Before opening an RGB image in Photoshop, synchronize color settings for all Creative Suite applications using Adobe Bridge. This synchronization ensures that colors look the same in all Adobe Creative Suite applications.

This ICC profile is based on the characterization data „ SWOP2006Coated3.txt “. The maximum ink coverage for the separation is 300% and the maximum black is 98%. In addition a very strong GCR in the neutral axis and a medium GCR in the more saturated colors has been used for the profile creation. This ICC profile is based on the.

Web Coated (SWOP) v2, which is a specific CMYK setting for a web printing press and coated paper, among other things. When you convert an RGB image to CMYK (Image→Mode→CMYK) prior to sending it off to the printer, Photoshop automatically tags the image with the U.S.
US Web Coated (SWOP) v2. US Web Uncoated v2; US Sheetfed Coated v2; US Sheetfed Uncoated v2; Coated FOGRA27 (ISO 12647-2:2004) Web Coated FOGRA28 (ISO 12647-2:2004) Uncoated FOGRA29 (ISO 12647-2:2004) Coated FOGRA39 (ISO 12647-2:2004) Japan Web Coated (Ad) Japan Color 2001 Coated; Japan Color 2001 Uncoated; Japan Color 2002 Newspaper.
CMYK is just a generic reference for 4-color process. Web coated SWOP V2 is a specific print profile for web offset printing; it is generally acceptable for most 4-color printing, so you can use it if you printer hasn't specified anything more specific than 'CMYK at 300 DPI.' I've used some flavor of SWOP CMYK for thousands of print jobs and no printer has ever complained, whether the job was.

For Coated Papers Only…

Open Adobe Bridge and go to Edit/Color Settings and select North America Prepress 2

For UnCoated Papers…

To setup color when using uncoated paper, you will have to make a custom Color Settings File in Photoshop.

STEP 1: CHOOSE EDIT / COLOR SETTINGS.

STEP 2: CHOOSE “U.S. Web Uncoated v2”.

STEP 3: SELECT SAVE AND NAME THE FILE “North America Prepress 2 Uncoated”.

STEP 4: PRESS OK AND THIS WILL NOW BE AVAILABLE TO CHOOSE IN ADOBE BRIDGE.

STEP 1: OPEN IMAGE

When opening an RGB image, choose; Use the embedded profile (instead of the working space) which will honor the embedded profile. This is typically the correct choice for all digital image captures.

STEP 2: CONVERT TO ADOBE 98

If your RGB image was not already in the AdobeRGB (1998) color space, now is the time to convert it. Go to Edit/Convert to Profile and choose Working RGB – Adobe 1998, which is the default.

STEP 3: ADJUST AND SAVE AS ADOBE 98

Once the image is in the default RGB space, adjust the image as needed in RGB before converting to CMYK. RGB color adjustments offer many benefits over CMYK adjustments. It is also a good idea to save a copy of the now adjusted RGB image for future use. Make sure the “Embed Color Profile” is selected.

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Step 4: Adjust Image Size

Adjust the image size to be as close as possible to the size needed for the layout application. Making the image the correct size saves on drive space and upload speed. Photoshop will do a better job scaling than that done in the layout application. Select Image/Image Size, if the file is 72dpi, deselect the Resample Image and change Resolution to 300 dpi. This will reduce the physical size of the image.

In the example above; note that the physical size of the image changes from 24” wide at 72dpi to 6.944” wide at 300dpi. This is the proper way to adjust your images prior to importing into the layout

Step 5: Convert to CMYK (SWOP)

The last step is to convert to CMYK. Go to Edit/Convert to Profile and choose Working CMYK (the appropriate profile for Coated). Be sure the conversion options match the screen shots below for your specific workflow. Choose Save-as and save the CMYK image. It is OK to include the profile at this point. The image is now ready to place into the layout application.

Printing your artwork: Soft proofing documentsgilliandarby

Soft proofing provides an on-screen preview of a document as it will appear when it is reproduced by a specific printer. Unlike the “hard-proofing” technique that is used in a traditional printing workflow, soft proofing lets you look at the final result without committing ink to paper. You can verify whether the color profile of the document is suitable for a specific printer and avoid unwanted results.

Soft proof documents to preview final results on-screen. (left) An sRGB color profile is assigned to an image. (right) Assigning the U.S. Web Coated (SWOP) v2 profile allows an on-screen simulation of the printed output.

To simulate the output colors that are produced by a device, you need to choose the color profile of the device. Because the color spaces of the document and device are different, some document colors may not have matches in the gamut of the device color space. These out-of-gamut colors can dramatically change the look of the image, depending on how they are interpreted by the color management system. You can choose a rendering intent to instruct the color management system how to interpret the out-of-gamut colors.

Many colors in an sRGB document may be out of gamut for the U.S. Web Coated (SWOP) v2 color space. The out-of-gamut colors are mapped into gamut according to the rendering intent.

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The rendering intent that you choose depends on the graphical content of the image.

The Perceptual rendering intent is suitable for photographs and bitmaps that contain many out-of-gamut colors. The overall color appearance is preserved by changing all colors, including the in-gamut colors, to fit within the range of colors at the destination. This rendering intent maintains the relationships between colors to produce the best results. In general, the Perceptual rendering intent is best for giclée prints.
The Saturation rendering intent produces more concentrated solid colors in business graphics, such as charts and graphs. Colors may be less accurate than those produced by other rendering intents.
The Relative colorimetric rendering intent is suitable for logos or other graphics that contain only a few out-of-gamut colors. It matches the out-of-gamut source colors with the closest in-gamut colors at the destination. This rendering intent causes the white point to shift. If you print on white paper, the whiteness of the paper is used to reproduce the white areas of the document. Therefore, this rendering intent is a good option if your document will be printed.
The Absolute colorimetric rendering intent is suitable for logos, or other graphics, that require very precise colors. If no match is found for the source colors, then the closest possible match is used. The Absolute colorimetric and Relative colorimetric rendering intents are similar, but the Absolute colorimetric rendering intent preserves the white point through the conversion and does not adjust for the whiteness of the paper. This rendering intent is used mainly for proofing.

This is an example of three types of images and their corresponding rendering intents.

To soft-proof an image

1. Choose Canvas > Color Proofing Settings.

2. To simulate the output colors that are produced by a specific device, choose a profile from the Simulate Device list box.

The list includes all color profiles installed on your computer.

3. To instruct the color management system how to interpret the out-of-gamut colors, choose a rendering intent from the Rendering Intent list box.

4. Enable the Turn On Color Proofing Mode check box.

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Note

Simulating printer output may cause on-screen colors to appear dull because all colors are brought into a CMYK color space, which has a smaller gamut than an RGB color space. After soft proofing an image, you can turn off the soft proofing feature.
The accuracy of the simulation depends on factors such as the quality o