fields in database)
7. Data merge (name, address, salutation, plus embedded in text)
6. Document assembly (assembly pre-written paragraphs)
5. Mail merge (name, address, salutation)
4. Address merge (name and address on letter and mail piece)
3. Name and address on mail piece; sorted by zip
2. Addressed to "Resident"; sorted by zip, selected contents
1. Addressed to "Resident"; same contents, every piece the same
Point to Ponder and Debate... Where does the data come from?

Part Eight:
Digital Color Printing Print-On-Demand
What is Print-On-Demand (POD)?

The definition of Print-on-Demand (POD) or on-demand printing is usually based on its
characteristics.
Print-on-Demand = short notice and quick turnaround
Print-on-Demand = short, economical print runs
Print-on-Demand is today mostly associated with digital printing
Print-on-Demand definition may include binding and finishing operations needed to
complete the job in the short turnaround time required.
Who does Print-on-Demand?

Any printing company or department can justify marketing and doing print-on-demand jobs.
Commercial, book, and periodical printers, in-plant printers, quick printers and copy centers,
prepress services, and even office superstores all may do on-demand printing.
What are the Benefits of Print-on-Demand

lower inventory costs
lower risk of obsolescent print materials
lower production and distribution costs
What is a Successful POD Business Strategy

Successful print-on-demand business strategies usually include marketing the entire process:
Digital photography
Digital document development
Digital data transmission and storage
Digital proofing
Digital printing
Consultative sales the printer as educator for the clients and designers
Market digital printing benefits, not merely converting offset to digital press jobs
Typical POD products Journal and magazine reprints Signs, posters
Customized and non-customized Books, booklets, and manuals Presentation materials
textbooks Technical reports, documentation,
Customized and non-customized proposals Less-likely POD products
brochures, flyers Bound galleys of books for review Consumer product packaging
Customized and non-customized prior to print runs Daily newspapers
catalogs Forms Mass-market books
Customized and non-customized Newsletters Telephone books
coupons Envelopes Long-run general magazines
Customized and non-customized Financial and legal reports and Mass-distribution catalogs
labels documents High-volume direct mail
Advertising and direct mail Menus, programs Mass-market brochures, promo-
Product literature Invitations, letterheads, stationary tional materials

Part Eight:
Digital Color Printing Diverse Market Needs
Numerous Products for Diverse Digital Printing Markets

There are several companies that manufacture digital printing products, and there are also
numerous printer configurations and options for the business office graphics and the profes-
sional graphic arts industry markets. Often, the same configuration will serve the needs of
both markets. Customized configurations enable optimum cost, service, and performance.
Three broad categories of xerographic equipment include:
copiers (optical and digital, hardcopy scanner document input)
copier/printers (digital, hardcopy scanner and network document input)
printers (digital, network document input)
Each of these categories offer a wide range of devices from black & white to color, from low-
to very high average monthly print volume requirements.
Color Market Segmentation

Graphic Arts Other Industries and
Home Photo
Industry Organizations
Digital printers
Personal Publishers Creative Graphics are used to pro-
duce:
Creative and
1. intermediate
Office Professional
Office proofs for tradi-
Services
tional print
Vendors may processes.
Prepress and
have various Imaging Services 2. final proofs
products that are In-Plant
for digital print.
targeted for all or Printing Services
selected markets. Commercial Printers 3. final print
production out-
Various digital put of short to
front-end (DFEs) Quick Printers Data Centers medium run
and color man- lengths.
agement solu- In-Plant
tions are avail- Printing Services Digital color print systems range from 4 to
able, depending
100 pages per minute; from single-page
on the vendor.
Data Center cut-sheet sizes to continuous web feed.
There are simplex Services
Prices range from desktop printers under
and duplex print-
$1500, to low-volume network printers
ing and in-line Postpress and about $7000, to high-volume web printers
finishing options. Fullfillment Services at about $400,000.

Part Eight:
Digital Color Printing Competitive Products
Competitive Production Digital Printing Products

The number of companies which produce and markets digital production printers is large.
There is an even greater number of systems, a number that is continually growing as new
production digital printing systems are developed and introduced. One needs to continually
review the industry literature and company web sites to learn about current systems.
Here is a brief list of companies, and their web site URLs, that produce and market black &
white and color production digital printing systems:
Xerox http://www.xerox.com/ digital black & white and color
Indigo http://www.indigonet.com/ digital color
Agfa http://www.agfahome.com/ digital color
Xeikon http://www.xeikon.be digital color
Oc http://www.oce.com/ digital black & white and color
IBM http://www.printers.ibm.com/ digital black & white and color
Heidelberg http://www.heidelbergusa.com/ hybrid digital offset
Scitex http://www.scitex.com/ ink-jet
Scitex/KBA http://www.karatpress.com/ hybrid digital offset
Growth of Color Digital Systems
1993 - NONE
First Xeikon and Indigo placements in 1994
First Xerox DocuColor 40 placements in
1996; by 1998 the DC-40 placements total
more than all others combined.
First Canon CLC-1000 placements in 1997
By 2005, projected to be 30,000 to 50,000
digital color systems placed worldwide.
Xeikon, a company in Belgium, is the manufac-

turer of web-fed digital color print engines mar-
keted by four different companies: Xerox, Agfa,
IBM, and, of course, Xeikon.
As of October, 1999, this print engine is consid-
ered the top-of-the line color digital printer.

Part Eight:
The Xerox DocuTech 135

black & white digital
production printer has
enjoyed a dominant mar-

ket share since its intro-
duction. The DT 135 fea-
tures digital and scanner
interface for acquiring
copy for production.
The Xerox DocuTech
6180 black & white
digital production
printer increased
print speed and pro-
vided for additional
printing substrate
options.
The Xerox DocuColor

40 features 2-up
sheet-fed, 600 dpi
process color printing
at 40 ppm simplex
and 30 ppm duplex.
Copy can be received
via a network as well
as via the scanner
interface.

Part Eight:
The Xerox DocuColor 12, introduced in 1999,

offers 600 x 600 dpi x 8 bit resolution, 12.5 ppm
color and 50 ppm B&W at 8.5" x 11" sheet size;
6 ppm/25 ppm with an 11" x 17" full bleed sheet

size capability.
A copier/printer, the DC 12 features a 400 x 400
ppi scanner interface for hardcopy document
input as well as network connectivity.
Intermediate Belt Technology (IBT) enables the
full-color image to be transferred to the paper
in a single pass for faster production and
improved image quality over comparable units.
Optional sorter, choice of color controllers, and
high-capacity feeder are available.
The Xerox DocuColor 4, introduced in 1999,

offers 600 x 600 dpi x 8 bit resolution, 4 ppm
color and 16 ppm B&W at 8.5" x 11" sheet size
with a 13" x 18" maximum sheet size.
A copier/printer, the DC 4CP features a 400 x
400 ppi scanner interface for hardcopy docu-
ment input as well as network connectivity.
Also features the IBT for single pass full-color
printing, optional sorter, choice of color con-
trollers, and high-capacity feeder.
The Canon copier and printer lines have

many units ranging from desktop inkjet
printers to this CLC1000, 31 ppm color
copier/printer.

Part Eight:
Indigo produces several process

color systems which use a liquid
ink toner, in digital offset press
configuration for sheet fed and

web fed production at 800 dpi.
Some units also feature additional
spot color capability.
Many companies make wide-

format ink jet printing systems.
These ink jet systems are ideal
for large size printing require-
ments and are rapidly replacing
the traditional screen printing
process for printing these type
of products.
Scitex is the dominant company in

the high-speed black & white ink
jet printing system market.

Part Eight:
The Heidelberg Quickmaster

DI revolutionized the hybrid
digital offset printing system
category. The QMDI was the

first such system specifically
designed and engineered for
direct imaging waterless off-
set printing.
The Heidelberg Speedmaster

74 DI four-up sheetfed
press, introduced in 1998,
combines on-press thermal
CTP with four and four-plus
press configurations.
Hybrid digital, direct imag-

ing offset presses cannot do
variable printing.
Scitex and KBA, in a

joint venture, produce
the 74 Karat press to
meets the industrys
demand for short and
medium run four-color
offset quality printing
with a small floor
space footprint. The 74
Karat is a hybrid digi-
tal offset press that
uses direct-to-plate
imaging and a self-cali-
brating inking system.

Index
A Color Triangles 29
Color wheel 28, 29
A/D Conversion 37
Subtractive color model 27
Absorption 14
Color Naming 76
Advantages of added color 22
Color Perception 15
Color Captures Attention 23
Color Picker 64
Color Enhances Productivity 24
Color reproduction 39
Color Improves Communications 23
Color Separation 33
Color Sells 23
Color temperature 21
B Colorimeter 83
Complementary colors 29
Bzier curve 51
Conventional Prepress 5
Bit depth 50
Bitmapped images 48 D
C Densitometer 83
Device Profiles 85
CCD 35, 36
Characterization 85
Charge-Coupled Device 35
Digital Cameras 36, 37, 55
Chester F. Carlson 88
Digital Color Printing 87, 96
CIEColor Models 30
Digital File Output 7
CMMs 86
Imposition 7
CMYK 27, 37, 38, 41, 44, 46, 64, 70
PostScript Output Device 7
Color and Emotion 18
Preflighting 7
Color Compression 20
RIP 7
Color Conversion 70
Trapping 7
Color Management 79
Digital Prepress 6
Calibration 82, 85
Digital Printing Markets 91, 95
Color Predictability 82
Dot Gain 45
IT8 79, 80, 83
Downsizing/Downsampling 56
Standards 79
Color Mapping 84 E
Absolute colorimetric mapping 84
Economics of Printing 91
Perceptive mapping 84
Electromagnetic radiation 12
Relative colorimetric mapping 84
Electromagnetic Spectrum 12, 13
Saturation mapping 84
Electrophotography 88
Color Models 25
Electrostatic printing 88
Additive color model 26

Index
EPS 59, 65 Ink/Toner on Paper 40

EPS/DCS 59, 61 Interpolation 56
F J
File Compression 62 JPEG 59, 62
Lossless 62
K
Lossy 62
File to Print Options 8 Kelvin Scale 21
Computer-to-digital printer 8
L
Computer-to-film 8
Computer-to-plate 8 Language of Color 16
Computer-to-press 8 Brightness 16
File types 59, 60 Color family 17
Fonts 54 Color shades 17, 29
Hue 16, 17
G Luminance 16
Gamut 30, 71, 81, 84 Saturation 16
GCR 46 LZW 59
GIF 59
M
Gray Levels 58
Grayscale 49 Munsell Color System 32
H N
Halftone 41, 44, 57 Newton, Isaac 13, 28
Dot shape 41, 43
O
Dot size 41, 42
Screen Angle 41 Object-oriented images 51
Screen frequency 41, 42, 55, 58 Offset Lithography 9
Heidelberg 100 Optical dot gain 45
Hi-Fi Color 71
P
I Pantone 72
Indigo 99 Pantone Hexachrome 74
Ink Jet Printing 90 PDF 59
Continuous ink jet 90 PhotoCD 59, 61
Drop-on-demand ink jet 90 Photomultiplier Tube 34

Index
PICT 59 T
Pixels 48, 49, 55, 56
Tertiary Colors 28
PostScript 43, 54, 59, 65, 66
The Human Eye 11

Primary Colors 28
TIFF 59
Print Run Length 92
TIFF/IT 59
Print-On-Demand 94
Timelines 8
Printing processes 9
Turnaround time 2, 91
Digital 9
TrueType 54
Flexography 9
Trumatch 75
Gravure 9
Offset Lithography 9 U
Process Color 38, 69
UCA 46
Project Planning 2
UCR 46
GRACoL 2
Project Questions 2 V
R Variable Printing 93
Database Publishing 93
Reflection 14
Personalization Levels 93
Resolution 48, 55, 56
Target Marketing 93
Resolution Rules 57
Vector 51, 52, 53
Responses to Color 19
Visible light 12, 13
Emotional responses 19
Physiological responses 19 W
Reverse engineering 4
Wavelengths 12, 13, 14, 16
RGB 26, 37, 41, 64, 65
White light 13, 14
S Workflow 4, 36
Workflow Segments 4
Scanners 34, 37
Workflow variables 4
Drum scanners 34
Flatbed scanners 35 X
Scitex 99
Xerography 9, 88, 89
Secondary Colors 28
Xerox 96
Selenium 88
Xerox DocuColor 12 98
Solid Colors 69
Xerox DocuColor 40 97
Spectrophotometer 83
Xerox DocuTech 135 97
Stochastic Screening 44, 57

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Part One: Color from Design to Print . . . . . . . . . . . . . . . . . . . 1

Part Two: How Do We See Color, Anyway . . . . . . . . . . . . . . . 10

Part Three: Comparative Color Models . . . . . . . . . . . . . . . . . 25

Part Four: What is Color Separation? . . . . . . . . . . . . . . . . . . 33

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page i

Part Five: Working With Digital Files . . . . . . . . . . . . . . . . . . 47

Part Six: Using Color Within Applications . . . . . . . . . . . . . . . 63

Part Seven: Color Management . . . . . . . . . . . . . . . . . . . . . . . 78

Part Eight: Digital Color Printing . . . . . . . . . . . . . . . . . . . . . 87

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page ii

Printing is one of the few industries

and printers work together through-

Color from Design to Print

Objectives: at the completion of this part, you will be able to:

1. Explain the major factors to be considered when planning a print project.

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 1

Project Planning & Graphic Design

and product or performance requirements are

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 2

Planning Colors: how many colors are needed? desired? afford-

process (CMYK) colors may be used to substitute for

Proofing can surely prevent costly errors but exces-

What binding method is required?

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 3

The Print Production Workflow Segments

From design to production of the image carrier

There is No "One" Workflow

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 4

Conventional Prepress Disappearing Procedures,

individual analog page images, convert the page

Pages are made on paste-ups Camera separations

Line negatives made of pages Dry dot etching

Halftone negatives made of photos X-acto knife

Plates made from film flats

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 5

Digital Prepress New Procedures

many printers associated the process with lesser quali-

Raster Image Processor

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 6

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 7

File to Print Options

which are commonly used in the industry today:

Comparative File-to-Print Workflows and Timelines

Digital proofing and computer-to-plate

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 8

Choosing a Printing Process

Xerography vs. Offset Lithography

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 9

Cold hearted orb that rules the night,

But we decide which is right.

How do we see color, anyway?

Objectives: at the completion of this part, you will be able to:

Key words to learn in this part: Part Two:

Understanding Color Kenneth F. Hoffmann page 10

The Human Eye

lining on the There are more than six

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 11

The Electromagnetic Spectrum

VHF Radio Radar Infrared Ultraviolet Gamma Rays

The wavelengths of energy in the electromagnetic spec-

Understanding Color in a Digital Workflow Kenneth F. Hoffmann page 12

The wavelengths in the visible light portion of of the electromag-