Oki OKIPAGE 8c Plus Manual de usuario

Colour Guide

2OKIPAGE 8c Plus

Brilliant Colour from Oki

Thank you for choosing the OKIPAGE 8c Plus Colour Page

Printer.

The OKIPAGE 8c Plus offers brilliant colour printing at a fast 8

pages per minute on plain paper and 5 pages per minute on

transparencies - the OKIPAGE 8c Plus is the perfect workgroup

printer for a wide range of business applications.

The following pages have been conceived to provide the

reader with a broad overview of the issues related to colour

printing, in order that the best use of colour be made in the

applications chosen. The text is designed to describe the

technical issues in a manner that can be understood by anyone

involved in the preparation of colour documents.

Please also familiarize yourself with the Operator

documentation provided – this describes specific operational

details of the OKIPAGE 8c Plus set-up and configuration for

specific options.

We are sure that you will find the OKIPAGE 8c Plus an excellent

part of your departmental printing soloution. If you have any

comments with regard to the content of this document, then

please let us know through your local Oki representative.

Colour Guide 3

English

Contents

Brilliant Colour from Oki .............................................. 2

The use of colour ........................................................... 4

Colour perception ......................................................... 5

The electromagnetic spectrum ...................................... 6

Primary and secondary colours ..................................... 7

Additive and subtractive primaries .......................... 7

Additive primaries ............................................... 8

Subtractive primaries ........................................... 8

Neutral Colours ........................................................ 9

Colour Complements ............................................... 9

Colour wheel ............................................................... 10

The problems with using colour ................................. 11

Colour management systems .................................. 11

Specifying colour ........................................................ 12

Printing colour ........................................................ 14

Colour registration ................................................. 14

Colour adjustments ................................................ 15

The OKIPAGE 8c Plus printer driver ...................... 16

Print Modes ........................................................ 16

Halftone Settings ............................................... 17

Image Colour Matching .................................... 17

Manual Colour Ajustment ................................. 18

Glossary ....................................................................... 19

4OKIPAGE 8c Plus

The use of colour

Recent advances have brought colour to the desktop in a way

that could not have been imagined a decade ago. It has been

shown that using colour in print can increase memory

retention by up to 65% and readership by as much as 40%,

not to mention the added impact that it provides. As colour

becomes more and more accessible it is essential to

understand the importance of colour and how best to use it.

People use colour for different reasons; it has become a very

important tool and is used widely in marketing to grab

attention and communicate ideas, and when used effectively

can alter the viewer’s perception.

Colour can be used in text documents as well as for graphics.

It can be used to emphasise headings or particular words

which would otherwise be lost in the vast array of black and

white. Colour adds impetus to a company logo and can be as

important as the design itself. The use of colour also makes a

document easier to comprehend and can convey information

at a glance. For example, using red to highlight negative

figures in a spreadsheet.

The use of colour should be considered an integral part of

any presentation or document and not added at the end as an

afterthought.

Colour Guide 5

English

The following examples list some widely used colours and

their significance:

This is a very powerful and passionate colour. The power and passion

that it portrays has made it a favourite for many exotic sports cars.

Unlike red, green is a very calming and ‘natural’colour. It signifies

trees, grass and plant life in general. It is soothing and perhaps associated

with a stroll in a field.As well as the calming side of green, it is also the

colour of envy.

A cool and refreshing colour. It is the colour of summer skies and a

clear blue sea which produces a calming effect. Dark blues are associated

with wealth and dignity and also have names that suggest these virtues

– Royal blue, Navy blue, etc.

This is really an absence of colour and the contrast that it provides with

other colours has made it one of the most widely used. Black is usually

associated with night and darkness

The colour of pure snow and in itself suggests purity. It is used in

hospitals to portray an air of cleanliness and sterility. Like black, white

can be paired with most colours and is therefore very popular.

In short, colours can be used effectively to send their own

message, regardless of the message that they are supporting.

The colours used within a message are seen and automatically

decoded before the message itself has been read. This

underlines the importance and effectiveness of using colour.

Colour perception

Colour does not exist by itself but is dependent on the

presence of:

• a light source

• an object

• an observer

Our perception of colour involves light from a source being

reflected off, or transmitted through, an object and entering

the eye.

6OKIPAGE 8c Plus

Light interacts with an object and what we see is the final

result of that interaction. An object can reflect, transmit or

emit light. A reflective object absorbs some sections of the

visible spectrum and reflects the rest. What we see is the

reflected portion. An object removing wavelengths at the ultra

violet end for example, will appear red in hue. A transmissive

object allows light to pass through it and may absorb a section.

The colour of the object in this case, will depend upon the

wavelengths of light that are allowed to pass through. An

emissive object emits light and the appearance of the light

will depend on the wavelengths emitted. In short, the

composition of the light and its interaction with the object

will define the colour we see.

The electromagnetic spectrum

All colours we can see fall into what is the visible part of the

electromagnetic (EM) spectrum. The visible portion of the

EM spectrum is minute and although we are ‘blind’ to the

rest, the part we can see has a significant effect on our

perception of everything around us.

If light containing all visible wavelengths in balanced

quantities is detected, then white light is seen. If there is an

absence of all wavelengths then black is perceived. The

infinite combination of different wavelengths give rise to what

we perceive as colour. So colour is light.

When our eyes receive information containing a strong

content of a particular wavelength then we interpret that as a

colour. A strong content around 700nm (0.0007mm

wavelength) is interpreted as red and at the other end of the

scale, 400nm is interpreted as violet.

1 micrometre = 1×10-6metre (0·001mm)

1 nanometre = 1×10-9metre (0·000001mm)

1 picometre = 1×10-12metre (0·000000001mm)

1 fentometre = 1×10-15metre (0·000000000001mm)

Colour Guide 7

English

Primary and secondary colours

In theory, all colours can be made up from a very small group

of ‘colour elements’. There are three primary colours, and

all other colours can, in theory, be obtained by mixing the

primary colours in varying proportions. Mixing two primary

colours in equal proportions produces what is known as a

secondary colour.

Additive and subtractive primaries

Primary colours can be split into two categories which are

termed additive and subtractive. It is important to note the

difference between mixing additive primaries and subtractive

primaries. For example mixing red and green inks will

produce a ‘muddy’ brown, whilst red and green light mixes

to give yellow. So in which way do the two models differ ?

RED

YELLOW

GREEN

CYAN

BLUE MAGENTA

8OKIPAGE 8c Plus

Additive primaries

Video technology such as computer monitors and television

screens use the additive model. The additive primaries are

Red, Green and Blue (RGB). Starting from black (lack of

colour) and adding red, green and blue in equal quantities

will generate shades of grey with white being generated with

full, balanced intensities of all three. Mixing the three colours

in different quantities will generate intermediate colours.

Subtractive primaries

Cyan, Magenta and Yellow (CMY) are known as the

subtractive primaries and are commonly used in printing

processes. In this case we start with a white background

(usually paper) and add translucent inks of cyan, magenta

and yellow to subtract certain wavelengths of light. For

example, cyan ink on a page appears to be this colour because

the ink removes components of red light and reflects green

and blue, which we perceive as cyan.

standard dot display Trinitron™ display

Traditional CMYK print

Colour Guide 9

English

In theory, a combination of the three subtractive primaries

will produce black. In practice however, pigments used in

inks are not perfect and usually give rise to a dark green/

brown. For this reason, in many colour output devices, a

separate black ink is used to produce greys and black (in

shadows and black text for example). This is the CMYK

model and is the method most widely used in the colour

printing and printer industry. The OKIPAGE 8c Plus uses separate

cartridges of cyan, magenta, yellow and black toner to

generate high definition colour images for the workgroup or

networked environment.

Neutral Colours

Although the term ‘colour’ is applied, neutral colours do not

have properties of hue or saturation. They are described in

terms of lightness only. The neutral colours are black and

white and all shades of grey in between. A balanced mix of

cyan, magenta and yellow yields a neutral colour or black

(in theory). The same effect can be achieved with the additive

primaries by having an equal mix of red, green and blue light.

Colour Complements

Complements are pairs of colours that combine to produce a

neutral colour. It can be seen from the above that balanced

quantities of all three primaries produce a neutral. Mixing

two primaries produces a secondary colour. Mixing this

secondary colour with the remaining primary colour produces

a neutral colour. For example:

CYAN + MAGENTA + YELLOW = NEUTRAL

—red (magenta + yellow) + cyan = NEUTRAL

—green (yellow + cyan) + magenta = NEUTRAL

—blue (cyan + magenta) + yellow = NEUTRAL

This relationship can be applied to all colours and is shown

in more detail in the following section.

10 OKIPAGE 8c Plus

Colour wheel

The relationship between colours can be best shown on what is

known as a colour wheel. The hue value of a particular colour is

expressed in degrees. Red for example is at 0° and green and

blue are located at 120° and 240° respectively. The subtractive

primaries, yellow, cyan and magenta are located at mid points

between these.

The colour wheel shows the following relationships:

• the additive primaries are displaced by 120° from each other.

• the subtractive primaries are displaced by 120° from each other.

• each colour is a secondary colour of the two colours either side of

it. For example, mixing equal quantities of yellow and magenta

will produce red.

• a colour is directly opposite its complement.

We can continue to mix neighbouring colours on the colour

wheel to produce further, intermediate colours. The number

of colours on the colour wheel now doubles to twelve (as shown

below). Repeating the procedure a number of times produces a

colour wheel with subtle changes of hue from neighbour to

neighbour.

Colour Wheel

showing RGB (circles), CMY (squares)

and their first set of intermediate colours.

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