Adobe 18030211 - Creative Suite 2 Standard User Manual
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Adobe 18030211 - Creative Suite 2 Standard User Manual

Adobe 18030211 - Creative Suite 2 Standard User Manual

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Color Workflows for Adobe Creative Suite 2
A Self-Help Guide

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  • Page 1 Color Workflows for Adobe Creative Suite 2 A Self-Help Guide...
  • Page 2 Adobe Systems Incorporated • 345 Park Avenue, San Jose, CA 95110-2704 USA • www.adobe.com Adobe, the Adobe logo, Illustrator, Photoshop, InDesign, Acrobat, GoLive, and PostScript are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Mac is a trademark of Apple Computer, Inc., registered in the United States and other countries. All other trademarks are the property of their respective owners.

  • Page 3: Table Of Contents

    Introduction Welcome to “Color Workflows for Adobe® Creative Suite 2.” This guide is intended for TABLE OF CONTENTS Introduction professionals in the visual communications industry who need a reliable approach to achieving accurate and consistent color. Whether you are a new or experienced user Chapter 1: Getting Started of Adobe Photoshop®, Adobe Illustrator®, Adobe InDesign®, Adobe GoLive®, or Adobe...
  • Page 4 How does color management technology in Adobe Creative Suite 2 help? The color management technology in Adobe Creative Suite 2 lets you achieve more ac- curate and consistent color reproduction by performing two essential tasks: Identifies a specific color appearance for RGB or CMYK numbers in a document ➤...

  • Page 5: Chapter 1: Getting Started

    Glossary in this guide. Which workflow is for you? Chapters 2 through 5 describe how to use the new Adobe Creative Suite 2 color manage- ment features in today’s common workflows. Use the table below to find the workflow that is most relevant to you.
  • Page 6 2. In the Suite Color Settings dialog box, select the relevant CSF and then click Apply to synchronize all Adobe Creative Suite 2 components to this CSF. In Adobe Bridge, you can select the CSF that matches your workflow. For more information about color settings, see Adobe Creative Suite 2 Help documentation.

  • Page 7: Chapter 2: Cmyk Commercial Print Workflow

    �������� ���������������������� �������������������������� With Adobe Creative Suite 2, CMYK color values are preserved throughout the workflow to final press. With the color appearance of CMYK fully defined, you’re able to view colors accurately on monitors and proofers. This chapter is intended for graphic designers and prepress professionals who are responsible for building documents.

  • Page 8: Initial Setup

    This CSF sets U.S. Web Coated (SWOP) v2 as the default CMYK working space and uses the CMYK color management policy to preserve CMYK color numbers. Although you set the Color Settings file in Adobe Bridge, this is how that setting appears in the InDesign CS2 Color Settings dialog box. Color Workflows for Adobe Creative Suite 2...
  • Page 9 2. Select Embed Color Profile for these file formats: • (Photoshop) .tif, .psd, .pdf, .eps, and .jpeg • (Illustrator) .ai and .pdf Note: In Illustrator CS2, you select Embed Color Profile after naming the .ai or .pdf file. Color Workflows for Adobe Creative Suite 2...
  • Page 10 When creating color content in InDesign CS2, everything built in CMYK automatically uses the document’s CMYK profile. InDesign CS2 uses the same profiles as Photoshop CS2 and Adobe Illustrator CS2, so content with the same CMYK values appears the same in each application.
  • Page 11 Note: The paper color specified by SWOP may be darker and more yellow than the paper you will be using.. 4. Click OK. The display simulates how the document will appear on the final output device. If nec- essary, make edits to adjust the color. Color Workflows for Adobe Creative Suite 2...
  • Page 12 To create a PDF file from InDesign CS2: 1. Choose File>Export. 2. Select Format: Adobe PDF, and then click Save. You can choose an Adobe PDF preset standard from the Export Adobe PDF dialog box. Color Workflows for Adobe Creative Suite 2...
  • Page 13 The PDF/X-1a format converts all data contained in the document to CMYK. This conversion does not impact the workflow, since all content in the InDesign CS2 document is already CMYK. 4. Choose Output. By default, Adobe Creative Suite 2 components set Color Conversion to Convert to Destination (Preserve Color Numbers) and Destination to Document CMYK—U.S.

  • Page 14: Chapter 3: Mixed Rgb And Cmyk Print Workflow

    ������� ��� �� ���� �� ��� ����� ������ ��� In this RGB and CMYK mixed workflow, Adobe Creative Suite 2 components preserve your CMYK color values and enable the use of RGB content, which is converted to CMYK when output to a PDF or PostScript®...
  • Page 15 North America Prepress 2 sets Adobe RGB and U.S. Web Coated (SWOP) v2 as your default RGB and CMYK working spaces. Mismatched profile and missing profile warnings are turned on. Although you set the Color Settings file in Adobe Bridge, this is how that setting appears in the InDesign CS2 Color Settings dialog box.
  • Page 16 files saved in RAW formats, see Adobe Camera Raw in Chapter 4, RGB Photo Workflow.) If you scan images, check to see if the scanner software can save images using the Adobe RGB color profile or, if you prefer to work with CMYK files, the U.S. Web Coated (SWOP) v2 color profile.
  • Page 17 Illustrator document. Saving artwork in Photoshop CS2 and Illustrator CS2 When you are ready to save your artwork, embed the Adobe RGB or U.S. Web Coated (SWOP) v2 profiles in your Photoshop CS2 or Illustrator CS2 document so another user can understand how the file was created and the intended color appearance.
  • Page 18 When saving a file, InDesign CS2 embeds the document RGB and CMYK color profiles and the Preserve Numbers (Ignore Linked) CMYK policy in the InDesign document. That way, any Adobe Creative Suite 2 component has the color data needed for anyone to view the colors as intended.
  • Page 19 It is also common to overprint black text to prevent trapping problems because of misregistration on the press. To preview how overprinted colors will look when printed, choose View > Overprint Preview. Color Workflows for Adobe Creative Suite 2...
  • Page 20 Soft-proofing lets you preview the color that will result when a file is printed on the final printing press. Soft-proofing is available in any of the Adobe Creative Suite 2 compo- nents (except GoLive). Soft-proofing provides a simulation of the color of the RGB files after they are converted to CMYK.
  • Page 21 1. Choose File > Export. 2. Select Format: Adobe PDF, and then click Save. 3. In the Export Adobe PDF dialog box, choose PDF/X-1a from the Adobe PDF Preset menu. You can choose an Adobe PDF preset standard from the Export Adobe PDF dialog.
  • Page 22 1. Choose File > Export. 2. Select the Adobe PDF format, and then click Save. 3. In the Export Adobe PDF dialog box, select PDF/X-3 from Adobe PDF Preset menu. The PDF/X-3 format permits embedded profiles in the body of the PDF.
  • Page 23 PDF file can be more easily repurposed to different output devices later in the workflow. PDF Export automatically sets Color Conversion to No Color Conversion. For more information on PDF/X printing standards, see “PDF/X Files and Adobe Creative Suite 2” (http://studio.adobe.com/us/print/main.jsp). Package your InDesign CS2 document If you are delivering native files along with the InDesign CS2 document for the printer,...

  • Page 24: Chapter 4: Rgb Photo Print Workflow

    You can edit your color in a standard RGB color space and take advantage of on-screen viewing and soft-proofing to achieve more accurate, predictable color on final output. This workflow is intended for digital photographers who need an efficient workflow that offers more predictable color from capture to output. Color Workflows for Adobe Creative Suite 2...
  • Page 25 The North America Prepress 2 uses these default settings. Although you set the Color Settings file in Adobe Bridge, this is how that setting appears in the InDesign CS2 Color Settings dialog box. Color Workflows for Adobe Creative Suite 2...
  • Page 26 When scanning photos, check the scanner driver settings to see if you can save the images in the Adobe RGB color space. If you are using the Adobe Camera Raw plug-in for processing raw image data from a digital camera, you can easily convert to a standard RGB working space while preserv- ing as much color and tone information from the original capture as possible.
  • Page 27 5. If you want to reuse this custom setting, click Save and give the setting a file name. The file will be listed in the Proof Setup menu. 6. Click OK. The display simulates how the document will appear on the printer. If necessary, make edits to adjust the color. Color Workflows for Adobe Creative Suite 2...
  • Page 28 If you have files printed at a photo lab, make sure to save them with your working space profile embedded so the lab can open your image on a calibrated monitor, see the color as you intended and print the image to match the image you viewed on-screen. Color Workflows for Adobe Creative Suite 2...

  • Page 29: Chapter 5: Internet Publishing Rbg Workflow

    ������������ ���� When you convert your artwork to the sRGB working space, the Adobe Creative Suite 2 components can read, display, and prepare your artwork in a color space suitable for the Internet. Files that come in from a variety of sources are converted to the sRGB working space, and then prepared for the web using GoLive CS2.
  • Page 30 Initial setup Before starting this workflow, be sure that the North America Web/Internet CSF is selected in Adobe Bridge. This selection sets the default RGB working space to sRGB across the Adobe Creative Suite 2 components. Be sure you select the North America Web/Internet color setting in Bridge.
  • Page 31 Embedded Profile Mismatch dialog box appears asking you whether you want to convert the document’s colors to the working space. Click OK. For more information about Adobe Creative Suite 2 profile mismatch dialog boxes, see “Chapter 6: Advanced Topics.”...
  • Page 32 InDesign CS2 elements (also known as assets) for the web using the Package for GoLive feature in InDesign CS2. Adobe Creative Suite 2 makes it easy to import Photoshop CS2 and Illustrator CS2 art- work directly into GoLive CS2 and either save the artwork in a web-optimized format (without embedding the sRGB Profile) or with an embedded profile.
  • Page 33 7. Open your website in GoLive CS2. 8. With the Site window of your website open in GoLive CS2, double-click the package in the Extras tab showing the InDesign layout and elements. 9. Click Assets. Color Workflows for Adobe Creative Suite 2...
  • Page 34 HTML web page. The S4W dialog box appears when the files are placed in the HTML page. 12. Drag and drop the images into the HTML window. Note: The images are automatically converted to sRGB during this process. Color Workflows for Adobe Creative Suite 2...

  • Page 35: Chapter 6: Advanced Topics

    • Discard the Embedded Profile—Removes the embedded profile from the document and usually changes the document’s color on-screen. Use this option only if the workflow is not color managed or to slightly reduce the file’s size by removing the embedded profile. Color Workflows for Adobe Creative Suite 2...
  • Page 36 If you use one of these proofers, it is not necessary to use the hard-proof controls in the Adobe Creative Suite 2 components. If you want to hard proof your document on a printer, you need to set up your printer to simulate the final output device.
  • Page 37 To set up your printer in Photoshop CS2 to simulate the final output device: 1. Choose File > Print with Preview. In the Photoshop Print dialog box, select options to proof color on a local printer. Color Workflows for Adobe Creative Suite 2...
  • Page 38 (Edit > Color Settings). To simulate ink black and the color of paper, choose Absolute Colorimetric. In the Color Management pane you can select options to proof CMYK colors on a local printer. Color Workflows for Adobe Creative Suite 2...
  • Page 39 Large standard working spaces, such as ProPhotoRGB, retain virtually all of the color available in most film types. Adobe RGB is smaller, yet is designed to include all colors available on most standard printing presses.
  • Page 40 These color gamut plots show the relative sizes of some color device and standard working spaces. Note that the scanner’s gamut is the largest, followed by Adobe RGB. The gamut of an inkjet printer nearly equals that of Adobe RGB, while those of a SWOP printing press and newspaper press are much smaller.

  • Page 41: Glossary

    International Color Consortium (ICC), the group established by eight indus- try vendors (including Adobe Systems) for the purpose of creating, pro- moting, and encouraging the standardization and evolution of an open, vendor-neutral, cross-platform color management system architecture.

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