Why CorelDRAW still haven't tool for showing excess of TIL, like in InDesign?
p.s. and still no life separation preview in document :(
The question is not why does Corel not have it, the question is why would you want it in an ICC compliant color managed application? I have it in ID CS5 and it's just plian useless. Not to mention the ID previes when set at its best is poor.
Example you working on a project that's for a web press with a TIC (total ink coverage) 260, you set your document color management to a proper CMYK profile. You also set Photo-PAINT to the proper cmyk profile and convert all images to that cmyk profile and place as cmyk.
The preview is soft proofing the CMYK, the file will be converted to the tic, (images will be left alone) and in reality the only affected color will be deep shadows of color (black). This is what color management was meant to do.
The problem with using application ink limts is as in this example, you want blue text, C100 M100. In a CM situation you create the CM 100 and the CM system creates solid blue and magenta on paper. If you do this in the application you get screened values for theblue text A BAD IDEA.
For what is need? LOL. It's elementary, Watson :)
For example about prepress. A lot of files from designers who just don't know what is color profile. They make their design just in default settings. For example I have a lot of these files. And have to place them in my newspaper. I have to look in each file and find all colors with total inc more than 260. It's easy for vector with my CdrPreflight macro, but I can't do it for bitmap. More, I can't convert a document to my profile because I lose other color values.
For me InDesign is really fast way to find problems in these files.
p.s. a print lab will be print my file as is. They will not to convert it or do something else. They just print it with my cmyk values.
p.s.s. This is not a big terrible problem :) It's just my suggestion for X6 or higher.I tell it because people often ask about it on my and other forum about DRAW.
Sancho said:It's elementary, Watson
Ok the default CM CMYK setting for all Adobe and CorelDRAW products is a tic 298. If this is sent to the plate setter and processed across the media linearization dot gain curve as is there will be no noticable change on paper.
Sancho said:For me InDesign is really fast way to find problems in these files
There is no problem to find that won't be handled by the CM system, process them without touching them and you'll see.
Sancho said:a print lab will be print my file as is.
Are you talking a photo LAB?
If not that statement is not true, all color numbers will be processed against the media profile for ink jet or digital print engine or the media linearization dot gain curve of the plate setter. You cannot avoid this.
Sancho said:This is not a big terrible problem
Agreed, just a waste of programing time. The entire application controlled TIC process is a discussion that was is Windows 3.1, no color managed system requires it beyond the use of ICC profiles.
Sancho said:I tell it because people often ask about it on my and other forum about DRAW.
Then what these peopl need is an understanding of how postscript and ICC controlled color management works. When they do they'll stop askin gthis question.
I told about print houses.
I had a chat with one man from a print house where we print a newspaper now. They tell "We print files as is. If you have til 300, so we print it as 300." as I said...
Sure he said that because that's what he dumps into the RIP and the RIP processes it to the curve. He most likely has no idea of the technology behind the scenes. ALL presses must process to a dot gain curve.
It doesn't surprise me that he didn't know most print technicians make me ashamed of my profession.
Ha ha... maybe you right or maybe not. Who knows...
Believe me people don't pay me to do what I do becaue I guess, Kodak and heidelberg gettesty when their device fail.
Use a profile with a TIC that is = to or Less Than the TIC of the press linearization dot gain curve and you're good to go.
Now with that said pick one that converts they way you like, by that I mean the grayscale transition, (under color removel and gray component replacement) aspects. You can use a US Kodak such as I use anywhere in the world. This is because all presses use postscript color management to the plate curve, it's cool as hell and it really really works.
Now if you can find apress or pre-press technician that understand anyhting I just wrote you're a better man then I am.