Xerox Fiery Color Server Fiery Color Reference

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Fiery

SERVER & CONTROLLER SOLUTIONS

Color Server

Fiery Color Reference

45046197 24 September 2004

ONTENTS

CONTENTS

NTRODUCTION

About this manual

For additional information

VERVIEW

Understanding color management systems

OLOR

How color management works 10

ANAGEMENT

ONCEPTS

Using ColorWise and application color management

Using ColorWise color management tools 12

SING

Understanding workﬂows

Standard recommended workﬂow

Choosing colors

ANAGING

Using ofﬁce applications

Working with ofﬁce applications

OLOR

Understanding color models 17

Optimizing for output type 18

Maintaining color accuracy 19

Using color matching tools with ofﬁce applications 21

Deﬁning colors 22

OLOR

ANAGEMENT

FFICE

ORKFLOWS

PPLICATIONS

Working with imported ﬁles 22

Selecting options when printing 23

Output proﬁles 23

Ensuring color accuracy when you save a ﬁle 23

CONTENTS

ANAGING

Working with PostScript applications

Using color matching tools with PostScript applications

Deﬁning colors

Working with imported images

Using application-deﬁned halftone screens

Ensuring color accuracy when you save a ﬁle

OLOR

OST

Using swatch color matching tools 25

Using the CMYK Color Reference 25

Using the PANTONE reference 26

Using CMYK simulations 30

CRIPT

PPLICATIONS

ANAGING

Loading monitor settings ﬁles and ICC device proﬁles in Photoshop 6.x/7.x

Specifying color settings

Saving ﬁles from Photoshop

Selecting options when printing

ANAGING

Adobe InDesign 2.0.1 and 1.5.2

OLOR

Conﬁguring Photoshop color settings 34

Choosing a ﬁle format 37

Advanced tips for using PostScript color management 41

OLOR

InDesign color settings 44

Importing images 46

Selecting options when printing 47

DOBE

AGE

HOTOSHOP

AYOUT

PPLICATIONS

CONTENTS

Adobe PageMaker 7.x and 6.5 for Mac OS and Windows

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

Importing images 55

Selecting options when printing 55

Optional Color Management from QuarkXPress 57

QuarkXPress 3.32 for Mac OS and Windows

Windows version requirement 57

Importing images 57

Selecting options when printing 57

ANAGING

Adobe Illustrator for Windows and Mac OS

FreeHand 10.x, 9.x, and 8.x for Windows and Mac OS

OLOR

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

Setting FreeHand color settings 66

Deﬁning colors 66

Importing images 67

Saving ﬁles for importing into other documents 67

LLUSTRATION

PPLICATIONS

Specifying print options 68

Optional color management in FreeHand 69

CONTENTS

CorelDRAW for Windows and Mac OS

Deﬁning colors 70

Importing images 70

Saving ﬁles for importing into other documents 70

Specifying print options 71

Optional color management in CorelDRAW 72

ESKTOP

The properties of color

OLOR

The physics of color 74

CIE color model 75

Hue, saturation, and brightness 75

Additive and subtractive color systems 77

RIMER

Understanding color gamut

Printing techniques

Halftone and continuous tone devices 81

Using color effectively

General guidelines 82

Color wheel 83

Color and text 85

Raster images and vector graphics

Optimizing ﬁles for processing and printing

Resolution of raster images 87

Scaling 88

IBLIOGRAPHY

NDEX

NTRODUCTION

About this manual

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.

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.

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 “ 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.

color space

,” “

spot color

,” “gamut,” and “source proﬁle”

INTRODUCTION

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

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.

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.

or management system

Source proﬁle

Device-independent color space

Input data Printed data or ﬁle

Output proﬁle

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

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

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

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

C M

Y K

Spot

SAVE AS (File Format)

EPS recommended

Set ColorWise print options

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).

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.

USING COLOR MANAGEMENT WORKFLOWS

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

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

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

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.

NOTE: The term “on-demand” applies to producing printed output when it is needed. You

Colors that are speciﬁed for an offset press require CMYK simulation that is optimized for prooﬁng on the printer.

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).

NOTE: 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

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

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.

RGB Color Reference (Microsoft PowerPoint)

MANAGING COLOR IN OFFICE APPLICATIONS

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.

MANAGING COLOR IN OFFICE APPLICATIONS

Working with ofﬁce applications

Before printing from these applications, make sure the appropriate printer driver and the Color Server PPD are installed on your computer, as described in 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.

NOTE: 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

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

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

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.

NOTE: 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.

NOTE: 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

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

Deﬁning colors

The methods and options available for deﬁning colors depend on the type of PostScript application that you are using.

Color model

CYMK Photoshop Choose colors in Photoshop with various color models, including

Application type

Page layout application

Illustration application

Color deﬁnition notes

HSB, CIE Lab, RGB, and CMYK.

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 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).

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).

(which affect only RGB data) do not

MANAGING COLOR IN POSTSCRIPT APPLICATIONS

Color model

RGB Photoshop Choose colors in Photoshop with various color models, including

Spot Colors

Application type

Page layout application

Illustration application

Photoshop Choose

Page layout application

Illustration application

Color deﬁnition notes

HSB, CIE Lab, RGB, and CMYK.

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.

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.

“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.

named colors from the PANTONE color library (see

MANAGING COLOR IN POSTSCRIPT APPLICATIONS

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.

NOTE: 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

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

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.

NOTE: 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

Ensuring color accuracy when you save a ﬁle

To ensure color accuracy, take the following steps:

•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

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

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

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.

NOTE: 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

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

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.

NOTE: 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.

NOTE: 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

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.

NOTE: 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

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.

NOTE: 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.

NOTE: 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

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

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.

NOTE: If you choose JPEG encoding, save a backup of the original image with

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.

NOTE: 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

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.

NOTE: 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

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

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.

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

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.

NOTE: 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.

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.

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.

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.

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

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.

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

PageMaker color settings

We recommend that you use ColorWise color management rather than the CMS options built into Adobe PageMaker.

NOTE: 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.

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

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.

NOTE: 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.

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

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.

TO SET PRINT OPTIONS IN QUARKXPRESS 5.X OR 4.X

Mac OS

1 Choose the Color Server 2 Choose an output paper size 3 Click to specify printer

settings

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

1 Choose the Color Server printer description name from the Printer Description menu in the

Print dialog box.

Windows

1 Choose the Color Server 2 Choose the Color Server

printer description

3 Click to specify device

settings

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

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.

NOTE: 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.

TO SELECT PRINT OPTIONS IN QUARKXPRESS 3.3

Mac OS

1 Choose the Color Server 2 Choose an output paper size 3 Choose Binary

MANAGING COLOR IN PAGE LAYOUT APPLICATIONS

1 Choose the Color Server printer description from the Printer Type menu in the Page Setup

(Mac OS) or Printer Setup (Windows) dialog box.

Windows

1 Choose an output paper size 2 Choose the Color Server 3 Choose Binary

2 If a document contains RGB-placed images or RGB colors that QuarkXPress will print without

converting to CMYK, choose RGB Source and Rendering Style settings.

If the document contains PANTONE colors, choose the appropriate Spot Color Matching setting.

For information about setting print options, see Color Printing.

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.

NOTE: This manual provides instructions for printing composites only. For information about

printing color separations, see the documentation that accompanies your application.

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

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

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

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.

Illustrator 10.x for Windows

1 Select the device name 2 Choose Composite 3 Click Properties to set

print options

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

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.

2For 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 8.x and 9.x for Windows

1 Select the device name 2 Choose Composite 3 Choose PostScript Level 2

or 3

4 Click Properties to set

print options

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

3For the Mac OS version of Illustrator, specify appropriate print options.

Illustrator 10.x for Mac OS

1 Choose Composite

• 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 8.x and 9.x for Mac OS

1 Choose Composite 2 Choose PostScript Level 3

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

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.

FreeHand 10.x, 9.x, and 8.x for Windows and Mac OS

1 Click Colors to access the

color management settings

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

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.

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

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.

NOTE: 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.

1 Choose Normal 2 Click to access

FreeHand Print Setup

3 Click to select a printer

description (Name appears at right)

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

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.

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.

1 Clear option to use ColorWise

color management

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

3To use ColorWise color management features, choose Output Options from the File menu.

The Output Options dialog box appears.

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

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.

NOTE: 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.

1 Print device name

appears here

2 Printer driver/PPD name

appears here

3 Click Properties to access

ColorWise print options

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

Specifying print options

This section explains how to set print options when printing from CorelDRAW to the Color Server.

NOTE: 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 Clear this option to use

ColorWise Color Management

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

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.

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.

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.

DESKTOP COLOR PRIMER

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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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

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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).

DESKTOP COLOR PRIMER

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.

DESKTOP COLOR PRIMER

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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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 Color transparency ﬁlm 2 RGB monitor 3 Offset press (white) 4 Other print device

You must account for the gamut of your printer when designing on a color monitor. When printed, colors that fall outside the printer gamut are “mapped” to printable colors. This process, referred to as gamut mapping, takes place when color data is converted or adjusted to meet the gamut requirements of a printer.

The Color Server is specially designed to perform gamut mapping at high speed with high-quality results. It provides these color management features automatically, using either built-in default settings or settings you select for a particular print job. For added ﬂexibility, you can also use the Color Server color management system in combination with the color management systems on Windows and Mac OS computers.

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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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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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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.

DESKTOP COLOR PRIMER

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.

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.)

Exceptio probat

regulam de rebus non exceptis.

DESKTOP COLOR PRIMER

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.

DESKTOP COLOR PRIMER

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

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

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

11"

x 17" 5.4/7.1 MB 12.0/16.1 MB 21.4/28.5 MB 85.6/114.1

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.

DESKTOP COLOR PRIMER

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.

mage qua

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

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

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

bit depth, of raster images 86, 87 bitmaps, see raster images Blend RGB Colors Using Gamma, Photoshop

setting 36

brightness 74, 75

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

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

deﬁning color 27 Desaturate Monitor Colors By, Photoshop

setting 36 device proﬁles 9 Document Color Mode, Illustrator 60 documentation

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

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

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

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

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

JPEG 38, 39, 41, 42

light 74 to 75 line art, see vector images

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

INDEX

monitors

color model 78 gamut of 80 phosphors 78

Multi-channel, Photoshop 43

named colors 24

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

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

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

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

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

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

vector images 86 visible spectrum of light 74

white point 10 Windows Graphics Device Interface, see GDI

applications

Word, see Microsoft Ofﬁce workﬂow, recommended 15 working space

Illustrator 60, 62 Photoshop 34

Xerox Fiery Color Server Fiery Color Reference

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

INTRODUCTION

For additional information

Understanding color management systems

How color management works

Using ColorWise and application color management

Using ColorWise color management tools

USING COLOR MANAGEMENT WORKFLOWS

Choosing colors

Understanding color models

Optimizing for output type

Maintaining color accuracy

MANAGING COLOR IN OFFICE APPLICATIONS

Selecting options when printing

MANAGING COLOR IN POSTSCRIPT APPLICATIONS

Working with PostScript applications

Using color matching tools with PostScript applications

Using swatch color matching tools

Using the CMYK Color Reference

Using the PANTONE reference

Working with imported images

Using CMYK simulations

MANAGING COLOR IN ADOBE PHOTOSHOP

Specifying color settings

Selecting options when printing

Advanced tips for using PostScript color management

Adobe InDesign 2.0.1 and 1.5.2

InDesign color settings

Importing images

Selecting options when printing

Windows version requirement

PageMaker color settings

Importing images

Selecting options when printing

Using optional Color Management from PageMaker

Importing images

Selecting options when printing

Optional Color Management from QuarkXPress

Windows version requirement

Importing images

Selecting options when printing

MANAGING COLOR IN ILLUSTRATION APPLICATIONS

Note about color models in Adobe Illustrator

Illustrator color settings

Specifying print options

Specifying print options

Using Illustrator color management

Setting FreeHand color settings

Importing images

Specifying print options

Optional color management in FreeHand

Importing images

Specifying print options

Optional color management in CorelDRAW

The properties of color

The physics of color

CIE color model

Hue, saturation, and brightness

Additive and subtractive color systems

Understanding color gamut

Printing techniques

Halftone and continuous tone devices

Using color effectively

General guidelines

Color wheel

Color and text

Raster images and vector graphics

Resolution of raster images

Scaling

BIBLIOGRAPHY

INDEX