Graphics Programs Reference
In-Depth Information
learn the ins and outs of the architecture. This environment shall provide
users with a predetermined or prebound certified SWOP destination color
space as a default starting point as well as a nonlinear tweening adjust-
ment feature to facilitate four-dimensional cross-renderings to actually
offer a viable solution to repurpose one file for multiple devices without
the creation of multiple files for print. This tweening feature would also
allow users to have flexible black generation options via custom output
profiles and a means to cross-render the files to a specific output without
the permanence of an actual conversion. Something along the lines of
color adjustment layers.
As of now, trying to repurpose CMYK files is an unpleasant experi-
ence, to say the least. This tween concept would allow the critical color
requirements for CMYK to transpire with greater ease as well as offering
a normalization process of ink limits and black generation for the target
output. If a tween were not applied to the image, you would still acquire
a good default SWOP separation. All we can hope for is that the file(s)
will be printed on a device that is somewhat calibrated to a SWOP stan-
dard. If you really look at the concept closely, this is what Adobe is trying
to offer with the current development of color management, but falls
short of providing reliability due to the inherent open source ideology
we currently have.
With that said, the trick here is to create an environment that builds
upon the existing foundation of color management so that process
control can be put in place at the file level without completely reinvent-
ing the wheel as well as allowing the existing color management core
ideology to exist as is. Though attrition, the current core of color man-
agement would come to pass to the general user, as well as distill, pro-
viding an open source for those who wish have that level of flexibility
through an advanced setting.
Those who do enjoy the current implementation of color manage-
ment already work in an RGB work flow and would easily adopt the new
paradigm because the bind is bidirectional, meaning we now have the
ability to perform reversible separations because the file isn't actually sep-
arated. The thesis builds upon the RGB workspace concept that I feel
would greatly be embraced by users abroad. Additionally, RGB files
would flow right into the new process control via the perseverance of
the image into the source bind color space, which would be Prophoto16-
bit. The possible down side of the prebinding work flow is that all pre-
existing legacy CMYK files would have to be converted into the source
RGB color space. But then again, if you want the benefit of repurposing
CMYK output files with ease, a user will quickly learn to stop creating
random legacy CMYK files, and that's the whole exercise of creating a
better way to manage color via a file-based process control work flow.
We can go farther down the production process, but I think that's for
the next topic.
