Re: Gum Color Gamut & Beyond CMYK?
Thanks for the link David, that really is quite intresting. Will contact herbhoover and ask him how he did it...
Yves, I understand that on a monitor screen there are always out of gamut information being displayed. Though its a matter of understanding between what color space your monitor holds and the image your using.
My own initial creativity stems from the digital image and gum printing is the final product, that I want to retain the same detail and color(dependent on different color space of course) from my digital file.
The above link shows a CIE colorspace, what the eye can see.
Say I want to use a color at very top end, the green part where 520 is. How could I do it? For a print I would need to find a pigment that matches that green? Come up with additional separations? Though you could argue that the image I use needs to have that green in it. This is where photoshop comes in, where you can tweak or increase the color to match that 520.
I'm more intrested in matching my colors between what is on screen and what is the result on my print.
Though in some ways I tend to agree with Katharine, that there might not be any reason to go a 6 separation route, if you were to choose vibrant colors in your 3 separation, CMY or RGB mix, I could possibly get that 520 green...
A tool to find the exact the colors from screen to print is Datacolor Spyder printfix tool. For around $300-$400, you can get LAB and Density values from your print. Therefore I am able to plot what color space my prints fall under.
----- Forwarded message from email@example.com -----
Date: Sun, 21 Sep 2008 07:16:23 +0100
Subject: Re: Gum Color Gamut & Beyond CMYK?
Take a look at this photostream in flickr
It's exaccerlly what you're talking about
On Sep 21 2008, Katharine Thayer wrote:
See my page on tricolor gum printing
for a brief consideration of this topic (scroll down the page to the
subheading, "Is it possible to reproduce the entire spectrum using
three color layers?" )
The answer, from Bruce McEvoy, is no, you do need to add the
secondary colors (in other words, in gum printing, use six layers
including the secondary colors in addition to the primary colors, in
order to produce accurate colors throughout the spectrum, and I
suppose some sort of profiles as Jacek suggests might be the way to
generate the color separations for the secondary colors. But this
seems to me an enormous effort and possibly a misplaced effort to
boot; if you're looking for this kind of color precision, gum may not
be the right process for you. Not that I would discourage anyone
from dedicating themselves to this kind of study if it appeals to
them, just that for me and my house, I don't quite see the point.
However, the purpose of the extra colors and separations, as I
understand it, is not to extend the gamut so much as to refine it.
Depending on the pigments you choose as primaries, the layered color
mixtures will produce different palettes of greens, oranges and
purples; generally when printing tricolor we pick three primaries
that give us the kind of secondary mixtures we want. For example, I
generally prefer ultramarine or prussian blue for tricolor because I
don't like the greens that pthalo produces with almost any yellow,
they look unnatural to me, and since I print a lot of landscapes with
trees/leaves, I want a more natural looking palette in the greens.
Adding the secondary colors to produce six layers will theoretically
make it less necessary to pick and choose primary pigments to produce
the kind of secondaries you want, because you can choose the
secondaries to your liking. But like I said, this seems a heck of a
lot of work, when three colors, chosen carefully, will almost always
give us a palette that gives us a reasonable enough approximation of
realistic color, with special attention to producing the secondaries
that we're most interested in.
On Sep 20, 2008, at 9:11 PM, Jacek Gonsalves wrote:
Links: ------  http://www.flickr.com/photos/herbhoover/422834327/ ----- End forwarded message -----