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Understanding Overprint
By Max Derhak
There are two approaches to mixing image elements together that are often confused when rendering compound document formats like EPS/PS/PDF – transparency and overprint. Transparency rendering was previously discussed. In this article we will discuss the concept of overprint, how it is rendered, and problems that can occur when trying to render with overprint.

Why stabilize the temperature of inkjet printer ink?
The most important parameters for the ink used by an inkjet printer are density, viscosity and surface tension.
(Article taken from the Durst  ‘Process’ magazine, their monthly newsletter for Screen and Digital Printers.)

Colour Management made easier
By David Crowther
As my regular readers would know, colour management is an enabling technology. Within the ICC framework of device colour management, manufacturers are continually striving to make the management of colour easier.

Colour Management in Lightroom
By David Harradine
After discovering how easy it is to import a bunch of images into Lightroom and prepare them for a variety of outputs, you could be forgiven for thinking that Lightroom does not use colour management at all. No working spaces to choose, no profile mismatches, or missing profile alerts to cause you grief.

Demystifying daylight (Part 1)
By David Crowther
In this article David Crowther looks at the myths and misconceptions about simulating daylight that everyone involved in evaluating colour should know.

Demystifying Daylight (Part 2)
By David Crowther
To continue our discussion on demystifying daylight, we have all ready looked at a couple of myths; Myth #1 - All daylight simulators are the same, and Myth #2 - As long as the light source is D65, it’s a good daylight simulator. Now, we can discuss the final two myths.

Digital Camera Colour Management with Adobe Camera Raw
By David Harradine
The first rule of colour management is that no two devices are the same, no two monitors, printers, scanners or digital cameras will produce the same colour from the same signal out of the box, they all have their own unique finger print.

Daylight simulation – is it necessary for colour evaluation?
By David Crowther
Why do we need to consider daylight when evaluating colour? Quite simply because daylight renders colour accurately. Even though natural daylight changes throughout the day, together with changes in the weather, a need to simulate daylight does exist.

ISO Graphics Standards - can they help us?
By David Crowther
ISO Graphics Standards - can they help us?  In the world of creativity, we may think that standardisation will only put a lid on ideas and concepts. But looked at from another angle, we see that to a certain extent, standards have a marked influence on everything around us and what we do.

Metamerism (Metameric Pair)
By David Crowther
Definition - The phenomenon where two colours appear to match under on light source, yet do not match under a different light source. Two such colours are called a metameric pair.

How we see colour - Measuring and supplying correct colour
By
David Crowther
How we see colour can best be described as communicating colour. In the accompanying image of the rose at the bottom of this article, how would you describe the colour of this rose? Would you see it as yellow, sort of lemon yellow or maybe a bright canary yellow?

Capture to Output – Colour Communication? (Part One)
By David Crowther
From the moment of digital capture, right up until the time of digital output, close attention needs to be given to colour communication. Hang on, you say, colour communication? Is this something new? What about colour management? Well, colour management is really about communicating colour accurately from device to device in an ICC enabled workflow. This communication of colour allows you to predict what will happen to colour sooner in the workflow, therefore empowering you and your workflow processes to make better decisions concerning colour earlier in the production process. This is the true value of colour management.

Capture to Output – Colour Communication (Part Two)
By David Crowther
In the last issue we looked the first three steps of Capture to Output. This covered RAW digital capture, RAW processing to RGB and RGB Editing – Conversion. With the latter two steps, a calibrated monitor is of vital importance. Accurate visual assessment of the RAW capture and subsequent RGB image editing requires implementation of good colour management. We all have ideas of how the captured image should appear, but without following the fundamentals of colour management; we will have no idea if the previews on the monitor are an accurate representation of the colour we wish to output onto paper, canvas, etc.

RGB – Which ‘working’ space for me?
By David Crowther
Photoshop RGB working space. What is the right space? What should you choose? sRGB, Adobe RGB (1998), ColorMatch RGB or ProPhoto RGB? How can it affect the photographer, designer, fine art reproducer and digital artist? Indeed, you may well have asked, “Is it really important?”

A Coloured View of Digital Print Making
By David Crowther
Digital print making. What is your view? What can digital printing do for the photographer, designer, fine art reproducer and digital artist? You may well have asked, “how can it help me?”

The Display Dilemma
By David Crowther
Do you monitor your Display or display your Monitor?

The Colour Conundrum
By David Crowther
Why do we need colour management? Many have asked this question before, many still do and many are continuing to ask, "How can I just get it to look right or correct?" 

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