Color management

In digital imaging systems, color management is the controlled conversion between the color representations of various devices, such as image scanners, digital cameras, monitors, TV screens, film printers, computer printers, offset presses, and corresponding media.

The primary goal of color management is to obtain a good match across color devices; for example, the colors of one frame of a video should appear the same on a computer LCD monitor, on a plasma TV screen, and as a printed poster. Color management helps to achieve the same appearance on all of these devices, provided the devices are capable of delivering the needed color intensities.

Parts of this technology are implemented in the operating system (OS), helper libraries, the application, and devices. A cross-platform view of color management is the use of an ICC-compatible color management system. The International Color Consortium (ICC) is an industry consortium that has defined:

    * An open standard for a Color Matching Module (CMM) at the OS level
    * color profiles for:
          o Devices, including devicelink-profiles that represent a complete color transformation from source device to target device
          o Working spaces, the color spaces in which color data is meant to be manipulated

There are other approaches to color management besides using ICC profiles. This is partly due to history and partly because of other needs than the ICC standard covers. The film and broadcasting industries make use of many of the same concepts, but they more frequently rely on boutique solutions. The film industry, for instance, often uses 3D LUTs (lookup table) to represent a complete color transformation. At the consumer level, color management currently applies more to still images than video, in which color management is still in its infancy.
http://en.wikipedia.org/wiki/Color_management

Applications

Digital printing has many advantages over traditional methods. Some applications of note include:

• Desktop publishing – inexpensive home and office printing is only possible because of digital processes that bypass the need for printing plates
• Variable data printing – uses database-driven print files for the mass personalization of printed materials
• Fine art – archival digital printing methods include real photo paper exposure prints and giclée prints on watercolor paper using pigment based inks.
• Print on Demand – digital printing is used for personalized printing for example, children's books customized with a child's name, photo books (such as wedding photo books), or any other short run books of varying page quantities and binding techniques.
• Advertising – often used for outdoor banner advertising and event signage, in trade shows, in the retail sector at point of sale or point of purchase, and in personalized direct mail campaigns.
• Photos – digital printing has revolutionized photo printing in terms of the ability to retouch and color correct a photograph before printing.

http://en.wikipedia.org/wiki/Digital_printing#Applications

Fine art inkjet printing

Fine art digital printing evolved from digital proofing technology in the printing industry. As the printing industry became digital, traditional film-based proofing became cumbersome and cost prohibitive. Kodak, 3M, and other major manufacturers developed large format inkjet printers using dye based inks or archival, lightfast pigment based inks. Initially, these printers were limited to glossy papers, but the IRIS Graphics printer allowed the use of a variety of papers that included traditional and non-traditional media. Graham Nash, of Crosby, Stills, Nash and Young, was one of the early pioneers of experimental digital printmaking, and he began using the new proofing technology from IRIS Graphics to print his own photographs and digitally manipulated images. Nash and his associate Mac Holbert opened Nash Editions in 1991 and adapted an IRIS printer to meet the needs of artists.
Challenges in fine art printmaking include the need for exceptionally accurate high-resolution scanning and/or photographing of original artwork, managing large file sizes, viewing and interpreting image files onscreen, and artist-printmaker communication. Key software and computer providers have been Adobe Photoshop and Apple Computer, along with Silicon Graphics, who were on the forefront of color image management for both graphic arts and fine art printmaking. Longevity is always an important consideration in fine art, whether in reproductions (such as serigraphs or lithographs) or in an original work. It is a well-accepted fact that paintings, especially watercolors, must be protected from the elements, therefore the lightfastness of digital inks was a critical issue. The original proofing inks were not archival, but printmakers experimented with coatings and substrates to achieve greater longevity. A collaborative effort by artists, including the group known as Unique Editions, worked with printmakers to produce archival quality on a variety of substrates. The IRIS printer was the standard for fine art digital printmaking for many years, and is still in use today, but as the field grew, printmakers, and printer manufacturers began to offer alternative equipment for printmaking. More powerful computers, improved software, and viewing technologies have expanded possibilities for artists and printmakers.
Substrates in giclée printmaking include traditional fine art papers such as Rives BFK, Arches watercolor paper, treated and untreated canvas, experimental substrates (such as metal and plastic), and fabric. This has allowed for the creation of limited and unlimited reproductions of artworks.^[4] Depending on the printing inks and substrate, longevity of the digital print may be limited. Although the color range of the digital process cannot always match an original pigment, artists and fine art digital printmakers can work together for exceptional quality with repeatability. Digital printing also allows for the output of digital art of all types as finished pieces or as an element in a further art piece. Experimental artists often add texture or other media to the surface of the final prints, or use them as part of a mixed-media work. Many terms for the process have been used over the years, including digigraph, but fine art digital printmaking is generally known as giclée, and, although there are still a few exceptions, giclées are widely accepted as a fine art medium by museums and galleries. Thousands of digital printmakers now offer services to painters, photographers, and digital artists around the world.

Digital laser exposure onto traditional photographic paper

Digital images are exposed onto true, light sensitive photographic paper with lasers and processed in photographic developers and fixers. These prints are true photographs and have continuous tone in the image detail. The archival quality of the print is as high as the manufacturer's rating for any given photo paper used. In large format prints, the greatest advantage is that, since no lens is used, there is no vignetting or detail distortion in the corners of the image.
Digital printing technology has grown significantly over the past few years with substantial developments in quality and sheet sizes.
 http://en.wikipedia.org/wiki/Digital_printing#Digital_printing_methods_of_note

Digital printing

Digital printing refers to methods of printing from a digital based image directly to a variety of media.[1] It usually refers to professional printing where small run jobs from desktop publishing and other digital sources are printed using large format and/or high volume laser or inkjet printers. Digital printing has a higher cost per page than more traditional offset printing methods but this price is usually offset by the cost saving in avoiding all the technical steps in between needed to make printing plates. It also allows for on demand printing, short turn around, and even a modification of the image (variable data) with each impression.[2] The savings in labor and ever increasing capability of digital presses means digital printing is reaching a point where it could match or supersede offset printing technology's ability to produce larger print runs of several thousand sheets at a low price

Process

The main differences between digital printing and traditional methods such as lithography, flexography, gravure, or letterpress are that no printing plates are used, resulting in a quicker and less expensive turn around time, and typically a loss of some fine-image detail by most commercial digital printing processes. The most popular methods include inkjet or laser printers that deposit pigment or toner onto a wide variety of substrates including paper, photo paper, canvas, glass, metal, marble and other substances.

In many of the processes the ink or toner does not permeate the substrate, as does conventional ink, but forms a thin layer on the surface that may be additionally adhered to the substrate by using a fuser fluid with heat process (toner) or UV curing process (ink)
http://en.wikipedia.org/wiki/Digital_printing

TECHNICAL CLOTHING PRINTING / PRINTING SHIRT FOR BEGINNERS (PRINTING MANUAL)
1. Setup of a picture
that would Prepare the image in the screen printing screen printing before it is printed in menswear , then edit each one by color, in this case usually using coreldraw and photoshop program. 2. The pre-afdruk (before pefilm's) This stage involves the cleaning and preparation screen. In preparation for cleaning and screen printing equipment required includes: -a dab of soap -water sponge-cloth first screen printing we use water and soap washing our kemumudian swab using sponge cloth. after we wash, screen should we leave them dry with sunshine, this is necessary because before the afdruk screen must be completely clean and dry. 3.Tahap afdruk (pefilm's) This stage involves the administration of drugs, arson screen/pefilm- an, and the laundering of drugs on the stage of drug delivery screen.Di we need tools such as: -screen -afduk drug -fan / blower -screen grading tool we first prepare afdruk drugs by liquid mix of red and white (dosissesuai suggestion box in his box). After drug was mixed with average tuangkansedikit by bit on screen and roll as thin-thin, then the screen is kitakeringkan by using a fan or blower. in this screen must not drying in the sun for drying is recommended in enclosed spaces. setelahkering we enter the combustion stage or screen pefilm's. at this stage we need tools such as: -glass -pictures that have been edited -screen -cloth with a black screen-foam -board our first take the first board, put the foam on the board and then put a black cloth over the the foam. then we take the screen that we have prepared and then put the screen on a black cloth after that we take the pictures that have been edited and paste the above screen, before you paste the image on the screen we first spread with oil robber, this is done so that the paper on the image rays will penetrate. after that put the glass over the screen. for more details, the order from bottom to top are: 1.papan 2.busa screen is black 3.kain 4.screen 5.gambar 6.kaca after that we shine a screen with sunlight. radiation in the time it takes between 3 to 5 seconds. because if too long in the radiation, pefilm's screen will not fail. after we shine a screen, the screen should we wash to clean up the files of drugs. we are in need of washing sprayer, this tool is used to clean the drug remaining on the sidelines of an image contained on the screen. 4.Tahap penyablonan / Mechanical Sablon At this stage, the tools we need are: -screen (which has difilm) -paint oil -paint -filled table -locking screen -Rakel (pengesut tool) , paper or cloth first screen capture and screen lock on the table and then look in the mirror of his preparation for paint oil paint mixed with paint. after that put the paper or fabric to be printed on glass table, pour the paint on the screen to taste then kesut using Rakel. then be the result sablonan. 5.Penghapusan movie at this stage we need laxatives film. screen is first wet with water and then pour the screen on the screen laxatives rub with a cloth sponge rinse and dry with a dry in thesun's true
tips for doing so manually screen printing is different with digital printing, to digital printing, you are more in dem
http://id.88db.com/id/Knowledge/Knowledge_Detail.page/Desain/?kid=4068 

Screen printing machine Multifunction (All in one): for screen printing shirts, shirts, paper, cardboard, wood, stickers, mica or plastic, just change the type of screen and ink sablonnya only. Want to print shirts, so replace it with a special screen shirt t-shirts and screen printing inks. Likewise if you want transparent sticker printing, Chromo or vinyl, so live and replace it with a screen printing ink according to the sticker media, etc..

Easy, efficient, multifunctional (All in One), quick work and a lot of their products.

Work methods and techniques sablonnya was exactly the same as manual screen printing equipment . Screen printing machine works automatically, Rakel pull and push the ink is full-automatic screen printing. Working arrangements quickly or slow its speed can be set. Otomatisasinya micro-computer programmed and controlled with the buttons or by stamping on the foot pedal at the bottom (floor) to work manually one by one.

How it Works Auto Machine Silk Screen: 

1 laden screen Sablon	2 anleg set stencil	3 layout anleg sablon
4 tuang ink Sablon	5 screen printing process	6 screen printing results
7 The following color printing	8 computer program	9     manual control

http://mesinpercetakan.com/mesin-sablon-otomatis-all-in-one/

Types Sablon Type

Rubber screen printing  is screen printing paints that are boarded and knitted fabric cover can be applied to materials both dark and light colored shirts. GL commonly called silk screening because the texture of rubber. Pigment Prints  the stencil paints that are absorbed into the fabric. Screen printing of this type typically used for light colored fabrics and less good results on dark materials. Sometimes also used for banners. Sablon Superwhite (SW)  together with silk-screening pigment is absorbed into the fabric, screen printing is used for dark T-shirt type material. Sablon Glossy effect (coating)  is a plus stencil with one layer of coating that will give a shiny effect on the paint . With this technique stencil coating, will last longer and durable. Sablon gliter  the paint stencil that uses a mixture of powdered ink, shiny, smooth, and there are no rough. Can produce a shiny silk screening effects if exposed to light. Screen printing can also be mixed with Plastisol screen printing. Sablon Foam  paint stencil that arises is based rubber. Rubber can be mixed with or Plastisol screen printing. Foil Prints  are the type of screen printing using a metal layer made ​​of paper pasted over with a special glue. Silk Screen Flocking  together with screen printing on foil attached with special glue, but of velvet material that will produce results like velvet silk screening. Plastisol screen printing  screen printing that is oil-based paints, able to print a dot or a small super raster with maximum results. Who invest a lot of need to use this paint for drying processes requires an infrared beam. Sablon Glow in The Dark  by name, this type of screen printing dapatmenyala a dark place. Cat stencil can also be mixed with the type of Rubber, or Plastisol Pigment. Sablon Reflective  Glow in the opposite of The Dark, paint silk screening t-shirts that will light up when illuminated by a light source. This type of paint can also be mixed with Rubber, or Plastisol Pigment. Sablon Full Print  suit also names, screen printing is used for nge-print T-shirt screen printing on all parts. Sablon High Density ie paint Plastisol screen printing with the basic ingredients that arise with more sharpness high. Sablon Discharge screen printing is the ability to paint thins / eliminate the basic color shirts then filled with new colors as needed. Sablon Asphalt is a screen printing using Plastisol paint on cloth printed with a special technique that will produce a unique texture. Of the several types of species Cat T-shirt screenprinting  above, screen printing Rubber is usually the most commonly used among the distributions, because in addition to the durable / durable and easily ironed shirt screen printing Rubber can be poured on the light and dark fabric http://aguswijanarko.com/distro/jenis-jenis- paint-stencil-shirts /