kcollinsdesign
Old member
I get remarkably consistent color accuracy using Adobe products for file preparation and sending the file to a well calibrated RIP. It is important to understand the limits of the output device and make sure the colors used are within that machines achievable color gamut. Anything outside the gamut will be reinterpreted based on how the RIP is mapped to the the printer. For the most accurate results, anything outside the printers color gamut would be rejected by the RIP. This is not usually practical, so the color profiles used by the RIP are a compromise (with colors shifting all over the map – hopefully with barely perceptible color shifts if carefully mapped).
Andy_warp is correct regarding choosing Pantone colors. If the client specifies Pantone colors, I specify them in my file using Adobe's color books. If I am choosing a Pantone color, it is from a physical Pantone swatch book. Even the best calibrated monitor will be a compromise, and lighting conditions in the studio play a big role in how the color on a monitor is perceived. Things can get out of hand when the client uses their monitor (usually uncalibrated and set to a high color temperature) for soft proofing. For critical color work, I use physical Pantone swatches and samples of full size output (not the whole print, just a slice or section).
This is the world of fine art printing, packaging, and photography. Less so with commercial printing, but still a major consideration. Fortunately, it is less critical in the sign industry (with the exception of trade show and display graphics). Most of my clients are unwilling to spend $hundreds for accurate color matching and proofing for a $75 banner.
Andy_warp is correct regarding choosing Pantone colors. If the client specifies Pantone colors, I specify them in my file using Adobe's color books. If I am choosing a Pantone color, it is from a physical Pantone swatch book. Even the best calibrated monitor will be a compromise, and lighting conditions in the studio play a big role in how the color on a monitor is perceived. Things can get out of hand when the client uses their monitor (usually uncalibrated and set to a high color temperature) for soft proofing. For critical color work, I use physical Pantone swatches and samples of full size output (not the whole print, just a slice or section).
This is the world of fine art printing, packaging, and photography. Less so with commercial printing, but still a major consideration. Fortunately, it is less critical in the sign industry (with the exception of trade show and display graphics). Most of my clients are unwilling to spend $hundreds for accurate color matching and proofing for a $75 banner.
