Adobe Creative Suite 2 User manual

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Color Workﬂows for Adobe Creative Suite 2

A Self-Help Guide

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Adobe, the Adobe logo, Illustrator, Photoshop, InDesign, Acrobat, GoLive, and PostScript are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Mac is a trademark of Apple Computer, Inc., registered in the United States and other countries. All other trademarks are the property of their respective owners.

TABLE OF CONTENTS

Introduction

Chapter 1: Getting Started

Chapter 2: CMYK Commercial Print

Workﬂow

12 Chapter 3: Mixed RGB and CMYK Print

Workﬂow

22 Chapter 4: RGB Photo Print Workﬂow

27 Chapter 5: Internet Publishing RBG

Workﬂow

33 Chapter 6: Advanced Topics

39 Glossary

Introduction

Welcome to “Color Workﬂows for Adobe® Creative Suite 2.” This guide is intended for professionals in the visual communications industry who need a reliable approach to achieving accurate and consistent color. Whether you are a new or experienced user of Adobe Photoshop®, Adobe Illustrator®, Adobe InDesign®, Adobe GoLive®, or Adobe

Acrobat® Professional, this guide provides the knowledge you need to eﬀectively use new Adobe Creative Suite 2 features in your color workﬂow and achieve accurate and consistent color.

It is often difficult to achieve accurate and consistent color because the two color models most often used to specify color appearance—RGB and CMYK—are device-specific or device-dependent. A monitor, scanner, and printer each produce a different color given the same set of RGB or CMYK numbers because the color depends on the characteristics of each device. For example, the color produced by a monitor depends on the color of its red, green, and blue filters or phosphors. The color produced by a printer depends on the type of paper, how it absorbs ink, and the colors of the cyan, magenta, yellow, and black inks. The end result is that a scanned image doesn’t look like the original, and the final copy printed on the printing press doesn’t look like the image you saw on your monitor. These differences can lead to hours of lost productivity and revenue because of numerous color corrections and trial and error prints.

When devices—such as a monitor, scanner and printer—receive the same color values, each device produces a diﬀerent color.

How does color management technology in Adobe Creative Suite 2 help?

The color management technology in Adobe Creative Suite 2 lets you achieve more accurate and consistent color reproduction by performing two essential tasks:

➤

Identiﬁes a speciﬁc color appearance for RGB or CMYK numbers in a document

➤

Maintains the color appearance by changing the color numbers needed by the target device to produce the speciﬁed color appearance

Color management technology relies on proﬁles and a color management system (CMS).

Proﬁles give the CMS the information needed to maintain the color appearance when a ﬁle is sent to a device. For example, if the color represented by the numbers R235, G56, and B70 on a scanner is tomato red but looks closer to brick red on a monitor, the CMS translates the RGB numbers to those needed by the monitor to preserve the tomato red appearance. In this way, color management helps you reproduce consistent color— independent of the unique color characteristics of a particular device.

Adobe Creative Suite 2 components include easy-to-use color management features and tools to help you achieve consistent color without becoming a color management expert.

You will have the tools to view colors consistently across applications and devices, ensuring more accurate color throughout your workﬂow—from edit to proof to ﬁnal print.

New color features in Adobe Creative Suite 2

The following new features are designed to make your color management experience easier.

FE ATUR E

Updated Color Setting Files

Adobe Bridge

Preserving CMYK color numbers Safe CMYK mode preserves CMYK color numbers in your workﬂow using a new Color Management Policy called

“Preserve Numbers (Ignore Linked Proﬁles)”.

Improved spot color handling Spot colors preview and proof consistently from Adobe

Illustrator CS2, Adobe InDesign CS2, and Adobe Photoshop

CS2. You also get better control over conversions from spot colors to process colors.

Common color selection

Improved black viewing and printing

A common .ASE swatch book format lets you share colors across Adobe Creative Suite 2 components.

You can choose how to view and print blacks in

Illustrator CS2 and InDesign CS2, as well as view and print them more accurately.

Task-based print dialog boxes

WHAT IT M E ANS TO YOU

Color settings ﬁles (CSFs) control the behavior of an application’s color management features. Adobe Creative Suite 2 comes with several preset CSFs—each based on a common workﬂow, such as Web/Internet or Prepress—that users can select from one central location in Adobe Bridge.

Adobe Bridge serves as an easy-to-use, central location for selecting CSFs and then sharing those settings across all

Adobe Creative Suite 2 components.

Common interface for creating

PDF ﬁles

Simpliﬁed print dialog boxes make it easier to control color management features whether printing a proof or a ﬁnal document.

All Adobe Creative Suite 2 components have an easy-touse, common interface for generating Portable Document

Format (PDF) ﬁles and sharing PDF presets.

Color Workflows for Adobe Creative Suite 2

Chapter 1: Getting Started

This guide includes a variety of workflows to help you effectively manage color appearance. This chapter helps you select the workflow that suits your needs and introduces

Adobe Bridge. If you are not completely familiar with the color management terminology, refer to the Glossary in this guide.

Which workﬂow is for you?

Chapters 2 through 5 describe how to use the new Adobe Creative Suite 2 color management features in today’s common workflows. Use the table below to find the workflow that is most relevant to you.

IF YOU ARE A… WO R K ING IN

Prepress professional

THIS M AR K E T…

Traditional and digital commercial printing

Graphic designer Commercial printing, publishing

Digital photo professional

Internet publishing, web-based or computer-based training

Photography

SEN D ING TO TH E

FOLLOWING DEVICE

Printing press

(for example, oﬀset,

Flexo, or Gravure), digital printing press

Printing press

On-screen display

GO TO TH IS CHAP TER

Chapter 2: CMYK Commercial

Print Workﬂow and Chapter 6: Advanced Topics.

Users adding RGB to their workﬂow should also see

Chapter 3.

Chapter 2: CMYK Commercial

Print Workﬂow

Chapter 4: Internet Publishing (RGB) Workﬂow

Photo lab, RGB printer Chapter 4: RGB Photo

Printing Workﬂow

About Adobe Bridge

Adobe Bridge component of Adobe Creative Suite 2 that serves as a central location from which you can select CSFs with preset color management policies and default proﬁles. Selecting a CSF in Adobe Bridge ensures that color is handled consistently and that color displays and prints the same way from all Adobe Creative Suite 2 components.

The preset values in the CSF determine the color management behavior in all Adobe

Creative Suite 2 components, such as how embedded proﬁles are handled, what the default RGB and CMYK working spaces are, and whether to display warnings when embedded proﬁles are missing or don’t match the working space. Selecting the correct

CSF depends on your workﬂow.

Color Workflows for Adobe Creative Suite 2

To select a CSF from Adobe Bridge:

1. Choose Edit > Creative Suite Color Settings.

2. In the Suite Color Settings dialog box, select the relevant CSF and then click Apply to synchronize all Adobe Creative Suite 2 components to this CSF.

In Adobe Bridge, you can select the CSF that matches your workﬂow.

For more information about color settings, see Adobe Creative Suite 2 Help documentation.

Color Workflows for Adobe Creative Suite 2

Chapter 2: CMYK Commercial

Print Workﬂow

In the commercial printing and publishing industry, consistent color throughout the workflow saves both time and money. Because print professionals want to ensure that files produce the expected color results, many prepare artwork using CMYK values created for a specific output device. This “safe” approach ensures that CMYK color numbers specified anywhere in the workflow are delivered to the final output device unchanged.

Adobe Creative Suite 2 protects against unwanted CMYK color conversions, so print professionals can continue to work in their current workﬂow—safely. In addition,

Adobe Creative Suite 2 offers additional color management benefits, such as consistent color viewing across applications, and accurate soft-proofing and hard-proofing.

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With Adobe Creative Suite 2, CMYK color values are preserved throughout the workﬂow to ﬁnal press.

With the color appearance of CMYK fully deﬁned, you’re able to view colors accurately on monitors and proofers.

This chapter is intended for graphic designers and prepress professionals who are responsible for building documents. It provides step-by-step descriptions for using

Adobe Creative Suite 2 to achieve more accurate color in a commercial print workﬂow.

Color Workflows for Adobe Creative Suite 2

Initial setup

Before starting this color management workﬂow, be sure the North America General

Purpose 2 color setting is selected in Adobe Bridge. This color setting sets the default

CMYK working space color profile to U.S. Web Coated (SWOP) v2, preserves CMYK values, and does not provide profile mismatch warnings. For information about mismatched profile warnings, see “Chapter 6: Advanced Topics.”

Be sure you select North America General Purpose 2 as the CSF in Adobe Bridge.

This CSF sets U.S. Web Coated (SWOP) v2 as the default CMYK working space and uses the CMYK color management policy to preserve CMYK color numbers. Although you set the Color Settings ﬁle in Adobe Bridge, this is how that setting appears in the InDesign CS2 Color Settings dialog box.

Color Workflows for Adobe Creative Suite 2

Editing images in Photoshop CS2

When you open digital images in Photoshop CS2 for editing, they may be in a CMYK or RGB color space. Photoshop CS2 makes it easy to bring those ﬁles into a color space that is appropriate for print on a North American press using standard North American printing conditions. You must convert images in an RGB color space to CMYK for printing purposes.

To convert RGB images to CMYK for print:

1. Choose Image > Mode.

2. Select CMYK Color.

Note: Photoshop CS2 uses the default CMYK working space proﬁle to convert RGB to

CMYK. RGB color spaces are typically larger than CMYK color spaces. The CMYK image might appear slightly desaturated when viewed on your monitor. However, the colors are now appropriate for printing on a typical oﬀset press in North America.

Note the following when preparing CMYK images for print on a North American press:

• If the CMYK image was created in Photoshop CS2, the application automatically uses the standard CMYK working space U.S. Web Coated (SWOP) v2 to define the color appearance of the CMYK values. By default, Photoshop CS2 embeds this profile in saved CMYK images so that the color appearance of the image remains consistent throughout the workflow.

• If you open a CMYK image that is missing a profile, the General Purpose 2 CSF automatically preserves the CMYK numbers. Photoshop CS2 assumes that the CMYK values are understood using the standard U.S. Web Coated (SWOP) v2 profile and embeds that profile in the saved image file.

• If you open a CMYK image with an embedded proﬁle that is not U.S. Web Coated

(SWOP) v2, contact the creator of the image to ensure that the CMYK numbers in the image are ready to use on a North American press.

Creating or placing graphics in Illustrator CS2

When you create a new graphic in Illustrator CS2, you can choose RGB or CMYK as the color model to work in. Choose CMYK. Illustrator CS2 automatically assigns the working space proﬁle, U.S. Web Coated (SWOP) v2, to the document.

If you place CMYK graphics that are not in this color space into Illustrator CS2, it applies Safe CMYK mode to preserve the color numbers in the graphics. Illustrator CS2 interprets the appearance of the CMYK values using the Illustrator document’s color proﬁle, U.S. Web Coated (SWOP) v2.

Saving artwork in Photoshop CS2 and Illustrator CS2

When you are ready to save the artwork for the commercial press, you can embed the

U.S. Web Coated (SWOP) v2 proﬁle so another user can understand how the ﬁle was created and the intended color appearance.

To save your artwork with an embedded proﬁle:

1. Choose File > Save.

2. Select Embed Color Proﬁle for these ﬁle formats:

• (Photoshop) .tif, .psd, .pdf, .eps, and .jpeg

• (Illustrator) .ai and .pdf

Note: In Illustrator CS2, you select Embed Color Proﬁle after naming the .ai or .pdf ﬁle.

Color Workflows for Adobe Creative Suite 2

Building an InDesign layout

Building an InDesign layout can include creating native content in InDesign, placing artwork from Photoshop or Illustrator, and saving the ﬁle.

When a new document is created, the InDesign CS2 RGB and CMYK working spaces are assigned to the document as document proﬁles. When creating color content in

InDesign CS2, everything built in CMYK automatically uses the document’s CMYK proﬁle. InDesign CS2 uses the same proﬁles as Photoshop CS2 and Adobe Illustrator CS2, so content with the same CMYK values appears the same in each application.

Note: The CMYK policy, Preserve Numbers (Ignore Linked Proﬁles), ensures that all

CMYK content uses the InDesign CMYK document proﬁle. Using the same CMYK proﬁle helps prevent unwanted CMYK color conversions that were possible when Color

Management was selected in earlier versions of Adobe publishing applications.

When you save a file, InDesign automatically embeds the document RGB and CMYK color profiles and the Preserve Numbers (Ignore Linked Profiles) CMYK policy. That way, any InDesign CS2 user will have the color data needed for accurate viewing and color conversions the next time the file is opened.

Previewing for more accurate blacks

The improved black preview feature in Adobe Creative Suite 2 lets you choose how to view and print black objects in Illustrator and InDesign. While you can still view

100% K objects as a dark, rich black (the default in earlier versions of InDesign and

Illustrator when Color Management was turned oﬀ), you can now also choose to view black objects more accurately, seeing the diﬀerence between 100% K and rich black.

Note: You can still see the diﬀerence between 100% K black and a rich black in

Photoshop CS2.

To preview blacks more accurately in Illustrator CS2 or InDesign CS2:

1. In the Preferences dialog box, choose Appearance of Black from the list on the left.

2. For On Screen, select either Display All Blacks Accurately or Display All Blacks as

Rich Black.

Note: Display All Blacks Accurately shows you the diﬀerence between 100% K and a rich black. If you keep the default selection, Display All Blacks as Rich Black, both blacks appear the same.

In InDesign CS2, you can select how you want your blacks to appear on your monitor and when printed to RGB composite printers.

Color Workflows for Adobe Creative Suite 2

Previewing overprints accurately

Sometimes you might want to force inks to overprint on top of other inks instead of knocking out the inks below, such as spot colors that overlap other spot colors or process colors. It is also common to overprint black text to prevent trapping problems because of misregistration on the press.

To preview overprinted colors more accurately, choose View > Overprint Preview.

Soft-prooﬁng for more accurate viewing

With all ﬁles in CMYK and ready for output to press, you can preview the color onscreen from any application to get a good idea of how the color will look when printed.

(Soft-prooﬁng does not change the CMYK values in your document.)

Although color proﬁles give you a high degree of viewing accuracy in non-prooﬁng mode, you can use additional controls to help simulate the media and ink that you will be using.

To soft-proof your images in any application:

1. Choose View > Proof Setup, and then click Custom.

Use the Customize Proof Condition dialog box to soft-proof your documents on-screen before printing.

2. Make sure the proﬁle selected in the Device to Simulate menu is your document or working space proﬁle.

Note: The rendering intent selection does not affect color appearance in this workflow, because there is no conversion to the color space of the device you are trying to simulate. All colors are already created for the final output device.”

3. Select Simulate Paper Color to simulate on-screen what the ﬁnal colors will look like on the paper you will use to print.

Note: The paper color speciﬁed by SWOP may be darker and more yellow than the paper you will be using..

4. Click OK.

The display simulates how the document will appear on the ﬁnal output device. If necessary, make edits to adjust the color.

Color Workflows for Adobe Creative Suite 2

Hard-prooﬁng your InDesign document

Send your document to a local printer for a hard proof when you have finalized the layout in InDesign. Hard-proofing provides a preview of how the document will print on the final output device, without permanently converting the color values. For instructions on hard-proofing an InDesign CS2 document, see “Chapter 6: Advanced Topics.”

Sending ﬁles and printed proofs to a print provider

For more accurate color in the final output, deliver the printed proof as well as the electronic files to your printer either as a PDF file or a native InDesign document.

To create a PDF ﬁle in which all content is CMYK, you might want to use the PDF/X-1a standard, which does not include RGB content in PDF documents.

To create a PDF ﬁle from InDesign CS2:

1. Choose File>Export.

2. Select Format: Adobe PDF, and then click Save.

You can choose an Adobe PDF preset standard from the Export Adobe PDF dialog box.

Color Workflows for Adobe Creative Suite 2

3. From the Adobe PDF Preset drop-down menu, select PDF/X-1a:2001.

The PDF/X-1a format converts all data contained in the document to CMYK. This conversion does not impact the workﬂow, since all content in the InDesign CS2 document is already CMYK.

4. Choose Output. By default, Adobe Creative Suite 2 components set Color Conversion to Convert to Destination (Preserve Color Numbers) and Destination to Document

CMYK—U.S. Web Coated (SWOP) v2.

Note: To preserve CMYK color numbers and avoid unwanted conversions, do not change the default Output settings for the Color Conversion and Destination, which are

Convert to Destination (Preserve Color Numbers) and Document CMYK—U.S. Web

Coated (SWOP) v2.

Note: The PDF/X-1a standard does not permit embedded profiles in the body of the PDF file. However, it does require that the CMYK profile used to create the document or a reference to a standard printing condition be included in the Output Intent Dictionary of the PDF file.

Package your InDesign CS2 document

If you are delivering native ﬁles along with the InDesign CS2 document for the printer, select File>Package. InDesign CS2 collects all the images, graphics, and fonts, and places them in a folder with the InDesign document.

Color Workflows for Adobe Creative Suite 2

Chapter 3: Mixed RGB and CMYK

Print Workﬂow

Graphic professionals choose to specify colors using the CMYK color model for several reasons: to specify CMYK color builds for colors that only use one or two of the CMYK color components, make rich blacks, or to control the amount of black in drop shadows or line art. To avoid unexpected color conversions, and to preserve the black without introducing any other colors, it is important to have a safe approach.

However, with the increased availability of RGB content (from digital cameras to highquality stock image libraries), creative professionals are ﬁnding that designing with RGB content has some advantages. One major advantage is that RGB content can be more easily repurposed for diﬀerent printing conditions because of its larger color gamut.

Adobe Creative Suite 2 provides a safe CMYK mode that protects against unwanted

CMYK color conversions, so print professionals can continue to use their current

CMYK workflow while gradually adding RGB content without affecting the CMYK graphics. Adobe Creative Suite 2 also offers additional color management benefits of soft-proofing and hard-proofing. When the final document is ready to print or translated into a PDF file, RGB colors are converted to the same CMYK profile used by the document.

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In this RGB and CMYK mixed workﬂow, Adobe Creative Suite 2 components preserve your CMYK color values and enable the use of RGB content, which is converted to CMYK when output to a PDF or PostScript® ﬁle.

This chapter describes a color-managed workﬂow using CMYK and RGB content that achieves accurate and predictable color.

Color Workflows for Adobe Creative Suite 2

Initial setup

Before starting this color workﬂow, select the North America Prepress 2 setting in

Adobe Bridge.

Be sure you select North America Prepress 2 color setting in Adobe Bridge.

North America Prepress 2 sets Adobe RGB and U.S. Web Coated (SWOP) v2 as your default RGB and

CMYK working spaces. Mismatched profile and missing profile warnings are turned on. Although you set the Color Settings file in Adobe Bridge, this is how that setting appears in the InDesign CS2 Color

Settings dialog box.

Color Workflows for Adobe Creative Suite 2

Collecting, capturing, and scanning images

This workﬂow begins by acquiring digital images or creating them in-house. If you take photos with a digital camera, check the camera settings to see if you can save images in the standard Adobe RGB color space or in RAW format. (For information on how to use ﬁles saved in RAW formats, see Adobe Camera Raw in Chapter 4, RGB Photo

Workflow.) If you scan images, check to see if the scanner software can save images using the Adobe RGB color profile or, if you prefer to work with CMYK files, the U.S.

Web Coated (SWOP) v2 color proﬁle.

Editing images in Photoshop CS2 (RGB or CMYK)

Images that you open in Photoshop CS2 might be in a CMYK or RGB color space. If you created or captured them using the settings described in “Collecting, capturing and scanning images,” they are already using a standard color space. However, images from other sources might not have embedded profiles, or the profile that is embedded might not match the profile you are using in your workflow. If a Missing Profile or Profile

Mismatch dialog box appears when you open an image, ask the provider if the profiles you have set in your workflow can be used. Use the warning dialog boxes to assign the proper profile to your image.

For information about Missing Proﬁle and Proﬁle Mismatch warning dialogs, see

“Chapter 6: Advanced Topics.”

For information about relative color space sizes, see “Chapter 6: Advanced Topics.”

When opening an RGB image in Photoshop CS2 with North America Prepress 2 color settings, a warning dialog appears if there is no profile embedded in the image or the embedded profile is not Adobe RGB, the default RGB profile for this workflow. Use the embedded profile in the RGB image. This is the profile used by the provider of the image document before it was sent to you. This profile will be used when the RGB colors are eventually converted to CMYK for printing.

You can use the embedded proﬁle if it is a standard working space and not a device color space.

Using the embedded profile allows you to open the image and view the colors accurately without converting the color values from one color space to another. For example, if you open images with the embedded ProPhoto RGB or sRGB profiles, Photoshop CS2 previews those files based on those color spaces. As a result, it is not necessary to convert the image to the RGB working space.

Note: If the embedded proﬁle is a device-dependent camera or scanner proﬁle, you might want to select Convert Document Colors to the Working Space in the Embedded

Profile Mismatch dialog box for two reasons. First, equal amounts of R, G, and B always produce a neutral gray in working spaces, so standard working spaces give you more predictable color that is easier to edit. Device-dependent profiles might not have this attribute. Second, this working space profile file size is smaller than device-dependent camera and scanner profiles.

Color Workflows for Adobe Creative Suite 2

This embedded proﬁle is a device scanner RGB proﬁle and not a standard working space. Therefore, you want to select Convert Document’s Colors to the Working Space.

Creating and placing graphics in Illustrator CS2 (RGB or CMYK)

When creating a new graphic in Illustrator CS2, you can choose RGB or CMYK as the color model. When the document is created, Illustrator CS2 automatically assigns the default RGB or CMYK working space proﬁle to the document—in this case, either

Adobe RGB or U.S. Web Coated (SWOP) v2.

After you open a document with an associated color proﬁle, all artwork you create in the

Illustrator CS2 document uses this document proﬁle. If you embed content from other sources, Illustrator CS2 uses the proﬁles in the placed content in the following ways:

• Placed CMYK is not converted. The document proﬁle is used to deﬁne the appearance of the CMYK color values.

• RGB content that does not have an embedded proﬁle uses the RGB proﬁle of the

Illustrator CS2 document.

• RGB content that has an embedded profile that differs from the document profile is converted to the color space of the Illustrator document.

Saving artwork in Photoshop CS2 and Illustrator CS2

When you are ready to save your artwork, embed the Adobe RGB or U.S. Web Coated

(SWOP) v2 proﬁles in your Photoshop CS2 or Illustrator CS2 document so another user can understand how the ﬁle was created and the intended color appearance.

To save your artwork with an embedded proﬁle:

1. Choose File > Save.

2. Select Embed Color Proﬁle for these ﬁle formats:

• (Photoshop) .tif, .psd, .pdf, .eps, and .jpeg

• (Illustrator) .ai and .pdf

Note: For Illustrator CS2, you select Embed Color Proﬁle after naming the ﬁle.

Building an InDesign layout

Building an InDesign layout can include creating native content in InDesign, placing artwork from Photoshop or Illustrator, and saving the ﬁle.

When creating native color content in InDesign CS2, everything you build in RGB or

CMYK uses the document RGB profile or CMYK profile. These profiles are automatically assigned to the document when it is created. Because the Adobe Creative Suite 2 components use the same profiles, content with the same RGB or CMYK values appears the same in all applications.

All placed CMYK artwork uses the InDesign CS2 document CMYK color proﬁle—U.S.

Web Coated (SWOP) v2—the same as native content, so the color numbers speciﬁed in placed and native content have the same appearance and do not change when you print or create a PDF.

Color Workflows for Adobe Creative Suite 2

InDesign CS2 uses the embedded profiles of placed RGB content. If the placed RGB content does not have an embedded profile, InDesign CS2 uses the document’s profile.

Colors created in Photoshop CS2 and Illustrator CS2 match the color you see in

InDesign CS2.

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Using the safe CMYK mode, all CMYK content uses the document CMYK profile. RGB content uses the document RGB profile except for placed RGB content with embedded profiles.

When saving a ﬁle, InDesign CS2 embeds the document RGB and CMYK color proﬁles and the Preserve Numbers (Ignore Linked) CMYK policy in the InDesign document.

That way, any Adobe Creative Suite 2 component has the color data needed for anyone to view the colors as intended.

To save an InDesign ﬁle, choose File > Save.

Previewing more accurate blacks (Illustrator CS2 and InDesign CS2)

The improved black preview feature in Adobe Creative Suite 2 lets you choose how to view and print black objects in Illustrator CS2 and InDesign CS2. While you can still view 100% K objects as a dark, rich black (the default for earlier versions of InDesign and Illustrator when Color Management was turned oﬀ), you can now choose to view black objects more accurately, seeing the diﬀerence between 100% K and rich black.

Note: You can still see the diﬀerence between 100% K black and a rich black in

Photoshop CS2. However, to see the diﬀerence in all three applications, you’ll need to change the default setting as described below.

To preview blacks more accurately in Illustrator CS2:

1. Choose Illustrator > Preferences.

2. Select Appearance of Black from the pop-up menu.

3. Select Display All Blacks Accurately from the On Screen menu.

Note: Display All Blacks Accurately displays the diﬀerence between a 100% K and a rich black on-screen. If you select Consistent Blacks, both blacks appear the same.

Color Workflows for Adobe Creative Suite 2

In Illustrator CS2, you can select how blacks appear on your monitor and when printed to RGB composite printers.

To preview blacks more accurately in InDesign CS2:

1. In the Preferences dialog box, select Appearance of Black from the list on the left.

2. Select Display All Blacks Accurately from the On Screen menu.

Note: Display All Blacks Accurately shows the diﬀerence between 100% K and rich black. Display All Blacks As Rich Black displays both blacks the same.

In InDesign CS2, you can select how you want your blacks to appear on your monitor and when printed to RGB composite printers.

Previewing overprints accurately

Sometimes you might want to force inks to overprint on top of other inks instead of knocking out the inks below, such as when spot colors overlap other spot colors or process colors. It is also common to overprint black text to prevent trapping problems because of misregistration on the press.

To preview how overprinted colors will look when printed, choose View > Overprint

Preview.

Color Workflows for Adobe Creative Suite 2

Soft-prooﬁng for more accurate viewing

Soft-proofing lets you preview the color that will result when a file is printed on the final printing press. Soft-proofing is available in any of the Adobe Creative Suite 2 components (except GoLive). Soft-proofing provides a simulation of the color of the RGB files after they are converted to CMYK. This feature also give you greater control over how the final CMYK values are represented on-screen. For the best soft-proof conditions, make sure that the monitor has been calibrated.

To soft proof your images, choose View > Proof Colors. If you want more control of the soft-prooﬁng process, you can customize the settings to ﬁt your needs.

To customize the soft-prooﬁng settings:

1. Choose View > Proof Setup, and then click Custom.

To soft-proof your documents on-screen before printing, choose the device you want to simulate and choose the Rendering Intent.

2. From the Device to Simulate drop-down menu, select the working/document CMYK profile. This is the default selection. RGB content will be converted to this profile for proofing. CMYK colors already use this profile so they will not be converted.

3. Select a rendering intent. This is the rendering intent used to convert your RGB content to CMYK for prooﬁng.

Note: InDesign CS2 does not have a rendering intent choice in the Proof Setup dialog box. The rendering intent is speciﬁed at the object/document level.

4. Select Simulate Paper Color to simulate on-screen how the ﬁnal colors will appear on the paper you will use to print.

Note: The paper color speciﬁed by SWOP may be darker and more yellow than the paper you will be using.

5. Click OK.

The display simulates how the document will appear on the ﬁnal output device. You can make edits to adjust the color, as necessary.

Hard-prooﬁng InDesign CS2 documents

Hard-prooﬁng provides a preview of how the document will print on the ﬁnal output device, without permanently converting the color values. For instructions on how to hard proof InDesign CS2 documents, see “Chapter 6: Advanced Topics.”

Color Workflows for Adobe Creative Suite 2

Sending ﬁles and printed proofs to a print provider

To help ensure more accurate color in the ﬁnal output, give your print provider your printed proof as well as your PDF ﬁle or native InDesign CS2 document.

To create a PDF ﬁle in which all content is CMYK, use the PDF/X-1a standard, which converts all non-CMYK content to the document’s CMYK proﬁle.

To create a PDF ﬁle from InDesign CS2:

1. Choose File > Export.

2. Select Format: Adobe PDF, and then click Save.

3. In the Export Adobe PDF dialog box, choose PDF/X-1a from the Adobe PDF

Preset menu.

You can choose an Adobe PDF preset standard from the Export Adobe PDF dialog.

Note: The PDF/X-1a standard does not embed proﬁles in the body of the PDF ﬁle.

However, it does require that the CMYK proﬁle used to create the document, or a reference to a standard print condition be included in the Output Intent Dictionary of the PDF ﬁle.

4. To change the output settings, select Output. By default, the color conversion is set to Convert to Destination (Preserve Color Numbers) and the destination proﬁle to

Document CMYK—U.S. Web Coated (SWOP) v2. These defaults ensure that the

CMYK numbers do not change. However, all RGB content is converted to the document CMYK color space as deﬁned in the Destination pull-down menu.

Note: To preserve CMYK color numbers and avoid unwanted CMYK color conversions, do not change these default settings.

To prepare a PDF ﬁle with both RGB and CMYK content, we recommend the PDF/X-3 standard.

Color Workflows for Adobe Creative Suite 2

To create a mixed RGB and CMYK PDF ﬁle:

1. Choose File > Export.

2. Select the Adobe PDF format, and then click Save.

3. In the Export Adobe PDF dialog box, select PDF/X-3 from Adobe PDF Preset menu.

The PDF/X-3 format permits embedded proﬁles in the body of the PDF.

Color Workflows for Adobe Creative Suite 2

4. To view the output options, select Output from the list on the left. By default,

InDesign CS2 automatically sets the color conversion to No Color Conversion. This setting preserves content in the RGB and CMYK modes, without changing the color numbers. Profiles for RGB and CMYK content are included in the PDF/X-3 file so that the PDF file can be more easily repurposed to different output devices later in the workflow.

PDF Export automatically sets Color Conversion to No Color Conversion.

For more information on PDF/X printing standards, see “PDF/X Files and Adobe

Creative Suite 2” (http://studio.adobe.com/us/print/main.jsp).

Package your InDesign CS2 document

Color Workflows for Adobe Creative Suite 2

Chapter 4: RGB Photo Print

Workﬂow

Today, digital photographers typically control their photo output by performing a repetitive cycle that usually includes printing images, judging the color output, adjusting the color in Photoshop, and reprinting. After several tries, the color might finally look right. Without the benefits of accurate on-screen viewing or soft-proofing to simulate the final output, a lot of time and media can be wasted trying to achieve a satisfying result.

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You can edit your color in a standard RGB color space and take advantage of on-screen viewing and soft-prooﬁng to achieve more accurate, predictable color on ﬁnal output.

This workflow is intended for digital photographers who need an efficient workflow that offers more predictable color from capture to output.

Color Workflows for Adobe Creative Suite 2

Initial setup

Before starting this color workﬂow, be sure the North America Prepress 2 CSF is selected in Adobe Bridge.

Be sure you have selected the North America Prepress 2 color setting in Adobe Bridge.

For information on selecting a color settings ﬁle, see “About Adobe Bridge” in

Chapter 1.

The North America Prepress 2 uses these default settings. Although you set the Color Settings ﬁle in

Adobe Bridge, this is how that setting appears in the InDesign CS2 Color Settings dialog box.

Color Workflows for Adobe Creative Suite 2

Capturing and scanning images

When scanning photos, check the scanner driver settings to see if you can save the images in the Adobe RGB color space.

If you are using the Adobe Camera Raw plug-in for processing raw image data from a digital camera, you can easily convert to a standard RGB working space while preserving as much color and tone information from the original capture as possible. Camera

Raw also controls how the raw data is rendered into a common format such as JPEG,

TIFF, or PSD.

The default color space that Camera Raw renders color into is Adobe RGB (1998). This is the color space we will use for this workﬂow. To ﬁnd out whether your camera works with the Camera Raw plug-in, visit www.adobe.com/products/photoshop/cameraraw.html.

Camera Raw gives you the option of rendering colors into one of four color spaces.

For more information, about relative color spaces, see “Chapter 6: Advanced Topics.”

Saving images with embedded proﬁles

After editing in Photoshop CS2 for good overall color, save the image using the Adobe

RGB proﬁle, so another user can understand how the ﬁle was originally created and the intended color appearance.

To save ﬁles with an embedded proﬁle:

1. Choose File > Save. You can save the ﬁle in .tiﬀ, .psd, .pdf, or .jpeg format.

2. Select Embed Color Proﬁle.

Color Workflows for Adobe Creative Suite 2

Soft-prooﬁng for more accurate viewing

Soft-prooﬁng lets you preview the color. You can then make color adjustments, if necessary.

To soft proof your images in Photoshop CS2:

1. Choose View > Proof Setup, and then click Custom.

Photoshop CS2 provides a user-friendly dialog for selecting soft prooﬁng options.

2. In the Customize Proof Condition dialog box, select the proﬁle that represents your printer and media from the Device to Simulate menu.

3. Select a Rendering Intent.

Note: Relative Colorimetric, which is the default rendering intent, works well with many types of imagery when Black Point Compensation is selected. Perceptual

Rendering Intent also provides good color mapping from the image’s color space to the printer’s color space. When printing, use the same rendering intent as the one selected for soft-prooﬁng. For more information about rendering intents, see the Photoshop CS2

Help documentation.

4. To simulate the paper color of the media, select Simulate Paper.

5. If you want to reuse this custom setting, click Save and give the setting a ﬁle name.

The ﬁle will be listed in the Proof Setup menu.

6. Click OK. The display simulates how the document will appear on the printer. If necessary, make edits to adjust the color.

Color Workflows for Adobe Creative Suite 2

Printing images or preparing ﬁles for output at a photo lab

When satisﬁed with the color, you’re ready to print the images or prepare the ﬁles for output at a photo lab. Both scenarios are described below.

To print images on a printer:

1. Choose File > Print with Preview.

Use the Print with Preview dialog box to convert to colors appropriate for your printer.

2. In the Print section, select Document.

3. In the Options section, do the following:

• For Color Handling, choose Let Photoshop Determine Colors.

• For Printer Proﬁle, choose your printer and media proﬁle.

• Choose a Rendering Intent.

Note: Choose the same rendering intent that you selected in the Customize Proof

Condition dialog box.

4. Click Print.

5. Select the proper media type and appropriate driver settings for your printer. For more information about your printer’s driver settings, see the printer’s user guide.

Caution: Because you’ve selected Photoshop to determine color handling, disable the color management feature in the printer driver. If you don’t, additional conversions and unexpected color results might occur.

If you have ﬁles printed at a photo lab, make sure to save them with your working space proﬁle embedded so the lab can open your image on a calibrated monitor, see the color as you intended and print the image to match the image you viewed on-screen.

Color Workflows for Adobe Creative Suite 2

Chapter 5: Internet Publishing

RBG Workﬂow

Web designers need to view consistent and predictable color when they create artwork that will be viewed with a browser. A common approach to preparing ﬁles for the

Internet is to display them on several types of monitors and operating systems.

However, reviewing files using these different viewing conditions often requires a significant investment in time and energy. Fortunately, graphic designers can use the sRGB color space, which provides a generic description of monitors used on the

Internet. The workflow described in this chapter relies on sRGB as a reference for color created for publication on the Internet. Using sRGB lets the graphic designer create colors to a specific standard and rely less on the unique color characteristics of the different monitors used to preview designs.

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When you convert your artwork to the sRGB working space, the Adobe Creative Suite 2 components can read, display, and prepare your artwork in a color space suitable for the Internet.

Files that come in from a variety of sources are converted to the sRGB working space, and then prepared for the web using GoLive CS2. The step-by-step instructions for achieving more accurate color for on-screen artwork are described below.

Color Workflows for Adobe Creative Suite 2

Initial setup

Before starting this workﬂow, be sure that the North America Web/Internet CSF is selected in Adobe Bridge. This selection sets the default RGB working space to sRGB across the Adobe Creative Suite 2 components.

Be sure you select the North America Web/Internet color setting in Bridge.

In GoLive CS2, Use Standard Web Workﬂow (RGB) is selected by default. This setting ensures that the

RGB working space (sRGB) and RGB color management policy (Convert to Working RGB) are set correctly for web design.

Collecting and capturing images

Acquiring images might include gathering digital ﬁles from a photographer, taking photos with a digital camera, or scanning images into a digital format. If you use a digital camera or scanner, check the settings to see if you can save the images in the sRGB color space.

Color Workflows for Adobe Creative Suite 2

Creating graphics in Illustrator CS2

When creating a new graphic in Illustrator CS2, choose RGB as the color space.

Any RGB graphics created in Illustrator CS2 will use sRGB as the color space. Since both Illustrator CS2 and Photoshop CS2 use the same color settings, colors in your

Illustrator graphics will match the colors in your Photoshop digital images. Also, when the Illustrator CS2 and Photoshop CS2 sRGB artwork is viewed on the Internet, the colors appear consistent and are more likely to be seen as you intended.

Viewing and editing your artwork in Photoshop CS2 and

Illustrator CS2

If you open a digital file in Photoshop CS2 or Illustrator CS2 that contains an embedded profile that is not sRGB, the Embedded Profile Mismatch dialog box appears asking you whether you want to convert the document’s colors to the working space. Click OK.

For more information about Adobe Creative Suite 2 proﬁle mismatch dialog boxes, see

“Chapter 6: Advanced Topics.”

Saving your artwork with embedded proﬁles

After editing in Photoshop CS2 and Illustrator CS2 for good overall color, save the image using the sRGB proﬁle so another user will be able to understand how the ﬁle was originally created and what the color appearance was meant to be.

To save your artwork with an embedded proﬁle:

1. Choose File > Save.

2. Select Embed Color Proﬁle if you are using one of the following formats:

• (Photoshop) .tif, .psd, .pdf, .eps, and .jpeg

• (Illustrator) .ai and .pdf

When saving images for future use, make sure you select Embed Color Proﬁle.

Color Workflows for Adobe Creative Suite 2

Preparing ﬁles for the web

Two different ways to prepare files for the web are described here. The first imports

Photoshop CS2 and Illustrator CS2 artwork directly into GoLive CS2. The second repurposes InDesign CS2 elements (also known as assets) for the web using the Package for GoLive feature in InDesign CS2.

Adobe Creative Suite 2 makes it easy to import Photoshop CS2 and Illustrator CS2 artwork directly into GoLive CS2 and either save the artwork in a web-optimized format

(without embedding the sRGB Profile) or with an embedded profile. Because sRGB is the standard color space for the Internet, embedding the sRGB profile is optional.

To import Photoshop CS2 and Illustrator CS2 artwork into GoLive CS2:

Use the smart object feature to place artwork into GoLive CS2.

1. Drag and drop the original document’s artwork (smart object) from either the ﬁle system or from within the GoLive CS2 site window.

Note: GoLive CS2 creates a SmartObjects folder in the web-data folder in your site when your site is created. This is a good place to store your smart objects. For more information on smart objects see the GoLive Help documentation.

2. In the Save For Web dialog box, save your ﬁle in a web-ready format. Colors will be converted from the color space assigned to your native ﬁle to sRGB.

Note: If you saved Illustrator ﬁles in .ai or .pdf format, or Photoshop ﬁles in .psd, .tif,

.pdf, or .eps format, GoLive automatically treats those ﬁles as smart objects when placed in a GoLive HTML page. Smart objects are link-managed. If you change the original ﬁle, the web versions are automatically updated. See the GoLive CS2 documentation about placing other objects as smart objects in GoLive CS2.

The Save for Web dialog box lets you save your ﬁles so they are smaller and web-optimized.

You can repurpose InDesign documents for the web using the InDesign Package for GoLive feature. All necessary color conversions from the legacy InDesign print documents to sRGB will occur when you import the elements into GoLive CS2 from the

InDesign CS2 Package.

Color Workflows for Adobe Creative Suite 2

To repurpose InDesign CS2 elements using GoLive CS2:

1. Open the InDesign CS2 document.

2. Choose File > Package for GoLive.

3. Click Save.

Select Original Images before packaging images, graphics, and layout for GoLive.

4. In the Package for GoLive dialog box, select Original Images.

Note: When you open the package in GoLive CS2, the original images become linked objects, so if you edit the original image, the GoLive copy is automatically updated with the changes.

5. Click Package. InDesign CS2 creates a series of folders that contain copies of the original images, a PDF ﬁle of the layout, and an .idpk package ﬁle.

6. In the Save As dialog, do the following:

• Type a ﬁle name for the .idpk package.

• Save the package in the InDesign Packages subfolder of the website you’re working on.

7. Open your website in GoLive CS2.

8. With the Site window of your website open in GoLive CS2, double-click the package in the Extras tab showing the InDesign layout and elements.

9. Click Assets.

Color Workflows for Adobe Creative Suite 2

10. In the Assets tab, select the images you want to use.

In the GoLive Assets tab, select the graphic element and then choose a ﬁle format from the

Inspector palette.

11. In the Web Format pop-up menu in the Inspector palette, select the web-optimized file format you want for each image. You can also use the S4W dialog box to define the format of the web graphic in the HTML web page. The S4W dialog box appears when the files are placed in the HTML page.

12. Drag and drop the images into the HTML window.

Note: The images are automatically converted to sRGB during this process.

Color Workflows for Adobe Creative Suite 2

Chapter 6: Advanced Topics

This chapter provides advanced information for readers who are interested in more information about color space sizes, proﬁle mismatching, and hard-prooﬁng documents.

About proﬁle warning dialog boxes

You might receive files that have profiles that are different than your working space, or have no embedded profiles. Depending on your CSF, you might receive a warning if a profile is missing or mismatched. However, for some workflows, it is helpful to receive these warnings so that you can make modifications. Warning dialog boxes are enabled when you select the North America Prepress 2 CSF. Only the Embedded Profile

Mismatch warning is enabled when you select the North America Web/Internet CSF.

When opening artwork that is missing a profile, and the profile warnings are enabled, the Missing Profile dialog box appears. The options are:

• Leave As Is—Use this only if the workflow is not color managed or if you need to keep the file size slightly reduced by not embedding a profile.

• Assign Working Space—Interprets the color values in the ﬁle based on the current working space. It does not convert the color values, only the intended appearance.

Use this option if you know that the ﬁle is actually in your working space.

• Assign Profile—Assigns a selected profile to the document. It does not convert the color values. Assigning the correct profile provides the intended appearance.

Contact the ﬁle’s creator to determine the proper proﬁle to select.

If a document contains an embedded proﬁle that does not match the application’s working space, the Embedded Proﬁle Mismatch dialog box appears. You can handle the mismatch in the following ways:

• Use the Embedded Profile—Assigns the embedded profile to the document instead of using the current working space. It maintains the color values of the file but also preserves its appearance on-screen and when printed.

Note: Generally, it is good practice to use the embedded proﬁle in your workﬂow. For

CMYK documents, profiles provide useful information on the intended use of the file and how it was created. For example, if a designer is creating a layout for a high-quality, sheet-fed press, it is useful to know if the file was created for publication on newsprint.

• Convert the Document’s Colors to the Working Space—Changes the color values in the file so they match the current working space, but also maintains the color appearance of the file. Use this option to avoid having files that use different profiles.

• Discard the Embedded Profile—Removes the embedded profile from the document and usually changes the document’s color on-screen. Use this option only if the workflow is not color managed or to slightly reduce the file’s size by removing the embedded profile.

Color Workflows for Adobe Creative Suite 2

Hard-prooﬁng documents

It is often beneﬁcial for the designer to use a local printer to print a proof to check the ﬁnal color output. With Adobe Creative Suite 2 components, you can proof documents by printing them on a printer that simulates standard press characteristics. If you use one of these proofers, it is not necessary to use the hard-proof controls in the Adobe

Creative Suite 2 components. If you want to hard proof your document on a printer, you need to set up your printer to simulate the final output device. The default color space used for simulation is the document CMYK profile (InDesign) and the CMYK working space (Photoshop and Illustrator). You can select a different simulation profile in the

Custom Proof Setup dialog box.

To set up your printer in InDesign CS2 to simulate the ﬁnal output device:

1. Choose File > Print.

2. In the Print dialog box, select Color Management from the list on the left.

3. Choose the name of the desktop printer from the Printer menu.

4. For Print settings, select Proof.

5. In the Options box, choose the printer proﬁle that represents the media and printer you are using.

6. Many paper stocks used in commercial printing are relatively dull and have a yellowish color. If you want to simulate this paper color in your proof, select Simulate

Paper Color.

In the Color Management pane, select options to proof colors on a local printer.

7. If you want more accurate simulation of spot colors, select Output from the list on the left, and then select Simulate Overprint.

Note: Some proofers oﬀer their own simulation of spot colors. If you want to use your proofer’s spot simulation, deselect Simulate Overprint.

Color Workflows for Adobe Creative Suite 2

In the Output pane, select Simulate Overprint for a more accurate preview of how your spot colors will print on the press.

8. Click Printer and do the following:

• Deselect Color Management.

• Select the appropriate media for the proof.

To set up your printer in Photoshop CS2 to simulate the ﬁnal output device:

1. Choose File > Print with Preview.

In the Photoshop Print dialog box, select options to proof color on a local printer.

Color Workflows for Adobe Creative Suite 2

2. In the Print dialog box, select Color Management from the pop-up menu in the middle of the screen.

Note: You can change the color space you are simulating by changing the simulation proﬁle in the Custom Proof Setup dialog box (View > Proof Setup > Custom).

3. In the Print box, select Proof.

4. For Color Handling, select Let Photoshop Determine Colors.

5. In the Printer Proﬁle menu, select the color proﬁle that represents the media and printer you are using.

6. If you want to simulate the duller color of printing paper, select Simulate Paper Color.

To set up your printer in Illustrator CS2 to simulate the ﬁnal output device:

Make sure the colors are already converted to the CMYK colors you will use on the ﬁnal output device.

1. Choose File > Print.

2. In the Print dialog box, select Color Management from the list on the left.

3. Select the name of your local printer from the Printer menu.

4. Select the printer proﬁle that represents the media and printer you are using.

5. Select a Rendering Intent.

Note: If you want to simulate ink black, you must deselect BPC in the Color Settings dialog box (Edit > Color Settings). To simulate ink black and the color of paper, choose

Absolute Colorimetric.

In the Color Management pane you can select options to proof CMYK colors on a local printer.

Color Workflows for Adobe Creative Suite 2

6. If you want to more accurately simulate spot colors and overprint, select Advanced from the list on the left, and then select Simulate from the Overprints menu.

In the Advanced pane, select Simulate from the Overprint menu for a more accurate preview of how spot colors and overprint will print on the press.

7. Click Printer and do the following:

• Deselect Color Management.

• Select the appropriate media for the proof.

About relative color space sizes

Each International Color Consortium (ICC) profile, including those for standard working spaces, defines a color gamut or set of reproducible colors. The larger the color gamut, the more colors the color space can define.

Color gamuts can be deﬁned using a CIE color model, which is a color-encoding model based on human vision. Plotting a color space gamut in a horseshoe-shaped CIE chromaticity diagram shows its relative size, compared to other color spaces. Film scanners often have gamuts much larger than printing presses. Large standard working spaces, such as ProPhotoRGB, retain virtually all of the color available in most ﬁlm types.

Adobe RGB is smaller, yet is designed to include all colors available on most standard printing presses.

Color Workflows for Adobe Creative Suite 2

The range of color reproducible on some printers and printing presses, however, is much smaller than what people can see and what most scanners and digital cameras can deﬁne. Adobe RGB has a color range larger than a press running at SWOP standards, but sRGB does not. It’s important to consider the range of color, or gamut, of each of the devices in your workﬂow and choose a working space that is appropriate.

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These color gamut plots show the relative sizes of some color device and standard working spaces.

Note that the scanner’s gamut is the largest, followed by Adobe RGB. The gamut of an inkjet printer nearly equals that of Adobe RGB, while those of a SWOP printing press and newspaper press are much smaller. To retain an image’s maximum color gamut for repurposing, keep the image in the largest standard working space possible.

Adobe Creative Suite 2 components use working spaces that give users common ICC profiles for storing and working with color data. To retain all of a photo’s original color, a standard working space profile should accommodate as much of the original photo’s color gamut as possible. When photos are converted to a smaller standard working space or printer profile, some of the color gamut and impact of the photo is lost.

To maintain the closest appearance to the original, photos should be kept in a standard working space that does not limit the range of color of your output device. For example, the color gamut of Adobe RGB is larger than the gamut of most printing presses. If

ICC Profiles are used when printing, they intelligently reduce the range of colors in the image to match the range of colors of the press. Consider a digital camera photo of colorfully clothed people on a sunny beach. If the photo is published in a newspaper, much of its colorfulness is lost because of the newspaper’s small gamut. The same photo published on a website, however, can probably be displayed on monitors with most of its original saturation. If the photo is kept in a larger space than the output device and then converted separately for the newspaper press and for the web, each form of output can take advantage of the full range of color of the specific device. However, if the photo is first converted to newspaper CMYK and then converted to sRGB for the web, the saturation lost to the press cannot be regained for the web. For this reason, it is best to keep photos in a large standard working space as long as possible, converting color at the time of output. This facilitates repurposing images, using the same image for different types of output that have different-sized color gamuts.

Color Workflows for Adobe Creative Suite 2

Glossary

This table contains deﬁnitions of key terms used in this guide.

TER M

Adobe RGB

M E ANING

An RGB working space that provides a relatively large gamut of colors and is well suited for documents that will be converted to CMYK.

Camera Raw A camera manufacturer’s proprietary format that captures all of the raw camera sensor data, along with metadata, that describes the camera settings.

CIE Commission Internationale de l’Eclairage. This committee developed a color model based on human vision.

Color conversion The process of translating color values from one color space to another.

Color gamut The total range of colors produced by a device. A color is said to be “out of gamut” when its position in one device’s color space cannot be directly translated into another device’s color space. For example, the total range of colors that can be reproduced with ink on coated paper is greater than that for uncoated newsprint, so the total gamut for uncoated newsprint is said to be smaller than the gamut for coated stock. A typical CMYK gamut is generally smaller than a typical RGB gamut.

Color settings ﬁle A color settings ﬁle (CSF) controls the key aspects of each application’s color management behavior. Adobe Creative Suite 2 comes with several

CSFs—each based on a common workflow—that offer preset color management policies and default profiles.

Color space A color space is a model for representing color in terms of intensity values; a color space speciﬁes how color information is represented. It deﬁnes a one-, two-, three-, or four-dimensional space whose dimensions, or components, represent intensity values.

Destination proﬁle An ICC color proﬁle representing the device or color space for which color values are converted in order to preserve color appearance.

ICC

ICC proﬁle

International Color Consortium (ICC), the group established by eight industry vendors (including Adobe Systems) for the purpose of creating, promoting, and encouraging the standardization and evolution of an open, vendor-neutral, cross-platform color management system architecture. For more information, visit the ICC web site at www.color.org.

A ﬁle describing the color gamut and reproduction characteristics of a device, such as a scanner, monitor, or printer by mapping color values to a device-independent color space like CIE XYZ or CIELAB.

Rendering intent The method used for mapping colors from one device’s gamut to that of another. The four methods are Perceptual, Saturation, Relative Colorimetric, and Absolute Colorimetric.

Source proﬁle An ICC proﬁle describing the color gamut and reproduction characteristics of a device or color model from which images are captured, scanned, or stored, such as a digital camera, scanner, or standard working space.

sRGB

U.S. Web Coated

(SWOP) v2

Working space

A standard working space developed by Microsoft and Hewlett-Packard describing the color of the “average” or “standard” home computer monitor.

A CMYK working space profile based on the U.S. standard for publication printing presses, governed by the Specifications for Web Offset Publications (SWOP). This standard was developed in 1972 for publications such as magazines and catalogs printed on offset presses.

Default ICC proﬁles used by the application for the RGB, CMYK, or Grayscale color models.

Color Workflows for Adobe Creative Suite 2

Color Workﬂows for Adobe Creative Suite 2

A Self-Help Guide

Introduction

How does color management technology in Adobe Creative Suite 2 help?

New color features in Adobe Creative Suite 2

Chapter 1: Getting Started

Which workﬂow is for you?

About Adobe Bridge

Chapter 2: CMYK Commercial

Print Workﬂow

Initial setup

Editing images in Photoshop CS2

Creating or placing graphics in Illustrator CS2

Saving artwork in Photoshop CS2 and Illustrator CS2

Building an InDesign layout

Previewing for more accurate blacks

Previewing overprints accurately

Soft-prooﬁng for more accurate viewing

Hard-prooﬁng your InDesign document

Sending ﬁles and printed proofs to a print provider

Chapter 3: Mixed RGB and CMYK

Print Workﬂow

Initial setup

Collecting, capturing, and scanning images

Editing images in Photoshop CS2 (RGB or CMYK)

Creating and placing graphics in Illustrator CS2 (RGB or CMYK)

Saving artwork in Photoshop CS2 and Illustrator CS2

Building an InDesign layout

Previewing more accurate blacks (Illustrator CS2 and InDesign CS2)

Previewing overprints accurately

Soft-prooﬁng for more accurate viewing

Hard-prooﬁng InDesign CS2 documents

Sending ﬁles and printed proofs to a print provider

Chapter 4: RGB Photo Print

Workﬂow

Initial setup

Capturing and scanning images

Saving images with embedded proﬁles

Soft-prooﬁng for more accurate viewing

Printing images or preparing ﬁles for output at a photo lab

Chapter 5: Internet Publishing

RBG Workﬂow

Initial setup

Collecting and capturing images

Creating graphics in Illustrator CS2

Viewing and editing your artwork in Photoshop CS2 and

Illustrator CS2

Saving your artwork with embedded proﬁles

Preparing ﬁles for the web

Chapter 6: Advanced Topics

About proﬁle warning dialog boxes

Hard-prooﬁng documents

About relative color space sizes

Glossary

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