黑版及总墨量限制对输出设备颜色表现能力的影响分析

CMYK减色成色体系中,黑版的加入及总墨量的不同会影响设备的颜色输出能力。利用自己开发的工具软件和色彩管理技术,从设备的ICC特性文件入手,求解了输出设备的三维色域体。比较了黑版产生、不同的产生方式,以及不同的总墨量限制下设备可输出的色域。结果表明,加入黑版后设备在暗色调的输出色域得到扩展;总墨量限制相同时,不同的黑版产生方式主要影响分色结果,对色域几乎没有影响;允许的总墨量大时,输出的色域则大,体现在暗色调区域颜色的增多,从380%到320%的总墨量变化,可造成暗色调2个单位的明度增加;而340%到320%的总墨量变化,色域差异则不明显。     

如何为打印输出优化PS的设置

使用Photoshop提供的色域警告等功能预防打印输出时可能出现的问题。我们的电脑能使用不同浓度的红、绿、蓝三色混合出数以百万的颜色,而打印机只能使用青、品、黄、黑等油墨模拟出数量有限的色彩。屏幕上可以显示,而无法通过打印机输出的颜色,被称为"超出色域范围"的颜色。     

彩神中国首创喷釉功能陶瓷喷印机四代新品璀璨绽放

中国首台具有喷釉功能的陶瓷喷墨印刷机---8色数字喷墨喷釉一体机诞生了！
　　这款精品的缔造者，正是几年前由广告喷绘领域挺进陶瓷喷印行业的跨界巨子---深圳市润天智数字设备股份有限公司（以下简称“彩神”）。     

对照片进行软打样

<正>在将照片输出之前,我们需要先查看画面中不可打印的颜色,并对其进行校正,使打印结果与屏幕显示更加接近,做到所见即所得的效果。软件准备:Lightroom 5.x学习目标:使用软打样模式判断画面中超出色域范围、无法使用打印机输出的颜色操作耗时:10分钟     

不同输出设备对数字阶调再现特性的影响

为了研究不同类型输出设备对数字输出阶调再现特性的影响,选用彩色喷墨打印机Epson R250、Epson 1390、Epson 7908和Canon iPF6350,彩色激光打印机Epson C8600和Hp 4700N,热升华打印机Canon730和Sony FP97等三类输出设备对数字输出阶调再现性能进行测试和比较,得出结论:彩色喷墨打印机在图像的亮调部分再现阶调能力优于彩色激光打印机,彩色激光打印机在图像的暗调部分再现阶调能力优于彩色喷墨打印机,热升华打印机的阶调层次再现能力较好且色域相对较大。     

sRGB颜色空间与显示器呈色

sRGB颜色空间是显示器呈色遵循的一个标准颜色空间,具有一定的颜色控制规律。出厂时的显示器在白场色温、光通道阶调曲线和色域等方面不一定与sRGB相符。校准技术可调整显示器的白场和阶调曲线,并与sRGB标准相符合,但不能根本上改变色域。环境光照对显示器的呈色构成影响。实验结果表明,对一般的显示器,当其屏幕表面的光照度达100lx以上时,会明显压缩光通道的暗色调颜色层次,并在该颜色部位减小色域。     

不同纸张对数字输出阶调特性的影响

为了了解不同纸张对数字输出阶调特性的影响,采用CorelDraw软件制作单色色阶测试版,选择常用的普通打印纸、一般照片纸和光泽照片纸在Epson Stylus Photo R250彩色喷墨打印机上进行输出,用DS分光光度仪对输出色阶进行CIEL*a*b*色度值的测量,用色彩管理软件为不同纸张制作特性文件,对不同纸张所能达到的数字输出阶调特性进行定量分析。针对选用的纸张进行测量后得出结论,输出色彩丰富的图像优选的纸张应是光泽照片纸,输出灰度层次丰富的图像可以选择普通打印纸。     

PVC在压延制品中的应用

介绍了PVC压延制品生产工艺及设备及其在粮食储藏膜、无滴大棚膜、喷绘广告布、水床膜、防渗土工膜、包装膜、地板革、人造革、炕布革、塑料抗菌制品等方面的应用。     

高效能面板整合光学系统关键技术

建立整合型分色光学膜技术与高效能背光源技术,发展高效益分色光学膜片与高效能背光模组,进而取代液晶显示器中彩色滤光片的使用,可节省建构彩色滤光片厂之昂贵资本投资。提高光效率,降低功率损耗。色序控制法以LED为背光源于液晶层后方,以不同的时序来表现颜色故不需要彩色滤光片。这种新颖整合型面板光源结合高效率LED背光源与色序法电路技术,并建立微结构制程的线上检测与离线微结构量测设备技术能量及智权,测量微纳米制程线上检测与精微检测能力,而达成高整合功能于平面显示器的目标。     

彩色显影及其机理

彩色感光材料是本世纪30年代分别由美国柯达(Kodak)公司和德国阿克发(Agfa)公司开始生产的。经过40余年的发展,在电影、工业、科技、空间、军事以及日常生活中获得了广泛的应用,质量、产量和品种都在迅速发展。现代彩色感光材料以减色法为基础生成彩色影像。我们所处的世界五光十色,红、橙、黄、绿、青、蓝、紫七色中红、绿、蓝三色是最基本的颜色,这三种颜色以不同的比例组合可以得到所有的颜色,我们将红、绿、蓝三色称为原色。彩色感光材料着眼于各种色光,通     

Let's call it “color‐gamut rendering”

The term “color gamut” historically has been associated with color output such as optimal color stimuli and additive and subtractive imaging systems. Recently, this term has been used with input devices such as scanners and digital cameras. It is proposed that the term “color‐gamut rendering” should be used instead of input devices. This clarifies the distinction between input (analysis) and output (synthesis) color systems in terms of the effect of an input system on defining the colorimetric properties of an output system. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 334–335, 2007     

Evaluation of expanded gamut software solutions for spot color reproduction

Expanded gamut printing is an approach in color reproduction that expands the color gamut of conventional CMYK printing processes via the use of additional colorants, such as Orange, Green, and Violet inks. This study evaluates the ability of commercial color management software to create an accurate solution for an expanded gamut printing system. In this study, two printing processes were used, an Epson SureColor P9000 inkjet printer/proofer and an HP Indigo 7900 digital production press, both with 7-color expanded gamut ink sets. Software solutions from Alwan, CGS ORIS, ColorLogic, GMG Color, Heidelberg, and Kodak were evaluated. The systems were tested to see how well they could reproduce the colors in the entire PANTONE+ Solid Coated spot color library. It is shown that the solutions are able to reproduce 89% to 94% of the spot colors on the Epson P9000 inkjet printer and 77% to 87% of the library on the Indigo 7900, both to less than two CIEDE2000 (a typical tolerance in label and packaging work). The number of color patches in expanded gamut characterization test charts was noted, as this is still an area of proprietary, nonstandardized working practice. There are many different colorant combinations that can make the same color in expanded gamut printing. The ink build created by the different software solutions was studied, as it relates to press stability through appropriate choice of colorants. Pantone and Adobe provide everyday commercial tools for expanded color workflows. The study identified some issues with products from these companies that could confuse a less-skilled user in a busy production environment. The conclusion of the study is that expanded gamut solutions for spot color printing produce totally acceptable results for digital printing processes; expanded gamut printing is ready, here and now. The findings show that expanded gamut printing can replace cumbersome conventional spot color workflows creating considerable savings and advantages, especially for label and packaging printers.     

Comparison of color gamuts among several types of paper with the same printing technology

In this work, we have studied the relationship among the colorimetric properties of different types of paper, having different finishing and grammage. Their color reproduction capability has also been analyzed by using the same printing technology (inkjet printing). On the one hand, we have plotted CIELAB data under the illuminant D50 into constant lightness and hue‐angle planes to be compared with MacAdam limits and with Pointer's real‐world surface color. On the other hand, we have calculated the volume gamut of the color solid associated to each color paper gamut. Analyzing the results, we have checked that there is not any clear relationship among the colorimetric properties of paper (for instance, CIE whiteness index, etc.) and the color gamut volume associated. However, the colorimetric parameters associated to the printed sample showed a quite good linear correlation between the minimum lightness (or the maximum blackness value) of the printed color chart and the color gamut volume. In particular, the greatest color gamut volume corresponds to the glossy papers taking into account this correlation for inkjet printing. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 330–336, 2009     

Try camera gamut again: Not for size,but for camera and profile evaluation

Hunt and Pointer call into question the utility of the camera color gamut (at least by my definition). Such doubt may be partly due to the connection of gamut with a size metric. Quite apart from gamut size, the sets that define my gamut definition are essential to the evaluation of digital cameras in conjunction with their profiles. The output‐device gamut; emphasized by Hunt and Pointer is also important, but appears at another stage of color management. © 2007 Wiley Periodicals, Inc. Col Res Appl, 33, 82–83, 2008     

数字中间片后期制作中的色彩管理

在色彩管理中使用LUT具有相当大的潜在应用价值。LUT是一个简单的数据结构,它把每一个输入值映射到相应的输出值,并且还可以确定视频硬件里每帧图像中每一个像素的数据值的大小。模仿和校正LUTs提供的转换,不但能保证多种显示器之间的匹配,而且在后期制作过程中还可以使显示的图像与胶片完美的匹配。介质中呈现的色彩组叫做色彩范围。电影正片的色彩范围与数字显示器的色彩范围具有不同的特性。数字中间片(DI)工艺有2种不同的图像编码方法:一种是使用DPX文件,其作用是进行输入和输出及表示底片密度,预览画面则需要显示LUT;另一种方法是不使用LUT而直接显示图像数据。图像数据显示的是显示器的色彩范围,而不是胶片的色彩范围。在记录到胶片上之前,数据需要转换成密度值。在制作DI过程中,可以模仿洗片厂配光工序,通过调节印片光号进行的色彩校正。本文从8个方面较详细的叙述了制作数字中间片时的色彩管理。