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Erik, To me, the thing is that that's one of those things that sounds ideal in theory, but... The way I describe it in seminars and the like: Every image in our industry goes through three color space phases: Creation space; working space; destination space. The trick to color management is...

Erik, Interesting. All I can say in response is that I didn't invent any of this. I just use it. And I'm not a physicist so I won't attempt to argue any points of that. What I will say though is that color management is what I do for a living, and it does work. Obviously you're right there...

What you're describing only works if you disable color management altogether. In that case, then yes, L*a*b* is not involved. L*a*b* (or in some cases XYZ) is what makes color management work. If -- if -- you are not using color management at all and create files in CMYK, then they would pass...

What's amiss is that in actuality there are no "greyscale" images involved. Digital images are groups of pixels -- picture elements -- period. That is how they are defined. If you want to think of each channel as an individual greyscale image that's your business, but it's not. Each channel is...

Sure. The clarification is that that isn't the way it works. What a RIP does is convert pixels -- the smallest unit of complete color information in a digital image -- into dots -- the smallest unit of individual colorant in a printed image. Individually, digitally, pixels are groups of...

So... I'd interject a word of caution here. The way any RIP works is that in the end it generates a tif which it then converts into the final print file. It only treats spot colors and images differently in that for a spot color vector, it disregards the original creation color space of the...

Just to note that when I say large-format, I mean inkjet. Toner is another story. I agree completely. Mike

Note that while the Epson has more colors, its primaries are CMYKOGV. The other colors are all lights and do not increase gamut. Any gamut increases from the Epson to the Indigo would basically be profile-related in some form or fashion. Exactly. Of course, that's true of CMYK just as much as...

If you dig a little deeper, what you'll find is that all 'resolutions' using this type of designation are what is known as "contone" settings. And what that means is that basically all the information about how and what the printer is doing as it's creating dots is not available to the RIP...

Gee... Go figure. Mike

I'll just say that I have never been a fan of this at all. In fact, my usual response to people who ask about these procedures/processes -- and yes, most RIP's have some version -- is that all of them are basically work-arounds for inaccurate profiles. When reproducing color with a printing...

Here's the way it works: Any spot color is any RIP is two things, a name and a L*a*b* value. In just a quick check in Photoshop, the L*a*b* value for Pantone Black in the Solid Coated library is L=17 a=1 b=3. So that L*a*b* number is what the RIP will attempt to locate in the destination...

Maybe so... But as far as I'm concerned, the ipfx400 is the best printer ever made. I have one myself and if the goal is absolute top quality, nothing else can touch it. Mike

That's what's known in the trade as a head strike. The media is buckling in that spot for whatever reason and the printhead is hitting it as it passes over it. On the ipf, usually that caused by too much ink for the media, so the media cockles and that causes the buckling and the head strike...

Just about anyone who sells paint in the US can match any color you bring them. Have you tried just tried taking a swatch of whatever color you want to paint store and having them match it? Mike Adams

DYP, The problem with all of those is that none of them actually change any of the internal inking configurations. They make them somewhat easier to sort through for various third-party media, but they don't add any settings that aren't already there. No paper manufacturers are able to get into...

Try a heavier-weight material. The heavier the material the more ink it's likely to take. That's about your only hope in the front panel. The problem is that on all these aqueous machines that can profile "RGB" the inking settings that are built into the media in the front panel were made for a...

The issue you're having is what's known as "capping." Basically capping happens when an inking condition is created in which the single channel ink limits are set so that they can't be supported by the multi-channel ink limits, so that in certain conditions, the profile then "caps" and just...

I don't doubt they were happy with 021. What I would have suggested to this client is that they use 021. Period. Which is precisely why you shouldn't be creating a Rube Goldberg device of a style sheet in the first place. You may have gotten a passable result, but that won't happen every...

Well... All that aside... If I'm understanding your process here: They really want 1505C. You've told them 1505C isn't possible by differing printing methods and have therefore steered them to 1645C, which they have grudgingly accepted, but don't like on uncoated stock, so for that you're...