EFI Color Server Color Reference User Manual

Fiery® Color Server
SERVER & CONTROLLER SOLUTIONS
Fiery Color Reference
© 2004 Electronics for Imaging, Inc. The information in this publication is covered
under Legal Notices for this product.
45046197
24 September 2004
CONTENTS
3
CONTENTS
INTRODUCTION
7
About this manual
7
For additional information
8
OVERVIEW OF COLOR MANAGEMENT CONCEPTS
Understanding color management systems
How color management works
Using ColorWise and application color management
Using ColorWise color management tools
USING COLOR MANAGEMENT WORKFLOWS
9
9
10
11
12
13
Understanding workflows
13
Standard recommended workflow
15
Choosing colors
16
Understanding color models
17
Optimizing for output type
18
Maintaining color accuracy
19
MANAGING COLOR IN OFFICE APPLICATIONS
Using office applications
Using color matching tools with office applications
Working with office applications
20
20
21
22
Defining colors
22
Working with imported files
22
Selecting options when printing
23
Output profiles
23
Ensuring color accuracy when you save a file
23
CONTENTS
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
4
24
Working with PostScript applications
24
Using color matching tools with PostScript applications
25
Using swatch color matching tools
25
Using the CMYK Color Reference
25
Using the PANTONE reference
26
Defining colors
27
Working with imported images
29
Using CMYK simulations
30
Using application-defined halftone screens
31
Ensuring color accuracy when you save a file
32
MANAGING COLOR IN ADOBE PHOTOSHOP
33
Loading monitor settings files and ICC device profiles in Photoshop 6.x/7.x
33
Specifying color settings
34
Configuring Photoshop color settings
Saving files from Photoshop
Choosing a file format
Selecting options when printing
Advanced tips for using PostScript color management
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
Adobe InDesign 2.0.1 and 1.5.2
34
37
37
39
41
44
44
InDesign color settings
44
Importing images
46
Selecting options when printing
47
CONTENTS
Adobe PageMaker 7.x and 6.5 for Mac OS and Windows
5
51
Windows version requirement
51
Installing the printer description files for Windows
51
PageMaker color settings
52
Importing images
53
Selecting options when printing
53
Using optional Color Management from PageMaker
54
QuarkXPress 5.x and 4.x for Mac OS and Windows
55
Importing images
55
Selecting options when printing
55
Optional Color Management from QuarkXPress
57
QuarkXPress 3.32 for Mac OS and Windows
57
Windows version requirement
57
Importing images
57
Selecting options when printing
57
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
Adobe Illustrator for Windows and Mac OS
59
60
Note about color models in Adobe Illustrator
60
Illustrator color settings
60
Specifying print options
61
Saving files for importing into other documents
62
Specifying print options
63
Using Illustrator color management
65
FreeHand 10.x, 9.x, and 8.x for Windows and Mac OS
66
Setting FreeHand color settings
66
Defining colors
66
Importing images
67
Saving files for importing into other documents
67
Specifying print options
68
Optional color management in FreeHand
69
CONTENTS
CorelDRAW for Windows and Mac OS
6
70
Defining colors
70
Importing images
70
Saving files for importing into other documents
70
Specifying print options
71
Optional color management in CorelDRAW
72
DESKTOP COLOR PRIMER
73
The properties of color
74
The physics of color
74
CIE color model
75
Hue, saturation, and brightness
75
Additive and subtractive color systems
77
Understanding color gamut
80
Printing techniques
81
Halftone and continuous tone devices
Using color effectively
81
82
General guidelines
82
Color wheel
83
Color and text
85
Raster images and vector graphics
86
Optimizing files for processing and printing
87
Resolution of raster images
87
Scaling
88
BIBLIOGRAPHY
89
INDEX
91
INTRODUCTION
7
INTRODUCTION
This manual provides a reference for information about optimizing color printing with the
Color Server and improving color quality and performance for all Color Server models.
Specific features and options may vary, depending on the Color Server model at your site.
N OTE : The term “printer” is used throughout this manual to denote a supported printer or
copier; the term “toner” refers to either toner or ink.
About this manual
This manual provides an overview of general color concepts, with a specific focus on color
management for print output. It describes multiple scenarios (called workflows) during
which color information can be specified. It also provides application notes that explain how
to print to the Color Server from popular Microsoft Windows and Apple Mac OS
applications.
Color terms and concepts, such as “color space,” “spot color,” “gamut,” and “source profile”
appear in bold throughout this manual. If you are new to desktop color, or if any terms are
unfamiliar, see Glossary, which is a separate document in this set.
INTRODUCTION
8
For additional information
This manual is one in a set of documentation that includes manuals for both users and system
administrators. For a description of all the available documentation, see Welcome. All other
manuals should be available at your site. Refer to them for more information as directed in
this manual.
For additional information about the topics discussed in this manual, see:
• Color Printing: For detailed information about the color printing options and settings
available with your Color Server, as well as the ColorWise® color management system
built into your Color Server.
• Print Options: For information about how to set the ColorWise print options.
For information about performing color management tasks and using ColorWise Pro Tools™,
see ColorWise Pro Tools Help.
For general information about printing in color, see “Desktop Color Primer” on page 73 and
the sources in the “Bibliography” on page 89.
OVERVIEW OF COLOR MANAGEMENT CONCEPTS
OVERVIEW
OF COLOR
9
MANAGEMENT CONCEPTS
To create successful color documents and presentations, you can take advantage of the features
of color management software as they are implemented by the Color Server and on your
desktop computer. This chapter is devoted to various elements of color management that
contribute to predictable color results.
Understanding color management systems
A color management system (CMS) is a “translator” between the color space of the source
device (for example, the monitor or a scanner) and the color space of the destination device
(for example, the printer). It compares the color space in which the source image was created
to the color space in which the job will be output, and adjusts the colors in the document to
maintain consistency across different devices. A CMS typically uses a device-independent
color space, such as CIELAB, as its intermediate color space. To perform its translation, a
CMS needs information about the color space of the source image and the gamut of the
printer. This information is provided through 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.
There has been progress toward standardization in the field of digital color management
systems. Both the Windows and Mac OS operating systems support an industry standard
format developed by the International Color Consortium (ICC). This ICC format is
implemented on Windows computers and on Mac OS computers. Other software developers
are also incorporating color management systems into high-end applications.
The Color Server color management system, ColorWise, supports this standard profile
format.
10
OVERVIEW OF COLOR MANAGEMENT CONCEPTS
How color management works
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 the 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 Color Printing). When you use these
settings, there is no need to use the features of other color management systems. Your
Color Server software includes ICC profiles for use with other color management systems,
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 are printed on an offset press. For
more information about the Color Server simulation feature, see Color Printing.
The type of print job and the final output device, Color Server or offset press, determines the
workflow that provides the best results. For information about choosing workflows, see
“Using Color Management Workflows” on page 13.
OVERVIEW OF COLOR MANAGEMENT CONCEPTS
11
Using ColorWise and application color management
The Color Server color management system, ColorWise is designed to provide both casual
and expert users the best color output for a variety of purposes. Several applications also
provide their own color management system. This manual describes how to optimize print
output using both ColorWise color management and application color management.
The Color Server can intelligently manage the printed appearance of RGB, CMYK, and spot
colors. You can allow the Color Server to manage color for most color printing jobs without
adjusting any settings.
A desktop (host-based) color management system uses ICC profiles to convert colors from
one device gamut to another (see “Desktop Color Primer” on page 73). The color data is
converted when it passes 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.
Conventional color management systems typically address only color conversions, and they
occupy your computer processor. When you use ColorWise, jobs leave your computer and are
processed faster on the Color Server.
The advantages to ColorWise color management versus desktop (application) color
management include the following:
• Relieving your computer from performing additional processing. Delaying color
conversions until the color data reaches the Color Server frees your computer so that you
can continue working, and color conversions on the Color Server are, in most cases, much
faster than similar conversions on a host computer.
• Eliminating 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.
• Accepting RGB files in addition to larger CMYK files from applications, which minimizes
network traffic and enables jobs to 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.
OVERVIEW OF COLOR MANAGEMENT CONCEPTS
12
Using ColorWise color management tools
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.
The resources available are as follows:
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 to see how those
colors print on the Color Server (see “Using color matching tools with office applications” on
page 21).
CMYK Color Reference: An 11-page downloadable PostScript file of CMYK color patches (see
“Using the CMYK Color Reference” on page 25).
Process Simulation of PANTONE Solid Coated Colors: 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 “Using the
PANTONE reference” on page 26).
In addition, you can print RGB, CMY, and PANTONE color charts from the Color Server.
USING COLOR MANAGEMENT WORKFLOWS
13
USING COLOR MANAGEMENT WORKFLOWS
A workflow is the path a print job follows from creation to destination. In the workflow of
any job, there are various points at which decisions are made about how to define, use, and
translate color. The choices made, and the point at which they are made, impact the color
output produced.
This chapter introduces issues with color management in specific desktop applications and
discusses the interaction between those applications and ColorWise color management.
Understanding workflows
The term “workflow” is used to describe the path a job follows from its creation in a desktop
application to final printed output. The Color Server supports a variety of workflows with
different levels of complexity. There are several points at which color management can be
performed on a job (see the illustration on page 14). The information provided at each step
(for example, the type of color used) impacts the workflow of the job.
Always consider the complexity of the workflow. Every time colors are converted,
performance and color accuracy are affected. A workflow with a minimum number of steps
minimizes the risk of error.
USING COLOR MANAGEMENT WORKFLOWS
Application CMS: Off
DOCUMENT
Disable the color management options provided by the
application to ensure that the Color Server receives color
data properly and prints it accurately. For information, see
the documentation that accompanies your application.
Select colors based on the desired output (see “Choosing
colors” on page 16).
C M
Y K
Spot
R
G B
SAVE AS (File Format)
EPS recommended
PRINT
Set ColorWise print options
Select file format based on the desired output. EPS data is
not manipulated.
Use ColorWise Color Management as described in this
manual and Color Printing.
Printer driver color options: Off
Do not use the color management options provided by the
printer driver. For more information, see Print Options.
Calibration
Device maintenance
Color Server
Optimal output
Calibrate as described in Color Printing. Perform regular
maintenance as recommended by the printer manufacturer.
Use the paper stock, toner, and other materials
recommended by the printer manufacturer.
14
USING COLOR MANAGEMENT WORKFLOWS
15
Standard recommended workflow
The Color Server is highly optimized for the specific printer it supports. ColorWise addresses
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 that black
channel information is preserved while parameters used for CMYK color separations are
maintained.
The recommended standard color workflow uses ColorWise calibration and color
management. The Color Server comes into play near the end of the color workflow.
For this workflow:
• Bypass any color management in the applications and printer drivers.
This ensures that the colors you selected reach the Color Server and ColorWise in a
usable form. Consider, however, that ColorWise fully supports color management from
applications and printer drivers (see “Using ColorWise and application color
management” on page 11).
• Set the CMYK Simulation Profile option in ColorWise to match the CMYK color space
used in the application to select the colors. Any CMYK Simulation setting (except Match
Copy, if available) applies calibration, so the response of the printer appears stable.
The recommended values for CMYK Simulation are SWOP in the U.S., Euroscale in
Europe, and DIC in Japan—choices that reflect the color standard for each region.
If colors have been selected specifically for your calibrated Color Server, set CMYK
Simulation to None.
• Set other ColorWise print options as appropriate. For a list and descriptions of ColorWise
print options that affect CMYK, RGB, spot, and other colors, see Color Printing.
USING COLOR MANAGEMENT WORKFLOWS
16
Choosing colors
When working with color materials, whether they are presentations, illustrations,
or complicated page designs, you make aesthetic decisions about the colors you use. After you
set a 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 is to be printed on an offset press, you want
the Color Server output to match other prepress proofs or PANTONE color swatch
books.
The colors that you define when creating a file in an application, and the color management
tools within the application that you use, impact how the file is processed (workflow) and the
final output you can expect.
Use color management to control color output by performing the following tasks:
• Select a color model: Different types of applications use different color models. The color
model you select, and whether or when data is converted from one color model to another,
influences the final color output.
• Optimize for output type: The type of final output influences your color and application
choices.
• Use color matching tools: The Color Server provides several tools to preview colors
available on a device and define them within an application.
USING COLOR MANAGEMENT WORKFLOWS
17
Understanding color models
You can define colors in several different color models, most commonly RGB, CMYK, and
the spot color matching system (such as PANTONE). Depending on the application you use,
you may or may not have a choice of the color model.
RGB colors are used when you take output from an RGB device such as a digital camera or a
scanner. Another use of the RGB color model is for displaying colors on a monitor.
CMYK colors are what most printers use.
Spot colors, such as PANTONE, are special inks manufactured to run on an offset printing
press. Spot colors can be simulated using CMYK toners (also known as process color inks).
With the Spot Color Matching print option, you can determine how spot colors are printed
at the Color Server:
• Spot Color Matching On uses color tables built in the Color Server to simulate the spot
color with the closest equivalent available using the CMYK toners of the copier/printer
connected to the Color Server.
• 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.
The color model used by your application determines the methods available for choosing
colors, as well as the way color data is transmitted 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 can transmit
either RGB or CMYK data to the Color Server.
USING COLOR MANAGEMENT WORKFLOWS
18
Optimizing for output type
You can use the Color Server for on-demand color printing and for color proofing.
On-demand 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 can use RGB, CMYK, and
spot colors.
Characteristics of on-demand jobs
Characteristics of offset proofs
Bright, saturated colors are often desirable.
Require the printed colors to match
those from another set of CMYK
printing conditions.
Colors are achieved using the full range
of colors available, referred to as the full
gamut of the printer or, more simply, device
CMYK.
Colors that are specified for an offset press
require CMYK simulation that is optimized
for proofing on the printer.
N OTE : The term “on-demand” applies to producing printed output when it is needed. You
may be familiar with the term “short-run”, which usually applies to the volume of a printing
task. Although these terms do not mean exactly the same thing, “on-demand” in this manual
applies also to short-run printing scenarios. Because you can print as many pages as you need
and can reprint jobs quickly, the Color Server performs equally well in either environment.
The type of printing you plan for the document, on-demand 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 on-demand 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. Choose the appropriate settings for print options affecting
color output (for descriptions of the print options, see Color Printing).
• For color proofing, use a PostScript-defined color in CMYK or choose colors from color
libraries, such as 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
Color Printing).
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 usually requires CMYK data.
USING COLOR MANAGEMENT WORKFLOWS
19
Maintaining color accuracy
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 viewing colors on the monitor is critical, consider using a professional profiling software
package and instrument, such as the EFI Color Profiler, to create a monitor profile. A monitor
profile enables the application to compensate for the color behavior of the monitor when
displaying images. As a result, colors previewed on the monitor match the colors more closely
in your printed output.
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
on-screen colors.
• If displayed colors are more important, trust your eyes and your monitor. Visually select
colors on your monitor, but be aware that colors are 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 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. (For more information, see“Using color matching tools with
office applications” on page 21 and “Using color matching tools with PostScript
applications” on page 25.) You can also print color charts from the Color Server 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 information
about color selection, see “Choosing colors” on page 16.
MANAGING COLOR IN OFFICE APPLICATIONS
20
MANAGING COLOR IN OFFICE APPLICATIONS
The ColorWise color management system provides complete color management for jobs
printed from office applications and other applications that do not generate PostScript. This
chapter provides instructions for printing color documents from Graphics Device Interface
(GDI) and QuickDraw applications, such as presentation, spreadsheet, and word processing
applications. Use these instructions with the Microsoft Office applications.
Using 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 GDI to display and print when
running Windows, and Apple QuickDraw to display and print when running Mac OS.
The term “office applications” is used in this manual to refer to these GDI and QuickDraw
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.)
When working with color in office applications, consider the following:
• 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 has a different way of mapping
unprintable colors to the color gamut of your printer. For more information about color
rendering styles, see Color Printing.
MANAGING COLOR IN OFFICE APPLICATIONS
21
Using color matching tools with office applications
Your Color Server user software includes two RGB color reference pages, a Microsoft Word
file and a Microsoft PowerPoint file. 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)
MANAGING COLOR IN OFFICE APPLICATIONS
22
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 Printing from Windows or
Printing from Mac OS.
Defining colors
Office applications use the RGB color model. The only way to use CMYK or PANTONE
colors is to define them in EPS format files with an illustration or page layout application,
and then place these files in Microsoft Office documents. Colors in EPS files are preserved
until they reach the Color Server (assuming no PostScript Color Management information
was included).
Office applications use low resolution to display EPS files, but the EPS images are printed at
full resolution. In general, use EPS 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 office applications.
Working with imported files
Your application may allow you to import a variety of file formats. If you encounter printing
problems when using other imported file formats, such as TIFF and PICT, EPS files are
recommended.
N OTE : If you cannot import EPS elements, it may be necessary to perform a “custom install”
of your office applications.
Even when there are no user-defined 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 non-RGB
artwork that is to be imported into office applications.
All RGB images placed in a document are affected by the settings you choose for the RGB
Source and Rendering Style print options.
Mixing imported image types (Advanced color management)
If you place multiple RGB images, mixed non-photographic and photographic, into an office
application file, a single CRD may not optimize output for all the images. In this case,
you can have the photographic images to bypass the CRD altogether. To accomplish this,
open the photographic 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.
MANAGING COLOR IN OFFICE APPLICATIONS
23
Selecting options when printing
There are few differences among office applications with regard to Color Server printing. To
specify print options and color management settings, follow the instructions in Color Printing.
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 choice of RGB Source
and Rendering Style settings are important. Specify the appropriate CRD for the desired color
effect (see Color Printing).
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 Color Printing). If necessary, print the Test Page to see which
profile is the active default on the Color Server.
Ensuring color accuracy when you save a file
Take the following 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 Color Printing).
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
24
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
This chapter provides guidelines for using applications that have the ability to write their own
PostScript, such as some page layout, illustration, and pixel-editing applications. For
information about using specific applications, see “Managing Color in Adobe Photoshop” on
page 33, “Managing Color in Page Layout Applications” on page 44, or “Managing Color in
Illustration Applications” on page 59.
Working with 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 a 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 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.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
25
Using color matching tools with PostScript applications
With PostScript applications, you can work with colors created with 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 26).
Using swatch color matching tools
Your Color Server user software includes several color reference pages (see page 12). By
choosing colors from these reference pages, you ensure that you print the same color from
your device. For best results, calibrate the Color Server before printing the reference pages.
N OTE : We highly recommend that you use swatch color matching to ensure predictable color
printing results with the Color Server or match your Color Server output to colors produced
by other printers.
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.
Using the CMYK Color Reference
Use the CMYK Color Reference included with your Color Server user software to see how
various cyan, magenta, yellow, and black combinations look when printed on your printer.
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 Printing from Windows or Printing from Mac OS.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
26
Using the PANTONE reference
Use this reference (Process Simulation of PANTONE Solid Coated Colors) included with
your Color Server user software to help ensure predictable results with colors chosen from the
PANTONE color library.
The information printed by this reference depends on the Spot Color Matching setting.
Spot Color Matching On prints swatches that simulate the spot color with the closest equivalent
available using the CMYK toners of the copier/printer connected to the Color Server. The
equivalent PANTONE color name/number is printed below each swatch.
Spot Color Matching 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 reference, download the file to the Color Server. For the location of the file on
the User Software CD, see Printing from Windows or Printing from Mac OS. 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, and then override the Spot Color
Matching setting using a job management utility, such as Command WorkStation.
For more information about using Command WorkStation, see the Command WorkStation
Help.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
27
Defining colors
The methods and options available for defining colors depend on the type of PostScript
application that you are using.
Color
model
Application
type
Color definition notes
CYMK
Photoshop
Choose colors in Photoshop with various color models, including
HSB, CIE Lab, RGB, and CMYK.
Page layout
application
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
“Using color matching tools with PostScript applications” on
page 25).
Illustration
application
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.
For predictable results with CMYK colors, use the CMYK Color
Reference pages when defining colors (see “Using color matching
tools with PostScript applications” on page 25).
Different versions of Illustrator support color models slightly
differently (see “Note about color models in Adobe Illustrator” on
page 60).
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
28
Color
model
Application
type
Color definition notes
RGB
Photoshop
Choose colors in Photoshop with various color models, including
HSB, CIE Lab, RGB, and CMYK.
Page layout
application
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 option you select for the Pure
Black Text/Graphics print option has no effect when you print the
job.
Illustration
application
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 determines
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 option you select for the Pure
Black Text/Graphics print option has no effect when you print the
job.
Spot
Colors
Photoshop
Page layout
application
Illustration
application
Choose named colors from the PANTONE color library (see
“Using the PANTONE reference” on page 26). For best results, use
the color definition methods described in “Using swatch color
matching tools” on page 25.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
29
Working with imported images
You can import images into documents created in illustration applications (such as Illustrator)
and page layout applications (such as QuarkXPress). The recommended formats for images
imported into page layout documents are EPS (or EPSF) and TIFF. If you encounter a
problem using a TIFF format image, use the EPS file format. 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 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, save images in the EPS format or use the Quark PrintRGB XTension,
which outputs RGB TIFF image files without converting them to CMYK.
Mixing image types (Advanced color management)
If you place multiple RGB images, mixed non-photographic and photographic, into a file,
a single CRD may not optimize output for all the images. In this case, you can have 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 format 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.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
30
Using CMYK simulations
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 Color
Printing). The CMYK Simulation setting affects all CMYK color data sent by the page layout
or illustration application. It can also affect RGB data sent to a page layout application if RGB
Separation is set to Simulation.
• If the document contains CMYK graphics that were separated for an offset press standard,
apply the corresponding CMYK Simulation setting. For example, for graphics 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 graphics 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.
For more information on downloading CMYK Simulation profiles to the Color Server with
ColorWise Pro Tools, see Color Printing.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
31
Using application-defined halftone screens
If your site has installed the Fiery Graphic Arts Package (not available for all Color Server
models), you can define halftone screens from several PostScript applications and use them
when printing. The results vary depending on the application.
To define a halftone screen, use the application to adjust the Frequency and Angle values of
the halftone screen. For applications that use the Color Server default (InDesign, FreeHand,
QuarkXPress, and Illustrator 10), the ink dots are round. For applications that define
their own shape and do not use the Color Server default (PageMaker, Photoshop, and
Illustrator 9),the halftone dots may be a different shape. When you print the job, choose
Application Defined for the Halftone Screen print option.
The Frequency and Angle settings in the Application Defined halftone screen are used
regardless of whether the setting for Combine Separations is set to On or Off. For special
instructions for printing separations with Photoshop, see “Selecting options when printing”
on page 39.
N OTE : In general, using halftone screens is not recommended because the print output will
have visible dots of toner rather than smooth blends. Use halftone screens only when
necessary to achieve a specific style of print output.
MANAGING COLOR IN POSTSCRIPT APPLICATIONS
32
Ensuring color accuracy when you save a file
To ensure color accuracy, take the following steps:
• 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 Color Printing).
MANAGING COLOR IN ADOBE PHOTOSHOP
33
MANAGING COLOR IN ADOBE PHOTOSHOP
This chapter covers features of Adobe Photoshop versions 6.x and 7.x for Windows and
Mac OS. The illustrations show Mac OS dialog boxes, but the information and instructions
apply equally to the Windows version of Photoshop.
Because Photoshop uses a sophisticated color management system, you should perform some
color management tasks before you use Photoshop.
Loading monitor settings files and ICC device profiles in
Photoshop 6.x/7.x
After you have installed the Efirgb.icc monitor settings file and the ICC device profile for the
Color Server, they can be loaded at the same time in Photoshop 6.x/7.x.
TO LOAD THE MONITOR SETTINGS FILE AND ICC DEVICE PROFILE IN PHOTOSHOP 6.X/7.X
1 Start Photoshop.
2 Choose Color Settings from the Edit menu and select Advanced Mode in the Color Settings
dialog box.
3 Choose EFI RGB from the RGB menu.
4 Choose the profile that corresponds to the Color Server from the CMYK menu.
The Color Server ICC profile is provided as the factory default.
Additionally, the Color Server ICC profile is provided on the User Software CD. This is
designed for more faithful reproduction of RGB objects using black toner only when R, G,
and B have the same ratio. The profile is suitable for business documents that include
black-and-white tables and text. It will have no effect on documents that have color
gradation patterns (patterns which include black) or color photographic images.
5 Click OK.
For more information, see your application’s documentation.
MANAGING COLOR IN ADOBE PHOTOSHOP
34
Specifying color settings
The following sections outline the recommended color settings for Photoshop 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: Instructions that tell Photoshop what to do when it encounters
color data from a color space other than the specified working space.
Configuring Photoshop color settings
Photoshop uses a sophisticated color management system that handles document colors for a
variety of color-managed workflows. By customizing color settings, you specify the amount of
color management you want to use while working in Photoshop.
TO SPECIFY COLOR SETTINGS FOR PHOTOSHOP
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.
MANAGING COLOR IN ADOBE PHOTOSHOP
35
3 Choose the desired working space profile for each color mode in the
Working Spaces area.
A working space specifies the color profile for documents that have no color profile
associations or for documents that are newly created. It also defines color space of a document
converted to RGB, CMYK, or Grayscale color modes, and for spot colors in a document.
Choose an appropriate ICC profile to embed when saving a file for each color space. 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. (For information about installing the EFIRGB profile, see
“Loading monitor settings files and ICC device profiles in Photoshop 6.x/7.x” on
page 33.) Consider RGB if you usually view images on a generic computer 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 about downloading RGB Source profiles to the Color Server, see Color Printing.
• For CMYK, choose a profile that describes your target press (such as SWOP) if you are a
prepress user. If you are an user who prints final output, choose an output profile that
describes the device connected to the Color Server. To use a device-specific output profile,
you must first upload the profile from the Color Server to your computer (see Color
Printing). 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
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, choose Off from the RGB, CMYK, and Gray menus.
If you specify a color management policy and open a document in an environment with a
different working space than the one in which it was created, you may encounter problems.
The profile embedded in a document may be overwritten if it differs from the specified
working space (although the numeric color values in the document are preserved).
MANAGING COLOR IN ADOBE PHOTOSHOP
36
5 If you do not choose Off for the Color Management Policies, select the following:
Profile Mismatches: Ask When Opening, Ask When Pasting
Missing Profiles: Ask When Opening.
This option displays an alert message that allows you to override the specified policy behavior
(Off ) when opening documents or importing color data.
This is recommended so that you are notified before any application color management is
applied.
6 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 optimizes the color quality of the
conversion. For guidelines on choosing the rendering intent, see your Photoshop
documentation.
Select Use Black Point Compensation and Use Dither (8-bit/channel images) to optimize the
quality of color conversions.
7 Clear the Desaturate Monitor Colors By and Blend RGB Colors Using Gamma options in the
Advanced Controls area.
Clearing these options helps to ensure a match between your monitor display and the
printed output.
8 Click Save to save the current group of color settings.
The Save dialog box appears.
9 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.
MANAGING COLOR IN ADOBE PHOTOSHOP
37
Saving files from Photoshop
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.
When saving a document from Photoshop 6.x, you have the option to embed a color profile
in the document. If you are sending the document to the Color Server, we recommend that
you disable this option.
Choosing a file format
We recommend that 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 generally 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 not modified by the application into which they are imported.
N OTE : In the following procedures, only Photoshop 7.x (Mac OS version) dialog boxes are
shown. When applicable, differences between versions 7.x and 6.x, and the Windows and
Mac OS versions of Photoshop are noted.
TO SAVE A DOCUMENT FROM PHOTOSHOP
1 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 location for the document.
• Clear the Embed Color Profile option (Mac OS) or ICC Profile option (Windows).
MANAGING COLOR IN ADOBE PHOTOSHOP
38
3 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.
MANAGING COLOR IN ADOBE PHOTOSHOP
39
Selecting options when printing
You can print RGB or CMYK images from Photoshop.
• 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 graphic, you can print composites or color separations.
N OTE : Make sure that the Color Server Combine Separations print option is set to Off. To
print separations, use the Separation option in the Photoshop pane of the print dialog box.
For instructions, see your Photoshop documentation.
TO PRINT IMAGES FROM PHOTOSHOP 7.X
1 Choose Print with Preview from the File menu.
The Print dialog box appears.
2 Select Show More Options.
3 Select Output.
4 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.
MANAGING COLOR IN ADOBE PHOTOSHOP
40
5 Select Color Management.
6 Choose Same as Source from the Profile menu to specify the color space for printing the
image.
Any other setting causes Photoshop to convert image data to that color space before sending it
to the Color Server.
7 Click Print.
TO PRINT IMAGES FROM PHOTOSHOP 6.X
1 Choose Print from the File menu.
The Print dialog box appears.
MANAGING COLOR IN ADOBE PHOTOSHOP
41
2 Choose the Color Server from the Printer menu, and then choose Adobe Photoshop from the
menu beneath the Printer menu.
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 Choose Same as Source from the Profile menu to specify the color space for printing
the image.
Any other setting causes Photoshop to convert image data to that color space before sending it
to the Color Server.
5 Click Print.
Advanced tips for using PostScript color management
Use the following information to implement alternative, more complex, color workflows with
Photoshop.
N OTE : 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.
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.
MANAGING COLOR IN ADOBE PHOTOSHOP
42
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. When you select PostScript Color Management, a CRD is
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
takes effect if the ColorWise RGB Source Profile option is set to None.
For fastest print times, choose JPEG encoding, but inspect printed output carefully
for unwanted artifacts that may appear as a result of JPEG compression. If you see unexpected
results in the printed output, reprint the job using Binary or ASCII encoding.
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.
MANAGING COLOR IN ADOBE PHOTOSHOP
43
Printing CMYK graphics 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. When you select PostScript Color Management, a CRD is
used to perform color conversions to the CMYK color space of the Color Server.
The destination color space for the CRDs is determined by the RGB Separation print option.
If RGB Separation is set to Simulation, the CMYK graphic is printed according to all
specified CMYK Simulation Profile and CMYK Simulation Method settings. If RGB
Separation is set to Output, the CMYK graphic is converted to the CMYK color space of the
selected output profile.
Setting the Color Server print option Spot Color Matching to On has an effect only if you use
the Photoshop Multi-Channel feature to define spot channels and then save the image in EPS
format and open it in another application. For more information see your Photoshop
documentation.
Photoshop converts spot colors to CMYK values when you work in CMYK mode.
• If the graphic was separated for an offset press standard, apply the corresponding CMYK
Simulation setting. For example, if the graphic 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 Color Printing.
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
44
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
This chapter provides instructions for printing color documents from Adobe InDesign,
Adobe PageMaker, and QuarkXPress.
Before printing from these applications, make sure the appropriate printer driver and the
Color Server PostScript printer description file (PPD) are installed on your computer, as
described in Printing from Windows or Printing from Mac OS.
Adobe InDesign 2.0.1 and 1.5.2
The following sections outline the recommended settings for using Adobe InDesign with the
Color Server.
InDesign color settings
When using ColorWise color management, turn off the InDesign color management features.
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
TO DISABLE INDESIGN 2.0.1 COLOR MANAGEMENT
1 Choose Color Settings > Document Color Settings from the Edit menu.
2 Clear the Enable Color Management option and click OK.
TO DISABLE INDESIGN 1.52 COLOR MANAGEMENT
1 Choose Color Settings > Document Color Settings from the Edit menu.
2 Clear the Enable Color Management option and click OK.
45
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
46
Importing images
All RGB images placed in a document, except for RGB TIFF images, are affected by your
RGB Source and Rendering Style settings. For best results with placed images, use the
instructions in “Working with imported images” on page 29.
N OTE : InDesign converts placed RGB TIFF images to CMYK.
Disable InDesign color management when placing images in a document.
TO DISABLE INDESIGN 2.0.1 COLOR MANAGEMENT WHEN IMPORTING IMAGES
1 Choose Place from the File menu.
The Place dialog box appears.
2 Select the Show Import Options option.
3 Select the file that you want to import and click Open.
4 Choose Color Settings from the option menu. Make sure that the Enable Color Management
option is cleared and click OK.
TO DISABLE INDESIGN 1.5.2 COLOR MANAGEMENT WHEN IMPORTING IMAGES
1 Choose Place from the File menu.
The Place dialog box appears.
2 Select the Show Import Options option.
3 Select the file that you want to import and click Place.
4 Choose Color Settings from the option menu. Make sure that the Enable Color Management
option is cleared and click OK.
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
Selecting options when printing
You can use the standard Color Server printer driver interface to select print options
from InDesign.
TO SET PRINT OPTIONS FROM THE WINDOWS VERSION OF INDESIGN 2.0.1
1 Choose Print from the File menu.
2 Choose the Color Server from the Printer menu.
3 Click Setup.
The Windows Print dialog box appears.
4 Click Properties.
5 Click the Fiery Printing tab in the dialog box that appears.
The standard printer driver interface for the Color Server appears.
6 Select the desired print options.
For information about setting ColorWise print options, see Color Printing.
7 Click Print.
47
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
TO SET PRINT OPTIONS FROM THE MAC OS VERSION OF INDESIGN 2.0.1
1 Choose Print from the File menu.
2 Choose the Color Server from the Printer menu.
3 Click Printer.
The AdobePS Print dialog box appears.
4 Choose Printer Specific Options.
The Color Server print options appear.
5 Select the desired options.
For information about setting ColorWise print options, see Color Printing.
6 Click Print.
48
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
TO SET PRINT OPTIONS FROM THE WINDOWS VERSION OF INDESIGN 1.5.2
1 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 Select the desired print options.
For information about setting ColorWise print options, see Color Printing.
49
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
TO SET PRINT OPTIONS FROM THE MAC OS VERSION OF INDESIGN 1.5.2
1 Choose Print from the File menu.
The Print dialog box appears.
2 Choose the Color Server from the Printer menu.
3 Choose Printer Specific Options.
The Color Server print options appear.
4 Select the desired options.
For information about setting ColorWise print options, see Color Printing.
50
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
51
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.
Windows version requirement
To use the Windows version of PageMaker 6.5, make sure that a copy of the Color Server
PPD file is in the following folders:
• PM65\RSRC\USENGLSH\PPD4
• Windows\System
For information about installing this file, see your PageMaker documentation.
Installing the printer description files for Windows
The User Software CD contains printer description files for popular Windows applications.
Adobe Pagemaker 6.5 and 7.x do not support automatic installation of printer description
files from the Printers or Printers and Faxes Control Panel. To make the Color Server available
in the Print and Page Setup dialog boxes of this application, copy printer description files to
the appropriate location.
TO COPY THE PRINTER DESCRIPTION FILES
1 On the User Software CD, open the English\Prntdrvr\Ps_drvr folder. Select the folder that
corresponds to the system you are using.
For Windows 98/Me, select English\Prntdrvr\Ps_drvr\Win_9x_ME.
For Windows NT 4.0, select English\Prntdrvr\Ps_drvr\Win_NT4x.
For Windows 2000, select English\Prntdrvr\Ps_drvr\Win_2000.
For Windows XP/Server 2003, select English\Prntdrvr\Ps_drvr\Win_XP.
2 Copy the printer description file for your Color Server to the appropriate location.
For PageMaker 6.5, copy the printer description file to \PM65\RSRC\USENGLSH\PPD4.
For PageMaker 7.x, copy the printer description file to \PM7\RSRC\USENGLSH\PPD4.
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52
PageMaker color settings
We recommend that 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 PAGEMAKER 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.
TO 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.
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53
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 “Working with imported
images” on page 29.
Selecting options when printing
All print settings are specified from the various Print dialog boxes in PageMaker 7.x or 6.5.
N OTE : The Print dialog box for PageMaker differs from the Print dialog box for other
applications that print to the Color Server. Follow the instructions in this section rather than
the print instructions in Color Printing.
TO SET PRINT OPTIONS WHEN PRINTING FROM PAGEMAKER
1 Choose the Color Server printer description from the PPD menu in the Print Document
dialog box.
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.
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54
4 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.
Using 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.
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
QuarkXPress 5.x and 4.x for Mac OS and Windows
Importing images
With the exception of RGB images that are saved in EPS format or use Quark PrintRGB
XTension, QuarkXPress 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 “Working with
imported images” on page 29.
Selecting options when printing
The following procedure provides instructions on printing files to the Color Server.
55
56
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
TO SET PRINT OPTIONS IN QUARKXPRESS 5.X OR 4.X
1 Choose the Color Server printer description name from the Printer Description menu in the
Print dialog box.
Mac OS
1
2
3
Choose the Color Server
Choose an output paper size
Click to specify printer
settings
1
2
3
Windows
1
2
3
Choose the Color Server
Choose the Color Server
printer description
Click to specify device
settings
1
3
2
2 If the document contains PANTONE colors, choose the appropriate Spot Color
Matching setting.
For information about setting print options, see Color Printing.
MANAGING COLOR IN PAGE LAYOUT APPLICATIONS
57
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, consider using the
QuarkXPress color management features. For more information, see your QuarkXPress
documentation.
For QuarkXPress 4.02, consider using Quark CMS XTension. These features allow advanced
users to control RGB to CMYK color conversions. If you plan to use these features, make sure
that 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.
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.
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 “Working with
imported images” on page 29.
Selecting options when printing
The following procedure provides instructions on printing files to the Color Server.
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58
TO SELECT PRINT OPTIONS IN QUARKXPRESS 3.3
1 Choose the Color Server printer description from the Printer Type menu in the Page Setup
(Mac OS) or Printer Setup (Windows) dialog box.
Mac OS
1
2
3
Choose the Color Server
Choose an output paper size
Choose Binary
1
2
3
Windows
1
2
3
Choose an output paper size
Choose the Color Server
Choose Binary
1
2
3
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 information about setting print options, see Color Printing.
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
59
MANAGING COLOR IN 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 Color Printing. As a general rule, use the
EPS file format when saving files with an illustration application. When an EPS file is
imported into another application, the color information in the imported image is not
changed by the application into which it is imported.
Before printing from illustration applications, make sure that the appropriate PostScript
printer driver and the Color Server PPD are installed on your computer, as described in
Printing from Windows or Printing from Mac OS. This chapter provides instructions for using
Adobe Illustrator, Macromedia FreeHand, and CorelDRAW for Windows and Mac OS.
N OTE : This manual provides instructions for printing composites only. For information about
printing color separations, see the documentation that accompanies your application.
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60
Adobe Illustrator for Windows and Mac OS
The following sections provide guidelines for working with Adobe Illustrator versions 10.x
and 9.x.
Note about color models in Adobe Illustrator
In Illustrator, you can set the Document Color Mode to either RGB Color or CMYK color.
All elements in that file are created in that color model. When you print the file, the data is
sent to the Color Server in the color model that you specified.
Illustrator color settings
Illustrator 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
specify the amount of color management you want to use while working in Illustrator. These
color settings include the following:
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 what to do when it encounters
color data from a color space other than the specified working space.
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
61
Specifying print options
The following procedure outlines the recommended color settings for Illustrator 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.
3 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 device-specific output profile,
upload the profile from the Color Server to your computer (see Color Printing). New
CMYK documents you create in Illustrator will use the specified working space.
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
62
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 information about choosing the rendering intent, see your Illustrator
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.
Saving files for importing into other documents
When saving files in Illustrator 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 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.
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63
Specifying print options
The following procedure explains how to set print options when printing a document from
Illustrator to the Color Server.
TO SET PRINT OPTIONS IN ILLUSTRATOR
1 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 3 from the PostScript menu. If you encounter problems, you can also use
Level 2.
Illustrator 10.x for Windows
1
2
3
Select the device name
Choose Composite
Click Properties to set
print options
1
2
3
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
64
Illustrator 8.x and 9.x
for Windows
1
2
3
4
Select the device name
Choose Composite
Choose PostScript Level 2
or 3
Click Properties to set
print options
4
1
2
3
3 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. If you encounter problems, you can also use
Level 2.
Illustrator 10.x for Mac OS
1
Choose Composite
1
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
65
Illustrator 8.x and 9.x
for Mac OS
1
2
Choose Composite
Choose PostScript Level 3
1
2
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 must 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 information about setting additional ColorWise print options, see Color Printing.
Using Illustrator color management
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 Illustrator
color management features. For more information, see your Illustrator documentation.
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
66
FreeHand 10.x, 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. Only Mac OS dialog boxes are shown, but the information and instructions are
identical for the Windows version.
Setting FreeHand color settings
When using ColorWise color management, turn off the FreeHand color
management features.
TO DISABLE COLOR MANAGEMENT IN FREEHAND
1 Choose Preferences from the File menu.
2 Click the Colors category in the Preferences dialog box.
1
Click Colors to access the
color management settings
1
3 Choose None for the type of color management.
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 25.
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.
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
67
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 “Working
with imported images” on page 29.
Saving files for importing into other documents
When saving files in FreeHand 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 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.
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Specifying print options
The following procedure explains how to set print options when printing a document from
FreeHand to the Color Server.
TO SET OPTIONS WHEN PRINTING FROM FREEHAND
1 Select the Use PPD option in the Print dialog box.
1
2
3
Choose Normal
Click to access
FreeHand Print Setup
Click to select a printer
description
(Name appears at right)
1
2
3
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 model name for your Color Server is not displayed, click the button labeled “…”
and choose the appropriate Color Server model from the menu that appears.
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69
3 To use ColorWise color management features, choose Output Options from the File menu.
The Output Options dialog box appears.
1
Clear option to use ColorWise
color management
1
4 Make sure that 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.
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 when you print the document.
For information about other FreeHand print options, see your FreeHand documentation.
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, consider using the FreeHand
color management features. For more information, see your FreeHand documentation.
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
70
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 “Using color matching tools with PostScript
applications” on page 25.
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. For best results with placed images, follow the instructions in “Working with
imported images” on page 29.
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.
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71
Specifying print options
This section explains how to set print options when printing from CorelDRAW to the
Color Server.
N OTE : The following procedure uses Windows illustrations. The interface may vary
depending on whether you are using Mac OS or Windows. Major differences are noted.
TO SET PRINT OPTIONS IN CORELDRAW
1 On Windows computers, click the General tab and then click Print.
2 Make sure that you have selected the correct device and printer description, and select the
Use PPD option.
3 Click Properties to specify ColorWise print options.
1
2
3
Print device name
appears here
Printer driver/PPD name
appears here
Click Properties to access
ColorWise print options
3
1
2
MANAGING COLOR IN ILLUSTRATION APPLICATIONS
72
4 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 that 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.
1
Clear this option to use
ColorWise Color Management
1
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.
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.
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73
DESKTOP COLOR PRIMER
This chapter 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, proceed to
“Optimizing files for processing and printing” on page 87 for information about optimizing
files for printing.
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74
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. Shining sunlight through a prism separates it into its spectral
components, resulting in the familiar rainbow of colors illustrated 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.
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75
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 blue-violet 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.
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
76
DESKTOP COLOR PRIMER
While the CIE chromaticity diagram illustrated earlier conveys hue and saturation,
a three-dimensional color model is required to add the brightness component, as illustrated in
the following figure.
Brightness
Hue
Saturation
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 illustrated in the following
figure).
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77
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
(illustrated 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. Combining varying amounts of
any two of the additive primaries creates a third, saturated hue.
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78
A familiar device that is based on this color model is the computer monitor, illustrated 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.
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 illustrated 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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DESKTOP COLOR PRIMER
80
Understanding color 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 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.
1
2
3
4
Color transparency film
RGB monitor
Offset press (white)
Other print device
1
2
3
4
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.
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81
Printing techniques
Until recently, most color printing was done on printing presses using one of several printing
techniques, such as offset lithography, flexography, or gravure. 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 fine-tuning 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.
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 Adobe 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.
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82
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 (short-run printing), or proofing an ad concept
that will later be printed on a press (color proofing). 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 guidelines and concepts to consider as you approach designing color materials.
General guidelines
To create successful color materials, consider the following:
• Use color to aid comprehension, rather than applying colors indiscriminately.
In presentations, graphs, and charts, use color to highlight patterns and
emphasize differences.
• Use color sparingly. 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.
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83
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.
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 trust your own eye for color. For a
selection of books about design, see the “Bibliography” on page 89.
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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.
When used skillfully, color text can add flair to documents printed on paper. 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.
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, 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.)
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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 illustrated 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.
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. You can scale it 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 information about 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
100 ppi
150 ppi
200 ppi
400 ppi
600 ppi
Image size
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
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.
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DESKTOP COLOR PRIMER
Image quality
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.
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.
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 must 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.
BIBLIOGRAPHY
89
BIBLIOGRAPHY
Books
Adobe Print Publishing Guide. Adobe Press, 1998. ISBN: 1568304684
Blatner, David and Fraser, Bruce. Real World Adobe Photoshop 7. Berkeley: Peachpit Press,
2002. ISBN: 0321115600
Bruno, Michael H., ed. Pocket Pal ®: A Graphic Arts Production Handbook. Eighteenth
Edition. GATFPress, 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: The Classic Guide to Color Correction. John
Wiley & Sons, 2002. ISBN: 0764536958
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 web site, www.color.org <http://www.color.org/>.)
World Wide Web sites
International Color Consortium: www.color.org
Graphic Arts Information Network:
<http://www.gain.net/PIA_GATF/about_join/aboutgatf.html>
Seybold Seminars Online: www.seyboldseminars.com
Adobe Systems Incorporated: www.adobe.com
INDEX
91
INDEX
A
accent color 82
additive color model 77
additive primaries 77
Adobe
Adobe (ACE) conversion option
Illustrator 62
Photoshop 36
Adobe Illustrator, see Illustrator
Adobe InDesign, see InDesign
Adobe Photoshop, see Photoshop
B
bit depth, of raster images 86, 87
bitmaps, see raster images
Blend RGB Colors Using Gamma, Photoshop
setting 36
brightness 74, 75
C
charts, using color in 82
choosing color 16
CIE
chromaticity diagram 75, 76
color model 75
CIELAB color space 9
CMY color model 20
CMYK Color Reference 12, 25
CMYK EPS
FreeHand 67
Photoshop 42
CMYK simulation method 30
CMYK Simulation profile 30
color
accent color 82
additive model 77
CMY model 20
complements 84
controlling printing results 16
conversion by color management systems 10
custom color systems 24
defining in PostScript applications 27
HSB model 24, 75
HSL model 20, 24
HSV model 20
physics of 74
process colors 81
properties of 74
reference pages 12
RGB model 20, 24
split complements 84
spot colors 81
subtractive model 77, 78
subtractive primaries 78
swatch color matching 25
text 85
theory 74
triads 84
using effectively 82 to 85
wheel 83
color management
basics 9 to 10
ColorWise 11
Illustrator 60
monitor 19
QuarkXPress 57
color management system (CMS) 9
color matching systems, see custom color systems
color monitors, see monitors
color proofing 18
color space 75
color theory 74
color wheel 83
ColorSync 9
ColorWise 9, 11
Combine Separations, Photoshop 39
Commission Internationale de l’Eclairage, see
CIE
complements, color 84
compression, JPEG 38, 39, 41, 42
computer monitors, see monitors
continuous tone devices 81
92
INDEX
Conversion Options, Photoshop setting 36
Convert RGB to process, Freehand setting 69
CorelDRAW 70 to 72
CRDs
bypassing 22, 29
rendering intent 20
custom color systems 24, 84
D
defining color 27
Desaturate Monitor Colors By, Photoshop
setting 36
device profiles 9
Document Color Mode, Illustrator 60
documentation 8
E
EFICOLOR
profiles 57
XTension 57
EFIRGB
Illustrator 61
Photoshop 35
embedded profile, Illustrator 62
Encoding, Photoshop setting 39
EPS (Encapsulated PostScript)
about 29
color accuracy 23, 32
defining colors 22
imported images 29
PostScript Color Management 41
with CorelDRAW 70
with FreeHand 67
with illustration applications 59
with Illustrator 62
with Photoshop 37
EPS CMYK
FreeHand 67
Photoshop 42
EPS RGB 41
Excel, see Microsoft Office
F
Fiery Graphic Arts Package 31
file size, of raster images 11, 87
flexography 81
font size, for color text 85
FreeHand 24, 66 to 69
G
gamma 10
gamut
mapping 80
of monitors 80
of photographic transparencies 80
GDI applications, using color in 20 to 24
Graphics Device Interface, see GDI
graphs, using color in 82
gravure 81
H
halftone screen 31
halftoning 81
HSB color model 24, 75
HSL color model 20, 24
HSV color model 20
hue, saturation, and brightness 74, 75
I
ICC profiles
about 35
included with user software 10
ICC standard for color management systems 9
illustration applications 59
Illustrator 24, 60 to 62
InDesign 44 to 50
International Color Consortium 9
J
JPEG 38, 39, 41, 42
L
light 74 to 75
line art, see vector images
M
Macromedia FreeHand, see FreeHand
metamerism 75
Microsoft Excel, see Microsoft Office
Microsoft Office 20 to 23
Microsoft PowerPoint, see Microsoft Office
Microsoft Word, see Microsoft Office
misregistration of colors 85
moiré 81
monitor color management 19
93
INDEX
monitors
color model 78
gamut of 80
phosphors 78
Multi-channel, Photoshop 43
N
named colors 24
O
Print Space, Photoshop setting 40
printing
raster images 86
techniques 81
prism 74
process colors 25, 78, 81
Profile Mismatches
Illustrator setting 62
Profile, Photoshop setting 40
profiles, device 9
proofing
color 18
prepress 81
office applications 17, 20 to 23
offset lithographic printing 81
offset press print jobs, workflow issues 18
offset press printing 81
on-demand printing 18
Output Options, FreeHand 69
output profile
color conversion 10
with office applications 23
Q
P
R
page layout applications 44
PageMaker 24, 51 to 54
PageMaker, see PageMaker
painting applications 86
PANTONE
color system 24, 25
reference 12
phosphors 10, 78
photographic prints 78
photographic transparencies 78, 80
Photoshop
color management with 24
importing CorelDRAW data 70
using 33 to 43
Photoshop Multi-channel 43
physics of color 74
pixel-editing applications 86, 87
pixels in raster images 86
PostScript applications
color handling 24
using color in 24 to 32
PostScript Color Management, Photoshop
option 38, 41
PostScript printer drivers 23
PowerPoint, see Microsoft Office
prepress proof 81
presentation print jobs, using color in 82
press simulation, see CMYK Simulation option
Quark CMS XTension 57
QuarkXPress 24, 55 to 58
QuarkXPress color management 57
QuickDraw applications, using color in 20 to 24
raster images
about 86 to 88
bit depth 86, 87
file size 87
for offset press printing 88
printing 86
resolution 87 to 88
scaling of 88
registration of colors 85
rendering styles 20
RGB color model 20, 24
RGB Color Reference 12, 21
RGB EPS 41
RGB source color space, see source color space
S
saturation 74, 75
scaling of raster images 88
scanners 77, 78
screens, used in halftoning 81
Separations, printing with Photoshop 39
short-run printing 18
simulation, see CMYK Simulation option
source color space 10
spectral colors 75
spectral components of light 74, 75
split complements 84
INDEX
Spot Color Matching option
with Photoshop 43
with PostScript applications 26
spot colors 24, 25, 81
sRGB 35
subtractive color model 77, 78
subtractive primaries 78
sunlight 74
swatch color matching 25
T
text
font size 85
using color with 85
TIFF images
assigning ICC profiles to 29
preview 38
printing at full resolution 53
recommended for imported images 29, 37
tint 75
transparencies (photographic) 78, 80
triads 84
V
vector images 86
visible spectrum of light 74
W
white point 10
Windows Graphics Device Interface, see GDI
applications
Word, see Microsoft Office
workflow, recommended 15
working space
Illustrator 60, 62
Photoshop 34
94
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