Color Management for Printing

Color Management

(getting things to print with the right colors)
Color Management is the process of assigning
and/or using a Photometric Color Profile (ICC
Profile) for a given physical device (a printer,
scanner, camera, monitor) when working with a
color image.  Every physical device will generate
or interpret colors a little bit differently,
depending on its inks and paper (in the case of a
printer), glass, light, and lens (scanner or camera),
or LED, LCD, or Trinitron screen characteristics
(computer monitor).

If you don’t control the color at all, what you get when you print won’t match what you
see on screen or what you scanned with a scanner.  Colors will be off.  New colors may
be present.  The image might be darker or lighter than you expect.  In general you won’t
be satisfied with the results.  Further, for the same image on screen, different printers
and/or papers will produce wildly different results.
If you want consistency of color from screen to print, you need to use Color
Management.

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Color Replacement Tool in Photoshop

“Color Replacement Tool” 

Color Replacement Tool: 
Using the Color Replacement Tool in Photoshop is very easy, but if you do not understand
the options of this tool, than you will create problems.  By explaining you the options, you
will be correctly replacing colors very quickly!

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Using Opacity Mask to Crop the Images and create varying effects in Illustrator

Using Opacity Mask to Crop the Images and create varying effects in Illustrator

We may use the phrase "object mask" to describe any type of opacity mask based on a vector object and we may use the phrase “opacity mask” to describe the mask on a raster image. 

Reason: There is slightly different process for creating masks based on raster images. Object masks are much more straightforward.

We open up the Transparency palette. Choose the flyaway menu on the right, and select the "Make Opacity Mask" option.

Instantly your text will disappear. To make it reappear, deselect the "Clip" checkbox in the Transparency palette.

Now click on the opacity mask that you've created in order to select it.  

Notice what happens in your Layers palette?

You've entered into a sort of nested layer system in Illustrator in which any object you create becomes a sub-layer of your text object. You can't select any object that's currently in your document. You can only select and create objects within this special opacity mask layer. So now pick a drawing tool. We may use the rectangle tool and draw a box around my text object, which happens to have the same fill color as my text.

And then we may apply a gradient swatch to that box. The gradient I chose, seen below in the Layers palette and the Transparency palette, has a white center, fading out to black. Because Illustrator uses the luminance values of objects in the opacity mask, this means that my text fades from full opaque to fully transparent from the center.

Now we may continue to add objects to the mask, if desired, or modify the current object. We may also convert the radial gradient to a linear gradient; adjust the brightness value of the black to make it a dark gray so that the text doesn't disappear completely.

Then, in the Transparency palette we may again select the main object to manipulate the object rather than the mask. We may drag it on top of an image in the composition, and now have live, editable text with a gradient mask!

Second Phase

Select your text object once again, and, if you haven't already, create a new opacity mask for it, just as before, then select the opacity mask, and choose Edit > Paste in Front (Command-F on the Mac/Control-F on Windows) to paste it in place so that it doesn't get lost on your canvas. Move the image around to make it fit better into your text.

If you're effect looks inverted--if, say, you have the masked object on top of a light background, you can select the "Invert Mask" option in the transparency palette, which will flip around the luminance values of your opacity mask.

You may also continue to make adjustments to the image in the mask. One way would be to select the mask, and adjust its transparency in the Transparency palette. Reducing the mask object's opacity value will make the text less transparent, which can help in certain circumstances. (Note: If you have multiple objects within your opacity mask, you can select individual objects to adjust their transparency values.)

Similarly, you could also apply an Adjust Colors filter to the mask image to adjust individual color channels, accentuating and deemphasizing portions of the image as you see fit.

If you wish, you can use the "Clip" option in the Transparency palette, which will cut off (or "clip") your object outside the bounds of your opacity mask object(s).

Finally, you can also disable and delete opacity masks. To disable them, simply choose "Disable Opacity Mask" from the flyaway menu in the Transparency palette. To delete the mask and its contents, select the opacity mask in the Transparency palette, then select and delete the objects within the mask. After this, choose the flyaway menu in the Transparency palette, and select "Release Opacity Mask." Alternately, if you wish to keep the contents of the opacity mask but not use them in an opacity mask, simply release the mask without deleting the objects.

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Using Layers for Transparency and Clipping in Illustrator

Using Layers for Transparency and Clipping in Illustrator

Using a Clipping Mask in a Layer

An object within a layer can act as a clipping mask over other objects within that layer. To be clear: You do not use an entire layer (with a bunch of objects) as a clipping mask over other layers; instead, you use an object within a layer as a clipping mask over the rest of the layer.

One more rule: The clipping object must be a vector; placed bitmaps cannot be used as clipping objects.

With those provisos, here's how to create a clipping mask within a layer:

1. Make sure that the vector object that will act as the clipping mask is at the top of the layer's stacking order. If it isn't, drag the object to the top of the set of objects within the layer.
2. Click on the layer name in the Layers panel to select the layer.
3. Click the Make/Release Clipping Mask icon at the bottom of the Layers panel 
4. After you apply the clipping mask, only the section(s) of the underlying objects covered by the clipping mask object are visible. The object used as a clipping path is underlined in the Layers panel 

To undo a clipping mask applied in a layer, choose Edit > Undo from the Illustrator menu. Releasing a clipping mask by clicking the Make/Release Clipping Mask icon in the Layers panel undoes the clipping mask, but doesn't restore the original stroke, fill, or other attributes of the object that was used as the clipping mask.

As noted earlier, you can move objects from one layer to another by selecting them in the Layers panel and dragging them (in the Layers panel) into a different layer. The implication for masking is that any object dragged into the masked layer will have the clipping mask applied to it.

You can change the visible section of the masked object by clicking and dragging—not on the masking object, but on the masked object. For example, I can click and drag on the (hidden, invisible) masked sketch in my illustration to change the part of the illustration that will "show through" the clipping mask 

You can apply masking without creating a layer mask: Simply place one object on top of another, select both objects, and choose Object > Clipping Mask > Make. But here's an interesting fact: The clipping mask you generate when you use this technique (as opposed to a layer mask) works differently. If you create a mask in Illustrator without doing so as a layer mask, you cannot select the underlying object and move it.

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CSS Layouts: Fixed, Fluid, Elastic

CSS Layouts: Fixed, Fluid, Elastic

Which Cascading Style Sheet (CSS) layout is best? All have their quirks and their unique pros and cons. Is one more accessible than the other? More usable? What are the drawbacks and how are they dealt with? Is one easier to create than the other? Is there an evil, inaccessible layout? I suspect some will say yes to this, but I’m not going to. I like them all and feel all are suitable if steps are taken to ensure easy usability and equal accessibility. All are part of a web site’s presentational layer, so most of the accessibility relies on the extractable semantics and proper usage of the underlying mark-up. What follows is my take on the rigid fixed, the adaptable fluid, and the expandable elastic layouts.

Fixed Width Layouts

A fixed width site is one where the main wrapper is set to a specific immovable width independent of the user agent’s display resolution. A common and considerate fixed width is 760 pixels, a size that ensures users with 800×600 resolution monitors have close to full window viewing without annoying side-scrolling. 

 

Fluid or Liquid Layouts

A fluid or liquid layout is created by not specifying a wrapper width at all or doing so using the percentage unit of measure. In other words, barring borders and padding screwing things up, a 100% width site will take up the entire view port width without producing a horizontal scroll bar.

Elastic Layouts

An elastic site’s main wrapper and other elements are measured using ems as the unit of measure. Ems are relative proportionally to the text or font size. Thus, as the text size is increased, the sections measured in ems will increase in size as well.

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