HQ RIP

User’s Guide
ColorPro Addendum
•••••••••
First Edition
HQ-510 RIP v6.0
ColorPro

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 Contents
•••••••••

1. ColorPro..................................................................1
Getting Started With ColorPro........................................................2
ColorPro Features ...........................................................................3
What Is New in ColorPro? ..............................................................4
Color and Calibration .....................................................................5
Color Mapping Styles Used in ColorPro .........................................5
Absolute Colorimetric .............................................................6
Relative Colorimetric...............................................................6
Perceptual ................................................................................7
Saturation ................................................................................7
Paper Simulation ......................................................................7
Rendering Intent Selection for Emulation ...............................8
ProofReady Plug-ins ........................................................................9

2. ColorPro Workflows ............................................11

CMYK ProofReady Proofing .........................................................11
CMYK Analog Matching................................................................12
CMYK Press Proofing ...................................................................13
RGB Proofing—ICC Model ...........................................................15
RGB Proofing—SetGold and ColorPro Models.............................17
Multiple Color Space Proofing .....................................................18
Emulation Workflow Details .........................................................20

ColorPro Addendum iii

 3. Using ColorPro .....................................................23
Getting Ready to Use ColorPro.....................................................24
ColorPro Overview.......................................................................25
Install ICC Profiles .......................................................................25
Types of Profiles ....................................................................26
Install ICC Profiles .................................................................28
Uninstall ICC profiles.............................................................32
Define Color Rendering Intents ...................................................33
Custom Rendering Intents.....................................................34
Define Color Setups Using ColorPro ............................................37
Customize Page Setups Using New Color Setups.........................54
Print Using New Page Setup.........................................................56

Appendices

A. UCR and Black Generation ..................................59

The HQ RIP Without ColorPro .....................................................59
The HQ RIP With ColorPro Enabled .............................................60

B. Creating a Logo.....................................................61

C. Jobs Containing Color Management Data ..........63

PostScript-Language Jobs and Image Files ....................................63
Page Setup Uses a Color Management Option .............................64
Summary of Options.....................................................................65
Embedding ICC Profiles in Photoshop Images .............................67
PDF Color Management................................................................67

D. Overprinting Options ..........................................69

Overprinting .................................................................................69
Drop White Objects......................................................................72

iv Contents
 E. Supplied Profiles ..................................................75
CMYK Input Profiles.....................................................................75
RGB Input Profiles ........................................................................77
CMYK Output Profiles (for Printing Press) ..................................77

F. Seeing Color..........................................................79
Perception of Color ......................................................................79
Additional Reading .......................................................................80

G. Printing Color.......................................................81
Issues in Color Printing ................................................................81
Color Management .......................................................................81
Color Gamuts................................................................................82
Device-Independent and Device-Dependent Color......................84
Mapping Between Gamuts ...........................................................85

Index...........................................................................87

Figures
Figure 2-1. ProofReady plug-in selected in Page Setup ................12
Figure 2-2. “DuPont Cromalin” input profile selected in
Color Setup...................................................................................13
Figure 2-3. “Fogra” input profile selected in Color Setup .............14
Figure 2-4. “GRACol_SID_GCR2” input profile.............................14
Figure 2-5. “GRACol_SID_GCR2” input profile selected in Color
Setup.............................................................................................15
Figure 2-6. RGB input profile .......................................................16
Figure 2-7. Device profile.............................................................16
Figure 2-8. Emulation profile........................................................16
Figure 2-9. RGB proofing setup....................................................17
Figure 2-10. SetGold and print shop profiles used in
same setup....................................................................................18
Figure 2-11. CMYK and RGB images used in same setup ............19

ColorPro Addendum v
 Figure 2-12. All ICC setup.............................................................20
Figure 2-13. Full color chain .......................................................20
Figure 2-14. CMYK color chain....................................................21

Figure 3-1. Overview of ColorPro ................................................23

Figure 3-2. Configure RIP Extras dialog box ................................25
Figure 3-3. Install ICC Profile dialog box ................................ 29-31
Figure 3-4. Uninstall ICC profiles..................................................32
Figure 3-5. Color Rendering Intent Manager dialog box..............34
Figure 3-6. Color Rendering Intent Details dialog box ........... 36-37
Figure 3-7. Color Setup Manager dialog box................................38
Figure 3-8. New Color Setup “ColorPro”: Input Profiles
dialog box................................................................................ 40-41
Figure 3-9. New Color Setup “ColorPro”: Input Document
Controls dialog box ................................................................. 42-45
Figure 3-10. New Color Setup “ColorPro”: Input Separation
Detection Angles in Job dialog box ..............................................46
Figure 3-11. New Color Setup “ColorPro”: Output Profile
dialog box.....................................................................................47
Figure 3-12. New Color Setup “ColorPro”: Output Emulation
dialog box.....................................................................................48
Figure 3-13. New Color Setup “ColorPro”: Output Rendering
Intents dialog box.................................................................... 49-50
Figure 3-14. New Color Setup “ColorPro”: Output Controls
for RGB dialog box .................................................................. 51-52
Figure 3-15. New Color Setup “ColorPro”: Output Controls
dialog box................................................................................ 53-54
Figure 3-16. Page Setup dialog box ..............................................55
Figure 3-17. Print File dialog box.................................................56

Figure D-1. Results when setoverprint=true and

setoverprintmode=true ................................................................70
Figure D-2. Results when setoverprint=true and
setoverprintmode=false................................................................71
Figure D-3. Results when setoverprint=false and
setoverprintmode=false................................................................71

vi Contents
 Figure D-4. Results when setoverprint=true and
setoverprintmode=true ................................................................72
Figure D-5. Results when setoverprint=true and
setoverprintmode=false................................................................73

Figure G-1. CIE 1931 chromaticity diagram .................................82

Figure G-2. Color gamuts available...............................................83
Figure G-3. Detail of out-of-gamut areas.......................................85
Figure G-4. Absolute colorimetric mapping.................................86
Figure G-5. Perceptual mapping ..................................................86

ColorPro Addendum vii

viii Contents
 1 ColorPro
•••••••••

W elcome to ColorPro™, a full-feature color solution for the

HQ RIP.
ColorPro and SetGold™ profile-making software form a complete
color science solution to ensure color quality and accuracy for
proofing and emulation. Emulation is when your printer produces
proofs as if from your press. ColorPro provides the largest realizable
color gamuts for the final print market and allows greater accuracy
than would be possible using standard profiles.
ColorPro embraces open systems, industry standards, and device-
independent color science, and is able to fully use them. If you have
ICC profiles with which you already achieve good results, you can
use these profiles with ColorPro. However, you should be aware that
ColorPro contains color science that is optimized for the HQ RIP and
is easily used with the introduction of SetGold.
NOTE: The ICC profile format is specified
by the International Color Consortium
(http://www.color.org/). The International Color
Consortium, established in 1993, has the charter for
creating and promoting the standardization of open,
vendor-neutral, cross-platform color management
systems.
Previous HQ RIP
One of the unique features of ColorPro is that you can mix and match
color management
SetGold profiles and ICC compliant profiles within ColorPro
systems …
setups, if that is what produces the best results for you.
Harlequin ICC Profile
Processor (HIPP) ColorPro solves real-world color reproduction problems for the
graphic arts market and is available as a password-protected option in
Harlequin Color the HQ-PM and HQ-PC RIPs.
Management System (HCMS)
ColorPro is a direct replacement for the previous HQ RIP color
Harlequin Full Color System
management systems, including HIPP, HCMS, and HFCS. Your existing
(HFCS)
HIPP password will activate ColorPro.

ColorPro Addendum 1
 It is possible to obtain some of the benefits of color management by
using a ProofReady output plug-in with the HQ RIP. ProofReady plug-
ins are ready for use, but you can expand their capabilities by using a
ColorPro option. See “ProofReady Plug-ins” at the end of this chapter
for details.
A range of device profiles for commonly used color standards are
available with ColorPro. These profiles are available for immediate use
and incorporate linearization data for output devices.
Some graphics applications include color management information
in images or jobs that they produce; Adobe Photoshop is one such
application. When processing jobs from these applications, you can
choose to use either the color management information contained in
the jobs or the more detailed controls provided by a ColorPro option.
Jobs can contain color management information in several forms: as an
embedded ICC profile, as a color space array (CSA), or as specified by
“UseCIEColor.” See Appendix C,“Jobs Containing Color Management
Data,” for details.

Getting Started With ColorPro

This section provides a map of this document, so you can quickly
get your system installed, configured, and working. This document is
arranged, as follows:
Chapter 1,“ColorPro” (this chapter), provides you with information
about ColorPro and how it is different from previous HQ RIP color
software. In addition, it provides information on ProofReady plug-ins,
the available rendering intents, and emulation.
Chapter 2,“ColorPro Workflows,” provides several examples of
workflows and how you should configure them in ColorPro. You may
find a workflow example in this chapter that you can use as a starting
point for configuring your own workflow.
Chapter 3,“Using ColorPro,” shows you how to activate ColorPro, and
provides full details on all the options available, including installing
ICC profiles, configuring a color setup, and using that setup with your
page setup.
The appendices provide extra related information.

2 Chapter 1: ColorPro
 ColorPro Features
ColorPro is a complete and accurate color reproduction solution.
It is a device-independent, cross-platform, color management
system developed to control color in today’s digital printing and
publishing environments. ColorPro manages all aspects of color
print reproduction and is fully compatible with accepted industry
standards.
ColorPro offers a technology independent solution. Unlike most
systems, which force you to compensate for color before you know
how a job will be printed, ColorPro works without regard to the input
and output devices used. In other words, you do not need to specify
which devices will be used when you create the PostScript job. At
run-time, ColorPro applies the proper transformations.
ColorPro allows you to specify different gamut-mapping algorithms
in the reproduction of a page. For example, you can simultaneously
specify “Absolute colorimetric” to reproduce some elements of the
page and yet specify “Perceptual” to reproduce the photographs. The
end result is that, on a single page, the color for photographs is
calculated without affecting other elements on the page.
ColorPro allows processing of colors in page data using SetGold
profiles or ICC profiles produced by third parties. Profiles specify a
translation between two color spaces. Each profile is prepared for a
specific set of imaging conditions. One device may have more than
one profile. The profiles may correspond to running the device with
different combinations of resolutions, inks, and paper.
New profiles can be easily added to ColorPro, and previously installed
profiles can be selected without the need to reinstall each time a
profile is used. An option to install and uninstall ICC profiles is also
provided.
In addition, ColorPro allows you to use profiles prepared in the
HQ RIP format. SCREEN supplies a number of profiles for commonly
used systems. See Appendix E,“Supplied Profiles,” for details.

ColorPro Addendum 3
 What Is New in ColorPro?
ColorPro offers many advantages over previous color solutions
provided with the HQ RIP. The following new features have been
added to ColorPro:
Emulation Allows your printer to produce proofs as if from your
press.
Gray Profiles Used with scanned images, line art, text, and graphics.
N-Color Profiles Allows any number of colors.
All the options within ColorPro are available in a single Color Setup
dialog box for easy configuration. The options below are now
available in the Color Setup dialog box, some with different names.
Honor Color Management (PDF and PS)
These options were previously in the Page Setup > PDF
Options dialog box and Page Setup Options > Extras dialog
box. They have been combined into one option, now called
“Override color management in job.”
Fill background with paper color of job
This option was always in the Color Setup dialog box, but is
now called “Simulate paper color of job.”
Color Options dialog box
The options that were previously in this dialog box are now
available in the Color Setup dialog box.
With the color management solution previously offered with the
HQ RIP, you were not able to do any emulation if you only had
HIPP rather than HFCS. This was because emulation used the CRD
generator plug-in, which was part of HFCS. With the HQ RIP v6.0, the
CRD generator plug-in is supplied as part of ColorPro and you have
the choice as to whether to use it.
With ColorPro, you are able to create your own color rendering
dictionaries (CRDs) and you are also able to emulate printing presses
whose profiles do not have external CRDs—but only if you use the
CRD generator plug-in (ProofReady).
If you choose to emulate a printing press that has a profile with
external CRDs, you are offered a choice of ICC rendering intents (e.g.,
“ICC perceptual,”“ICC colorimetric,” and “ICC saturation”).
With ColorPro, you are able to create color setups with or without
color management. You can save the setups and associate them with
different page setups within the HQ RIP.

4 Chapter 1: ColorPro
 Color and Calibration
To ensure high-color accuracy, make sure you calibrate your output
device. See the chapter on calibration in the HQ RIP User’s Guide.

Color Mapping Styles Used in ColorPro

Various color mapping strategies (rendering intents) are available with
ColorPro. The standard strategies are:
• Default Absolute Colorimetric
• Default Relative Colorimetric
• Default Perceptual
• Default Saturation
These rendering intents use the values from an installed ICC profile
together with settings from the Color Setup dialog box to generate a
CRD at run time.
The information in this section also applies to the rendering intents
that appear when you select ICC profiles and use the “->Default”
option. For example:
• ->ICC colorimetric
• ->ICC perceptual
• ->ICC saturation
The “->Default” rendering intent is only available when using a
ProofReady plug-in, and when a ProofReady media type is selected in
the “Output Profile” drop-down list. The “->Default” rendering intent
is the recommended selection when using a ProofReady plug-in. This
rendering intent will appear when the profile selected was created
using the HQ RIP, and uses a CRD generated with settings considered
to be optimal for the given printer and media configuration.
The “->ICC” rendering intents use CRDs installed in the RIP. They
appear when an ICC profile has been installed and selected as either
an “Output Profile” (when emulation is not selected) or an “Emulation
Profile.”
ColorPro can use these strategies from both ICC- and HQ-510-RIP-
generated profiles. You are also able to modify these strategies and
save them as new named strategies for later use.
The difference between the HQ-RIP-derived and ICC rendering intents
is that you are able to customize the HQ-510 RIP rendering intents
using the Rendering Intent Manager (see “Custom Rendering Intents”
in Chapter 3 for more information).

ColorPro Addendum 5
 The names “Absolute colorimetric,”“Relative colorimetric,”“Perceptual,”
and “Saturation” are the conventional terms for these color mapping
strategies (rendering intents), and the HQ RIP uses these names for
rendering intents derived from HQ RIP profiles.
The names that appear for rendering intents derived from ICC profiles
are slightly different—there is only one colorimetric intent—but
all the same styles are available to the HQ RIP, provided that an ICC
profile contains them. ICC and HQ-510 RIP rendering intents are not
the same, but they do produce similar results.
The different naming scheme makes it easier for the best rendering
intent to be selected by ColorPro, so that it best suits the other
choices you have made when creating a color setup.
The next four sections describe these options. Appendix G,“Printing
Color,” has further details on absolute colorimetric mapping and
perceptual mapping.

Absolute Colorimetric
Any color the device can reproduce (with the intended setup and
viewing conditions) is reproduced exactly. Colors outside the device
gamut are mapped onto a “nearby” point in the gamut. There are
various ways in which a color might be out of gamut. For example, it
could be too saturated, lighter than the paper color, or darker than the
darkest imageable patch.
Colorimetric reproduction is appropriate where an exact color match
is required. For example, you may choose a colorimetric strategy
when you are reproducing a logo in corporate colors.
NOTE: Absolute and relative colorimetric styles are
closely related. For simplicity, ColorPro displays just
the single name “ICC colorimetric,” but internally, it is
able to use either style where it is appropriate.

Relative Colorimetric
This style aims to reproduce colors exactly, except that the luminance
(how light or dark a color is) is scaled so that the darkest possible
color is mapped to the darkest imageable color, and the lightest
possible color to the paper white. This style may change the hue
(degree of redness, blueness, and so on) of any color, and is almost
certain to affect the luminance of most colors.
Some scanners and applications produce data that has been adjusted
so that the lightest and darkest point are encoded as maximum and
minimum lightness. For interpreting this kind of image, the relative
colorimetric style is appropriate.

6 Chapter 1: ColorPro
 Perceptual
This style maps the entire device-independent color space onto the
gamut of the printer by compressing the range of in-gamut colors to
make room for out-of-gamut colors. It is appropriate for rendering
photographs and similar reproductions of natural scenes.
NOTE: This strategy was named “Photorealistic” in early
HQ RIP color management systems.

Saturation
This style specifies that the saturation of the colors in the image is
preserved, perhaps at the expense of accuracy in hue and lightness.
NOTE: This strategy was named “Business Graphics” in
early HQ RIP color management systems.

Paper Simulation
ColorPro allows you to reproduce the paper color of the input job
in the output from the HQ RIP. This option is an important feature
because, for example, some proofing stocks are very blue and contain
optical brighteners, which are not typical of papers that are run
through presses (at least presses running inks). Thus, paper simulation
can help in proofing.
Paper simulation is controlled by the “Simulate paper color of job”
checkbox in the “Input Document Controls” section of the New Color
Setup dialog box. ColorPro processes other colors on the page to
match the chosen background, so this setting implies “absolute” and
“relative” modes. This could be a problem if the chosen rendering
intent made a conflicting choice of “absolute” or “relative” rendering.
If the “Simulate paper color of job” checkbox is selected when using
the “->ICC colorimetric” intent option, the color is “absolute.” When
the checkbox is not selected, the color is “relative.” This means that
there cannot be a conflict, but allows full access to the rendering
intents.
To clarify, if the “Simulate paper color of job” checkbox is selected
when using the “ICC colorimetric” intent option, it changes the “->ICC
colorimetric” option to “absolute,” and the background color of the
paper would appear on the proof. That is, if the background color of
the paper is yellow, the proof would appear more yellow.
If the “Simulate paper color of job” checkbox is not checked, the
“->ICC colorimetric” option becomes “relative” and the background
color of the paper would not appear on the proof.

ColorPro Addendum 7
 If the selected ICC intent is “perceptual,”“saturation,” or one of the
HQ-RIP-derived intents, the RIP attempts to simulate the background.
NOTE: It is possible for a conflict to arise for the
HQ-RIP-derived rendering intents because the “Simulate
paper color of job” option only works for ICC rendering
intents.

Rendering Intent Selection for Emulation

In the ColorPro dialog box, there is not an option for selecting a
proofer rendering intent when an emulation profile is selected. When
a profile is selected from the “Output Emulation” drop-down list, the
rendering intents selected in the “Output Rendering Intents” section
apply to this profile. (It is not possible to select a rendering intent for
the profile selected in the “Output profile” option.)
The HQ RIP automatically selects a rendering intent for the output
profile in the following way:
1. If the output profile has any ICC output profiles associated
with it, the RIP uses a colorimetric profile if one exists.
2. If there is not a colorimetric profile, the RIP attempts to use a
“Relative Colorimetric” profile.
3. If a “Relative Colorimetric” profile does not exist, the RIP uses
the first profile it finds in the list of output profiles associated
with the ICC profile.
4. If the output profile has no associated ICC output profiles,
the RIP generates a CRD with the CRD generator plug-in
(ProofReady). In this case, the rendering intent used is
“Absolute Colorimetric.”
Information on how to choose these options is provided in Chapter 3.

8 Chapter 1: ColorPro
 ProofReady Plug-ins
Each ProofReady plug-in is supplied ready to use with preconfigured
color management for several types of media. ProofReady plug-ins
are generally used for inkjet printers used in the proofing and display
markets.
With a ProofReady plug-in, the way you choose color management is
simpler than the ColorPro options described in this manual, because
the setups are ready to use. The special color setups appear in the
“ProofReady” drop-down list in the “Output Device” section of the
Page Setup dialog box, each named for a particular combination
of media and resolution. Choosing one of the entries from the
“ProofReady” drop-down list gives you a default color setup that
produces good results for most jobs.
When an option is selected from the “ProofReady” drop-down list,
the options in the “Separations, Screening and Color” section of the
Page Setup dialog box are enabled. This allows you to create and
edit ProofReady color setups or separation styles. However, non-
compatible separation styles and color setups cannot be selected or
created.
This editing allows you to expand the capabilities of a ProofReady
plug-in with a ColorPro option, by creating and using custom color
setups built upon the same profiles used to create the default color
setups.
For more details on ProofReady plug-ins, see the relevant ProofReady
Addendum.
The HQ RIP is able to perform calibration with ProofReady plug-ins.
For more information, see “Calibration and output profiles” in
Chapter 3.

ColorPro Addendum 9
10 Chapter 1: ColorPro
 2 ColorPro Workflows
•••••••••

T his section describes some useful workflows and how to

configure them using the HQ RIP and ColorPro. These workflows
are intended as examples to demonstrate practical solutions to
common workflow configurations. The most straightforward
workflows are shown first, then the increasingly more complex ones
after. We hope you find a workflow that closely matches your system
requirements and, with a few minor adjustments, quickly get your
system up and running.
There are several dialog boxes shown in this section with various
options selected. Explanations are given where useful, but full
descriptions of all options are not given. For full descriptions of
all the available options in the dialog boxes, see Chapter 3,“Using
ColorPro.”
In this section, the following workflows are described:
• CMYK ProofReady Proofing
• CMYK Analog Matching
• CMYK Press Proofing
• RGB Proofing—ICC Model
• RGB Proofing—SetGold and Harlequin Pro Models
• Multiple Color Space Proofing
• Emulation Workflows

CMYK ProofReady Proofing

Traditional workflows typically use digital files from page layout
applications, such as QuarkXPress® or InDesign™, which are
rasterized and color managed before being sent to an output device.
Generally, all the color page elements are prepared (converted to
CMYK) for a known printing press using a defined ink and paper
combination. For digital proofing, the HQ RIP provides many device

ColorPro Addendum 11
 plug-ins and more recently ProofReady plug-ins, which are used with
inkjet printers. If you are new to the HQ RIP and digital proofing,
the quickest way to get started is to make use of a ProofReady “plug
and print” pre-configured plug-in. Because ProofReady plug-ins come
pre-configured for use with your printer and provide a range of paper
types, you can quickly and easily produce color accurate proofs.
Figure 2-1 shows an example of a ProofReady plug-in selected in the
HQ RIP Page Setup dialog box.
Windows

Figure 2-1. ProofReady plug-in selected in Page Setup.

The ProofReady plug-in is pre-configured for use with an Epson

Stylus Pro 10000 device, using glossy heavyweight paper, and with
a resolution of 720 dpi. You must have ColorPro enabled to use the
profiles, but you do not need to do any further configuration. You
can, if you wish, perform some configuration tasks, such as editing
the ProofReady color and separation configurations. When you are
using ProofReady plug-ins, only valid configurations can be created or
selected.

CMYK Analog Matching

It is often required that your proofs are matched against an analog
proofing system. In this scenario, you would need ColorPro activated
to create a custom color setup.
ColorPro is supplied with a representative group of input profiles,
pre-configured and ready for use, which are based on many of the
traditional analog proofing systems.
Because of this extra functionality, you must also make additional
selections within ColorPro to obtain the intended results.

12 Chapter 2: ColorPro Workflows

 Figure 2-2 shows an example of additional selections within ColorPro.
Power Macintosh

Figure 2-2. “DuPont Cromalin” input profile selected in Color Setup.

This setup shows an input profile based on DuPont Cromalin, with

selection of the same Epson Stylus Pro 10000 device using glossy
heavyweight paper. Note that the “->Default” rendering intent only
will appear when a ProofReady plug-in is loaded. “->Default” is the
recommended choice when using ProofReady plug-ins.
When you create your Color Setup, remember to select the device
for which you have a plug-in from the “Device” drop-down list in the
Color Manager. See “Define Color Setups Using ColorPro” in Chapter 3
for more information.

CMYK Press Proofing

In a CMYK workflow, it is sometimes useful to make a press proof
based on a standard such as SWOP or Fogra. Again, ColorPro provides
some standard profiles to make this possible. However, if you have
access to an ICC profile that describes the actual behavior of the press
on which the job is going to run (typically provided by a print shop),
you should install that profile into the RIP before creating a ColorPro
setup. In this way, the color transforms are able to achieve the most
color accurate proof for your job. For more information on installing
ICC profiles, see “Install ICC Profiles” in Chapter 3.

ColorPro Addendum 13
 Figure 2-3 shows a “Fogra” input profile selected for use with the
Epson printer, and again using the “-> Default” rendering intent.
Windows

Figure 2-3. “Fogra” input profile selected in Color Setup.

Figure 2-4 shows the “GRACol_SID_GCR2” profile being installed as an

input profile.
Windows

Figure 2-4. “GRACol_SID_GCR2” input profile.

14 Chapter 2: ColorPro Workflows

 Figure 2-5 shows the “GRACol_SID_GCR2” profile selected for use
with the Epson printer.
Power Macintosh

Figure 2-5. “GRACol_SID_GCR2” input profile selected in Color Setup.

RGB Proofing—ICC Model

If a customer has several editorial pages from a magazine that need to
be proofed to SWOP, a magazine industry standard, a single transform
will not produce a color-accurate proof. This is because when you
send an RGB image to the RIP and select a proofing device, the proof
contains the images transformed only from the RGB color space to
the color space of the proofing device. The proof will appear very
colorful and pleasing to look at because of the large color gamut of
the inkjet device. However, in no way will this print be representative
of what the images will look like on a printing press. Therefore, before
proofing RGB images, an understanding of profiles and rendering
intents is required to achieve the desired results.
You must first install the profiles correctly and then select the
rendering intents. For an ICC workflow, depending on the source of
the RGB images, you may want to install an RGB profile in the RIP to
control the color transforms for all RGB images.

ColorPro Addendum 15
 Figure 2-6 shows the installation of an RGB input profile.
Windows

Figure 2-6. RGB input profile.

Figure 2-7 shows the installation of a device profile.

Windows

Figure 2-7. Device profile.

Figure 2-8 shows the installation of an emulation profile.

Windows

Figure 2-8. Emulation profile.

The new ColorPro emulation feature allows you to accurately

proof RGB images. By selecting “Perceptual Rendering” for the first
transform from RGB to SWOP, you are assured that the image is
rendered to the full gamut of the press, while the second transform,
from SWOP to the device profile, provides the color accurate proof.
Currently, the second color transform is “Absolute Colorimetric.”

16 Chapter 2: ColorPro Workflows

 Figure 2-9 shows the ColorPro dialog box configured for
RGB proofing. Note the “ProPhotoRGB” input profile, the
“USWebCoatedSWOP” emulation profile, the “Epson10K-Gloss-720”
device profile, and the “->ICC perceptual” rendering intent.
Power Macintosh

Figure 2-9. RGB proofing setup.

RGB Proofing—SetGold and ColorPro Models

The section discusses RGB proofing using the ICC model. However,
in this application, you use the ColorPro technology within the RIP to
build the color transforms, as needed. This requires some additional
work to build the input, emulation, and output profiles using SetGold,
whereas in the ICC model (previous section), the profiles were
built using a third party application. The goal of both approaches
is to obtain color accurate proofs. One approach uses third party
applications to build the necessary profiles (ICC) and one uses
SetGold, the color utility available with the HQ-510 RIP, to build the
profiles.
For more information on SetGold, see the SetGold Addendum.
In this model, the color accuracy is determined by the color science
in the HQ RIP because the CRDs are generated “on the fly,” as needed
within the RIP, and then saved for future use. A unique feature of
ColorPro is that it allows you to use some ICC profiles and some
SetGold profiles, if that is your preferred solution.

ColorPro Addendum 17
 One possible scenario is that you could use SetGold to make
an optimized output profile for a given device, ink, and paper
combination, but use a press profile in an ICC format supplied by your
print shop.
Figure 2-10 shows the ColorPro setup using the ICC profile supplied
by a print shop in the emulation slot, and the SetGold profile for the
output.
Windows

Figure 2-10. SetGold and print shop profiles used in same setup.

Multiple Color Space Proofing

Magazine publishers may receive editorial images from digital cameras
that are RGB images, and ads from their vendors that are CMYK
images. The problem is that both editorial (RGB) and ad (CMYK)
images can appear on the same page, and the publisher will want to
create digital proofs that are representative of what the page is going
to look like on the press.
With ColorPro, assuming the correct profiles and rendering intents
have been selected, this type of proofing is possible. Thus, a mixed
color space page layout requirement can still be proofed accurately
for color, allowing both the editorial group and the ad agencies to
submit the type of images they prefer.

18 Chapter 2: ColorPro Workflows

 Two sample setups are shown below.
Figure 2-11 shows the first setup, which uses SetGoldPro-generated
profiles, except for the RGB profile, which is an ICC profile. Note
that there are individual input profiles and rendering intents for both
CMYK and RGB images. (Other CMYK objects will use the Main
intent.) The output emulation could be one supplied by a print shop.
The output profile is for the Epson inkjet.
Power Macintosh

Figure 2-11. CMYK and RGB images used in same setup.

ColorPro Addendum 19
 Figure 2-12 shows the second setup, which is an all ICC workflow;
that is, the profiles have been generated by a third-party application
and then loaded into the RIP.
Windows

Figure 2-12. All ICC setup.

Emulation Workflow Details

When an ICC profile is installed as an emulation profile, the RIP also
installs it as an input profile because the RIP needs to use it later in
the color chain (Figure 2-13).
Input Profile Emulation Emulation Output Profile
for which job device profile input profile for proofer
was designed

Figure 2-13. Full color chain.

You only select the emulation profile once in the ColorPro setup, but
it is used twice. The CRDs are used first, and then the color space is
used to effectively start the second stage of the color chain.
It could be that the profile for which the job was designed is the
same as the device profile that you want to emulate. That is, the job
will ultimately be printed on the press for which it was designed.
However, you may want to proof it on another device first.

20 Chapter 2: ColorPro Workflows

 In this case, it is reasonable to select the same input profile as the
emulation profile—for example, for the CMYK input. This would
still give a better route for RGB than just using an RGB input profile
and the output profile of the proofer, because that does not take into
account the press on which it will ultimately be printed.
In the case of the CMYK data, this would give a very similar result to
just going from the input profile for which the job was designed to
the proofer profile.
Selecting the same input profile as the emulation profile is mainly
useful for RGB or mixed RGB/CMYK inputs. For pure CMYK inputs,
you may not gain any improvement over using the color chain shown
in Figure 2-14.
Input Profile Output Profile
for which job for proofer
was designed

Figure 2-14. CMYK color chain.

In a case where the emulation profile is not the same as the profile for
which the job was designed, you should expect the full (four-stage)
color chain to give some benefits, in that it takes into account all three
profiles involved, namely, the one for which the job was designed,
the one for the press on which it will ultimately be printed, and the
proofer profile. The amount of improvement over using the color
chain shown in Figure 2-14 depends on the exact profiles involved.

ColorPro Addendum 21
22 Chapter 2: ColorPro Workflows
 3 Using ColorPro
•••••••••

C olorPro offers fully customizable color management capabilities

based on the device, image components, and color reproduction
process used. When you enable ColorPro, you can use SetGold
profiles, ICC profiles, and supplied profiles delivered with each device
plug-in, or a combination of these, if needed.
Figure 3-1 shows the entire process from installing a profile, through
defining custom color rendering intents, to printing a job.
Steps to use NOTE: SetGold profiles cannot be imported into
ColorPro . . . ColorPro because they are not ICC profiles.
1. Install the HQ RIP.
Define Color
2. Enable ColorPro, Rendering
ProofReady, and Intents
HDS. (For the last • Default style
two, see the relevant • Black generation
Proofready manual.) This is an optional step
• Maximum ink
3. Install ICC profiles
if you are not using • Manual control
those supplied.
4. Define color or cus-
Select
tom rendering intents ColorPro
if you are not using Profiles
the default rendering Create Color
• Existing Setup
intents.
• Supplied • CMYK Input Create Page Print Job
5. Configure ColorPro.
• RGB Input Setup • Page Setup
Install ICC • Gray Input • Color Setup
Profiles • Device/
• Input Output
• Device/ • Rendering
Output Intents
• Emulation • Emulation
• Device Link • Lighting

Figure 3-1. Overview of ColorPro.

ColorPro Addendum 23
 ICC profiles may be produced by third-party characterization and
profiling tools. Once you have installed the ICC profiles in your
system, you can use any combination of them to create customized
setups. The HQ RIP can also use an ICC profile embedded in an image.
In addition, ColorPro provides features that allow control over
parameters used in creating color setups. These unique features
include:
• Customizable color rendering intents.
You can control exactly the way you want to reproduce
different objects on a page by defining custom rendering
intents and specifying which types of objects the intents
should affect. For example, on the same page, you can
simultaneously reproduce images using a perceptual
rendering intent (photorealistically) and the other elements
of the page using absolute colorimetry. See “Custom
Rendering Intents” later in this chapter for more information.
• Color reproduction that is adjustable based on viewing
conditions.
Viewing conditions available include Graphic Arts D50,
Monitor D65, Daylight, and Home and Office. More
information on these conditions is provided later in this
chapter.
• Calibrated and configurable reproduction of named
PANTONE colors from the PANTONE MATCHING SYSTEM.
• Manual override capability.

Getting Ready to Use ColorPro

Before you can create color setups using ColorPro, you must first
enable ColorPro. You received a password when you purchased the
software.
To enable ColorPro for all devices:
1. Choose HQ RIP > Configure RIP.
NOTE: In OS X, this option is in the “File” menu.
2. In the Configure RIP dialog box, click the “Extras” button.
3. Select “Harlequin ColorPro” and click Add.
4. In the Enable Feature dialog box, type or paste the password
that allows you access to ColorPro.
NOTE: Your existing HIPP password will enable
ColorPro.
24 Chapter 3: Using ColorPro
 5. Click “OK.” The Configure RIP Extras dialog box will appear,
with the ColorPro option enabled (Figure 3-2).
Power Macintosh

Figure 3-2. Configure RIP Extras dialog box.

6. Click “OK.”
7. In the Configure RIP dialog box, click “OK” again.
You can now begin to setup the features available with ColorPro. If
you have access to device profiles and various output devices, you can
start using ColorPro.

ColorPro Overview
ColorPro is designed so that you can quickly create a color setup that
suits your needs. There are several steps to creating a setup; some you
may or may not need. The various stages are shown below:
• Install any ICC profiles you may need. See “Install ICC
Profiles” in the next section. If you do not have any ICC
profiles to install, you can skip this step. (ProofReady is
supplied with profiles.)
• Define any color or custom rendering intents you wish
to use. See “Define Color Rendering Intents” later in this
chapter. If you intend to use the default rendering intents,
you can skip this section.
• Configure your ColorPro setup. See “Define Color Setups
Using ColorPro” later in this chapter. The ColorPro setup
dialog box is divided into several areas. The left side of the
dialog box handles the input and the right side handles the
output. For help in deciding how to configure you workflow,
see Chapter 2,“ColorPro Workflows,” for more information.

Install ICC Profiles

Before you create color setups, you may install any ICC profiles that
you expect to use. Identify the types of profiles you need and then
install them.
ColorPro Addendum 25
 Types of Profiles
ICC profiles vary in how much information they contain. From
a suitable ICC profile, you can install an input profile, a device
(or output) profile, an emulation profile, or all three. The profile
installation dialog box shows you the options and you must explicitly
choose how you want to install an ICC profile (as an input profile,
output profile, and so on) to use the profile to define a color setup.
For example, if you want to use the same ICC profile as an emulation
profile in one color setup and as a device profile in another color
setup, you must install the ICC profile as both an emulation profile and
a device profile by selecting both checkboxes. You can, at any time,
make additions to how you want to use an ICC profile. If you want to
use an ICC profile (that is currently defined as an input profile only) as
a device profile in a color setup, you can reinstall the ICC profile as a
device profile.
NOTE: When a profile is installed as an emulation
profile, it is automatically installed as an input profile
for the appropriate color space.
You can get started using one input profile. However, ColorPro can
use various types of profiles. SCREEN supplies some commonly used
profiles. For more information, see Appendix E,“Supplied Profiles.”
Input profiles for CMYK and RGB are preinstalled. If you do not have
suitable profiles for your system, you must make available at least one
from each of these types:
• Input CMYK profile
Install at least one ICC profile as a CMYK input profile or a
device link profile.
An input profile colorimetrically transforms color data from a
device-dependent color space to a device-independent color
space, where ColorPro options can process the data and
supply it to an output profile. You can choose the output
profile separately to suit your output device.
A device link profile maps colors between two device-
dependent color spaces. In this case, the color data bypasses
ColorPro color management to pass with a predefined
transformation directly between the input device and the
output device.

26 Chapter 3: Using ColorPro

 • Input RGB profile
Install at least one ICC profile as an RGB input profile or a
device link profile. The RGB input profile translates the input
to a device-independent color space, so that the resulting
colors match the colors that can be produced on a monitor.
The device link RGB profile bypasses ColorPro color
management to map the RGB colors directly to the output
device.
NOTE: Most ICC profiles are suitable for installation
as either input or output profiles. The same profile,
however, cannot be used as both a CMYK and an RGB
input profile. Before you create any color setups in
ColorPro, make sure you have available at least one
CMYK and one RGB input profile.
• Device (or output) profile
Install at least one ICC profile as a device (or output) profile.
This profile must be an ICC output profile that is appropriate
for the printer to be used. This profile does the opposite of
what an input profile does. Based on information about the
output device and imaging conditions, the output profile
transforms the device-independent color space back into a
device-dependent color space.
NOTE: Before you import an ICC profile into the
HQ RIP, you should make sure that you have set up
the profile correctly for the given device type in the
ICC profiling package. Understanding the correct use
of ICC profiles for a given device type is essential to
successful color proofing.
You are not able to install an ICC profile that is created
for a device with a different number of colorants
than your device. For example, a six-color ICC profile
cannot be installed if your device only supports four
colors. In addition, the colorant names must match.
That is, at least one of the alternative colorant names
for each device colorant must match one of the
colorant names in the profile.

ColorPro Addendum 27
 Calibration and Output Profiles
It is possible to construct color profiles starting from the different
states of the output device being profiled. Two of the most common
starting states are:
• The uncalibrated or “raw” state of the device.
• The device after adjustment of the individual channels for
linearity, and usually with some balancing of the channels
to produce a gray-balanced or neutral state. This is known
as the “reference” or “golden” state. In fact, there are as
many reference states as there are combinations of device,
resolution, media, and ink.
When you install an ICC profile as a device profile, it is important
to know what calibration profile was used to print the color
characterization target used in the output profile making process. On
importing the ICC profile to the RIP, this calibration profile (SetGold
profile) must be the same as described above and selected in the
“Linear Calibration From” drop-down list to make the link between the
Golden State of the device, contained in the SetGold profile, and the
devices ICC color profile.

Install ICC Profiles

When you have configured access to ColorPro, you can begin
installing ICC profiles, as follows:
1. Choose Color > Install ICC Profile. A normal file selection
dialog box will appear.
2. Enter the path where the ICC profile resides and click
“Select.” The Install ICC Profile dialog box will appear
(Figure 3-3).
3. In the Install ICC Profile dialog box, specify the options for
the profile you are installing, based on how you want to use
it. See Figure 3-3 for a description of this dialog box.
Depending on the type of ICC profile, some options may
be unavailable. Note that you can simultaneously install a
suitable profile as an input profile, an emulation profile, and a
device profile.
4. Click “Install” to install the profile.
The HQ RIP runs a short job to do this, typically taking under
10 seconds. This job produces no output but does display an
activity icon in the status area of the RIP tool bar.

28 Chapter 3: Using ColorPro

 5. Repeat Steps 1 to 4 to install any other ICC profiles that
you wish to use. Unless you are using device link profiles,
ColorPro must have available one of each of these three
profile types: input CMYK profile, input RGB profile, and a
device (or output) profile.
Install ICC Profile Dialog Box
Windows

Fields Description
Name Enter the name that you wish to see in other
ColorPro drop-down lists when you are
choosing items installed from this ICC profile.
For example, you can enter a name that clearly
identifies the printing conditions by adding the
name of the media and the resolution for which
it is valid.
The ICC Profile Information box under this
field shows details about the ICC profile you are
installing.
Input Profile Select this option to install the ICC profile as an
input profile (CMYK, RGB, or Gray).
Named colors Not yet available.
Device Link Profile Select this option to install the ICC profile as a
device link profile.
NOTE: A device link profile maps colors
between two device-dependent color
spaces. In this case, the device link
profile bypasses colorimetry to map
colors directly between the input device
and the output device.

Figure 3-3. Install ICC Profile dialog box.

ColorPro Addendum 29
 Fields Description
Emulation An emulation profile is a profile that enables
an output device, such as a proofing printer, to
reproduce the color characteristics of another
device, such as a printing press. Because a
typical proofing device has a larger gamut than
a printing press, the emulation profile limits the
color gamut on the proofer device to that of the
device the emulation profile is for.
Select this option to install the ICC profile as an
emulation profile. This option is disabled if the
profile being installed is a device link profile.
NOTE: When you install a profile as
an emulation profile, it is automatically
installed as an input profile for the
appropriate color space.

Device Profile Select this option to install the ICC profile as

a device (or output) profile. If you select this
option, you must also choose a device from the
“For Device” drop-down list. Once installed with
this option, the profile becomes available as an
output profile in the New Color Setup dialog
box.
For Device If you selected the “Device Profile” option,
choose the output device for the device profile.
If you wish to use the same profile for more than
one device, you must install it for each device.
When creating CMYK Separations, you should
select “Printing Press.”

Figure 3-3 cont’d. Install ICC Profile dialog box.

30 Chapter 3: Using ColorPro

 Fields Description
Linear Calibration
From Once you have made a choice in the “For Device”
drop-down list, choose an entry from this drop-
down list. Each entry is a profile associated with
the device, and used here to provide calibration.
Choose the profile from which you want to copy
the calibration, as follows:
• Choose “Linear” if the ICC profile you are
installing has been made relative to the raw
state of the device.
• Otherwise, choose the reference state
indicated by your profile manufacturer.
Typically, the name of a profile in the drop-
down list gives enough information to match
it with the ICC profile information of the
profile you are installing.
NOTE: When a device using a
ProofReady profile is selected in the
“For Device” field, the “Linear Calibration
From” drop-down list offers the various
media options available for that
printer. As such, it provides calibration
for that particular device and media
combination.
Resample on
Install This option enables resampling and is not
always available. When selected, it reduces the
size of the profile you are installing. However,
resampling also means less accurate color
reproduction if you mean to use the rendering
dictionaries in ColorPro. You must assess your
situation and decide accordingly.

Figure 3-3 cont’d. Install ICC Profile dialog box.

ColorPro Addendum 31
 Uninstall ICC profiles
To uninstall ICC profiles:
1. Select the Color > Uninstall ICC Profiles. The Uninstall ICC
Profiles dialog box will appear (Figure 3-4).
Power Macintosh

Figure 3-4. Uninstall ICC profiles.

2. Use the “Device” and “Color Space” drop-down lists at the top
of the dialog box to limit the list of profiles to a particular
device and color space.
NOTE: Input profiles are not device specific, so appear
no matter which device is selected in the “Device”
drop-down list.
The related profiles appear in the main Profile window.
NOTE: The profile list only shows ICC profiles; that is,
those containing the “%%ICC Profile” tag. See the Note
in the ProofReady profiles discussion below.
The “Uninstall for uses” checkboxes allow uninstallation
for all uses of the selected profiles, or just some. The
checkboxes are only enabled when there are profiles
selected. If “All” is selected, the five individual use
checkboxes are all disabled, otherwise they are enabled if at
least one of the selected profiles is installed for that use. For
example, if none of the selected profiles were installed for
emulation, the “Emulation” checkbox is disabled.
3. Click the “Uninstall” button to uninstall the selected profiles.
The “Uninstall” button is only enabled when profiles are
selected.
4. To close the dialog box, click the “Done” button. The dialog
box is not automatically closed after clicking “Uninstall.”

32 Chapter 3: Using ColorPro

 NOTE: You are unable to uninstall ICC profiles that are
being used by color setups. If you attempt to uninstall
such a profile, the following message is displayed:
Unable to uninstall the profile ‘<profile
name>’ because it is used by the color
setup ‘<color setup name>’

For example;
Unable to uninstall the profile ‘Bvd-fogr’
because it is used by the color setup ‘bvd’

NOTE: If the same profile is used by several setups, the

error message shows only one setup at a time, and not
all the setups for which the profile is used.
A profile is deemed as being a ProofReady profile if
it has the “/ExternalCRDs PSIO” (PostScript Input/
Output) key. Whether it is an ICC profile (has
the “%%ICCProfile” tag) and has the value of any
“%%Creator” tag are no longer relevant.
ProofReady profiles are omitted from the list of profiles that can be
uninstalled. For a profile to be recognized as a ProofReady profile, it
must have the “/ExternalCRDs” key.
To identify a profile you have created, you should add (for example)
“%%Creator: <OEM name>.”

Define Color Rendering Intents

If you are building a color setup for a new device, custom rendering
intents are useful for optimizing the color and quality of the proof
based on the ink, paper, resolution, and screening combination.
Custom rendering intents are used to optimize the CRDs when
making color setups for a new device. They are then used a second
time to globally adjust the color to satisfy customer requirements.
When ColorPro is enabled, you can define custom color rendering
intents, but this is not essential at first use of ColorPro because you
can get good results using the default rendering intents or ProofReady
plug-ins.
ColorPro is supplied with default rendering intents that you can use
immediately. Each default rendering intent has a name that closely
matches the style on which it is based and to which the styles
correspond, but are independent of the names of intents supplied in
ICC profiles. For example, the “Default Perceptual” rendering intent
uses the “Perceptual” style.

ColorPro Addendum 33
 If you want to use only default rendering intents or rendering intents
derived from ICC profiles, see “Install ICC Profiles” earlier in this
chapter or “Define Color Setups Using ColorPro” later in this chapter.
You can return to the remainder of this section if you want to go
ahead and create a custom rendering intent.
NOTE: The “->Default” rendering intent cannot be
edited using the Rendering Intent Manager. This is
because it is already a CRD created with specific
settings.

Custom Rendering Intents

You define a custom color rendering intent by specifying
combinations of settings to be used with a style.
Some settings allow you to achieve the intention of the style in a way
that best suits the technology of a particular output device without
having a significant visual effect. For example, you can alter the
black generation strategy. Other settings allow you to modify the
visual appearance of the result, but move away from being strictly
colorimetric.
Custom rendering intents are used in combination with SetGold
output profiles when building profiles for a new device and to adjust
color to meet customer requirements.
To create customized intents:
1. Choose Color > Color Rendering Intent Manager. The Color
Rendering Intent Manager dialog box will appear
(Figure 3-5).
Windows

Figure 3-5. Color Rendering Intent Manager dialog box.

We recommend that you do not edit the default entries. Use

the “New” or “Copy” buttons to create new intents before
making changes.

34 Chapter 3: Using ColorPro

 2. Click “New” or “Copy.” The Color Rendering Intent Details
dialog box will appear (Figure 3-6).
3. In the Color Rendering Intent Details dialog box, you can set
options for the intent you are defining. See Figure 3-6 for a
description of the dialog box.
NOTE: When any of the ColorPro options are applied,
the HQ RIP disregards the “Black generation” UCR
settings in the “Output Controls for RGB” section of the
New Color Setup dialog box. Instead, it generates black
based on the values chosen in the “Black generation”
and “Maximum ink” fields in the Color Rendering Intent
Details dialog box. See Appendix A,“UCR and Black
Generation,” for details.
4. Click “OK” after you have set options for the intent you are
defining. The Color Rendering Intent Manager dialog box
will display the intent you defined. You can also copy, edit,
or delete intents from the Color Rendering Intent Manager
dialog box.
5. Click “OK” to close the Color Rendering Intent Manager
dialog box.

ColorPro Addendum 35
 Color Rendering Intent Details Dialog Box
Power Macintosh

Fields Description
Name Enter any name for the intent you are defining.
Choose a meaningful name.
Style Select a style from the drop-down list. Choose
one of the following:
• Absolute Colorimetric—Applies absolute
colorimetric rendering.
• Perceptual—Applies photorealistic rendering
and is especially suitable for contone images.
• Relative Colorimetric—Applies relative
colorimetric rendering when absolute
colorimetric rendering cannot be achieved
(because of output device limitations).
• Saturation—Applies highly saturated
eye-catching colors. Suitable for charts,
presentations, and business graphics.
• Default—Will appear only when a ProofReady
plug-in is installed and selected. Applies to
ProofReady plug-ins and is optimized for the
selected printer.
See “Color Mapping Styles Used in ColorPro”
in Chapter 1 for detailed descriptions of these
styles.
Figure 3-6. Color Rendering Intent Details dialog box.

36 Chapter 3: Using ColorPro

 Fields Description
Black generation
(where appropriate) This option determines how much black ink
should be used to reproduce colors. Select
“Minimum,”“Light,”“Medium,”“Heavy,” or
“Maximum” from the drop-down list.
The “From Profile” option allows black
generation to be defined in the profile.
Maximum ink This option sets a limit on the amount of ink.
Select from 200% to 400% in 20% steps from the
drop-down list.
Black threshold Value range should be 0% to 100%, with decimals
not necessary (95.5% defaults to 96%).
Leaving “Black threshold” at its default value
of 60% means black starts at a 60% tone value
within the image.
Black generation must be set at least to “Light”
for “Black threshold” to have an effect.
Manual Override This allows you to apply customized color
corrections. You are redefining the rendering
intent by using the slider to make the image
more green or red, more blue or yellow, and
lighter or darker. For each type of correction,
use the slider or enter a value in the range of
“-100” to “+100.”
NOTE: Using this option without adequate
knowledge can result in distorted output.
Figure 3-6 cont’d. Color Rendering Intent Details dialog box.

Define Color Setups Using ColorPro

You can use any ICC profiles or HQ-RIP-derived profiles with any
suitable rendering intents (e.g., ICC, Default Absolute Colorimetric, or
customized intents) to define color setups in ColorPro. Follow the
steps below to create a customized color setup. Note that a color
setup corresponds to a particular device and color space.

ColorPro Addendum 37
 To create a customized color setup:
1. Choose Color > Color Setup Manager. The Color Setup Manager
dialog box will appear (Figure 3-7).
Windows

Figure 3-7. Color Setup Manager dialog box.

2. In the Color Setup Manager dialog box, select the device for
which you want to create a color setup. If you are creating a
color setup for CMYK Separations, you should select “Printing
Press.”
3. If necessary, select the color space for which you want to create
this color setup. Note that when you create a page setup, the
separations style you choose determines the color space of the
page setup.
4. Click “New ‘ColorPro’ Setup.” The New Color Setup:“ColorPro”
dialog box will appear (Figures 3-8 to 3-15). (The “New ‘No
Color Management’ setup” is available as a non-password option
in the HQ RIP. Refer to Figure 3-10 in the HQ RIP User’s Guide
for a description of the dialog box.)
5. The options on the left side of this dialog box handle the input,
and the options on the right side handle the output. Figures 3-8
to 3-15 describe the options available in this dialog box. Choose
the options for the color setup you are defining. We recommend
that you select the Output Profile first; it can affect choices in
other fields.
Unless you have a device link profile selected as an input profile,
you must specify options in the “Output Profile” and “Rendering
Intents” drop-down lists before saving this color setup.
NOTE: The options shown in this dialog box always take
effect for jobs that do not contain color management
information. If the job contains color management, you
must select the “Override color management in job”
checkbox if you want to use the RIP color management
options.
38 Chapter 3: Using ColorPro
 6. After setting options in the New Color Setup dialog box
(Figures 3-8 to 3-15), click “Save As” and assign a name to this
color setup. The Color Setup Manager dialog box displays
the new color setup that you have created. Note that you
can also edit, copy, and delete color setups from the Color
Setup Manager.
7. Click “OK” to confirm all the changes you have made in the
Color Setup Manager and New Color Setup dialog boxes.
The “OK” button saves the changes you have made and closes
the Color Setup Manager. If you opened the Color Setup
Manager from the Edit Page Setup dialog box, you can also
save the changes by clicking the “Select” button. In addition
to saving the changes, the “Select” button displays the
selected color setup in the Edit Page Setup dialog box. The
changes made to the color setup are still saved even if you
cancel the changes to the page setup. To discard all changes,
click “Cancel” in the Color Setup dialog box.
Please note that a color setup cannot be deleted from within
the Page Setup dialog box. If you attempt to do this, the
following message will appear:
Deleting a color setup from within the page
setup dialog box is not supported. Use Color ->
Color Setup Manager to complete task.

ColorPro Addendum 39
 Figure 3-8 describes the “Input Profiles” section of the New Color
Setup dialog box.
Input Profiles Section
Power Macintosh

Fields Description
CMYK data From the drop-down list, select an input or
device link profile for all CMYK data, including
scanned images, line art, text, and graphics. The
list includes “(None),” all supplied profiles (such
as “DuPont Cromalin” and “3M Matchprint”), and
any installed ICC profiles. Device link profiles
display a double-sided arrow (<->) next to the
device link name.
The “CMYK Input Profiles” section in Appendix E
describes all supplied CMYK input profiles.
If you select “(None),” CMYK colors are treated
as device-dependent color and subject to the
PostScript Level 1 rules for conversions.
RGB data From the drop-down list, select an input or
device link profile for all RGB data, including
scanned images, line art, text, and graphics. The
list includes “(None)” for device-dependent color,
all supplied profiles (such as “Trinitron,”“Office
Graphics RGB,” and “sRGB”), and any installed
ICC profiles.
Figure 3-8. New Color Setup “ColorPro”: Input Profiles dialog box.

40 Chapter 3: Using ColorPro

 Fields Description
RGB data cont’d The “RGB Input Profiles” section in Appendix E
describes all supplied RGB input profiles.
Color manage
gray as CMYK By selecting this option, monochrome (gray)
data uses the input profile selected in the “CMYK
data” field and is color managed as CMYK. When
this option is selected, the “Gray data” drop-down
list becomes unavailable.
If this option is unchecked, the selection in the
“Gray data” field is used.
Gray data From the drop-down list, select either “None” or
any gray profile you have installed. Incoming
gray data uses the selected profile, unless you
choose “None,” in which case, gray data does not
have any color management.
Gray ICC profiles can be created from
Photoshop v6.5, exported, and then installed into
the RIP.
Treat spot colors
as CMYK When an input profile has been selected in the
“CMYK data” field, this option becomes available.
Checking this option makes any spot color in the
job use the input profile specified in the “CMYK
data” field.
If this option is not selected, the Pantone color
is chosen using the XYZ Pantone lookup table
(within the RIP), which in turn gives the proof
a best match for the Pantone color, but is not
indicative of what the color will look like on
press.
Figure 3-8 cont’d. New Color Setup “ColorPro”: Input Profiles dialog box.

ColorPro Addendum 41
 Figure 3-9 describes all of the options available in the “Input
Document Controls” section of the New Color Setup dialog box.
Input Document Controls Section
Windows

Fields Description
Override color
management in job Select this checkbox to override any color
management supplied in the job and use the
options set in this dialog box.
If you do not select this checkbox, the
HQ RIP searches the job for a color space
array, embedded ICC profile, or a color space
resource. If there is such an element, the HQ RIP
uses it to transform the relevant object on the
page and then treats the object as defined in
device-independent color. See Appendix C,“Jobs
Containing Color Management Data,” for details.
Simulate paper
color of job Select this checkbox if you want the output
device to lay down a background that matches
the paper base color of the input. If you do not
select this checkbox, colors are adjusted so that
the white base is mapped to the (final) printer’s
paper color.
Figure 3-9. New Color Setup “ColorPro”: Input Document Controls
dialog box.

42 Chapter 3: Using ColorPro

 Fields Description
Simulate paper
color of job cont’d NOTE: This checkbox determines
the rendering style the HQ RIP uses
with the ICC colorimetric intent. It is
absolute colorimetric when this box is
selected, relative when not selected.
Preserve 100%
process black Select this checkbox if you do not want the
black-only part of your input to be converted
to a CMYK-equivalent color. This option is
particularly relevant for black text because it
avoids colored fringes.
Override overprint
mode in job There is a new PostScript operator called
“setoverprintmode,” which is the PostScript
equivalent of the PDF gstate “OPM” flag.
If an object is set to overprint and “OPM” or
“setoverprintmode” is on, the HQ RIP drops any
colorants that have a zero value. This is called
“implicit overprinting.”
This is what the “Override overprint mode in
job” option controls.
If the “Override overprint mode in job” option
is selected, the “Overprint process colors”
option (described below) is always honored,
and any “overprintmode” and “OPM” parameter
in the job are ignored. If it is not selected, any
“overprintmode” and “OPM” parameter in the
job are used, and the “Overprint process colors”
setting is used as the default value.
For more information, see Appendix D,
“Overprinting Options.”
Overprint process
colors If this option is selected, and overprinting is
switched on for an object, the RIP overprints
any process color component defined as “0”
in the CMYK color space, or as “1” in the RGB
color space. That is, the component is treated as
transparent.
Figure 3-9 cont’d. New Color Setup “ColorPro”: Input Document Controls
dialog box.

ColorPro Addendum 43
 Fields Description
Overprint process
colors cont’d When this option is not selected, a process
color component produces a knockout on the
separation. However, if overprinting is switched
on for an object, the RIP overprints colorants
that are explicitly set to overprint using the
extension “setcmykcolor.”
For more information, see Appendix D,
“Overprinting Options.”
Drop white objects When “Overprint process colors” is selected, the
“Drop white objects” option determines how
the RIP handles white objects: objects defined
as “0 0 0 0 setcmykcolor,”“1 setgray,” or “1 1 1
setrgbcolor.”
If this option is selected and overprinting is
switched on for that object, the white object
simply disappears from the separations.
If this option is not selected, the white object
knocks out underlying objects, even when
overprinting is switched on.
By default, this option is not selected.
For more information, see Appendix D,
“Overprinting Options.”
Overprint grays Select this option to enable the cyan, magenta,
and yellow colorants to be overprinted rather
than knocked out when a color is specified
as gray (with the PostScript language “setgray”
operator or spot color converted to a gray level),
and the job requests overprinting. This behavior
is not defined by the PostScript language, and
though it is unusual for a job to rely on it,
sometimes a job assumes this, especially when
the gray tint arises from a named black spot
color that is converted to process.
For more information, see Appendix D,
“Overprinting Options.”
Figure 3-9 cont’d. New Color Setup “ColorPro”: Input Document Controls
dialog box.

44 Chapter 3: Using ColorPro

 Fields Description
Overprint 100%
black When this option is selected, the RIP overprints
100% black rather then generating knockouts
in the other separations. The black channel
or separation is generated as normal, but,
depending upon the characteristics of the
other inks, may need to be applied last in the
combination process, so that it overprints all
colors necessary. If this option is selected,
overprinting occurs regardless of whether
overprinting is switched on for that graphics
object. How the overprinting of the other
separations is done depends on the “Image only
black” option.
There is no performance penalty incurred by
using this feature—in fact, it may be slightly
faster to overprint, given that knockouts do not
have to be calculated.
This feature only applies to black objects, not to
individual pixels of a continuous tone image that
happen to be 100% black.
Image only black This option controls whether solid black objects
appear in the process color separations other
than black when the “Overprint 100% black”
option is selected. If this box is selected, the RIP
ignores the other process color components of
black objects, and no trace of the objects will
appear in those separations. If this box is not
selected, the other process color components
are taken into account. If this box is not
selected, the objects appear in any separation
where the color component is defined as non-
zero in the CMYK color space (or not “1” in the
RGB color space). Process color components
defined as “0” in the CMYK color space or “1” in
the RGB color space are always overprinted.
Figure 3-9 cont’d. New Color Setup “ColorPro”: Input Document Controls
dialog box.

ColorPro Addendum 45
 Figure 3-10 describes all of the options available in the “Input
Separation Detection Angles in Job” section of the New Color Setup
dialog box.
Input Separation Detection Angles in Job Section
Power Macintosh

Fields Description
Cyan, Magenta, The angles specified in these fields help the
Yellow, and ColorPro application detect the individual plates
Black within a job. The default angles usually work.
If you change one of these values, and the
incoming job has a different value, you will
encounter problems. For example, if you change
Cyan to “30.00,” and the incoming job has Cyan
at “15˚,” you will have problems.
Figure 3-10. New Color Setup “ColorPro”: Input Separation Detection Angles
in Job dialog box.

46 Chapter 3: Using ColorPro

 Figure 3-11 describes the “Output Profile” section of the New Color
Setup dialog box.
Output Profile Section
Windows

Field Description
Output Profile From the drop-down list, select an output
profile for your device. All supplied profiles and
installed ICC profiles for the selected device are
displayed. After you select an output profile,
you can click the “Info” button to display the
characteristics of the output profile. Verify that
you have chosen the appropriate profile.
Figure 3-11. New Color Setup “ColorPro”: Output Profile dialog box.

ColorPro Addendum 47
 Figure 3-12 describes the “Output Emulation” section of the New
Color Setup dialog box.
Output Emulation Section
Power Macintosh

Field Description
Output Emulation Emulation is used when you proof on a different
device than the one used for final output because
a typical proofing device has a larger color gamut
than a printing press. Using an emulation profile,
the proofer limits the range of colors so that it
prints to the gamut of the device being emulated.
For example, if you are proofing on an
inkjet printer, you can use a profile of your
printing press to emulate, on the proofer, the
characteristics of the press.
If you specify an emulation profile, the chosen
rendering intents are applied to the emulation
profile, and not the proofer profile.
When you have selected an emulation profile,
you can click the “Info” button to display the
characteristics of the profile. Verify that you
have chosen the appropriate profile.
Note that only CMYK profiles are available
in this drop-down list because RGB and Gray
emulation profiles currently cannot be handled.
Figure 3-12. New Color Setup “ColorPro”: Output Emulation dialog box.

48 Chapter 3: Using ColorPro

 Figure 3-13 describes the Output Rendering Intents options of the
New Color Setup dialog box.
Output Rendering Intents Section
Windows

Fields Description
Main intent You should select a rendering intent from the
drop-down list. This is the rendering intent
that is used for all objects, unless you have
specifically chosen a rendering intent for CMYK
or RGB images (described below).
The list depends on the choice of emulation
profile, but does not include it.
The ICC rendering intents are those appropriate
to the output profile selected (or if you
have selected an emulation profile, they are
appropriate to the emulation profile selected).
The list includes “(None)”; the default intents and
any custom intents you created (as described in
“Define Color Rendering Intents” earlier in this
chapter); and usually “(->ICC perceptual),”
“(->ICC saturation),” and “(->ICC colorimetric).”
Figure 3-13. New Color Setup “ColorPro”: Output Rendering Intents dialog
box.

ColorPro Addendum 49
 Fields Description
Main intent cont’d You can select the button to the right of the
option to display the Color Rendering Intent
Manager, from which you can create new
rendering intents (see “Define Color Rendering
Intents” earlier in this chapter for more
information.
See “Color Mapping Styles Used in ColorPro” in
Chapter 1 for detailed descriptions of all intents
(styles).
CMYK images This option overrides any selection you made
in the “Main intent” field, but for images only. It
applies to all images, including Gray and RGB
images. If required, however, you can select
an option specifically for RGB images from the
“RGB images” intent drop-down list (below),
which overrides this intent with its own option
(described below).
The list of options displayed in the drop-down
list work in the same way as for the “Main intent.”
If you decide not to select a rendering intent
for CMYK images, the “Main” rendering intent is
used instead.
RGB images When you select an option from this drop-
down list, you are effectively overriding, for RGB
images only, the options previously configured
in the “CMYK images” drop-down list, or, if no
option is selected there, the “Main intent” drop-
down list (described above).
The list of options displayed in this drop-down
list work in the same way as for the “Main intent.”
If you decide not to select a rendering intent
for RGB images, the “CMYK” rendering intent is
used. And if an option is not selected there, the
“Main” rendering intent is used.
Figure 3-13 cont’d. New Color Setup “ColorPro”: Output Rendering Intents
dialog box.

50 Chapter 3: Using ColorPro

 Figure 3-14 describes the Output Controls for RGB options in the New
Color Setup dialog box.
Output Controls for RGB Section
Power Macintosh

Fields Description
NOTE: None of the options in this section are
available if an RGB profile is selected from the
“RGB data” drop-down list in the “Input Profiles”
section.
Black generation This is the process of computing how much, and
where, black should be added to the image.
This option determines how much black ink
should be used to reproduce colors. Select
“Ignore,”“Minimum,”“Light,”“Medium,”“Heavy,”
“Maximum,” or “UCR” from the drop-down list.
“Undercolor removal” (UCR) is the process of
reducing the amount of other colors present
where the black is added.
Override black
generation in job Rarely, a job specifies black generation itself.
You can force the scheme set in the Color Setup
dialog box to override those set by the job by
selecting this checkbox.
Figure 3-14. New Color Setup “ColorPro”: Output Controls for RGB
dialog box.

ColorPro Addendum 51
 Fields Description
Max. ink This value constrains the maximum amount of
all four CMYK colors that are generated in the
conversion process. Similarly, colors specified
explicitly as black are not affected by this.
Max. black This value is the maximum amount of black
ink that is generated by the color conversion
process. Note that colors specified explicitly as
black are not affected by this setting.
Convert RGB black
to true black Some applications, and especially Microsoft®
Word, use RGB colors for everything, including
solid black—coded as “0 0 0 setrgbcolor” (or
“0 0 0” in a “DeviceRGB” color space). You
should choose this option to force the RIP to
intercept blacks coded in this way and convert
them to “0 0 0 1” in a CMYK color space.
Figure 3-14 cont’d. New Color Setup “ColorPro”: Output Controls for RGB
dialog box.

52 Chapter 3: Using ColorPro

 Figure 3-15 describes the Output Controls options in the New Color
Setup dialog box.
Output Controls Section
Windows

Fields Description
Lighting ColorPro provides compensation control over
the local viewing conditions, which include
“Graphic Arts D50,”“Monitor D65,”“Daylight,”
“Home,” and “Office.”
Much graphic arts work uses “D50” illumination
throughout the process to minimize transforms
when converting data through the color chain.
Thus, targets are measured with “D50,” colors are
transformed from input to output through the
ICC (profile connection space), PCS in “D50,” and
the proofs are viewed under “D50” illumination.
However, some systems have alternative methods
that include “D65” viewing boxes and sometimes
no lighting system for viewing prints at all.
The lighting options are provided to help
someone who knows that the proofs are going
to be viewed in a non-traditional “D50” lighting
situation and has some idea how they are going
to be viewed.
Figure 3-15. New Color Setup “ColorPro”: Output Controls dialog box.

ColorPro Addendum 53
 Fields Description

Color adjustments Select either “Faster” or “Better” from the drop-

down list. Typically,“Better” produces better
results and is slower than “Faster.” The output
time and quality are device-dependent so you
must experiment with these options.
The “Faster” method is normally faster than
“Better” when it comes to interpretation. This
is difficult to predict because it all depends on
the width and height of the image in the job.
For smaller image pixel counts, the comparative
performance of “Better” may render faster than
“Faster.”
NOTE: From v5.3r4, fogging is removed
for CMYK images. From v5.5, fogging
is also removed from RGB images and
improvements have been made across
the whole color range, making “Faster” a
much more viable option.
Figure 3-15 cont’d. New Color Setup “ColorPro”: Output Controls
dialog box.

Customize Page Setups Using New Color

Setups
Having created your color setups, you are now ready to use them to
customize page setups in the HQ RIP.
NOTE: You do not need to produce a color setup
before you create a page setup. You can also open the
Color Setup Manager from within the New Page Setup
dialog box by clicking the “Color Setup Manager” icon
( ).
When you open the Color Setup Manager in this way, the HQ RIP
selects the device and color space of the current page setup. This
procedure differs from the one described in “Define Color Setups
Using ColorPro,” earlier in this chapter.

54 Chapter 3: Using ColorPro

 To customize page setups:
1. Choose HQ RIP > Page Setup Manager.
2. In the Page Setup Manager dialog box, click “New.” The Page
Setup dialog box will appear (Figure 3-16).
Power Macintosh

Figure 3-16. Page Setup dialog box.

3. In the New Page Setup dialog box, select the appropriate

“Device.”
4. If the button is enabled, click “Configure device” to specify
settings for the output device you selected.
5. Under “Separations, Screening & Color,” select a separations
style for this device from the “Style” drop-down list. The
choice of separations style determines the color space and
format of the output. Click the “Separations Manager” button
to create or edit a separations style. See “Configuring Output
Formats” in the HQ RIP User’s Guide for further details.
6. Under “Separations, Screening & Color,” select the color setup
you created from the “Color” drop-down list. Alternatively,
you can select any other color setup that was created for the
currently selected device and color space. Click the “Color
Setup Manager” button to create or edit a color setup.
7. You should now make sure your new color setup is selected
in your Page Setup dialog box.

ColorPro Addendum 55
 8. Select a calibration set from the “Calibration” drop-down list.
See the recommendations for the specific device you are
using.
9. Modify other options, as needed. For a description of the
other options, see “Configuring Output Formats” in the
HQ RIP User’s Guide.
10. When you are finished, click “Save As” to name and save this
page setup. The Page Setup Manager dialog box will display
the page setup you have created. Note that you can also
copy, edit, or delete setups from the Page Setup Manager
dialog box.
11. Click “OK” to save all the changes you have made to page
setups and close the Page Setup Manager dialog box.

Print Using New Page Setup

You are now ready to print using your new page setup.
Printing a single file from the HQ RIP is useful for testing your page
setup. Once you know that you have a good page setup, you can
make it available to other users of the HQ RIP. For details on printing
jobs from other computers on a network, see the “Configuring Input”
chapter in the HQ RIP User’s Guide.
To print a single PostScript-language file:
1. Choose HQ RIP > Print File. The Print File dialog box will
appear (Figure 3-17).
Windows

Figure 3-17. Print File dialog box.

2. Select the type of file you want to print from the “Files of
type” drop-down list.
3. Select a file or type a file name in the “File Name” field.
4. Select the page setup you defined from the “Page Setup”
drop-down list.
5. Click “Print.”
56 Chapter 3: Using ColorPro
 If this is the first time you are using newly defined color rendering
intents to print a job, the HQ RIP requires a few extra minutes to
produce the output. This is because the HQ RIP must generate the
color rendering dictionaries before printing. If you submit another
print job that uses the same intents, the HQ RIP does not regenerate
these dictionaries and printing proceeds more quickly.

ColorPro Addendum 57
58 Chapter 3: Using ColorPro
 A UCR and Black Generation
•••••••••

I t is always desirable to use the full capabilities of an output device.

This often means processing a supplied three-color definition, so
that it uses all colors of a four-color output device. There are various
techniques for achieving this. “Undercolor removal (UCR),”“gray
component replacement (GCR),” and “black generation” are some of
these techniques.
Whether ColorPro color management is in use or not, you can see
controls that apply these techniques in the “Output Controls for RGB”
section of the Color Setup dialog box. This appendix describes the
circumstance where each control has an effect.

The HQ RIP Without ColorPro

When ColorPro is not enabled in the HQ RIP, UCR and black
generation follow the settings in the “Output Controls for RGB”
section of the Color Setup dialog box. You can select this from
Color > Color Setup Manager > New ‘No Color Management’ Setup,
or by clicking the “Color Setup Manger” icon on the toolbar or the
“Separations, Screening & Color” section of the Page Setup dialog box.
It is worth stressing that this black generation affects only RGB color
inputs, and only when RGB is expressed in a device-dependent way.
CMYK and device-independent RGB are not affected by these settings.
See “Color Separation” in the HQ RIP User’s Guide for details.

ColorPro Addendum 59
 The HQ RIP With ColorPro Enabled
When ColorPro is enabled in the HQ RIP and suitable profiles are
installed, there are several possibilities:
• ColorPro and an ICC profile
The black generation is defined in the output profile and
cannot be altered.
• ColorPro and a device link profile
The color transformation is specified in the device link
profile and cannot be altered.
• ColorPro with the RGB input profile set to “(None)”
In this case, UCR and black generation follow the settings
in the “Output Controls for RGB” section of the Color Setup
dialog box. See Figure 3-14 for details.
• ColorPro and a SCREEN profile
The black generation is defined in the rendering intent. If
you are using ColorPro, you can influence this by choosing
values for “Black generation” and “Maximum ink” in the
Color Rendering Intent Details dialog box. See Figure 3-6 for
details.
When the ColorPro option is enabled, that option processes all
device-independent color inputs. The information in the job is
overridden by ColorPro if you select the “Override color management
in job” checkbox in the Color Setup dialog box. If you leave this box
deselected, Appendix C,“Jobs Containing Color Management Data,”
describes the rules used to decide how the data in the job takes effect.
Some common sources of device-independent RGB are calibrated
color from applications such as Adobe Photoshop, and PDF jobs.

60 Appendix A: UCR and Black Generation

 B Creating a Logo
•••••••••

C olorPro cannot guess when a graphic is a logo; it must be

explicitly told.
To identify a logo, use the “setcolorrenderingintent” operator. For
example, if an EPS file is to be treated as a logo, the line:
/Logo setcolorrenderingintent
should appear at the start of the file.
The only way to insert this line is to edit the file by hand.

ColorPro Addendum 61
62 Appendix B: Creating a Logo
 Jobs Containing Color
C Management Data
•••••••••

S ettings within the HQ RIP, in the PostScript-language or PDF job,

and in the images themselves can all control the processing of
images in a job.
This appendix describes the settings that influence this processing
and explains which setting takes precedence in each particular case.
The “Summary of Options” section later in this appendix shows a
summary in tabular form.
NOTE: Some options apply only to EPS files produced
by Adobe Photoshop.
In addition, the “Embedding ICC profiles in Phtotoshop Images”
section later in this appendix describes how to select the correct ICC
profile for embedding in Photoshop 5.0 and higher images.
The “PDF Color Management” section later in this appendix describes
the cases specific to PDF jobs.

PostScript-Language Jobs and Image Files

The HQ RIP checks the following when processing jobs containing
Photoshop EPS images or TIFF/JPEG images containing embedded ICC
profiles:
• Does the current page setup use a color management option?
• Is the “Override color management in job” checkbox selected
in the Color Setup dialog box?
• Does the image contain a PostScript color space array?
(Photoshop EPS files only.)
• Does the image contain an embedded ICC profile?
• Is the “UseCIEColor” parameter set to true in the job?

ColorPro Addendum 63
 Page Setup Uses a Color Management Option
If the current page setup uses a ColorPro setup, or No Color
Management setup, or both, and the “Override color management in
job” checkbox is selected in the Color Setup dialog box, the HQ RIP
uses the settings in the color setup. It treats the job as CMYK or RGB.
If the current page setup uses a Color Setup, but the “Override color
management in job” checkbox is not selected in the Color Setup
dialog box, the HQ RIP checks for color management information in
the image and the job. It uses the color management information in
the following strict order:
• If the image contains a PostScript color space array
(Photoshop EPS files only), the HQ RIP uses the color space
array (CSA) to transform the image. It treats the image as a
device-independent color image.
• If the image contains an embedded ICC profile, the HQ RIP
uses the ICC profile to transform the image. It treats the
image as a device-independent color image.
• If the “UseCIEColor” parameter is set to “true” in the
job, the HQ RIP uses the “DefaultGray,”“DefaultRGB,” or
“DefaultCMYK” color space resources to transform the image
colors. It treats the image as a device-independent color
image.
• If there is no color management information in the job, the
HQ RIP uses the settings in the color setup. It treats the job
as CMYK or RGB.

64 Appendix C: Jobs Containing Color Management Data

 Summary of Options
Figures C-1 and C-2 provide a summary of color management options
available.
Override Image Image
Color Contains a Contains an Job Contains
Management Color Space Embedded UseCIEColor
in Job Array ICC Profile Set to Result
Selected Treat job
as CMYK
or RGB
Not selected Yes Use the
CSA to
transform
the image
No Yes Use the
ICC profile
to
transform
the image
No True Use the
DefaultGray,
DefaultRGB,
or
DefaultCMYK
ColorSpace
resources to
transform
image colors
False Treat job as
or no value CMYK or
RGB
Figure C-1. Current page setup uses a color management option.

ColorPro Addendum 65
 Override Image
Color Contains a Job Contains
Management Color Space UseCIEColor
in Job Array Set to Result
Selected True Use the
DefaultGray,
DefaultRGB,
or
DefaultCMYK
ColorSpace
resources to
transform
image colors

False or Treat job

no value as CMYK
or RGB
Not selected Yes Use the
CSA to
transform
the image
No True Use the
DefaultGray,
DefaultRGB,
or
DefaultCMYK
ColorSpace
resources to
transform
image colors
False Treat job as
or no value CMYK or
RGB
Figure C-2. Current page setup does not use a color management option.

66 Appendix C: Jobs Containing Color Management Data

 Embedding ICC Profiles in Photoshop
Images
This section describes how to select the correct ICC profile for
embedding in Photoshop 5.0 and higher images. There are a number
of dialog boxes that relate to ICC profiles in Photoshop. This section
explains how to set the options in these Photoshop dialog boxes:
• File > Color Settings > Profile Setup
In this dialog box, you indicate which types of images should
have profiles embedded (RGB, CMYK, Grayscale, and Lab).
Also, in this dialog box, you can select “Assumed Profiles.”
Note that these assumed profiles are not the profiles that are
embedded.
• File > Color Settings > RGB Setup
File > Color Settings > Grayscale Setup
These dialog boxes do not contain an explicit ICC Profile
option. However, for RGB and Gray images, Photoshop
converts the set of parameters selected in this dialog box to
ICC profiles, and it is these profiles that are embedded. You
can create ICC profiles directly using the “Save” option in this
dialog box.
Note that “standard” ICC profiles are not supported in
Photoshop 5.0 for RGB or grayscale images.
• File > Color Settings > CMYK Setup
You select ICC profiles and also the Color Management
Module using this dialog box. It is these profiles that are
embedded.

PDF Color Management

PDF jobs can use a variety of color spaces, including device-dependent
spaces such as “DeviceCMYK.”
Typically, when using device-independent color spaces, PDF version
1.2 files use the “CalGray” and “CalRGB” color spaces and PDF version
1.3 files use the “ICCBased” color space. However, these usages are
under the control of the creating applications.
Full use of device-independent color requires ColorPro to be enabled.

ColorPro Addendum 67
68 Appendix C: Jobs Containing Color Management Data
 D Overprinting Options
•••••••••

C olorPro provides various overprinting options and overrides

in the Color Setup dialog box, which, when used together, can
become confusing. In an effort to help explain the effects of the
various controls, a simple PostScript language file can be used.

Overprinting
This sample PostScript language file tests “setoverprint” and
“setoverprintmode”:
%!PS
% Gray overprint tests
true setoverprint
true setoverprintmode
1 0 0 0 setcmykcolor
0 0 200 450 rectfill
0 0 0 0.5 setcmykcolor
25 25 150 75 rectfill % BOTTOM BOX cmyk
0.5 setgray
25 150 150 75 rectfill % MIDDLE BOX gray
.5 .5 .5 setrgbcolor
25 275 150 75 rectfill % TOP BOX rgb
showpage

ColorPro Addendum 69
 Figure D-1 shows the results when both “setoverprint” and
“setoverprintmode” are set to “true.”
Override Override
Overprint- Process Overprint
mode in Job Colors Grays Result
yes yes yes CMYK and gray
overprint, RGB
knockout
yes yes no CMYK overprint, gray
and RGB knockout
yes no no All knockout
no yes yes CMYK and gray
overprint, RGB
knockout
no yes no CMYK overprint, gray
and RGB knockout
no no yes CMYK and gray
overprint, RGB
knockout
no no no CMYK overprint, gray
and RGB knockout
Figure D-1. Results when setoverprint=true and setoverprintmode=true.

70 Appendix D: Overprinting Options

 Figure D-2 shows the results when “setoverprint” is set to “true” and
“setoverprintmode” is set to “false.”
Override Override
Overprint- Process Overprint
mode in Job Colors Grays Result
yes yes yes CMYK and gray
overprint, RGB
knockout
yes yes no CMYK overprint, gray
and RGB knockout
yes no no All knockout
no yes yes All knockout
no yes no All knockout
no no yes All knockout
no no no All knockout
Figure D-2. Results when setoverprint=true and setoverprintmode=false.

Figure D-3 shows the results when both “setoverprint” and

“setoverprintmode” are set to “false.”
Override Override
Overprint- Process Overprint
mode in Job Colors Grays Result
yes yes yes All knockout
yes yes no All knockout
yes no no All knockout
no yes yes All knockout
no yes no All knockout
no no yes All knockout
no no no All knockout
Figure D-3. Results when setoverprint=false and setoverprintmode=false.

ColorPro Addendum 71
 Drop White Objects
This sample PostScript Language file tests the Drop white objects
option:
%!PS
% Drop white objects test
true setoverprint
true setoverprintmode
0 1 0 0 setcmykcolor 0 0 72 72 rectfill
0 0 0 0 setcmykcolor 0 0 60 60 rectfill
showpage
%%EOF
Figure D-4 shows the results when both “setoverprint” and
“setoverprintmode” are set to “true.”
Override Override Drop
Overprintmode Process White
in Job Colors Objects Result
yes yes yes Box
yes yes no Border
yes no no Border
no yes yes Box
no yes no Border
no no yes Box
no no no Border
Figure D-4. Results when setoverprint=true and setoverprintmode=true.

72 Appendix D: Overprinting Options

 Figure D-5 shows the results when “setoverprint” is set to “true” and
“setoverprintmode” is set to false.
Override Override Drop
Overprintmode Process White
in Job Colors Objects Result
yes yes yes Box
yes yes no Border
yes no no Border
no yes yes Border
no yes no Border
no no yes Border
no no no Border
Figure D-5. Results when setoverprint=true and setoverprintmode=false.

When both “setoverprint” and “setoverprintmode” are set to “false,” all

results are “Border.”

ColorPro Addendum 73
74 Appendix D: Overprinting Options
 E Supplied Profiles
•••••••••

S CREEN supplies the following profiles with the HQ RIP. The

systems represented have a significant variation in color
characteristics, so you should consider these profiles as being
representative of the systems rather than being an exact match to any
single system.
These profiles are listed alphabetically in separate sections for:
• CMYK Input Profiles.
• RGB Input Profiles.
• CMYK Output Profiles.
See the appropriate sections.

CMYK Input Profiles

Agfa Pressmatch (Commercial)
Profile to simulate the film-based Agfa Pressmatch proofing
system using Agfa’s commercial stock proofing substrate.
Agfa Pressmatch Commercial Color Space
Profile of a proofing system designed to match Euro standard
printing inks on a commercial base. This matches a standard
dot gain (22% to 17%) printing process. Tone value rendition
of 2% to 98%.
3M Matchprint
Profile of a proofing system designed to match European
printing inks using a publication base. This matches a low-
gain (12% to 14%) printing process.
3M Matchprint (Standard)
Profile of a proofing system designed to match European
printing inks using a publication base. This matches a
standard gain (24%) printing process.

ColorPro Addendum 75
 BVD-FOGRA Positive Gloss
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA. This specification is 60 lines per centimeter
(lpcm), positive plates, gloss-coated, wood-free, 115 grams
per square meter (gsm).
BVD-FOGRA Positive LWC
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, gloss-coated web,
70 gsm).
BVD-FOGRA Positive Matt
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, matt-coated, wood-
free, 115 gsm).
BVD-FOGRA Positive Uncoated
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, uncoated white
paper, 120 gsm).
Commercial A
Profile of a Heidelberg MO printing press using standard
European printing inks and a coated commercial paper stock.
DuPont Cromalin
Profile of a proofing system designed to match a typical
European low-gain commercial printing press.
DuPont Cromalin (ES-96)
Profile of a proofing system designed to match a typical
European standard-gain commercial printing press.
DuPont WaterProof Commercial
Profile of a proofing system designed to match a typical US
printing press with between 17% and 20% dot gain on a
“Commercial” paper base.
DuPont WaterProof Publication
Profile of a proofing system designed to match a typical US
printing press with between 17% and 20% dot gain on a
“Publication” paper base.
76 Appendix E: Supplied Profiles
 Fuji ColorArt Commercial CR-T3 Gloss
Profile of a proofing system designed to match typical US
printing (Commercial CR-T3 Gloss base).
Fuji ColorArt Publication CR-T3 MMatte
Profile of a proofing system designed to match typical US
printing (Publication CR-T3 Medium Matte base).
SWOP (CGATS TR001)
Profile of a printing press configured by CGATS to meet the
specifications for SWOP printing.

RGB Input Profiles

sRGB
Profile of a color space proposed by Hewlett Packard and
Microsoft, which is designed to be used as a basis for color
management of World Wide Web images.
Office Graphics RGB
This profile is based on cool white fluorescent tubes at a
brightness level found in a typical office.
Trinitron
Profile of a monitor using Trinitron phosphors and set up in a
standard way.

CMYK Output Profiles (for Printing Press)

BVD-FOGRA Positive Gloss
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, gloss-coated, wood-
free, 115 gsm).
BVD-FOGRA Positive LWC
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, gloss-coated web,
70 gsm).

ColorPro Addendum 77
 BVD-FOGRA Positive Matt
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, matt-coated, wood-
free, 115 gsm).
BVD-FOGRA Positive Uncoated
Profile of a European commercial/speciality and heat-set web
offset printing press conforming to ISO 12647, as specified
by BVD/FOGRA (60 lpcm, positive plates, uncoated white
paper, 120 gsm).
Commercial A
Profile of a Heidelberg MO printing press using standard
European printing inks and a coated commercial paper stock.
SWOP (CGATS TR001)
Profile of a printing press configured by CGATS to meet the
specifications for SWOP printing.

78 Appendix E: Supplied Profiles

 F Seeing Color
•••••••••

T his appendix gives a brief description of the perception and

measurement of color. It forms an introduction to understanding
the issues in color printing, listed in Appendix G,“Printing Color.”

Perception of Color
The perception of color is both biological and psychological. The
biological aspect is the eye’s detection of certain wavelengths of
light. The psychological aspect is the way the sensation of color
is processed by the mind. For hundreds of years, researchers have
tried to express the human perception of color in objective and
quantifiable terms. But since all people vary in how they process
color, this has been a formidable task.
From a purely physical point of view, seeing color requires the
presence of three elements: a light source, an object that interacts
with the light, and a receiver (the eye). An object has a “color” because
it absorbs some wavelengths and reflects or transmits others. For
example, a tomato will appear red because it absorbs green and blue
light and reflects red light.
Light, a form of electromagnetic energy, can be described as waves.
The length of a wave is its wavelength. Wavelengths are measured in
nanometers (nm); that is, one millionth of a millimeter. Wavelengths
between 400 and 700 nm are visible to the human eye. “Red,”“Green,”
and other colors are names assigned to a certain range of wavelength.

ColorPro Addendum 79
 Additional Reading
Billmeyer Jr., Fred W. and Max Saltzman. Principles of Color
Technology, 2nd edition. John Wiley and Sons, 1981
Hunt, R.W.G. The Reproduction of Color in Photography, Printing,
and Television, 4th edition. Fountain Press, 1987
Hunt, R.W.G. Measuring Color, 2nd edition. Ellis Horwood, 1992
Judd, D.B. and Wyszecki, Gunter. Color in Business, Science and
Industry, 3rd edition. John Wiley and Sons, 1975
X-Rite Inc. Understanding Color Communication
X-Rite Inc. Understanding Graphic Arts Densitometry

80 Appendix F: Seeing Color

 G Printing Color
•••••••••

T his appendix describes the issues in achieving faithful color

reproduction and how the treatment of these issues has changed
with the availability of digital technology and device-independent
color.

Issues in Color Printing

Color printing is a difficult art. At the core is the following problem:
how does one person (or scanner, application, and so on) specify a
color sufficiently for another person (or printer, monitor, and so on) to
reproduce the color as the first person intended?
The color printing process begins with the designer’s ideas
and the customer’s specifications. These specifications must be
communicated to many people who will render and reproduce these
colors on different devices. At each stage of production, output
from one process becomes input for the next process. Each of these
processes involves color in a different color space; from photographic
film, to monitor RGB, to CMYK printing on different output devices.
At each step, judgment on color is made by different viewers under
different viewing conditions.
With the proliferation of affordable and quality input/output devices
and software packages, users are no longer buying solutions from a
single vendor. Rather, they purchase different system components
from different vendors and combine the elements to create an
integrated process. This creates an increasing need for effective color
management.

Color Management
The task of color management is to ensure that color jobs from many
different sources and printed on many different devices appear
consistent. Color management allows a printer to manipulate any
type of color image using any type of device to reliably render the
output on any type of media in a seamless manner.

ColorPro Addendum 81
 In a traditional setup, a printer who was asked to reproduce a colored
picture would scan the picture and use the resulting data to make
films and plates for use on a particular press. Since the press was run
in a controlled, consistent way, and the scanner was set up to produce
good output on a particular press, this method would reliably produce
color output.
This method, however, has its limitations. A very important limitation
is that it does not provide an easy way to ensure consistent color
reproduction across different printing environments. In the traditional
setup, the printing job is not portable to another device or another
printing environment. In addition, since prints are manually defined
and manipulated with density readings, formal training and education
are required for proper handling of print jobs.
The biggest advantage in many of today’s color management solution
systems is their ability to transform color into device-independent
color and thereby make the job available for print on any device.
For instance, a file that has been proofed on a inkjet printer can be
separated, accurately output on a film imagesetter, and passed to a
color printing press for printing, with good agreement between the
initial proof and the final production print run.

Color Gamuts
The color gamut is the entire range of colors possible in a color
system, such as a photograph, color monitor, or printing process.
The larger the color gamut, the larger the number of distinct colors
(shades) the eye perceives. The human eye is capable of perceiving
billions of different colors. In contrast, a color monitor has an upper
limit of 16 million colors that it can reproduce, and a printing press
might typically manage five thousand.
In the CIE “x-y” chromaticity diagram shown in Figure G-1, the pure
spectral colors are distributed around the curved edge of a horseshoe-
shaped chart, with a straight line connecting the blue and red ends of
that curve.
Green

Yellow

White
R
Red
Greenish-Blue

Purple
B
Blue

Figure G-1. CIE 1931 chromaticity diagram.

82 Appendix G: Printing Color

 The strongest (purest) colors are at the edge of the diagram, while
mixtures of those colors fill the interior. (All the color names are
informal indications of which color will appear where; a label like
“Red” is too imprecise for scientific or technical use, unless it is
given an accompanying specification.) The interior colors vary
smoothly with position, with the influence of the colors on the edge
diminishing as the distance from the edge increases. The small black
square near the center of the horseshoe shape indicates white or the
absence of a color bias.
For example, a straight line passing from the edge at the point labeled
“Red” to the square representing “White” would pass from a saturated
red, through areas with lightening shades of pink, before arriving at
white. Similarly, a line staying near the edge and passing from “Red” to
“Yellow” would pass through areas of red, orange, and yellow.
Figure G-1 also shows the typical gamut of a color monitor. The
difficulties of using informal color names become obvious when you
know that the corners of this triangular gamut,“RGB,” are often called
Red, Green, and Blue.
Figure G-2 shows that different devices have different color gamuts;
colors that can be created on one device can be beyond the
capabilities of other devices. Gamuts are influenced by calibration,
environment, age of the device, model of the device, and so on.

Color monitor
Color film

Offset printing:
Coated stock
Newsprint

Figure G-2. Color gamuts available.

For a given process, many colors simply cannot be reproduced.

Furthermore, different processes can reproduce different colors: given
two offset printers, for example, each can probably image some colors
that the other is not capable of imaging.

ColorPro Addendum 83
 Device-Independent and Device-Dependent
Color
A device-dependent color scheme specifies how to reproduce a color
on a particular device, by saying how much of each colorant to use.
The limitation of using this scheme is that the appearance of the final
output may vary depending on the kinds of CMYK inks used, the color
the paper is printed on, the viewing conditions, and so on. (There
are similar variations for RGB systems, depending on the display
phosphors, monitor settings, and so on.) The result is that it is not
possible to predict the exact appearance of device-dependent color
jobs until they are printed.
One workaround to using the device-dependent color scheme is
to adapt the job for a particular printer. The original CMYK data is
adjusted according to the known characteristics of the output device,
and then printed. This scheme works quite well where a job is always
printed on the same printer and with the same setup, but if printed on
a different printer with a different setup, the job will almost certainly
look different. A CMYK job will only use the colors in the gamut of a
“typical” CMYK printer. If the final medium has a bigger color range,
colors are needlessly restricted.
A device-independent color scheme is specified in a general way,
independent of the final output device. The work of the International
Committee of Illumination (CIE) over the past 50 years has established
a number of standards for doing this. One important issue when using
the device-independent scheme is that a job may specify colors that
are not within the gamut of the printer. Mapping unprintable colors
to printable colors becomes an important science when using device-
independent color schemes.
Device profiles—software that translates color data for one device
between its native color space and a standard color space (the ICC
profile connection space)—assist in this mapping. A device profile is a
table or mathematical expression that characterizes the color behavior
of a color imaging device. Profiles can be used for scanners or input
devices, for monitors, and for printers and other output devices. The
ICC (International Color Consortium) has standardized templates for
these profiles. These profiles are supplied by the device manufacturer,
generated by the user, or sold as part of a color management system.
By obtaining a compatible color-management system and one device
profile for each piece of equipment, you can make that equipment
part of the system.
NOTE: ICC-compatible profiles that characterize the
same device do not necessarily provide and guarantee
the same quality.

84 Appendix G: Printing Color

 Device link profiles, despite the similar name, have a different and
more limited function. A device link profile translates color data for
the native color space of one device to and from the native color
space of one other device. Each pair of devices requires a separate
device link profile. For three devices, there are three pairs; for four
devices, there are six pairs; and the number of pairs rises rapidly.
Device link profiles can provide high quality translations, but do not
allow for intermediate color management.

Mapping Between Gamuts

When the input and output gamuts of a system differ, only the colors
within both gamuts can be reproduced exactly. Figure G-3 shows
the gamut of a monitor (input) and printer (output) in an area where
there are other colors, some possible only on the monitor and some
possible only on the printer. Some mapping is necessary to reproduce
colors possible only on the monitor on the output printer.

Monitor colors out of printer gamut

Printed colors out of monitor gamut

Figure G-3. Detail of out-of-gamut areas.

There are several possible mappings. To show how some of these
mappings work, we can consider example colors possible on the
monitor, but not possible on the printer.
In Figure G-4, colors out of the printer gamut are mapped to a “nearby”
point on the edge of the gamut. In this example, A1 is already at a
point on the printer gamut limit, and points A2 and A3 are outside
the gamut limit. A1 (and all colors within the printer gamut) are
reproduced exactly. Points A2 and A3 are mapped to the “nearby”
points on the printer gamut, B2 and B3 respectively. This is absolute
colorimetric mapping.

ColorPro Addendum 85
 NOTE: In the following diagrams, the direction of the
arrows for mapped colors points towards a white point.

A2

A3
A1
B2
B3

Figure G-4. Absolute colorimetric mapping.

Figure G-5 shows perceptual mapping, a scheme in which there are

no abrupt changes in mapping. Colors at the edge of the input gamut
(A2) map to the edge of the output gamut (C2). Other out-of-gamut
colors map to colors just inside the output gamut map. Even colors
within the printer gamut are mapped, to a degree that depends on
their distance from the edge of the printer gamut.

A2

A3
A1
C2
C3
C2

Figure G-5. Perceptual mapping.

There are other possible mappings, but these are harder to show in
the chromaticity diagram.

86 Appendix G: Printing Color

 Index
•••••••••

A Color Color Setup Manager dialog box

Absolute gamuts 82–83 38
colorimetric management 81–82 Commercial A
rendering intents 6, 36, for PDF jobs 67 input profile 76
85–86 options 64–66 output profile 78
Adobe mapping styles 5–8 CRD
Photoshop 2, 41, 60, 63–64, Options generator plug-in 4–5
67 dialog box 4 CRDs 4–5, 17, 20, 33
Agfa Pressmatch perception 79 external 4
input profiles 75 printing 81–86 Creating
rendering color setups 37–54
B dictionaries 4 logos 61
Black intents page setups 54–56
generation 23, 34–35, 37, customizable 24 CSA 2
51, 59–60 defining 33–37 Custom
BVD-FOGRA reproduction rendering intents 34–37
input profiles 76 based on viewing Customizing
output profiles 77–78 conditions 24 page setups 54–56
seeing 79–80
C setups 4 D
Calibration 5, 31, 56, 83 defining 37–54 Default
for output profiles 28 space array 2 Absolute Colorimetric 5
with ProofReady 9 ColorPro Perceptual 5
CMYK enabling 24–25 Relative Colorimetric 5
Analog Matching features 3 Saturation 5
workflow 12–13 getting started 2 Defining
input profiles manual override capability 24 color
supplied 75–77 new features 4 rendering intents 33–37
output profiles using 23–57 setups 37–54
supplied 77–78 workflows 11–21 Device
Press Proofing Color Rendering Intent Details link
workflow 13–15 dialog box 36–37 profiles 26, 85
ProofReady Proofing Color Rendering Intent Manager installing 29
workflow 11–12 dialog box 34 profiles 27–28, 84
Color Setup dialog box 4 installing 30

ColorPro Addendum 87
Device-dependent H J, K
color 84–85 HCMS 1 Jobs
Device-independent HFCS 1, 4 with color management data
color 84–85 HIPP 1, 4 63–67
Drop white objects 72–73 Honor Color Management
DuPont option 4 L
Cromalin HQ RIP Light
input profiles 76 black generation waves 79
WaterProof with ColorPro 60 Linear calibration 31
Commerical without ColorPro 59 Logos
input profile 76 UCR creating 61
Publication without ColorPro 59
input profile 76 M
I Mapping
E ICC between gamuts 85–86
Emulation 1, 4 colorimetric 5, 6 Multiple Color Space Proofing
profile 20–21 perceptual 5 workflow 18–20
installing 30 profiles 1, 3, 84
workflows 20–21 embedded 2 N
in PhotoShop images 67 N-Color
F installing 25–31 profiles 4
Fill background uninstalling 32 New Color Setup dialog box
with paper color of job rendering intents 4 40–54
option 4 saturation 5 Input
Fogra 13–14 InDesign 11 Document Controls
Fuji ColorArt Input section 42–45
Commerical CR-T3 Gloss CMYK Profiles section 40–41
input profile 77 profiles 26 Separation Detection
Publication CR-T3 MMatte profiles Angles in Job section 46
input profile 77 installing 29 Output
Install ICC Profile dialog box Controls for RGB section
G 29–31 51–52
Gamut-mapping algorithms 3 Installing Controls section 53–54
GCR 59 profiles Emulation section 48
Gray device 30 Profile section 47
component device link 29 Rendering Intents section
replacement 59 emulation 30 49–50
profiles 4 ICC 25–31
input 29
International Color Consortium
1, 84

88 Index
O input S
Office Graphics RGB installing 29 Saturation
input profile 77 RGB 27 color mapping style 7
Output N-Color 4 Seeing
profiles 27–28 output 27–28 color 79–80
calibration 28 RGB additional reading 80
Overprinting options 69–73 input 27 “setcolorrenderingintent”
drop white 72–73 supplied 75 operator 61
overprint 69–71 types 26–28 SetGold 1, 17–18
ProofReady 2, 4–5, 8–9, 11–12, profiles 1, 3, 23, 28, 34
P 23, 25, 31–33, 36 sRGB
Page plug-ins 9 input profile 77
setups Supplied
creating 54–56 Q CMYK
customizing 54–56 QuarkXPress 11 input profiles 75–77
printing 56–57 output profiles 77–78
PANTONE R profiles 75
colors 24, 41 Relative RGB
Paper simulation 7–8 colorimetric 6 input profiles 77
PDF Rendering SWOP 13, 15–16, 77–78
color management 67 intent input profile 77
Perceptual selection for emulation 8 output profile 78
color mapping style 7 intents
Photoshop 2, 41, 60, 63–64, Absolute T
67 colorimetric 6 3M Matchprint
images custom 34–37 input profile 75
embedding ICC profiles 67 for output profile 8 Trinitron
Plug-ins Perceptual 7 input profile 77
ProofReady 9 Relative
PostScript colorimetric 6 U, V
jobs 63 Saturation 7 UCR 59–60
Printing Resample on Install Undercolor removal 59–60
color 81–86 option 31 Uninstall ICC Profiles dialog box
page setups 56–57 RGB 32
Profiles input profiles 27 Uninstalling
CMYK supplied 77 ICC profiles 32–33
input 26 Proofing—ICC Model UseCIEColor 2
device 27–28, 84 workflow 15–17
device link 26, 85 Proofing—SetGold and
installing 29 ColorPro Models
emulation workflow 17–18
installing 30
ICC
uninstalling 32

ColorPro Addendum 89
W, X, Y, Z
Workflows
CMYK
Analog Matching 12–13
Press Proofing 13–15
ProofReady Proofing 11–12
ColorPro 11–21
emulation 20–21
Multiple Color Space Proofing
18–20
RGB
Proofing—ICC Model 15–17
Proofing—SetGold and
ColorPro Models 17–18

90 Index