He was viewing an image on an RGB screen that was meant to be printed in CMYK and his phone did a particularly bad job of translating the color formulas. This is how the situation with our client arose. Most of the Pantone colors don’t have an exact CMYK match either, which is understandable considering Pantone uses 14 inks and CMYK only four.
#2 COLOR PROJECT MAGENTA CHANNEL SPOT COLOR SOFTWARE#
So if you want to print a photo with pure red in it, your software and printer have to convert the pure red to the closest possible CMYK color. Pure red, for example, is possible in an RGB color model but not in CYMK. Some color spaces have wider gamuts than others. Each color space or model has a gamut, a range of possible colors within that space. The real reason designers and other professionals need to understand color space is because the spaces don’t line up with each other evenly, just like how an idiom in one language might not translate perfectly into another. So, CMYK is called a subtractive color space. Thus, adding ink equals subtracting colors. The wavelengths that aren’t absorbed are reflected back to your eye and seen. In printing, ink is added to a white page to absorb – or subtract out – all the color wavelengths you don’t want to see. Your red sweater is actually absorbing tons of colors and reflecting back red for the cones in your eyes to process. Different inks absorb certain wavelengths of light and reflect others. White light is the presence of all wavelengths or all colors of light. If you’re adding ink to paper, why is CMYK a subtractive color space? That has to do with the science behind color and light. You start with a substrate, like a white piece of paper, and you add inks to achieve the desired color. If you have a nice printer at home, you’ll notice those are the four colors of ink cartridges you have to replace. Each color space references a color model.ĬMYK is a subtractive color space based on the primary colors of print: cyan, magenta, yellow, and black. A color model is a mathematical system of categorizing color. It tells you what a printer can print, a camera can capture, or a monitor can display. That means each device and printer has to be programmed to use a specific color model and color space in order to approximate color as seen by the human eye.Ĭolor space is a method of organizing and understanding the color capabilities of a digital device or file. Unfortunately no monitor, screen, or printer can replicate that. The human eye can perceive about 10 million colors. In short, we had a color space nightmare. Assuming the page would be printed, we’d formatted it with spot color and the client was staring in disgust at his RGB-reading cell phone screen. He called and asked if there could be something wrong with the document we sent over. Thanks to our strong relationship, he didn’t freak out and cancel the logo refresh project. Instead of the perfect shade of pine green we intended, he saw a sick pukish color reminiscent of industrial waste. In doing so, we made a near fatal color space mistake.Īs many of us would, the client opened the email attachment on his phone. So, we emailed our client the new color concept to print out and discuss with key stakeholders. Having independent depth-cueing for surface (nearest-point) and interior (brightest-point) allows for more visualization possibilities.The logo looked perfect on Josh’s Dell UltraSharp monitor. For both kinds, depth-cueing is turned off when set to zero (i.e.100% of intensity in back to 100% of intensity in front) and is on when set at 0 < n 100 (i.e.( 100 − n)% of intensity in back to 100% intensity in front). Interior Depth-Cueing works only on brightest-point projections. Surface Depth-Cueing works only on nearest-point projections and the nearest-point component of other projections with opacity turned on. Two kinds of depth-cueing are available: Surface Depth-Cueing and Interior Depth-Cueing. The trade-off for this increased realism is that data points shown in a depth-cued image no longer possess accurate densitometric values. The depth-cueing parameters determine whether projected points originating near the viewer appear brighter, while points further away are dimmed linearly with distance. Surface/Interior Depth-Cueing Depth cues can contribute to the three-dimensional quality of projection images by giving perspective to projected structures.
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