|

Colour Correction
There's no doubt about it, colour correction is an issue in sublimation.
The core problem being that what you get out of the machine and onto
your printed object is not often going to be what you saw on the screen.
The reasons for this are manifold and this is a well-known hitch in
the otherwise exemplary sublimation process.
There are two schools of thought on colour-collection. The first is
that the use of "third party" software, usually in the form
of a specialised printer driver, can be implemented to automatically
correct an image for sublimation printing. In practice, this type of
software is seldom worth the download. At times, particularly if you
are printing a lot of bitmap images and photos, it can be a time-saver,
but even with the use of the software results often fall-short of perfect
colour-matching, sometimes surprisingly so.
The second school of thought, and in our opinion the superior one in
many ways, is the use of colour charts for colour matching. This meaning
that having just set up your sublimation system you take the time to
print a few "colour variation" charts which you then use for
quick colour matching later. This method is better suited to jobs where
proper "outline" artwork is available, artwork designed in
professional software packages like Coreldraw and Adobe Illustrator.
You will find, as you become more experienced as a sublimation printer,
that colour-correction becomes easier with time. As you learn the tricks
and shortcuts to perfecting colour matching you will have an easier
task in preparing an artwork. Colour correction is also only an issue
when exact colour matches are needed. Where a customer wants "dark
blue", "red" or "green", there is no problem
at all in getting an excellent result in only a few minutes.
Of course, once a job has been prepared and saved, you will be able
to duplicate the colours every time without any problem. In most cases,
the problem of colour-matching is not a major one and does not trouble
experienced sublimation users at all.
|