Adobe 65023809 Printing Guide - Page 15
U.S. Sheetfed CMYK working space by selecting U.S. Sheetfed Coated or Uncoated v2 from
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ers and toner-based digital presses) are capable of rendering a wider gamut than is possible with offset inks. Consequently, in such an environment, it is beneficial to maintain maximum color possibilities by not converting to CMYK prematurely. Using RGB also makes it easier for you to move the project from one press to another while keeping the color looking consistent among your own equipment, deferring the conversion to CMYK until the latest point possible. Managing color needs for a customer is a comprehensive job. Start by encouraging customers to at least calibrate their monitors using Adobe Gamma (Windows) or the Color System Preference under Displays (Mac OS). This provides them with a very basic system profile to be used in color management. For more reliable profiling, encourage them to obtain a monitor profiling device and use it at recommended intervals to maintain reliable on screen display. Don't share customized monitor profiles; each monitor needs a profile specifically generated for that particular monitor In many cases, choosing North America Prepress 2 as your color setting will be a sufficient start, but you can customize settings as you develop more specific RGB-to-CMYK conversions. For example, North America Prepress 2 uses a CMYK conversion that is based on Specification for Web Offset Publications (SWOP), and although it does work for sheetfed printing, it's not always the best choice. A more appropriate conversion for a sheetfed operation might be to choose the U.S. Sheetfed CMYK working space by selecting U.S. Sheetfed Coated (or Uncoated) v2 from the CMYK menu in the Color Settings dialog box. If you want to take more control, you can create a custom CMYK conversion. From the same CMYK working space menu, choose Custom CMYK. In the Custom CMYK color settings dialog box, enter the values that will result in a CMYK conversion that best meets your needs. You may find it easiest to establish your settings in the Photoshop Color Settings dialog box (Edit > Color Settings). Keep in mind that, for optimum results, you should fingerprint your presses and proofing systems, and use custom profiles. Once you have established a color setting in Photoshop, save and name it by clicking the Save button in the Color Settings dialog box. The settings will be placed in the correct folder so that the entire Creative Suite can access them. However, you can save them to another location as a way to distribute them to others. The file you create, with the extension .csf, contains the settings you share with other users in your shop or with customers. To import color settings, click the Load button in the Edit > Color Settings dialog box in Illustrator, InDesign, or Photoshop. Navigate to the .csf file you want to load and select it. Once the color setting is imported into one of the applications, you will need to synchronize settings so that the other components can access them. The easiest way to do that is to use Adobe Bridge CS4. Here's how: 1. Launch Bridge. 2. Choose Edit > Creative Suite Color Settings. 3. From the list, choose your color settings by name. If you have not already loaded a supplied color setting, you can browse for it by clicking the Show Saved Color Settings Files and then navigating to the desired settings file. 4. Click Apply. Using Bridge to Synchronize Color Settings Adobe Bridge displays a red "pie" section to indicate that color settings are not synchronized across components that use color management (left). To synchronize settings in all applications, select the proper color setting from the list of Suite Color Settings, or browse to import a supplied setting by clicking the Show Saved Color Settings Files button. Click Apply. Bridge then displays an intact color "pie" to indicate that color settings are synchronized (right). Adobe Creative Suite 4 Printing Guide 13