Oki C9300n C9300/C9500 User's Guide: Macintosh - Page 130

Perceptual, Saturation, Relative Colorimetric, Absolute Colorimetric

Page 130 highlights

intents are essentially a set of rules that determine how this color conversion takes place. 1. Select the option desired. Auto The best default select as this selects the optimal settings for a general office environment. Perceptual Best choice for printing photographs. Compresses the source gamut into the printer's gamut while maintaining the overall appearance of an image. This may change the overall appearance of an image as all the colors are shifted together. Saturation Best choice for printing bright & saturated colors if you don't necessarily care how accurate the colors are. This makes it the recommended choice for graphs, charts, diagrams etc. Maps fully saturated colors in the source gamut to fully saturated colors in the printer's gamut. Relative Colorimetric Good for proofing CMYK color images on a desktop printer. Much like Absolute Colorimetric, except that it scales the source white to the (usually) paper white; i.e. unlike Absolute Colorimetric, this attempts to take the paper white into account. Absolute Colorimetric Best for printing solid colors and tints, such as Company logos etc. Matches colors common to both devices exactly, and clips the out of gamut colors to their nearest printed equivalent. Tries to print white as it appears on screen. The white of a monitor is often very different from paper white, so this may result in color casts, especially in the lighter areas of an image. Mac OS 10.1.5 Operation • 128

  • 1
  • 2
  • 3
  • 4
  • 5
  • 6
  • 7
  • 8
  • 9
  • 10
  • 11
  • 12
  • 13
  • 14
  • 15
  • 16
  • 17
  • 18
  • 19
  • 20
  • 21
  • 22
  • 23
  • 24
  • 25
  • 26
  • 27
  • 28
  • 29
  • 30
  • 31
  • 32
  • 33
  • 34
  • 35
  • 36
  • 37
  • 38
  • 39
  • 40
  • 41
  • 42
  • 43
  • 44
  • 45
  • 46
  • 47
  • 48
  • 49
  • 50
  • 51
  • 52
  • 53
  • 54
  • 55
  • 56
  • 57
  • 58
  • 59
  • 60
  • 61
  • 62
  • 63
  • 64
  • 65
  • 66
  • 67
  • 68
  • 69
  • 70
  • 71
  • 72
  • 73
  • 74
  • 75
  • 76
  • 77
  • 78
  • 79
  • 80
  • 81
  • 82
  • 83
  • 84
  • 85
  • 86
  • 87
  • 88
  • 89
  • 90
  • 91
  • 92
  • 93
  • 94
  • 95
  • 96
  • 97
  • 98
  • 99
  • 100
  • 101
  • 102
  • 103
  • 104
  • 105
  • 106
  • 107
  • 108
  • 109
  • 110
  • 111
  • 112
  • 113
  • 114
  • 115
  • 116
  • 117
  • 118
  • 119
  • 120
  • 121
  • 122
  • 123
  • 124
  • 125
  • 126
  • 127
  • 128
  • 129
  • 130
  • 131
  • 132
  • 133
  • 134
  • 135
  • 136
  • 137
  • 138
  • 139
  • 140
  • 141
  • 142
  • 143
  • 144
  • 145
  • 146
  • 147
  • 148
  • 149
  • 150
  • 151
  • 152
  • 153
  • 154
  • 155
  • 156
  • 157
  • 158
  • 159
  • 160
  • 161
  • 162
  • 163
  • 164
  • 165
  • 166
  • 167
  • 168
  • 169
  • 170
  • 171
  • 172
  • 173
  • 174
  • 175
  • 176
  • 177
  • 178
  • 179
  • 180
  • 181
  • 182
  • 183
  • 184
  • 185
  • 186
  • 187
  • 188
  • 189
  • 190
  • 191
  • 192
  • 193
  • 194
  • 195
  • 196
  • 197
  • 198
  • 199
  • 200
  • 201
  • 202
  • 203
  • 204
  • 205
  • 206
  • 207
  • 208
  • 209
  • 210
  • 211
  • 212
  • 213
  • 214
  • 215
  • 216
  • 217
  • 218
  • 219
  • 220
  • 221
  • 222
  • 223
  • 224
  • 225
  • 226
  • 227
  • 228
  • 229
  • 230
  • 231
  • 232
  • 233
  • 234
  • 235
  • 236
  • 237
  • 238
  • 239

Mac OS 10.1.5 Operation • 128
intents are essentially a set of rules that determine how this color
conversion takes place.
1.
Select the option desired.
Auto
The best default select as this selects the optimal settings for a
general office environment.
Perceptual
Best choice for printing photographs. Compresses the source gamut
into the printer's gamut while maintaining the overall appearance of
an image. This may change the overall appearance of an image as
all the colors are shifted together.
Saturation
Best choice for printing bright & saturated colors if you don't
necessarily care how accurate the colors are. This makes it the
recommended choice for graphs, charts, diagrams etc. Maps fully
saturated colors in the source gamut to fully saturated colors in the
printer's gamut.
Relative Colorimetric
Good for proofing CMYK color images on a desktop printer. Much
like Absolute Colorimetric, except that it scales the source white to
the (usually) paper white; i.e. unlike Absolute Colorimetric, this
attempts to take the paper white into account.
Absolute Colorimetric
Best for printing solid colors and tints, such as Company logos etc.
Matches colors common to both devices exactly, and clips the out of
gamut colors to their nearest printed equivalent. Tries to print white
as it appears on screen. The white of a monitor is often very different
from paper white, so this may result in color casts, especially in the
lighter areas of an image.