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Tips on Creating a Transform with ColorMark+
Below is a rough outline of and tips for creating a transform--a general workflow, if you will. It is not intended to replace any of the information in the user guide or release note(s). You will need these documents for the details of each step. Step by step tutorials are located here.
It is important to note the following
- Transforms created with ColorMark+ can be shared with other ColorMark+ users.
- Transforms created with ColorMark+ cannot be shared with users of standard ColorMark Print Servers without the ColorMark+ option.
- Transforms can only be created with valid ink sets/combinations.
- Transforms and ICC profiles can be imported and exported between servers w/ ColorMark+ via ftp (server and workstation(s) will need IP addresses).
Before building a new ink/media transform, it is important to calibrate both the printer (AutoSet) and the calibrator (as required)!
Step 1The first step, after naming the transform you will be building, is to print out an ink limit chart. This chart will help you determine the maximum amount of ink that a particular media can accept without bleeding, hazing, etc. This chart is not as easy to read as it would seem. Important things to keep in mind about ink limits:
- The greater the ink limit the wider the gamut of the resulting profile. Therefore, you will want to select the highest ink limit possible that is functional on the media.
- Allow the ink limit print to dry fully through the printer's normal drying cycle after the print has completed.
- Tip: After the printer has completed its normal dry cycle, brush each swatch with your finger. Pick the lowest limit that still smudges. This trick will generally find the best balance between gamut, drytime, hazing, etc.
- Transforms created in a lower humidity environment will likely allow for a higher ink limit than one created in a high humidity environment. Consequently, it is possible that a transform created in the winter might work just fine in January, but have difficulty drying in June. You might want to raise or lower your ink limit selection (depending on the time of year that the transform is created) if you want the consistent performance from the transform throughout the year.
Step 2
The next step is to linearize the printer. On a DMXII, this is accomplished pretty much automatically on the printer (much the same way as a traditional color calibration). On the DMxK and Giclee PrintMakerFA, however, you will need to cut the strips off of the printer and feed them though the calibrator. After the linearization process, you must save the linearization readings (even though there is a reasonably high likelihood you'll never reuse this file). If you hit cancel in the dialog, the entire transform creation process will be cancelled.
Step 3
Print out the color targets and take readings. These targets are the key in the transform creation process. The readings taken from these targets map out the gamut of the ink/media transform you are building, as well as allow the software to calculate the exact percentages of each ink required to produce a given color. A mistake made in taking the readings will ruin the transform. Fortunately, it is pretty easy to take the readings correctly--just cut them up, and feed them through the calibrator in order (each row is numbered).
Step 4
Save the transform. In the very first step, you gave the media a name and basic description. Now, you will be saving the actual transform. Select 'Save' from the file menu. The software will ask you for a name for the .icm file. Enter the name--a .cx (ColorMark transform) will also be created for you. The .icm file is the file that you will need to transfer to your workstation, if you are utilizing an icc workflow. Mac users will need to convert the .icm file for their use. A utility is included (downloadable from the server via ftp) to make the conversion to the proper format.
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