Scribd Logo
Hochladen

Willkommen bei Scribd!

  • Color Managementfor Designers

    Hochgeladen von

    laroussi slah
    14 Ansichten6 Seiten
    color management

    Originaltitel

    ColorManagementforDesigners

    Copyright

    © © All Rights Reserved

    Verfügbare Formate

    PDF oder online auf Scribd lesen

    Stufen Sie dieses Dokument als nützlich ein?

    Sind diese Inhalte unangemessen?

    Dieses Dokument melden
    color management

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    14 Ansichten6 Seiten

    Color Managementfor Designers

    Hochgeladen von

    laroussi slah
    color management

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 6
    >) anagement J for Designers and Photographers It's just a matter of picking the right options in Photoshop C53 Color... management—may be two of the mostftighten- ing words uttered in all of digital imaging, But color management isnt inherently more difficultto understand than image resolution or cal- culations. Fist, understanding some fundamental concepts is essential; then it's just a matter of choosing the correct options within Adobe Photo- shop C53, based on your ultimate image-processing goals. So, welll start with color theory. Don't worry! promise this wl be equation free. > Why do we need color management? ‘urcomputes only understand the linguage ofnmbers:series of sands does mater youre viewing webpage pes: sheet orafl-oorimagelnPhotosop, our compure smo operates onsets ofthese vakes Number alone dort provide enoughnfrmaton to desc how acl should appt however. (You might get spesing tit ftlyouthe speed ints 95 addon el you whether ts miles rlometr pe hou) Not nb do we need clo numbers ‘we ao need the aleof the numbers, For example 98,678,890 has ahighered vate than reenorbueYourigh guests re dishclr buthon ed Worse, same ef colorrumbes often produces ferent cl apperanc van tio es. > It’s number management, that’s all Using Photoshop's ColorPicker you can define the most saturated ‘green by typingin 0, 255,80. Photoshop associates these values te something called acolo space" which provides a scale for these ‘umber bated on human vison ‘Thehorseshoe-shaped ilustraton fa two-dimensional plot of allthe colors that humans can see based onthe vsble spectrum (Gememberissac Newtor?).I'sthe color space of human vision and within that scale, we can plotall other color spaces. We plotted two color spaces: sRGB and Adobe RGB (1998). Notice that the most saturated green ofboth color spaces fll onto two df= ferentocatons The same set of numbers—P, G255,8:0—produces ‘wo ferent colors of green Photoshop can oly clspay these coors correctly once t knows the numbers and the calethe colorspace! As plotted, Adobe RGB (1998) holds more volume than sRGB. The size ofthe color space isclledits colo gamut" and the entire horseshoe- shaped plot represents the gamut ofhuman vison Some wavelengths of ight energy fll outside tis plot and we can't see ° a them, because they‘ invisible, And there are colors in Adobe RGB (1998) hatfal outside the colorspace ofsAGB: These colors are out ‘of gamut. Acolorspace defines the numbers, scale and gamut of all the devices that wel work with—Input devices, displays and output devices —andall ofthese devices produce colors diferent. They have adliferent shaped and sized color gam, primarily because of their ferences in colorants, suchas inks toners, iver media, the fuorecent ight inside your LCD, or anything used to reproduce color. Each printer requires different set of FG8 or CMYK values (olor spaces to preducethe same colo To keep track ofthese unique color spaces for our devices, we use ICC device profiles, which define the color pace ofall the capture and output devices we hope to color- ‘manage by defining the numbers, The key to color management (really eumber management so use ICC profiles forall devices and documents use within Photoshop > Correct color previews For Photoshop to provide corect color previewsfall documents, reeds access to two ICC pris the fist of which defines how our loplay behaves. The other prof defines the colorspace ofalthe clocuments well work wth. Wot kscrticalthavea hardware solu tion that ean egularly calibrate and profile your display) Forinstance, when an image s defined as sRGB or Adobe RGB (1998 Photeshop understand the scale ofthe coor numbersof that Clocument and hens the display profleto preview these numbers correct. When Photoshop encounters adocumert that doesnt have an embeded CC profile’ forced to guess the colorspace of these numbers which can esultin incorrect color previews: You nay ew animage that appeastoo dark or has color cas. Photoshop Isto workearecty you should have acabvated and profed display and also ensure that all your documents have an embedded CC prof defining the coor numbers prope ‘Adobe RGB (1998) Primaries: ‘sRGB Primaries Horseshoe shaped plot (leis the colorspace (gamut) of human vison. Arig sRGB and Adobe RGB (1998) color spaces, Management _for Designers afd Photographers | seman ore chery es | envi eons Canvas Size, XC teu $f teonichene | The AC ofthe Color Seringsclalog:A toggles olother stings where you speci your preferred edting color space ‘and Chas importane warning checkboxes, such os Profle Mismatch dog. > Color management in Photoshop CS3 There ate Five kay areas in Photorhop to contol color management from input pin Color Settings, Asign Profle, Convert a Profi, Cstrze Proof Condon, and Pin. Ene chaptesin books have been ten to describe these dilogsbut, gente space constaets wy to give youn overvew of what each does. ColorSettings The mos complex alg wel amine Color Setings Eit>Color Settings or res Shift: Command-K PC: Shif-Cu-KI. The top three sections ofthe log —Setings, Working Spaces and Color Manage ‘ment Pocies—are the most mportatto understand and configure. Settings provides a pop-up menu with presets that controll the other itemsin this alo, Wot: You can create your own pre- setsas well Italy, most users etitto North America Prepress 2 asthese are sfe default settings. Once you havea beter concept ‘of how the color etings work, you can alter them and save your ‘own preset ‘The Working paces pop-up menusare avaiable forthe diferent «olormodels—RGB, CMYK, Grayscale and Spot—and provide the same functionality tell Photoshop which working lediting) space you prefer In our example, RGBis set to Adobe RGB 1998), sowere tel Ing Photoshop that this the AB colorspace we prefer to use. Thisdoesnt limit usto working wth ater colorspacesi’soniya preference. For CMYK. our eting indicates we peferto use aS. Web Coated (SWOP) 2 profile for cur YK work Photoshop now "knows" tha these are the document color spaces well use most often but more important Photoshop opens 2 dacumene that hat no embedded profile itwiluse this colorspace forthe scale ofthe numiersin these untagged mages. Photoshop alvays hast know ‘orassume a colorspace fr the numbers in ll documents. lfsomeone provides you wth an RGB document with no embed- dee prole, Photoshop wil assume that the color spaces Adobe RGB. (0998) and preview those numbers sf they wer in that colorspace. ‘Thedocument may not bein this colorspace and as you'llsee below, we an handle that using the Asign Profle command (Formore information on Wocking Spaces, see ‘The Role of Work: Ing Spacesin Adobe Applications t www adobecomidiitalimeg/ psiphscsdip_colspacepdt) Inthe Color Management Poles section, I's good Idea to keep your color policies set to Preserve Embedded Proflesto ensure that wen opening document, youll maintain its origina colorspace. f the document’ colorspace matches the colorspace selected in your color stings, the document ust opens but ft doesnt match, an Embedded Profile Mismatch warring dalog pops un.Justclick OKto allow this document to open nits orignal colorspace, previewing as originally intended. Our example shows that we'e trying toopen a len ColotMatch RGB and our prefered working space is Adobe RGB (1998, Because ofthe Preserve Embedded Profiles color man- agement policy Photoshop wll open and preview the document as ‘originally intended —in ColerMatch RGB. naa Color g [Atthebottom of this section, checkall the Profile Mismatches. boxes (unt you'r totaly comfortable withthe color setting). Photoshop will now inform you when youre opening documents ‘without an embedded profile or documents that dan't match your preferred RGB, CMYK, and Grayscale working spaces, and ‘even f you attempt to paste pres into documents of dissimilar color spaces The other Color settings only ply arolelf you usethe mage> ‘Made commands (for example, RGB to CMYK) recommend that you do ths using the Corwer to Profle commmandlicusse lt) 0 youneed not be concemed with these presets. ‘Advanced Controls an also beignored—onlyan advanced color ‘geek should alter these In rarecass ‘There you havea short-and-sweet explanation ofthe Color Settings dialog, (Courtesy of Andrew Rodney, NAPPmembers may downioada POF of step-by-step tutorial onthe warnings anoles, rom wurphotoshopusercanvmember/magcente/2007 pha) a) Sree Section A shows the cect color appear aa Assign Profile ‘Documents hat dthave an embeded pile cont of nu bers with an unknown colorspace, Untagged documents are prob Iematic because Photesop sguesng about the colorspace based con the Working Space settings—ithisthe correct or space? Heres when you ue the Assign Profle command tt>Aesign Profile selecting erent profes to ee which one pode the desired color appearance Photoshop wl use the pay profile and the curry ssgned profile to update te preview based on how these wo poles interact Mustating how gong ferent profiles changesthe color appebance but nate acta oor au bers You can vty thisby viewing the nfo panel Notice the eet cf assigning profes: the numbers remain the same whl the olor appesrance can radical change. ‘Assigning diferent profes does change the current RGB or CM values provides anew defriton or scale ofthe exiting ruber. Theresia diferent clor appearance Sartre newts (Gnone (revise —— =3 sthe document sColerMarch RB. InBand Photoshop incamety previews te numbers as ProPheto RGB and sRGB Cola Management pee el Convert to Profile Convert Profi often confused wth the Assign Profle command. ‘signing profile tas or embeds profleintoa document but dest change the color numbers. Convert Profle dos change ‘tho celcaumbers by converting themint the colar space slected inthe Desthation pop-up menu. The profile wed for conversions embedded int the document. Forlstance convert fom Adabe RGB (198 ta sRGB select sRGB. To prepare an mage or printing on apes that conformsto SWOP standards, pick the US. Web Coste SWOP 2 profile. Next select rendering nent which conta the mapping of out-f- gamut colors Select one that produces he clr appesranc ou prefer (ten largely subjective Ty Relative Colorimetric then Perceptual Leave the other checkbores onal ines. ‘You se what’ clea sft proot—an onscreen siulston ofthe oor and tone, base onthe al output device as es cibedby ts IC profi. When Photoshop told about the print orother output condition sing an KC pro can produce this onscreen simulation ‘Custom. * ‘CamutWarning OY. xe Aspect Ratio Correction Working Cw ‘working Cyan Pate Working Magenta Pate Working Yetow Pate Working Back Pate Working CMY Plates Macintosn RE windows RB. Monitor aE pson3a00,Prembuster Perceptual psond800_ remaster Pere Papetnk ‘Customie Prof Condon set fran Epson 3800usng Lute Peper (vse Pon competion Bucone | ' CConvertto Poflealog sett convert fiom ProPhoto RGB. ‘oan eutputpint cole space fran Epson 4800, Customize Proof Condition The Customize Proof Condition dialog, ke Convert to Profile, provides you witha soft prof based on the curently loaded ICC Profile, allowing you to eeit your mages while viewing the soft Proof. Images wll soft proof based on whats selected inthis lalog. The two Simulate checkboxes further update the sft proof by tak- ing the dynamicrange ofthe paper and ink inte account and altering this relationship visually onscreen, (Wot: You can toggle your soft proof ‘onand off using the Command [PC: uv key) While providing a more accurate sof proof itcan look particularly Ugly asthe preview updates andi’ usualy only effective when you view ‘an image in full-screen mode without any menus palettes showing, Press the Fkey unti you get into full-screen ‘mode, and then press the Tab kay to hide all the panels) Now compare this soft proof tothe printed output Under a controlled ight box : Forthis image, need four presets i (onefor each printer to whom | want to send soft proofs: Perceptual, Rela- tive Colorimetric, one with and one without the Simulate checkboxes Youcan configure and sae soft proof presets by choosing View>Proof Setup>Custom Tip: Save these soft proof presets todiskto share wth other users (the CC profes are embedded in the PSF document) aw Management _forDesigners Photographers 8 olor (a Print Print Print wth Preview in CSCS2) proves the functionality of Con- vert {Profile ina dialog that applies color management tan open document when sending toa local printer. The corversion options are the same: choose an output (Printer Profile and Rendering Intent. New inCS3, however sa soft proctin the Preview window and the Simulate paper andink options are locked on by default. ‘ter clicking Print, a dialog 2ppears where youl configure ‘yur printer driver before you print your image. Tp: use the } came] i ae Print dialog when printing in-house and the Convert to Profile feature whem | need to create copy in an output color space two supply tocthers ‘The key to getting predictable sreen-to-print matchings having @

    Das könnte Ihnen auch gefallen