Xeroxメーカー2000の使用説明書/サービス説明書
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Intr odu ction A new way to look at d ocumen ts An overview o f the DocuColor 2000 Seri es Design Guid e 1. Digital prin t 1-1 What is digital prin t? 1-1 Digital prin t workflow 1-3 Documen t creati .
3. Designin g docum ents 3-1 Design elem ents to discuss with your prin ter 3-1 P aper stock 3-1 Imag e consi derati ons 3-2 Imag e area, bleeds an d folds 3-4 Specifying colours 3-7 Choi ce of scr ee.
Why paper d oesn’t always work the way it sh ould 5-3 Coated paper and o ffset 5-3 Coated paper and di gital printin g 5-3 M oistur e and o ffset 5-4 M oistur e and di gital printing 5-4 Te xtured s.
Laminati on 6-7 V arnish 6-8 Embossing 6-8 Shrink wrappin g 6-8 Double-sid ed printin g 6-9 7. Applicati ons by in dustry 7-1 Finan cial servi ces 7-1 Consum er prod ucts 7-6 H ospitality 7-10 Pro fession al services 7-13 Edu cation 7-15 H ealth car e 7-18 Public sector 7-21 Appendix 1.
A new w ay to look at documents One o f the gr eatest advantages o f digital colour appli cations an d systems is that th ey allow high-qu ality colour process prin ting to be prod uced in sm aller quantiti es at a high er frequen cy , as well as person ally tailored prin ting to optimise customer in teracti on.
• Section 4 in clud es informati on on how to submit jobs to a DocuColor soluti on, directly fr om softwar e application s on Wind ows or Macintosh person al computers, over the web , usin g removable m edia, or oth er means . Use this secti on to mak e sure you get th e job to the prin ter trouble-free every tim e .
Digital techn ology has chang ed many f acets of busin ess and ind ustry today . Computing an d communi cations techn ology has allowed companies to r evolutionise the manu f acturing pr ocess – fro.
What truly distinguish es digital prin ting from tr adition al printing is th e ability to print every page differ ently . This is somethin g that offset pr esses – includin g DI presses – can- n ot d o. Offset presses can only prin t exact r eplicas o f the sam e sheet, again and again.
Digital print workflo w The en tire pr ocess for the pr odu ction of a prin ted docum ent can be br oken-down in to three phases: pr epress (whi ch includ es all steps after the d esign is completed u.
differen t RIPs are used) an d colours will not match e xactly . A proo f can be prod uced on a digital d evice (lik e a DocuColor printer or inkjet or dye sublim ation system) or usin g a photom echanical system (lik e Cromalin).
Press The job is n ow at the stag e where it’s r eady to be prin ted. If the job is bein g printed on a DocuColor 2045 or 2060, th e operator will have calibrated th e press earli er in the day an d loaded th e right paper . The job is then RIPped (using th e appropri ate settings) and prin ted.
With the DocuColor 2045 an d 2060, you’ll mak e the chang e to the file an d re-submit the job . The prin ter will re-RIP the job an d print it. Don e.
The DocuColor 2045 an d 2060 now allow con sumers of prin t to have high qu ality colour work printed cost effectively on sh ort runs – an ywhere fr om a one-o ff up to 2,000 copies . Y ou no lon ger have to buy lon g print run s to drive unit costs down.
As the life cycle of prod ucts g ets shorter an d shorter , it mean s that with digital print you will always have the latest, m ost up-to-date , accurate an d relevan t support material and publi cation s.
V ariable inf ormati on printin g A unique characteristi c of di gital print is the ability to prin t every page differ ently . Not only does this m ean you can print a m ulti-page docum ent (lik e a book) in a single print run, but you can also personalise each sh eet or page to an in div idu al.
U se o f colour Colour attracts atten tion, in creases impact, stimulates em otion s, and tou ches us wh ere pure r eason and in tellect do not. U se of colour in d ocuments impr oves und erstandin g and compr ehen sion, helps or ganise data, an d aids the r eader in d ecision-m aking, learning, r etenti on and recall.
The DocuColor 2045 an d 2060 are di gital colour presses with the ability to pr odu ce superb print qu ality on a broad r ange o f paper stocks. This secti on includ es a d escripti on of th e technol.
Digital Blanket Signifi cant impr ovements in im age qu ality can be attributed to the Digital Blank et used in the DocuColor 2000 Seri es. Th e Digital Blanket passes un der th e four printin g station s wher e the im age is tran sferred to th e blanket.
TRA CS To en sure con sistency from first prin t to last, the DocuColor 2000 Seri es utilises a technology called TRA CS (T oner Repr odu ction A uto Correction System). TRA CS automati cally measur es 16 levels of den sity and colour , and m akes adjustm ents on th e fly .
2 – 4 DocuColor 2000 series design guide Print speeds o f the DocuColor 2060 ar e as follows (in imag es per minute): A4 A3 SRA3 64 – 80 gsm: 45 ipm 30 ipm 22.5 ipm 81 – 135 gsm: 60 ipm 30 ipm 30 ipm 136 – 220 gsm: 30 ipm 15 ipm 15 ipm 221 – 280 gsm: 22.
Image size/paper size The DocuColor 2045 an d 2060 accept stand ard paper sizes of A4, A3 an d SRA3. They will also accept non-stan dar d paper sizes, from 182 mm to 320 mm in h eigh t, and 182 mm to 488 mm in wid th. The DocuColor 2045 an d 2060 will print to within 4 mm o f each paper edge .
The DocuColor 2045 an d 2060 use a calibrated 200 cluster d ot screen, as def ault, to achieve th eir crisp imag e quality . Four other scr eens are available (600 fix ed line , 300 fixed lin e , 200 rotated line an d 150 cluster dot) f or specific customer effects .
2 – 7 image reproduction process Gamut The gam ut (or ran ge of colours) that th e hum an eye can see is much lar ger than th e ran ge of colours that can be reprodu ced in a photogr aph, on a television or computer display , or in print. Also, every d evice capable o f reprod ucin g colour has a different gam ut.
Process colour s Process colours ar e prod uced by printin g overlapping scr eens of cyan, m agen ta, yellow and black. Sin ce the DocuColor 2045 an d 2060 do not prin t “spot” colour like an o ffset press , you have the ability to mix an d blend variati ons o f CMYK to create virtually limitless colour palettes.
Graphi c desi gners today have a br oad choi ce of medium s they can use to comm unicate id eas and d esign s, inclu ding tr aditional prin t technologi es – like lith o, gravure or fle xo – or newer techn ologies , like the web , multi-medi a CD, or digital colour presses .
Imag e consi der ation s Wheth er your origin al image is a tr anspar ency , photogr aphic prin t or digital file , the imag e characteristi cs you start with will have a major impact on the en d results . As with any oth er high qu ality print medium, th e lower the qu ality of your source im age , the poorer th e quality o f your reprod ucti on.
3 - 3 designing documents 300dpi 225dpi 150dpi 72dpi.
Wher e offset has a total ink limit o f around 350%, di gital printin g has a lower limit of aroun d 280%. This requir es images to have UCR or GCR appli ed either at th e time of scanning, or wh en they ar e RIPped. If you scan imag es with UCR, do so with a m aximum ink limit of 280%.
3 - 5 designing documents Minimum paper size 182 x 182mm Image area 174 x 174mm A4 paper size 210 x 297mm Image area 202 x 289mm A3 paper size 297 x 210mm Image area 289 x 412mm.
Bleed is recomm end ed to be at least 3 mm all around to allow f or any fr ont to back imag e skew on th e DocuColor 2045 and 2060 (which has toler ance o f 1 to 1.
3 - 7 designing documents Specifying colours The DocuColor 2045 an d 2060 print usin g process colours, i e , a mix of cyan, mag enta, yellow and black. Y ou have the ability to mix and blen d variati ons o f CMYK to create virtually limitless colour palettes .
600 SCREEN.
300 SCREEN.
200 SCREEN.
150 SCREEN.
600 SCREEN.
300 SCREEN.
200 SCREEN.
150 SCREEN.
Vign ettes Vign ettes, blen ds, and gr adien ts (all essentially th e same – basi cally one colour blendin g into an other) are o ften seen in docum ents these d ays. That’s because it’s so easy to create th em – simply click on th e appropriate di alog box in your appli cation, specify your colours, an d go.
T ry restri cting vign ettes to smaller ar eas (less than 180 mm) rather than full pag e vign ettes. T ry addin g “noise” to a raster vi gnette (eg, use th e “ Add N oise” filter in Photosh op). Create vi gnettes in Ph otoshop rath er than Quark Xpr ess for better quality blen ds.
Remember to always in clud e full font f amilies with your artwork as missin g fonts will be substituted. 3 - 18 DocuColor 2000 series design guide 11 point text on white background, 4 point line 11 p.
Solid blacks Larg e areas o f solid black can often appear wash ed out, wheth er printed on an offset or digital pr ess. Also, wh en overprinting te xt, und erlying colours and pattern s can show through. T o avoid these issues , use a black that has been mixed with oth er colours for add ed punch.
Imag e mottle Un even spotty ink or toner cover age , called mottlin g, can occur when prin ting larg e solid ar eas of flat mi d tone colours, especi ally one colour black. P aper choi ce can be critical in avoi ding this pr oblem. For the DocuColor press , a good , smooth paper stock should be used .
3 - 21 designing documents Tr apping is a technique in which adjacen t colours sligh tly overprint each other to h elp minimise the effects o f possible misregistr ation. The DocuColor 2000 Seri es presses have e xcellent plate to plate r egistrati on.
Creatin g PDFs Acr obat PDF can be a very convenient f ormat f or delivering files to prin t – you simply hand o ff the file with out having to worry about inclu ding f onts, link ed imag es, etc .
Dot gain Dot gain is the ten den cy for halftone d ots to become lar ger and appear d arker because o f wet ink spreadin g when it com es into contact with paper . It is a real issue with offset presses an d inkjet printers , but is not a problem with th e DocuColor 2045 and 2060.
3 - 24 DocuColor 2000 series design guide.
Larg e areas o f solid colour Larg e solid ar eas of colour will always presen t a challeng e for a press , wheth er it is o ffset or di gital. The DocuColor 2045 an d 2060 are capable of pr odu cing great r esults when it com es to flat tints , however , particular colours – lik e C100, M70 – can show up with bandin g in the soli d area.
Coated stock and lar ge white te xt on heavy back groun d When prin ting white te xt on a heavy backgr ound on gloss or coated stock, f aint ghostin g may occur . What causes this is the BeltNip fuser m aintainin g an oil coating when white n on imag e areas are put thr ough the fuser .
With any prin t job , it’s important to und erstand that paper qu ality has a direct r elati onship to prin t quality . No m atter whether you’r e printin g offset, on a di gital press , or at hom e on an inkjet, this is, and always will be , the case .
P aper influences on print quality V ariables in th e papermaking pr ocess can influence th e quality and perf orman ce of th e finished paper . While some vari ables are con trolled to cr eate specific stocks, oth er may r esult in imperfecti ons . Formation Formati on is how fibr es are distributed on a sheet.
W eight This is a measur e of th e weight o f paper or stock, in gram s per square m etre (gsm), an d is anoth er important con sider ation in paper selecti on. Most offi ce papers are ar ound 80 or 90 gsm, and ar e norm ally used for correspon den ce.
m ay be used in di gital printin g equipment, th ere ar e some limitation s to the perform ance o f coated stocks with this technology . Coating m aterials used in the manu f acture o f these papers can impact perf ormance an d reli ability (ie , smearin g, blurring, str etching an d flaking).
Thick paper stocks Imag e quality on r ecommend ed heavy wei ght stocks is often e xcellen t, but cannot always be expected to m atch the im age quality on 100 gsm Colotech+ paper . Degrad ation in im age quality is m ore lik ely to occur as paper weight in creases .
Optical paper qualities that influence image quality The perf orman ce of toner an d ink are affected by th e following paper char acteristics: shade , opacity , brigh tness , and reflectivity .
5 - 7 selecting paper stock Reflectivity When ton er or ink is applied to a sm ooth surface , the r esulting imag e is sharper because the im age is r eflected back in a straigh tforwar d direction.
P aper grades When you or der paper , it’s important to kn ow the differ ences between papers so that you’ll know what to ask f or . Professi onals divi de papers into lar ge categ ories or gr ades accordin g to their en d use, m ethod o f printing, an d pulp conten t.
5 - 9 selecting paper stock Xerox equivalent Blue Wrap 80 gsm 635 x 880 mm S/G 650 x 910 mm L/G A4, A3 Blue Wrap 90 gsm 650 x 910 mm L/G Purple Wrap 80 gsm A4 Business 80 gsm A4 P erformer 80 gsm A4, A3 Symphon y Tints 80 gsm A4, A3 Commen t Surface n ot suited to high resoluti on imag e reprod ucti on.
5 - 10 DocuColor 2000 series design guide Finish Regular printin g, smooth, vellum Applicati on Books, br ochur es, calend ars, catalogues , flyers, direct m ail pieces , manu als, newsletters , program s, ann ual reports , posters, techni cal dr awings , self-mailers, r eply paid , speaker sheets , inserts , packing slips, n otices.
5 - 11 selecting paper stock UNCOA TED OFFSET (continued) Finish W ove, sm ooth, antique r ough Applicati on Annu al reports , announcem ents , brochur es, books , flyers, leaflets, m ailers , gener a.
5 - 12 DocuColor 2000 series design guide TEXT AND COVERS (continued) Applicati on Annu al reports , announcem ents , art reprod ucti ons, books , broch ures, calen dars , posters, labels, invitati ons , greeting car ds, quality appar el enclosures , men us, high qu ality advertising.
5 - 13 selecting paper stock UNCOA TED DIGIT AL T ype Xer ographic , digital, laser , colour copy Definition • Especially enhan ced uncoated surf aces for digital an d laser r epr oducti on. P articularly suited to jobs with high colour im age quality n eeds.
5 - 14 DocuColor 2000 series design guide Xerox equivalent Green Wr ap Cardstock 150, 200 gsm A4 Symphon y Cardstock Tints 120, 160 gsm A4 P astel Cardstock 150, 200 gsm A4 Colotech+ 160, 200, 220, 250, 280 gsm A4, A3, SRA3 Commen t Surface type and gr ain directi on must be consi der ed before selectin g.
5 - 15 selecting paper stock Applicati on High qu ality covers, gr eeting cards , point o f sale, posters , postcards , business cards , men us, high qu ality advertising Xerox equivalent Colotech Ima.
5 - 16 DocuColor 2000 series design guide P aper handling and storage P apers for di gital printing ar e man ufactured with a lower m oisture con tent than o ffset papers. For optim um printin g, this controlled m oisture con tent of paper n eeds to be m ain tained .
Wr ap-up P aper has a direct r elationship to prin t quality – th e better the paper , the better th e r esults . Specify paper that has been desi gned f or digital printin g. Select paper that has good f ormati on. U se sm ooth or coated finishes f or documen ts that have fine d etail, shaded areas or halftone im ages .
5 - 18 DocuColor 2000 series design guide.
6 – 1 Outsid e of th e commerci al print world , a vital part of a docum ent’s lifecycle is o ften overlooked . Man y people believe a docum ent is completed on ce the pages leave th e printer , disregar ding th e finishing pr ocess altogether .
6 – 2 DocuColor 2000 series design guide Scoring Scoring is g ener ally used when a fold n eeds to be mad e against th e paper grain, or wh en jobs are printed on mi ddle to heavy wei ght stocks that r equire foldin g. Scoring involves a long blun t edg ed rule that presses firmly down on a docum ent, causin g a crease in the paper .
binding and finishing 6 – 3 An accordi on fold is wh en two or more par allel folds ar e made in r eversing dir ection s. Gate folds ar e useful for br ochures an d book covers because they cr eate a pair of fold outs.
6 - 4 DocuColor 2000 series design guide Binding Saddle stitching Saddle stitchin g is the m ost common and least e xpensive bin ding and is best suited to low page coun t publicati ons. In a sad dle stitched publi cation, the si gnatur es are open ed and str addled acr oss a metal righ t angle plate called a sad dle.
binding and finishing 6 - 5 Edition binding The conven tion al method o f bookbindin g, produ cing "har dback" books. Si gnatures ar e collated in sequence , en dleaves pasted on the first and last si gnatur e, an d then sewn togeth er .
6 - 6 DocuColor 2000 series design guide Mechanical binding M echani cal bindin g includ es an array o f devices that can be used to h old a final d ocum ent tog ether , inclu ding spiral bin ding, plasti c bindin g, and coil bindin g. Holes or slots are d rilled or cut along on e gutter edge an d wire or plasti c binding is in serted.
binding and finishing 6 - 7 Finishing touches T rimming T rimming is g enerally perf ormed on a guillotin e cutter after binding. Docum ents ar e placed in the gutter , with the boun d sid e away from th e knife.
6 - 8 DocuColor 2000 series design guide V arnish Anoth er tool that can be used to protect d ocuments fr om abrasi on is varnishing. It can also be used as a desi gn tool to enhance a d ocument’s appear ance .
binding and finishing 6 - 9 Double-sided printing The DocuColor 2060 is capable o f automati cally duplex prin ting on up to 220 gsm m edi a. During autom atic duple x printin g mode th e machin e will mak e printing pr ocess contr ol chang es during th e sid e 2 pass, in an attempt to closely match th e imag e on sid e 1.
6 - 10 DocuColor 2000 series design guide.
Financial services Banking, fin ance , securities , funds m anagem ent, in suran ce, br okers , credit uni ons Business gr aphics T ypical verti cal application n ame • “Red herrin g” dr aft pro.
Decision m aking r ole • Mark eting • Retail sales • CEO • Man aging dir ector • Research • Annuiti es mark eting • Un derwritin g • Commer cial lin es marketin g • Man aged car e .
K ey ben efits of di gital colour printing • Speed up turnar ound tim e • T arget based on needs/featur es/services • Ensur e consisten cy • Pr ovide m ulti-lingu al docum entation to improve .
K ey ben efits of di gital colour printing • Incr ease sales • Grow busin ess, r evenue and pr ofits • Gain competitive advantag e • Build bran d id entity/recogniti on • Impr ove response w.
Compensati on and ben efit booklets/directori es T ypical verti cal application n ame • Cover/spine • Booklet • Entitlem ents an d benefits booklets Decision m aking r ole • Hum an resour ces .
Consumer products Manu f acturing, in dustri al, retail, wholesale , consumer electr onics Catalogues T ypical verti cal application n ame • Prod uct • P arts • Channel Decision m aking r ole .
Decision m aking r ole • Mark eting • Advertisin g • Graphi c arts/creative servi ces • Public r elation s K ey ben efits of di gital colour printing • Incr ease sales • Grow pr ofits • .
Manua ls T ypical verti cal application n ame • T rainin g • Operati ons an d procedur e • Prod uct m arketing • Service/r epair • Distribution • Consum er (i.
Presen tation s/proposals/r eports T ypical verti cal application n ame • Proposals • Overheads • Han douts • Inserts • Cover/spine Decision m aking r ole • CEO/ex ecutives • Mark eting/.
Hospitality Restauran ts, h otels, conventi on centr es, travel ag enci es, advertisin g agenci es, cruise lines , tour operators Prom otion al materi als T ypical verti cal application n ame • Conf.
based on buying pr eferen ces • Facilitate micr o-mark eting • Build customer loyalty • Acceler ate competitive respon se • Redu ce inventory/obsolescen ce • Lower short run costs • Pr ovi.
Manua ls T ypical verti cal application n ame • T rainin g • Operati ons an d procedur es • Prod uct an d services mark eting • Seminars Decision m aking r ole • Mark eting • Retail sales .
Pro fessional services Legal firms , accountan cy firms, r eal estate , travel, consultin g firms , IT , peak bodies Presen tation s/proposals/r eports T ypical verti cal application n ame • Proposa.
Manua ls T ypical verti cal application n ame • T rainin g • Operati ons an d procedur es • Prod uct an d services mark eting • Seminars Decision m aking r ole • Mark eting • Sales • T r.
• Sign age , posters, bann ers • Directori es • Direct m ail campaign s • Business car ds • T rad e show materi als Decision m aking r ole • Man aging partn er • Mark eting • Graphi c .
Decision m aking r ole • Vice-chan cellors • School prin cipals • Departmen t heads K ey ben efits of di gital colour printing • Redu ce costs/contain costs • Redu ce inventory/obsolescen ce.
K ey ben efits of di gital colour printing • Redu ce costs/contain costs • Improve qu ality • Improve par ent satisf action • Improve stu den t satisfaction • Improve employee satisf action .
Other T ypical verti cal application n ame • Stud ent ID car ds • Phon e cards • Certificates • Diploma • Acad emic publi cations Decision m aking r ole • Registrar • Vice-chan cellors .
• Event/pr ogram n otices • P ostcards • Sign age , posters, bann ers • Directori es • Direct m ail campaign s • Tick ets and passes to even ts • Invitation s to fund r aisers and events.
Compensati on and ben efit booklets T ypical verti cal application n ame • Cover/spine • Booklet Decision m aking r ole • Hum an resour ces • Employee services K ey ben efits of di gital colou.
Public sector Feder al Governmen t – Armed f orces K ey appli cation s • P amphlets • V ersion s of recruitm ent pamphlets/booklets K ey ben efits of di gital colour printing • Redu ce invento.
Feder al/State/Local Governmen t – Graphi cs repr odu ction prin t shops K ey appli cation s • Colour covers f or technical docum entati on • Colour covers for tr aining m aterials • Sign age .
K ey ben efits of di gital colour printing • Enable JIT d elivery of prin t • Organise an d classify inform ation • Redu ce inventory/obsolescen ce Feder al/State/Local Governmen t - Departmen t.
Feder al/State/Local Governmen t - Departmen t of P arks K ey appli cation s • Br ochures • Flyers • P ostcards (in cluding souvenir) • Maps • Events • Invitation s/progr ams • Fund r ai.
All Micr osoft Offi ce application s (W ord, Ex cel, P owerP oint, Access , etc.) work in th e RGB colour space . The RGB gam ut is much br oader than th e gamut of a pr ocess colour printer or pr ess. Con sequently , man y colours available in Microso ft Office appli cation s cannot be r eprod uced on a process colour d evice .
1 - 2 DocuColor 2000 series design guide Mi cros o ft C h art st an dar d "Chart fi lls" an d "Cha rt li n e s " c o lo u r s Mi cros o ft E x ce l s ta nd a r d " C ha rt fil.
1 - 3 microsoft o ffice colour charts Mi cros o ft C h art st an dar d "Chart fi lls" an d "Cha rt li n e s " c o lo u r s Mi cros o ft E x ce l s ta nd a r d " C ha rt fill s.
The n ext chart sh ows which of th ese stand ard Micr osoft Offi ce colours are out o f gamut, ie , th ose that cannot be r eprodu ced on a DocuColor 2060.
The f ollowing chart sh ows the exten ded stan dard colour palette available in Mi croso ft Office appli cation s. It in clud es the nam es of th e 40 basic stan dard colours wh ere th ey appear on the palette .
The last chart sh ows the sam e extend ed stand ard colour palette with out of gam ut colours highli ghted , ie , those colours that cann ot be reprod uced on a DocuColor 2060.
APPENDIX 2: RGB colour charts The RGB colour space (or gam ut) is mu ch broader than th e gamut o f a process colour printer or pr ess. Con sequently , man y colours available in the RGB colour space cannot be repr odu ced on a process colour devi ce .
2 - 2 DocuColor 2000 series design guide 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 0.
2 - 3 RGB colour charts 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 25.
2 - 4 DocuColor 2000 series design guide 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 50.
2 - 5 RGB colour charts 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 75.
2 - 6 DocuColor 2000 series design guide 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 100.
2 - 7 RGB colour charts 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 125.
2 - 8 DocuColor 2000 series design guide 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 150.
2 - 9 RGB colour charts 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 175.
2 - 10 DocuColor 2000 series design guide 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 200.
2 - 11 RGB colour charts 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 225.
2 - 12 DocuColor 2000 series design guide 255 225 200 175 150 125 100 75 50 25 0 255 225 200 175 150 125 100 75 50 25 0 Blue Green Red = 255.
3 - 1 The DocuColor 2060 prin ts using pr ocess colours, viz. cyan (C), mag enta (M), yellow (Y) and black (K). Y ou have the ability to mix and blen d variati ons o f CMYK to create virtually limitless colour palettes . The f ollowing charts provi de e xamples of mixtur es of CMYK that you can use to select colours.
3 - 2 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 0% Y ellow.
3 - 3 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 0% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 4 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 10% Y ellow.
3 - 5 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 10% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 6 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 20% Y ellow.
3 - 7 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 20% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 8 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 30% Y ellow.
3 - 9 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 30% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 10 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 40% Y ellow.
3 - 11 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 40% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 12 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 50% Y ellow.
3 - 13 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 50% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 14 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 60% Y ellow.
3 - 15 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 60% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 16 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 70% Y ellow.
3 - 17 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 70% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 18 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 80% Y ellow.
3 - 19 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 80% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 20 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 90% Y ellow.
3 - 21 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 90% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 22 DocuColor 2000 series design guide 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 100% Y ellow.
3 - 23 CMYK colour charts 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Cyan Magenta 100% Y ellow 5% Black 10% Black 30% Black 20% Black.
3 - 24 DocuColor 2000 series design guide.
APPENDIX 4: P antone colour charts 4 - 1 The DocuColor 2060 is n ot capable of prin ting spot colours. H owever , it can convert Pa n tone colours into CMYK pr ocess colours on the fly d uring the RIP stag e .
4 - 2 DocuColor 2000 series design guide PA NTONE 120 PA NTONE 121 PA NTONE 122 PA NTONE 123 PA NTONE 124 PA NTONE 125 PA NTONE 126 P ANT ONE 113 P ANT ONE 114 P ANT ONE 115 P ANT ONE 116 P ANT ONE 11.
4 - 3 P antone colour charts PA NTONE 141 PA NTONE 142 PA NTONE 143 PA NTONE 144 PA NTONE 145 PA NTONE 146 PA NTONE 147 P ANT ONE 1345 P ANT ONE 1355 P ANT ONE 1365 P ANT ONE 1375 P ANT ONE 1385 P ANT.
4 - 4 DocuColor 2000 series design guide PA NTONE 162 PA NTONE 163 PA NTONE 164 PA NTONE 165 PA NTONE 166 PA NTONE 167 PA NTONE 168 P ANT ONE 1555 P ANT ONE 1565 P ANT ONE 1575 P ANT ONE 1585 P ANT ON.
4 - 5 P antone colour charts PA NTONE 1767 PA NTONE 1777 PA NTONE 1787 Red 032 PA NTONE 1797 PA NTONE 1807 PA NTONE 1817 P ANT ONE 1765 P ANT ONE 1775 P ANT ONE 1785 P ANT ONE 1788 P ANT ONE 1795 P AN.
4 - 6 DocuColor 2000 series design guide PA NTONE 203 PA NTONE 204 PA NTONE 205 PA NTONE 206 PA NTONE 207 PA NTONE 208 PA NTONE 209 P ANT ONE 196 P ANT ONE 197 P ANT ONE 198 P ANT ONE 199 P ANT ONE 20.
4 - 7 P antone colour charts PA NTONE 236 PA NTONE 237 PA NTONE 238 PA NTONE 239 PA NTONE 240 PA NTONE 241 PA NTONE 242 P ANT ONE 230 P ANT ONE 231 P ANT ONE 232 Rhod .
4 - 8 DocuColor 2000 series design guide PA NTONE 2562 PA NTONE 2572 PA NTONE 2582 PA NTONE 2592 PA NTONE 2602 PA NTONE 2612 PA NTONE 2622 P ANT ONE 256 P ANT ONE 257 P ANT ONE 258 P ANT ONE 259 P ANT.
4 - 9 P antone colour charts PA NTONE 270 PA NTONE 271 PA NTONE 272 PA NTONE 273 PA NTONE 274 PA NTONE 275 PA NTONE 276 P ANT ONE 2635 P ANT ONE 2645 P ANT ONE 2655 P ANT ONE 2665 Violet P ANT ONE 268.
4 - 10 DocuColor 2000 series design guide PA NTONE 277 PA NTONE 278 PA NTONE 279 Reflex Blue PA NTONE 280 PA NTONE 281 PA NTONE 282 P ANT ONE 2708 P ANT ONE 2718 P ANT ONE 2728 P ANT ONE 2738 P ANT ON.
4 - 11 P antone colour charts PA NTONE 2975 PA NTONE 2985 PA NTONE 2995 PA NTONE 3005 PA NTONE 3015 PA NTONE 3025 PA NTONE 3035 P ANT ONE 297 P ANT ONE 298 P ANT ONE 299 P ANT ONE 300 P ANT ONE 301 P .
4 - 12 DocuColor 2000 series design guide PA NTONE 324 PA NTONE 325 PA NTONE 326 PA NTONE 327 PA NTONE 328 PA NTONE 329 PA NTONE 330 P ANT ONE 317 P ANT ONE 318 P ANT ONE 319 P ANT ONE 320 P ANT ONE 3.
4 - 13 P antone colour charts PA NTONE 337 PA NTONE 338 PA NTONE 339 PA NTONE 340 PA NTONE 341 PA NTONE 342 PA NTONE 343 P ANT ONE 331 P ANT ONE 332 P ANT ONE 333 Green P ANT ONE 334 P ANT ONE 335 P A.
4 - 14 DocuColor 2000 series design guide PA NTONE 365 PA NTONE 366 PA NTONE 367 PA NTONE 368 PA NTONE 369 PA NTONE 370 PA NTONE 371 P ANT ONE 358 P ANT ONE 359 P ANT ONE 360 P ANT ONE 361 P ANT ONE 3.
4 - 15 P antone colour charts PA NTONE 3935 PA NTONE 3945 PA NTONE 3955 PA NTONE 3965 PA NTONE 3975 PA NTONE 3985 PA NTONE 3995 P ANT ONE 393 P ANT ONE 394 P ANT ONE 395 P ANT ONE 396 P ANT ONE 397 P .
4 - 16 DocuColor 2000 series design guide PA NTONE 427 PA NTONE 428 PA NTONE 429 PA NTONE 430 PA NTONE 431 PA NTONE 432 PA NTONE 433 P ANT ONE 420 P ANT ONE 421 P ANT ONE 422 P ANT ONE 423 P ANT ONE 4.
4 - 17 P antone colour charts Cool Grey 1 Cool Grey 2 Cool Grey 3 Cool Grey 4 Cool Grey 5 W arm Grey 6 W arm Grey 7 W arm Grey 8 W arm Grey 9 W arm Grey 10 W arm Grey 11 W arm Grey 1 W arm Grey 2 W ar.
4 - 18 DocuColor 2000 series design guide PA NTONE 455 PA NTONE 456 PA NTONE 457 PA NTONE 458 PA NTONE 459 PA NTONE 460 PA NTONE 461 P ANT ONE 4485 P ANT ONE 4495 P ANT ONE 4505 P ANT ONE 4515 P ANT O.
4 - 19 P antone colour charts PA NTONE 476 PA NTONE 477 PA NTONE 478 PA NTONE 479 PA NTONE 480 PA NTONE 481 PA NTONE 482 P ANT ONE 4695 P ANT ONE 4705 P ANT ONE 4715 P ANT ONE 4725 P ANT ONE 4735 P AN.
4 - 20 DocuColor 2000 series design guide PA NTONE 504 PA NTONE 505 PA NTONE 506 PA NTONE 507 PA NTONE 508 PA NTONE 509 PA NTONE 510 P ANT ONE 4975 P ANT ONE 4985 P ANT ONE 4995 P ANT ONE 5005 P ANT O.
4 - 21 P antone colour charts PA NTONE 525 PA NTONE 526 PA NTONE 527 PA NTONE 528 PA NTONE 529 PA NTONE 530 PA NTONE 531 P ANT ONE 5185 P ANT ONE 5195 P ANT ONE 5205 P ANT ONE 5215 P ANT ONE 5225 P AN.
4 - 22 DocuColor 2000 series design guide PA NTONE 546 PA NTONE 547 PA NTONE 548 PA NTONE 549 PA NTONE 550 PA NTONE 551 PA NTONE 552 P ANT ONE 5395 P ANT ONE 5405 P ANT ONE 5415 P ANT ONE 5425 P ANT O.
4 - 23 P antone colour charts PA NTONE 560 PA NTONE 561 PA NTONE 562 PA NTONE 563 PA NTONE 564 PA NTONE 565 PA NTONE 566 P ANT ONE 5535 P ANT ONE 5545 P ANT ONE 5555 P ANT ONE 5565 P ANT ONE 5575 P AN.
4 - 24 DocuColor 2000 series design guide PA NTONE 5747 PA NTONE 5757 PA NTONE 5767 PA NTONE 5777 PA NTONE 5787 PA NTONE 5797 PA NTONE 5807 P ANT ONE 5743 P ANT ONE 5753 P ANT ONE 5763 P ANT ONE 5773 .
4 - 25 P antone colour charts PA NTONE 614 PA NTONE 615 PA NTONE 616 PA NTONE 617 PA NTONE 618 PA NTONE 619 PA NTONE 620 P ANT ONE 607 P ANT ONE 608 P ANT ONE 609 P ANT ONE 610 P ANT ONE 611 P ANT ONE.
4 - 26 DocuColor 2000 series design guide PA NTONE 649 PA NTONE 650 PA NTONE 651 PA NTONE 652 PA NTONE 653 PA NTONE 654 PA NTONE 655 P ANT ONE 642 P ANT ONE 643 P ANT ONE 644 P ANT ONE 645 P ANT ONE 6.
4 - 27 P antone colour charts PA NTONE 684 PA NTONE 685 PA NTONE 686 PA NTONE 687 PA NTONE 688 PA NTONE 689 PA NTONE 690 P ANT ONE 677 P ANT ONE 678 P ANT ONE 679 P ANT ONE 680 P ANT ONE 681 P ANT ONE.
4 - 28 DocuColor 2000 series design guide PA NTONE 719 PA NTONE 720 PA NTONE 721 PA NTONE 722 PA NTONE 723 PA NTONE 724 PA NTONE 725 P ANT ONE 712 P ANT ONE 713 P ANT ONE 714 P ANT ONE 715 P ANT ONE 7.
4 - 29 P antone colour charts PA NTONE 7422 PA NTONE 7423 PA NTONE 7424 PA NTONE 7425 PA NTONE 7426 PA NTONE 7427 PA NTONE 7428 P ANT ONE 7415 P ANT ONE 7416 P ANT ONE 7417 P ANT ONE 7418 P ANT ONE 74.
4 - 30 DocuColor 2000 series design guide PA NTONE 7457 PA NTONE 7458 PA NTONE 7459 PA NTONE 7460 PA NTONE 7461 PA NTONE 7462 PA NTONE 7463 P ANT ONE 7450 P ANT ONE 7451 P ANT ONE 7452 P ANT ONE 7453 .
4 - 31 P antone colour charts PA NTONE 7492 PA NTONE 7493 PA NTONE 7494 PA NTONE 7495 PA NTONE 7496 PA NTONE 7497 PA NTONE 7498 P ANT ONE 7485 P ANT ONE 7486 P ANT ONE 7487 P ANT ONE 7488 P ANT ONE 74.
4 - 32 DocuColor 2000 series design guide PA NTONE 7527 PA NTONE 7528 PA NTONE 7529 PA NTONE 7530 PA NTONE 7531 PA NTONE 7532 PA NTONE 7533 P ANT ONE 7520 P ANT ONE 7521 P ANT ONE 7522 P ANT ONE 7523 .
4 - 33 P antone colour charts PA NTONE 871 PA NTONE 872 PA NTONE 873 PA NTONE 874 PA NTONE 875 PA NTONE 876 PA NTONE 877 P ANT ONE 808 P ANT ONE 809 P ANT ONE 810 P ANT ONE 811 P ANT ONE 812 P ANT ONE.
4 - 34 DocuColor 2000 series design guide.
1/0 “One over zer o” refers to printin g with one colour on one si de o f a sheet, leavin g the other si de blank. 2-up/4-up/8-up The n umber of imag es printed on one si de o f a sheet. 4/0 “Four over zero” r efers to printing with f our colours on one sid e of a sheet o f paper , leaving th e other si de blank.
Bleed An imag e that extends to all f our edges o f a page . The e xtra amoun t of the im age that is printed on a sh eet beyond the cr op marks (th e sheet is then trimm ed to size). Calendered P aper that has been passed through a seri es of stainless steel rollers that prod uce a very smooth finish to th e paper .
Colour rendering dictionary A lookup table in P ostScript that describes how to m ap colour from one d evi ce to another . Also called CRD. Colour separations A full colour imag e broken d own into a series o f single colour im ages of the prim ary printing colours .
Crosso ver Occurs when an im age is printed on two adjacen t pages in a publi cation so read ers perceive a single , unbrok en imag e. Customisation A form o f variable inform ation printin g. Used to d escribe a documen t that has been customised to its audi ence .
Electrophotogr aphy The im age tran sfer system used in printers an d copiers wher e images ar e prod uced using electr ostatic for ces. Electri cal charges ar e used to create an imag e on a photoco ndu ctive surface to whi ch toner is attracted . The toner is th en transferr ed and fused to paper .
Grain Gr ain direction is th e orientati on of fibr es with respect to the lon g edge of the paper . For example , in an A4 sheet, th e fibres of a lon g grain sheet ar e parallel to the 297 mm dim ension o f the pag e (the pages o f a short gr ain sheet are par allel to the 210 mm dimen sion).
Impressions per hour The term m ost commonly used with offset prin ting for m easuring prin t speed. On e impression can con sist of multiple im ages on a lar ge sheet that will be cut into sm aller sized sheets after being prin ted. Impressions per minute The term most comm only used with offset prin ting for m easuring print speed.
Looseleaf binding A bin ding meth od that inclu des drillin g holes into a paper’s ed ge to be easily inserted in to binders . lpi Short f or lines per inch. See scr een frequency . LUT Short f or lookup table. Maker eady All work required to set up a pr ess for printin g.
provi des for autom atic replacem ent o f low-resolution placeh older imag es with high-r esolution imag es. Overprint Wh en printing a shape or type in colour , the shape prin ts over whatever colours have alread y been printed. This can r esult in a shift of colour d ue to overlappin g ink or toner .
Preflight A step in th e prepress pr ocess used to test every component o f a job to ensur e it will print correctly . This can inclu de fon ts, imag e files and links, colour gam ut, etc.
Rosette The (acceptable) d ot cluster formati on that is created in four-colour imag es. RTP Short f or ready to prin t. A file that has been ripped Runnability Describes the ease with whi ch paper moves through th e printing pr ess or printer .
Sheet-fed press A printin g press, eith er digital or o ffset, that prints on cut sheets o f paper . Sheets per hour A term comm only used to describe the speed o f bindin g and foldin g operati ons. Short edge feed The sh ortest edge o f the paper is fed into th e printer first.
Stock A term used to refer to all types o f paper , tran sparen cies, an d other printable m aterials. Also called m edia or substrate . Streaking Und esir able artifacts caused by linear irr egularities in ink or toner tran sfer . Substrate A term used to r efer to all types of paper , transpar encies , and other printable m aterials.
V arnish A finishing pr ocess in which a coating, or varnish, is appli ed over the printed ar ea (or whole page) to pr otect it or enhance its visual appeal. V ector An imag e file that uses mathem atical f ormulae to describe lin es and curves. Ve r sioning A form of vari able inform ation printin g.
デバイスXerox 2000の購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Xerox 2000をまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはXerox 2000の技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Xerox 2000の取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Xerox 2000で得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Xerox 2000を既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はXerox 2000の不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Xerox 2000に関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちXerox 2000デバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
