VDIS10021 Working in Digital Design - Lecture 4 - Digital Colour Management

Lecturer: Rachel Hawkins
VIRTU DESIGN INSTITUTE
WORKING IN DIGITAL DESIGN
VDIS10021
DIGITAL COLOUR
MANAGEMENT

VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 2
What is Digital Colour
Digital Colour is usually referred to as a
Colour Space, Colour Model or Colour System.
A Colour space is an abstract mathematical
model which simply describes the range of
colors as tuples (a data structure consisting of
multiple parts) of numbers, typically as 3 or 4
values or colour components (e.g. RGB, CMYK,
LAB). Simply speaking, colour space is an
elaboration of the coordinate system.
The majority of monitors adopt RGB color space because
it is a convenient color model for computer graphics
and the human visual system works in a similar way. This
includes monitors on computors, smart phones, cameras
and other similar devices. The most popular RGB color
spaces are sRGB and Adobe RGB.
An RGB monitor synthesizes colors additively by
selectively illuminating each of its pixel’s red, green, and
blue phosphor dots at varying levels of intensity. The light
from a pixel’s three phosphor dots blends together to
synthesize a single colour. In additive colour synthesis,
all hues of the visible spectrum of light are mixtures of
various proportions of one, two, or three of the primary
colours of light.
COLOUR SPACE
Available colour systems are dependent on the medium with which a designer
is working. When painting, an artist has a variety of paints to choose from, and
mixed colours are achieved through the subtractive colour method. When a
designer is utilizing the computer to generate digital media, colours are achieved
with the additive colour method.
Subtractive Colour - When we mix colours using paint, or through the printing
process, we are using the subtractive colour method. Subtractive colour mixing
means that one begins with white and ends with black; as one adds colour, the
result gets darker and tends to black. CMYK is a subtractive colour system. The
CMYK colour system is the colour system used for printing. ( Cyan, Magenta, Yellow,
Black)
Additive Colour - If we are working on a computer, the colours we see on the
screen are created with light using the additive colour method. Additive colour
mixing begins with black and ends with white; as more colour is added, the result
is lighter and turns to white. RGB is an additive colour system. The RGB colours
are light primaries and colours are created with light. Percentages of red, green,
http://en.wikipedia.org/wiki/Color_space
http://www.worqx.com/colour/color_systems.htm

Conversion/Colour translation
Colour space conversion is the translation of the representation of a colour from
one basis to another. This typically occurs in the context of converting an image
that is represented in one colour space to another colour space, the goal being
to make the translated image look as similar as possible to the original.
Working With Systems
The Visible spectrum consists of billions of colours, a monitor can display
millions, a high quality printer is only capable of producing thousands, and older
computer systems may be limited to 216 cross-platform colours. Reproducing
colour can be problematic with regard to printed, digital media, because what
we see is not what is possible to get. Although a monitor may be able to display
‘true colour’ (16,000,000 colours), millions of these colours are outside of the
spectrum available to printers. Since digital designs are generated using the RGB
colour system, colours used in those designs must be part of the CMYK spectrum
or they will not be reproduced with proper colour rendering. Working within the
CMYK colour system, or choosing colours from Pantone©
palettes insures proper
colour rendering.
Indexed colour
Indexed colour is a technique to manage digital
images’ colours in a limited fashion, in order to save
computer memory and file storage, while speeding
up display refresh and file transfers. It is a form of
vector quantization compression. This images is a
256 colours.
CIELAB and CIE XYZ
CIELAB and CIE XYZ are similar colour models designed to approximate human
vision. Because these colour models include so many colours, they are both used
when translating from one colour model, such as RGB, to another, such as CMYK.
These are referred to as profile connection spaces (PCS). For instance, Photoshop
uses CIELAB as a reference colour space when it converts from one RGB profile
to another RGB colour space. Photoshop uses CIE XYZ when it converts from
the RGB colour mode to the CMYK colour mode. It’s possible to use the CIELAB
colour space for image editing in Photoshop, although few choose it for that
purpose since it is not as easy to understand as the other colour models.
http://en.wikipedia.org/wiki/Color_space
http://www.worqx.com/colour/color_systems.htm
L*a*b* colour uses three channels to
represent the theoretical range of human vision:
Lightness (L*), and two colour channels of opposing
values of red-green (a*) and yellow-blue (b*). L*a*b*
colour is different to RGB and CMYK in that it is both
a colour model and a colour space. It is also a device-
independent colour space, meaning that its colour
values are absolute and not tied to any particular piece
of hardware.
http://dpbestflow.org/colour/color-space-and-color-profiles

What is Colour Management?
Colour Management is the process of tuning
your cameras, scanners, computers, monitors,
software and printers into a universal standard
for colour so that you can ensure accuracy when
reproducing images.
Color management is not about making photos
look better or getting the best color out of a
particular device. Color management aligns an
entire system of cameras, displays and printers so
that the different color spaces (colors) produced
are as close as possible. For example, factors such
as the color of printing paper, the lighting in the
room and lighting in the original photo can all
affect the way colors appear.
Color Management – is a way to set up your
environment and process (called a workflow)
to allow all these devices to speak the same
language so you can get accurate and predictable
results. The ultimate goal is to match the colors
of the image displayed on your monitor with the
ones produced by your printer.
Why colour manage? Good colour management will improve the
accuracy of colour reproduction between digital input, monitor and digital
output. Monitors and printers all have their own colour idiosyncrasies and
it is impossible to make them a perfect match. It is however possible to
convert the color data of each device via a common color space so that
the various colours can match more closely. This is the basic principle of
color management. The fact is all your devices – scanners, digital cameras,
monitors, and printers – reproduce colors differently. There are even
differences in the way individual printers of the same model manage color.
Many variables affect color, including your ink and paper type.
What is involved in colour management? Using special hardware and
software you can program your digital devices to perform to standards
that you determine. This process is the creation of ‘Profiles’. The resulting
profiles are then slotted into your studios’ workflow. Once you have
installed a profile you can then determine the devices performance based
on that profile. Color management can be performed by following a set of
rules to correctly handle the data. Color management will not only improve
the end quality but also bring other major benefits to each work step.
In addition to colour profiles you need to calibrate your devices so the
colour display is as consistent as possible across all of them.
http://suitecreative.com/studio-services/colour-management/

Simply, color management provides a unified environment for handling colors where a common color
reference is used at each step of production, from photography to design, plate making, and printing.
From the Eizo Color Management Handbook

Colour management fundamentals
Putting in place a good colour workflow ensures the best possible
results for your digital images. Colour workflow is required regardless
of if the images will end up in print or on the web. Consistent and
accurate results save both time and money for you and your clients.
There are three fundermental stages in colour management:
If we focus in on each of these areas there are several steps that can
be taken to ensure the workflow addresses all colour influences in
the journey between input and output.
Step 1: Light Sources - The colour of an image at the capture stage is
heavily influenced by the environmental light sources like the sun,
light bulbs or a camera flash. Being aware of these influences and
controlling them will improve colour results for input.
Step 2: Input - Capturing and image through a camera or scanner can
be influenced by the type of lens and scanner type. Creating a
device specific colour profile will mean that you can predict what
colour will be captured by the device.
Step 3: Profiling - Most digital devices have ‘dependent colour systems’.
This means that each devices colour differs depending on the
settings of that device. It is therefore important to profile each
device and install the profiles to result in device independent
colour with consistency across the board.
Step 4: Process - Once your monitor has been profiled you can start
optimizing your images. You will need to consider the ambient
light in your environment and how that effects the way you view
the colour on your screen.
Step 5: Output - Again you will need to profile your printer so that it
works in-line with your other devices. Printers use a different
colour space than your screen process so there will be a
conversion of colour spaces. The colour on your print should
match your screen colour and intensity. If using a commercial
printer consult them on colour management and request a
printed proof. The printing substrate will also affect the colour.
Gloss, matt, coated and recycled papers all absorb inks/toners
differently which alters the appearance of colour. Lastly, for web
images consider that viewing colour on your smartphone and in
different browsers may affect the colour output.

Watch this online tutorial on Colour Management
EP09: Colour Management - Back to Basics by Learning DSLR
www.youtube.com/embed/gILWsnHupdE

What is a Colour Profile
A color profile is a numerical model of a color
space. Operating systems and programs need
to have access to a profile that describes the
meaning of the color values in order to interpret
the color correctly. Proper color management
requires all image files to have an embedded
profile. The International Color Consortium (ICC)
has a set of standards that are attached to colour
profiles to standardise colour use.
There are two types of profiles: matrix-based and table-based. Matrix-
based profiles use mathematical formulas to describe the three-
dimensional color space. They can be relatively small. They are most
appropriate for working spaces and for use as embedded profiles.
Table-based profiles, as the name implies, use a large table of
sample points – called a Look Up Table or LUT – to define the three-
dimensional color space. These profiles are more customizable, and
are therefore more useful when translating color information from
one space to another, or in describing the color characteristics of a
particular device. Because they rely on many data points, they are
much larger.
Device-dependent and device-independent color spaces
Some color profiles are purely theoretical and describe a way to turn
color into numbers. These are device independent. Some profiles are
made to compensate for the color signature of a device like a printer
or monitor. These are known as device-dependent color spaces. When
profiling your devices - cameras, scanners and printers you will most
commonly use device independent profiles.
International Color Consortium (ICC)
The purpose of the ICC is to promote the use and adoption of open,
vendor-neutral, cross-platform color management systems. The
ICC encourages vendors to support the ICC profile format and the
workflows required to use ICC profiles.
Read more about the ICC at: www.color.org
With the exception of monitor profiles, all profiles need to be applied
to images using a color managed application. Profiles are applied in
graphics and imaging applications that are ICC compliant, such as
Adobe Photoshop, QuarkXPress, Adobe Illustrator and Corel.
COMMONLY USED PROFILES:
• Adobe RGB (1998) • US Web Coated (SWOP) v2
• sRGB • Coated FOGRA27 (ISO 12647-2:2004)
• ColorMatch RGB • Coated FOGRA39 (ISO 12647-2:2004)
• CIELAB (L*a*b*) or CIEXYZ • Japan Color 2001 Coated
EXAMPLES OF ICC STANDARDS:
• ISO/IEC 10918-1: Coding of still pictures - JPEG
• ISO 12639:2004 Graphic technology — Prepress digital data exchange —
Tagged Image File Format for Image Technology (TIFF/IT) (ISO TC130)
• ISO/DIS 12647-1: Graphic Technology - Process control for the production
of halftone color separations, proof and production prints – part 1:
Parameters and measurement methods (Revision under way in ISO TC130)
• ISO/IEC 15948: Portable Network Graphics file format (jointly defined with
W3C – see www.libpng.org/pub/png/spec/iso)
• ISO/IEC15444: Coding of still pictures - JPEG2000 (ISO JTC 1/SC 2)
• ISO 22028-1:2004 Photography and Graphic Technology – Extended color
encodings for digital image storage, manipulation and interchange – Part
1: Architecture and requirements (ISO TC42)
• ISO 12052 / NEMA PS3 Digital Imaging and Communications in Medicine
(DICOM)

Setting up profiles in Photoshop
In order to get Photoshop to colour manage optimally, you’ll want to check a few
options that are part of the Colour Settings dialogue (available in the Edit menu.)
A good setup is shown below.
FIGURE 5 Make sure to set Photoshop’s colour settings to warn you whenever a profile is missing.
If you work mostly in 8 bit, set your RGB space to Adobe RGB. If you often work in 16 bit, you may
want to choose ProPhoto RGB.
HOW DOES THE PROFILE GET THERE?
Profiles are created and attached to files in a number of ways:
When a JPEG file is created in a digital camera, a profile is usually attached to
it. Many cameras give you a choice between sRGB and Adobe RGB. When a
raw file is created in a digital camera, it has no inherent profile. The profile gets
applied to the raw file as it is opened by a raw converter into a rendered file
type, such as TIFF, JPEG or PSD. Scanners have the option of attaching a profile
when the image is scanned. Do so. If you create a brand new file in Photoshop,
it will be created in the working space that is specified in the Photoshop Colour
Settings, shown below. Make sure the Embed Profile checkbox is selected in the
Save dialog. When a file with no embedded profile is opened in Photoshop, you
should determine the “best” profile to use then embed that profile when you
close the file.
FIGURE 3 When you save a file in Photoshop, you should always embed the profile so the next time
a program opens it, the colour can be rendered correctly.
http://dpbestflow.org/colour/color-space-and-color-profiles

WHAT DO I DO IF THERE’S NO PROFILE?
If an image has no profile, and you have Photoshop set up correctly, you should
get a warning that looks like that in Figure 4.
• You can assign various profiles, and see the effect on the image.
• You should NOT choose “Don’t Colour Manage”. That command should really
be named “Colour Manage Incorrectly”.
• Make sure you embed the profile when you save this file so that it will be colour
managed in the future.
FIGURE 4 If an image does not have a profile, you should assign one when it gets opened in
Photoshop. Open the file, with a profile – sRGB is a good guess. If it does not look right, then try
other profiles until you find the best match.
ASSIGNING PROFILES TO UNPROFILED IMAGE
If your image does not have an embedded profile,
you will need to assign one on the way in to
Photoshop. You’ll need to experiment with various
profiles until you find one that makes the image
look its best. As a general rule of thumb, most
RGB images that don’t have an embedded profile
look best when assigned an sRGB profile. Many
digital point-and-shoot cameras capture images in sRGB colour space but don’t
automatically embed the profile in the image file. Once you have assigned a
profile and saved the image file with the profile embedded, the image file can be
colour managed. What this video to understand the process.
http://vimeo.com/7539576
HOW DO I KNOW WHAT PROFILE IS ATTACHED TO THE IMAGE?
An easy way to determine the profile of an image is to open it in Photoshop and
view the information at the bottom left of the Photoshop window as shown in
Figure 5. If an image doesn’t have an embedded profile, this will report that the
image is untagged.
FIGURE 5 The readout at the bottom of the Photoshop window shows you several kinds of
information, including the colour profile. If it’s not showing, click the triangle flyout menu then
choose Show>Document Profile.
http://dpbestflow.org/colour/color-management-overview#cmyk

HOW TO CALIBRATE YOUR MONITOR FOR THE
BEST VIEWING EXPERIENCE POSSIBLE
By Brandon Widder - May 19, 2014
Read more: http://www.digitaltrends.com/computing/how-to-calibrate-your-monitor/#ixzz37nFEeGgC
Regardless of if you’re a graphic designer, a digital photographer, or just your
Average Joe, image quality and accuracy are always important. Proper monitor
calibration will ensure that your colours and black levels are true, and will ensure
that your monitor is producing the best results for editing and viewing images
and videos. Plus, it’ll be easier on your eyes! You could take your monitor to a
professional to have it done, but why not do it yourself and save the money? The
standard calibration process is relatively quick, hassle-free, and will help guarantee
you’re viewing content the way it is meant to be seen.
Here’s our guide to calibrating your monitor to help make sure colours are
represented accurately at all times. We can’t guarantee you will produce results as
good as the pros, but even these basic calibration procedures will help outshine
your monitor’s factory presets.
Before you begin
You’re going to want to do several things before you begin the calibration process.
Turn on your monitor at least a half hour before calibration so the monitor can
warm up to its normal operating temperature and conditions.
Set your monitor’s resolution to its native, default screen resolution.
Make sure your calibrating in a room with moderate ambient lighting. The room
doesn’t need to be pitch black, but you don’t want the sharp glares and colour
casts resulting from direct light.
Familiarize yourself with your monitor’s display controls. They may be located on
the monitor itself, on the keyboard, or within the operating system control panel.
Calibrate using built-in utilities
Both Mac OS X and Windows have built-in display calibration tools to help guide
you through the process, step-by-step, if you are new to the calibration process.
The free tools should be the first stop if you’re merely a casual image junkie or
working on a tight budget. They are extremely handy, quick, and easy to locate on
your operating system. Keep in mind the adjustments will be limited by the display
type and model.
The assorted terms (i.e. gamma, white point, etc.) may seem a bit daunting at first
glance, but each utility provides a relatively simple explanation of what they all
mean. Realistically though, you don’t need to know the ins-and-outs of the jargon
in order to calibrate your monitor.
Windows
In Windows, the display calibration tool is located in the Display Control Panel
(found under “Appearance” in most versions of the OS). If you are having trouble
finding it, try entering “calibrate” in the search bar to scan through your computer’s
various folders and files. The results should show an option to calibrate your
computer’s monitor. Click it.
Window’s thorough instructions will walk you through the calibration process once
you’ve found and opened the software utility. Just follow the on-screen instructions
to choose your display’s gamma, brightness, contrast, and colour balance settings.
A sample image for you to match will accompany many of the settings. Simply
make adjustments to mimic the sample as close as possible. Once the calibration
wizard is complete, make sure to choose the “current calibration,” or return to the
previous calibration if you are unsatisfied with the results.

Mac OS X
In Mac OS X, the Display Calibrator Assistant is located in the system preferences
under the “Displays” tab. If you are having trouble finding it, try entering
“calibrate” in Spotlight to scan through your computer’s various folders and files.
The result should show an option to open the utility in the system preferences
panel.
Mac’s step-by-step instructions will walk you through the calibration process
once you’ve found and opened the software utility. Just follow the on-screen
instructions to choose your display’s brightness, contrast, native gamma, target
gamma, and target white point. Click “Continue” and save the calibration profile
once you finish with all of the adjustments.
Calibrate using Web software
There are a handful of Web-based calibration tools that help you manually adjust
your monitor settings, essentially ditching the automation in favor of a bit more
customization and control.
Display Calibration: Display Calibration will let you view several test patterns and
samples of what a properly calibrated screen will look like. Although the site isn’t
the most aesthetically pleasing, and it’s rarely updated, the on-screen calibration
tools for brightness, contrast, colour depth, and screen resolution can prove
useful if you can’t access any built-in calibration tools.
Photo Friday: Photo Friday is a simple webpage to help you calibrate the
brightness and contrast of your screen. Just adjust the monitor settings until the
transition of tones from black to white are clearly distinguishable on the screen.
Online Monitor Test: Online Monitor Test is one of the better calibration websites
out there. There are a slew of interactive tests to help you adjust your monitor’s
screen colours and to see if your monitor can produce smooth gradients. There
are also tools for pinpointing damaged pixels and backlight bleeding, making the
website one of the more full-fledged Web-based calibration tools to date.
The Logam LCD Monitor Test Pages: The Logam LCD Monitor Test Pages are
handy, both online and offline. The website not only allows you to adjust various
things such contrast and response time, but it also allows you to download the
images as a 120KB zip file so you can check any monitor in-store that your are
thinking about purchasing.
Calibrate using calorimeter hardware
The built-in calibration utilities and Web-based software are great for a quick fix,
but they are inherently flawed by one thing – you. These calibration processes
rely on an individual’s perception of colour, and are therefore open to subjectivity
based on how you see different colours. Purchasing a calibrating device is one
way to bypass this dilemma and better ensure your monitor is calibrated to its
true potential. You will need to invest some serious money if you’re looking for
greater precision and control, but there are still some affordable alternatives that
work well on a tight budget and will help obtain colour consistency across all your
monitors.
If you’re looking to pick up a calibration tool, we recommend using the
Spyder4Express ($120), the Spyder4Pro ($169), or the Spyder4Elite ($250). All
three devices feature a full-spectrum seven-color sensor to help accurately
characterize a variety of wide gamut and normal displays, but the more expensive
versions are better equipped for the seasoned calibrator and are packed with
more features. If you do decide to purchase one, all you have to do is attach the
device to the screen, connect it to a USB port, and run the included calibration
software. The automated software will walk you through the rest of the process.

X-Rite’s ColorMunki series ($100 to $500) is also a good alternative. Like the Spyder
series, all three devices come bundled with automated calibration software with the
more expensive versions touting more features and greater customization.
The bottom line
Calibrating your monitor is a simple task, and one that benefits you on many fronts.
Aside from more accurate looking images and less strain on your eyes, calibrating
your monitor will also help ensure your prints match your display. Plus, basic monitor
calibration can be done completely free of charge or for a small fee should you
decide you want a more professional setup. There’s no reason you have to stick with
the settings your monitor came with.
Read more: http://www.digitaltrends.com/computing/how-to-calibrate-your-monitor/2/#ixzz37sVkdzbS

Convert, Proof & Print
CMYK CONVERSION BASICS
When you convert to CMYK, it’s important to understand the following points
and keep them in mind as you examine the conversion that you produce.
• You are transforming between color models.
• You will be mapping colors to a smaller gamut space.
• Your goal is to preserve as much of the color appearance as possible in the
transformation.
• You have more tools to control the nature of the color conversion, such
as different rendering intents, because RGB to CMYK conversions use the
more sophisticated LUT based profiles.
SOFTPROOFING WORKFLOW FOR CMYK CONVERSIONS
Here’s a basic list of steps we recommend for the creation of a CMYK
conversion. The movie will demonstrate each of these and show how using
the options can help make a better final image. Additional information on
using Photoshop tools to improve CMYK conversions can be found in Rick
McCleary’s book or the Digital Photography Best Practices and Workflow
Handbook.
• Make a duplicate copy of your image file. This will serve as your RGB
reference file. Arrange the reference file and the target file side-by-side on
your monitor.
• Select main file. Open Soft Proofing and select the destination space (the
CMYK target space).
• Confirm that the Black Point Compensation and Black Ink boxes are
checked.
• Toggle rendering intents to compare the reference file to see which
produces the best conversion.
• If problem areas show up in conversion, check the gamut warning.
• If adjustment is needed, create an HSL adjustment layer called CMYK
conversion.
• First try to adjust Saturation for affected colors.
• Adjust Hue if more work is necessary.
• Once you are happy with the soft proofed target file, it is ready for
conversion to CMYK. If you plan to deliver sized and sharpened CMYK,
you’ll need to do the sharpening workflow step before actually converting
to CMYK.
Watch a video on this process at http://vimeo.com/7539338
SHARPENING FOR OUTPUT
• If you know what size the image will be printed, resize the image before
sharpening.
• If you don’t know what the final size is, you’ll have to choose between
sharpening generically or not sharpening, then clearly communicating to
the image receiver that the file has not been sharpened.
CMYK GUIDE PRINTS
CMYK guide prints can be a very useful tool especially when the printer is
unknown. These are easily produced on desktop printers. The main criteria is
that you have a good profile for the printer/paper combination. You should
also make the print from either the CMYK proof space (RGB file with the
appropriate CMYK profile set as the destination space) or from the CMYK
derivative file. Doing either will restrict the colors to the target CMYK color
gamut which gives a realistic preview of how the image file will print on the
offset press. Using the printer driver will give a good visual match; using
a Raster Image Processor will get you even closer, especially if the RIP has
a linearization function. Linearization calibrates the printer and makes the
profile even more accurate. RIP-driven ink-jets are, in fact, what printers use
nowadays for making proofs.
DELIVERING CMYK FILES
It is ideal to deliver CMYK files with their accompanying CMYK guide
prints. However, electronic delivery of final files is becoming more and
more common due to speed, convenience and cost considerations. For
this reason, we recommend that you deliver CMYK files with an embedded
CMYK profile. The printer may well convert your CMYK profile to his CMYK
profile, or he may need to alter certain variables such as the total ink limits to
match the paper. If he has a known starting point of an embedded profile, his
job will be easier and your chances of seeing correct color will increase. For
those photographers who are told to deliver RGB files only, one work-around
is to actually convert to CMYK — allowing you to control the process and

color — and then convert back to RGB. When the printer gets those files and
converts them to CMYK, you will have a better chance of having your images
appear as intended.
THE REST OF THE STORY
Offset presses are different to other printing devices in that they have
much greater calibration control at the point of printing. Newer presses are
controlled by computers that can adjust the mix of inks at many points across
the press sheet with a high degree of accuracy. Just as we gray-balance
monitors and gray-balance cameras, good press operators gray-balance
their presses. The gray-balancing methodology outlined in the GRACoL/
SWOP specifications has the huge benefit of making specific CMYK profiles
largely irrelevant except in the unusual case of non-standard ink colors.
Three profiles, one for sheetfed presses and two for web presses, cover
the range of papers from premium coated #1 sheets to wood pulp based
#5 sheets. Adobe’s version of these three profiles ships with CS4. Or if you
prefer, the GRACoL/SWOP versions can be downloaded from the SWOP.org
website. The GRACoL Coated profiles can be used in place of U.S. Sheetfed
Coated and The Web Coated SWOP 2006 Grade 3 or Grade 5 paper profiles
can replace the U.S. Web Coated v2 profiles that shipped with earlier
versions of Photoshop up to CS3.
We have discovered that even non color-managed print shops print better
from the new GRACoL or SWOP profiles (as long as they don’t assign a
different profile to the image files). If you are provided with a specific CMYK
profile, by all means use it; however, don’t assume that just because the
printer is unknown you are unable to deliver good CMYK files. An additional
benefit of the GRACoL/SWOP methodology and the accompanying CMYK
profiles is that they maximize the CMYK gamut, getting the most color out
of the press and making conversion from RGB easier, since less color gets
clipped. Although the new profiles are all formulated for coated stock and
have correspondingly high Total Ink Limits, most printers can easily bring
those values down for uncoated stock via Photoshop, a device link profile or
by means of the RIP.
Article from dpBestflow
Commercial Printing written by Richard Anderson
LAST UPDATED FEBRUARY 27, 2012
http://dpbestflow.org/node/268

VDIS10021 Working in Digital Design - Lecture 4 - Digital Colour Management

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