Eye-One

COLOR

Cook Book
Soft-proofing Settings Adobe Software

Eye-One

COLOR

Eye-One

COLOR

BPWNZXP

EYE ONE

The Eye-One Color Cookbook is a guide to monitor soft-proong and hardcopy proof-printing, designed to help the studio photographer and graphical designer put industry standard International Color Consortium (ICC) proles to use in publishing application software and Adobe PostScript workows. Building an ICC prole for a hardware conguration is usually simple and successful, if you take care to measure the color test chart correctly. But applying your ICC proles across application software and PostScript printing systems may be complex, because application software offers many levels of support for ICC proles, and user interfaces apply many terms in an effort to describe similar ICC functionality. Therefore, this guide steps you through user interface functions that make application software hook into your ICC proles in ways that reproduce the same colors, to the extent your application software allows.

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Viewing the Eye-One Color Cookbook The pages of this PDF 1.3 document are designed for viewing in Acrobat 4.0, 4.0.5 and 5.0. By default these versions of the software display PDF objects using your monitors full white to black lightness range. But a monitor reproduces brighter whites and darker blacks than standard print production processes. Because Acrobats default display mode does not scale the monitor preview down to the lightness range of the printed page, the illustrations in the Eye-One Color Cookbook have been manually put through the ICC conversions explained in the text, leaving only the nal step into the color space of your monitor that occurs when you open the document. Note that if you view the document in Acrobat 5, the Proof Colors, Simulate Ink Black and Simulate Paper White commands should not be used as these conversions are already built into the illustrations. Eye-One Color Cookbook self-study support Mangues, Art de la table, Groseilles, Fraise and Champagne copyright Neil Snape. To study the colors of raster images and swatches in the Eye-One Color Cookbook, you may use the Acrobat Touchup Tool to open the low resolution PDF raster objects in Photoshop. For self-study, sample high resolution reference images, CMYK simulation and output proles as well as QuickTime 5 Mac OS and Windows color space movies may be downloaded from www.i1color.com. Producing the Eye-One Color Cookbook For smallest le size this PDF 1.3 document was built using Adobe InDesign 1.5.2 and Adobe Acrobat Distiller 4.0.5. Placed objects and InDesign colors were dened as Lab and output as PostScript using the Edit > Application Color Settings > Use Device Independent Color when Printing command in InDesign. PostScript Level 2, PostScript 3 and Distiller sup-

port Lab input, but not ICC proles. InDesign can also export PDF 1.3 directly using its own internal Adobe PDF libraries. Because PDF 1.3 supports ICC proles, bypassing PostScript and Acrobat Distiller also lets InDesign 1.5.2 export placed device dependent RGB and CMYK objects with their embedded ICC proles intact for color specication, and device independent Lab objects as Lab.
Printing the Eye-One Color Cookbook Acrobat 4, Acrobat 4.0.5 and Acrobat 5 print PDF 1.3 in two ways. By default the document prints as PostScript to the Adobe PostScript Raster Image Processor (RIP) in your studio color printer. For this option, open the PostScript driver dialog, and choose Adobe Acrobat > Print Method > PostScript. Should printing problems occur Acrobat can rasterize the PDF pages on your computer instead of sending PostScript for the printer to rasterize. For this compatibility option, choose Adobe Acrobat > Print Method > Print as Image. Acknowledgements For helping to show you how ICC color management may be put to practical use in application software, Henrik Holmegaard thanks:

Peter Constable, Adobe color workow expert. Dr. Friedrich Dolezalek, FOGRA, institute manager and editor of several international printing standards. Dietmar Fuchs, GretagMacbeth, technical product manager. Johan Lammens, color imaging architect and Hewlett-Packard representative to the ICC. Liane May, GretagMacbeth, product manager. Neil Snape, Paris fashion photographer, whose art in overalls illustrates this color guide. Steve Upton, CHROMiX, who implemented 3D QuickTime support in ColorThink for the movies in this guide.

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The Eye-One Color Cookbook Device dependence Device independence Device color space Device prole Prole connection space Device link prole Modular color space conversion Asymmetric color space conversion Printer rendering intents Black point compensation Comparing measured colors Recommended soft-proong settings
Eye-One ICC Scanner Proles

EYE ONE


Adobe Photoshop 6.0.1 Linking to the monitor prole One-step soft-proong Adobe Photoshop 5.5 Linking to the monitor prole Two-step soft-proong Adobe InDesign 1.5.2 Linking to the monitor prole Two-step soft-proong File formats for soft-proong Adobe Illustrator 9.0.2 Linking to the monitor prole Soft-proong limitations Adobe Acrobat 5.0 Linking to the monitor prole Soft-proong limitations 27 27 30 47 47 49 52 52 53 54 58 58 59 60
60 61

5
5 7 7 7 8 9 9 10 11 11 12 13 15 15 16 17 17 17 18 19 20 21 23 24

Proling color positive materials Proling non-ICC scanning systems

Eye-One ICC Monitor Proles

The RGB viewing space The RGB working space On-screen color consistency Scanner space and RGB working space The monitor-size RGB working space The all-purpose RGB working space Mac OS monitor proles Matching black and white points

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Global recipes and local ingredients Managing color is just like cooking, the secret lies in using the right ingredients for your recipes. For instance, the familiar CMYK swatchbook gives a recipe for each swatch, so much cyan, so much magenta, so much yellow and so much black. The CMYK swatchbook describes ink percentages, but it does not tell you what color the printed inks are. In other words the recipes assume that ingredients are globally the same. If you measure the colors of pure ink tank printed swatches, they are quite different. This is equally true for ten printing systems using ten different ink, paper and raster congurations, and for the same printing system using ten different ink, paper and raster congurations. So it is not only the make and model of your hardware which cause it to form other colors, but how the hardware is congured, too. To see the real colors of pure ink tank C 100%, M 100%, Y 100% and K 100% for an inkjet and a press each congured with two different inks and papers, turn to the ink sets illustrated overleaf. So will CMYK swatchbook recipes never reproduce the colors you expect? The colors of your production print will look the same as they do in the swatchbook, if the recipes are applied to the original ingredients, as all recipes should. Your intended press should use the same inks as the press that printed the swatchbook. It should use the same paper, and the same ink balance, too. With other congurations, you dont know what colors your recipes reproduce.

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This is what is meant by saying that CMYK is device dependent. RGB is device dependent, too. In the culinary kitchen you adapt recipes, if the local ingredients are different. This way the avours stay the same, within the limitations of the locally farmed ingredients on sale in shops. In the color kitchen you adapt CMYK recipes, if the colors of printed inks are different. The result is that the color stays the same, within the limitations of the colors local hardware congurations form. Your Eye-One instrument is focussed on the fact that hardware congurations are up to their own colorful local devices. The instrument measures test charts with known CMYK and RGB recipes, both the primaries C 100% M 0% Y 0% K 0% and R 255 G 0 B 0, and secondary combinations of CMYK or RGB. The measured colors are then reported to the Eye-One software. For a printing system, you output the Eye-One printer test chart, and read the colors reproduced by the CMYK recipes with the Eye-One instrument into the Eye-One software. The software knows the CMYK recipes of the test chart which it compares with the measured colors. For a scanner system, you read the colors of the Eye-One scanner test chart with the Eye-One instrument into the Eye-One software, and open the RGB scan of the test chart in the Eye-One software, too. The software itself reads the RGB recipes of the scan which it compares with the colors you measured on the scanner test chart.

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Cyan spectral curve ISO OFFSET1

Magenta spectral curve ISO OFFSET1

Yellow spectral curve ISO OFFSET1

Black spectral curve ISO OFFSET1

TR001 SWOP offset

ISO OFFSET1

HP 5000PS dye inks

HP 5000PS pigment inks

1 L 56 a 38 b 40

L 57 a 38 b 50

L 51 a 47 b 51

1 L 47 a 33 b 61

2 L 47 a 66 b 4

L 48 a 74 b 6

2 L 39 a 80 b 4

2 L 45 a 81 b 11

L 84 a 6 b 85

L 88 a 5 b 95

3 L 87 a 0 b 109

3 L 92 a 12 b 97

L 19 a 0 b 1

L 19 a 0 b 1

4 L2a9b2

4 L 3 a 0 b 1

ICC proles illustrated SWOP TR001 CHROMiX ltGCR320.icc, www.prolecentral.com; ISO OFFSET1, www.i1color.com; HP5000_PhotoImagSatinMaxQ.icm and HP5000_UVDuraImageGlossMaxQ.icc, www.hp.com/designjet.

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For a monitor system, you place the Eye-One instrument on the screen and read the RGB recipes the Eye-One software displays. The software knows the RGB recipes which it compares with the measured colors. When you measure a color, the Eye-One instrument reports the spectral wavelengths of the light reected back from the printed media or emitted by the monitor, and the Eye-One software translates the spectral data into colors as we see them. Spectral wavelengths graphed by the EyeOne software for single patches are illustrated above the ink sets on the previous page. The translation from spectral wavelengths results in CIE Lab (or XYZ) color specications which are device independent. Using the measured colors of the test chart as guide, the Eye-One software builds a model of all the colors your hardware conguration is able to form, which is also called the device color gamut or the device color space in plain language. This model occupies a region of the CIE Lab (or XYZ) connection space which every ICC prole carries within itself. To shape the device color space the Eye-One software plots the colors you measured on the test chart into the right region of the connection space. Using interpolation the Eye-One software then completes the model and writes a le that automatically calculates the right RGB or CMYK recipes for any CIE Lab (or XYZ) color you wish to reproduce on the hardware. More accurate CMYK or RGB recipes can be derived from the le the software writes than there are measured patches on the RGB or CMYK test chart. The reason is that in-between colors in the device color space may be calculated with the le the Eye-One software writes. If this were not done, you would have to measure thousands and thousands of patches for each hardware conguration. Instead the colors you measure on the patches of the chart are used to build the model mathematically.

The le format your Eye-One software writes is called an ICC device prole. A prole holds the model of the device color space, including the real colors your hardware conguration is able to form, and the RGB or CMYK recipes that reproduce any of these real colors. The International Color Consortium (ICC) has chosen the term prole because the le format dened by the ICC specication lets you measure the color space of each hardware conguration, and measured color spaces are as unique in size and shape as proles of the people you portray photographically.
Note: The recipes in your RGB scanner and CMYK printer test charts should remain raw. If the recipes are converted, for instance with color management, the Eye-One software no longer knows what RGB or CMYK recipes reproduce the colors measured by your Eye-One instrument. Note: Your monitor, scanner or printer conguration should continue to behave as it did when you displayed, scanned or printed the Eye-One test chart. If not, the ICC prole will not calculate the right RGB or CMYK recipes to send the hardware. For stability use calibration which changes the behaviour of your hardware towards a desired state. Thus calibration is different from your ICC color management proles which only change the RGB or CMYK recipes that reproduce a color, when the hardware conguration is already in the desired state. If your hardware does not have calibration, and you cant reset its behaviour to the desired state recorded by the measurements in the ICC prole, use your Eye-One instrument and software to reprole the conguration frequently. This way you keep the color management system in step with the drifting behaviour of your hardware, but for best results you should work with hardware that is fully calibratable.

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Patch L6 CMYK 0% White point L 96 a1 b 3

Patch J6 C 100% L 48 a 33 b 57

Patch H17 Y 100% L 87 a7 b 107

Patch J17 M 100% L 38 a 74 b8 b * channel a * channel

Patch G17 CMYK 400% Black point L7 a2 b 1

Color space and connection space A prole describes the CIE Lab (or XYZ) colors a hardware conguration is able to form, plotted as a color space within the connection space, and the CMYK or RGB recipes that reproduce any of these colors on the hardware conguration. As device independent ICC connection space, Lab (and XYZ) represents the colors formed by any three channel RGB or four channel CMYK hardware conguration. Viewed in Lab a CMYK space and an RGB space thus only differ in their size and

shape. Lab is a color model you also nd in the color pickers of Photoshop 6.0.1, InDesign 1.5.2 and Eye-One Share 1.0, for instance. The ICC standard denes CIE Lab as a 3D cube whose vertical L lightness channel has 100 steps, an a* channel with 256 steps from 128 green to 127 red, and a b* channel with 256 steps from 128 blue to 127 yellow.
Wireframe: ICC Lab 3D cube. Solid: HP5000PS, MPA J35 paper, HP dye inks.

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Modular color space conversion Each ICC device prole knows how to convert between its RGB or CMYK recipes and the CIE Lab (or XYZ) connection space, but it does not know which other device proles it will be paired with for color space conversions. For instance, the RGB scanner prole only sees the connection space, and the connection space is all the CMYK studio printer prole sees, too. Device proles are completely modular, letting you pair RGB1 with CMYK1, CMYK2, CMYK3 CMYKn just by changing the CMYK prole you wish to convert into. This modularity lets you create a digital RGB original once, preserving the lightness and saturation of the original for presentation purposes, and convert into any number of CMYK spaces on demand. Modularity not only preserves your digital originals, but also makes it easy to integrate new studio hardware congurations into the color managed workow, and to integrate your own workow with external ICC workows. The in-house workow may be extended at any time by building device proles for new studio scanner, monitor and printer congurations. And integrating your ICC studio workow with a print service is as simple as loading the prole for the printing system you wish to simulate into the system ICC proles folder. The ICC standard also supports device link proles which are not modular but join two or more color spaces permanently, without the benet of an intermediate connection space. Thus for every hardware conguration you add to the studio color management system, you must create as many device link proles as there are color spaces you wish to convert from or convert into. Because more device link

proles are required to color manage the same combination of hardware congurations than if you were to use modular device proles, the inexibility of device links makes it hard to extend your color managed studio system. The use of ICC device link proles for proof printing is described in the GretagMacbeth iQueue manual on www.gretagmacbeth.com. Orphaned RGB or CMYK data that does not reference the connection space through an ICC device prole lacks a shared denition of the colors the data recipes should reproduce. This is why application software reads and writes ICC device proles into the standard le transport formats, keeping RGB and CMYK recipes tied to the CIE Lab (or XYZ) connection space. You may embed ICC device proles in TIFF, JPEG and PDF 1.3 and PDF 1.4, but not in Scitex CT, PDF 1.2 or PostScript.
Note: The ICC standard has a concept of device proles in general, which it sub-divides into input proles and output proles. An input prole is dened as a scanner or digital camera prole, both classed as scanner proles. An output prole is dened as a printer or monitor prole. When we speak of converting between color spaces, the terms source and destination do not always agree with the terms input and output. The source in an ICC color space conversion is simply the color space you are converting from, and the destination is the color space you are converting into. For instance, when you proof print an offset CMYK image, the offset CMYK space is the source and the studio printer space is the destination, but both are output proles.

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Asymmetric color space conversion Color spaces have different sizes and shapes, and you may convert between them in two basic ways. In Step 1 from the large RGB space in which you design digital originals into the smaller CMYK output space, you must compress the number of possible colors, but without loosing color contrasts. If there are critical colors in your RGB original which dont reproduce 1:1 in the CMYK output space, your CMYK output prole has a look-up table (LUT) that perceptually remaps colors it cant directly reproduce. The LUT denes how to get from any color gridpoint in the connection space to the color gridpoints in the print space, and which CMYK recipes will reproduce those colors. With a LUT you can do allocation, saying I cant just omit the source color, so I have to remap it depending on where in the connection space it is coming from, and for different regions of the connection space I can have different remapping strategies, depending on what works best visually. Such LUT-based allocation smarts are

called gamut mapping, and each ICC proling software has its own. The LUT works much like a sorting rack in a post ofce, so given a set of incoming connection space co-ordinates equivalent to street, building and oor, it takes you to the specifed slot in the rack which is equivalent to the matched CIELab gridpoint in the printers color space, and also nds the details of the people who live in the at, C(harles) aged 35, his wife M(ary) aged 33, Y(vonne) aged 8 and K(evin) aged 6, which is equivalent to the CMYK recipes for the matched CIELab color. Once the RGB color space is compressed into the smaller CMYK space you wish to use for output, Step 2 adds a 1:1 colorimetric non-compressing conversion into a larger color space for soft-proong on the studio monitor and proofprinting on the studio printer. Here you may not remap colors, or the proof will not be a proof, so the space you are converting into for proong must be larger than the output space you are converting from.

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Printer rendering intents In an ICC studio workow you set up the studio printer and studio monitor to reproduce the largest color spaces possible, and then use your in-house color spaces to simulate output spaces for independently sited and scheduled processes. Thus you want full control of the conversion into the studio printer and studio monitor space, which in soft-proong and proof-printing are the destination spaces. Black point compensation is as of the time of writing a conversion specic to Adobe application software, and not yet implemented in all Adobe application software. Black point compensation is an optional modication of relative colorimetric conversions, but because it is currently applied to all steps from source space to destination space, it also affects the black point in the proof. In principle limited to scaling the L channel, black point compensation slides the black point of the space you are converting from up or down to match the black point of the color space you are converting into which avoids clipping of shadow details. Because this may expand the simulated lightness range in the destination space, you should disable it for soft-proong and proof-printing. If you are unsure whether black point compensation affects your proof conversion, use a CIELab 21 step grayscale wedge with L steps dened as 0, 5, 10, 15 and a* and b* channels set to zero, or an equivalent RGB wedge. The perceptual conversion in your ICC simulation and output prole will create a neutral black point as dark as the process supports, and the proof should show the output black point, but not the deeper black point of your studio inkjet printer or studio monitor. Your ICC printer proles have different behaviours, called rendering intents which control the conversion from the connection space into the printer space and from the printer space back into the connection space. Thus printer proles are bidirectional and nominally but not necessarily include the following intents in both directions:

Perceptual scales the white point and black point of the color space you are converting from to the full lightness range of the color space you are converting into without loss of color contrasts, as part of the proles gamut mapping intelligence which also includes smooth reallocation of saturated colors. Use this conversion from the RGB source to the CMYK simulation and output space for photographs. Saturation scales the white point and black point of the color space you are converting from to the full lightness range of the color space you are converting into, and when implemented as an individual conversion behaviour in the prole the vividness of colors is weighted. Relative Colorimetric scales the white point of the color space you are converting from relatively to the maximum lightness of the color space you are converting into, but scales the black point of the color space you are converting from 1:1 absolutely to the shadow end of the lightness range in the color space you are converting into. For instance, if you are converting from a source RGB space with a black point of L 0 to an offset space with a black point of L 15, or from a CMYK offset space with a black point of L 15 into a newsprint space with a black point of L 35, all color detail from the source black point up to the destination black point is clipped. Saturated colors which cant be reproduced are also clipped, as the Relative Colorimetric behaviour does not support gamut mapping. Absolute Colorimetric allows no remapping of color at all. The lightness range of the color space you are converting from is matched 1:1 into the color space you are converting into, and any detail that does not directly reproduce is clipped. Saturated colors that cant be matched 1:1 are clipped, too.

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Comparing measured colors The Eye-One Color Cookbook displays diagrams of two types, 3D color space comparisons and 2D white point and black point comparisons.The 3D diagrams plot the size and shape of color spaces your ICC proles form in the ICC Lab cube. The 2D white point and black point comparisons show how the lightness range of color spaces is matched. Using the ICC prole of your RGB working space in Photoshop 6 and other application software, you can check that colors mixed with RGB color pickers are supported in the color spaces of your studio printer and standardsbased output spaces. Or that colors your studio scanner supports are not clipped by your RGB working space. ICC color management also lets you soft proof that colors displayed on the monitor visually match colors printed on paper. But the measured colors from which your ICC proles are built are not always directly comparable. For instance, differences in the way colors are measured on reective papers and on self-luminous screens dont support direct comparison. Measuring absolute reective The white point and black point of a printed test chart stated in your ICC printer prole fall short of the absolutes of lightness. Zero light reected is L 0 or absolute black, and all light reected is L 100 or absolute light. As absolute black and absolute white are not practically achievable on reective surfaces, actual white points and black points do not reach from L 100 to L 0. The Eye-One instrument has a built-in light source and measurements are ICC standard daylight illuminant D50. On reective surfaces measurements result in colors as they will appear if viewed under the standard ICC daylight illu-

minant, and the Lab values express absolute reective colorimetry. You may compare printed colors measured with automatically set absolute reective colorimetry as well in Eye-One Share 1.0 as in the ColorPicker module of ProleMaker Professional 3.1.5. The distance between colors is expressed numerically as dE or deviation error. One dE is the smallest visually distinguishable color move between any two gridpoints in the ICC 3D Lab cube.
Measuring non-absolute The white point and black point of a monitor prole are always the theoretical absolutes of lightness. Because the monitor is self-luminous, the measured colors are treated relative to the standard ICC D50 illuminant and scaled to D50 using an algorithm that adapts the appearance of the measured colors. If you read monitor test chart measurements in the MeasureTool module of ProleMaker, the measured black and white are not the same as the black point and white point in your ICC monitor prole. Monitor proles express color and lightness relatively, the whitest white becomes absolute white L 100 and the blackest black becomes absolute black L 0. This does not imply that your monitor hardware is t to show this lightness range, nor that your monitor has an ideally large proong space. The Eye-One and ProleMaker software calibrate your monitor to optimize the color space before you measure the monitor test chart. If you wish to color manage several monitors in a workgroup, the basic Eye-One calibration may result in whites which are not equally bright. ProleMaker lets you set several monitors numerically to the same brightness, expressed in candela per square meter.

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95% 85% 75% 65% 55% 45% 35% 25% 15% 5% Source

Connection Adobe RGB (1998) (Adobe bundled)

Simulation /Output

Destination

95% 85% 75% 65% 55% 45% 35% 25% 15% 5%

Connection

ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Relative colorimetric soft-proong Converting with the Perceptual rendering intent in Step 1 from the RGB working space to the simulation space preserves color and shadow contrasts. In Step 2 choosing Relative Colorimetric without black point compensation matches the page white

of the output relatively to the brightest monitor white, and the page black of the output absolutely to the black of the monitor space to show true at colors. Use this soft proof when the white of the monitor and the page white of the simulation and output space are close.

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95% 85% 75% 65% 55% 45% 35% 25% 15% 5% Source

Connection Adobe RGB (1998) (Adobe bundled)

Simulation /Output

Destination

95% 85% 75% 65% 55% 45% 35% 25% 15% 5%

Connection

ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Absolute colorimetric soft-proong Converting with the Perceptual rendering intent in Step 1 from the RGB working space to the simulation space preserves color and shadow contrasts. In Step 2 choosing Absolute Colorimetric matches the page white of the output absolutely to the white

of the monitor simulating the output page white, and the page black of the output absolutely to the black of the monitor space showing true at colors. Use this soft proof when the page white of the output space is much darker than the monitors white.

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Proling color positive materials A scanner conguration is a snap to prole, and once youve done it, correcting lm exposures is a snap, too. Increasingly, scanner software is becoming ICC-enabled, helping you judge exposure corrections using proles for the scanner and the monitor, and saving out scans whose RGB recipes form well-dened colors. The size and shape of your scanners color space is dened by its lamps, by the CCD lters sensitive to red, green and blue light, and by the dyes and bases of your photographic materials. A color positive image has a dened appearance, so you can create ICC proles for color positive and reective materials. But a color negative does not have a dened appearance. With a good scanner you can capture a large dynamic range from color negatives, but their correct appearance is your own creative decision. The Eye-One Scan Target is a color positive test chart for the Eye-One Match software and Eye-One Pro instrument. The reective test chart lets you create an ICC prole for the photographic materials you normally scan. To prole your scanner, measure the real colors of your individual Eye-One scanner test chart, scan the test chart, and load both the raw RGB scan and the measured colors into the Eye-One Match software. As you move the Eye-One ruler guide from strip to strip, slide a sheet of blank paper over the strips you have measured already. This protects the surface of the Eye-One

EYE ONE

Scan Target from the natural grease of your skin, and from the feet of the Eye-One Pro instrument that will not ride directly on the chart. When you are done measuring and scanning, return the test chart to its protective sleeve, and store the chart away from light and dirt. Commercially available IT8 scanner targets for transparent and reective materials may be proled just as easily with the Eye-One Match software. Agfa, Fuji and Kodak offer IT8 charts for their photographic materials. The reference color values for IT8 charts are supplied on disks or as on-line downloads. The values are not measured for each IT8 chart, but represent an average for a batch of charts. To use an IT8 scanner chart, check that the batch identication printed on the chart matches the name of the manufacturers reference le, before you copy the measurement le to the Eye-One Measurement data folder. Then scan your IT8 chart, and save the RGB scan in the Eye-One Scan TIFF folder. When the Eye-One instrument and software are done describing the colors your scanner conguration forms, the new scanner prole is automatically installed in your system ICC proles folder, ready for you to select in ICC-enabled application software. If you wish to retouch RGB scans in Photoshop 6, you should convert them into a standard RGB working space (see page 13). This way equal amounts of R G and B always make neutral gray.

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To prole your scanner with the Eye-One Match software and Eye-One Pro instrument, follow these steps:
1. The rst time you select scanner proling in the Eye-One Match software, you are asked to measure the Eye-One Scan Target 1.4, and optionally save your measurements:

Click Use this measurement data as the reference to build your scanner prole without saving the measurement le. For each scanner you prole, you must remeasure the EyeOne scanner chart. Click Use this measurement data as the reference and Save this data to archive your measurements in the Scanner folder inside the Measurement data folder installed with your copy of the Eye-One Match software. The measurements are now ready to load for each scanner you prole, provided you use the same Eye-One scanner chart.
2. Scan the Eye-One Scan Target 1.4 on your scanner and save the scan in the Scan TIFF folder installed with your copy of the Eye-One Match software. Note: Do not convert the RGB recipes for the patches of the test chart, for instance if you open the scan in Photoshop. Eye-One Match requires the scanners raw RGB recipes. 3. Load the raw scan of the Eye-One Scan Target into the Eye-One Match software, and place the cropping marquee with your mouse. If you are cropping a scanned IT8 chart, place the cropping marquee on the crosshairs at the corners of the chart, and dont forget to include the gray steps below the color patches. 4. Load your measurements from disk, calculate the prole, and save it in the system ICC proles folder.

If your scanner software does not support ICC proles, think about the type of lm exposure problems you wish to correct, set the scanner controls as if you were correcting a typical exposure problem, and create your Eye-One scanner prole. When you scan with the prole, leave the scanner controls as they were when you scanned the test chart. Then follow these steps to convert scans into your Photoshop 6 standard RGB working space:
1. Open your RGB scan in Photoshop 6, and in the Missing Prole dialog choose your Eye-One scanner prole in the Assign Prole popup. The RGB numbers in your scan remain unchanged, but your monitor shows the RGB scan fully color managed. 2. If your scan looks good, open the Edit > Image > Mode > Convert to Prole dialog, and choose your standard RGB working space in the Destination Space popup. The Eye-One scanner prole you assigned appears as the Source Space. 3. Open the Edit > Image > Mode > Convert to Prole > Intent popup in the Conversion Options panel and choose Perceptual, or Relative Colorimetric with Black Point Compensation checked. 4. Click OK to convert the RGB recipes in the scan. The RGB recipes change as you change RGB color space, but the colors remain the same if you do not choose a proportionately much larger or much smaller RGB working space. 5. Click Embed Color Prole in the Save dialog. Note: In Photoshop 5.5 converting with Prole to Prole incorrectly embeds the prole for the color space you are converting from and not the color space you have converted the image into.

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8ZYT_Z]^
The RGB viewing space Enjoyable cooking starts with shopping for the ingredients that give the avours you want, and sharing the sights of the shopping with family and friends as it spills onto the kitchen table. Ripe red tomatoes, lush green haricot vert, glossy violet aubergines, signalyellow peppers, snowy mushrooms. Similarly, turning imagination into media in design starts with creating colors for others to share just the way you want the colors to look. The monitor prole is your window on the digital color kitchen. Without an accurate monitor prole, you might be creating colors quite different from those you expect. With the Eye-One instrument and software, proling your monitor is a simple one-step process, and the new monitor prole is automatically installed into the system ICC proles folder. Some application software will link to the system monitor prole without your help, for instance, Photoshop 6 and Eye-One 1.0, but other software may ask that you link to the new monitor prole manually. If you mix RGB recipes in application color pickers, the recipes should specify the same colors on all workstations within the workgroup. For this reason the ICC prole that species what colors your RGB recipes form should not be the prole for your workstation monitor. The same RGB recipe would in this case reproduce a different color on every workstation. ICC monitor proles you build with the Eye-One instrument and software are unique because they

EYE ONE

are measured, and because it is uniquely accurate a measured RGB monitor prole for each workstation in the workgroup is ideal for accurate viewing. But the color pickers in application software should not refer to workstation monitor proles. They should refer to an all-workgroup standard, non-measured RGB prole. Such proles are called RGB working spaces, and they are not judged on their accuracy for viewing, as they dont describe monitor colors, but on their size and shape that should snugly contain the largest output space workgroup members are likely to select for print production. Using a large RGB working space works best with perceptual conversion that maintains the color contrasts of your original RGB image in smaller output spaces. If the workgroup uses the same RGB working space, RGB recipes will specify the same colors on each workstation, and RGB to CMYK conversions will give identical results, if the same CMYK output prole is used on all workstations.
Note: The colors of a classic tube-based monitor change as it heats. For best results, allow tube-based monitors 30 minutes before attaching the Eye-One instrument using the suction cup glass mount. Dont power the monitor down using an energy saver or screen saver during the day. If you have a at-panel monitor, the Eye-One instrument comes with a sling mount for the soft screen surface.

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On-screen color consistency As assembly line products monitors are manufactured alike, but they are not as alike as peas in a pod when you measure the colors each monitor forms. For a tube-based monitor these colors result from electron beams that strike phosphors on the inside of the tube, causing them to emit light. Monitors of the same make and model may not reproduce the same colors for the same RGB recipes. Though carefully selected the phosphors are often slightly different from one batch to another, just as rolls of the same proong paper differ slightly, for instance. Even expensive monitors may show variations within the same batch of coating minerals, and less expensive monitors may mix third party tubes manufactured with different coatings. Over time the phosphors degrade with use, but the rare earth minerals in the phosphor coating dont degrade at the same rate, causing shifts in the color of the RGB primaries. The electron guns themselves will also change, causing the monitors white point to dim. Creating a prole for your monitor conguration every other week compensates for shifts in the size and shape of the color space as the phosphors degrade, but a new ICC monitor prole does not restore the shrinking size of the space. At high color temperatures of 9000 Kelvin the life of the blue is shorter than the red and green phosphors, and at low color temperatures of 5000 Kelvin the life of the red phosphors are shortest.

Reproling your monitor also does not resolve color impurity problems. A tube-based monitor is sensitive to magnetism. To form colors, the beams red by the electron guns must pass a mask and strike the phosphors 20 30 cm away. External magnetic elds may bend the beams, causing color impurities when the beams fail to align with the mask. Some monitors are able to demagnetize themselves, a feature often called degaussing which should be activated before you measure the Eye-One RGB monitor test chart. The centre sweetspot of the screen is the position least likely to show color impurities. Therefore, the Eye-One software automatically places the patches of the RGB monitor test chart in the sweetspot ready for you to measure. As you move away from the sweetspot of a tube-based screen, the color uniformity decreases. But it does not decrease equally for all four corners of the same monitor, nor for other serial numbers of the same make and model. When you compare color deviations for the same hardware conguration, the color deviation from corner to corner of your screen may be dE 3 5 which is much larger than a calibrated studio printer shows across the width of its printing format.
Tip: Color deviation is expressed in delta E (dE for short) where 1 dE is the smallest move in any direction that results in a visible color difference within the three dimensional CIE Lab cube.

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Scanner space and RGB working space You cant have colors in CMYK output that you did not rst dene in RGB input. Here the color kitchen is like the culinary kitchen, too. If you dont use a large pot on the stove, you cant ll a large serving bowl on the table. For instance, by converting from a large scanner space into a too small RGB working space, rich and saturated printable colors in the photographic scan may be lost. In the reproduction process scene colors are compressed into the lm space, and the lm space is compressed into the print space. The lm space cant be reproduced 1:1

on the printed page, and loss of colors is inevitable, but with ICC color management the loss can be managed, even if it cant be eliminated. It is helpful to keep in mind that a photographic image will only occupy part of the lm color space and a synthetically colored image only part of the RGB working space. Gamut alarms show which of the actually used colors dont t the output space.
Wireframe: Eye-One Scan Target and CCD scanner space. Solid: Adobe RGB (1998) working space.

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The monitor-size RGB working space The advantage of a standard RGB working space the size and shape of a measured monitor space is that colors dened using RGB color pickers in application software are fully viewable on the monitor. ColorMatch RGB, Apple RGB and sRGB are examples of standard RGB working spaces the size of measured monitor spaces. The disadvantage of RGB working spaces the size of a measured monitor space is that these spaces dont support colors you might have printed. For instance,

by converting photographic originals from the large scanner space to a small RGB working space like ColorMatch RGB, many rich and saturated colors in the scan are lost. Even if your inkjet presentation printer supports these colors, they are not possible in the presentation print, because they are not in the RGB working space.
Wireframe: Measured Apple monitor space. Solid: HP 5000PS, HP dye inks and MPA J35 paper space.

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The all-purpose RGB working space The most widely used RGB working space large enough for standard offset spaces is Adobe RGB (1998), located in your operating system ICC proles folder. At the same time Adobe RGB (1998) supports more printable inkjet colors than monitor RGB, though not all inkjet colors are possible with Adobe RGB (1998) as source. A color has to be in the space you are coming from before it can be gamut mapped into the space you are converting into. The colors inside the source Adobe RGB (1998) space and outside the inkjet space may be color gamut

mapped, for instance, the violets and cyans on the left in the Adobe RGB (1998) wireframe. Perceptual remapping feathers out of gamut source colors into the printable destination gamut, maintaining color contrasts without visible color artifacts. Both colors already in gamut and colors which are out of gamut may be displaced this way. The perceptual compression is specic to your proling software.
Wireframe: Standard Adobe RGB (1998) working space. Solid: HP 5000PS, HP dye inks and MPA J35 paper space.

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The press-oriented RGB working space Standard offset spaces support colors outside some large RGB working spaces. For instance, the bright pure ink tank Y 100% of the ISO OFFSET1 standard simulation and output space projects outside Adobe RGB (1998). The eciRGB10 RGB working space free from www.eci.org supports all possible colors in ISO standard offset, but not all the possible colors of an inkjet presentation print. Whether a true press-oriented

RGB working space is useful depends on your workow. For instance, synthetic RGB images and graphics might benet from being created in eciRGB10, but the lm color spaces used in scanning dont have the bright yellow supported by eciRGB10 and ISO OFFSET1.
Wireframe: Standard Adobe RGB (1998) working space. Solid: ISO OFFSET1 standard simulation and output space.

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Mac OS monitor proles Apple has dened a Video Card Gamma Tag for ICC monitor proles to be used with ColorSync 2.5 and higher. A VCGT compatible monitor prole loads its white point and gamma into the display system changing the calibration, when you select the prole in operating system and some application software dialogs. The Eye-One Monitor and Eye-One Match software sets the operating system up to use each new monitor prole you build, but if you manually click other monitor proles in the Monitors control panel, reselect your current Eye-One monitor prole in the Monitors control panel to make sure its white point and gamma are restored to the display system. ColorSync 2.5 and 2.6 color manage only one monitor. If two monitors are attached to your Macintosh, only one shows images and documents in true color. ColorSync 3 lets application software color manage more than one monitor, if you follow these steps: 1. Open the ColorSync 3 control panel, and identify the active monitor prole using the Display popup. 2. If more than one monitor is attached to your Macintosh, the prole for each monitor appears when you open the popup. Activate the monitor prole you wish to change. 3. Open the Monitors control panel, and click the Color icon at the top of the window. 4. The ColorSync Prole listbox in the Color window selects the ICC prole for the active monitor. Click your current Eye-One monitor prole. 5. The Display popup in the ColorSync 3 control panel now shows the Eye-One prole you selected above. Tip: Check if your application software takes advantage of ColorSync 3 to color manage multiple monitors.

Windows monitor proles Monitor proles you create with Eye-One Match and Eye-One Monitor software on Windows platforms do not load their white point and gamma into the display system, recalibrating your monitor.

Tip: For best results when soft-proong, set the desktop color to neutral gray R 150 G 150 B 150 (roughly L 65 a 0 b 0). If your application software lets you set a background color when the window is larger than the document, choose the same neutral gray as on the desktop. Avoid black backgrounds that boost visual contrast. Tip: Explicitly setting an RGB monitor prole through the operating system tells recent Adobe software application upgrades to link to this prole, and if no prole is explicitly set through the operating system to use the sRGB RGB working space as monitor prole. Internally, standard RGB working space proles label themselves monitor proles to applications and operating systems. Therefore, measured monitor proles and proles for standard RGB working spaces are listed together in user interfaces. While this is confusing and may lead you to make color conversion errors, Eye-One always writes the date when each monitor prole was built into the prole name. This helps you quickly identify the current measured RGB monitor prole.

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Matching black and white points A color space has a black and a white end point. The end points dene the darkest black color and the brightest white color. How end points are matched in a soft proof illustrates 1 that the source RGB working space is larger than the simulation space, and 2 the destination proof space is larger than the simulation space, too. Here the source Adobe RGB (1998) working space has a lightness range of L 100 to L 0, the CMYK simulation space ISO OFFSET4 has a lightness range of L 93 to L 31, and the monitor has a nominal lightness range of L 100 to L 0. There

are two meaningful ways to convert from the source space in Step 1, the default and an option for special cases. And there are two destructive options, too. 1 (a) The default Perceptual conversion matches the source white and black points relatively, the source white to the simulation white and the source black to the simulation black. The perceptual match maintains the original image contrasts in the simulation space, and prevents not only clipped shadows and highlights, but other loss of color contrasts through clipping, too.

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1 (b) Relative Colorimetric matches the source white point relatively to the simulation white point, but matches the source black point absolutely to the simulation black point. Highlights are not clipped, but 31 steps from source L 0 to the simulation L 31 are all matched to L 31. The effect of the clipping is image dependent, a portrait with rich shadow detail will suffer badly, but a well-lit image may pass unharmed. In other regions of the source space colors are also clipped, if they are out of gamut. 1 (c) Called black point compensation, a modication of Relative Colorimetric conversion makes the black point relative just like the white point, matching the source black L end point to the simulation black L end point. This conversion is an alternative to the Perceptual default, if you uncheck Black Point Compensation before proong. 1 (d) Absolute Colorimetric matches the source white and black points absolutely to the color space you are converting into, clipping printable colors and displaying the white point of the RGB working space in the output space and in the proof space. This conversion is more destructive than Relative Colorimetric 1 (b) and should not be used. When the printable colors have been calculated in Step 1 from source to simulation space, they are proofed colorimetrically 1:1 into the destination space in Step 2. There are three ways to convert from the simulation space into the destination proof space, the default and two special cases. 2 (a) Relative Colorimetric matches the white point of the simulation space relatively to the white point of the destination monitor space, but the black point of the simulation space is matched absolutely to the destination monitor space, keeping the blacks of the proof as light as the printed blacks. Use the default Relative Colorimetric conversion for soft-proong when the simulation space has a paper white which is not too far from the bright white of the monitor.

2 (b) Relative Colorimetric with Black Point Compensation expands the smaller lightness range of the simulation space to the larger lightness range of the destination proof space. The page white becomes as bright as the destination white point and the page black as deep black as the destination black point. Standard offset output spaces do not have black points as deep as monitor black points, but inkjet color spaces do. Use Relative Colorimetric with Black Point Compensation when proong an inkjet space as output space, for instance for a short run of presentation prints. 2 (c) Absolute Colorimetric lets you match the page white on the monitor and raise the monitor black to the black of the printed page. If the simulation space shows a much darker page white than the white of the destination monitor proong space, replacing the native white of the monitor space with the page white of the simulation space helps you compensate visually. Use Absolute Colorimetric conversion to proof newsprint, for instance. 2 (d) Perceptual is not used in soft-proong and proof-printing because a proof is a colorimetric conversion where colors should not be displaced by gamut mapping. The ability to set the behaviour asymmetrically and thus differently for Step 1 and Step 2 in a soft proof or proof print depends on both the simulation prole and the application software. The rendering intents that application interfaces let you choose for soft-proong are many, but the usable combination of settings are: 1 (a) Perceptual 1 (b) Relative Colorimetric 1 (c) Relative Colorimetric with Black Point Compensation 2 (a) Relative Colorimetric 2 (b) Relative Colorimetric with Black Point Compensation 2 (c) Absolute Colorimetric

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There are almost as many ways to savour a ripe, red strawberry as there are to convert an image from your source RGB working space via the CMYK simulation and output space into the destination RGB monitor proof space. The evergreens are 1 Perceptual plus 2 Relative Colorimetric, and 1 Perceptual plus 2 Absolute Colorimetric. Or if you prefer pleasing monitor blacks, try 1 Perceptual plus

2 Relative Colorimetric with Black Point Compensation, or 1 Relative Colorimetric with Black Point Compensation plus 2 Relative Colorimetric with Black Point Compensation. But there are settings including 1 Relative Colorimetric plus 2 Relative Colorimetric with Black Point Compensation which are not the way to feast your eyes, nor the eyes of your guests.

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Adobe Photoshop 6.0.1 Linking to the monitor prole which the Eye-One software installs for you in the operating system is automatic in Photoshop 6.0.1, and the two steps of the soft proof may be asymmetric, letting you choose a different rendering intent for each step, including all three conversion options for Step 2. Linking to the RGB monitor prole Follow these steps to check that Photoshop links to the RGB monitor prole which the Eye-One software installs in the system ICC proles folder, and to set default RGB and CMYK spaces: 1. Open the Edit > Color Settings window. 2. Open the RGB popup and scroll up to Monitor RGB at the top of the list. Check that your current Eye-One monitor prole is listed as the Monitor RGB space, but do not set the monitor prole as your RGB working space. 3. Scroll down to choose the default source RGB working space prole for colors you may create with the RGB color pickers and for RGB images with no embedded source prole. If your RGB image will be offset printed, select as default Adobe RGB (1998) installed with your copy of Photoshop 6, or eciRGB10 available free from www.eci.org. 4. Open the CMYK popup and choose the default CMYK prole for colors you may create with the CMYK color pickers and for CMYK images with no embedded CMYK prole. Load your default CMYK prole in the Gray and Spot popups. You may download standards-based CMYK simulation and output proles from www.i1color.com and www.prolecentral.com. 5. Open the Color Management Policies popups and choose Preserve Embedded Proles. 6. Click OK to close the Color Settings window. Tip: The Preserve Embedded Proles commands in the Color Management Policies popups let you open and save RGB, CMYK and Gray documents using their original embedded document prole. The embedded prole becomes the source space for your document, instead of the default source space.

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Connection Adobe RGB (1998) (Adobe bundled)

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Apple monitor (Eye-One user measured)

Linking source RGB spaces to the monitor RGB space If no simulation and output space is inserted between source RGB (or Lab) color spaces and the destination monitor RGB color space, the lightness levels are equal. The conversion

Photoshop sets up from RGB working space to RGB monitor space is Relative Colorimetric with Black Point Compensation, displaying all RGB working space colors the monitor space directly supports.

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Connection

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Apple monitor (Eye-One user measured)

Linking source CMYK spaces to the monitor RGB space For color space conversions between source CMYK color spaces and destination monitor RGB, the source lightness range is smaller than the destination lightness range. The default conversion is Relative Colorimetric with Black Point Com-

pensation which matches the source lightness range to the full range of the destination monitor space. Select Ink Black for Relative Colorimetric to soft proof realistic page blacks, and Paper White for Absolute Colorimetric to soft proof newsprint dark page whites and light page blacks.

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One-step soft-proong Follow these steps to link the RGB working space via the CMYK simulation and nal output space to the destination monitor RGB space, setting one rendering intent for nal output and another for the way you wish to soft-proof the output. 1. Open the Edit > Color Settings window and set the color management policy for RGB, CMYK and Gray to Preserve Embedded Proles. Then click the two Prole Mismatch checkboxes and the Missing Proles checkbox. Images you share with others will now stay in the color space of their original embedded ICC proles. 2. Click the Advanced Mode checkbox to set the default conversion behaviour for Step 1. Choose Perceptual in the Intent popup for one-step proong that also maintains color contrasts through visual adjustments built into your CMYK simulation and output prole. 3. Click the Preview checkbox to see changes directly, then click OK to close the Color Settings window. 4. In the View menu, choose Proof Colors (Relative Colorimetric with relative white and relative black point), or View > Proof Setup > Custom > Ink Black (Relative Colorimetric with relative white and absolute black point), or View > Proof Setup > Custom > Paper White (Absolute Colorimetric with absolute white and absolute black point). Note: Black Point Compensation modies the Relative Colorimetric conversion for Step 1 from source space to simulation space and for Step 2 from simulation space to destination space. To disable Black Point Compensation from the simulation space to studio monitor space in Step 2 choose View > Proof Setup > Ink Black, but for the simulation space to studio printer space in Step 2 select Image > Mode > CMYK, deselect the Use Black Point Compensation checkbox in Edit > Color Settings, and select File > Print > Adobe Photoshop 6.0.1 > Intent > Relative Colorimetric.

Step 2 switches Step 1 switches

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Simulation /Output

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ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Soft proof 1 (a) 2 (a) The default soft proof, Perceptual conversion for Step 1 into the simulation space smoothly preserves color and shadow detail, and for Step 2 Relative Colorimetric conversion with the Ink Black command shows

page blacks as light black as they realistically are. The simulation prole and application software work correctly, and your soft proof settings make visual sense.

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Realistic gray shadows In Step 1 the full lightness range of the RGB working space is perceptually preserved. In Step 2 the blacks of the soft proof are just as light as the light black of the printed page, creating a soft proof with a realistic lightness range. The bright page white of the simulation space is raised to the native white of the monitor.

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ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Soft proof 1 (a) 2 (c) The prepress soft proof for papers which are much darker than the white of the monitor. Color and shadow contrasts are preserved with Perceptual for Step 1 into the simulation space, and for Step 2 Absolute Colo-

rimetric with the Paper White command simulates both the page white and page black on the monitor. The simulation prole and application software work correctly, and your monitor doesnt overstate how at e.g. newsprint really is.

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Paper white soft proof In Step 1 the full lightness range of the RGB working space is smoothly reproduced in the smaller lightness range of the simulation space. In Step 2 the black of the soft proof turns just as light as the light black of the printed page, and the bluish page white of the simulation space is matched absolutely to the white of the monitor to simulate the color of the paper. Tip: As the monitor white and page white in this case are close, visual compensation through paper white simulation is in reality unnecessary.

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95% 85% 75% 65% 55% 45% 35% 25% 15% 5% Source

Connection Adobe RGB (1998) (Adobe bundled)

Simulation / Output

Connection

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ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Soft proof 1 (a) 2 (b) A soft proof that does not show the true dynamic range of the image. Color and shadow contrasts are preserved with Perceptual for Step 1 into the simulation space, and for Step 2 Relative Colorimetric with

Black Point Compensation is set by the Proof Colors command. The simulation prole and application software work correctly, but the printed page will look disappointingly at compared to your soft proof.

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Pleasing black shadows In Step 1 the full lightness range of the RGB working space is perceptually maintained. In Step 2 the blacks of the soft proof turn pleasingly dark compared to the light black of the printed page, and the bright white of the paper is matched relatively to the brighter white of the monitor, expanding the small lightness range of the simulation space into the large lightness range of the monitor proof space.

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Connection

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ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Soft proof 1 (c) 2 (b) A soft proof better suited for output to large gamut inkjet than low gamut offset spaces. By selecting Relative Colorimetric with Black Point Compensation lightness contrasts are preserved for colors which are already in gamut for Step 1 into the simulation CMYK

space, and for Step 2 Relative Colorimetric with Black Point Compensation into the RGB monitor space is set by the Proof Colors command. The simulation prole and application software work correctly, but the expanded lightness range of the soft proof may make the printed page look at.

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Pleasing black shadows with a spicy risk In Step 1 the full lightness range of the RGB working space is maintained, though out of gamut colors are not remapped. In Step 2 the smaller lightness range of the simulation space is expanded to the larger lightness range of the proof space.

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Adobe RGB (1998) (Adobe bundled)

ISO OFFSET4 (www.i1color.com)

Apple monitor (Eye-One user measured)

Soft proof 1 (b) 2 (b) To be avoided, this soft proof clips shadows with Relative Colorimetric for Step 1 into the simulation CMYK space, and expands shadows for Step 2 using Relative Colorimetric with Black Point Compensa-

tion into the RGB monitor space set by the Proof Colors command. The simulation prole and application software work correctly, but shadow detail is lost and yet the soft proof suggests an inexplicably deep page black.

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Paradox soft proof In Step 1 the shadows of the RGB working space are clipped to the black point of the ISO OFFSET4 simulation space, loosing much of the detail in the strawberry. In Step 2 the smaller lightness range of the simulation space is expanded to the larger lightness range of the proof space, turning a light page black so deep black that shadow clipping seems out of the question.

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Flavours of clipping If by mistake you convert into the CMYK simulation and output space using Relative Colorimetric without Black Point Compensation, the shadow clipping differs with the make of the prole. The Adobe EuroScale Uncoated v2 prole clips more harshly than ISO OFFSET4 or ISO OFFSET9 built by GretagMacbeth ProleMaker Professional 3.1.5 from the same data.

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Dinner table blues Using Absolute Colorimetric conversion for Step 1, this soft proof literally proofs Adobe RGB (1998) in the CMYK simulation and output space, here ISO OFFSET4. The bluish white point of Adobe RGB (1998) is matched absolutely to the CMYK output space, turning image highlights blue. The black point of Adobe RGB (1998) is also matched absolutely, clipping thirty levels of shadow detail that all map to the black point of the CMYK simulation and output space. For Step 2 the contracted lightness range is expanded to the full lightness range of the monitor proof space.

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Switching simulation space If you wish to soft proof your source RGB working space image in another CMYK simulation space than the default set in Edit > Color Setting > CMYK working space, follow these steps: 1. Open the View > Proof Setup > Custom > Prole popup, and choose another CMYK simulation space. 2. Open the Intent popup and choose the conversion from source RGB space to simulation and output space. 3. Click the Preview checkbox. Note: The Prole and Intent popups control Step 1 in the soft proof. Step 2 is controlled by the Paper White and Ink Black checkboxes in the Proof Setup dialog, and the Proof Colors command in the View menu. 4. Click OK to close the Proof Setup window. Tip: For each time you select View > New View, you can have a different soft proof, including simulation space, conversion for Step 1, and conversion for Step 2. Tip: Selecting View > Proof Setup > Custom > Page White grays out the Ink Black checkbox because an absolute colorimetric conversion by denition matches the black point absolutely. Note: If you choose Relative Colorimetric, check that Black Point Compensation is enabled for Step 1 in the Edit > Color Settings > Conversion Options dialog. Step 2 switches Step 1 switches

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Unseen colors Colors specied in your RGB working space which the monitor space does not let you view may be highlighted (shown right). Open an image in your RGB working space, and in the View > Proof Setup > Custom > Prole popup choose your Eye-One monitor prole. Then set the Intent popup to Relative Colorimetric, and in the View

menu choose Gamut Warning to locate the colors your monitor does not show. Note: In GretagMacbeth ProleMaker Professional 3.1.5, choose the Default size setting to build a monitor prole that supports the RGB gamut warning in Photoshop 6. Do not select Edit > Color Settings > Desaturate Monitor Colors.

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Soft-proong non-color managed printing If you are handing off CMYK data, you may soft proof the range of printing processes where the CMYK recipes in your image will reproduce roughly similar colors without the benet of color managed CMYK to CMYK reseparation. To soft-proof how the CMYK recipes of an image, blend or tint look if printed with other ink and paper ingredients than the recipes were calculated for, follow these steps: 1. Open an RGB working space image and choose Edit > Mode > CMYK. 2. Open the View > Proof Setup > Custom window, and click the Preserve Color Numbers checkbox. 3. Open the Prole popup that lists the default simulation and output space as Working CMYK, and choose another CMYK prole. 4. Click the Preview checkbox to soft-proof the colors reproduced on the printed page, if the CMYK recipes calculated by your simulation and output prole in the rst step above are printed using other inks and papers than they were calculated for. 5. Click OK to close the Proof Setup window. Note: When you select Image > Mode > CMYK, you must reselect Ink Black or Paper White to soft proof the image.

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Wrong CMYK recipe A CMYK image perceptually separated for the ISO OFFSET4 simulation and output space looks very different, if the same CMYK recipes are output to the large color space of a studio inkjet presentation printer without the benet of color managed reseparation. If global CMYK recipes are used for locally different ink and paper colors, the CMYK image will look different, too.

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Adobe Photoshop 5.5 To make Photoshop 5.5 link to the monitor prole Eye-One sets up for you in the operating system, you must manually enable the link. And without your help Photoshop 5.5 does not asymmetrically use a different conversion for the two steps of the soft proof. Linking to the RGB monitor prole Follow these steps to make Photoshop 5.5 link the RGB working space prole to the system RGB monitor prole, and to select an internal Photoshop 5.5 prole for your RGB working space: 1. Open the File > Color Settings > RGB Setup window. 2. In the Monitor panel, click the Display Using Monitor Compensation checkbox. Photoshop 5.5 now links to the ICC monitor prole Eye-One installs for you. The prole name is stated in the Monitor panel. 3. In the RGB panel, open the RGB popup and choose Adobe RGB (1998). 4. Click OK to close the RGB Setup window. Note: If you uncheck Display Using Monitor Compensation, your measured Eye-One monitor prole is ignored, and the RGB recipes dened by the RGB working space are sent directly to the display system. Therefore, colors will display incorrectly. Note: Do not change the Gamma, White Point, or Primaries values. These values dene your RGB working space, named in the RGB popup. Changing the values creates a non-standard RGB working space. Tip: To use a standard RGB working space not built into Photoshop 5.5, for instance eciRGB10, rst install its ICC prole in the system ICC proles folder, then click the Load button in the RGB Setup window. Only images which are in the same RGB working space may be open in Photoshop 5.5 at the same time. Links RGB working space to RGB monitor space Creates custom RGB working space

Selects RGB working space

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Wrong RGB recipe If you disable the Display Using Monitor Compensation checkbox in the RGB Setup window in Photoshop 5.5, the RGB recipes of the RGB working space are sent directly to the monitor, bypassing the monitor

prole. The color managed image on the left shows the correct colors, compared to the image in Adobe RGB (1998) on the right. If global RGB recipes are used for locally different monitor colors, the RGB image will look different, too.

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Two-step soft-proong Follow these steps to use a different conversion in Photoshop 5.5 for the RGB source to CMYK simulation space, and from the CMYK simulation space to the destination RGB monitor space: 1. Open the File > Color Settings > CMYK Setup window. 2. In the CMYK Model panel, click the ICC button. 3. In the ICC Options panel, set Step 1 in the soft proof:

Open the Prole popup and select a default simulation and output CMYK space. You may download standardsbased simulation and output proles from www.i1color.com and www.prolecentral.com. Open the Engine popup and choose Built-in (renamed Adobe CMM in Photoshop 6). Open the Intent popup and choose Perceptual to maintain shadow detail and color contrasts using automatic color corrections in your CMYK simulation and output prole.
Tip: The Perceptual rendering intent includes black point compensation by denition.

If you choose Relative Colorimetric in the Intent popup for this step, be sure to click the Black Point Compensation checkbox.
4. Click OK to close the CMYK Setup window. (Continued)

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5. Open the Image > Mode menu and choose CMYK. The CMYK Preview option in the View menu grays out. Tip: Rendering intents are located in printer proles, so to convert asymmetrically with a different rendering for each of the two steps, you must reset the CMYK Setup window, rst setting the conversion behaviour for Step 1, and after a mode change to CMYK setting the conversion behaviour for Step 2 that builds the soft proof. 6. Open the File > Color Settings > CMYK Setup window. 7. In the ICC Options panel, set Step 2 in the soft proof:

Select Relative Colorimetric in the Intent popup, if the page white is almost as bright as the white of the monitor. Then uncheck Black Point Compensation to make the monitor black a true soft proof of the page black. Select Absolute Colorimetric in the Intent popup, if the page white is much darker than the destination monitor white. In an absolute colorimetric match, the black point is by denition matched absolutely and Black Point Compensation does not apply, but the checkbox does not gray out.
8. Click the Preview checkbox and view your soft proof. 9. Reset the Intent popup to Perceptual. 10. Click OK to close the CMYK Setup window. 11. Open the Edit menu and click Undo CMYK to continue with your RGB working space image.

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Realistic gray shadows A color correct soft proof may be set in Photoshop 5.5, if you manually apply the right conversions from simulation to destination space. The Proof Colors command in Photoshop 6 and the CMYK Preview command in Photoshop 5.5 select Relative Colorimetric with Black Point Compensation to the destination monitor space. The Ink Black command in Photoshop 6 corresponds to Relative Colorimetric without black point compensation in Photoshop 5.5. The Paper White command in Photoshop 6 corresponds to Absolute Colorimetric in Photoshop 5.5.

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Adobe InDesign 1.5.2 Linking to the monitor prole EyeOne sets up for you in the operating system is manual in InDesign 1.5.2, and the same conversion is used symmetrically for nal output in Step 1 as for soft-proong and proof-printing in Step 2. Version 1.5.2 lacks black point compensation for relative colorimetric conversions. Linking to the RGB monitor prole Follow these steps to make InDesign link to the RGB monitor prole Eye-One installs in the system ICC proles folder, and to set default RGB and CMYK spaces: 1. Open the Edit > Color Settings > Application Color Settings dialog and make the following settings:

In the Monitor popup, choose your current Eye-One monitor prole. In the Separations popup, choose a CMYK simulation and output prole which denes the colors you may create with InDesign CMYK color pickers, and the default CMYK space assigned to placed CMYK objects with no embedded source prole of their own.
2. Open the Edit > Color Settings > Document Color Settings dialog and make the following settings: Tip: Standards-based CMYK simulation and output proles may be downloaded from www.i1color.com and www.prolecentral.com.

Click the Enable Color Management checkbox. In the RGB popup choose Adobe RGB (1998) or eciRGB10 free from www.eci.org, which denes the colors you may create with InDesign RGB color pickers, and the default RGB space for RGB objects with no embedded source prole. The Lab popup defaults to Adobe InDesign Default Lab prole, which is the Lab source prole built into InDesign.

Tip: There are as many ICC RGB and CMYK color spaces as there are proled hardware congurations, but there is only one ICC Lab color space dened as D50 illuminant and 2 standard observer angle, even if this color space is described in ICC proles with different names. Lab is a self-dening color space, but some ICC implementations including Apple ColorSync require a source Lab prole for Lab data objects. For ease of use the required source Lab prole may be built into the application, as in Adobe InDesign or GretagMacbeth iQueue, or it may be a loose prole as the Generic Lab Prole installed by ColorSync in the ColorSync Proles folder.

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Two-step soft-proong Because InDesign 1.5.2 uses the same conversion for all purposes, you should rst convert all objects you intend to place in the layout into the CMYK simulation and output space, then set the same conversion for the soft-proof as for the proof-print, and nally place the objects in your InDesign layout. The proof print will match the nal page output within tolerances you may establish using the Eye-One instrument. Perceptual for pixel objects would be right for the source RGB to simulation CMYK Step 1, but wrong for the CMYK simulation and output to destination proof Step 2. Using Perceptual in Step 2 expands the simulation space into the full destination proof space, relocating colors that should be facsimile matched. Relative Colorimetric for pixel objects and vector objects would be wrong for the source RGB to simulation CMYK Step 1, but right for the CMYK simulation to destination proof Step 2, if the white of the proong paper and the output paper are the same. Absolute Colorimetric would be wrong for the conversion from RGB source to CMYK simulation space in Step 1, but right for the conversion from CMYK simulation space to CMYK destination proof space in Step 2, if the proof paper is whiter than the output paper. Follow these steps to set the document default conversion into the destination space for softproong and proof-printing: 1. Open the Edit > Color Settings > Document Color Settings window and in the Solid Color and Images popups choose Relative Colorimetric for identical print and proof whites, and Absolute Colorimetric for a much brighter proof white on the studio monitor and studio printer. 2. Open the Edit > Color Settings > Application Color Settings window and click the Simulate Separation Printer on Monitor checkbox. Then click OK to close the Document Color Settings window.

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File formats for soft-proong InDesign 1.5.2 assigns rendering intents based on the data type of objects, letting you color manage placed raster objects and objects created in the layout. For placed DCS, EPS and PDF 1.3 objects the embedded prole information only lets InDesign manage colors on the monitor. The application is unable to alter the embedded color information when printing, cf. Adobe Knowledgebase Document 324859. Therefore, the soft proof and the proof print only match, if you place data types InDesign can color manage directly. If you select Edit > Color Settings > Document Color Settings > Images, the rendering intent in the popup applies to raster formats including TIFF and Photoshops own PSD format. If you select Solid Colors, the rendering intent in the popup applies to the colors of vector objects drawn in InDesign, and to how placed EPS and PDF objects display on the monitor. Follow these steps to set rendering intents individually for placed raster objects: 1. Click a placed raster object, and open the Object > Image Color Settings window. 2. If the object has no embedded prole, the document default RGB, Lab or CMYK prole is used, and the Image rendering intent appears. 3. If the image has an embedded prole, the embedded prole and document default Image intent appear.

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Out-of-the-box soft-proof settings The Edit > Color Settings > Document Color Settings window defaults to Solid Color : Relative Colorimetric and Images : Perceptual. With these settings if you do not convert TIFF and PSD objects into the CMYK simulation and output space before placing them in the layout, the Perceptual setting for Images compresses RGB (and Lab) color spaces into the simulation space and

then expands the colors into the destination monitor and printer spaces for proong. Thus the soft proof and proof print wont match the output print for TIFF and PSD objects. Relative Colorimetric for Solid Colors may lead to clipped colors e.g. in gradients appearing in the output print, but the soft proof and proof print will match the output print and warn you of the problem.

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File formats and soft proofs TIFF objects are fully color managed by InDesign 1.5.2, even if the conversion options are not optimal, but EPS and PDF objects with embedded prole information are not. With all conversions set to Relative Colorimetric for ISO OFFSET4, Lab TIFF and RGB TIFF

correctly display clipping and light blacks. CMYK TIFF separated perceptually in Photoshop before the object is placed correctly shows no clipping and light blacks. RGB EPS and CMYK EPS display correctly on the monitor, too. Lab EPS, Lab PDF, RGB PDF and CMYK PDF display incorrectly.

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File formats and proof prints For color managed TIFF objects the soft proof and PostScript output from InDesign 1.5.2 match. EPS objects are not color managed in the proof print, and for this reason the soft proof and proof print do not match. The CMYK recipes for ISO OFFSET4 in CMYK

EPS are sent to the studio printer without color management. Lab EPS and RGB EPS bypass the CMYK simulation space and are not proofed. Lab PDF and RGB PDF are managed like Lab EPS and RGB EPS (Adobe Knowledgebase Document 323419).

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Adobe Illustrator 9.0.2 Linking to the monitor prole EyeOne installs for you in the operating system is automatic in Illustrator 9.0.2. The two steps of the soft proof are asymmetric, but only one conversion behaviour is supported for the monitor. As in Photoshop 5.5 you must mode change the document color space from RGB to CMYK to proof print. Linking to the RGB monitor prole Follow these steps to check that Illustrator is linking to the RGB monitor prole installed for you in the operating system by the Eye-One software, and to select default RGB and CMYK color spaces: 1. Open the Edit > Color Settings dialog. 2. Open the RGB popup and scroll up to Monitor RGB at the top of the list. Check that your current Eye-One monitor prole is listed as the Monitor RGB space, but do not set the monitor prole as your RGB working space. 3. Scroll down to choose the default RGB working space prole for colors you may create with Illustrators RGB color picker, and for RGB pixel and vector objects with no embedded source prole. In RGB mode all objects in the document are in the RGB working space. If your RGB image will be offset printed, select Adobe RGB (1998) installed with your copy of Illustrator 9.0.2, or eciRGB10 available free from www.eci.org. 4. Open the CMYK popup and choose the default CMYK simulation and output prole for colors you may create with the CMYK color picker, and for CMYK pixel and vector objects with no embedded CMYK prole. In CMYK mode all objects in the document are in the CMYK working space. 5. Click OK to close the Color Settings window. Tip: Standards-based CMYK simulation and output proles may be downloaded from www.i1color.com and www.prolecentral.com.

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Soft-proong limitations Illustrator 9.0.2 has limited support for soft-proong of CMYK simulation and output spaces. Follow these steps to judge how your document will print in a color managed production workow: 1. Open the Edit > Color Settings window and set the color management policy for RGB and CMYK to Preserve Embedded Proles. Then click the two Prole Mismatch checkboxes. Documents you share with others will now stay in the color space of their original embedded ICC prole. Tip: Use TIFF, PDF 1.3 and PDF 1.4 for a color managed Illustrator 9.0.2 workow. 2. Click the Advanced Mode checkbox to open the Conversion Options panel that sets the default for Step 1 in the soft proof. Select Perceptual in the Intent popup to preserve color contrasts using visual adjustments in your CMYK simulation and output prole. 3. Uncheck Black Point Compensation. 4. Click OK to close the Color Settings window. 5. Open the View > Proof Setup > Custom > Prole popup and choose your CMYK working space. For Step 1 in the soft proof Illustrator 9.0.2 defaults to showing your RGB working space in the Prole popup, but RGB working space proles do not have different rendering behaviours. For Step 2 in the soft proof the behaviour is relative colorimetric with black point compensation, so if for Step 1 you choose a color rendering that clips shadows, then the soft proof will not show the true picture.

Tip: Illustrator 9.0.2 shares the Proof Setup dialog with Photoshop 6.0.1, but Ink Black (Relative Colorimetric with relative white point and absolute black point) and Paper White (Absolute Colorimetric with absolute white point and absolute black point) are not supported.

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Adobe Acrobat 5 Linking to the monitor prole Eye-One installs for you in the operating system is automatic in Acrobat 5. The user interface controls for soft-proong are similar to Photoshop 6, but output production and presentation prints may not match soft proofs. Linking to the RGB monitor prole When you rst run Acrobat 5, the RGB monitor prole Eye-One installs for you in the operating system is set as the RGB working space prole. To select default source and simulation ICC proles for objects in PDF documents, follow these steps: 1. Open the Edit > Preferences > General list and select Color Management: Open the RGB popup and select the Adobe RGB (1998) prole installed with your copy of Acrobat 5, or eciRGB10 free from www.eci.org. The default RGB working space is also assigned to RGB objects with no embedded color space specication of their own. Open the CMYK popup and set the CMYK simulation and output space for RGB (and Lab) objects. The default CMYK prole is also assigned to CMYK objects with no embedded source color space specication of their own. Standardsbased simulation and output proles may be downloaded from www.i1color.com and www.prolecentral.com. 2. Click the Black Point Compensation checkbox. 3. Click OK to close the Color Management window. Note: Acrobat 5 is limited to Relative Colorimetric conversion for Step 1 and shadows are clipped, if you deselect the Black Point Compensation checkbox.

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Soft-proong limitations The Acrobat 5 user interface offers three ways to convert from the default CMYK simulation space to the destination monitor space in Step 2 in the soft proof. Make sure Black Point Compensation is selected in the Edit > Preferences > General > Color Management dialog and follow these steps to soft proof RGB (and Lab) page objects: Soft proof 1 (c) 2 (b) Open Edit > Preferences > General > Color Management and select Black Point Compensation. Then open the View menu and click Proof Colors. This soft proof expands the page white and page black of the CMYK simulation space to the full lightness range of the destination RGB monitor space. Soft proof 1 (c) 2 (a) Open Edit > Preferences > General > Color Management and select Black Point Compensation. Then open View > Proof Setup and click Ink Black. This soft proof lightens the page black on the monitor. Soft proof 1 (c) 2 (c) Open Edit > Preferences > General > Color Management and select Black Point Compensation. Then open View > Proof Setup and click Paper White. This soft proof lightens the page black on the monitor and changes the monitor white to the white of the page.

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Pleasing problem shadows Whether Black Point Compensation is enabled or disabled for the source RGB working space to simulation ISO OFFSET4 space in Step 1, choosing Proof Colors for Step 2 shows the full lightness range with no shadow clipping. With the same conversion settings, Photoshop 6 soft-proofs the shadow clipping that occurs in Step 1.

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Uncertain relative colorimetric black point Whether Black Point Compensation is enabled or disabled for the source RGB working space to simulation ISO OFFSET4 space in Step 1, choosing Ink Black for Step 2 shows shadows clipped to the black point of the simulation space.

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Uncertain absolute colorimetric black point Whether Black Point Compensation is enabled or disabled for the source RGB working space to simulation ISO OFFSET4 space in Step 1, choosing Paper White for Step 2 shows the bluish page white of the simulation space correctly simulated in the monitor space, but image shadows appear clipped to the black point of the simulation space.

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