Color in Production PDF

COLOR 2.0 Color Production Color in Production 2.1 Color Production Color Theory Perception of Color Light Subje...

COLOR 2.0 Color Production Color in Production 2.1 Color Production Color Theory Perception of Color Light Subject illuminating it observing it Object being viewed 2.2 Color Production Color mixing ADDITIVE COLOR White light is formed by three primary colors of light: red, green and blue. This is known as additive color since the three color of light are added to each other to give white light. SUBTRACTIVE COLOR Objects that do not emit light obtain their color from the pigments they contain. There are three primary pigment color: cyan, magenta and yellow. This is known as subtractive color, since the sum of pigments subtracts reflected light. The sum of the three primary pigment color results in the color black. 2.2.1 Color Production RGB This is a color model based on additive color by which it is possible to represent a color by mixing the three primary color of light: red, green and blue. This model is used in devices such as TVs, monitors and projectors. The intensity of each component is measured on a scale of 0 to 255. The color white is formed with all three primary color at their maximum level (255, 255, 255). 2.2.2 Color Production CMYK This is a color model based on subtractive color which it is possible to represent a color by mixing the three primary pigment colors: cyan, magenta and yellow. This model is used in color printing. The intensity of each component is measured on a scale of 0 to 100. The color black is formed with the three primary color at their maximum level (100, 100, 100), but due to impurities in the pigments the result of this combination is a greyish brown: that is why a fourth key color (black) is added, which helps resolve these deficiencies. 2.2.3 Color Production HSV (hue, saturation, value) Also known as HSB (hue, saturation, brightness) or HLS (hue, lightness, saturation) The description of color used in this model is based on three perceptual aspects that can be applied through visual color assessments: The tone or hue, which responds to the dominant wavelength of a color (red. blue, yellow, etc.). The value (brightness, luminance), which is the percentage of incident light reflected by a surface. The saturation, which is the purity of the color so if a color is very saturated, it is formed, in almost its entire intensity, by a dominant wavelength. 2.3.1 Color Production Color Separations Traditional technique of separating a full color art or photograph by a camera or scanner into four halftone negatives (cyan, magenta, yellow, and black) to reproduce all shades of colors in a commercial printing process. In computer based art or photography, the illustration software automatically produces color separations. Computer printers (dye sublimation, inkjet, laser, etc.) do not need color separation to make a print. 2.3.1 Color Production 2.3 Color Production Color or tone in printing Image Types: Line art images contain only black and white (no shades of gray). Continuous tone images contain shades of gray, or a range of colors and shades of color. Halftones Angle In order to print a continuous tone image on a For the color separation screens to be visible, they conventional printing press, it must be converted to a must be placed at different angles. The pattern formed halftone: a screen pattern of variable size dots which by the different overlapping angled screens is known create an impression of tone values with one ink color. as printer's rosettes. 2.3.2 Color Production Four color or CMYK printing This is printing using separations of the CMYK color model. Superimposing different screening percentages from each of the separations of the color cyan, magenta, yellow and black yields a full-color image. Black in CMYK The way black is treated is often rather complex, since this color can be formed using anything ranging from 100% black ink to 100% of all the CMYK inks. A large black background that uses only black ink will not have an intense black color, while a black formed by 100% of all the inks will have setoff problems, since it will exceed the total ink limit. There are various ways of achieving an intense black without having technical problems. One way is to apply a 40% cyan wash to a 100% black. Another way is to create a black with 50% cyan, 40% magenta, 30% yellow and 100% black. 2.3.3 Color Production Six color printing This is color printing achieved through separations into six colors: modified versions of cyan, magenta and yellow, combined with black, green and orange (though there are other combinations). Superimposing various screening percentages from each of the separations yields a full- color image that can reproduce a wider range of color than four-color printing 2.3.3 Color Production Six color printing Moire pattern problem When working with six separations and with periodic screening, the angles of the screens must be exactly right because moire problems can occur easily. That is why six-color printing is normally used with stochastic screening, since it does not require an angle and therefore does not cause moire patterns. Halftone vs Stochastic screening 2.3.4 Color Production Spot color, direct color or flat ink The color is created outside the printing machine by mixing various basic inks. The composition required for each color is given in a color guide consisting of many small cards arranged by color ranges on which samples of each color have been printed. Each card specifies the percentages of ink required to produce the sample. This allows a wider color range than four-color printing, though spot color cannot reproduce full-color images, since the separations do not normally combine inks. Spot color is normally used for vector graphics of logos, duotone images, etc. The most common guide in the graphics industry is the Pantone Guide, which contains more than ten basic color.