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So, you've spent a fair amount of time setting up your proofing system. You've carefully selected your hardware, software and media. You've set up your workflow correctly, calibrated it carefully and selected the standard that you want your proof to match.

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This is the second in John Nate's series on spot color, which began in the July/August 2010 issue.

In the newspaper industry you will seldom, if ever, be called upon to actually print a spot color on-press using spot color ink as part of a 4-color process job. Instead, what you will need to do is to accurately convert to 4-color, proof and print colors that have been defined as spot colors by your customers.

In my last two columns, I demonstrated several techniques used to edit ICC profiles. Now, while profile editing is no substitute for accurate device calibration, it can be a great asset when you find that you need to squeeze that last little bit of accuracy out of your proofing system.

Welcome back to the wonderful world of ICC Profile editing. In last month's article, I presented an overview of the more common edits that can be made to ICC profiles. This month, we'll examine some of the less-often-used editing tools available in most of the profile editing packages.

I've run into the problem time and time again throughout my career as a color management consultant: The client has done everything correctly - by the book. The monitor is correctly calibrated, the environmental lighting is correct, the output device is properly calibrated for the ink and media combination being used, all ICC profiles were carefully built and the workflow is perfect. There's only one problem: nothing matches! The reason? Check the math.

Throughout the past year we have explored the processes needed to produce accurate soft- and hard-copy proofs using Adobe Photoshop and soft proofs using Adobe InDesign. In this, the final installment of the series, we will examine how to produce a color-accurate hard-copy proof using InDesign. Fortunately, with all of the preparation we have done over the past year, this process is fairly straightforward.

Adobe Photoshop is a wonderful program for manipulating and soft proofing individual images. But how do you go about soft proofing an entire page or layout?

Well, our prep work is finally complete. Our output device is calibrated and we have an accurate ICC Profile describing how our output device creates color on our selected media, using our selected ink, for our selected workflow.

Beyond Black and White

John Nate

Senior Color Specialist
Chromaticity Inc.
E-mail: jnate@chromaticity.com
Phone: 616-988-6119