color gamut You Y ou can’t always get what you want What is gamut?
RGB vs. CMYK
a newspaper press, due to the brighter white of commercial
Every color system (monitor, desktop printer, digital press,
Computer monitors typically have larger color gamuts than
paper and the higher ink densities it can support.
copier, offset press, etc.) has its own unique color ga mut.
printing devices, especially in deep blues and blacks. This
Color gamut means the range of colors and tones achievable
means the printed result will often be less dramatic than
weight, opacity, coating, gloss, absorbency and other surface
by an imaging system.
the original RGB image viewed on screen. To see in advance
characteristics.
The color gamut of a computer screen is determined by the
Other factors affecting printed gamut may include paper
how an RGB image will look when printed in CMYK, use the
purity and brightness of its red, green and blue pixels. The
Photoshop® Proof Colors option select View > Proof Colors or
Expanded-gamut printing
color gamut of a printing device is determined by the hue,
click Command + Y (Mac) or Control + Y ( Windows). Colors Colors
When extra gamut is essential, and the extra cost is justified,
saturation and lightness of its cyan, magenta, yellow and black
outside the printable gamut will display with less saturation,
printed gamut can sometimes be expanded using extra inks
inks and the brightness, and other characteristics, of the paper
similar to how they will print on press. Proof accuracy depends
and/or higher ink densities than normal 4-color printing. Just
or substrate on which they are printed.
on the quality of your monitor profile as well as your default
remember, extended-gamut printing is more expensive and
CMYK Working Space and default Rendering Intent.
skill-intensive than regular CMYK printing. If you don’t have
Successful designers work within the available color gamut—or accept some loss of color in the final output. For
the extra budget, make sure your d esign looks good in the
example, if you view your de sign in RGB without CMYK soft
CMYK vs. CMYK
proofing, chances are you will be disappointed when it prints.
Not all printing systems have the sa me color gamut. For
Likewise, don’t expect the same color gamut on newsprint as
example, a typical commercial offset press running to
expanded-gamut techniques. A second cyan plate permitted
you can get on commercial offset paper.
GRACoL® specifications has a much wider color gamut than
up to 200% cyan in the richest blue areas.
printable color space (for example, GRACoL or SWOP® ). This poster was produced using one of many possible
For more information about this poster or others in the series, as well as free downloads and resources, visit www.idealliance.org/2012deerposters.
GRACoL The smaller image at left represents the color gamut of normal commercial offset printing. Compare it to the s imulated monitor image or, better still, the original RGB image on your own screen. Also compare it to the simulated newspaper print in the lower illustration.
The GRACoL color gamut (smaller shape) compared to the color space of a good monitor. (CHROMiX ColorThink™ screen shot)
GRACoL (larger shape) compared to the smaller color gamut of a typical newspaper press
Newsprint The smaller image at left represents the color gamut of typical newspaper printing. Colors are less saturated, blacks are weaker and lighter tones are darker and warmer due to lower ink densities and cheaper (yellower and darker) paper.
Monitor gamut (simulated) The large image above approximates the deep saturation of a typical computer monitor. Compare it to a typical GRACoL of fset print (top right), and compare it to the RGB image at www.idealliance.org/2012deerposters. Note: Even with the extra cyan plate used above we cannot s imulate in a printed poster the full saturation and contrast of a good monitor.
About this poster
Developed and produced by:
This poster is par t of the 2012 DEER Poster Design to Print Series, wh ich includes Color Gamut, Creative Color, Print Quality, Proofing, Paper and Light & Vision. It is intended to help print buyers and content creators work more effectively with their print providers by explaining the capabilities, limitations and best practices of commercial color printing. Each poster addresses a topic or issue that frequently causes inefficiencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information, consult your print provider, color management specialist or visit www.idealliance.org.
PlatinumSponsors:
www.deerfoundation.org GoldSponsors:
www.idealliance.org +1.703.837.1070
The Digital Enterprise Educa tion and Research (DEER) Foundatio n is a 501(c) (3) charitable founda tion established by IDEAlliance in 2005. The Foundatio n’s mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly defined by digital workflows. For additional informa tion or to make a tax-deductible donation, visit www.deerfoundation.org. Copyright © 2011 by International Digital Enter prise Alliance, Inc. (IDEAllia nce). All rights reserved. Except as permitted und er the United States Copyright Act of 1976, no part of this publicat ion may be reproduced or distribute d in any form or by any means, or stored in a database or retrieval system, without prior writ ten permission of the publisher. GRACoL®, SWOP® and G7® are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight. Photo: David Doubilet/National Geographic Stock
creative color Getting it right the first time Working accurately in RGB
in RGB. Photoshop® tools and filters are more powerful in RGB
Utilizing printing standards
Thanks to ICC color management and printing specifications
than CMYK. Creative edits are more valuable because they are
Creative users can take advantage of color management best
like GRACoL® and SWOP®, creative users can control the
more easily repurposed.
practices and standardized printing specifications by:
color of their own work—even view on their monitor how
Another advantage of working in RGB is that it allows the
an RGB image will print on press—provided they follow a
printer to optimize the CMYK conversion to suit the ir own
few guidelines.
particular printing process. Although some printers still ask for
• Use standardized Adobe Color Settings
CMYK files, increasingly printers are requesting files in RGB.
• Use a good quality monitor
Displaying RGB as CMYK
• Create a custom ICC profile of the monitor
The one significant concern with an RGB workflow is that a
• Remember RGB images will look more saturated on the
computer monitor can display a wider range of colors, or color
• Always embed the profile when saving an image or document
or SWOP • Previewing in Photoshop RGB images as CMYK (Mac: Command + Y, PC: Ctrl + Y) • Proofing only on GRACoL or SWOP Certified
• Synchronize Adobe® Creative Suite® color settings in Bridge.
monitor than when printed in CMYK
• Setting the Adobe CMYK working space to GRACoL
gamut, than most printing processes can reproduce. To see how an RGB image will look in Photoshop when it’s printed in CMYK and to avoid surprises, select View > Proof Colors or
RGB workflow
click Command + Y (Mac) or Control + Y ( Windows). Colors
Most creative retouching, color correction and image editing
outside the printable ga mut will display with less saturation. To
has switched from CMYK to RGB. Photography works in red,
highlight out-of-gamut colors, use View > Gamut Warning.
Proofing Systems • Demanding an IDEAllianc e ISO 12647-7 Color Control Wedge 2009 on every proof; download free from www.idealliance.org/2012deerposters • Viewing proofs and press sheets und er ISO 3664:2009 D50 lighting conditions • Working with an IDEAlliance G7 Master qualified proof or print provider
Delivering files
green and blue light, so it’s simply more logical to edit photos
Controlling color in Adobe Creative Suite
The preferred delivery format from InDesign is PDF/X-4:2010.
The main thing you need to know about Adobe Color Settings
to www.gwg.org. Individual images saved from Photoshop
is to set your CMYK Working Space to your intended printing
must have the correct embedded profile. This will happen
condition (GRACoL or SWOP). Recommended Adobe Color
automatically with the recommended IDEAlliance .acs files.
Setting files (.acs files) and full installation instructions can be downloaded free from www.idealliance.org/2012deerposters.
For more information on creating and preflighting PDF files go
For more information about this poster or others in the series, as well as free downloads and resources, visit www.idealliance.org/2012deerposters.
Selecting Proof Colors mode in Photoshop (Mac menu s hown above) lets you see how an RGB image will look when printed in CMYK. Display accuracy depends on the quality of your monitor profile as well as your default CMYK Working Space and Rendering Intent. Note that Photoshop’s CMYK display is approximate.
In Adobe Color Settings window (Mac version shown at left), selecting GRACoL2006 or SWOP2006 as the CMYK working space makes your workflow G7-compatible.
About this poster
Developed and produced by:
This poster is par t of the 2012 DEER Poster Design to Print Series, wh ich includes Color Gamut, Creative Color, Print Quality, Proofing, Paper and Light & Vision. It is intended to help print buyers and content creators work more effectively with their print providers by explaining the capabilities, limitations and best practices of commercial color printing. Each poster addresses a topic or issue that frequently causes inefficiencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information, consult your print provider, color management specialist or visit www.idealliance.org.
PlatinumSponsors:
www.deerfoundation.org GoldSponsors:
www.idealliance.org +1.703.837.1070
The Digital Enterprise Educa tion and Research (DEER) Foundatio n is a 501(c) (3) charitable founda tion established by IDEAlliance in 2005. The Foundatio n’s mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly defined by digital workflows. For additional informa tion or to make a tax-deductible donation, visit www.deerfoundation.org. Copyright © 2011 by International Digital Enter prise Alliance, Inc. (IDEAllia nce). All rights reserved. Except as permitted und er the United States Copyright Act of 1976, no part of this publicat ion may be reproduced or distribute d in any form or by any means, or stored in a database or retrieval system, without prior writ ten permission of the publisher. GRACoL®, SWOP® and G7® are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight. Photo: Paul Sutherland/National Geographic Stock
print quality Getting what you need GRACoL® and SWOP®
SWOP as the target at the creative stage, the printed result is
How good is good enough?
GRACoL and SWOP are North American de facto standard
more likely to meet your expectations.
When judging print quality, remember you are evaluating
proof and print specifications represe nting how good printing
the overall effectiveness of the printed product. Don’t be
should appear to the eye. GRACoL defines how a typical
Realistic expectations
too distracted by small color differences. Good printing
sheet-fed commercial press should look. SWOP defines an
In printing, there’s no such thing as a perfect match due
should simulate the proof well enough that the desired
ideal Web Offset publication press. Both are based on G7®.
to the many variables in every printing process. A realistic
impression is conveyed to the end consumer, remembering
goal isn’t an exact match but an acceptable approximation
that the consumer will never see the proof. If you hold the
difficult manufacturing tasks imaginable. Even with today’s
of the proof. Remember:
proof directly adjacent to the press sheet you will be setting
advanced printing technologies, reproducing your design
• Good printing should look close to the proof in the
expectations that cannot be maintained throughout the
Accurate, predictable color printing is one of the most
exactly the way you visualized i t may not be easy, or even
most important colors, but will always have some small
possible. To ensure a positive result, everyone involved from
differences.
creation to output must aim for the s ame target print condition, such as GRACoL or SWOP.
• The closer the match you ask for between proof and press, the more the printing will cost.
press run. For more information about this poster or others in the series, as well as free downloads and resources, visit www.idealliance.org/2012deerposters.
• If the proof and press she et are printed on different shades
G7 methodology G7 is a methodology that helps printers simulate the appearance of GRACoL and SWOP on a printing device when
of paper, the image will be affected by that difference. • Comparisons should only be mad e under standard ISO 3664:2009 D50 viewing conditions.
using ISO-standard ink and pape r. If you select GRACoL or
Realistic tolerances The images above give some idea of what typically acceptable tolerances mean in visual terms. All the samples were considered acceptable because they conveyed the desired intent, even though they don’t match each other exactly.
About this poster
Developed and produced by:
This poster is par t of the 2012 DEER Poster Design to Print Series, wh ich includes Color Gamut, Creative Color, Print Quality, Proofing, Paper and Light & Vision. It is intended to help print buyers and content creators work more effectively with their print providers by explaining the capabilities, limitations and best practices of commercial color printing. Each poster addresses a topic or issue that frequently causes inefficiencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information, consult your print provider, color management specialist or visit www.idealliance.org.
PlatinumSponsors:
www.deerfoundation.org GoldSponsors:
www.idealliance.org +1.703.837.1070
The Digital Enterprise Educa tion and Research (DEER) Foundatio n is a 501(c) (3) charitable founda tion established by IDEAlliance in 2005. The Foundatio n’s mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly defined by digital workflows. For additional informa tion or to make a tax-deductible donation, visit www.deerfoundation.org. Copyright © 2011 by International Digital Enter prise Alliance, Inc. (IDEAllia nce). All rights reserved. Except as permitted und er the United States Copyright Act of 1976, no part of this publicat ion may be reproduced or distribute d in any form or by any means, or stored in a database or retrieval system, without prior writ ten permission of the publisher. GRACoL®, SWOP® and G7® are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight. Photo: David Doubilet/National Geographic Stock
proofing The color contract Color contract proofing
SWOP ® or GRACoL® or other regional specifications. GRACoL
free from www.idealliance.org/2012deerposters), which should
The first thing we need to do is distinguish between a content
and SWOP certified proofing systems are tested by IDEAlliance
be included on the edge of every proof. If you receive a proof
proof, which is not color-accurate, and a contract proof, which
to fall within close visual tolerances of each other.
without an IDEAlliance ISO 12647-7 Color Control Wedge
is. In this poster we are ta lking only about the contract proof.
® Note: There is no such thing as a G7 proof but any proof
A contract proof is just what it says—a contract between the
made to GRACoL or SWOP specifications is, by default,
print buyer and the printer, so it is vital that it demonstrates as
G7-compliant.
2009, ask for it to be made again. Note: There’s no such thing as a certified GRACoL or SWOP proof. IDEAlliance does not certify individual proofs to GRACoL or SWOP.
accurately as possible how an image will look when printed. If you make a nice print on your personal ink-jet printer that
Measuring proof quality
expresses your creative intent but doesn’t show how the press
Just because a proofing system is certified doesn’t mean it is
Soft proofing
will print, you haven’t made a contract proof. At best you’ve
operating correctly, or that the proof it produces is certified.
Soft proofing provides a viable alternative to hard-copy
made a color guide that a retoucher or color corrector can
Even a certified proofing system can drift out of tolerance.
proofing by simulating the printed result on a calibrated
follow when altering your file so it prints a s closely as possible
To verify a proofing system, measurements are taken with a
and profiled monitor screen. The most c ommon use of
to your vision. Remember the c ost of those alterations is not
spectrophotometer on a stand ard IT8.7/4 CMYK target
soft proofing is simulating a printed result on sc reen in an
included in a normal printing quote.
and compared to a reference specification such as GRACoL
application like Adobe Photoshop®. Remote soft proofing
or SWOP. Proofing accuracy is expressed in average and
takes this a step further by allowing instant color approval
peak Delta E.
without the need to ship physic al proofs from one location to
Certified proofing systems Most of today’s offset presses are optimized to simulate the appearance of a predefined CMYK color space such as
To verify an individual proof, measurements are taken on the IDEAlliance ISO 12647-7 Color Control Wedge 2009 (download
another. When adjusted properly, a soft proofing system can be just as accurate as a hard-copy proof, but its effectiveness depends, among other things, on ambient lighting. The ideal soft proofing system uses controlled lighting alongside the monitor to illuminate the hard-copy sample; see image below. For more information about this poster or others in the series, as well as free downloads and resources, visit www.idealliance.org/2012deerposters.
Soft proof A properly calibrated and profiled monitor (image at left) can simulate a printed sheet with a high degr ee of accuracy, but the comparison must be made under carefully controlled lighting. Here the print is viewed in a D50 viewing booth dimmed to match the brightness of the monitor, and the monitor has been calibrated to match the precise color of the booth.
An IDEAlliance ISO 12647-7 Color Control Wedge 2009 being measured with
Proofing right
Proofing wrong
an X-Rite i1Pro densitometer.
Proof above is made on a certified proofing system.
Proof above is made on a desktop ink-jet printer.
• The only purpose of a contract proof is to simulate how the job will appear
• Prints made on an uncalibrated desktop printer are not contract proofs and
on press. • Proofing systems should be calibrated to simulate GRACoL, SWOP or an agreed custom print condition.
may be rejected or remade by the printer. • You may be asked to sign a waiver acknowledging that the color on the noncontract proof will be different than the printed product.
• Proofs and press sheets should only be viewed under ISO 3664:2009 D50 viewing conditions. Nonstandard illumination (for example, office or supermarket lighting) can cause a good proof to look bad.
About this poster
Developed and produced by:
This poster is par t of the 2012 DEER Poster Design to Print Series, wh ich includes Color Gamut, Creative Color, Print Quality, Proofing, Paper and Light & Vision. It is intended to help print buyers and content creators work more effectively with their print providers by explaining the capabilities, limitations and best practices of commercial color printing. Each poster addresses a topic or issue that frequently causes inefficiencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information, consult your print provider, color management specialist or visit www.idealliance.org.
PlatinumSponsors:
www.deerfoundation.org GoldSponsors:
www.idealliance.org +1.703.837.1070
The Digital Enterprise Educa tion and Research (DEER) Foundatio n is a 501(c) (3) charitable founda tion established by IDEAlliance in 2005. The Foundatio n’s mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly defined by digital workflows. For additional informa tion or to make a tax-deductible donation, visit www.deerfoundation.org. Copyright © 2011 by International Digital Enter prise Alliance, Inc. (IDEAllia nce). All rights reserved. Except as permitted und er the United States Copyright Act of 1976, no part of this publicat ion may be reproduced or distribute d in any form or by any means, or stored in a database or retrieval system, without prior writ ten permission of the publisher. GRACoL®, SWOP® and G7® are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight. Photo: Frans Lanting /National Geographic Stock
paper The 5th color in 4-color printing Paper is one of the most overlooked variables in printing.
brightness will tend to be more noticeable in lighter tones and
typically consist of materials which fluoresce under UV
How a printed image looks is directly affected by the c olor,
clean, pastel colors.
wavelengths. This causes issues in color measurement and
brightness, finish, coating, opacity, weight and absorbency
Caution: If you ask for GRACoL printing but specify a
of the paper on which it’s printed. To help define consistent
non-GRACoL stock, the printed pie ce will not simulate
make the paper appear bluer, but only in certain types of
printed appearance, specifications like GRACoL® and SWOP®
a normal GRACoL proof due to the substrate dif ferences.
lighting. Most UV-based additives fade upon exposure to light,
recommend a specific paper color and brightness. The closer
color management. For example, UV enhancers sometimes
in some cases causing paper to change color after just a few
your printing substrate is to the proofing paper color, the
Designing for multiple purposes
better it will simulate a standard proof. Remember, paper color
Often a basic design or image will be repurposed many
directly affects image color.
times on different media or processes, like in a magazine, a
brightened and non-brightened papers when viewed apart
days. This affects the color of the printed piece. Ironically, printed images typically look very similar on
newspaper, a package, a billboard and the Internet. While each
from each other, even though they look different ad jacent to
Different substrates
process may have its unique color capabilities, the goal should
each other.
If your job is printed on a substrate with different color or
be to get the most common visual appearance possible. The
brightness than the proofing substrate (also called a color cast
easiest way to ensure this is to keep your work in RGB and let
or paper shade) the press sheet will not look like the proof. For
the printer convert to CMYK for each individual process.
example, if the white press stock has a blue shade, the print
The selection of paper is a crucial factor in accurate color reproduction. For more information about this poster or others in the series, as well as free downloads and resources, visit
will look blue compared to the proof. And if the press stock
Understanding UV
has a yellow shade, the press sheet will look yellower than
Many of today’s papers are enhanced with Optical Brightening
the proof; see images below. Differences in paper color or
Additives, or OBAs, to make them appear brighter. OBAs
www.idealliance.org/2012deerposters.
Printing on different substrates These images demonstrate why paper is considered the 5th color in 4-color printing. • Left is a GRACoL print. • Top center is a GRACoL file printed on a stock with a blue shade. • Top right is a GRACoL file printed on a stock with a yellow shade. • Bottom right is a GRACoL file printed on uncoated stock. Paper color, as well as absorbency, can affect the final printed image. Notice how colors and blacks are weaker and less saturated because the ink has been absorbed by the paper.
About this poster
Developed and produced by:
This poster is par t of the 2012 DEER Poster Design to Print Series, wh ich includes Color Gamut, Creative Color, Print Quality, Proofing, Paper and Light & Vision. It is intended to help print buyers and content creators work more effectively with their print providers by explaining the capabilities, limitations and best practices of commercial color printing. Each poster addresses a topic or issue that frequently causes inefficiencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information, consult your print provider, color management specialist or visit www.idealliance.org.
PlatinumSponsors:
www.deerfoundation.org GoldSponsors:
www.idealliance.org +1.703.837.1070
The Digital Enterprise Educa tion and Research (DEER) Foundatio n is a 501(c) (3) charitable founda tion established by IDEAlliance in 2005. The Foundatio n’s mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly defined by digital workflows. For additional informa tion or to make a tax-deductible donation, visit www.deerfoundation.org. Copyright © 2011 by International Digital Enter prise Alliance, Inc. (IDEAllia nce). All rights reserved. Except as permitted und er the United States Copyright Act of 1976, no part of this publicat ion may be reproduced or distribute d in any form or by any means, or stored in a database or retrieval system, without prior writ ten permission of the publisher. GRACoL®, SWOP® and G7® are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight. Photo: Frans Lanting /National Geographic Stock
light & vision Lighting affects color Standard lighting — D50
decisions should only be made in standard D50 lighting by
conference rooms where proofs or press sheets may
In order to see the same color we all have to view it under
individuals who have passed a color deficiency test.
sometimes be compared.
can change the appearance of an object or print. This is why
Standard color vision
the series, as well as free downloads and resources, visit
standardized lighting is so vital.
We all see color dif ferently—some more differently than others.
www.idealliance.org/2012deerposters.
the same viewing conditions. Simply changing the lighting
The standard for lighting in graphic arts and photography is
For more information about this poster or others in
In extreme cases, this is known as color blindness. Standard
D50 as defined in ISO 3664:2009. D50 consists of a spectral
color vision is defined by the CIE (International Commission
power distribution curve based on average daylight (white
on Illumination) and can be tested. People making color
band in graph). If everyone viewed originals, proofs and prints
decisions should be tested for color deficiencies.
under D50 lighting, apparent errors caused by incorrect lighting would be minimized.
Getting standardized D50 viewing booths are available from several manufacturers
Metameric failure
including GTI (www.gtilite.com) and JUST Normlicht (www.
Metameric failure is when two images match under one light
justnormlicht.com). Full-size D50 booths are used in
source but not under another. An example would be a press
pressroom and prepress areas. Smaller desktop booths
sheet that simulates the proof in the press console but not
can be dimmed to match the brightness of an adjacent
under office lighting. This often causes unjustified rejection of
soft-proofing monitor. Individual D50 tubes can be used
otherwise good printing. To minimize metameric failures, color
as room lighting—a great idea for customer lounges and
Spectral curves of ISO D50 (white), D50 fluorescent (blue), tungsten 3200K (yellow) and CWF flu orescent common in office and retail areas (green).
Viewed in an ISO
3664:2009 s tandard D50 viewing booth
Viewed under tungsten light bulbs (2800° Kelvin)
Viewed under typical office lighting (cool white fluorescent tubes)
Effect of nonstandard lighting Nonstandard lighting may cause a proof or print to change its appearance dramatically. The three reproductions on this page rep resent how the same physical print would look under dif ferent lighting environments - a standard D50 viewing booth (large image at left), tungsten lighting (small image left) and typical office or retail lighting (small image right). Remember these differences are not due to printing errors, but to incorrect lighting.
About this poster
Developed and produced by:
This poster is par t of the 2012 DEER Poster Design to Print Series, wh ich includes Color Gamut, Creative Color, Print Quality, Proofing, Paper and Light & Vision. It is intended to help print buyers and content creators work more effectively with their print providers by explaining the capabilities, limitations and best practices of commercial color printing. Each poster addresses a topic or issue that frequently causes inefficiencies, delays and unnecessary costs. This series is intended for entrylevel readers and in some cases may simplify complex issues. For detailed information, consult your print provider, color management specialist or visit www.idealliance.org.
PlatinumSponsors:
www.deerfoundation.org GoldSponsors:
www.idealliance.org +1.703.837.1070
The Digital Enterprise Educa tion and Research (DEER) Foundatio n is a 501(c) (3) charitable founda tion established by IDEAlliance in 2005. The Foundatio n’s mission is to promote education and research in the graphic arts and media industries as enterprises become increasingly defined by digital workflows. For additional informa tion or to make a tax-deductible donation, visit www.deerfoundation.org. Copyright © 2011 by International Digital Enter prise Alliance, Inc. (IDEAllia nce). All rights reserved. Except as permitted und er the United States Copyright Act of 1976, no part of this publicat ion may be reproduced or distribute d in any form or by any means, or stored in a database or retrieval system, without prior writ ten permission of the publisher. GRACoL®, SWOP® and G7® are registered trademarks and intellectual property of International Digital Enterprise Alliance, Inc. (IDEAlliance). Printed in the USA by Komori America on Sappi Opus Gloss 100# Text Weight. Photo: Joel Sartore/National Geographic Stock
