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Valerie, In quick answer to your question, everyone in the large format inkjet industry does step-and-repeat or imposition in the RIP. That's why the file has to be created in Illustrator, and it's also essential that your cut file layer use the color name that the RIP will recognize -- the...

If you don't want to wait for the video version: http://correctcolor.org/colorbycorrectcolorvsg7.html That's an excellent suggestion. I wish I'd thought to do that. This was a presentation I originally made to do live, and I'd point out the areas in question. But even then, that would have...

There could be any numbers of causes for this, some of them fixable, some of them not. First, for whatever reasons Mimaki has, they are determined to go to great lengths to persuade their clients to use Rasterlink, to the exclusion of all other RIP's. Myself, I think that's a huge mistake...

After an expenditure of quite a bit of time and energy, here finally it is... A Youtube channel that will be dedicated exclusively to large and grand format inkjet printing. With a take and a perspective unlike anything you've ever seen before. Check it out. And please offer any thoughts you...

Johannes, Well that's a pretty comprehensive list. And a few things. First, I'm not much of a Durst fan. Maybe they've changed things since I last saw one, but when I did last see one, it was indeed a very small gamut machine for the huge money the client paid for it. Main reason was that...

Johannes, If you get the files in any CMYK working space, there's nothing you can do about it. You may as well use them. But the answer is that most large format printers printing on most large format media, and properly profiled, will have a significantly larger color gamut than all the...

Bebris, Yeah. I get that. Still, you need to start with a constant. You say, "Converted to L*a*b* from what? You can't do a conversion from an unknown color space. However, since you think L* 39 a* -0.71 and b* -25.28 are close, we can use them. Using them, my CMYK working space set to...

WC, The HP is a fine machine for doing reasonable commercial quality signage, banner and point of purchase work. You'd be well pleased with it for simple outdoor banners. However, if by "high quality large prints on paper" you mean fine-art type quality on photo-grade stocks, no. It will not...

So, I'm curious... Why are you chasing CMYK values in the first place? The numbers you're using: C99 M60 Y5 K25, where did they come from? What color space? What do they represent? If you know the color space, create them in Photoshop in that colorspace, take the L*a*b* value out of the...

Well, in order to have accuracy between different machines, you have to have profiles for each machine that are accurate characterizations of each machine on each media that you're using. No process will fix that if you don't. Also it's important to note that there are vast differences between...

Lorna, Y'know... Well, yeah... That's to be expected. A different rendering intent will create different color values. That's its job. Man... I can tell you I've been setting up color workflows around the world for over fifteen years and I would never -- and have never -- set up a workflow...

Johannes, You are entirely correct in your initial asessment. What happens is that the RIP will take certain objects in a vector file -- such as images or type with a drop shadow around them -- and render them first into bitmaps before proceeding to RIP the entire file. So now that they are...

Aaron, Before responding, just to make sure I'm following you: You've got several machines of the same model and type, and you then do media profiling up to but not including the ICC stage, using G7 as your calibration on each machine, then go back and do one icc from one of the machines, and...

Okay, so I've been extremely busy and just now had tome to sit down and respond, but a response was needed. Now I have to admit, I got a chuckle out of this. Fact is the foundations of my knowledge about color were laid by a pressman named Lewis LeMaster back when I was naught but a callow...

Okay, I'll get out my soapbox here and say I completely disagree. The real issue is how to make an ICC profile in the best way possible. And it is not so easily done, and from my perspective, all the people who are looking for a foolproof, easy "scientific" way to do it miss the point. RIPs...

Well... Not in digital printing. Not being totally up-to-date on the process in litho, I can see the process you're describing, but... linear means linear. In digital printing, there are no plates, so you send linear data to the printer, then it prints whatever dot gain it prints, you read the...

Just a couple added thoughts... Well, yes and no. In actuality, it works out along the lines that linearization is always calibration, but calibration is not always linearization. So for that reason after years of correcting people I've become a little more sanguine about not picking too much...

The problem with G7 is that it was designed to address a specific purpose. That purpose was that prior to computer-to-plate, while it was possible in litho printing to determine individual primary color values; individual primary color densities; media white point and total-of-all-primaries ink...

Andy, "Relinearization" is one of the biggest myths in large format printing. Fact is even if you took a second set of readings from the first patch sets you used to make your original linearizations, they wouldn't be exactly the same as the first readings. There will always be some difference...

No. You cannot import profiles from one RIP into another. 'Profiles' consist of two component parts. The first part is all the 'machine-state' information which your are specifically profiling, and the second part is the ICC profile, which is a characterization of the machine in that state. All...