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Have you ever noticed that the color of an image on your computer screen never quite matches what comes out of the printer? The term “what you see is what you get” certainly doesn’t apply in sublimation and, in reality, the whole affair can be quite frustrating when trying to create an image for sublimation or inkjet printing. Though it would be nice to have an exact match, it’s not a very realistic concept, as monitors and printers produce color using two totally different methods.
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Computer monitors emit color as RGB (red, green, blue) light. Although all colors of the visible spectrum can be produced by merging red, green and blue light, monitors are capable of displaying only a limited gamut or range of the visible spectrum.
Whereas monitors emit light, inked paper absorbs or reflects specific wavelengths. Cyan, magenta and yellow pigments serve as filters, subtracting varying degrees of red, green and blue from white light to produce a selective gamut of spectral colors.
The two diagrams in figure 1 show just how distinctly different the color spaces are. This also helps to explain the difficulty in accurately converting from one color space to another, as monitors are RGB and printer inks are CMYK (cyan, magenta, yellow and black). Thus, every image displayed on your computer has to go through a conversion process before it reaches the printing stage.
Like monitors, printing inks also produce a color gamut that is only a subset of the visible spectrum, although the range is not the same for both. Consequently, the same artwork displayed on a computer monitor may not match that on printed media. Also, because digital printing processes use CMYK inks, digital art which is RGB must be converted to CMYK color for print.
Colors vary from monitor to monitor and from printer to printer, thus the color generated on the printed page is dependent on the color system used and the particular printer model—not by the colors shown on the monitor. Color correction is the art of adjusting this color transformation in order to produce the best quality results on a particular substrate.
Colorful considerations
One of the most important considerations for color management for sublimation printing is the selection of the printer and the inkset itself. Today, printers can choose between select Ricoh and Epson platforms for desktop printers and many other brands for wide-format printers. Ricoh printers are available in a four-color (CMYK) configuration while Epson printers are available in four (CMYK), six (CMYKLcLm), seven (CMYKMkPkR) or even eight color (CMYKLcLmLkLLk) configurations.
It was once thought that only six- or eight- color printers could stand up to the level of color vibrancy and accuracy demanded by the likes of professional photographers. However with today’s inks and color-management software, even an entry-level printer can yield impressive results.
There are three basic methods of color management for dye sublimation: ICC (International Color Consortium) profiles, RIP (raster image processing) software and custom printer drivers. While the three methods are somewhat similar, they have specific differences.
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An ICC profile is a software file that ensures that when a specific color is selected on the computer screen, the designated color is consistently and correctly delivered on the substrate. Think of it as a color-matching program, as the screen color rarely produces exactly the same output color. Thus, a profile creates a link between specific screen colors and specific output colors. It doesn’t change the color. It ensures the correct output for a given input.
An ICC-compliant software program (e.g. Photoshop, Corel) is necessary to use this method. The profile will be placed in the output stage of printing and the manufacturer’s (OEM) printer driver will be set to ‘no color adjustment’. This setup will color correct the image and then send the data to the printer without affecting the colors further.
Color correction profiles for dye sublimation have their own unique problems, however. When a printer has printed out the color swatch for testing under normal profile creation, the profiling software knows how to adjust the colors to print out the correct ones. When a dye sublimation transfer is pressed onto a substrate, the ink turns into a gas and, while in this state, the colors change properties. This change can be quite dramatic (e.g. some blues look like green on paper) and it is therefore impossible to judge whether the print is correct or not until it is sublimated onto the final substrate. Thus, many sublimation practitioners create custom profiles that correlate the screen color to the final sublimated color, rather than just to the ink color.
More sophisticated users may choose to use a RIP Software that includes an ICC profile creation capability to manage colors. Simply put, RIP software converts the image into individual dots (rasterizing) and sends the rasterized files to the printer. The process of creating ICC profiles from scratch is time consuming, requires a good understanding of color science and is an art form in itself.
RIP software also handles workflow tasks such as nesting images and batching or queuing files to print. RIP software is available from a number of software companies including CADLink, Ergosoft, Wasatch and ONXY, and prices range from $1,000-$5,000.
Custom printer drivers are software programs that have color correction built into the printer control system. The advantage of this method is the ability to use non-ICC compliant software (e.g. Paint Shop Pro, Print Shop) as well as ICC-compliant software, as the color correction is performed at the printer driver stage. In addition, it’s easier and less technical to use a custom printer driver than it is to use an ICC profile.
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One such software inserts a color palette into the graphics program so that a user can select colors from the palette while working on images. Sublimation professionals can check that the correct “final” color will be consistently produced during the sublimation production process.
Whether using an ICC profile or a custom printer driver, it is suggested that the user print out and sublimate the entire palette to a pure white substrate and retain this color chart as a visual reference.
The printed chart in figure 2 demonstrates the exact color that is created via sublimation (plus the RGB settings), so the graphic designer has an accurate reference when choosing the proper colors for the image being created.
Detroit metal city characters. Though the colors may not look the same on the screen as they do on the final substrate, choosing the desired colors from the chart assures that the output will be a match each and every time, regardless of what is displayed on the computer monitor.
Harnessing control
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The simple and most important rule for color management in sublimation printing is consistency. Any change in a variety of variables—substrate, sublimation paper selection, pressing time, temperature and pressure—will impact the final output. Therefore, it’s necessary to experiment and test as needed in order to generate the desired results, then establish a set of standards to work by… with the full understanding that a change in the standards can lead to a change in the appearance and quality of the final product.
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Though color matching and color correction can be challenging to new students of sublimation, it’s not an impossible process to manage as long as you understand what the challenges really are. Think of it as translating from one language to another. There isn’t always an exact match for each word, but as long as you understand what the final message should be you can create the necessary words to get the desired result.