Fiery Color Reference

Fiery® Color Reference
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Contents
Introduction
Basics of color management
xi
Controlling printed color
xii
Maintaining printer consistency
xiii
Printer gamut
xiv
Color conversion
xv
Chapter 1: Simple and Advanced Workflows
Workflow concepts
1-1
Short-run printing versus color proofing
1-1
RGB, CMYK, and spot colors
1-2
Desktop versus ColorWise color management
1-2
Simple workflows
1-3
Select your colors wisely
1-4
Select a short workflow
1-4
Advanced workflows
1-8
Short-run printing examples
1-8
Color proofing examples
1-14
Chapter 2: Working with Color in Applications
Working with color
2-1
Color reference pages
2-2
Office applications
Choosing colors in office applications
2-3
2-4
PostScript applications
2-5
Choosing colors in PostScript applications
2-6
Default output profile
2-8
CMYK simulation
2-8
8
Contents
Chapter 3: Office Applications
Working with office applications
3-1
Defining colors
3-1
Working with imported files
3-1
Selecting options when printing
3-2
Output profiles
3-2
Chapter 4: Adobe Photoshop
Creating a monitor profile
4-1
Specifying color settings
4-2
Photoshop 6.x color settings
4-3
Photoshop 5.x color settings
4-5
Saving files
4-9
Saving files from Photoshop 6.x or 5.x
4-9
Advanced tips for using PostScript color management
4-12
Defining colors
4-13
Selecting options when printing
4-13
Advanced tips for printing with Photoshop PostScript color management
4-15
Chapter 5: Page Layout Applications
Working with page layout applications
5-1
Defining colors
5-1
Importing images
5-2
CMYK simulation
5-3
Adobe InDesign 1.5.2
5-3
InDesign color settings
5-3
Importing images
5-4
Selecting options when printing
5-5
Adobe PageMaker 7.x and 6.5 for Mac OS and Windows
5-7
PageMaker color settings
5-7
Windows version requirement
5-8
Importing images
5-8
9
Contents
Selecting options when printing
5-9
Optional Color Management from PageMaker
5-10
QuarkXPress 4.x for Mac OS and Windows
5-10
Importing images
5-10
Selecting options when printing
5-11
Optional Color Management from QuarkXPress
5-12
QuarkXPress 3.32 for Mac OS and Windows
5-12
Windows version requirement
5-13
Importing images
5-13
Selecting options when printing
5-13
Chapter 6: Illustration Applications
Working with illustration applications
6-1
Defining colors
6-1
Importing images
6-2
CMYK simulation
6-3
Adobe Illustrator for Windows and Mac OS
6-3
Illustrator 9.x color settings
6-3
Specifying print options
6-4
Illustrator 8.x color settings
6-6
Specifying print options
6-7
Saving files for importing into other documents
6-8
FreeHand 9.x and 8.x for Windows and Mac OS
6-9
FreeHand color settings
6-9
Defining colors
6-10
Importing images
6-10
Saving files for importing into other documents
6-12
Optional color management in FreeHand
6-12
CorelDRAW for Windows and Mac OS
6-13
Defining colors
6-13
Importing images
6-13
Specifying print options
6-14
Saving files for importing into other documents
6-16
Optional color management in CorelDRAW
6-16
10
Contents
Appendix A: Desktop Color Primer
The properties of color
A-1
The physics of color
A-1
CIE color model
A-3
Hue, saturation, and brightness
A-4
Additive and subtractive color systems
A-5
Printing techniques
A-9
Halftone and continuous tone devices
A-9
Using color effectively
A-10
A few rules of thumb
A-11
Color wheel
A-11
Color and text
A-13
Raster images and vector graphics
A-14
Optimizing files for processing and printing
A-16
Resolution of raster images
A-16
Scaling
A-18
Glossary
Bibliography
Index
11
Introduction
Basics of color management
This manual introduces the concepts and issues associated with printing to the
Color Server™. It outlines key workflow scenarios and provides application notes that
explain how to print to the Color Server from popular Microsoft Windows and
Apple Mac OS applications. This reference guide also provides basic background
information on color theory and color management.
The Glossary at the back of this manual defines terms and concepts—for example,
output profile—that appear throughout this manual. Color terms and concepts such
as “RGB data,” “color space,” “spot color,” “gamut,” and “source profile” are used
throughout this manual. If you are new to desktop color, or if any terms are unfamiliar,
check the Glossary.
N OTE : The term “printer” is used throughout this manual to denote a supported
printer or copier. The term “toner” in this manual refers to either toner or ink.
Basics of color management
The past several years have seen progress toward standardization in the field of digital
color management systems. Both the Windows and Mac OS operating systems now
support an industry standard format developed by the International Color
Consortium (ICC). This ICC format is implemented on Windows computers in
Image Color Matching (ICM) and on Mac OS computers in ColorSync. More and
more software developers are also incorporating color management systems into
high-end applications. The Color Server color management system, ColorWise®,
supports this standard profile format.
A color management system (CMS) is a “translator” between the color space of
the source image (for example, the monitor or a scanner) and the color space of the
printer. The CMS uses a device-independent color space, such as CIELAB, as its
intermediate color space. To perform its translation, the CMS needs information about
the color space of the source image and the gamut of the printer. This information is
provided in the form of profiles, often created by the makers of the computer monitor
or printer. The end product of a CMS conversion is a printed document or an image
file in the gamut of a particular printer.
12
Introduction
N OTE : If color matching between your monitor and printed output is critical, calibrate
your monitor, as well as your Color Server. For most users, predictability of printed
color output is adequate and monitor calibration is not necessary. For information on
monitor calibration, see your Adobe Photoshop or Adobe Illustrator documentation.
The following section provides information on controlling and managing color output
in order to achieve predictable color results. It also discusses the basics of color
management.
Controlling printed color
When working with color materials, whether they are presentations, illustrations,
or complicated page designs, you make aesthetic decisions about the colors you use.
Once you have decided on your goal, you must make the best use of the capabilities of
your Color Server to realize your design in print. Your color printing system becomes
an ally in this creative process to the extent that results are predictable.
• If you designed a poster to print on the Color Server, you want the printed colors to
match the design specification.
• If you are printing presentations on the Color Server, you want to preserve the vivid
colors you see on your monitor.
• If you are working with color that will be printed on an offset press, you want the
Color Server output to match other prepress proofs or PANTONE color swatch
books.
The type of print job and the final output device—Color Server or offset press—
determine the workflow you should use to achieve the best results.
No matter what your goals are, two factors always impact color print output: printer
consistency and the range of colors the printer can print, known as its gamut. These
concepts are covered briefly in this chapter. Creating successful color documents and
presentations also requires an understanding of color management software as it is
implemented by the Color Server and on your desktop computer. Most of this chapter
is devoted to discussing the various elements of color management that contribute to
predictable color results.
13
Basics of color management
Maintaining printer consistency
The factors described in the following sections affect printer consistency, as well
as color fidelity and overall output quality.
Paper stock and toner
The paper and toner used by your printer can affect printed color. For best results,
use the supplies recommended by the manufacturer of the printer.
Maintenance
Problems such as streaking and insufficient or excessive amounts of one or more toners
arise when a printer does not receive periodic maintenance or needs major repairs.
In addition to having it serviced regularly, monitor the condition of your printer by
making standard test prints at regular intervals. You can do this easily by printing the
Color Server Test Page. Save the prints and show them to the service technician
whenever output densities vary from the norm or other problems appear.
Calibration
Output from color printers is subject to changes in temperature and humidity, and is
prone to drift over time, with a resulting loss in color predictability. For this reason,
regular service visits alone do not guarantee consistent results from a printer. Where
color accuracy and consistency are crucial, regular calibration of the Color Server and
printer is necessary.
Calibration generates transfer curves that adjust for the difference between the actual
toner densities (measurements) of the print device and the response expected by the
output profile. These transfer curves are stored on the Color Server and used in
association with output profiles to produce color output that accounts for the unique
toner characteristics of the printer.
For information on performing calibration of the Color Server, see the Color Guide.
14
Introduction
Printer gamut
Different color reproduction techniques have different color capabilities, or gamuts.
Color transparency films have comparatively large gamuts, as do color monitors.
The color gamut that can be produced using process inks or CMYK toners on paper is
smaller. This is why some colors that can be displayed on a color monitor, especially
bright saturated colors, cannot be reproduced exactly by your Color Server—nor, for
that matter, can they be reproduced on a press using process colors. Moreover,
different printers have different gamuts—some colors your printer can produce cannot
be reproduced on an offset press, and vice versa. The following figure illustrates this
concept of differing gamuts.
Color transparency film
RGB monitor
Offset press (white)
Other print device
You must account for the gamut of your printer when designing on a color monitor.
When printed, colors that fall outside the printer gamut are “mapped” to printable
colors. This process, referred to as gamut mapping, takes place when color data is
converted or adjusted to meet the gamut requirements of a printer.
The Color Server is specially designed to perform gamut mapping at high speed with
high-quality results. It provides these color management features automatically, using
either built-in default settings or settings you select for a particular print job. For added
flexibility, you can also use the Color Server color management system in combination
with the color management systems on Windows and Mac OS computers.
15
Basics of color management
Color conversion
Before you can print a color document, the color data in it must be converted to the
gamut of the printer. Whether performed by the Color Server or a host-based CMS,
the process of converting color data for a printer is the same: the CMS interprets RGB
image data according to a specified source profile and adjusts both RGB and CMYK
data according to a specified output profile, also called a destination profile by some
color management systems.
Color management system
Source
profile
Output
profile
Device-independent
color space
Input data
Printed data or file
The source profile defines the RGB color space of the image’s source—characteristics
such as the white point, gamma, and type of phosphors used. The output profile
defines the gamut of an output device, such as a printer. The Color Server (or the
host-based CMS) uses a device-independent color space to translate between the
source color space and the color space of the output device.
The Color Server allows you to specify default and override settings for the source
color space information and the output profile information (see the Color Guide).
When you use these settings, you do not need to use the features of other color
management systems. Your Color Server software includes ICC profiles for use with
other color management systems, if you choose to use them, although conflicts may
arise when the Color Server CMS is used in conjunction with a host CMS.
You can also use color management systems to adjust color data to the gamut of an
output device other than the one to which you are printing. This process of simulating
another output device is commonly used for proofing jobs that will print on an offset
press. The Color Server simulation feature is described in the Color Guide.
1
1-1
Chapter 1:
Simple and
Advanced
Workflows
Workflow concepts
This chapter discusses color management workflows used in short-run color printing,
as well as color proofing on the Color Server. It also gives examples of color
management in specific desktop applications and discusses the interaction between
those applications and ColorWise color management.
Workflow concepts
The term “workflow” is used to describe the path a job follows from its creation in a
desktop application to final printed output. It is helpful to think of the following
factors when describing workflows:
• Short-run printing versus color proofing for eventual output on an offset press
• RGB, CMYK, and spot color systems
• Desktop color management within an application versus color management on the
Color Server, along with the notion that different versions of desktop applications
handle color management differently.
N OTE : It is important to pay close attention to the version of a particular application
when considering the workflows in this chapter.
Short-run printing versus color proofing
Short-run color printing refers to those jobs for which the Color Server is the final
print device. Printing jobs to the Color Server in preparation for printing on an offset
press is referred to as color proofing. Both types of Color Server print jobs use RGB,
CMYK, and spot colors.
• For short-run jobs, bright, saturated colors are often desirable. These are achieved by
using the full range of colors available, referred to as the full gamut of the printer or,
more simply, device CMYK. For short-run printing examples, see “Advanced
workflows” on page 1-8.
• Offset jobs proofed on the Color Server require the printed colors to match those
from another set of CMYK printing conditions. Colors that are specified for an
offset press require CMYK simulation that is optimized for proofing on the
printer. For color proofing examples that simulate the gamut of another digital
printer or press standard, see “Advanced workflows” on page 1-8.
1
1-2
Simple and Advanced Workflows
RGB, CMYK, and spot colors
Colors can be defined in several different color models, the most common being RGB,
CMYK, and the spot color matching system. Each model requires a different color
conversion at the Color Server. These different color conversion workflows
are as follows:
• RGB source profiles and color rendering dictionaries (CRDs) are used to map
RGB colors through a device-independent color space to a destination space, either
the full device gamut in a short-run printing workflow or CMYK simulation in a
color proofing workflow.
• CMYK colors are device-dependent. In a proofing scenario, colors specified in
prepress applications are adjusted so that the gamut of the printer simulates that
of the press. In a short-run printing workflow, specifying CMYK colors according
to the calibrated Color Server output eliminates the need for simulation
during printing.
• Spot colors, such as PANTONE, are special inks manufactured to run on an offset
printing press. Spot colors can be simulated using CMYK toners or process color
inks. Two basic workflows exist for printing spot colors to the Color Server:
Spot Color Matching On uses color tables built in the Color Server to simulate the
spot color with its closest CMYK equivalent.
Spot Color Matching Off instructs the Color Server to simulate the spot color using
CMYK equivalents defined by the spot color manufacturer. These are the same
CMYK values used by applications that include spot color libraries. This CMYK
combination is then printed with the CMYK Simulation setting you choose, such as
SWOP or DIC.
Desktop versus ColorWise color management
A desktop color management system uses ICC profiles to convert colors from one
device gamut to another (see Appendix A). The color data is converted when it is
passed from one application to another or when the job is sent to the printer; thus, the
processing occurs on your computer, as opposed to the Color Server.
1
1-3
Simple workflows
Using ColorWise color management over desktop color management relieves your
computer from having to perform additional processing. Delaying color conversions
until the color data reaches the Color Server frees your computer so you can continue
working, and color conversions on the Color Server are, in most cases, much faster
than similar conversions on a host computer.
Managing most or all of your color on the Color Server can also eliminate the potential
for undesirable color management-related conflicts, such as iterative color conversions
and inconsistent color. The Color Server applies global corrections to specific groups of
RGB, CMYK, and spot colors to avoid such conflicts.
Finally, by sending RGB files instead of larger CMYK files from applications to the
Color Server, network traffic is minimized and jobs generally print faster.
ColorWise uses ICC profiles to convert colors to the device gamut or simulate other
devices, such as an offset printing press. ColorWise manages color conversions for all
users printing to the Color Server from Windows and Mac OS computers. It allows
users to follow a simple workflow with minimal intervention using robust default
settings, while giving advanced users the control and precision they need.
The Color Server can intelligently manage the printed appearance of RGB, CMYK,
and spot colors. You can let the Color Server manage color for most short-run color
printing jobs without adjusting any settings.
Simple workflows
Every time you print a document containing colors that were not chosen for your
specific device, those colors must be converted, which requires color management.
You can define or modify colors at any stage in the workflow. Since ColorWise is
compatible with most other color management systems, you can use the workflow
most familiar to you.
1
1-4
Simple and Advanced Workflows
Select your colors wisely
For the colors you see on your monitor to match those on your printed output, they
must go through color management, including precise calibration of your monitor
and Color Server. If you are not equipped or inclined to maintain accurate monitor
color management, you can opt for an easier approach. Determine which is more
important to you—printed colors or monitor-displayed colors.
If displayed colors are more important, trust your eyes and your monitor. Visually
select colors on your monitor, but be aware that colors will be optimized only for your
monitor. When the document is opened on other monitors, the colors may look
different. And even though printed colors may not match those on your monitor, they
will still print to the Color Server with good results.
If printed colors are your priority, choose colors from printed samples. By using sample
colors, you ensure your printed output remains consistent, regardless of how the colors
appear on different monitors. Print the palette of available colors from business
applications and select colors from the printed samples. Color reference files are
included on the User Software CD (see page 2-2). You can also print color charts from
the Control Panel and select colors by name or number from the printed samples.
Advanced applications allow you to define colors in the easier-to-control spot and
CMYK color spaces. For more advice on color selection, see Chapter 2.
N OTE : No matter which workflow most closely matches your own, calibrate your
Color Server regularly (see the Color Guide).
Select a short workflow
Every time colors are converted, performance and color accuracy are affected.
Therefore, a workflow with a minimum number of steps minimizes the risk of error.
Workflow 1 using ColorWise calibration—minimal workflow
A minimal color workflow requires that you calibrate the Color Server. Select from
printed colors, as described earlier, and set the CMYK Simulation option to None,
since simulation is not necessary when colors are already defined using CMYK values
optimized for your calibrated Color Server.
1
1-5
Simple workflows
N OTE : CMYK Simulation set to None is also useful when you want to prepare an
output profile of your calibrated Color Server or when you use less efficient color
management from the desktop (such as ColorSync or ICM).
In this workflow, colors are modified only at the calibration stage, as indicated by the
black box in the following diagram.
Workflow 1—Colors you define in an application
Application
CMS
File format
Colors output from the Color Server
Printer driver
ColorWise
CMS
ColorWise
calibration
While this workflow lends some control over the color quality produced by the
Color Server, consider additional ColorWise color management, as described in the
following section.
Workflow 2 using ColorWise color management—standard workflow
The Color Server is highly optimized for the specific printer it supports, and
ColorWise addresses many issues unique to your printer, including screens, individual
toner response, interactions among toners, natural smoothness of blends, and the
capability to render spot and custom colors. The Color Server distinguishes text and
graphics from image elements, so the black channel information is preserved while
parameters used for CMYK color separations are maintained.
Conventional color management systems typically address only color conversions, and
they occupy your computer processor. When you use ColorWise, jobs leave your
computer faster to be processed more quickly on the Color Server.
The recommended standard color workflow (indicated by the black boxes in the
following diagram) uses ColorWise calibration and color management.
Workflow 2—Colors you define in an application
Application
CMS
File format
Colors output from the Color Server
Printer driver
ColorWise
CMS
ColorWise
calibration
1
1-6
Simple and Advanced Workflows
The Color Server comes into play near the end of the color workflow. To ensure the
colors you selected reach the Color Server and ColorWise in a usable form, bypass any
color management from applications and printer drivers. Keep in mind, however, that
ColorWise fully supports color management from applications and printer drivers
(see “Advanced workflows” on page 1-8).
You must print with the CMYK Simulation print option set to match the CMYK
color space used in the application to select the colors. Any CMYK Simulation setting
(except Match Copy) applies calibration, so the response of the printer will appear to
be stable.
The recommended values for CMYK Simulation are SWOP in the U.S., Euroscale in
Europe, and DIC in Japan—choices that respect the color standard for each region.
If colors have been selected specifically for your calibrated Color Server, set CMYK
Simulation to None.
For a list and descriptions of ColorWise print options that affect CMYK, RGB, spot,
and other colors, see the Color Guide.
Workflow 3 bypassing ColorWise—not recommended
Bypassing ColorWise color management, while a possibility, is not a recommended
workflow. When you bypass ColorWise, you must choose colors using only CMYK
formulas designed specifically for your printer, and you must print with the CMYK
Simulation option set to Match Copy, if it is available for your Color Server. The
Color Server still prints pages using your PostScript files, and drives your printer and
its accessories, but it does not perform CMYK color transformation, nor does it
consider calibration data. Calibration is necessary for consistent output, since the color
response from your printer varies significantly depending on wear, heat, humidity,
and service.
1
1-7
Simple workflows
The following diagram indicates that no modifications are made to colors in
this workflow.
Workflow 3—Colors you define in an application
Application
CMS
File format
Colors output from the Color Server
Printer driver
ColorWise
CMS
ColorWise
calibration
Turn off color management in your application
Generally, when printing to the Color Server, it is best to disable color management
in the application to ensure the Color Server receives color data properly and prints
it accurately.
Save your files using color-safe settings
You can take the following additional steps to ensure color accuracy.
• When saving EPS files, do not include PostScript Color Management information.
This minimizes the risk of conflicting data and multiple color conversions.
PostScript Color Management causes your CMYK and RGB colors to be interpreted
by the Color Server as though they were supplied in the Lab color space and, as a
result, processed by CRDs, rather than your simulation settings.
• Include ICC color information in files. ColorWise does not conflict with this
information, and such data is useful for identifying the specific color space used by
your files.
• Do not include halftone and transfer functions.
• Turn off color management in the printer driver.
On Windows computers, if the printer driver offers Image Color Matching options,
select Printer Image Color Matching.
On Mac OS computers, set the printer driver to include no color management
commands at print time (see the Color Guide).
1
1-8
Simple and Advanced Workflows
Advanced workflows
The following sections present advanced color management workflow examples for
three short-run printing and three color proofing situations. Each workflow example
consists of a brief description, steps for creating and manipulating the files, a list of the
ColorWise settings used in the example, and a table that summarizes the workflow.
N OTE : These examples reference specific software applications that illustrate image
editing, illustration, page layout, and business/office applications—Adobe Photoshop,
Adobe Illustrator, QuarkXPress, and Microsoft PowerPoint, respectively.
Short-run printing examples
The following examples illustrate short-run printing on the Color Server.
Photoshop RGB workflow
This short-run workflow of printing an RGB image from Photoshop is one of the
simplest color workflows. In it, RGB data is sent from the application, through the
printer driver, to the Color Server. The RGB-to-CMYK conversion takes place on the
Color Server using a CRD rather than the application. Use the settings illustrated in
this workflow for printing photographs and artwork.
This document could be created as follows:
• Create an RGB image in Photoshop.
• Print the file directly to the Color Server.
For recommended print settings from Photoshop, see Chapter 4.
• Use ColorWise to convert the RGB image to device CMYK (the full gamut of
the printer).
1
1-9
Advanced workflows
The ColorWise settings used in this example are:
• RGB Source Profile set to EFIRGB or another RGB source definition
• Rendering Style set to Photographic
• RGB Separation set to Output
The following diagram indicates the steps for this particular workflow in black.
Photoshop RGB workflow
Photoshop
Printer driver
ColorWise
print options
Read Embedded Profiles
Define RGB Source
Embed Source Profiles
Convert RGB to CMYK
Convert CMYK to CMYK
Select RGB Mode
Select CMYK Mode
Select Destination Profile
Save as TIFF
Save as EPS
Save as JPEG
Print
(Mac OS-Only)
Black and White
Color/Grayscale
ColorSync Color Matching
PostScript Color Matching
Define RGB Source
Select RGB Source: None
Select Rendering Style (CRD)
Select RGB Separation: Output
Select RGB Separation: Simulation
Convert Press CMYK to Press Sim.
Convert Press CMYK to Custom Sim.
Select Device CMYK Sim.: None
Turn Spot Color Matching On
Turn Spot Color Matching Off
Select Output Profile
Select Custom Output Profile
1
1-10
Simple and Advanced Workflows
Photoshop RGB with Illustrator and QuarkXPress CMYK and spot colors
This workflow involves short-run printing of a complex page layout with images
saved in Photoshop, illustrations created in Illustrator, and spot colors. A Photoshop
image is saved in an RGB color space using the EPS file format. Illustrator artwork
contains objects defined as CMYK and as spot colors selected from printed output,
and they are saved using the Illustrator EPS file format. After all the individual objects
are imported into QuarkXPress, additional design elements in QuarkXPress are
colored using CMYK process colors or spot colors. Use the settings illustrated in this
workflow for printing brochures, newsletters, and other layouts.
N OTE : When you place CMYK colors in a document, select them from printed output
(see page 1-4).
This document could be created as follows:
• Create an RGB image in Photoshop and save it as Photoshop EPS.
• Create a graphic in Illustrator using CMYK and spot colors and save as Illustrator
EPS.
• Use CMYK colors and a spot color in a QuarkXPress document.
• Import the Illustrator EPS into QuarkXPress and place the Photoshop EPS image.
• Print the QuarkXPress document to the Color Server.
• Use ColorWise to convert the RGB image to device CMYK, adjust the process
colors for short-run printing, and match the spot colors using the full device gamut.
1
1-11
Advanced workflows
The ColorWise settings used in this example are:
• RGB Source Profile set to EFIRGB or another RGB source definition
• Rendering Style set to Photographic
• RGB Separation set to Output
• CMYK Simulation set to None
• Spot Color Matching set to On
The following diagram indicates the steps for this particular workflow in black.
Photoshop RGB workflow with Illustrator, QuarkXPress CMYK, and spot colors
Photoshop
Illustrator
Read Embedded Profiles
Read Embedded Profile
Define RGB Source
Define RGB Colors
Embed Source Profiles
Define CMYK Colors
Convert RGB to CMYK
Define spot Colors
Convert CMYK to CMYK
Convert RGB to CMYK
Select RGB Mode
Convert spot to CMYK
Select CMYK Mode
Embed Source Profile
Select Destination Profile Select Destination Profile
Save as TIFF
Export as TIFF
Save as EPS
Save as EPS
Save as JPEG
Print
Print
QuarkXPress
Printer driver
Read Embedded Profile
Define RGB Colors
Define CMYK Colors
Define spot Colors
Convert RGB to CMYK
Convert CMYK to CMYK
Convert spot to CMYK
Embed Source Profile
Select Destination Profile
Export as TIFF
Save as EPS
Print
(Mac OS-Only)
Black and White
Color/Grayscale
ColorSync Color
Matching
PostScript Color
Matching
ColorWise
print options
Define RGB Source
Select RGB Source: None
Select Rendering Style (CRD)
Select RGB Separation: Output
Select RGB Separation: Simulation
Convert Press CMYK to Press Sim.
Convert Press CMYK to Custom Sim.
Select Device CMYK Simulation: None
Turn Spot Color Matching On
Turn Spot Color Matching Off
Select Output Profile
Select Custom Output Profile
1
1-12
Simple and Advanced Workflows
Photoshop RGB with Illustrator CMYK and spot colors and PowerPoint RGB
This workflow involves short-run printing of a complex presentation document with
images saved in Photoshop, illustrations created in Illustrator, and spot colors.
All elements are imported into PowerPoint for output.
This document could be created as follows:
• Create an RGB image in Photoshop and save it as Photoshop EPS.
• Create a graphic in Illustrator using CMYK colors and a spot color and save as
Illustrator EPS.
• Create a presentation in PowerPoint using RGB colors.
• Import the Illustrator EPS graphic into the PowerPoint presentation and place the
Photoshop EPS image.
• Print the PowerPoint document to the Color Server.
• Use ColorWise to convert the PowerPoint RGB colors and Photoshop RGB image
to device CMYK, adjust the process colors for more saturated short-run printing,
and match the spot colors using the full device gamut.
1
1-13
Advanced workflows
The ColorWise settings used in this example are:
• RGB Source Profile set to EFIRGB or another RGB source definition
• Rendering Style set to Presentation
• RGB Separation set to Output
• CMYK Simulation set to None
• Spot Color Matching set to On
The following diagram indicates the steps for this particular workflow in black.
Photoshop RGB and Illustrator CMYK and spot colors in PowerPoint RGB workflow
Photoshop
Illustrator
Read Embedded Profiles
Read Embedded Profile
Define RGB Source
Define RGB Colors
Embed Source Profiles
Define CMYK Colors
Convert RGB to CMYK
Define spot colors
Convert CMYK to CMYK
Convert RGB to CMYK
Select RGB Mode
Convert spot to CMYK
Select CMYK Mode
Embed Source Profile
Select Destination Profile Select Destination Profile
Save as TIFF
Export as TIFF
Save as EPS
Save as EPS
Save as JPEG
Print
Print
PowerPoint
Printer driver
Define RGB Colors
Convert CMYK to RGB
Print
(Mac OS-Only)
Black and White
Color/Grayscale
ColorSync Color
Matching
PostScript Color
Matching
ColorWise
print options
Define RGB Source
Select RGB Source: None
Select Rendering Style (CRD)
Select RGB Separation: Output
Select RGB Separation: Simulation
Convert Press CMYK to Press Sim.
Convert Press CMYK to Custom Sim.
Select Device CMYK Simulation: None
Turn Spot Color Matching On
Turn Spot Color Matching Off
Select Output Profile
Select Custom Output Profile
1
1-14
Simple and Advanced Workflows
Color proofing examples
The following examples illustrate methods for simulating the output from another
printing system, such as an offset press. Each of the proofing examples uses an ICC
profile to describe the destination color space. While some examples use simulation
profiles built into the Color Server, others use ColorWise Pro Tools (see the Color
Guide) to download custom ICC output profiles to the Color Server for use as
simulation profiles.
Photoshop 5.x RGB-to-CMYK conversion using a custom ICC profile
This workflow is useful for prepress environments that have integrated ICC color
management and profiles for the presses they use. In this example, an image in
Photoshop 5.x is converted from RGB to CMYK using the Photoshop ICC color
conversion features in the CMYK Setup option. Using the Simulation settings
available in ColorWise, the CMYK image is printed to the Color Server, and the
output is made to appear as if it were printed on an offset press. For more information
on CMYK Setup, see your Photoshop 5.x documentation.
This document could be created as follows:
• In Photoshop 5.x, set CMYK Model in CMYK Setup to ICC.
• In the Profile menu, select an ICC profile for the desired offset press. Click OK.
• Open an RGB image. Select Mode >CMYK Color from the Image menu.
• Save the image in any file format.
• Print directly to the Color Server.
• Use ColorWise Pro Tools to select a simulation profile or download a custom
ICC profile to the Color Server for use as a CMYK Simulation Profile.
1
1-15
Advanced workflows
The ColorWise settings used in this example are:
• CMYK Simulation Profile set to the desired press standard or the corresponding
custom simulation (Simulation 1-10) if you downloaded your profile with
ColorWise Pro Tools
• CMYK Simulation Method set to Full (Source GCR)
The following diagram indicates the steps for this particular workflow in black.
Photoshop RGB-to-CMYK workflow using ICC profile
Photoshop 5.x
Printer driver
Read Embedded Profiles
Define RGB Source
Embed Source Profiles
Convert RGB to CMYK
Convert CMYK to CMYK
Select RGB Mode
Select CMYK Mode
Select Destination Profile
Save as TIFF
Save as EPS
Save as JPEG
Print
(Mac OS-Only)
Black and White
Color/Grayscale
ColorSync Color Matching
PostScript Color Matching
ColorWise
print options
Define RGB Source
Select RGB Source: None
Select Rendering Style (CRD)
Select RGB Separation: Output
Select RGB Separation: Simulation
Convert Press CMYK to Press Sim.
Convert Press CMYK to Custom Sim.
Select Device CMYK Simulation: None
Turn Spot Color Matching On
Turn Spot Color Matching Off
Select Output Profile
Select Custom Output Profile
1
1-16
Simple and Advanced Workflows
Photoshop 5.x Built-in RGB-to-CMYK workflow
This workflow is useful for prepress environments that have not integrated ICC color
management and do not have profiles for the presses they use. In this example, an
image is converted from RGB to CMYK using the Photoshop 5.x Built-in color
conversion features in the CMYK Setup option. Using the Simulation settings
available in ColorWise, the CMYK image is printed to the Color Server, and the
output made to appear as if it were printed on an offset press. For more information on
CMYK Setup, see your Photoshop 5.x documentation.
This document could be created as follows:
• Select the Built-in option from CMYK Setup in Photoshop 5.x Color Settings.
• Adjust the Ink Options and Separation Options to match your offset press.
• Select the Tables option in CMYK Setup and click Save.
This saves your settings as a CMYK ICC profile you will later download to the
Color Server as a custom simulation profile.
• Select the Built-in option in CMYK Setup again and click OK.
• Start ColorWise Pro Tools and download your new CMYK ICC profile to the
Color Server as a custom Simulation profile.
For the Appear in Driver as option in Profile Settings, select Simulation-1.
For more information on downloading profiles, see the Color Guide.
• Open an RGB image in Photoshop 5.x. Select Mode>CMYK Color from the
Image menu. Save the image as Photoshop EPS.
• Print the image directly to the Color Server and choose Simulation-1 as the
CMYK Simulation Profile setting.
1
1-17
Advanced workflows
The ColorWise settings used in this example are:
• CMYK Simulation Profile set to Simulation-1
• CMYK Simulation Method set to Full
The following diagram indicates the steps for this particular workflow in black.
Photoshop5.x RGB-to-CMYK workflow
Photoshop 5.x
Printer driver
Read Embedded Profiles
Define RGB Source
Embed Source Profiles
Convert RGB to CMYK
Convert CMYK to CMYK
Select RGB Mode
Select CMYK Mode
Select Destination Profile
Save as TIFF
Save as EPS
Save as JPEG
Print
(Mac OS-Only)
Black and White
Color/Grayscale
ColorSync Color Matching
PostScript Color Matching
ColorWise
print options
Define RGB Source
Select RGB Source: None
Select Rendering Style (CRD)
Select RGB Separation: Output
Select RGB Separation: Simulation
Convert Press CMYK to Press Sim.
Convert Press CMYK to Custom Sim.
Select Device CMYK Simulation: None
Turn Spot Color Matching On
Turn Spot Color Matching Off
Select Output Profile
Select Custom Output Profile
1
1-18
Simple and Advanced Workflows
Photoshop RGB and QuarkXPress CMYK
This workflow exemplifies the use of the RGB Separation feature of ColorWise.
An RGB image, originally saved in Photoshop, is printed to the Color Server from
QuarkXPress. To simulate how the RGB image would print on an offset press, the
RGB Separation feature of ColorWise is set to Simulation. This workflow—useful for
proofing brochures, newsletters, and other layouts—allows you to maintain
consistency by using the source RGB file for multiple purposes.
This document could be created as follows:
• Create an RGB image in Photoshop and save it as Photoshop EPS.
• Place the EPS image in a QuarkXPress document.
• Create several process-colored page elements alongside the image and print.
• Use ColorWise to convert the RGB image to simulated press CMYK and adjust the
process colors for proofing to the device.
1
1-19
Advanced workflows
The ColorWise settings used in this example are:
• RGB Source Profile set to EFIRGB or another RGB source definition
• Rendering Style set to Photographic
• RGB Separation set to Simulation
• CMYK Simulation Profile set to SWOP
• CMYK Simulation Method set to Full (Source GCR)
The following diagram indicates the steps for this particular workflow in black.
Photoshop RGB and QuarkXPress CMYK workflow
Photoshop
QuarkXPress
Printer driver
ColorWise
print options
Read Embedded Profiles
Define RGB Source
Embed Source Profiles
Convert RGB to CMYK
Convert CMYK to CMYK
Select RGB Mode
Select CMYK Mode
Select Destination Profile
Save as TIFF
Save as EPS
Save as JPEG
Print
Read Embedded Profile
Define RGB Colors
Define CMYK Colors
Define spot Colors
Convert RGB to CMYK
Convert CMYK to CMYK
Convert spot to CMYK
Embed Source Profile
Select Destination Profile
Export as TIFF
Save as EPS
Print
(Mac OS-Only)
Black and White
Color/Grayscale
ColorSync Color Matching
PostScript Color Matching
Define RGB Source
Select RGB Source: None
Select Rendering Style (CRD)
Select RGB Separation: Output
Select RGB Separation: Simulation
Convert Press CMYK to Press Sim.
Convert Press CMYK to Custom Sim.
Select Device CMYK Simulation: None
Turn Spot Color Matching On
Turn Spot Color Matching Off
Select Output Profile
Select Custom Output Profile
2
2-1
Chapter 2:
Working
with Color in
Applications
Working with color
This chapter provides guidelines for defining colors in your documents to produce the
results you want. The following topics are covered:
• Factors affecting how you work with color
• Choosing colors in applications that rely on Graphic Device Interface (GDI)
or QuickDraw to communicate data to the printer driver, such as presentation and
word processing applications
• Choosing colors in applications that have the ability to write their own PostScript,
such as some page layout, illustration, and pixel-editing applications
Working with color
The two main factors that influence how you work with color in the creation of
documents are the applications you use and the Color Server. Applications vary in the
methods they provide for choosing colors and in the way they transmit color data to
the Color Server.
• Office applications, such as presentation software, spreadsheets, and word processing
programs, use the RGB color model. They typically transmit only RGB data to the
Color Server.
• Illustration applications use both the RGB and CMYK color models but typically
transmit only CMYK data to the Color Server.
• Pixel-editing applications use both the RGB and CMYK color models. They also
transmit both RGB and CMYK data to the Color Server.
2
2-2
Working with Color in Applications
The type of printing you plan for the document—short-run color printing on the
Color Server versus color proofing for eventual printing on an offset press—determines
the way you define colors, as well as the print option settings you choose.
• For short-run color printing on the Color Server, use any application and define
colors in either RGB or CMYK. If your application supports it, you can also choose
colors from the PANTONE color library. Placed images may be limited to the RGB
color space. Choose the appropriate settings for print options affecting color output
(see the Color Guide).
• For color proofing, use an application that writes its own PostScript. Define colors in
RGB or CMYK, or choose colors from the PANTONE color library. Placed images
can also be defined in RGB or CMYK. Choose the appropriate settings for print
options affecting color output (see the Color Guide).
N OTE : The Color Server allows you to use RGB or CMYK data when printing proofs
for an offset press run. However, sending data to an imagesetter most often requires
CMYK data.
Color reference pages
Your Color Server user software includes several types of color reference pages that
allow you to see the range of colors that can be printed on your printer. For predictable
color, use the color reference pages when defining the colors in your document.
• RGB Color Reference—a Microsoft Word file and a Microsoft PowerPoint file that
allow you to view the colors available in the standard palettes of office applications
and see how those colors print on the Color Server (see page 2-4).
• CMYK Color Reference—an 11-page downloadable PostScript file of CMYK color
patches (see page 2-7).
• PANTONE Coated Color Reference—a 19-page downloadable PostScript file of
color patches showing CMYK equivalents of PANTONE Coated colors. This file
prints differently depending on the setting of the Spot Color Matching option
(see page 2-7).
In addition, you can print RGB, CMY, and PANTONE color charts from the Color
Server Control Panel.
2
2-3
Office applications
Office applications
The Color Server must receive PostScript instructions to print an image or a
document. Many applications do not create these PostScript instructions, relying on
the printer driver to create them. Included in this category are most word processing,
spreadsheet, and presentation graphics applications. These applications use Windows
Graphics Device Interface (GDI) to display and print when running Windows, and
Apple QuickDraw to display and print when running Mac OS. We refer to these GDI
and QuickDraw applications as “office applications.”
All office applications handle color similarly, using the same RGB color model used for
the color monitor. Most office applications allow you to choose colors from a palette of
preselected colors; some allow you to add new colors to the palette using a color picker.
Although some applications allow you to specify color using the CMY, HSL, and HSV
color models, these applications always send RGB color data to the Color Server. (An
exception to this is a CMYK EPS file placed in the document, which is sent as
CMYK data.)
Consider the following when working with color in office applications:
• The range of colors that can be displayed in RGB on your monitor is much larger
than the range of colors that can be printed on your printer. When you print the
document, out-of-gamut RGB colors are mapped to the colors your printer can
produce.
• Office applications send only RGB data to the Color Server. You control the
rendering style of the color conversion with your selection of a CRD.
Each CRD uses a different color rendering style and, therefore, has a different way of
mapping unprintable colors to the color gamut of your printer. For more
information on color rendering styles, see the Color Guide.
2
2-4
Working with Color in Applications
Choosing colors in office applications
Two RGB color reference pages, a Microsoft Word file and a Microsoft PowerPoint file,
are provided with your Color Server user software. You can print these files using
different CRDs to see how the colors appear when printed to the Color Server. For
best results, print the color reference page using the same print options you plan to use
for your final document. Select the colors you want to use from the printed version of
the RGB color reference page and use those colors in your document.
RGB Color Reference (Microsoft PowerPoint)
2
2-5
PostScript applications
PostScript applications
Most applications used for illustration, pixel editing, and page layout can create the
PostScript information they send to a PostScript printer or save in PostScript files.
Illustrator, Photoshop, PageMaker, QuarkXPress, and Macromedia FreeHand are
all PostScript applications.
PostScript applications work with color in many different ways. Most allow you to
choose process colors (by entering percentages for cyan, magenta, yellow, and black),
as well as named colors from a spot color system, such as PANTONE. When you
print composites, these applications send process-color equivalents for named spot
colors to the Color Server. In some applications, you can also choose colors using the
RGB, HSB, HSL, or other color models.
Generally, PostScript applications send color information to the Color Server as
CMYK data. An exception to this is an RGB image placed in the document, which is
sent directly to the Color Server (unless you specify special color management settings
in the application.) In addition, some PostScript applications that allow you to define
colors in RGB or other color models can also send data to the Color Server in those
color spaces.
Color controls in PostScript applications are typically designed for printing on an
offset press, and some adjustments are required for printing to the Color Server.
Displayed versions of colors you choose in these applications may not match Color
Server output exactly, and named colors may not print accurately on the Color Server,
since these colors typically require custom inks.
2
2-6
Working with Color in Applications
Choosing colors in PostScript applications
With PostScript applications, you can create colors using any of the color models
supported by the application. All PostScript applications support CMYK; some also
support RGB and other color models based on monitor display values. PostScript
applications also allow you to choose named colors using one or more color libraries,
such as PANTONE (see page 2-7).
Use swatch color matching to ensure predictable color printing results with the Color
Server or to match your Color Server output to colors produced by other printers.
Swatch color matching
Your Color Server user software includes several color reference pages (see page 2-2).
By choosing colors from these reference pages, you ensure that you get the same color
from your device. For best results, calibrate the Color Server before printing the
reference pages.
N OTE : Swatch color matching does not match monitor colors to printed colors.
For this, you must use a color management system and calibrate your monitor.
2
2-7
PostScript applications
Using the CMYK Color Reference
The CMYK Color Reference included with your Color Server user software allows you
to see how various cyan, magenta, yellow, and black combinations look when printed
on your printer.
CMYK Color Reference
To print the CMYK Color Reference, download the file to the Color Server.
The printed pages display groups of color patches in graduated combinations of
yellow, magenta, and cyan, and smaller patches that include 25%, 50%, and 75%
black. Refer to these pages to pick colors and specify process color values in your
application. For the location of the file on the User Software CD, see the User Software
Installation Guide.
PANTONE Coated Color Reference
The PANTONE Coated Color Reference included with your Color Server user
software can help ensure predictable results with colors chosen from the PANTONE
color library.
2
2-8
Working with Color in Applications
The information printed by the PANTONE Coated Color Reference depends on the
Spot Color Matching setting.
• On—Prints swatches of the closest CMYK equivalents of PANTONE colors your
printer can produce. The equivalent PANTONE color name/number is printed
below each swatch.
• Off—Prints swatches of the CMYK equivalents of PANTONE colors as defined
by PANTONE. (These are the same CMYK values defined in applications that
include PANTONE libraries.) The CMYK values used to produce the color, as well
as the PANTONE color name/number, are printed below each swatch.
To print the PANTONE Coated Color Reference, download the file to the Color
Server. For the location of the file on the User Software CD, see the User Software
Installation Guide. If the default Spot Color Matching setting on the Color Server is
not the setting you want to use for printing the PANTONE colors, download the file
to the Hold queue. Then override the Spot Color Matching setting using a job
management utility, such as Command WorkStation (see the Job Management Guide).
Default output profile
The default output profile consists of both a profile for the printer supported by the
Color Server and a calibration target that describes the expected behavior of the
printer. For more information on output profiles, see the Color Guide.
In certain cases, you may want to customize the default output profile to
achieve particular color effects (see the Color Guide). When you do so, the new
customized output profile is applied to all data in the print job. You can also use
ColorWise Pro Tools to download your own output profile to the Color Server (see
the Color Guide). Downloaded output profiles are at first associated with the default
calibration target.
CMYK simulation
If you use the Color Server to print proofs for an offset press job or simulate another
printer, choose the appropriate CMYK Simulation Profile and CMYK Simulation
Method print option settings (see the Color Guide).
3
3-1
Chapter 3:
Office
Applications
Working with office applications
The ColorWise color management system provides complete color management for
jobs printed from office applications. This chapter provides instructions for printing
color documents from Graphics Device Interface (GDI) and QuickDraw
applications, such as presentation, spreadsheet, and word processing applications.
You can use these instructions with the Microsoft Office applications.
Working with office applications
Before printing from these applications, make sure the appropriate printer driver and
the Color Server PPD are installed on your computer, as described in the User Software
Installation Guide.
Defining colors
Office applications use the RGB color model. For instructions on defining colors,
see “Choosing colors in office applications” on page 2-4.
The only way to use CMYK or PANTONE colors is to define them in EPS files
with an illustration or page layout application, and then place these files in Office
documents. Colors in EPS files are preserved until they reach the Color Server
(assuming no PostScript Color Management information was included.)
Office applications lack finesse when displaying EPS files, so use these files only when
RGB colors are impractical in your specific workflow. EPS files are useful when using
large or complex images that must be printed at full resolution or exceed the memory
allocation of some MS Office applications.
Working with imported files
Although your application may allow you to import a variety of file formats, EPS
files are recommended for all raster images you want to import; some applications
have printing problems when using file formats such as TIFF and PICT.
N OTE : It may be necessary to perform a “custom install” of your MS Office application
if you are unable to import EPS elements.
3
3-2
Office Applications
Although there are no color management options within office applications, color
conversions do occur when you import images or page elements that were not defined
in RGB. To avoid such conversions with imported files, use the EPS file format for
artwork that is to be imported into office applications.
All RGB images placed in a document are affected by RGB Source and Rendering
Style settings.
Tip for advanced users
If you place multiple RGB images, mixed non-photographic and photographic, a
single CRD may not be suitable for all the images. In this case, you may want the
photographic images to bypass the CRD altogether. To accomplish this, save the image
in CMYK mode with a pixel-editing application, such as Photoshop, and perform
color correction. Save the image as a Photoshop EPS and import it into the document.
Selecting options when printing
There are few differences among office applications with regard to Color Server
printing. The instructions in this chapter apply to all office applications. Follow the
instructions in the Color Guide to specify print options and color management
settings. To specify these options, you must use a PostScript Level 2 (or later) printer
driver, such as an Adobe PostScript Printer Driver.
Because office applications send RGB data to the Color Server, your choices of
RGB Source and Rendering Style settings are important. Specify the appropriate
CRD for the color effect you want (see the Color Guide).
Output profiles
All color data in the job is affected by the output profile on the Color Server. This
profile may be the one designed for your device and shipped with the Color Server, or
it may be a custom profile created at your site (see the Color Guide). If necessary, print
the Test Page to see which profile is currently resident on the Color Server.
4
4-1
Creating a monitor profile
This chapter covers features of Adobe Photoshop versions 6.x and 5.x for Windows
and Mac OS. The illustrations show only Mac OS dialog boxes, but the information
and instructions apply equally to the Windows version of Photoshop.
Chapter 4:
Adobe
Photoshop
Because Photoshop uses a sophisticated color management system, there are several
setup steps you should take before you begin working. These steps include:
• Calibrate your monitor
• Adjust Photoshop color settings
Creating a monitor profile
You can use the Adobe Gamma control panel to create and customize an ICC profile
that describes the unique display characteristics of your monitor. This monitor profile
enables Photoshop to compensate for the color behavior of the monitor when
displaying images. As a result, colors previewed on the monitor will more closely
match colors in your printed output.
N OTE : If a profile for your monitor is not available, use the Adobe Gamma control
panel setup Assistant (Wizard on Windows) to customize an available profile that, at a
minimum, has the same type of phosphors as your monitor.
TO
CREATE A MONITOR PROFILE
1.
Display the Adobe Gamma control panel by double-clicking its icon in either the
Windows or Mac OS Control Panel.
2.
Click Assistant (Wizard on Windows) if you have not yet selected your monitor profile
or want to customize your current profile,.
4
4-2
3.
Adobe Photoshop
Follow the step-by-step instructions in the Assistant or Wizard to calibrate your
monitor and create a monitor profile.
Specifying color settings
The following sections outline the recommended color settings for Photoshop 6.x
and 5.x in a Color Server workflow. These color settings include:
Working Spaces—Default color spaces to use when working with RGB and CMYK
documents. ICC color profiles describe the gamut and color characteristics of these
working spaces.
Color Management Policies (Photoshop 6.x) or Profile Mismatch Handling
(Photoshop 5.x)—Instructions that tell Photoshop what to do when it encounters
color data from a color space other than the specified working space.
4
4-3
Specifying color settings
Photoshop 6.x color settings
Photoshop 6.x uses a sophisticated color management system that handles document
colors for a variety of color-managed workflows. By customizing color settings, you
can specify the amount of color management you want to use while working in
Photoshop 6.x.
TO
SPECIFY COLOR SETTINGS FOR
1.
P HOTOSHOP 6. X
Choose Color Settings from the Edit menu.
The Color Settings dialog box appears.
2.
Select Advanced Mode.
In Advanced Mode, a more extensive list of options is displayed.
4
4-4
3.
Adobe Photoshop
Choose the desired working space profile for each color mode in the
Working Spaces area.
Use the following guidelines for specifying working spaces:
• For RGB, choose the profile for the default RGB color space used by the
Color Server. In most cases, this is EFIRGB. Consider sRGB if you usually
view images on a generic PC monitor or rely on a Windows operating system
to manage color on your monitor. If you choose sRGB as a working space, you
must print with the ColorWise RGB Source option set to sRGB.
New RGB documents you create in Photoshop will use this working space.
N OTE : EFIRGB is set as the default RGB source color space on the Color Server.
No matter what RGB space you select, make sure it is available on the Color Server.
For more information on downloading RGB Source profiles to the Color Server,
see the Color Guide.
• For CMYK, choose a profile that describes your target press (such as SWOP) if you
are a prepress user. If you are an office user printing final output, choose an output
profile that describes the device connected to the Color Server. To use a devicespecific output profile, you must first upload the profile from the Color Server to
your computer (see the Color Guide). New CMYK documents you create in
Photoshop will use the specified working space.
• For guidelines on specifying Gray and Spot working spaces, see your Photoshop 6.x
documentation.
4.
In the Color Management Policies area, choose policies for handling documents
without embedded profiles or with embedded profiles that differ from the working
space .
Unless you are an advanced color user, we recommend that you choose Off from the
RGB, CMYK, and Gray menus. This option discards the original profile embedded in
a document if it differs from the specified working space, while preserving the numeric
color values in the document.
For Profile Mismatches, select Ask When Opening. This option displays an alert
message that lest you override the specified policy behavior (Off ) when opening
documents or importing color data.
4
4-5
5.
Specifying color settings
In the Conversion Options area, specify settings for converting between color spaces.
Choose Adobe (ACE) from the Engine menu to use the built-in color management
engine for Photoshop.
Choose a rendering intent from the Intent menu that will optimize the color quality
of the conversion. For guidelines on choosing the rendering intent, see your Photoshop
6.x documentation.
Select Use Black Point Compensation and Use Dither (8-bit/channel images) to
optimize the quality of color conversions.
6.
Clear the Desaturate Monitor Colors By and Blend RGB Colors Using Gamma options in
the Advanced Controls area.
Deslecting these options helps optimize the matching of the monitor display to
printed output.
7.
Click Save to save the current group of color settings.
The Save dialog box appears.
8.
Name the settings file, accept the default saved location, and click Save.
You can switch to your saved settings at any time by choosing the group name from the
Settings menu at the top of the Color Settings dialog box.
Photoshop 5.x color settings
Like Photoshop 6.x, Photoshop 5.x offers settings for default RGB and CMYK color
spaces and color management policies.
Photoshop 5.x allows you to use two simultaneous RGB spaces, one for the monitor
and one for the Photoshop RGB working space. The monitor RGB space setting does
not affect the image data in the file; it affects only the way the image is displayed on the
monitor. Even if an RGB image has been prepared with different monitor settings, it
is still correctly displayed on your monitor, without changes to the original values in
the file.
4
4-6
TO
Adobe Photoshop
SET PROFILE DEFAULTS IN
P HOTOSHOP 5. X
1.
Choose Color Settings>Profile Setup from the Photoshop 5.x File menu.
2.
In the Embed Profiles area, specify whether to embed the appropriate ICC profiles
when saving a file.
Unless you are an advanced color user, we recommend that you clear the profile
embedding options for RGB and CMYK files.
By embedding a profile during the saving process, Photoshop links a color space
(working space) definition with that file for future use. When you open an image that
already contains a profile, Photoshop alerts you as to which color space the file was
saved in. Avoid conversions between color spaces as much as possible, as each
conversion results in loss of color information.
3.
Choose Ask When Opening from the RGB and CMYK menus in the Assumed
Profiles area.
When you open files that do not contain an ICC profile, you can convert the file to
your current Photoshop working space setting or leave the file unconverted—the
preferred choice—but make sure the current Photoshop working space setting matches
the intended color space of the image.
4
4-7
4.
Specifying color settings
Choose Ask When Opening from the RGB and CMYK menus in the Profile Mismatch
Handling area.
When you open a file that contains an ICC profile that does not match your current
Photoshop working space setting, you have the choice to convert from the embedded
profile or not. If you want to preserve the color integrity of the source image, do not
convert. When you open the image, immediately go to RGB or CMYK Setup to
specify the working space for the image. If your working space is set to your output
device, you may want to convert.
TO
SET
RGB
1.
DEFAULTS
Choose Color Settings >RGB Setup from the Photoshop 5.x File menu.
Select this option
Select this option
2.
Choose your current Photoshop RGB color space from the RGB menu.
Your selection should reflect the color space of most RGB files you will be opening.
If you create new RGB files or want to standardize your RGB files, choose EFIRGB.
3.
Click Load if the file is not visible in the RGB menu.
You can load the Calibrated RGB setup file, EFIRGB ICC ColorSync file, or
EFIRGB.ICM file. All describe the same RGB space and automatically set the
Gamma, White Point, and Primaries. Consider sRGB if you usually view images on a
generic PC monitor or rely on a Windows operating system to manage color on your
monitor. If you choose sRGB as a working space, print with the ColorWise RGB
Source option set to sRGB.
N OTE : EFIRGB is set as the default RGB Source color space on the Color Server.
No matter what RGB space you select, make sure it is available on the Color Server.
For more information on downloading RGB Source profiles to the Color Server,
see the Color Guide.
4
4-8
Adobe Photoshop
The Monitor area shows the currently selected profile in the Adobe Gamma control
panel. Select both the Display Using Monitor Compensation and Preview options.
TO
SET
CMYK
1.
DEFAULTS
Choose Color Settings > CMYK Setup from the Photoshop 5.x File menu.
Select this option
2.
Select the Preview option.
For CMYK Model, select ICC. Previous versions of Photoshop used Photoshop
Separation Tables, and you can load them for Photoshop 5.x. However, you will get
better results using ICC profiles and the built-in color management system.
3.
Choose settings from the Profile, Engine, and Intent menus in the ICC Options area.
• For Profile, choose your final output device ICC profile. Prepress users should
choose an ICC describing their target press, such as SWOP. Office users should
choose the ICC profile describing the device connected to the Color Server. In this
case, we recommend that you leave images in RGB and allow the Color Server to
convert them to CMYK. However, if you want to use Photoshop to convert RGB
images to the CMYK color space of the Color Server, you must first upload one of
the output profiles from the Color Server to your computer (see the Color Guide),
and then select it in Photoshop CMYK Setup. The output profile for the
Color Server is also available on the User Software CD (see the User Software
Installation Guide).
N OTE : With the RGB Separation feature of the Color Server, you can preview (print)
your conversions from RGB to any simulated CMYK space by downloading the
desired target profile to the Color Server. For more information about downloading
profiles, see the Color Guide.
4
4-9
Saving files
• For Engine, choose Built-in so that the Photoshop engine will be used.
• For Intent, choose Perceptual (Images), which is appropriate for photographs
normally edited in Photoshop. The Intent setting is used only when you convert
between color spaces.
At times it may be useful to select the Black Point Compensation option. With many
ICC profiles, this option has no effect. When it does, it has a dramatic effect on the
dark areas of your image. If you want this effect, select Black Point Compensation; if
not, clear the option.
Saving files
Before saving a file from Photoshop, perform any necessary rotating, cropping, and
resizing. This speeds processing when printing from the application in which the image
is placed.
We recommend you use EPS or TIFF file formats to save RGB images that will be
imported into other documents and printed to the Color Server. You can import EPS
and TIFF files into virtually all page layout applications.
N OTE : Although TIFF files display better when imported into other applications, their
color and resolution characteristics may be altered by the application into which they
are imported. EPS files are unaffected.
Saving files from Photoshop 6.x or 5.x
The process of saving documents from Photoshop 5.x is virtually identical to that of
saving documents from Photoshop 6.x. In the following procedure, only Photoshop
6.x (Mac OS version) dialog boxes are shown. When applicable, differences between
the 6.x and 5.x, and the Windows and Mac OS versions of Photoshop are noted.
When saving a document from Photoshop 6.x, you have the option to embed a color
profile in the document. We recommend you disable this option if you are sending the
document to the Color Server.
4
4-10
TO
Adobe Photoshop
SAVE A DOCUMENT FROM
1.
P HOTOSHOP 6. X
OR
5. X
Choose Save As from the File menu.
The Save As dialog box appears.
2.
Specify settings in the Save As dialog box.
• Specify a name, file format, and saved location for the document.
• Clear the Embed Color Profile option (Mac OS) or ICC Profile option (Windows).
4
4-11
3.
Saving files
Click Save.
If you chose Photoshop EPS as the format, the EPS Options dialog box appears.
4.
Specify EPS options and click OK.
• Choose a TIFF preview option. A TIFF preview is compatible with both Windows
and Mac OS computers.
• Do not select the PostScript Color Management option. For more information
about PostScript Color Management, see the following section.
• Do not select Include Transfer Function or Include Halftone Screen.
N OTE : If you choose JPEG encoding, save a backup of the original image saved with
binary encoding until you see the printed results of the JPEG file. Occasionally, the
compression used for JPEG encoding produces unwanted artifacts. If you see
unexpected results in the printed output of a JPEG file, revert to a binary version.
If you experience problems printing the document in which you placed the image,
substitute an ASCII version of the same image and reprint the document. Binary
encoding is much more compact than ASCII encoding, but occasionally causes
printing problems with some system configurations.
4
4-12
Adobe Photoshop
Advanced tips for using PostScript color management
Use the following information to implement alternative, more complex, color
workflows with Photoshop.
Saving EPS documents with PostScript Color Management
Selecting the PostScript Color Management option when saving either a CMYK or
RGB EPS file prompts Photoshop to embed PostScript color information—which is
independent of ICC profiles—in the resulting document. This information is intended
for PostScript devices like the Color Server.
Printing RGB EPS files saved with PostScript Color Management
When you print an RGB EPS file that contains an embedded profile to the
Color Server, you can use the working space information from the embedded RGB
profile as an RGB source definition for Color Server CRDs. To use this source color
space information from the embedded profile with Color Server CRDs, choose None
as the ColorWise RGB Source when you print. This applies when you print directly
from Photoshop, or when the same RGB EPS file is output from another application.
To override the embedded profile in an EPS file using an RGB Source definition made
available by the Color Server, choose anything except None as the Color Server RGB
Source Profile.
Printing CMYK EPS files saved with PostScript Color Management
If you select the Photoshop PostScript Color Management option when you save a
CMYK EPS image, Photoshop embeds PostScript color information that defines the
CMYK source color space of the image. When you print a CMYK EPS file that
contains PostScript color information to the Color Server, CRDs are used instead of
ColorWise CMYK Simulation and Simulation Method settings. Choose the
appropriate setting for the Rendering Style option.
4
4-13
Defining colors
Defining colors
You can choose colors in Photoshop with various color models, including HSB, CIE
Lab, RGB, and CMYK. You can also choose named colors from the PANTONE
Coated color library. For best results, use the color definition methods described
in Chapter 2.
Selecting options when printing
You can print RGB or CMYK images from Photoshop 6.x and 5.x.
• When you print an RGB image, you choose whether the conversion to CMYK is
performed by the Color Server (using a CRD), PostScript (using PostScript Color
Management), or Photoshop built-in color management.
• When you print a CMYK image, you can print composites or color separations.
N OTE : You cannot use the Combine Separations feature of the Color Server to
recombine separations printed from Photoshop.
TO
PRINT IMAGES FROM
1.
P HOTOSHOP 6. X
OR
5. X
Choose Print from the File menu.
The Print dialog box appears.
Photoshop 6.x
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4-14
Adobe Photoshop
Photoshop 5.x
2.
Choose the Color Server destination from the Printer menu, and then choose Adobe
Photoshop.
3.
Choose an Encoding method.
N OTE : If you choose JPEG encoding, save a backup of the original image with
binary encoding until you see the printed results of the JPEG file. Occasionally, the
compression used for JPEG encoding produces unwanted artifacts. If you see
unexpected results in the printed output of a JPEG file, revert to the binary version.
4.
Specify the color space for printing the image.
• For Photoshop 6.x, choose Same as Source from the Profile menu.
• For Photoshop 5.x, choose RGB Color from the Space menu if you are printing an
RGB image. Choose CMYK Color if you are printing a CMYK image.
Any other setting causes Photoshop to convert image data to that color space before
sending it to the Color Server.
5.
For Photoshop 5.x, make sure PostScript Color Management is cleared.
6.
Click Print.
4
4-15
Selecting options when printing
Advanced tips for printing with Photoshop PostScript
color management
Use the following information to implement alternative, more complex, color
workflows with Photoshop.
• To use PostScript color management with Photoshop 6.x, choose PostScript Color
Management from the Profile menu in the Photoshop pane of the printer driver.
• To use PostScript color management with Photoshop 5.x, select the PostScript Color
Management option in the Photoshop pane of the printer driver.
Printing RGB images with Photoshop PostScript Color Management
If you select an RGB color space and decide to use PostScript Color Management,
Photoshop sends RGB data to the Color Server along with PostScript color
information defining this RGB color space. Note that when you select PostScript
Color Management, a CRD will be used to perform color conversions to CMYK.
N OTE : The included RGB source color space information is overridden by the
ColorWise RGB Source option unless it is set to None. The ColorWise Rendering
Style option specified will take effect if the ColorWise RGB Source Profile option is set
to None.
For fastest print times, you can choose JPEG encoding, but check printed output
carefully for unwanted artifacts that can appear as a result of JPEG compression. If you
see unexpected results in the printed output, print the job again using Binary or
ASCII encoding.
Printing CMYK images with Photoshop PostScript Color Management
If you select a CMYK color space and decide to use PostScript Color Management,
Photoshop sends CMYK data to the Color Server along with PostScript color
information defining this CMYK color space. Note that when you select PostScript
Color Management, a CRD will be used to perform color conversions to the CMYK
color space of the Color Server.
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4-16
Adobe Photoshop
The destination color space for the CRDs is determined by the RGB Separation print
option. If RGB Separation is set to Simulation, the CMYK image is printed according
to all specified CMYK Simulation Profile and CMYK Simulation Method settings.
If RGB Separation is set to Output, the CMYK image is converted to the CMYK color
space of the selected output profile.
The Spot Color Matching setting has no effect, because Photoshop converts spot
colors to CMYK values when you work in CMYK mode.
• If the image was separated for an offset press standard, apply the corresponding
CMYK Simulation setting. For example, if the image is separated for SWOP, choose
SWOP as the CMYK Simulation setting.
• If Photoshop is configured for a custom separation using a ICC profile, choose the
corresponding profile for the ColorWise CMYK Simulation option.
The previous custom simulation setting requires that the same profile used for
separation in Photoshop also resides on the Color Server. For more information
about downloading CMYK Simulation profiles to the Color Server with
ColorWise Pro Tools, see the Color Guide.
5
5-1
Chapter 5:
Page Layout
Applications
Working with page layout applications
This chapter provides instructions for printing color documents from Adobe
InDesign 1.5.2, Adobe PageMaker 7.x and 6.5, and QuarkXPress 4.02 and 3.32.
Before printing from these applications, make sure the appropriate printer driver
and the Color Server PPD are installed on your computer, as described in the User
Software Installation Guide.
Working with page layout applications
The following sections apply to all page layout applications.
Defining colors
Page layout applications generally use the CMYK color model. Some allow you
to define colors with other color models and may be able to send that data to the
Color Server in those other color models. Generally, however, CRDs (which affect
only RGB data) do not affect colors defined in page layout applications. For
predictable results with CMYK colors, use the CMYK Color Reference when defining
colors in page layout applications (see “Choosing colors in PostScript applications” on
page 2-6).
N OTE : If the application allows you to define colors in RGB, determine whether it
converts the RGB data to CMYK before sending it to the Color Server. If it does, this
will determine which ColorWise print options affect your job. For example, if the
application converts RGB black (defined in the document as R0%, G0%, B0%) to
four-color CMYK black when it sends the job to the Color Server, the Pure Black
Text/Graphics option will have no effect when you print the job.
You can also choose named colors from the PANTONE color library (see
“PANTONE Coated Color Reference” on page 2-7).
5
5-2
Page Layout Applications
Importing images
EPS (or EPSF) and TIFF are the recommended formats for images imported into page
layout documents. Support for importing other file formats may be provided by
individual applications.
All RGB images placed in a document are affected by the RGB Source and
Rendering Style settings. The ColorWise color management system applies the
specified RGB Source setting to all RGB data and then uses the specified Rendering
Style (CRD) to perform a color conversion. An exception to this occurs if you assign
ICC profiles to RGB images using the application’s color management tools. (See
“Tips for advanced users” in the following section). In this case, the application
performs the color conversion of the image and sends CMYK data to the Color Server.
N OTE : To take advantage of RGB Source and Rendering Style settings for images
imported into QuarkXPress 4.02, save images in the EPS format or use the Quark
PrintRGB XTension, which outputs RGB TIFF image files without converting them
to CMYK.
Tips for advanced users
If you place multiple RGB images, some non-photographic and some photographic,
a single CRD may not be suitable for all the images. In this case, you may want the
photographic images to bypass the CRD altogether. To accomplish this, separate the
image to CMYK data with a pixel-editing application, such as Photoshop, and perform
color correction. Save the file as EPS or TIFF and import it into the document.
If your application supports this feature, you can save the RGB image in TIFF format
and assign it an ICC profile and rendering intent when you import it into the
document.
5
5-3
Adobe InDesign 1.5.2
CMYK simulation
You can specify a CMYK Simulation profile and a CMYK simulation method for a job
using the CMYK Simulation Profile and CMYK Simulation Method print options (see
the Color Guide). The CMYK Simulation setting affects all CMYK color data sent by
the page layout application. It can also affect RGB data if RGB Separation is set to
Simulation.
• If the document contains CMYK images that were separated for an offset press
standard, apply the corresponding CMYK Simulation setting. For example, for
images separated for SWOP, choose SWOP as the CMYK Simulation setting.
If you print separations to the Color Server and choose to use the Combine
Separations feature in conjunction with Full Simulation, the result may not match
that of the same page printed as composite.
• If the document contains CMYK images that were separated according to the color
characteristics of a custom ICC profile (not a press standard profile), specify the
corresponding profile as the CMYK Simulation Profile setting on the Color Server.
N OTE : To achieve the workflow described earlier, the profile used for the separation
of CMYK images in the document should also reside on the Color Server. For more
information on downloading CMYK Simulation profiles to the Color Server with
ColorWise Pro Tools, see the Color Guide.
Adobe InDesign 1.5.2
The following sections outline the recommended settings for using Adobe InDesign
1.5.2 in a Color Server workflow.
InDesign color settings
When using ColorWise color management, turn off the InDesign color management
features.
5
5-4
TO
DISABLE
1.
Page Layout Applications
I N D ESIGN
COLOR MANAGEMENT
Choose Color Settings > Document Color Settings from the Edit menu.
The Document Color Settings dialog box appears.
2.
Clear the Enable Color Management option and click OK.
Importing images
All RGB images, except for RGB TIFF images, placed in a document are affected by
your RGB Source and Rendering Style settings. For best results with placed images, use
the instructions in “Importing images” on page 5-2 and “CMYK simulation” on
page 5-3.
N OTE : InDesign 1.5.2 converts placed RGB TIFF images to CMYK.
Disable InDesign color management when placing images in a document.
5
5-5
TO
DISABLE
1.
Adobe InDesign 1.5.2
I N D ESIGN
COLOR MANAGEMENT WHEN IMPORTING IMAGES
Choose Place from the File menu.
The Place dialog box appears.
2.
Select the Show Import Options option.
3.
Select the file you want to import and click Place.
The Image Import Options dialog box appears.
4.
Choose Color Settings from the option menu. Make sure the Enable Color Management
option is cleared, and click OK.
Selecting options when printing
You can use the standard Color Server printer driver interface to select print options
from InDesign 1.5.2.
5
5-6
Page Layout Applications
T O SET PRINT OPTIONS
I N D ESIGN 1.5.2
1.
FROM THE
W INDOWS
VERSION OF
Choose Print from the File menu.
The Print dialog box appears.
2.
Choose the Color Server from the Name menu.
3.
Click Properties.
4.
Click the Fiery Printing tab in the dialog box that appears.
The standard printer driver interface for the Color Server appears.
5.
Choose the desired print options.
For information on setting ColorWise print options, see the Color Guide.
5
5-7
Adobe PageMaker 7.x and 6.5 for Mac OS and Windows
TO
SET PRINT OPTIONS FROM THE
OF
I N D ESIGN 1.5.2
1.
M AC OS
VERSION
Choose Print from the File menu.
The Print dialog box appears.
2.
Choose the Color Server from the Printer menu.
3.
Choose Printer Specifc Options from the options menu.
The Color Server print options appear.
4.
Select the desired options.
For information on setting ColorWise print options, see the Color Guide.
Adobe PageMaker 7.x and 6.5 for Mac OS and Windows
The Mac OS and Windows versions of PageMaker 7.x and 6.5 are essentially the same.
The illustrations in this section show only the Windows version, except where
differences exist between the two versions.
PageMaker color settings
We recommend you use ColorWise color management rather than the CMS options
built into Adobe PageMaker.
N OTE : Do not use both systems for the same print job.
TO
DISABLE
P AGE M AKER
COLOR MANAGEMENT
1.
Choose Preferences > General from the File menu.
2.
Click CMS Setup.
3.
Choose Off from the Color Management menu.
4.
Click OK, and then click OK again to close the dialog boxes.
5
5-8
TO
Page Layout Applications
DISABLE COLOR MANAGEMENT FOR A BITMAPPED IMAGE
1.
Select the bitmapped image in the document.
2.
Choose Image > CMS Source from the Element menu.
3.
Choose None from the This Item Uses menu and click OK.
Windows version requirement
For the Windows version of PageMaker 6.5, make sure a copy of the Color Server PPD
file is in the following folders:
• PM65\RSRC\USENGLSH\PPD4
• Windows\System
Importing images
All RGB images placed in a document are affected by your RGB Source and Rendering
Style settings. For best results with placed images, use the instructions in “Importing
images” on page 5-2 and “CMYK simulation” on page 5-3.
5
5-9
Adobe PageMaker 7.x and 6.5 for Mac OS and Windows
Selecting options when printing
All print settings are specified from the various Print dialog boxes in PageMaker 7.x
or 6.5. The printer driver interface described in the Color Guide is not used.
TO
SET PRINT OPTIONS WHEN PRINTING FROM
1.
P AGE M AKER
Choose the Color Server PPD from the PPD menu in the Print Document dialog box.
Choose the Color Server PPD
Click Options
2.
Click Options.
3.
Choose Normal from the “Send image data” menu in the Print Options dialog box and
click Features.
To ensure that TIFF images print at their full resolution, do not choose the Optimized
Subsampling default from the “Send image data” menu.
5
5-10
4.
Page Layout Applications
If a document contains RGB placed images or colors defined in RGB that will not be
separated to process colors, choose RGB Source and Rendering Style settings in the
Print Features dialog box.
If the document contains PANTONE colors, choose the appropriate Spot Color
Matching setting.
5.
Click Print from any of the PageMaker dialog boxes to send the job to the Color Server.
N OTE : The printer driver dialog boxes described in the Color Guide do not appear.
Optional Color Management from PageMaker
If you have additional color management requirements not offered by ColorWise,
such as managing color on devices not controlled by the Color Server, consider using
the PageMaker color management features. For more information, see your PageMaker
documentation.
QuarkXPress 4.x for Mac OS and Windows
If you have additional color management requirements not offered by ColorWise,
consider using Quark CMS XTension for QuarkXPress 4.02. These features allow
advanced users to control RGB to CMYK color conversions. If you plan to use these
features, make sure the Quark CMS XTension is installed before starting QuarkXPress.
If it is not installed, use the Quark XTensions Manager to install it. For instructions,
see your QuarkXPress documentation.
N OTE : Quark CMS converts RGB TIFF, JPEG, and PICT images to CMYK before
sending color data to the Color Server. RGB Source and Rendering Style settings have
no effect on this data unless you use Quark PrintRGB XTension, which outputs RGB
TIFF image files without converting them to CMYK.
Importing images
With the exception of RGB images that are saved in EPS format or use Quark
PrintRGB XTension, QuarkXPress 4.02 converts all RGB data into CMYK, even
when Quark CMS XTension is disabled.
Only RGB images saved in EPS format are affected by RGB Source and Rendering
Style settings. For best results with placed images, follow the instructions in
“Importing images” on page 5-2 and “CMYK simulation” on page 5-3.
5
5-11
QuarkXPress 4.x for Mac OS and Windows
Selecting options when printing
The following procedure provides instructions on printing files to the Color Server.
TO
SET PRINT OPTIONS IN
1.
Q UARK XP RESS 4. X
Choose the Color Server PPD from the Printer Description menu in the Print dialog box.
Mac OS
Choose the Color Server PPD
Choose an output paper size
Click to specify printer settings
Windows
Choose the Color Server
device
Choose the Color Server PPD
Click to specify
device settings
5
5-12
2.
Page Layout Applications
If the document contains PANTONE colors, choose the appropriate Spot Color
Matching setting.
For instructions on specifying print options, see the Color Guide.
Optional Color Management from QuarkXPress
If you have additional color management requirements not offered by ColorWise,
such as managing color on devices not controlled by the Color Server, you may want
to consider using the QuarkXPress color management features. For more information,
see your QuarkXPress documentation.
QuarkXPress 3.32 for Mac OS and Windows
Before starting QuarkXPress 3.32, make sure the EfiColor XTension is not loaded in
the XTensions folder. EFICOLOR profiles are not currently provided with
Color Server products. Without the correct EFICOLOR profile, the EfiColor
XTension cannot perform color conversions on placed images.
5
5-13
QuarkXPress 3.32 for Mac OS and Windows
Windows version requirement
For the Windows version of QuarkXPress, make sure a copy of the Color Server PPD
file is in the \XPRESS\PDF folder.
Importing images
All RGB images placed in a document are affected by your RGB Source and Rendering
Style settings. For best results with placed images, follow the instructions in
“Importing images” on page 5-2 and “CMYK simulation” on page 5-3.
Selecting options when printing
The following procedure provides instructions on printing files to the Color Server.
TO
SELECT PRINT OPTIONS IN
1.
Choose the Color Server PPD from the Printer Type menu in the Page Setup (Mac OS) or
Printer Setup (Windows) dialog box.
Mac OS
Choose the Color Server PPD
Choose an output paper size
Choose Binary
Q UARK XP RESS 3.3
5
5-14
Page Layout Applications
Windows
Choose output
paper size
Choose the Color Server PPD
Choose Binary
2.
If a document contains RGB-placed images or RGB colors that QuarkXPress will print
without converting to CMYK, choose RGB Source and Rendering Style settings.
If the document contains PANTONE colors, choose the appropriate Spot Color Matching
setting.
For instructions on specifying print options, see the Color Guide.
6
6-1
Chapter 6:
Illustration
Applications
Working with illustration applications
This chapter provides instructions for using Adobe Illustrator, Macromedia FreeHand,
and CorelDRAW for Windows and Mac OS.
Before printing from these applications, make sure the appropriate PostScript printer
driver and the Color Server PPD are installed on your computer, as described in the
User Software Installation Guide.
Working with illustration applications
You can print directly from an illustration application or use it to create and save files
that will be imported into a page layout document. To print from an illustration
application, use the printer driver and print settings recommended in the Color Guide.
N OTE : This manual provides instructions for printing composites only.
For instructions on printing color separations, see the documentation for your
application.
As a general rule, use the EPS file format when saving files with an illustration
application.
Defining colors
All illustration applications use the CMYK color model. Although you may be
allowed to define colors using other color models, these applications generally send
only CMYK data to the Color Server. (The one exception is Illustrator 9.x, which
can send either CMYK or RGB data to the Color Server.) For predictable results
with CMYK colors, use the CMYK Color Reference pages when defining colors
(see “Choosing colors in PostScript applications” on page 2-6).
6
6-2
Illustration Applications
N OTE : If you define colors in RGB and print directly from the application, the
application converts the RGB data to CMYK before sending it to the Color Server.
This conversion by the application will determine which ColorWise print options
affect your job. For example, if the application converts RGB black (defined in your
document as R0%, G0%, B0%) to four-color CMYK black when it sends the job to
the Color Server, the Pure Black Text/Graphics option in the PPD will have no effect
when you print the job.
You can also choose named colors from the PANTONE color library (see page 2-7).
Importing images
In general, all images placed in illustration applications should be in EPS file format.
All RGB images placed in a document are affected by the RGB Source and
Rendering Style settings in the PPD. The ColorWise color management system
applies the specified RGB Source setting to all RGB data and then uses the
specified Rendering Style (CRD) to perform a color conversion to CMYK.
An exception to this occurs if you assign ICC profiles to RGB images using the
application’s color management tools (see “Tips for advanced users” in the
following section). In this case, the application performs the color conversion
of the image and sends CMYK data to the Color Server.
Tips for advanced users
If you place multiple RGB images, some non-photographic and some photographic,
a single CRD may not be suitable for all the images. In this case, you may want the
photographic images to bypass the CRD altogether. To accomplish this, separate
the image to CMYK data with a pixel-editing application such as Photoshop, and
perform color correction. Save the image as an EPS or TIFF file and import it into
the document. You can also save the RGB image in TIFF format and assign it an
ICC profile and rendering intent when you import it into the document (see the
discussions of specific applications in this chapter).
6
6-3
Adobe Illustrator for Windows and Mac OS
CMYK simulation
You can specify a press simulation target and a press simulation method for the job
with print options (see the Color Guide). The CMYK Simulation setting affects all
CMYK color data sent by the illustration application.
• If the document contains CMYK images that were separated for an offset press
standard, apply the corresponding CMYK Simulation setting. For example, for
images separated for SWOP, choose SWOP-Coated as the CMYK Simulation
setting.
• If the document contains CMYK images that were separated according to the color
characteristics of a custom ICC profile (not a press standard profile), select the
corresponding profile from the CMYK Simulation Profile print option on the
Color Server.
N OTE : The workflow described earlier requires that the profile used for the separation
of CMYK images in the document also resides on the Color Server. For more
information on downloading CMYK Simulation profiles to the Color Server with
ColorWise Pro Tools, see the Color Guide.
Adobe Illustrator for Windows and Mac OS
The following sections provide guidelines for working with versions 9.x and 8.x
of Adobe Illustrator.
Illustrator 9.x color settings
Illustrator 9.x uses a sophisticated color management system that can handle both
RGB and CMYK colors for a variety of color-managed workflows. By customizing
color settings, you can specify the amount of color management you want to use while
working in Illustrator 9.x. These color settings include:
Working spaces—Default color spaces to use when working with RGB and CMYK
documents. ICC color profiles describe the gamut and color characteristics of these
working spaces.
Color management policies—Instructions that tell Illustrator 9.x what to do when it
encounters color data from a color space other than the specified working space.
6
6-4
Illustration Applications
Specifying print options
The following procedure outlines the recommended color settings for Illustrator 9.x
in a Color Server workflow.
TO
SPECIFY COLOR SETTINGS
1.
Choose Color Settings from the Edit menu.
The Color Settings dialog box appears.
2.
Select Advanced Mode.
In Advanced Mode, a more extensive list of options is displayed.
6
6-5
3.
Adobe Illustrator for Windows and Mac OS
Choose the desired working space profile for each mode in the Working Spaces area.
Use the following guidelines for specifying working spaces:
• For RGB, choose EFIRGB. This profile represents the default RGB color space used
by the Color Server. New RGB documents you create in Illustrator will use this
working space.
• For CMYK, choose a profile that describes your target press (such as SWOP) if you
are a prepress user. If you are an office user printing final output, choose an output
profile that describes the device connected to the Color Server. To use a devicespecific output profile, upload the profile from the Color Server to your computer
(see the Color Guide). New CMYK documents you create in Illustrator will use the
specified working space.
4.
Choose policies for handling documents without embedded profiles or with embedded
profiles that differ from the working space in the Color Management Policies area.
Choose Off from the RGB and CMYK menus. This option discards the original
profile embedded in a document if it differs from the specified working space.
In the Profile Mismatches area, select the Ask When Opening option. This option
displays an alert message that allows you to override the specified policy behavior (Off )
when opening documents or importing color data.
5.
Choose settings for converting between color spaces in the Conversion Options area.
Choose Adobe (ACE) from the Engine menu to use the built-in color management
engine for Illustrator.
Choose a rendering intent from the Intent menu that will optimize the color quality of
the conversion. For guidelines on choosing the rendering intent, see your
Illustrator 9.x documentation.
Select the Use Black Point Compensation option to optimize the quality of
color conversions.
6.
Click Save to save the current group of color settings.
The Save dialog box appears.
7.
Name the settings file, accept the default saved location, and click Save.
You can switch to your saved settings at any time by choosing the group name from the
Settings menu at the top of the Color Settings dialog box.
6
6-6
Illustration Applications
Illustrator 8.x color settings
If you are using ColorWise color management, disable the Illustrator 8.x color
management system by removing the Color Conversion and Color Conversion
Utilities files from the Adobe Illustrator >Plug-ins>Extensions folder.
Consider the following points when working in Illustrator 8.x:
• Any colors defined in Illustrator are sent to the printer in CMYK—even those
defined using other color models. For best results, use the color definition
methods described on page 2-6.
• All RGB images placed in a document are affected by the RGB Source and
Rendering Style settings you select in the PPD. For best results with placed
images, use the instructions in “Importing images” on page 6-2 and “CMYK
simulation” on page 6-3.
If you have additional color management requirements not offered by ColorWise,
such as managing color on devices not controlled by the Color Server, you may want
to consider using the Illustrator color management features. For more information,
see your Illustrator documentation.
6
6-7
Adobe Illustrator for Windows and Mac OS
Specifying print options
The following procedure explains how to set print options when printing a document
from Illustrator 9.x or 8.x to the Color Server.
TO
SET PRINT OPTIONS IN
1.
I LLUSTRATOR
Choose Print from the File menu in Illustrator.
The Print dialog box appears.
2.
For the Windows version of Illustrator, specify appropriate print options.
• Choose the Color Server device from the Name menu.
• Choose Composite from the Output menu.
• Choose Level 2 or 3 from the PostScript menu.
Windows
Select the device name
Choose Composite
Choose PostScript Level 2 or 3
Click Properties
to set print options
6
6-8
3.
Illustration Applications
For the Mac OS version of Illustrator, specify appropriate print options.
• Choose the Color Server device from the Printer menu.
• Choose Adobe Illustrator from the option menu below the Printer menu.
• Choose Composite from the Output menu.
• Choose Level 3 from the PostScript menu.
Mac OS
Choose Composite
Choose PostScript
Level 3
4.
If necessary, click Properties (Windows) or choose Printer Specific Options from the
option menu (Mac OS) and choose RGB Source and Rendering Style settings for the
Color Server.
You only need to specify these settings if you have a CMYK document containing
placed RGB images, or an RGB document in Illustrator 9.x. In all other cases, colors
remain unaffected by the settings.
5.
If the document contains PANTONE-named colors, choose the appropriate Spot Color
Matching setting.
For instructions on setting additional ColorWise print options, see the Color Guide.
Saving files for importing into other documents
When saving files in Illustrator 9.x or 8.x for importing into other types of documents,
use the EPS file format. Illustrator can save color information in both RGB and
CMYK. The ColorWise RGB Source and Rendering Style settings affect color output
6
6-9
FreeHand 9.x and 8.x for Windows and Mac OS
of RGB artwork saved in Illustrator EPS and imported into other kinds of documents
(even when both RGB and CMYK artwork exists in the same file). In the case of
Illustrator files imported into Photoshop, however, vector data from the Illustrator file
is rasterized into bitmaps in Photoshop, and the final color space of the bitmap data is
determined by the color mode you set in Photoshop.
FreeHand 9.x and 8.x for Windows and Mac OS
The information in this section applies to both the Windows and Mac OS versions
of FreeHand 9.x and 8.x. Only Mac OS dialog boxes are shown, but the information
and instructions are identical for the Windows version.
FreeHand color settings
When using ColorWise color management, turn off FreeHand color
management features.
TO
DISABLE COLOR MANAGEMENT IN
F REE H AND 9. X
OR
8. X
1.
Choose Preferences from the File menu.
2.
Click the Colors category in the Preferences dialog box.
3.
Choose None for the type of color management.
Click Colors to access the color
management settings
6
6-10
Illustration Applications
Defining colors
Any colors defined in FreeHand are sent to the device in CMYK—even those defined
using other color models. For best results, use the color definition methods described
on page 2-6.
You can control the conversion of RGB colors defined in FreeHand by specifying
settings in the Preferences dialog box under the Colors category, or choosing Color
Management from the FreeHand menu on the Print dialog box.
Importing images
A number of file types can be imported into FreeHand, but once imported, all are
treated as EPS images, TIFF images, or editable paths. For details, see your FreeHand
documentation.
When you import an EPS image into a document, FreeHand inserts a link to the
image rather than embedding the original file, resulting in a smaller file size. If the
image is a CMYK EPS file, the colors print just as they would from the originating
application.
N OTE : Before placing a CMYK EPS file, be sure the file was saved with Desktop Color
Separation (DCS) set to Off. If the file was saved with DCS activated, FreeHand prints
composites of the image at the low resolution used for screen viewing.
All RGB images placed in a document are affected by your RGB Source and Rendering
Style settings in the PPD. For best results with placed images, follow the instructions
in “Importing images” on page 6-2 and “CMYK simulation” on page 6-3.
6
6-11
TO
FreeHand 9.x and 8.x for Windows and Mac OS
SET OPTIONS WHEN PRINTING FROM
1.
F REE H AND
Select the Use PPD option in the Print dialog box.
Click to access
FreeHand Print Setup
Choose Normal
Click to select a PPD
(PPD name appears at right)
2.
Choose Normal from the Print setting menu.
• If the Use PPD option is selected, a plus sign (+) appears in front of the
word “Normal.”
• If the PPD name for your Color Server is not displayed, click the button
labeled “…” and choose the appropriate PPD from the menu that appears.
3.
To use ColorWise color management features, choose Output Options from the
File menu.
The Output Options dialog box appears.
Clear option to use ColorWise
color management
6
6-12
4.
Illustration Applications
Make sure the “Convert RGB to process” option is cleared.
If this option is selected, FreeHand color management settings are used to convert
RGB colors and RGB TIFF, PICT, and JPEG images to CMYK.
5.
If a document contains placed RGB images, choose RGB Source and Rendering Style
settings in the PPD.
With the exception of placed RGB images, these settings have no effect on colors
printed with FreeHand. If the document contains PANTONE-named colors, choose
the appropriate Spot Color Matching setting in the PPD.
For information about other FreeHand print options, see your FreeHand
documentation.
Saving files for importing into other documents
When saving files in FreeHand 8.x for importing into other types of documents, use
the EPS file format. FreeHand saves all color information in CMYK. The RGB Source
and Rendering Style print options have no effect on the color output of RGB artwork
saved in FreeHand 8.x and imported into other types of documents. In the case of
FreeHand files imported into Photoshop, however, vector data from the FreeHand file
is rasterized into bitmaps in Photoshop, and the final color space of the bitmap data is
determined by the color mode you set in Photoshop.
Optional color management in FreeHand
If you have additional color management requirements not offered by ColorWise, such
as managing color on devices not controlled by the Color Server, you may want to
consider using the FreeHand color management features. For more information, see
your FreeHand documentation.
6
6-13
CorelDRAW for Windows and Mac OS
CorelDRAW for Windows and Mac OS
The following sections describe the recommended color settings for CorelDRAW 9.x
and 8.x.
Defining colors
Any colors defined in CorelDRAW 9.x for Windows or CorelDRAW 8.x for Mac OS
are sent to the device in CMYK—even those defined using other color models. For
best results, use the color definition methods described in “Choosing colors in
PostScript applications” on page 2-6.
You can control the conversion of RGB colors defined in CorelDRAW by specifying
settings in the Color Management dialog boxes. On Windows computers, the Color
Management dialog boxes are located in Tools > Color Management. On Mac OS
computers, the Color Management functions are located in Edit:Preferences:Global.
N OTE : If you do not want to use color management in CorelDRAW, choose None from
the composite printer menu under Color Management/Profiles. Do not select options
under Color Management and Color Management General.
Importing images
All RGB images placed in a document are affected by the RGB Source and Rendering
Style settings in the PPD. For best results with placed images, follow the instructions
in “Importing images” on page 6-2 and “CMYK simulation” on page 6-3.
6
6-14
Illustration Applications
Specifying print options
The following procedure outlines how to set print options when printing from
CorelDRAW 9.x or 8.x to the Color Server.
TO
SET PRINT OPTIONS IN
1.
On Windows computers, click the General tab, and then click Print.
2.
Make sure you have selected the correct device and PPD, and select the
Use PPD option.
3.
Click Properties to specify ColorWise print options.
Print device name appears here
Printer driver/PPD name
appears here
C OREL DRAW
Click Properties to access
ColorWise print options
6
6-15
4.
CorelDRAW for Windows and Mac OS
On Mac OS computers, click Printer in the General Print dialog box to select the device
and print options.
To use ColorWise color management, make sure the “Use color profile” option on the
Misc tab of the Print dialog box is cleared. If this option is selected, CorelDRAW color
management settings are used to convert RGB colors and images to CMYK.
Clear this option to use
ColorWise Color Management
5.
If a document contains placed RGB images, choose RGB Source and Rendering Style
settings for your device.
With the exception of placed RGB images, these settings have no effect on colors
printed with CorelDRAW.
6.
If the document contains PANTONE-named colors, choose the appropriate Spot Color
Matching setting.
6
6-16
Illustration Applications
Saving files for importing into other documents
When saving files in CorelDRAW for importing into other types of documents,
use the EPS file format. CorelDRAW saves all color information in CMYK, so RGB
Source and Rendering Style print options have no effect on color output of artwork
saved with CorelDRAW and imported into other kinds of documents. In the case
of CorelDRAW files imported into Photoshop, however, vector data from the
CorelDRAW file is rasterized into bitmaps in Photoshop, and the final color space
of the bitmap data is determined by the color mode you set in Photoshop.
Optional color management in CorelDRAW
If you have additional color management requirements not offered by ColorWise,
such as managing color on devices not controlled by the Color Server, consider using
the CorelDRAW color management features. For more information, see your
CorelDRAW documentation.
A
A-1
Appendix A:
Desktop
Color Primer
Desktop Color Primer
This appendix covers concepts that are basic to printing in color, including:
• Properties of color
• Printing techniques
• Effective use of color
• Raster images and vector graphics
• File optimization for processing and printing
If you are already familiar with color theory and digital color printing, you can skip to
the last section (“Optimizing files for processing and printing” on page A-16) for tips
on optimizing files for printing.
The properties of color
This section introduces concepts that are basic to color theory. You will encounter
some of these concepts (such as hue, saturation, and brightness) when you work with
color in applications; others provide useful background information. Color is a complex
topic, so consider this a starting point for experimentation and further research.
The physics of color
The human eye can see electromagnetic radiation at wavelengths between
400 nanometers (purplish blue) and 700 nanometers (red). This range is called the
visible spectrum of light. We see pure spectral light as intensely saturated or pure
colors. Sunlight at midday, which we perceive as white or neutral light, is composed
of light from across the visible spectrum in more or less equal proportions.
A
A-2
Desktop Color Primer
Shining sunlight through a prism separates it into its spectral components, resulting in
the familiar rainbow of colors shown in the following figure.
Like the sun, most light sources we encounter in our daily environment emit a mixture
of light wavelengths, although the particular distribution of wavelengths can vary
considerably. Light from a tungsten light bulb, for example, contains much less blue
light than sunlight. Tungsten light appears white to the human eye, which, up to a
point, can adjust to the different light sources. However, color objects appear different
under tungsten light than they do in sunlight because of the different spectral makeup
of the two light sources.
The mixture of light wavelengths emitted by a light source is reflected selectively by
different objects. Different mixtures of reflected light appear as different colors. Some
of these mixtures appear as relatively saturated colors, but most appear as grays or
impure hues of a color.
A
A-3
Desktop Color Primer
CIE color model
In the 1930s, the Commission Internationale de l’Eclairage (CIE) defined a
standard color space, a way of defining colors in mathematical terms, to help in
the communication of color information. This color space is based on research on
the nature of color perception. The following CIE chromaticity diagram is a
two-dimensional model of color vision. The arc around the top of the horseshoe
encompasses the pure, or spectral, colors from blue-violet to red. Although the CIE
chromaticity diagram is not perceptually uniform—some areas of the diagram seem
to compress color differences relative to others—it is a good tool for illustrating some
interesting aspects of color vision.
By mixing any two spectral colors in different proportions, we can create all the colors
found on the straight line drawn between them in the diagram. It is possible to create
the same gray by mixing blue-green and red light or by mixing yellow-green and blueviolet light. This is possible because of a phenomenon peculiar to color vision called
metamerism. The eye does not distinguish individual wavelengths of light. Therefore,
different combinations of spectral light can produce the same perceived color.
A
A-4
Desktop Color Primer
Purple colors, which do not exist in the spectrum of pure light, are found at the
bottom of the diagram. Purples are mixtures of red and blue light—the opposite ends
of the spectrum.
Hue, saturation, and brightness
A color can be described in terms of three varying characteristics, called the HSB
color model:
• Hue—tint (the qualitative aspect of a color—red, green, or orange)
• Saturation—the purity of the color
• Brightness—relative position between white and black
While the CIE chromaticity diagram shown earlier conveys hue and saturation,
a three-dimensional color model is required to add the brightness component, as
shown in the following figure.
Brightness
Hue
Saturation
A
A-5
Desktop Color Primer
Many computer applications include dialog boxes in which you choose colors by
manipulating hue, saturation, and brightness. For example, some applications use a
color picker that can be reconfigured according to your preference (as shown in the
following figure).
Additive and subtractive color systems
Color devices used in desktop publishing and printing simulate the range of visible
colors using a set of primary colors that are combined to create other colors. There are
two methods for creating a range of colors from a set of primary colors. Computer
monitors and scanners are based on the additive color model. Printing technologies,
including the Color Server and offset presses, are based on the subtractive color
model.
Additive (RGB) color
Color devices that use the additive color model create a range of colors by combining
varying amounts of red, green, and blue light. These colors are called the additive
primaries (shown in the following figure). White is created by adding the maximum
amount of red, green, and blue light available. Black occurs wherever all three colors
are absent. Grays are created by adding equal amounts of all three color together.
A
A-6
Desktop Color Primer
Combining varying amounts of any two of the additive primaries creates a third,
saturated hue.
A familiar device that is based on this color model is the computer monitor, shown in
the following figure. Monitors have red, green, and blue phosphors that emit varying
amounts of light to display a given color. Scanners create digital representations of
colors by measuring their red, green, and blue components through colored filters.
A
A-7
Desktop Color Primer
Subtractive (CMY and CMYK) color
The subtractive color model is the basis for color printing, color photographic prints,
and transparencies. While the additive color model simulates the visible spectrum of
color by adding light of three primary hues, the subtractive color model starts with a
“white” or neutral light source containing light of many wavelengths. Inks, toners, or
other colorants are used to selectively absorb (subtract) certain wavelengths of light
that otherwise would be reflected or transmitted by the media in use.
The subtractive primaries are cyan, magenta, and yellow; they absorb red, green, and
blue light, respectively (as shown in the following figure). Combining any two
subtractive primaries creates a new color that is relatively pure or saturated. For
example, you can make red by combining magenta and yellow, which absorb green and
blue light, respectively. White occurs when no colorant is applied. In theory,
combining all three subtractive primaries yields black, but due to deficiencies of cyan,
magenta, and yellow colorants, combining these three primaries actually yields a
muddy brown. Black colorant is added to compensate for the deficiencies of cyan,
magenta, and yellow colorants. Consequently, color printing uses four process colors:
Cyan, Magenta, Yellow, and blacK (CMYK). The use of black toner produces rich,
solid blacks and allows for improved rendering of black text.
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The CMYK colorants used in offset printing and by your printer toner are to some
degree transparent. When one layer of colorant is applied on top of another, you see
the effect of both. To create a range of intermediary colors, a method is required for
varying the amount of each colorant that is applied. A technique called halftoning is
used in offset printing, while color printers typically use a proprietary system for
applying ink or toner colors that is similar to halftoning.
Printing techniques
Until recently, most color printing was done on printing presses using one of several
printing techniques—offset lithography, flexography, or gravure, to name a few. All
traditional printing techniques require lengthy preparation before a press run can take
place. Short-run color printing, including Color Server printing, eliminates most of
this preparation. By streamlining the process of color printing, the Color Server makes
short print runs economically feasible.
In contemporary offset lithographic printing, digital files from desktop computers are
output to an imagesetter, which creates film separations. The film is used to make a
prepress proof, which is an accurate predictor of the final print job and allows you to
make corrections before going to press. Once the proof is approved, the printer makes
plates from the film and runs the print job on the press.
With the Color Server, you simply print the file. The Color Server processes the
PostScript information in the file and sends four bitmaps (one each for cyan,
magenta, yellow, and black) to the printer. The ease of Color Server printing makes
possible experimentation that would be too costly on a press, allowing unlimited finetuning of color and design elements.
Halftone and continuous tone devices
Halftoning is used in offset printing to print each process color at a different intensity,
allowing millions of different colors to be reproduced using only the four process
colors. Depending on the required intensity of a given color, toner is placed on paper
in dots of different size. The grid of dots used for each toner color is called a screen.
Halftone screens are aligned to unique angles designed to eliminate interference
patterns called moiré that can arise with halftoning.
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Some color printers are commonly referred to as continuous tone (contone) devices.
They do not use traditional halftone screen patterns and angles. Contone devices are
capable of varying the intensity of individual dots.
Even if your color printing is done exclusively on the Color Server, you will encounter
concepts from offset printing if you use high-end graphics applications. For example,
color controls in illustration applications, such as Illustrator, are geared toward
specifying color for offset printing using process and spot colors. Many applications
allow you to specify the screening used for each printing plate.
Using color effectively
The ability to print in color can greatly increase the effectiveness of your message,
whether you are printing a presentation or newsletter, or proofing an ad concept that
will later be printed on a press. Some potential benefits of using color include:
• Conveying information rapidly by using color cues
• Making use of the emotive aspects of different colors
• Increasing impact and message retention
Color can also be a source of distraction and discord if it is used poorly. This section
outlines some tips and concepts to consider as you approach designing color materials.
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A few rules of thumb
Try some of the following strategies for creating successful color materials:
• Use color to aid comprehension, rather than applying colors indiscriminately.
In presentations, graphs, and charts, use color to highlight patterns and
emphasize differences.
• In general, fewer colors work better than many colors.
• Use red as an accent color. Red is particularly effective when used in otherwise
monochromatic materials.
• Consider the tastes of your target audience when choosing colors.
• Keep a file of printed color pieces that appeal to you or strike you as effective.
Refer to it for ideas when designing your own documents.
Color wheel
A color wheel like the one in the following figure is a helpful tool for understanding
the interrelation of colors. The colors on one side of the color wheel, from magenta to
yellow, appear to most people to be warm colors, while those on the other side, from
green to blue, appear to be cool. The distance between two colors on the color wheel
can help predict how they will appear when seen side by side.
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Colors opposite one another on the color wheel are called complements (see example a
in the following figure), and create a striking contrast side by side. This can be the basis
for a bold graphical design, but it is an effect you should use with discretion, since it
can be visually fatiguing. Other bold combinations to consider are split
complements—a color and the two colors adjacent to its complement (example b)—
and triads (three colors evenly spaced on the color wheel (example c). Colors adjacent
to one another on the color wheel result in subtle harmonies.
a
b
c
The color wheel simplifies color relationships for the purpose of clarity, showing only
saturated or pure colors. Adding the myriad variations of each hue to the palette (more
or less saturated, darker, or lighter) creates a wealth of possibilities. Taking a pair of
complements from the color wheel and varying the saturation and brightness of one or
both colors produces a very different result from the pure complements. Combining a
light tint of a warm color with a darker shade of its cooler complement often gives
pleasing results. Combining a darker shade of a warm color with a light tint of its
cooler complement produces an unusual effect that may appeal to you.
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Once you have mastered the concept of the color wheel, you have a good framework
for experimenting with color combinations. Many books targeted at graphic designers
show groups of preselected color combinations. Some are organized by themes or
moods, and some are based on a custom color system, such as PANTONE. The more
you develop a critical facility for judging color combinations, the more you will be able
to trust your own eye for color. The bibliography at the back of this manual includes
books on design.
Color and text
It is not a coincidence that the overwhelming majority of text you see is printed in
black on white paper. Text in black on white is highly legible and is not fatiguing to
read for extended periods. For many color materials, using black text on a white
background and confining color to graphic elements and headings is a good choice.
Color text can add flair to documents printed on paper when used skillfully. This
technique is widely used in presentations. When using color text, avoid dazzling text
and background combinations created from primary complements, especially red and
cyan or red and blue; they are visually fatiguing and hard to read. Color text is more
legible when distinguished from its background by a difference in lightness—for
example, dark blue text on a light beige background. In addition, using many different
colors in a string of text makes for a confused appearance and is hard to read. However,
using a single highlight color is an effective way to draw the reader’s eye to selected
words. For color text samples, see the following figure.
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STOP!
STOP!
De gustibus
non est
disputandum.
Exceptio probat
regulam de rebus
non exceptis.
When using color text, keep in mind that small font sizes typically do not print in
color with the same sharpness as in black. In most applications, black text prints
exclusively in black toner, while color text usually prints with two or more toners.
Any misregistration between the different toners on paper causes color text to lose
definition. You can make test prints to find the smallest point size at which color text
prints clearly. When using high-end graphics applications that allow you to specify
color as percentages of cyan, magenta, yellow, and black, you can create pure cyan or
pure magenta text that prints with the same sharpness as black text. (Pure yellow text is
extremely hard to read on anything but a dark or complementary background.)
Raster images and vector graphics
Two broad categories of artwork can be printed from a personal computer to a color
printer: raster images and vector graphics.
A raster image, also referred to as a bitmap, is composed of a grid of pixels, each
assigned a particular color value (as shown in example a in the following figure). The
grid, when sufficiently enlarged, resembles a mosaic made from square tiles. Examples
of raster images include scans and images created in painting or pixel-editing
applications, such as Photoshop and Corel Painter.
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The amount of data found in a raster image depends on its resolution and bit depth.
The resolution of a raster describes the compactness of the pixels and is specified in
pixels per inch (ppi). The bit depth is the number of bits of information assigned to
each pixel. Black and white raster images require only one bit of information per pixel.
Grayscale images require 8 bits per pixel. For photographic quality color, 24 bits of
RGB color information are required per pixel, yielding 256 levels of red, green, and
blue. For CMYK images, 32 bits per pixel are required.
When printing raster artwork, the quality of the output depends on the resolution of
the source raster. If the raster resolution is too low, individual pixels become visible in
the printed output as small squares. This effect is sometimes called “pixelation.”
In vector graphics, picture objects are defined mathematically as lines or curves
between points—hence the term “vector” (see example b). Picture elements can have
solid, gradient, or patterned color fills. Vector artwork is created in illustration and
drawing applications, such as Illustrator and CorelDRAW. Page layout applications,
such as QuarkXPress, also allow you to create simple vector artwork with their drawing
tools. PostScript fonts are vector-based, as well.
a
b
Vector artwork is resolution-independent; it can be scaled to any size and resolution
without danger of pixels becoming visible in printed output.
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Optimizing files for processing and printing
The following sections provide tips on how to create image files that produce the
highest possible print quality while minimizing the processing time and disk space they
require.
Resolution of raster images
While a 72-ppi raster image appears sharp on a monitor, the same image would likely
appear pixelated when printed to the Color Server. Color printers are capable of much
greater detail than computer monitors, and require correspondingly higher resolution
image files. However, high-resolution files can be large and, therefore, cumbersome to
transmit over a network, process for printing, store on disk, and edit.
Beyond a certain threshold, a higher image resolution greatly increases file size while
having a minimal effect on output quality. The optimal image resolution depends on
the resolution of the final print device. Aim for the resolution that optimizes both file
size and output quality.
The resolution of a raster image, along with its bit depth and physical dimensions,
determine its file size. The following table shows the file sizes of color raster images at
different dimensions and resolutions.
File size at
Image size
100 ppi
150 ppi
200 ppi
400 ppi
600 ppi
RGB/CMYK
RGB/CMYK
RGB/CMYK
RGB/CMYK
RGB/CMYK
3" x 4"
0.4/0.5 MB
0.8/1.0 MB
1.4/1.8 MB
5.5/7.3 MB
12.4/16.5 MB
5" x 7"
1.0/1.3 MB
2.3/3.0 MB
4.0/5.3 MB
16.0/21.4 MB
36.1/48.1 MB
8.5" x 11"
2.7/3.6 MB
6.0/8.0 MB
10.7/14.3 MB
42.8/57.1 MB
96.4/128.5 MB
11" x 17"
5.4/7.1 MB
12.0/16.1 MB
21.4/28.5 MB
85.6/114.1 MB
192.7/256.9 MB
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In this table, the shaded areas indicate that 200 ppi is typically the best trade-off
between image quality and file size. However, higher resolutions (for example,
250 to 300 ppi) may be necessary for offset printing, when quality is of the utmost
importance, or for images containing sharp diagonal lines.
To find the best image resolution for your purposes, make test prints of some raster
artwork at different resolutions. Start with a high-resolution image (400 ppi) and save
versions at progressively lower resolutions, down to 100 ppi, using a pixel-editing
application, such as Photoshop. Always save a copy of the original high-resolution
version, in case you must revert to it. The high-resolution data cannot be recreated
from a lower resolution version.
Print the files and examine the output. You will likely begin to see a marked
deterioration in output quality at resolutions below 200 ppi, while above 200 ppi the
improvement may be very subtle.
Image quality
100 ppi
200 ppi
300 ppi
400 ppi
500 ppi
600 ppi
Image resolution
Raster images prepared for offset printing may need to be at higher resolutions than
necessary for proofing on your Color Server.
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Scaling
Ideally, each raster image should be saved at the actual size, and it will be placed in the
document at the optimal resolution for the printer. If the image resolution is correct
for the printer, there is no quality advantage to be gained by scaling an image to a
percentage of its actual size. If you scale a large image to a percentage of its actual size,
you incur unnecessary file transfer time, because the image data for the entire large
image is sent to the printer. If an image is placed multiple times at markedly different
sizes in a document, save a separate version of the image at the correct size for each
placement.
If you need to place an image at greater than 100% in a document, remember that the
output image resolution is affected. For example, if you scale a 200 ppi image to
200%, the image is printed at 100 ppi.
Glossary
additive color model
bitmap (or raster)
A system in which colors are produced
by combining red, green, and blue light
(the additive primaries). An RGB video
monitor is based on an additive color
model.
An image comprised of small squares
arranged in a grid. Each square in the
grid is a pixel. The number of pixels per
inch defines the resolution of a bitmap.
additive primaries
An undesirable effect that occurs when
excess amounts of toner, possibly
combined with certain types of paper
stock, cause objects in an image to
spread beyond the boundaries defined
in the file.
Red, green, and blue light used in
additive color systems. When blended
together in proper amounts, these colors
of light produce white.
artifact
blasting
A visible defect in an image, usually
caused by limitations in the input or
output process (hardware or software);
a blemish or error.
BMP
banding
calibration
Visible steps between shades in a color
gradient.
The process of ensuring that a device
behaves consistently with respect to a set
of specifications.
bit depth
Amount of information used for each
pixel in a raster image. Black and white
images require only one bit per pixel.
Grayscale images with 256 shades of gray
require 8 bits (or 1 byte) per pixel.
Photographic quality color images can
require 24 bits per pixel (RGB images)
or 32 bits per pixel (CMYK images).
A graphics file format established by
Microsoft; native to the Windows
operating system.
calibration target (or calibration set)
A set of measurements that describe the
expected density response of a printing
device. Calibration targets are associated
with the output profile of the device.
CMS
See color management system.
G-2
Glossary
CMYK
color space
A subtractive color model that uses cyan,
magenta, yellow, and black, or process
colors, used in color printing; a color
model used in the printing of colors in
four-color process printing.
A model for representing color in terms
of measurable values, such as the amount
of red, green, and blue in an image. RGB
and CMYK color spaces correspond to
color devices—monitors and printers,
respectively. Other color spaces, such as
CIE Lab, are based on mathematical
models and are device-independent (that
is, not based on the color response of a
particular device). See gamut.
color channel
A single-color image that can be edited
separately from the other color channels
comprising a color space—for example,
the red channel of an RGB image.
color gamut
See gamut.
color management system (CMS)
System used to match color across
different input, display, and output
devices.
color rendering dictionary
See CRD (Color Rendering Dictionary).
color separation
The process of separating a color image
into the color components for
printing—cyan, magenta, yellow, and
black. Also used to refer to the four
sheets of film that result from the process
of separating a color image.
colorant
An ink, dye, toner, paint, or other
pigment that modifies the color of media
to which it is applied.
ColorWise
See ColorWise color management.
ColorWise color management
An ICC-open color management
solution, which is an easy-to-use system
that addresses the needs of both casual
and experienced color management
users.
composite printer
Any output device that can print directly
in color without first creating color
separations. A composite print can be
used as an early proof of an offset
print job.
G-3
Glossary
continuous tone (contone)
DCS (Desktop Color Separation)
Describes a photographic image that
contains gradient tones from black to
white (such as a 35mm transparency or a
photograph). Continuous tones cannot
be reproduced in that form for printing,
but must be screened to translate the
image into dots.
A data file standard defined by Quark,
Inc., to assist in making color separations
with desktop publishing systems; five
files are created—four color files (one
each for C, M, Y, and K) and a
composite color preview file of the color
image. It allows an image-editing
application to perform color separation
and pass it through to final output with
its integrity intact.
continuous tone (contone) image
An image containing fine gradations of
tones, such as a photographic image.
CRD (Color Rendering Dictionary)
A feature of color management systems
and PostScript Level 2 and PostScript 3
color devices that maintains the best
possible translation of color from one
color device to another. A color
rendering dictionary (CRD) is used by
the color management system or the
device’s PostScript interpreter when
converting data between color spaces.
The Color Server includes several CRDs,
each of which provides a different color
rendering style.
custom color system
A system of named color swatches that
can be matched on press using spot
colors or approximated using process
colors. PANTONE and TruMatch are
examples of custom color systems.
densitometer
An instrument commonly used in the
graphic arts industry to measure density
according to a specified standard.
density
A measurement of the light-absorbing
quality of a photographic or printed
image.
desktop color separation
See DCS.
DIC
A Japanese standard of specifications for
separations, proofs, and color printing.
EPS (or EPSF)
See Encapsulated PostScript.
Encapsulated PostScript
A PostScript file format designed to be
embedded in another PostScript stream.
G-4
Glossary
Euroscale
GDI (Graphics Device Interface)
A European standard of specifications
for separations, proofs, and color
printing.
Graphics and display technology used by
computers running Windows. GDI
applications rely on GDI (rather than
the PostScript language) to send text and
pictures to devices.
flexography
A printing technology that uses flexible
raised-image plates. Flexography can be
used to print on non-flat materials such
as cans.
four-color printer
A printing device that uses cyan,
magenta, yellow, and black ink or toner.
gamma
A numeric value representing the
relationship (gamma curve) between the
input and output values of a color
device. If gamma equals 1, input values
are mapped exactly to output values.
gamut
A range of colors. A device gamut is the
range of colors that a device, such as a
device, can produce. An image gamut is
the range of colors in a particular image.
gamut mapping
The conversion of color coordinates
from one device’s gamut to another—
usually accomplished with algorithms or
look-up tables.
GCR
See Gray component replacement.
GIF (Graphics Interchange Format)
A standard developed by CompuServe
for bitmap graphics of up to 256 colors
and used for posting photographic
images on the Internet or intranet pages;
rarely used for professional printing.
gradient
A smooth transition between two
different colors or two shades of a color.
Graphics Device Interface
See GDI.
Graphics Interchange Format
See GIF.
gravure
A printing technology that uses an
etched cylinder that has been immersed
in ink. The ink that remains in the
etched areas is applied to the paper.
The non-etched surfaces of the cylinder
are non-printing areas.
gray component replacement (GCR)
A method for improving wet ink
trapping and reducing ink costs in
process color printing. In shadow,
midtone, and quarter-tone areas where
all three process colors (C, M, Y)
overprint, the gray components of those
colors are reduced and replaced by black.
G-5
Glossary
halftoning
metamerism
A method for representing an original
continuous tone image using a pattern of
dots, lines, or other patterns.
Phenomenon in which two colors
composed of different combinations of
light wavelengths appear identical under
a specific light source, but may look
different under other light sources. The
colors are called “metamers.”
HSB
A color model where each color is
represented by its hue, saturation, and
brightness components; supported by
most color applications.
ICC profile
An industry standard color profile
format developed by the International
Color Consortium (ICC) that describes
the color capabilities, including the
gamut, of a color device based on the
differences between an ideal and the
current device. The ideal is often
provided by the manufacturer as a color
reference file. ICC profiles are
implemented on Mac OS computers in
ColorSync and on Windows computers
in Image Color Matching (ICM). The
Color Server color management system,
ColorWise, supports ICC profiles.
imagesetter
Raster-based film output device; a highresolution laser output device that writes
bitmapped data onto photosensitive
paper or film.
JPEG
A graphics file format defined by the
Joint Photographic Experts Group
committee of International Standards
Organization (ISO); a standard for
digital compression of still image graphic
data.
moiré
An undesirable pattern in images made
using halftone screens. Moiré can be
caused by the improper line frequency of
the screens, improper screen angles,
improper alignment of halftone screens,
or by the combination of a halftone
screen with patterns in the image itself.
named color
A color that is defined according to a
custom color system. For example,
PANTONE 107 C is a named color.
office applications
Software applications commonly used
for business purposes, including
presentation applications, spreadsheets,
and word processing programs.
offset lithography
Printing in which ink is transferred from
printing plates to a rubber blanket and
then from the blanket to paper.
output
See output profile.
G-6
Glossary
output profile
A file that describes the color
characteristics of a printing device.
The output profile is associated with
a calibration target that defines the
expected density response of the device.
phosphor
Material used in making computer
monitors; phosphors glow and emit red,
green, and blue light when struck by an
electron beam, thus creating an image.
photographic rendering
A color rendering style that preserves
tonal relationships in images.
Unprintable colors are mapped to
printable colors in a way that retains
differences in lightness, sacrificing color
accuracy as necessary.
pixel
The smallest distinct element of a raster
image. The term is a combination of the
words “picture” and “element.”
PostScript
A device-independent page description
language developed by Adobe, which is
used to print and display pictures and
text. PostScript 3 includes many
enhancements to older versions of
PostScript, including improved image
quality and color with Enhanced Image
Technology, faster performance with
Advanced Page Processing, and ease of
use and setup with NetWorks System.
PPD (PostScript Printer Description
file)
A file containing information about
a particular PostScript print device’s
capabilities and restrictions. The
information in the PPD is presented
via the printer driver.
prepress proof
A print made from a set of film
separations or other file to simulate the
results of printing. A prepress proof is
the last opportunity to catch problems
before the print job goes to press.
presentation graphics rendering
A color rendering style that creates
saturated colors but does not match
printed colors precisely to displayed
colors. It is appropriate for bright
saturated colors used in illustrations
and graphs.
process colors
The colors used in printing to simulate
full-spectrum color images: Cyan,
Magenta, Yellow, blacK (CMYK).
QuickDraw
Graphics and display technology built
into Mac OS computers. QuickDraw
applications rely on QuickDraw (rather
than the PostScript language) to send
text and pictures to devices.
raster image
Electronic representation of a page or
image using a grid of points called pixels.
G-7
Glossary
rendering intent
source color space
The style of color rendering, or gamut
mapping, designed for a particular type
of color job. An example of a rendering
intent is Photographic rendering—also
referred to as Image rendering or
Contrast rendering—which is designed
for photographic images.
The color environment of the
originating source of an image, including
scanners and color monitors.
resolution
The number of pixels per inch (ppi) in a
bitmap image or the number of dots per
inch (dpi) that a device can render.
RGB
An additive color model that makes a
range of colors by combining red, green,
and blue light, called the additive
primaries. Commonly used to refer to
the color space, mixing system, or
monitor in color computer graphics.
simulation
See simulation profile.
simulation profile
The simulation profile describes the
color characteristics of another print
device, such as a printing press, that you
want the Color Server to simulate.
solid color rendering
A color rendering style intended for
use when color accuracy is crucial.
Unprintable colors are mapped to the
closest printable colors. Solid color
rendering does the best job of preserving
the saturation of displayed colors.
source profile
A file used by the color management
system to determine the characteristics of
the color values specified in a source
digital image.
spectral light
The wavelengths of electromagnetic
radiation emitted by a given light source
that can be seen by the human eye.
spectrophotometer
An instrument commonly used in the
graphic arts industry to measure spectral
light according to a specified standard.
spot color
A color that is printed on its own
separation plate when separations are
specified. A spot color is printed using a
custom ink for that color, in contrast to
process colors that are printed using
combinations of cyan, magenta, yellow,
and black.
Status T
A spectral response for graphic arts
reflection densitometers defined by
ANSI (American National Standards
Institute).
G-8
Glossary
subtractive color model
vector graphic
A system in which color is produced by
combining colorants such as paint, inks,
or dyes on media such as paper, acetate,
or transparent film. All printing devices
use the subtractive color model.
Graphic illustration created on
computers where picture objects are
defined mathematically as lines or curves
between points. These mathematical
definitions are interpreted by an image
language such as PostScript. Vector
images include artwork created with
illustration applications (such as
Illustrator or FreeHand) and page layout
applications (such as PageMaker).
subtractive primaries
Cyan, magenta, and yellow colorants
used in subtractive color systems for
color printing. Combining the
subtractive primaries produces darker
colors. Black is added to the subtractive
primaries to compensate for deficiencies
of the toners or inks, and for more
efficient black printing.
substrate
In printing, the material upon which the
job is printed.
SWOP
The abbreviation for Specifications for
Web Offset Publications. A standard of
specifications for separations, proofs, and
color printing on a web offset press (not a
sheet fed press).
TIFF (Tag Image File Format)
A common format for exchanging raster
graphics (bitmap) images between
application programs.
undercolor removal (UCR)
A method for improving wet ink
trapping and reducing ink costs in
process color printing. In shadow areas
where all three process colors (C, M, Y)
overprint, the amounts of those colors
are reduced and replaced by black.
white point
The color temperature of any white light
source, typically expressed in degrees
Kelvin (for example, 6500 K, typical for
the white of a monitor).
workflow
The path a print job follows from
creation to destination. A workflow may
originate with an RGB scan imported to
the client workstation and opened on the
desktop in an image processing
application, such as Photoshop. After
adjustments are made to the scanned
image, it is evaluated on a color proofing
device for eventual color printing on the
same device or on press.
Bibliography
Books
Adobe Print Publishing Guide. Adobe Press, 2001. ISBN: 1568304684
Blatner, David and Fraser, Bruce. Real World Photoshop 6. Berkeley: Peachpit Press,
2001. ISBN: 020M21996
Bruno, Michael H., ed. Pocket Pal ®: A Graphic Arts Production Handbook. Eighteenth
Edition. Memphis: International Paper, 2000. ISBN: 0883623382
Hunt, R.W.G. The Reproduction of Colour. Sixth Edition. Surrey: Fountain Press, 2002.
ISBN: 0863433685
Kieran, Michael. The Color Scanning Success Handbook. Toronto: DPA
Communications Corp., 1997. (Out of print)
Kieran, Michael. Understanding Desktop Color, Second Edition. Berkeley: Peachpit
Press, 1994.
Margulis, Dan. Professional Photoshop 6: The Classic Guide to Color Correction. John
Wiley & Sons, 2000. ISBN: 0471403997
Miller, Marc D. and Zaucha, Randy. The Color Mac. Second Edition. Hayden Books,
1995. (Out of print)
X-Rite Color Guide and Glossary: Communication, Measurement, and Control for Digital
Imaging and Graphic Arts. X-Rite Incorporated, 1999. (Available from X-Rite dealers
or via the X-Rite website, www.x-rite.com.)
World Wide Web sites
International Color Consortium: www.color.org
Graphic Arts Technical Foundation: www.gatf.org
Seybold Seminars Online: www.seyboldseminars.com
Adobe Systems Incorporated: www.adobe.com
Index
A
accent color A-11
additive color model A-5
additive primaries A-5
Adobe Illustrator, see Illustrator
Adobe InDesign, see InDesign
Adobe PageMaker, see PageMaker
Adobe Photoshop, see Photoshop
B
bit depth, of raster images
A-15, A-16
bitmaps A-9
see raster images
brightness A-1, A-4
C
calibration
measurements xiii
overview xiii
resident xiii
targets xiii
charts, using color in A-11
CIE
chromaticity diagram A-3, A-4
color model A-3
CIELAB color space xi
CMY color model 2-3
CMYK Color Reference 2-2, 2-7
color
accent color A-11
additive model A-5
choosing in applications 2-1
CMY model 2-3
complements A-12
controlling printing results xii
conversion by color management
systems xv
custom color systems 2-5
defining in applications 2-1
HSB model 2-5, A-4
HSL model 2-3, 2-5
HSV model 2-3
illustration applications 6-1
physics of A-1
process colors A-9
proofing examples 1-14
properties of A-1
reference pages 2-2
RGB model 2-3, 2-5
split complements A-12
spot colors A-10
subtractive model A-5, A-7
subtractive primaries A-7
swatch color matching 2-6
text A-13
theory A-1
triads A-12
using effectively A-10 to A-14
wheel A-11
working with 2-1
color management
basics xi to xv
ColorWise 1-2
color management system (CMS) xi
color matching systems, see custom
color systems
color monitors, see monitors
color space A-3
color theory A-1
color wheel A-11
ColorSync xi
ColorWise xi
Commission Internationale de l’Eclairage,
see CIE
complements, color A-12
I-2
Index
compression, JPEG 4-11, 4-14, 4-15
computer monitors, see monitors
continuous tone devices A-10
CorelDRAW 6-13 to 6-16
CRDs
bypassing 3-2, 5-2, 6-2
rendering intent 2-3
custom color systems 2-5, A-13
D
device profiles xi
E
EFICOLOR
profiles 5-12
XTension 5-12
EPS (Encapsulated PostScript)
recommended for imported
images 3-1, 4-9, 5-2, 6-1, 6-2,
6-8, 6-12, 6-16
Excel, see Microsoft Office
F
HSL color model 2-3, 2-5
HSV color model 2-3
hue, saturation, and brightness A-1, A-4
I
ICC profiles
assigning to RGB images 6-2
included with user software xv
workflow 1-14
ICC standard for color management
systems xi
ICM
profiles, applied to RGB images 6-2
illustration applications 6-1
Illustrator 2-5, 6-3 to 6-9
Image Color Matching xi
InDesign 5-3 to 5-7
ink xiii
International Color Consortium xi
J
JPEG 4-11, 4-14, 4-15
file size, of raster images 1-3, A-16
flexography A-9
font size, for color text A-14
FreeHand 2-5, 6-9 to 6-12
L
G
Macromedia FreeHand, see FreeHand
maintenance of print devices xiii
metamerism A-3
Microsoft Excel, see Microsoft Office
Microsoft Office 3-1 to 3-2
Microsoft PowerPoint, see Microsoft Office
Microsoft Word, see Microsoft Office
misregistration of colors A-14
moiré A-9
monitors
calibration xii
color model A-6
gamut of xiv
phosphors A-6
gamma xv
gamut
of monitors xiv
of photographic transparencies xiv
gamut mapping xiv
GDI applications, using color in 2-3 to 2-5
Graphics Device Interface, see GDI
graphs, using color in A-11
gravure A-9
H
halftoning A-9
HSB color model 2-5, A-4
light A-1 to A-4
line art, see vector images
M
I-3
Index
N
named colors 2-5
O
office applications 2-1, 2-3 to 2-5,
3-1 to 3-2
offset lithographic printing A-9
offset press print jobs, workflow issues 2-2
offset press printing A-9 to A-10
output profile
color conversion xv
P
page layout applications 5-1
PageMaker 2-5, 5-7 to 5-10
painting applications A-14
PANTONE
color system 2-5, 2-6
PANTONE Coated Color
Reference 2-2
paper stock xiii
phosphors xv, A-6
photographic prints A-7
photographic transparencies xiv, A-7
Photoshop 2-5, 4-1 to 4-16
physics of color A-1
pixel-editing applications A-14, A-17
pixels in raster images A-14
PostScript applications
color handling 2-5
using color in 2-5 to 2-8
PostScript printer drivers 3-2
PowerPoint, see Microsoft Office
prepress proof A-9
presentation print jobs
using color in A-11
press simulation, see CMYK Simulation
option
print devices
maintenance xiii
printing test prints xiii
printing
raster images A-15
techniques A-9
prism A-2
process colors 2-7, A-7, A-9, A-10
profiles, device xi
proofing
prepress A-9
Q
QuarkXPress 2-5, 5-10 to 5-14
QuickDraw applications, using color in
2-3 to 2-5
R
raster images A-14 to A-17
bit depth A-15, A-16
file size A-16
for offset press printing A-17
printing A-15
resolution A-16 to A-17
scaling of A-18
registration of colors A-14
rendering styles 2-3
resident calibration xiii
RGB color model 2-3, 2-5
RGB Color Reference 2-2, 2-4
RGB source color space, see source
color space
S
saturation A-1, A-4
scaling of raster images A-18
scanners A-5, A-6
screens, used in halftoning A-9
short-run color jobs, workflow issues 2-2
short-run color printing 1-1
simulation, see CMYK Simulation option
source color space xv
source color space profile
color conversion xv
I-4
Index
spectral colors A-3
spectral components of light A-2, A-3
split complements A-12
Spot Color Matching option 2-8
spot colors 2-5, 2-6, A-10
subtractive color model A-5, A-7
subtractive primaries A-7
sunlight A-1
swatch color matching 2-6
tint A-4
toner xiii
transparencies (photographic)
xiv, A-7
triads A-12
T
W
test prints xiii
text
font size A-14
using color with A-13
TIFF images
assigning ICC profiles to 5-2
preview 4-11
printing at full resolution 5-9
recommended for imported
images 4-9, 5-2
RGB 6-2
V
vector images A-14, A-15
visible spectrum of light A-1
white point xv
Windows Graphics Device Interface,
see GDI applications
Word, see Microsoft Office
workflow
advanced 1-8
color proofing 1-1
ICC profiles 1-14
short-run jobs 1-1
simple 1-3
with Illustrator 1-10
with Photoshop 1-8, 1-16