Q) What is a RIP? When using a RIP, is it better to use the virtual print driver; or export a file from the Adobe application to import into the RIP?
RIP stands for Raster Image Processor, and is basically software that adds special intelligence to the printer. They are usually designed to perform a specific function, such as superior black & white printing, better matching of PANTONE colors, PDF processing, special imposition, etc. Every RIP interface is a bit different, so you’ll need to refer to the RIP software documentation to instruct you on outputting files to feed to the RIP. Both the methods you mention are valid for different RIPS.

Q) Wouldn’t you want the printer to manage the color handling, rather than the application?
Yes, ideally this would be a printer with RIP software (Raster Image Processor) that’s configured to create specific color conversions using profiles (RGB to printer-specific CMYK colors; RGB to press colors, etc.). If there is no RIP to perform the conversion, you’re better off letting a correctly configured application manage the colors—rather than the printer driver software. Most driver software is not optimized for handling color conversions, and to avoid inconsistent results, you should turn off the driver’s default color conversion settings when printing.

Q) Will the soft-proofing process work with CS2 as well?
Yes, it is exactly the same.

Q) Why do PDF/X files exported from InDesign presets often fail to pass preflights?
There is no reason for standard PDF/X files created by the Creative Suite, to fail routine preflighting. The PDF/X files produced by CS3 applications are validated against universal printing standards specified in rigorous PDF/X standards. The process checks for common problems such as missing fonts, incorrect color spaces, and overprinting and trapping issues. I recently produced a white paper and article titled “PDF/X Files and Adobe Creative Suite 3” (http://www.adobe.com/designcenter/acrobat/articles/acr8ap_pdfx.html) which lists the criteria a PDF/X file is checked against. It turns out that the criteria is customizable—and if a user has added, removed or changed it enough to violate the rules—it’s possible that the resulting PDF/X file may not pass preflighting settings used in some applications. The key is not to change the default settings too radically. See www.pdfx.info for more about the standard and resources; and www.ipa.org/ProdServ/PDFX.php3 to download “The Ultimate Guide to PDF/X”.

Q) Where do you obtain professional profiles to calibrate your monitor and other devices?
You cannot acquire profiles for your monitor—it’s essential that you build a custom monitor profile. Professional packages for profiling displays cost between $150–$200, and are an excellent investment. See my slides (PDF document available for download) for a list of resources for acquiring and building printer profiles, and to locate consultants to build custom profiles.

Q) Where do you get information on how to profile your monitor?
A professional profiling package includes a colorimeter and software, and ships with useful documentation. Best of all, most of the software in this class features a “wizard” interface, that can walk you through this entire process.

Q) Where do I find color settings in CS2?
In Adobe Bridge, choose Edit > Creative Suite Color Settings; in individual CS2 components, choose Edit > Color Settings. Use a keyboard shortcut to access the dialog easily on both platforms (Command/Control + Shift + K).

Q) Where can we find a color consultant to calibrate all equipment?
See the Resources section in my slides for a few recommendations. If you would like a recommendation for a consultant who works in a specific geographic region, e-mail me your location, and I will locate a consultant in your area. Send e-mail to: ramladi@orionac.com

Q) When you use PMS colors in your print workflow doesn’t that translate to printer profiles?
Printer profiles are printer profiles—that is, they describe the color gamut of the printer to the color management system used by the application. Don’t confuse the two. The PMS, or PANTONE Matching System, is mainly used as a way to specify spot colors. The company publishes ink-mixing “recipes” that are used to print these spot colors consistently. You can also use this system to convert a spot color to its closest CMYK process color (The PANTONE Color Bridge fan book also specifies spot to HTML and sRGB colors). Adobe Creative Suite applications license several of the PANTONE color libraries, so PMS colors may be specified in the applications. The libraries contain specifications for spot color to LAB or CMYK conversions, and they are utilized to display, convert and print PMS colors.

Some specialized RIP software uses special separation tables to generate better PMS color output, and it is the way to go if printing accurate PMS colors is critical for you.

The book Real World Print Production by Claudia McCue (Peachpit, www.peachpitpress.com), answers many questions about how Pantone colors are handled in all the common applications.

Q) I can choose sRGB or Adobe RGB with my digital camera. What should I use for large format printing?
The difference between the two color spaces is the size of their gamuts. If sRGB represents the range of colors available in a box of 16 crayons; then Adobe RGB is the box of 96 crayons! The easy and short answer is to save files in the Adobe RGB color space to get the largest gamut of colors … which translates to maximum flexibility for color correction and also accommodates multiple output methods. In reality, a lot of on-demand large format printing is standardized on sRGB color workflows. If you print exclusively to such a printer/service, you can streamline your workflow by acquiring your digital files in sRGB directly. In general, you’re advised to acquire images in Adobe RGB and then convert a copy of the final art to sRGB for output, and only when specifically requested.

Q) When syncing the Color Settings with Bridge, what profile should we be using?
When you choose a Suite Color Setting in Adobe Bridge, you are establishing a common set of color settings to be used across all the Creative Suite applications, including Acrobat 8 Professional. A Setting populates the entire Color Settings dialog (in any CS application), with certain choices that include suitable working space profiles, color management policies, etc. You choose a Setting to govern a specific workflow. For instance, if you’re involved with web publishing and CMYK printing, you might choose the North America General Purpose 2 Setting, or the North America Prepress 2 setting. If you design and produce art exclusively for the web, choose the North America Web/Internet Setting.

Q) When I create PDF files, my colors will often change (orange to red-orange, teal to blue, etc). Why does this happen, and how can I prevent it from happening in the future?
You create PDF files from the Adobe Creative Suite applications by selecting an Adobe PDF Preset. Some of the PDF Presets include: Smallest File Size, High Quality Print, Press Quality and various PDF/X flavors. Each PDF Preset handles colors differently. For instance, choosing the Smallest File Size preset converts all the colors to sRGB; choosing the Press Quality preset converts colors to CMYK. When colors from a larger gamut are converted to smaller gamuts without any supervision or control, you may see color shifts, particularly in the bright and saturated hues. If you want to predict the outcome better, convert colors to the target destination first, to preview the final colors. This allows you to make any necessary color adjustments to “tweak” colors that changed or were unsaturated as a result of this conversion. Then choose the Adobe PDF Preset to create the final PDF.

Q) What is the actual difference between colors modes and color profiles?
Color modes are color spaces that represent a set of colorants, such as RGB, CMYK, LAB, etc. A color profile is a data file that describes the colors in a color space or a device’s (printer, scanner, scanner, etc.) gamut.

Q) What is a good resource for learning more about the rest of the color management settings, i.e. gray dot gain?
Refer to the books in the Resources section of the slides. The best resource to date is Real World Color Management by Bruce Fraser, et al.

Q) What if your end result is to best match a PMS color but the file has been built in CMYK. Other than trial & error how can you best match the PMS you want?
If the intention is to output Pantone spot color plates from Photoshop or Illustrator, then the files need to be created in CMYK. An InDesign file can contain both RGB and CMYK elements. On the other hand, if you are choosing CMYK colors to visually match a named Pantone color, then use an appropriate Pantone swatchbook in the applications when selecting colors, such as the Pantone Solid to Process library.

Q) What do you think about the Pantone Huey? Is it worth it? We currently use it and I just wondered what you thought about it.
The Pantone Huey is an excellent tool for pro-consumer photography, home enthusiasts, and also for gifting to clients who will occasionally check colors on their screen. I recommend using a professional-grade package for any kind of commercial work. See the Resources slide for product recommendations.

Q) I have Xerox digital presses (DC12 & DC6060) in my studio. In your experience, do you suggest printing to them in RGB or CMYK?
I recommend making custom profiles for the presses and converting all RGB files to CMYK using these profiles. This will give you accurate and consistent results, and it lets you access the full color gamut of the press. If you’re not ready to invest in a custom profile just yet, convert RGB files to a standard CMYK reference such as US Web coated (SWOP). This will print the smaller gamut of colors in this color space, but the results will be consistent.

Q) Regarding profiles, how would you best represent on the web artwork that will eventually be printed?
I assume this question relates to web art that will be downloaded and printed at home or studio, to a local printer. If the primary audience is comprised of photographers or ad agencies—who are likely to own high quality (large color gamut) printers—I recommend saving in the Adobe RGB space; if the audience is anybody with access to a color printer, then save in the sRGB color space. In both cases, embed the working space profile to be safe.

Q) Our color management is beautiful from screen to in-house printing to press EXCEPT when we are scanning and printing original watercolor and oil paintings. Can the digital environment not replicate paint pigments well?
The question does not note if color profiles are being used in this process at all. I recommend using a high-quality professional package (hardware + software) to create profiles for every device in this workflow (scanner, display, local printer, press). A good workflow for this process involves converting from the scanner profile to the press colors, while also mimicking press output on the local printer. This not only requires high quality profiles, but probably some initial training/hand-holding to successfully create these color matches. Sometimes, even with good profiles in place, the color transforms may need to be tweaked to accommodate vivid, saturated, and bright hues—these need to be handled a bit differently than “normal” printing colors.

Q) Monitor choice: Can you recommend a lower cost make and model with good, calibrate-able output? Minimum contrast ratio?
In general, go with professional grade monitors because they are easily calibrated and feature gamuts that are more in line with print gamuts. This includes monitors from LaCie, Eizo ColorEdge, NEC+SpectraView and also the Apple Cinema Displays. That said, I’ve heard very good things said about the quality of the Samsung LCD monitors, considering their price. I have no personal experience using the Samsung monitors.

Contrast ratios can be played up in marketing brochures. It is the difference between the brightest values and the darkest black values. A higher contrast ratio will have truer colors, with fewer colors that are washed out. The standard offering for low-end models is commonly 350:1. The Apple Cinema Displays are around 450:1. It’s probably best to go with a contrast ratio that’s close to 500:1 or higher.

Q) Is the color management setup in CS2 same as the CS3?
Yes, it is exactly the same. In CS3, using Adobe Bridge, you can now set up color management automatically in all applications, including Acrobat 8 Professional. In version CS2, this process did not include Acrobat, and this application needed to be set up separately (manually).

Q) Is there a way to see what element in your artwork/layout that does not meet the PDF/X requirements?
A good way to identify the “spoilers” is to run a preflight profile using Acrobat 8 Professional. Acrobat 8 Professional includes preflight profiles that verify compatibility to various final formats, including all the different PDF/X flavors. The results from running a verification profile will indicate what, if any, elements will cause the PDF to fail PDF/X compliance. There are a number of companies that market PDF software and plug-ins that perform this very same task to varying degrees of sophistication. Some of these products include Enfocus PitStop Professional (http://www.enfocus.com), and Markzware Flightcheck Professional (www.markzware.com).

Q) Aren’t PMS colors made up of CMYK colors?
Pantone makes many products, including the well-known fan-like swatchbooks. These swatchbooks contain named color swatches such as “Pantone 507 C”. Some books let you choose a spot color that will be printed on a special plate, while others such as the Pantone 4-color Process Guide only contains colors created with combinations of the 4 main process colors: cyan, magenta, yellow and black. This is an “easy” way to spec a CMYK color, much like you would pick a paint color for your walls at a paint store, by choosing a swatch. For details go to www.pantone.com.

Q) In CS2 I've noticed that the same PMS color has a different CMYK and RGB breakdown when viewed in Illustrator and Photoshop. How do I deal with this?
There is an excellent TechNote in the Support section of Adobe’s site that answers this question in a lot of detail. Search for “CMYK values of PANTONE swatches are different in Illustrator CS and Photoshop CS”.

The TechNote recommends the following:

To match Illustrator Pantone swatches to Photoshop:
(For Illustrator CS3 and CS2):
In Illustrator CS3 and CS2, you can match the PANTONE swatches to Photoshop CS, CS2 and CS3 versions of the swatches by selecting the "Use LAB Values specified by the book manufacturer" option in the Spot Colors option dialog box. To access the Spot Colors dialog box, select Spot Colors from the Swatches palette menu.

To match Photoshop Pantone swatches to Illustrator:
(For Illustrator CS3 and CS2):
If you are using the CMYK color definitions for PANTONE swatches in Illustrator, you can match PANTONE swatches in Photoshop to the ones in Illustrator by using the swatches from the PANTONE Solid To Process library in Photoshop. These swatches are designed to use PANTONE CMYK values.

If you are using the LAB color definitions for PANTONE swatches in Illustrator, you can match the PANTONE libraries in Photoshop by using any of the default PANTONE libraries, as they use the LAB color definitions as well.

Q) If my Adobe CS color settings are "synchronized,” shouldn’t the same RGB color appear identical on screen in the different CS applications? Furthermore, shouldn’t a document created in Illustrator maintain consistent RGB color when opened in Photoshop?
Yes, if color settings are synchronized using Adobe Bridge, colors created in one application should appear the same when viewed in another CS3 application. If they don’t match, check if the RGB working space was accidentally changed in one of the applications.

Q) What is the best strategy for color managing web graphics in cases where colors from other sources (HTML, Flash documents, etc.) need to match?
My recommendation is to convert all the source artwork to the sRGB color space, and then place them in various other applications. There is no other easy way to color-manage these documents.

Q) If I save a logo first as .ai, then as .eps, is the color profile embedded? I often send out .eps files when a vector file is requested.
When you save an .eps file in Illustrator CS3, you cannot embed the profile. Your best bet is to save the file as an Adobe PDF from Illustrator. This lets you save the vector information, the color profile, and it is also editable in Illustrator.

Q) If an .eps doesn’t retain the profile, what will happen to them if you import them into another application such as QuarkXPress? Why do we choose RGB color space when we are printing to a CMYK in-house printer?
If you save an .eps file from Illustrator and place it into another application, it will not be able to interpret the color values correctly. Any color-savvy application requires a color profile to accurately interpret, display, convert and print the colors in the file. The PDF format is the file format of choice in this situation.

You do not need to save files in the RGB color space if you will only print to your in-house proofer/press. If you wish to build any flexibility in your workflow—for example, to send files to be printed outside, etc.—you can save a RGB master file and convert a copy to be printed in-house.

Q) I work on both print and web projects—should I be changing my Adobe Color Settings every time the type of project I work on changes?
No. I would set the color setting to the North America Prepress 2 Setting. This specifies the larger Adobe RGB color space for RGB images, and also preserves embedded color profiles when opening files. When saving files for web projects, you can convert a copy of the image to the sRGB color space using the Edit > Convert to Profile command. This lets you save the master file in the Adobe RGB color space, or in the original color space as a backup.

Q) I haven't upgraded to CS3—will the steps shown work with CS2?
Yes.

Q) I have a Spyder Pro. Whenever I try to profile my monitor, I end up with a 100 percent black monitor. I have to reboot from CD and reset my monitor to see anything. What am I doing wrong?
As long as you are using a “standard” monitor, this process should work correctly. You can contact ColorVision’s Support department for advice and help with troubleshooting (www.colorvision.com).

Q) How do you find a color consultant?
I have included a few references in the slides. Feel free to send me e-mail requesting additional references in your geographic location. Send e-mail to: ramladi@orionac.com.

Q) How do you disable all color management/color correction in printer drivers?
Different printer drivers handle this differently. The setting may be called: No Color Management, Disable color management/color correction, No Color Adjustment, etc. If you cannot locate it easily, click on buttons and tabs labeled Advanced or Options to find the setting.

Q) Have you by any chance created a case history of a print and web color-matching project that takes a person through the steps and options you’ve provided in this presentation, but in the order they would actually need to be applied? Hearing the information this way seems a little overwhelming …
I completely agree. Case studies are the best way to explain the rationale behind a particular workflow; and most color consultants follow this approach when they conduct client training.

Q) For PDF/X-4 what does “transparency stays live” mean?
PDF/X-4 is the only PDF/X standard that supports live transparency, which includes all transparency effects, blending effects, drop shadows, etc. The PDF/X-4:2007 format saves PDF 1.6 or later files. This format preserves transparency (does not flatten it) and layers. For further reading, search the Adobe site for the White Paper titled “PDF/X files and Adobe Creative Suite 3” at http://www.adobe.com.

Q) Could you please elaborate a bit more on what should be used as the destination profile in the CS3 environment, if the file is intended for offset printing but to be soft-proofed and supplemented by a Canon laser printer hard copy proof?
This process is called “hard-proofing” or “cross-rendering of profiles”, as you are essentially creating two conversions: The first conversion is to the final destination color space (for example, US Web Coated SWOP for offset printing); and a secondary conversion from this final color space to the profile of your proofing device (for example, a custom profile for your studio inkjet). Download the white paper titled “Color Workflows for Adobe Creative Suite 3” from the Adobe site. You will find a detailed explanation of this process on pages 32-35 of this white paper.

Q) Can you suggest a good monitor calibration tool? (CRT / LCD)
See my recommendations in the Resources section of the slides.

Q) Can you recommend any specific monitor bands/models and calibration tools, more specifically for multi-display configurations on windows platforms?
All of the professional calibration packages listed in the Resources section of the slides will do this. See www.xrite.com and www.colorvision.com for details.

Q) Can you create more than one color profile in Bridge?
When you choose a Suite Color Setting in Adobe Bridge, you are actually selecting a Color Setting preset, which in turn sets up—or synchronizes—the Color Settings dialog in all the CS3 applications. This includes setting the same color profiles for each of the color modes (RGB, CMYK and Grayscale).

Q) Are your comments about using the application color management settings specific to CS3? What about Quark?
The focus of this webcast was on color management in Adobe Creative Suite 3 applications. Throughout the webcast I noted the small changes and differences between Adobe CS3 and Adobe CS2. As we were limited by time and scope, I could not cover color management settings in other applications. The books listed in the Resources section of the slides contain other helpful information.

Q) Where is the setting in CS2 Bridge?
You will find the setting called “Creative Suite Color Settings” in the Edit Menu of Adobe Bridge CS2.

Q) What’s the best way to preserve the Pantone Matching System’s stated CMYK values for spot colors? Adobe Photoshop applies its own values but the PMS CMYK values are considered standard by my printers.
In Photoshop, you will need to choose colors from the PANTONE Solid To Process library. These swatches are designed to use PANTONE CMYK values.

Q) How do I synchronize if I am not using the suite? My “Suite Color Settings” is grayed out in Bridge.
If you only have individual components of the Creative Suite, you cannot synchronize color settings. You will need to open each component, choose Edit > Color Settings and choose a Color Setting preset at the top of the dialog. This will populate the entire dialog with appropriate settings, but you’ll need to perform this step in all of the components you have purchased.

Q) How do I calibrate the scanner, and if I don’t have the expensive equipment to scan the color squares, how do I calibrate the scanner?
The profiling packages I have listed in the Resources section of the slides include the software required to calibrate your scanner. Typically, you only require software (no additional hardware) to calibrate the scanner.

Q) I work both on images for the web, and different images for print throughout my day. I’d prefer to synchronize my CS3 programs to Adobe RGB, but then what do I do to deal with the web images that must end up as sRGB? Should I soft proof as I work?
This is very much a workflow issue. I recommend that you keep the Color Setting optimized to work with Adobe RGB images for printing. When you need to save art for a web project, duplicate the image, and convert the copy to the sRGB color space (Edit > Convert to Profile). Then you can proceed to color-correct and tweak the images while in the sRGB color space, and finally save the file with the embedded sRGB color profile.