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Dye-sublimation printing (or dye-sub printing) is a term that covers several distinct digital computer printing techniques that involve using heat to transfer dye onto a substrate. The sublimation name was first applied because the dye was thought to make the transition between the solid and gas states without going through a liquid stage.
Color proof is made with inkjet printers or thermal sublimation printers in combination with powerful color-management systems. Proofing is usually performed in full-size format, but in some cases small-page format is also acceptable. Color proof serves as a guideline for a printing press operator, and usually stands for a contract proof.
Dye-sub printing is a digital printing technology using full color artwork that works with polyester and polymer-coated substrates. Also referred to as digital sublimation, the process is commonly used for decorating apparel, signs and banners, as well as novelty items such as cell phone covers, plaques, coffee mugs, and other items with ...
Color proofs are valuable guides, but due to the inherent differences between color proofing techniques and printing itself, proofs will match the printed sheet with varying degrees of exactness. Areas that are commonly evaluated at a press check are: [1] [2] [3] Flesh tones or corporate logo match colors. Overall color balance across the sheet.
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This standard is used to prescribe the test method that manufacturers and test labs use to determine ink jet cartridge yields. It also standardizes the appropriate method of describing the yield of cartridges in documentation supplied to the consumer by the manufacturer.
Colored toner became available in the 1940s, [citation needed] although full-color copiers were not commercially available until 1968, when 3M released the Color-in-Color copier, which used a dye sublimation process rather than conventional electrostatic technology. Xerox introduced the first electrostatic color-copier (the 6500) in 1973.
Because changing ink color in a mimeograph could be a laborious process, involving extensively cleaning the machine or, on newer models, replacing the drum or rollers, and then running the paper through the machine a second time, some fanzine publishers experimented with techniques for painting several colors on the pad.