Color management. HP Designjet Z6200 1067mm Photo, Z6200

7 Color management

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What is color?

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The problem: color in the computer world

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The solution: color management

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Color and your printer

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A summary of the color-management process

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Color calibration

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Color profiling

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Color-management options

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Color-adjustment options

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HP Professional PANTONE* Emulation

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Color emulation modes

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What is color?

We see the world around us as steeped in color. Color is in the first instance simply an aspect of how we experience our environment and is therefore subjective. Our color experiences are closely related to brain activity that is triggered by signals that our eyes send to it. These signals undergo a complex and highly interlinked sequence of processing stages that make the relationship between what our eyes emit and what we experience anything but direct. The signals sent by the eye depend on the light-sensitive cells that line the back of our eyes, and they belong to three types, each sensitive to electromagnetic radiation of different physical properties (wavelengths). Such electromagnetic radiation is called light and objects appear to have certain colors because of how the objects interact with light (by emission, reflection, absorption, transmission, scattering, etc.).

Our individual experiences of color are also affected by our previous experiences and memories and by the way in which we put our experiences into language. Finally, environmental factors such as changes in lighting, scene content, or the proximity of other colors also have an effect, which makes the way in which we view a given display or print an essential part of the colors we see. Differences in all these aspects (from physiological differences between people, to differences in their past experiences, memories and linguistic tendencies) can result in people talking about colors differently even in response to the same light reflected from an single object. However, many similarities exist between how individuals experience color. You can make very specific judgments about color that others will also agree with when care is taken in the process. In conclusion we can say that color results from the interaction between light, objects, and a viewer, which makes it a very complex and to a large degree subjective phenomenon.

The problem: color in the computer world

Color-imaging devices such as printers, displays, projectors, and televisions create colors by using different methods and materials (colorants). Displays, for instance, use colorants that emit red (long wavelength), green (medium wavelength), and blue (short wavelength) light. A white color requires all three colorants and black requires that none of them be used (i.e. that no light be emitted). Devices that use light-emitting colorants are called additive, because the light from them is added together before it enters a viewer’s eyes. Printers, on the other hand, use materials that absorb parts of the light that shines on them. They are called subtractive. Typical prints use cyan (red absorbing), magenta (green absorbing), and yellow (blue absorbing) inks and an additional black ink that absorbs light at all wavelengths. To get white using a printer requires not absorbing any of the light that illuminates a piece of paper and to get black, all of the inks need to be used to absorb all of the light that is present.

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To control the output of color imaging devices, the following color spaces are normally used:

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RGB (Red, Green, and Blue) is the color space typically used for additive devices. A color is represented as a combination of specific quantities of red, green, and blue colorants that create the range of colors (color gamut) in the device.

NOTE:

Colors in subtractive devices can also be controlled by using RGB data. Especially when control over the printer’s black ink is unnecessary, this is an efficient option.

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CMYK (Cyan, Magenta, Yellow, and Black) is the color space for subtractive devices, such as printers or presses. A color is represented as a combination of cyan, magenta, yellow, and black (K) inks, and combinations provide the entire range of colors in the device.

Color spaces are only methods of controlling different color-imaging devices. They do not describe colors directly. The same CMYK values, for example, create different colors when sent to different printers that use different inks and paper types. For example, consider a printer that can use indoor inks or outdoor inks. The printer (hardware) is the same, but it has two different color gamuts due to the different chemistry of the inks (dye-based versus pigmented). Furthermore, they need to work with different paper types, as ink interaction with the paper depends on its chemistry. Thus, the colors resulting from given CMYK values depend on the types of inks and papers that you use with a printer. If this is the case using the same printer, you can easily imagine how different results can be obtained with printers using different technologies and therefore using different ink chemistry.

The same happens with RGB-controlled devices. For example, imagine that two different monitors from the same manufacturer have their white points at 9600 K and 6500 K, respectively. Their colors are going to be different because they will be related to a different white point reference. The situation varies even more among monitors from different manufacturers. To emulate the standard color temperature of the graphic-arts industry, set the white point of your monitor to 5000 K (also called

D50).

NOTE:

The white point is the brightest neutral color that a device can reproduce or that is present in an image. The human visual system automatically adapts to the content of an image based on its white point.

Different devices do not give access to the same color gamuts: some colors that can be shown on a display cannot be matched in print, and vice versa. The following figure illustrates how the human eye perceives a larger range of colors than a typical display or printer. It also shows that the color gamuts in two different types of color-imaging devices do not match each other.

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1.

All colors

2.

Computer monitor gamut

3.

CMYK press gamut

Some color spaces are not device-dependent, but instead represent how a viewer sees colors, such as

CIE Lab or CIECAM02. These color spaces are defined by the CIE (Commission Internationale de l’Éclairage). The advantage of these spaces is that if two objects have the same CIELAB values, they look the same when viewed under the same conditions. Values in these spaces can be obtained from measuring the light emitted or reflected by an object.

The solution: color management

Many colors from an RGB-controlled device cannot be reproduced in a CMYK-controlled device, and vice versa. These colors are called “out-of-gamut” colors.

1.

Describe the color behavior of a device as accurately as possible by using an ICC

profile. The color behavior of a device can be described by taking various RGB or CMYK combinations, sending them to a device, measuring the resulting output, and expressing it in a device-independent color space (for example, CIE Lab). The resulting relationship is stored in an

ICC profile, which is a standard file that translates the color space of a device(CMYK or RGB) to a device-independent color space (for example CIE Lab). The process of generating an ICC profile is called profiling.

2.

Convert colors as effectively as possible by using a Color Management System

(CMS). A CMS is software that uses information from ICC profiles to transform the color space of one device (defined by a source profile) into the color space of another device (defined by a destination profile). In this solution, difficulties arise with the colors that exist in the gamut that one device uses and that the other does not use.

The following four settings describe a CMS:

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● CMS: Color Management System. The software that converts the color information that is stored in the input image (defined by a source profile) into an output image that has the color space specified by a destination profile. Many different CMSs are on the market: in software programs, in operating systems, and in printing software, including the Z6200 internal RIP.

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Source profile: a description of the color behavior of the input device

● Destination profile: a description of the color behavior of the output device

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Rendering intent: the most difficult challenge in color management is when a color in the source gamut does not correspond directly to a color in the destination gamut. When a perfect match is not possible, choices must be made about how to treat gamut differences. These choices are called rendering intent. There are four different possibilities depending on the final output that you want to achieve.

◦

Use Perceptual for the most pleasing final output. It is suitable for photographic content.

◦

Use Saturation for vivid final output. It is suitable for business graphics (charts, presentations, and so on), but is not recommended for color matching.

◦

Use Relative Colorimetric for press proofing. This rendering intent provides a match for colors that are inside both the source and destination gamuts, and minimizes differences when a match is not possible.

◦

Use Absolute Colorimetric for press proofing (like Relative Colorimetric), when you also want to simulate the color of the source’s paper.

The following are the most commonly used device color spaces and profiles:

●

RGB mode:

◦

sRGB (sRGB IEC61966-2.1): for images that typically originate from consumer digital cameras and scanners and from the Web

◦ Adobe® RGB (1998): for images that typically originate from professional digital cameras

◦

Specific RGB device space: for images that are coming from or going to a specific RGB device that has been profiled

● CMYK mode:

◦ SWOP: Specifications for Web Offset Publications, a set of press standards that have been defined for a typical U.S. press and for different types of paper stock

◦ ISO 12647-2: a set of press standards that have been defined by the International

Standards Organization for different types of paper. Some examples of the definitions include Coated, Uncoated, and so on.

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Other regional standards: Euroscale, JMPA, Japan Color

◦

Specific CMYK device space: for images that are coming from or going to a specific

CMYK device that has been profiled.

Color and your printer

As a creative professional, predictable and dependable results from your printer are essential to getting your job done. Predictability is a key element of an efficient color workflow. You need prints that match your expectations and that generate neutral grays and correct colors on your selected paper, print-toprint and printer-to-printer. Dependability ensures that every print is free of print-quality defects and ready to use or send to your customer. You save time and effort and avoid wasting ink and paper, and you can meet demanding production schedules with confidence.

The Z6200 printers have been engineered with advanced hardware and driver features to ensure predictable and dependable results, and offer dramatic improvements in efficiency and control for your color workflow.

HP Embedded Spectrophotometer

The Z6200 printer series revolutionizes professional color workflows by using a built-in spectrophotometer for color calibration and profiling.

A spectrophotometer is a precision instrument that can determine the exact composition of the light that is reflected from a color patch. It splits the reflected light into different wavelength components and measures the strength of each component. The HP Embedded Spectrophotometer is mounted on the printhead carriage.

The Z6200 printers use the spectrophotometer to generate custom ICC profiles automatically for your preferred paper types. It then calibrates the printers to deliver print-to-print and printer-to-printer consistency with less than half the color error of earlier HP Designjets, under all environmental conditions, and even on unknown (not factory-profiled) paper types. A built-in white calibration tile, which is protected by an automatic shutter, ensures reliable measurements that meet international standards.

The printer, color-imaging pipeline, and professional-quality spectrophotometer with GretagMacbeth i1 color technology are integrated with the HP Color Center software for the Z6200. Giving the calibration and profiling processes direct access to the writing system allows precise control of ink levels and color separations for each printed color patch. The automated measurement process eliminates the need to handle the test print, provides repeatable drying times, and allows fast measurements with precise electromechanical positioning of the spectrophotometer over the color patch. This provides unprecedented ease of use and matches or exceeds the performance of more expensive offline, handheld profiling systems.

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A summary of the color-management process

To get the accurate and consistent colors that you want, follow these steps for each paper type that you use.

1.

If the printer does not recognize your paper type, add the type to the printer's list of known

papers. See Use non-HP paper on page 48 . Typical users might add a few custom paper types

every year.

2.

Color-calibrate the paper type to ensure consistent colors. Perform this calibration when a printer alert recommends this calibration (typically, every few weeks for each paper type you use). In addition, calibrate immediately before a particularly important print job in which color consistency is vital.

3.

Color-profile the paper type to ensure accurate colors. Profiling does not normally need to be repeated; after you have a profile for a particular paper type, you can continue to use it.

However, re-profiling does no harm, and some users repeat the profiling process every month to ensure that the profile is up-to-date.

4.

When printing, select the correct color profile for the paper type that you are using.

Paper types that are defined in the printer also have color profiles stored in the printer. However, HP recommends that you calibrate the paper before using it.

If you define a new paper type, the printer automatically leads you through calibration and profiling.

The following diagram shows the operations that the HP Color Center performs, in order.

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NOTE:

You can perform all three operations in sequence, as shown. You can also choose to start with or stop after any of the three operations. However, color calibration is performed automatically after you add a new paper type.

Color calibration

Your printer uses color calibration to produce consistent colors with the specific printheads, inks, and paper type that you are using, and in your particular environmental conditions. After color calibration, you can expect to get identical prints from any two different printers that are situated in different geographical locations.

Calibration should be done in any of the following circumstances:

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Whenever a printhead is replaced

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Whenever a new paper type is introduced that has not yet been calibrated with the current set of printheads

● Whenever a certain amount of printing has been done since the last calibration

● Whenever the printer has been turned off for a long period of time

● Whenever the environmental conditions (temperature and humidity) change significantly

The printer usually reminds you with an alert whenever you need to perform color calibration, unless you have disabled the alerts. However, if the environmental conditions change, the printer will not be aware of it.

You can check the color calibration status of the currently loaded paper at any time by selecting the

icon, then View loaded paper. The status can be one of the following conditions:

● Pending: the paper has not been calibrated

NOTE:

Whenever you update the printer's firmware, the color calibration status of all papers is

reset to PENDING. See Update the printer firmware on page 138

.

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Recommend: the printer software recommends that you calibrate the printer because it has recognized a condition that might require calibration

● Obsolete: the paper has been calibrated, but the calibration is now out of date and should be repeated

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OK: the paper has been calibrated, and the calibration is up to date

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Disabled: this paper cannot be calibrated

NOTE:

Colored papers; glossy canvas; and transparent materials such as translucent bond, clear film, tracing paper; and vellum are not suitable for color calibration.

You can also check the color calibration status by using the HP Utility.

Calibrate a paper type before creating its color profile. Later recalibration does not require a new color profile.

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You can start color calibration in the following ways:

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From the printer alert that recommends calibration

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From the HP Color Center: select Calibrate Your Printer

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From the front panel: select the icon, then Calibrate color

After launching calibration, the process is fully automatic and can be performed unattended after you have loaded appropriate paper. The paper must be at least 24 inches wide.

The process takes about 8 minutes and consists of the following steps.

1.

A calibration test chart is printed, which contains patches of each ink that your printer uses.

2.

To stabilize the colors, the test chart dries for a period of time that depends on the paper type.

3.

The HP Embedded Spectrophotometer scans and measures the test chart.

4.

The printer uses the measurements to calculate the necessary correction factors for consistent color printing on that paper type. It also calculates the maximum amount of each ink that can be applied to the paper.

Color profiling

NOTE:

Color profiling information applies only to PostScript printers.

Color calibration provides consistent colors, but consistent colors are not necessarily accurate colors.

In order to print accurate colors, convert the color values in your files to the color values that will produce the correct colors when using your printer, your inks, and your paper. An ICC color profile is a description of a printer, ink, and paper combination that contains all the information for these color conversions.

When you have defined and calibrated a new paper type, the printer is ready to create a ICC profile for use with your paper, which allows you to print on it with the best possible color accuracy.

Alternatively, if your paper type is already known to the printer, you already have its appropriate ICC profile.

Create your own profile

Create a color profile easily by using the HP Color Center to select Create and Install ICC Profile.

The printer prompts for information about the paper, and then creates and installs the new profile automatically.

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The process takes about 15 to 20 minutes and consists of the following steps.

1.

A profiling test chart is printed, which contains patches of each ink used in your printer. Unlike a calibration test chart, most of the patches contain combinations of ink.

NOTE:

To use a longer drying time, instruct the HP Color Center to create the test chart without creating a profile (Windows: select Print target only; Mac OS: select Print ICC profiling

chart). Later, when the chart is completely dry, restart the HP Color Center and request a profile that uses the test chart that you have already created (Windows: select Create ICC profile

from a target that has already been printed; Mac OS: select Scan ICC profiling

chart and create ICC profile). The scan will begin after the spectrophotometer warms up.

2.

The HP Embedded Spectrophotometer scans and measures the test chart.

3.

The printer uses the measurements to calculate the necessary correction factors for consistent color printing on that paper type. It also calculates the maximum amount of each ink that can be applied to the paper.

4.

The new ICC profile is stored in the correct system folder on your computer, where your software programs can find it.

The profile is also stored in the printer so other computers that are connected to the same printer can copy it. A profile can be accessed and used as soon as a job is submitted from the Embedded

Web Server. The HP Utility will notify you if your printer has profiles that are not yet stored on your computer.

NOTE:

You might need to quit and restart some programs in order to use a profile that has just been created.

Use a third-party profile

If you have obtained an ICC profile through means other than using the printer’s built-in profiling software (for instance from an Internet download or a third-party profiling software package), you can install it for use with your printer and paper.

The printer needs to know which paper type the profile corresponds to. First select a paper type from the list of papers that the printer recognizes. When selecting a paper type, try to pick one that resembles your actual paper type as closely as possible. The paper type determines the amount of ink that is used and other basic printing parameters, so making a good choice here is fundamental to achieving good results later on. If you find that you cannot obtain satisfactory results with the profile and paper type that you picked, try selecting different types, and use the one that works best.

If the paper that you are using is not listed, or if you cannot find a paper type that resembles yours closely enough, you can define a new type. See

Use non-HP paper on page 48

. The printer then calibrates itself for use with that paper, after which you can return to installing the ICC profile.

After you have selected the paper type, browse to the file that contains the ICC profile to use with your printer and paper. Normally, ICC profile file names end in the extension “.icc” (for International Color

Consortium) or “.icm” (for Image Color Matching). The profile is stored in the correct system folder on your computer, and in the printer.

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Profile your monitor

Also calibrate and profile your monitor (display device), so that the colors you see on the screen relate more closely to those that you see on your prints. In the HP Color Center, select How To Calibrate

Your Display for further information.

Color-management options

The aim of color management is to reproduce colors as accurately as possible on all devices: so that, when you print an image, you see very similar colors as when you view the same image on your monitor.

There are two basic approaches to color management for your printer:

●

Application-Managed Colors: in this case your application program must convert the colors of your image to the color space of your printer and paper type, using the ICC profile embedded in the image and the ICC profile of your printer and paper type.

● Printer-Managed Colors: in this case your application program sends your image to the printer without any color conversion, and the printer converts the colors to its own color space. The details of this process depend on the graphics language that you are using.

◦ PostScript: the PostScript interpreter module inside the printer performs the color conversion using the profiles stored in the printer (including those generated by the HP Color Center) and any additional profiles sent with the PostScript job. This kind of color management is done when you are using the PostScript driver and you specify printer color management or when you send a PostScript, PDF, TIFF or JPEG file directly to the printer through the Embedded

Web Server. In either case you have to select the profiles to use as default (in case the job doesn't specify any).

◦

Non-PostScript (HP-GL/2, RTL): the color management is done using a set of stored ICC profiles. This method is somewhat less versatile than the previous methods, but is a little simpler and faster, and can produce good results with standard HP paper types. This kind of color management is done when you are using a non-PostScript driver and you specify printer color management.

There are only two color spaces that the printer can convert to its own color space using the stored profiles: Adobe RGB and sRGB.

You are recommended to consult the Knowledge Center at http://www.hp.com/go/Z6200/ knowledgecenter/ to see how to use the color management options of your particular application.

To choose between Application-Managed Colors and Printer-Managed Colors:

●

In the Windows driver dialog: select the Color tab.

● In the Mac OS Print dialog: select the Color Options panel.

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In some applications: you can make this choice in the application.

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Color management example with Photoshop

In this example, you have an Adobe RGB image that you want to print from Photoshop. There are three ways of doing it.

● Select Let Photoshop determine colors in Photoshop. Select Application-Managed

Colors in the printer driver. Color management is done in Photoshop. This is the recommended way.

●

Select Let printer determine colors in Photoshop. Select Printer-Managed Colors and the sRGB profile in the printer driver. Photoshop converts the image from Adobe RGB to sRGB and sends it to the printer. Color management is done in the printer. Unfortunately, conversion to sRGB results in a loss of gamut, but Photoshop cannot be prevented from converting to sRGB when Let

printer determine colors is selected.

●

Select No color management in Photoshop. Select Printer-Managed Colors and the

AdobeRGB profile in the printer driver. Photoshop does not perform any conversion, there is no loss of gamut, and color management is done in the printer. However, this method will not work if you are using synchronized color management in Photoshop (see below).

Synchronized color management with Photoshop

If you are using Adobe Photoshop CS2 for Mac OS, or Adobe Photoshop CS3 for Windows, or later versions, the color management options can be automatically synchronized between Photoshop and the driver.

●

If you select Let Photoshop determine colors or No color management in Photoshop,

Application-Managed Colors is automatically selected in the driver.

●

If you select Let printer determine colors in Photoshop, Printer-Managed Colors is automatically selected in the driver. The PostScript driver will use the color profile attached to the job by Photoshop.

To enable this Photoshop synchronization under Windows XP, you must download and install the following free software packages from Microsoft's Web site:

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Microsoft Core XML Services (MSXML) 6.0

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Microsoft XML Paper Specification Essentials Pack 1.0

Color-adjustment options

The aim of color management is to print accurate colors. If you perform color management correctly, then you should be able to print accurate colors with no need of any manual color adjustments.

However, manual adjustments may be useful in the following situations:

●

If your color management is not working correctly for some reason

●

If you want colors that are subjectively pleasing rather than accurate

The printer driver provides different adjustment facilities depending on whether you are printing in color or in grayscale. If you are printing in pure black and white, there are no color adjustment options.

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Printing in color

You can adjust the colors of your print in similar ways under Windows and Mac OS:

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In the Windows driver dialog: select the Color tab, ensure that the Advanced color

adjustments box is checked, then press the Settings button beside it.

●

In the Mac OS X 10.5 or 10.6 Print dialog: select the Color Options panel, select Color from the Mode list, then press the Adjust button.

●

In the Mac OS X 10.4 Print dialog: select the Color Options panel, then Lightness and

Hue.

Under either operating system, you will then be able to make adjustments using a lightness slider and three color sliders.

●

The lightness slider simply makes the whole print lighter or darker.

●

The color sliders can be used to fade or emphasize each of the primary colors in the print. The primary colors may be red, green and blue; or cyan, magenta and yellow; depending on the color model used in the image.

The Reset All button restores each slider to its default central position.

Printing in grayscale

You can adjust the gray balance of your print in similar ways under Windows and Mac OS:

●

In the Windows driver dialog: select the Color tab, ensure that the Advanced color

adjustments box is checked, then press the Settings button beside it.

●

In the Mac OS X 10.5 and 10.6 Print dialog: select the Color Options panel, select

Grayscale from the Mode list, then press the Adjust button.

●

In the Mac OS X 10.4 Print dialog: select the Color Options panel, then Print in

Grayscale, then the Gray balance tab.

Under either operating system, you will then be able to make adjustments using separate controls for highlights, midtones and shadows.

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● The lightness slider simply makes the whole print lighter or darker. This slider is available in the same window as the other grayscale controls, except under Mac OS X 10.4, where it is available by selecting Lightness and Hue.

●

The zone definition sliders can be used to define what you mean by highlight, midtone and shadow.

●

The other controls for highlight, midtone and shadow can be used to adjust the gray balance of highlights, midtones and shadows respectively.

The Reset All button restores each control to its default setting.

HP Professional PANTONE* Emulation

When you use a named PANTONE* color in an image, your software program normally sends a

CMYK or RGB approximation to that color to the printer. However, instead of taking the printer or the paper type into account, the software merely produces a generic approximation of the PANTONE* color, that looks different on different printers and on different papers.

HP Professional PANTONE* Emulation takes into account the characteristics of the printer and the paper type. The results look as similar to the original PANTONE* colors as is possible on a given printer using a given paper type. This technology is designed to produce emulations that are similar to those that prepress professionals establish.

To use HP Professional PANTONE* Emulation, just turn it on.

● With the Windows PostScript printer driver: click the Color tab, and then select HP

Professional PANTONE Emulation.

● With a Mac OS printer driver: select the Color Options panel, and then select HP

Professional PANTONE Emulation.

● Through the Embedded Web Server: select the Submit Job page, and then select Color > HP

Professional PANTONE Emulation.

●

On the front panel: select the icon, and then select Printing preferences > Color

options > HP Professional PANTONE Emulation.

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NOTE:

HP Professional PANTONE* Emulation is available only when printing a PostScript or PDF job.

You can also use the Embedded Web Server to print a swatch book that shows emulations of

PANTONE* colors from your printer, along with a measure of the color difference (ΔE) between each emulation and the original PANTONE* spot color. HP Professional PANTONE* Emulation not only provides the closest match that can be achieved on your printer; but also provides clear information about how close the emulation is to the original spot color.

To print a swatch book, click the Embedded Web Server Main tab, and then select HP Professional

PANTONE* Emulation. Select the PANTONE* stock to emulate, and then select the PANTONE* colors that you want to print. When you have selected all the colors that you want, click the Print button.

Color emulation modes

If you want to print a particular print job and to see approximately the same colors that you would get from printing the same job on a different HP Designjet series printer, use the printer's emulation mode.

● In the Windows driver: click the Color tab, select Printer Managed Colors, and then select

Printer Emulation from the Source profile drop-down menu. Then select from the Emulated

printer drop-down menu.

● In the Mac OS Print dialog box: select the Color Options panel, and then select from the Printer

Emulation list.

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●

On the front panel: select the

options > Emulate Printer.

icon, and then select Printing preferences > Color

● Through the Embedded Web Server: select the Submit Job page, and then Job settings >

Advanced settings > Color > Color management and the desired emulation mode.

You can emulate the following printers:

●

HP Designjet 5500 Dye series

●

HP Designjet Z6100

The following table shows approved combinations of print-quality settings and papers for the best printer-emulation results.

Best

HP Premium Instant-Dry Gloss Photo Paper

HP Universal Instant-Dry Photo Gloss

HP Heavyweight Coated Paper

HP Coated Paper

Yes

HP Bright White Inkjet Bond Paper

Yes

Yes

Yes

Yes

Normal

Yes

Yes

Yes

Yes

Yes

Fast

No

No

Yes

Yes

Yes

CMYK color emulation

All CMYK emulation options apply to PDF, PostScript, TIFF, and JPEG files only.

A traditional workflow defines color in the CMYK space. For best results, the colors must be adjusted to the printer, because different printers will produce different colors from the same CMYK data. If the image file that you are printing was not created specifically for your printer, it will require some readjustment, which can be done using one of the following options provided with your printer:

● None (Native): no emulation. The printer will use its default internal conversion from CMYK to

RGB, without following any color standard. This does not imply that results will be bad.

●

ISO Coated 2-ECI is based on the characterization dataset FOGRA39L.txt, applicable to the following reference printing conditions according to the international standard ISO

12647-2:2004/Amd 1: commercial and specialty offset, paper type 1 and 2, gloss or matt coated paper, positive plates, tone value increase curves A (CMY) and B (K), white backing.

●

Coated GRACoL 2006-ISO12647 provides GRACoL proofing and printing on Grade 1 coated paper, ISO 12647-2 Paper type 1.

●

PSO Uncoated ISO12647-ECI is based on the characterization data set FOGRA47L.txt, applicable to the following reference printing condition according to the international standards

ISO 12647- 2:2004 and ISO 12647-2:2004/Amd 1:2007: commercial and specialty offset, paper type 4, uncoated white paper, positive plates, tone value increase curves C (CMY) and D

(K), white backing.

●

PSO LWC Improved-ECI is based on the characterization data set FOGRA45L.txt, applicable to the following reference printing condition according to the international standards ISO

12647-2:2004 and ISO 12647-2:2004/Amd 1:2007: commercial and specialty offset, improved LWC paper (light weight coating), positive plates, tone value increase curves B (CMY) and C (K), white backing.

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●

Web Coated SWOP 2006 Grade 3 provides SWOP® proofing and printing on U.S. Grade

3 coated publication paper.

●

Web Coated SWOP 2006 Grade 5 provides SWOP® proofing and printing on U.S. Grade

5 coated publication paper.

● U.S. Sheetfed Coated 2 uses specifications designed to produce quality separations using U.S.

inks under the following printing conditions: 350% total area of ink coverage, negative plate, bright white offset stock.

●

U.S. Sheetfed Uncoated 2 uses specifications designed to produce quality separations using

U.S. inks under the following printing conditions: 260% total area of ink coverage, negative plate, uncoated white offset stock.

●

U.S. Web Coated (SWOP) 2 uses specifications designed to produce quality separations using U.S. inks under the following printing conditions: 300% total area of ink coverage, negative plate, coated publication-grade stock.

●

U.S. Web Uncoated 2 uses specifications designed to produce quality separations using U.S.

inks under the following printing conditions: 260% total area of ink coverage, negative plate, uncoated white offset stock.

● Euroscale Uncoated 2 uses specifications designed to produce quality separations using

Euroscale inks under the following printing conditions: 260% total area of ink coverage, positive plate, uncoated white offset stock.

●

Japan Web Coated (Ad) uses specifications developed by the Japan Magazine Publisher

Association for digital proofing of images in the Japanese magazine/advertising market.

● Japan Color 2001 Coated uses the Japan Color 2001 specification for type 3 (coated) paper.

It is designed to produce quality separations using 350% total ink coverage, positive film and coated paper.

●

Japan Color 2001 Uncoated uses the Japan Color 2001 specification for type 4 (uncoated) paper. It is designed to produce quality separations using 310% total ink coverage, positive film and uncoated paper.

●

Japan Color 2002 Newspaper uses the Japan Color 2002 for Newspapers specification. It is designed to produce quality separations using 240% total ink coverage, positive film and standard newsprint paper.

●

Japan Color 2003 WebCoated is for type 3 coated paper. It is designed to produce quality separations for standard ISO printing using 320% total ink coverage, positive film, and coated paper on heat-set web offset presses.

● JMPA: Japanese standard for offset press.

●

Toyo is designed to produce quality separations for Toyo printing presses.

●

DIC is designed to produce quality separations for Dainippon Ink Company printing presses.

NOTE:

These options have no effect if the software defines its own CMYK space, known as calibrated CMYK or CIEBasedDEFG in PostScript terminology.

RGB color emulation

These options apply to PDF, PostScript, TIFF, and JPEG files. For HP-GL/2 and RTL files, only sRGB and

AdobeRGB are supported.

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If you want to print an RGB image, it must be converted to CMYK data. You might be able to do the conversion in the software or operating system. To perform this conversion on the printer, use the following color profiles:

●

None (Native): no emulation. The printer uses its default internal conversion from RGB to

CMYK, without following any color standard. This does not imply that results will be bad.

●

sRGB IEC61966-2.1 emulates the characteristics of the average PC monitor. This standard space is endorsed by many hardware and software manufacturers, and is becoming the default color space for many scanners, printers, and software programs.

●

ColorMatch RGB emulates the native color space of Radius Pressview monitors. This space provides a smaller gamut alternative to Adobe RGB (1998) for print-production work.

●

Apple RGB emulates the characteristics of the average Apple monitor, and is used by a variety of desktop publishing applications. Use this space for files that you plan to display on Apple monitors, or for working with old desktop publishing files.

●

Adobe RGB (1998) provides a fairly large gamut of RGB colors. Use this space if you need to do print-production work that includes a broad range of colors.

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Color emulation modes

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