October '20

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G R A P H I C S - P R O. C O M 2 0 2 0 O C T O B E R G R A P H I C S P R O 4 7 When creating your profiles, keep in mind that you may need to make different profiles for different finishes. The way ink lays down from the printer on a clear gloss aluminum panel will no doubt be differ- ent than on a white semi-gloss aluminum panel. Ideally, but not always possible, save scrap pieces or get sample substrates from your distributor to print off your test files. MONITORS One thing to not forget about is your monitor calibration. Yes, sublimation is the process of changing the ink through solid and gas states, but your monitor shouldn't look too far off from what you press (not what you print off the printer). While you don't need a costly high-end monitor, using one from 1995 may not be the best option either. Before you spend money on many of the cool tools and toys out there to cali- brate your monitor, start by just adjust- ing the setting on the monitor. With your monitor, adjust the brightness, contrast, etc. just a step at a time while looking at a pressed sample and having the same im- age on screen. If the sample looks good but your monitor doesn't look similar, then start with small adjustments. Does the sample look darker than your screen? Brighten the screen a little at a time. Slowly adjust the settings and you should be able to get pretty close to your physical sample. VARIABLES Batches of ink may change, printer heads may get clogged, even a coated prod- uct may continue to evolve, you change transfer papers… any of that. Your profile may need to shift to accommodate. Vari- ables happen, but eliminating them and problem solving will help you maintain your sanity and your business. GP JENNIFER FOY has over 20 years of experience using Adobe software and working in the advertising, market- ing, and design fields. She received a Bachelor of Fine Arts in Visual Communications from the Ringling School of Art and Design in Sarasota, Florida, and a Masters of Arts in Advertising from Syracuse University, Syracuse, New York. Her years of teaching experience include numerous software and design classes for colleges in Atlanta and Louisville, Kentucky. Jennifer is currently working as the Creative Director at Universal Woods with the Unisub and Chromaluxe brands. Jennifer can be reached by email at WHEN TRYING TO USE A SPECTROMETER FOR DOING A READING ON A GLOSSY MATERIAL LIKE CHROM- ALUXE HD METAL PRINTS IN GLOSS WHITE, IF IN A BRIGHT ROOM WITH OPEN WINDOWS, TURN DOWN THE LIGHTS A LITTLE IF POSSIBLE AND CLOSE THE BLINDS FOR A BETTER READ WITHOUT THE ERRORS. FROM JOSH BENDER OF UNI- VERSAL WOODS: PRO TIP

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