2012 DEER Poster Design To Print Series (Print Only) - Sep11

color gamut
You cant always get what you want

What is gamut?
RGB vs. CMYK
a newspaper press, due to the brighter white of commercial
Every color system (monitor, desktop printer, digital press,
Computer monitors typically have larger color gamuts than
paper and the higher ink densities it can support.
copier, offset press, etc.) has its own unique color gamut.
printing devices, especially in deep blues and blacks. This
Color gamut means the range of colors and tones achievable
means the printed result will often be less dramatic than
weight, opacity, coating, gloss, absorbency and other surface
by an imaging system.
the original RGB image viewed on screen. To see in advance
characteristics.
The color gamut of a computer screen is determined by the
Other factors affecting printed gamut may include paper
how an RGB image will look when printed in CMYK, use the
purity and brightness of its red, green and blue pixels. The
Photoshop Proof Colors option select View > Proof Colors or
Expanded-gamut printing
color gamut of a printing device is determined by the hue,
click Command + Y (Mac) or Control + Y (Windows). Colors
When extra gamut is essential, and the extra cost is justied,
saturation and lightness of its cyan, magenta, yellow and black
outside the printable gamut will display with less saturation,
printed gamut can sometimes be expanded using extra inks
inks and the brightness, and other characteristics, of the paper
similar to how they will print on press. Proof accuracy depends
and/or higher ink densities than normal 4-color printing. Just
or substrate on which they are printed.
on the quality of your monitor prole as well as your default
remember, extended-gamut printing is more expensive and
CMYK Working Space and default Rendering Intent.
skill-intensive than regular CMYK printing. If you dont have
Successful designers work within the available color

gamutor accept some loss of color in the nal output. For
the extra budget, make sure your design looks good in the
example, if you view your design in RGB without CMYK soft
CMYK vs. CMYK
proong, chances are you will be disappointed when it prints.
Not all printing systems have the same color gamut. For
Likewise, dont expect the same color gamut on newsprint as
example, a typical commercial offset press running to
expanded-gamut techniques. A second cyan plate permitted
you can get on commercial offset paper.
GRACoL specications has a much wider color gamut than
up to 200% cyan in the richest blue areas.
printable color space (for example, GRACoL or SWOP).

This poster was produced using one of many possible
For more information about this poster or others in

the series, as well as free downloads and resources, visit
www.idealliance.org/2012deerposters.
GRACoL
The smaller image at left represents the color gamut of normal commercial
offset printing. Compare it to the simulated monitor image or, better still, the
original RGB image on your own screen. Also compare it to the simulated
newspaper print in the lower illustration.
The GRACoL color gamut

(smaller shape) compared
to the color space of a
good monitor. (CHROMiX
ColorThink screen shot)
GRACoL (larger shape)

compared to the smaller
color gamut of a typical
newspaper press
Newsprint
The smaller image at left represents the color gamut of typical newspaper
printing. Colors are less saturated, blacks are weaker and lighter tones are
darker and warmer due to lower ink densities and cheaper (yellower and
darker) paper.
Monitor gamut (simulated)

The large image above approximates the deep saturation of a typical
computer monitor. Compare it to a typical GRACoL offset print (top right), and
compare it to the RGB image at www.idealliance.org/2012deerposters.
Note: Even with the extra cyan plate used above we cannot simulate in a
printed poster the full saturation and contrast of a good monitor.
About this poster
Developed and produced by:
This poster is part of the 2012 DEER Poster Design to Print Series, which includes
Color Gamut, Creative Color, Print Quality, Proong, Paper and Light & Vision. It is
intended to help print buyers and content creators work more effectively with their
print providers by explaining the capabilities, limitations and best practices of
commercial color printing. Each poster addresses a topic or issue that frequently
causes inefciencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information,
consult your print provider, color management specialist or visit www.idealliance.org.
Platinum Sponsors:
www.deerfoundation.org
Gold Sponsors:
www.idealliance.org
+1.703.837.1070
The Digital Enterprise Education and Research (DEER) Foundation is a 501(c) (3) charitable foundation established by IDEAlliance in 2005. The Foundations mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly dened by digital workows. For additional information or to make a tax-deductible
donation, visit www.deerfoundation.org. Copyright 2011 by International Digital Enterprise Alliance, Inc. (IDEAlliance). All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without prior written
permission of the publisher. GRACoL, SWOP and G7 are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight.
Photo: David Doubilet/National Geographic Stock
creative color
Getting it right the rst time
Working accurately in RGB
in RGB. Photoshop tools and lters are more powerful in RGB
Utilizing printing standards
Thanks to ICC color management and printing specications
than CMYK. Creative edits are more valuable because they are
Creative users can take advantage of color management best
more easily repurposed.
practices and standardized printing specications by:
like GRACoL and SWOP , creative users can control the

color of their own workeven view on their monitor how
Another advantage of working in RGB is that it allows the
an RGB image will print on pressprovided they follow a
printer to optimize the CMYK conversion to suit their own
few guidelines.
particular printing process. Although some printers still ask for
Use standardized Adobe Color Settings
CMYK les, increasingly printers are requesting les in RGB.
Setting the Adobe CMYK working space to GRACoL

or SWOP
Previewing in Photoshop RGB images as CMYK
(Mac: Command + Y, PC: Ctrl + Y)
Proong only on GRACoL or SWOP Certied
Synchronize Adobe Creative Suite color settings in Bridge.

Use a good quality monitor
Displaying RGB as CMYK
Create a custom ICC prole of the monitor
The one signicant concern with an RGB workow is that a
Remember RGB images will look more saturated on the
computer monitor can display a wider range of colors, or color
Wedge 2009 on every proof; download free from
gamut, than most printing processes can reproduce. To see
www.idealliance.org/2012deerposters
monitor than when printed in CMYK

Always embed the prole when saving an image or document
how an RGB image will look in Photoshop when its printed in

CMYK and to avoid surprises, select View > Proof Colors or
RGB workow
click Command + Y (Mac) or Control + Y (Windows). Colors
Most creative retouching, color correction and image editing
outside the printable gamut will display with less saturation. To
has switched from CMYK to RGB. Photography works in red,
highlight out-of-gamut colors, use View > Gamut Warning.
Proong Systems
Demanding an IDEAlliance ISO 12647-7 Color Control
Viewing proofs and press sheets under ISO 3664:2009 D50

lighting conditions
Working with an IDEAlliance G7 Master qualied proof or
print provider
Delivering les
green and blue light, so its simply more logical to edit photos
Controlling color in
Adobe Creative Suite
The preferred delivery format from InDesign is PDF/X-4:2010.
The main thing you need to know about Adobe Color Settings
to www.gwg.org. Individual images saved from Photoshop
is to set your CMYK Working Space to your intended printing
must have the correct embedded prole. This will happen
condition (GRACoL or SWOP). Recommended Adobe Color
automatically with the recommended IDEAlliance .acs les.
Setting les (.acs les) and full installation instructions can be

downloaded free from www.idealliance.org/2012deerposters.
For more information on creating and preighting PDF les go

Selecting Proof Colors mode in Photoshop (Mac menu shown above) lets you
see how an RGB image will look when printed in CMYK. Display accuracy
depends on the quality of your monitor prole as well as your default CMYK
Working Space and Rendering Intent. Note that Photoshops CMYK display
is approximate.
In Adobe Color Settings window (Mac version shown at left), selecting

GRACoL2006 or SWOP2006 as the CMYK working space makes your
workow G7-compatible.
About this poster
Platinum Sponsors:
Gold Sponsors:
www.idealliance.org
+1.703.837.1070
Photo: Paul Sutherland/National Geographic Stock
print quality
Getting what you need
GRACoL and SWOP
SWOP as the target at the creative stage, the printed result is
How good is good enough?
GRACoL and SWOP are North American de facto standard
more likely to meet your expectations.
When judging print quality, remember you are evaluating
proof and print specications representing how good printing
the overall effectiveness of the printed product. Dont be
should appear to the eye. GRACoL denes how a typical
Realistic expectations
too distracted by small color differences. Good printing
sheet-fed commercial press should look. SWOP denes an
In printing, theres no such thing as a perfect match due
should simulate the proof well enough that the desired
ideal Web Offset publication press. Both are based on G7.
to the many variables in every printing process. A realistic
impression is conveyed to the end consumer, remembering
goal isnt an exact match but an acceptable approximation
that the consumer will never see the proof. If you hold the
difcult manufacturing tasks imaginable. Even with todays
of the proof. Remember:
proof directly adjacent to the press sheet you will be setting
advanced printing technologies, reproducing your design
Good printing should look close to the proof in the
expectations that cannot be maintained throughout the
Accurate, predictable color printing is one of the most
exactly the way you visualized it may not be easy, or even
most important colors, but will always have some small
possible. To ensure a positive result, everyone involved from
differences.
creation to output must aim for the same target print condition,
such as GRACoL or SWOP.
The closer the match you ask for between proof and press,
the more the printing will cost.
press run.
If the proof and press sheet are printed on different shades
G7 methodology
G7 is a methodology that helps printers simulate the
appearance of GRACoL and SWOP on a printing device when
of paper, the image will be affected by that difference.

Comparisons should only be made under standard ISO
3664:2009 D50 viewing conditions.
using ISO-standard ink and paper. If you select GRACoL or
Realistic tolerances
The images above give some idea of what typically acceptable tolerances mean in visual terms. All the samples were
considered acceptable because they conveyed the desired intent, even though they dont match each other exactly.
About this poster
Platinum Sponsors:
Gold Sponsors:
www.idealliance.org
+1.703.837.1070
Photo: David Doubilet/National Geographic Stock
proong
The color contract
Color contract proong
SWOP or GRACoL or other regional specications. GRACoL
free from www.idealliance.org/2012deerposters), which should
The rst thing we need to do is distinguish between a content
and SWOP certied proong systems are tested by IDEAlliance
be included on the edge of every proof. If you receive a proof
proof, which is not color-accurate, and a contract proof, which
to fall within close visual tolerances of each other.
without an IDEAlliance ISO 12647-7 Color Control Wedge
is. In this poster we are talking only about the contract proof.
Note: There is no such thing as a G7 proof but any proof
A contract proof is just what it saysa contract between the
made to GRACoL or SWOP specications is, by default,
print buyer and the printer, so it is vital that it demonstrates as
G7-compliant.
2009, ask for it to be made again.

Note: Theres no such thing as a certied GRACoL or SWOP
proof. IDEAlliance does not certify individual proofs to GRACoL
or SWOP.
accurately as possible how an image will look when printed.

If you make a nice print on your personal ink-jet printer that
Measuring proof quality
expresses your creative intent but doesnt show how the press
Just because a proong system is certied doesnt mean it is
Soft proong
will print, you havent made a contract proof. At best youve
operating correctly, or that the proof it produces is certied.
Soft proong provides a viable alternative to hard-copy
made a color guide that a retoucher or color corrector can
Even a certied proong system can drift out of tolerance.
proong by simulating the printed result on a calibrated
follow when altering your le so it prints as closely as possible
To verify a proong system, measurements are taken with a
and proled monitor screen. The most common use of
to your vision. Remember the cost of those alterations is not
spectrophotometer on a standard IT8.7/4 CMYK target
soft proong is simulating a printed result on screen in an
included in a normal printing quote.
and compared to a reference specication such as GRACoL
application like Adobe Photoshop. Remote soft proong
or SWOP. Proong accuracy is expressed in average and
takes this a step further by allowing instant color approval
peak Delta E.
without the need to ship physical proofs from one location to
Certied proong systems

Most of todays offset presses are optimized to simulate
the appearance of a predened CMYK color space such as
To verify an individual proof, measurements are taken on the

IDEAlliance ISO 12647-7 Color Control Wedge 2009 (download
another. When adjusted properly, a soft proong system can

be just as accurate as a hard-copy proof, but its effectiveness
depends, among other things, on ambient lighting. The ideal
soft proong system uses controlled lighting alongside the
monitor to illuminate the hard-copy sample; see image below.
Soft proof
A properly calibrated and proled monitor (image at left) can simulate a
printed sheet with a high degree of accuracy, but the comparison must
be made under carefully controlled lighting. Here the print is viewed in a
D50 viewing booth dimmed to match the brightness of the monitor, and the
monitor has been calibrated to match the precise color of the booth.
An IDEAlliance ISO 12647-7 Color Control Wedge 2009 being measured with
an X-Rite i1Pro densitometer.
Proong right
Proong wrong
Proof above is made on a certied proong system.

The only purpose of a contract proof is to simulate how the job will appear
on press.
Proong systems should be calibrated to simulate GRACoL, SWOP or an
agreed custom print condition.
Proofs and press sheets should only be viewed under ISO 3664:2009
D50 viewing conditions. Nonstandard illumination (for example, ofce or
supermarket lighting) can cause a good proof to look bad.
Proof above is made on a desktop ink-jet printer.

Prints made on an uncalibrated desktop printer are not contract proofs and
may be rejected or remade by the printer.
You may be asked to sign a waiver acknowledging that the color on the noncontract proof will be different than the printed product.
About this poster
Platinum Sponsors:
Gold Sponsors:
www.idealliance.org
+1.703.837.1070
Photo: Frans Lanting /National Geographic Stock
paper
The 5th color in 4-color printing
Paper is one of the most overlooked variables in printing.
brightness will tend to be more noticeable in lighter tones and
typically consist of materials which uoresce under UV
How a printed image looks is directly affected by the color,
clean, pastel colors.
wavelengths. This causes issues in color measurement and
brightness, nish, coating, opacity, weight and absorbency
Caution: If you ask for GRACoL printing but specify a
of the paper on which its printed. To help dene consistent
printed appearance, specications like GRACoL and SWOP
color management. For example, UV enhancers sometimes
non-GRACoL stock, the printed piece will not simulate
make the paper appear bluer, but only in certain types of
a normal GRACoL proof due to the substrate differences.
lighting. Most UV-based additives fade upon exposure to light,
recommend a specic paper color and brightness. The closer
in some cases causing paper to change color after just a few
your printing substrate is to the proong paper color, the
Designing for multiple purposes
better it will simulate a standard proof. Remember, paper color
Often a basic design or image will be repurposed many
directly affects image color.
times on different media or processes, like in a magazine, a
brightened and non-brightened papers when viewed apart
newspaper, a package, a billboard and the Internet. While each
from each other, even though they look different adjacent to
Different substrates
process may have its unique color capabilities, the goal should
each other.
If your job is printed on a substrate with different color or
be to get the most common visual appearance possible. The
brightness than the proong substrate (also called a color cast
easiest way to ensure this is to keep your work in RGB and let
or paper shade) the press sheet will not look like the proof. For
the printer convert to CMYK for each individual process.
example, if the white press stock has a blue shade, the print
days. This affects the color of the printed piece.

Ironically, printed images typically look very similar on
The selection of paper is a crucial factor in accurate color

reproduction.
will look blue compared to the proof. And if the press stock
Understanding UV
has a yellow shade, the press sheet will look yellower than
Many of todays papers are enhanced with Optical Brightening
the proof; see images below. Differences in paper color or
Additives, or OBAs, to make them appear brighter. OBAs
Printing on different substrates

These images demonstrate why paper is considered the 5th color in
4-color printing.
Left is a GRACoL print.
Top center is a GRACoL le printed on a stock with a blue shade.
Top right is a GRACoL le printed on a stock with a yellow shade.
Bottom right is a GRACoL le printed on uncoated stock. Paper color,
as well as absorbency, can affect the nal printed image. Notice
how colors and blacks are weaker and less saturated because
the ink has been absorbed by the paper.
About this poster
Platinum Sponsors:
Gold Sponsors:
www.idealliance.org
+1.703.837.1070
Photo: Frans Lanting /National Geographic Stock
light & vision

Lighting affects color
Standard lighting D50
decisions should only be made in standard D50 lighting by
conference rooms where proofs or press sheets may
In order to see the same color we all have to view it under
individuals who have passed a color deciency test.
sometimes be compared.
the same viewing conditions. Simply changing the lighting
can change the appearance of an object or print. This is why
Standard color vision
standardized lighting is so vital.
We all see color differentlysome more differently than others.
The standard for lighting in graphic arts and photography is
In extreme cases, this is known as color blindness. Standard
D50 as dened in ISO 3664:2009. D50 consists of a spectral
color vision is dened by the CIE (International Commission
power distribution curve based on average daylight (white
on Illumination) and can be tested. People making color
band in graph). If everyone viewed originals, proofs and prints
decisions should be tested for color deciencies.
under D50 lighting, apparent errors caused by incorrect

lighting would be minimized.
Getting standardized
D50 viewing booths are available from several manufacturers
Metameric failure
including GTI (www.gtilite.com) and JUST Normlicht (www.
Metameric failure is when two images match under one light
justnormlicht.com). Full-size D50 booths are used in
source but not under another. An example would be a press
pressroom and prepress areas. Smaller desktop booths
sheet that simulates the proof in the press console but not
can be dimmed to match the brightness of an adjacent
under ofce lighting. This often causes unjustied rejection of
soft-proong monitor. Individual D50 tubes can be used
otherwise good printing. To minimize metameric failures, color
as room lightinga great idea for customer lounges and
Spectral curves of ISO D50 (white), D50 uorescent (blue), tungsten 3200K (yellow) and CWF uorescent common in ofce and retail areas (green).
Viewed in an ISO 3664:2009 standard D50 viewing booth
Viewed under tungsten light bulbs (2800 Kelvin)
Viewed under typical ofce lighting (cool white uorescent tubes)
Effect of nonstandard lighting

Nonstandard lighting may cause a proof or print to change its appearance dramatically. The three reproductions on this page represent how the same physical
print would look under different lighting environments - a standard D50 viewing booth (large image at left), tungsten lighting (small image left) and typical ofce
or retail lighting (small image right). Remember these differences are not due to printing errors, but to incorrect lighting.
About this poster
Platinum Sponsors:
Gold Sponsors:
www.idealliance.org
+1.703.837.1070
Photo: Joel Sartore/National Geographic Stock

2012 DEER Poster Design To Print Series (Print Only) - Sep11

Încărcat de

Informații document

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

2012 DEER Poster Design To Print Series (Print Only) - Sep11

Încărcat de

Drepturi de autor:

Formate disponibile

color gamut

You cant always get what you want

RGB vs. CMYK

a newspaper press, due to the brighter white of commercial

Every color system (monitor, desktop printer, digital press,

Computer monitors typically have larger color gamuts than

paper and the higher ink densities it can support.

printing devices, especially in deep blues and blacks. This

Color gamut means the range of colors and tones achievable

means the printed result will often be less dramatic than

weight, opacity, coating, gloss, absorbency and other surface

the original RGB image viewed on screen. To see in advance

The color gamut of a computer screen is determined by the

Other factors affecting printed gamut may include paper

Photoshop Proof Colors option select View > Proof Colors or

color gamut of a printing device is determined by the hue,

click Command + Y (Mac) or Control + Y (Windows). Colors

When extra gamut is essential, and the extra cost is justied,

saturation and lightness of its cyan, magenta, yellow and black

outside the printable gamut will display with less saturation,

printed gamut can sometimes be expanded using extra inks

inks and the brightness, and other characteristics, of the paper

similar to how they will print on press. Proof accuracy depends

and/or higher ink densities than normal 4-color printing. Just

or substrate on which they are printed.

on the quality of your monitor prole as well as your default

remember, extended-gamut printing is more expensive and

CMYK Working Space and default Rendering Intent.

skill-intensive than regular CMYK printing. If you dont have

Successful designers work within the available color

example, if you view your design in RGB without CMYK soft

CMYK vs. CMYK

proong, chances are you will be disappointed when it prints.

Likewise, dont expect the same color gamut on newsprint as

example, a typical commercial offset press running to

expanded-gamut techniques. A second cyan plate permitted

you can get on commercial offset paper.

GRACoL specications has a much wider color gamut than

up to 200% cyan in the richest blue areas.

printable color space (for example, GRACoL or SWOP).

For more information about this poster or others in

The GRACoL color gamut

GRACoL (larger shape)

Monitor gamut (simulated)

About this poster

Developed and produced by:

in RGB. Photoshop tools and lters are more powerful in RGB

Utilizing printing standards

Thanks to ICC color management and printing specications

Creative users can take advantage of color management best

more easily repurposed.

practices and standardized printing specications by:

like GRACoL and SWOP , creative users can control the

Another advantage of working in RGB is that it allows the

an RGB image will print on pressprovided they follow a

printer to optimize the CMYK conversion to suit their own

particular printing process. Although some printers still ask for

Use standardized Adobe Color Settings

CMYK les, increasingly printers are requesting les in RGB.

Setting the Adobe CMYK working space to GRACoL

Synchronize Adobe Creative Suite color settings in Bridge.

Displaying RGB as CMYK

Create a custom ICC prole of the monitor