Awards & Engraving

October '18

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50 • A&E OCTOBER 2018 Please keep in mind that perception is huge, and the customer is always right. We are going to dive deep into not only color but color profiles, profiling, light, and the tools that are available to help you achieve the best possible color with your setup. I often use phrases like "best possible a number of times," and "good enough as a benchmark," when talking about color because perfection is something you may struggle to find when writing color for a sublimation printer. There are a number of variables that play into color, and we will discuss them so that if the giant wallet of Coca-Cola comes looking, you can get their business, and trust me you want that kind of business. COLOR CONCEPTS First, we are going to discuss the concept and method. Color is how light reflects and how we perceive said reflection. Depending on the printing system that you run, you have options. Desktop sublimation sys- tems are generally considered 24 inches or smaller and come with an out-of-the-box profile that you will likely use and be fairly happy with. There are ways or methods by which you can achieve decent color for most customers. However, if a whale such as Coca-Cola shows up, it may become apparent that we have some limitations. How can I color? On the desktop format, we use the Kentucky windage method. We have a number of decent profiles available and when applied, we can use color charts to achieve the best I n this article, I go over the difficulties of color matching using dye-sublimation. You might be asking yourself, "Why can't I make Coca-Cola red?" There are countless customers using generic color profiles that are happy as can be. This article will likely ruin that perception, which is not my intention. If you are happy with your color, you can continue reading but understand I believe firmly in the saying, "If it ain't broke, don't fix it." If you are unhappy, I hope by the end of this article I shed some light on not only making but also how you build or write color. THE DIGITAL WORLD OF SUBLIMATION AND HEAT TRANSFER By Sean Stewart Sean Stewart is a Digital Printing and Equipment Specialist with Johnson Plastics Plus. If you have questions, feel free to con- tact Sean via email at sstewart@ or on his direct line 405-470-5703. Why Can't I Color? Addressing the difficulty of color matching There are a number a variables to sort out — ink, paper, environment, substrate, tools — when building a color profile. IMAGE COURTESY SEAN STEWART

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