![]() In printing processes, the expansion of ink from halftone dots, known as tone value increase or dot gain, creates a non-linear relationship between the original and the finished print. for uncoated papers or other printing processes can be found at Grayscale and spot colors Since the newest version, Photoshop already brings along the currently correct color profile under the name “Europe ISO Coated FOGRA 27”. For these exercises, we assume that images in sheetfed offset should be printed on coated paper. Added to this is the strongly fluctuating size of the color spaces and the influence of different paper white points. ![]() Different black structures can produce completely different results. The problem here is that color space transformations between two different CMYK color spaces are always consistent. Here, the choice is not quite so clear, because depending on the later desired printing process and the paper used there could be set here another working color space. In addition to sRGB for the Internet, the ECI-RGB color space has excelled here for printing, especially because it is based on a color temperature of 5000K. When working with Photoshop, you should use the most media-neutral RGB color profile, so that the image can be displayed equally well on all output devices. The adaptation of the representation on the monitor can be regulated by a profile stored in the operating system. A problem, however, is that the working color space should not emulate a special monitor, but should be a media-neutral color space as possible. For historical reasons, AppleRGB and AdobeRGB have established themselves as the color space in prepress, especially in the Apple segment, whereby both color spaces are based on a fictitious monitor, which is no longer available. ![]() For working with images that are intended for the Internet, sRGB is certainly the color space of choice, as it has naturalized itself for this purpose as a quasi-standard through the back door. ![]()
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