Japan Color 2001 Coated Download
Sharmaine Kachmar
I've been making a nuisance of myself of this forum seeking advice on how to ensure the color of my prints match the color of my designs. This is particularly important to me because I want to mass produce a board game and would like it to look exactly how I designed it. According to print shops and manufacturers, CMYK at 300dpi is preferred for professional printing, so the following focuses on that requirement.
The issue I have faced is my prints are much darker than my images on screen. Notwithstanding that screens tend to be brighter than paper, this was not the issue I was trying to solve. What I needed was to solve how to improve the brightness of my design so it appeared bright on the paper. I discovered that 'soft proofing' helped me put the issue into context by playing with the various color profiles, but I did not understand what any of the listed color profiles actually meant. I tried contacting local print shops in Tampa, FL but they had no idea what an ICC color profile is (very concerning). I asked a board game manufacturer in China, and they didn't know either. Nonetheless, what was important to me was to have at least a basic understanding of what the color profiles mean so I can at least apply them with some surety that the color of prints will be close to what I want. So here's a summary, which I hope someone other than me benefits from.
By reference to the International Color Consortium (ICC) I will focus on three characterization data sets for color management found by Affinity software in my Windows 10 operating system, namely CGATS, FOGRA, and TC130 . Without writing an essay, these can be summarized as:
CGATS is registered by the American National Standards Institute (ANSI) and is most commonly used in USA. You can find the following ANSI registered CMYK color profiles in Affinity products.
US Web Coated (SWOP) v2 - I understand this standard is now obsolete and should not be used, despite software using it as a default.
US Web Uncoated v2 - this is for uncoated paper. Uncoated means it isn't gloss, matte, satin or any other treatment. It is probably like the multipurpose paper you might use at home.
Coated GRACoL 2006 (ISO 12647-2:2004) is suitable for Grade #1 paper, which is the highest quality white paper.
Web Coated SWOP Grade #3 Paper is a bright glossy paper similar to most magazines.
Web Coated SWOP Grade #5 Paper is a low quality paper that might be slightly dull and yellow.
Further, I think your list may be confusing. You should always(!) use the profile, which your print company recommends. And in Germany in most cases they want and need ISOcoated_v2_eci or ISOcoated_v2_300_eci (different color tables because of different maximal ink coverage.)
Why should you make assumptions? Your images should be RGB (what they normally are), the document profile can be changed whenever you want according to the output necessities. When you decide to print, ask the printing company for the color profile, assign it to your document and let Affinity Publisher convert the images accordingly, or, what I personally(!) think it is better for people, who are not so safe in print layout, convert the images by yourself into the correct CMYK profile and replace them in your layout.
US Web Uncoated v2 - this is for uncoated paper. Uncoated means it isn't gloss, matte, satin or any other treatment. It is probably like the multipurpose paper you might use at home.
Coated GRACoL 2006 (ISO 12647-2:2004) is suitable for Grade #1 paper, which is the highest quality white paper.
Web Coated SWOP Grade #3 Paper is a bright glossy paper similar to most magazines.
Web Coated SWOP Grade #5 Paper is a low quality paper that might be slightly dull and yellow.
Semi-paste, extra fine ground pigments in an alkyd base. Non-fading. Can be used for making Glazing Stains and for tinting conventional wood fillers. Thin 1 to 1 with our Wiping Stain Reducer, mineral spirits, paint thinner, turpentine or VM&P naphtha if making glazes. Can be added directly to wood fillers to make custom colors. Not recommended for shellac, alcohol, or water based glazes or wood fillers. Available in quarts only. Prices vary with color.
All digital images use technology to show colours on your screen. For example, OLED panels on smartphone and monitors have a pattern of small red, blue and green lights for every shown pixel. And mixing them together can produce a lot of colours as we see on our monitors. If only red illuminates, we see red color, if it is red and a blue - purple and so on. They can be illuminated gradually to reach a lot of tones.
And Color Profile - is how the system manages these number of lights on your screen to show colors from you picture. So using right Color Profile can show picture as it was drawn and using wrong Color Profile can tilt colours or make them look washed out.
So if you work for digital only, you should draw in sRGB Color Profile and there will be no problem at all. And if you would like to draw in another color profiles, you should understand how they work.
You may have seen or even own a monitor for professional artists (or digital tablet) - which supports a lot of colours, like 100% support of AdobeRGB or something like that. Every monitor designed to show more colours than sRGB is a wide gamut monitor. Sometimes it has a number of modes to support - black and white, sRGB, AdobeRGB and on. The point is that this monitor can truly show expanded Color Profiles colours as intended. And at the same time all other color profiles will be shown different from what they were planned to do. A lot of times Wide Gamut monitor is why you even see some problems with colours.
AdobeRGB - expanded color space. It has more colours than sRGB, specifically much more green. It is also design for printing but for much more advanced and expensive printing. If you want to print something with a lot of quality, this is the way to draw you picture. And you have to find a good printer which can print AdobeRGB. Though on sRGB monitors the picture will look washed out.
Since "Convert Colors" is a very powerful Fixup in pdfToolbox, this article explains all relevant settings used for color conversion to PSO Coated V3 (ECI). The attached sample file contains CMYK objects, RGB images and spot colors.
This tab defines a list of different settings. The reason for this is that different types of color spaces should be handled in different ways. If you want to convert to PSO Coated V3 (ECI), the following settings are recommended:
Additional parameters for color conversion have been defined here. Since these are very specific, they are not explained further here. If you want to learn more about the advanced settings, read this article: Convert colors: Advanced settings.
RGB refers to the primary colors of light, Red, Green and Blue, that are used in monitors, television screens, digital cameras and scanners. Japan CMYK refers to the primary colors of pigment: Cyan, Magenta, Yellow, and Black. These are the inks used on the press in "4-color process printing", commonly referred to as "full color printing" or "four color printing".
Double or single sided, full color with laser printed serial number on clear sticker. Profile: Japan Color 2001* we don't supply the codes - if you don't have a digital download service yet we recommend bandcamp.com
OpenICC peer reviewed icc-profile packages OpenICC has prepared different profile packages. icc-profiles-printing-basiccolor2009 and icc-profiles-openicc are suggested as default packages. Both cover a wide range of colour space and are already included in several Linux distributions. Their content is described below.
Colormanagment.org Offset profiles 2009 Karl Koch, owner of the Company Basiccolor hosts at colormanagement.org packages of ICC profiles and test images under a creatice commons licence. The offset 2009 package is based on the same FOGRA characterization-data like the ECI profiles, but they are calculated with a profiling package from Basiccolor. basICColor released its www.colormanagement.org profiles under a free license. The content is nearly identical to icc-profiles-printing-basiccolor2009 except a added ICC checksum.
Japan Color 2002 Newspaper
ECI Offset-profiles 2009 The ECI is a european hub for colormanagement workflows for the graphic arts. The published profiles are based on characterization-data from FOGRA. The profiles are calculated with profiling tools from the company Heidelberg. ECI allows to bundle the profiles into installers, but this needs and individual permission from ECI. ECI uses a non free license.
The Japanese Akita is known for its strength, loyalty, and striking presence. With a dense and plush double coat, Japanese Akitas display a range of coat colors called red, brindle, and white.
The American Kennel Club does not list sable shading as a standard color. But the FCI and the British Kennel Club do, describing sesame as red fawn hairs with black tips. In genetic terms, this seems to refer to shaded sable or even to agouti-patterned dogs in some very rare cases.
Some clear red Akita puppies show minor puppy shading that will fade. But the Akita Inu color sesame, or goma in Japanese, seems to no longer actually exist in the Japanese Akita today.
An Akita dog with a brindle coat has clearly defined black streaks or stripes laid over a lighter background color. Genetically, it is a red sable with brindle stripes. The pattern should be even and not show any gaps.
Since the urajiro shading blends in gradually into the sable base color it is less visible on brindle Akita dogs. The light pigment mixed with black eumelanin from the brindle often looks greyish. An Akita Inu with red and silver brindle can look pretty striking!
760c119bf3