Creative Adobe Suite 5 Manual

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Chapter 5: Color management
Understanding color management
A color management system reconciles color differences among devices so that you can confidently predict the colors 
your system ultimately produces. Viewing color accurately allows you to make sound color decisions throughout your 
workflow, from digital capture through final output. Color management also allows you to create output based on ISO, 
SWOP, and Japan Color print production standards.
Why colors sometimes don’t match
No device in a publishing system is capable of reproducing the full range of colors viewable to the human eye. Each 
device operates within a specific color space that can produce a certain range, or
 gamut, of colors.
A color model determines the relationship between values, and the color space defines the absolute meaning of those 
values as colors. Some color models (such as CIE L*a*b) have a fixed color space because they relate directly to the way 
humans perceive color. These models are described as being device-independent. Other color models (RGB, HSL, HSB, 
CMYK, and so forth) can have many different color spaces. Because these models vary with each associated color space 
or device, they are described as being device-dependent.
Because of these varying color spaces, colors can shift in appearance as you transfer documents between different 
devices. Color variations can result from differences in image sources; the way software applications define color; print 
media (newsprint paper reproduces a smaller gamut than magazine-quality paper); and other natural variations, such 
as manufacturing differences in monitors or monitor age.
Color gamuts of various devices and documentsA. Lab color space  B. Documents (working space)  C. Devices  
What is a color management system?
Color-matching problems result from various devices and software using different color spaces. One solution is to 
have a system that interprets and translates color accurately between devices. A color management system (CMS) 
compares the color space in which a color was created to the color space in which the same color will be output, and 
makes the necessary adjustments to represent the color as consistently as possible among different devices.
CMYK  RGB 
A 
B 
C  
						

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A color management system translates colors with the help of color profiles. A profile is a mathematical description of 
a device’s color space. For example, a scanner profile tells a color management system how your scanner “sees” colors. 
Adobe color management uses ICC profiles, a format defined by the International Color Consortium (ICC) as a cross-
platform standard. 
Because no single color-translation method is ideal for all types of graphics, a color management system provides a 
choice of rendering intents, or translation methods, so that you can apply a method appropriate to a particular graphics 
element. For example, a color translation method that preserves correct relationships among colors in a wildlife 
photograph may alter the colors in a logo containing flat tints of color. 
Note: Don’t confuse color management with color correction. A color management system won’t correct an image that 
was saved with tonal or color balance problems. It provides an environment where you can evaluate images reliably in 
the context of your final output.
More Help topics 
“About color profiles” on page 90
“About rendering intents” on page 99
Do you need color management?
Without a color management system, your color specifications are device-dependent. You might not need color 
management if your production process is tightly controlled for one medium only. For example, you or your print 
service provider can tailor CMYK images and specify color values for a known, specific set of printing conditions. 
The value of color management increases when you have more variables in your production process. Color 
management is recommended if you anticipate reusing color graphics for print and online media, using various kinds 
of devices within a single medium (such as different printing presses), or if you manage multiple workstations.
You will benefit from a color management system if you need to accomplish any of the following:
Get predictable and consistent color output on multiple output devices including color separations, your desktop 
printer, and your monitor. Color management is especially useful for adjusting color for devices with a relatively 
limited gamut, such as a four-color process printing press. 
Accurately soft-proof (preview) a color document on your monitor by making it simulate a specific output device. 
(Soft-proofing is subject to the limitations of monitor display, and other factors such as room lighting conditions.)
Accurately evaluate and consistently incorporate color graphics from many different sources if they also use color 
management, and even in some cases if they don’t.
Send color documents to different output devices and media without having to manually adjust colors in 
documents or original graphics. This is valuable when creating images that will eventually be used both in print and 
online. 
Print color correctly to an unknown color output device; for example, you could store a document online for 
consistently reproducible on-demand color printing anywhere in the world. 
						

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Creating a viewing environment for color management
Your work environment influences how you see color on your monitor and on printed output. For best results, control 
the colors and light in your work environment by doing the following:
View your documents in an environment that provides a consistent light level and color temperature. For example, 
the color characteristics of sunlight change throughout the day and alter the way colors appear on your screen, so 
keep shades closed or work in a windowless room. To eliminate the blue-green cast from fluorescent lighting, you 
can install D50 (5000° Kelvin) lighting. You can also view printed documents using a D50 lightbox.
View your document in a room with neutral-colored walls and ceiling. A room’s color can affect the perception of 
both monitor color and printed color. The best color for a viewing room is neutral gray. Also, the color of your 
clothing reflecting off the glass of your monitor may affect the appearance of colors on-screen.
Remove colorful background patterns on your monitor desktop. Busy or bright patterns surrounding a document 
interfere with accurate color perception. Set your desktop to display neutral grays only.
View document proofs in the real-world conditions under which your audience will see the final piece. For 
example, you might want to see how a housewares catalog looks under the incandescent light bulbs used in homes, 
or view an office furniture catalog under the fluorescent lighting used in offices. However, always make final color 
judgements under the lighting conditions specified by the legal requirements for contract proofs in your country.
Keeping colors consistent
About color management in Adobe applications
Adobe color management helps you maintain the appearance of colors as you bring images in from external sources, 
edit documents and transfer them between Adobe applications, and output your finished compositions. This system 
is based on conventions developed by the International Color Consortium, a group responsible for standardizing 
profile formats and procedures so that consistent and accurate color can be achieved throughout a workflow.
By default, color management is turned on in color-managed Adobe applications. If you purchased the Adobe Creative 
Suite, color settings are synchronized across applications to provide consistent display for RGB and CMYK colors. 
This means that colors look the same no matter which application you view them in.
Color settings for Adobe Creative Suite are synchronized in a central location through Adobe Bridge. 
						

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If you decide to change the default settings, easy-to-use presets let you configure Adobe color management to match 
common output conditions. You can also customize color settings to meet the demands of your particular color 
workflow.
Keep in mind that the kinds of images you work with and your output requirements influence how you use color 
management. For example, there are different color-consistency issues for an RGB photo printing workflow, a CMYK 
commercial printing workflow, a mixed RGB/CMYK digital printing workflow, and an Internet publishing workflow. 
Basic steps for producing consistent color
1.  Consult with your production partners (if you have any) to ensure that all aspects of your color management 
workflow integrate seamlessly with theirs. 
Discuss how the color workflow will be integrated with your workgroups and service providers, how software and 
hardware will be configured for integration into the color management system, and at what level color management 
will be implemented. (See 
“Do you need color management?” on page 78.)
2.  Calibrate and profile your monitor. 
A monitor profile is the first profile you should create. Seeing accurate color is essential if you are making creative 
decisions involving the color you specify in your document. (See 
“Calibrate and profile your monitor” on page 92.)
3.  Add color profiles to your system for any input and output devices you plan to use, such as scanners and 
printers. 
The color management system uses profiles to know how a device produces color and what the actual colors in a 
document are. Device profiles are often installed when a device is added to your system. You can also use third-party 
software and hardware to create more accurate profiles for specific devices and conditions. If your document will be 
commercially printed, contact your service provider to determine the profile for the printing device or press condition. 
(See 
“About color profiles” on page 90and “Install a color profile” on page 92.)
4.  Set up color management in Adobe applications.
The default color settings are sufficient for most users. However, you can change the color settings by doing one of the 
following:
If you use multiple Adobe applications, use Adobe® Bridge to choose a standard color management configuration 
and synchronize color settings across applications before working with documents. (See 
“Synchronize color 
settings across Adobe applications” on page 81.)
If you use only one Adobe application, or if you want to customize advanced color management options, you can 
change color settings for a specific application. (See 
“Set up color management” on page 81.)
5.  (Optional) Preview colors using a soft proof.
After you create a document, you can use a soft proof to preview how colors will look when printed or viewed on a 
specific device. (See 
“Soft-proof colors” on page 86.)
Note: A soft proof alone doesn’t let you preview how overprinting will look when printed on an offset press. If you work 
with documents that contain overprinting, turn on Overprint Preview to accurately preview overprints in a soft proof. For 
Acrobat, the Overprint Preview option is automatically applied. 
						

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6.  Use color management when printing and saving files.
Keeping the appearance of colors consistent across all of the devices in your workflow is the goal of color management. 
Leave color management options enabled when printing documents, saving files, and preparing files for online 
viewing. (See 
“Printing with color management” on page 88 and “Color-managing documents for online viewing” on 
page 84.)
Synchronize color settings across Adobe applications
If you use Adobe Creative Suite, you can use Adobe Bridge to automatically synchronize color settings across 
applications. This synchronization ensures that colors look the same in all color-managed Adobe applications. 
If color settings are not synchronized, a warning message appears at the top of the Color Settings dialog box in each 
application. Adobe recommends that you synchronize color settings before you work with new or existing documents.
1Open Bridge. 
To open Bridge from a Creative Suite application, choose File > Browse. To open Bridge directly, either choose Adobe 
Bridge from the Start menu (Windows) or double-click the Adobe Bridge icon (Mac
 OS).
2Choose Edit > Creative Suite Color Settings. 
3Select a color setting from the list, and click Apply.
If none of the default settings meet your requirements, select Show Expanded List Of Color Setting Files to view 
additional settings. To install a custom settings file, such as a file you received from a print service provider, click Show 
Saved Color Settings Files.
Set up color management 
1Do one of the following:
(Illustrator, InDesign, Photoshop) Choose Edit > Color Settings.
(Acrobat) Select the Color Management category of the Preferences dialog box.
2Select a color setting from the Settings menu, and click OK. 
The setting you select determines which color working spaces are used by the application, what happens when you 
open and import files with embedded profiles, and how the color management system converts colors. To view a 
description of a setting, select the setting and then position the pointer over the setting name. The description appears 
at the bottom of the dialog box. 
Note: Acrobat color settings are a subset of those used in InDesign, Illustrator, and Photoshop. 
In certain situations, such as if your service provider supplies you with a custom output profile, you may need to customize 
specific options in the Color Settings dialog box. However, customizing is recommended for advanced users only.
Note: If you work with more than one Adobe application, it is highly recommended that you synchronize your color 
settings across applications. (See 
“Synchronize color settings across Adobe applications” on page 81.)
More Help topics 
“Customize color settings” on page 95 
						

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Change the appearance of CMYK black (Illustrator, InDesign)
Pure CMYK black (K=100) appears jet black (or rich black) when viewed on-screen, printed to a non-PostScript 
desktop printer, or exported to an RGB file format. If you prefer to see the difference between pure black and rich black 
as it will appear when printed on a commercial press, you can change the Appearance Of Black preferences. These 
preferences do not change the color values in a document.
1Choose Edit > Preferences > Appearance Of Black (Windows) or [application name] > Preferences > Appearance 
Of Black (Mac
 OS).
2Choose an option for On Screen:
Display All Blacks Accurately Displays pure CMYK black as dark gray. This setting allows you to see the difference 
between pure black and rich black.
Display All Blacks As Rich Black Displays pure CMYK black as jet black (RGB=000). This setting makes pure black and 
rich black appear the same on-screen. 
3Choose an option for Printing/Exporting:
Output All Blacks Accurately When printing to a non-PostScript desktop printer or exporting to an RGB file format, 
outputs pure CMYK black using the color numbers in the document. This setting allows you to see the difference 
between pure black and rich black. 
Output All Blacks As Rich Black When printing to a non-PostScript desktop printer or exporting to an RGB file format, 
outputs pure CMYK black as jet black (RGB=000). This setting makes pure black and rich black appear the same. 
Managing process and spot colors
When color management is on, any color you apply or create within a color-managed Adobe application automatically 
uses a color profile that corresponds to the document. If you switch color modes, the color management system uses 
the appropriate profiles to translate the color to the new color model you choose. 
Keep in mind the following guidelines for working with process and spot colors:
Choose a CMYK working space that matches your CMYK output conditions to ensure that you can accurately 
define and view process colors.
Select colors from a color library. Adobe applications come with several standard color libraries, which you can load 
using the Swatches panel menu.
(Illustrator, and InDesign) Turn on Overprint Preview to get an accurate and consistent preview of spot colors.
(Acrobat, Illustrator, and InDesign) Use Lab values (the default) to display predefined spot colors (such as colors 
from the TOYO, PANTONE, DIC, and HKS libraries) and convert these colors to process colors. Using Lab values 
provides the greatest accuracy and guarantees the consistent display of colors across Creative Suite applications. If 
you want the display and output of these colors to match earlier versions of Illustrator or InDesign, use CMYK 
equivalent values instead. For instructions on switching between Lab values and CMYK values for spot colors, 
search Illustrator or InDesign Help.
Note: Color-managing spot colors provides a close approximation of a spot color on your proofing device and monitor. 
However, it is difficult to exactly reproduce a spot color on a monitor or proofing device because many spot color inks exist 
outside the gamuts of many of those devices. 
						

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Color-managing imported images
Color-managing imported images (Illustrator, InDesign)
How imported images are integrated into a document’s color space depends on whether or not the image has an 
embedded profile:
When you import an image that contains no profile, the Adobe application uses the current document profile to 
define the colors in the image. 
When you import an image that contains an embedded profile, color policies in the Color Settings dialog box 
determine how the Adobe application handles the profile. 
More Help topics 
“Color management policy options” on page 97
Using a safe CMYK workflow
A safe CMYK workflow ensures that CMYK color numbers are preserved all the way to the final output device, as 
opposed to being converted by your color management system. This workflow is beneficial if you want to 
incrementally adopt color management practices. For example, you can use CMYK profiles to soft-proof and hard-
proof documents without the possibility of unintended color conversions occurring during final output.
Illustrator and InDesign support a safe CMYK workflow by default. As a result, when you open or import a CMYK 
image with an embedded profile, the application ignores the profile and preserves the raw color numbers. If you want 
your application to adjust color numbers based on an embedded profile, change the CMYK color policy to Preserve 
Embedded Profiles in the Color Settings dialog box. You can easily restore the safe CMYK workflow by changing the 
CMYK color policy back to Preserve Numbers (Ignore Linked Profiles).
You can override safe CMYK settings when you print a document or save it to Adobe PDF. However, doing so may 
cause colors to be reseparated. For example, pure CMYK black objects may be reseparated as rich black. For more 
information on color management options for printing and saving PDFs, search in Help.
More Help topics 
“Color management policy options” on page 97
Preparing imported graphics for color management
Use the following general guidelines to prepare graphics for being color-managed in Adobe applications:
Embed an ICC-compliant profile when you save the file. The file formats that support embedded profiles are JPEG, 
PDF, PSD (Photoshop), AI (Illustrator), INDD (InDesign), Photoshop EPS, Large Document Format, and TIFF. 
If you plan to reuse a color graphic for multiple final output devices or media, such as for print, video, and the web, 
prepare the graphic using RGB or Lab colors whenever possible. If you must save in a color model other than RGB 
or Lab, keep a copy of the original graphic. RGB and Lab color models represent larger color gamuts than most 
output devices can reproduce, retaining as much color information as possible before being translated to a smaller 
output color gamut.
More Help topics 
“Embed a color profile” on page 93 
						

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View or change profiles for imported bitmap images (InDesign)
InDesign allows you to view, override, or disable profiles for imported bitmap images. This may be necessary when 
you are importing an image containing no profile or an incorrectly embedded profile. For example, if the scanner 
manufacturer’s default profile was embedded but you have since generated a custom profile, you can assign the newer 
profile.
1Do one of the following:
If the graphic is already in layout, select it and choose Object > Image Color Settings.
If you’re about to import the graphic, choose File > Place, select Show Import Options, select and open the file, and 
then select the Color tab.
2For Profile, choose the source profile to apply to the graphic in your document. If a profile is currently embedded, 
the profile name appears at the top of the Profile menu. 
3(Optional) Choose a rendering intent, and then click OK. In most cases, it’s best to use the default rendering intent.
Note: You can also view or change profiles for objects in Acrobat. 
More Help topics 
“Convert document colors to another profile (Photoshop)” on page 94
Color-managing documents for online viewing
Color-managing documents for online viewing
Color management for online viewing is very different from color management for printed media. With printed 
media, you have far more control over the appearance of the final document. With online media, your document will 
appear on a wide range of possibly uncalibrated monitors and video display systems, significantly limiting your control 
over color consistency.
When you color-manage documents that will be viewed exclusively on the web, Adobe recommends that you use the 
sRGB color space. sRGB is the default working space for most Adobe color settings, but you can verify that sRGB is 
selected in the Color Settings dialog box (Photoshop, Illustrator, InDesign) or the Color Management preferences 
(Acrobat). With the working space set to sRGB, any RGB graphics you create will use sRGB as the color space. 
When working with images that have an embedded color profile other than sRGB, you should convert the image’s 
colors to sRGB before you save the image for use on the web. If you want the application to automatically convert the 
colors to sRGB when you open the image, select Convert To Working Space as the RGB color management policy. 
(Make sure that your RGB working space is set to sRGB.) In Photoshop and InDesign, you can also manually convert 
the colors to sRGB using the Edit
 > Convert To Profile command.
Note: In InDesign, the Convert To Profile command only converts colors for native, not placed, objects in the document. 
More Help topics 
“About color working spaces” on page 95
“Color management policy options” on page 97 
						

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Color-managing PDFs for online viewing
When you export PDFs, you can choose to embed profiles. PDFs with embedded profiles reproduce color consistently 
in Acrobat 4.0 or later running under a properly configured color management system.
Keep in mind that embedding color profiles increases the size of PDFs. RGB profiles are usually small (around 3 KB); 
however, CMYK profiles can range from 0.5 to 2
 MB. 
More Help topics 
“Printing with color management” on page 88
Color-managing HTML documents for online viewing
Many web browsers do not support color management. Of the browsers that do support color management, not all 
instances can be considered color-managed because they may be running on systems where the monitors are not 
calibrated. In addition, few web pages contain images with embedded profiles. If you manage a highly controlled 
environment, such as the intranet of a design studio, you may be able to achieve some degree of HTML color 
management for images by equipping everyone with a browser that supports color management and calibrating all 
monitors.
You can approximate how colors will look on uncalibrated monitors by using the sRGB color space. However, because 
color reproduction varies among uncalibrated monitors, you still won’t be able to anticipate the true range of potential 
display variations. 
Proofing colors
About soft-proofing colors
In a traditional publishing workflow, you print a hard proof of your document to preview how its colors will look when 
reproduced on a specific output device. In a color-managed workflow, you can use the precision of color profiles to 
soft-proof your document directly on the monitor. You can display an on-screen preview of how your document’s 
colors will look when reproduced on a particular output device. 
Keep in mind that the reliability of the soft proof depends upon the quality of your monitor, the profiles of your 
monitor and output devices, and the ambient lighting conditions of your work environment.
Note: A soft proof alone doesn’t let you preview how overprinting will look when printed on an offset press. If you work 
with documents that contain overprinting, turn on Overprint Preview to accurately preview overprints in a soft proof. For 
Acrobat, the Overprint Preview option is automatically applied.
Using a soft proof to preview the final output of a document on your monitorA. Document is created in its working color space.  B. Document’s color values are translated to color space of chosen proof profile (usually the 
output device’s profile).  C. Monitor displays proof profile’s interpretation of document’s color values.  
AB C  
						

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Soft-proof colors
1Choose View > Proof Setup, and do one of the following:
Choose a preset that corresponds to the output condition you want to simulate. 
Choose Custom (Photoshop and InDesign) or Customize (Illustrator) to create a custom proof setup for a specific 
output condition. This option is recommended for the most accurate preview of your final printed piece. 
2Choose View > Proof Colors to toggle the soft-proof display on and off. When soft proofing is on, a check mark 
appears next to the Proof Colors command, and the name of the proof preset or profile appears at the top of the 
document window.
To compare the colors in the original image and the colors in the soft proof, open the document in a new window before 
you set up the soft proof.
Soft-proof presets
Working CMYK Creates a soft proof of colors using the current CMYK working space as defined in the Color Settings 
dialog box.
Document CMYK (InDesign) Creates a soft proof of colors using the document’s CMYK profile.
Working Cyan Plate, Working Magenta Plate, Working Yellow Plate, Working Black Plate, or Working CMY Plates 
(Photoshop)
 Creates a soft proof of specific CMYK ink colors using the current CMYK working space.
Legacy Macintosh RGB (Photoshop and Illustrator) Creates a soft proof of colors simulating Mac OS 10.5 and earlier. 
Internet Standard RGB (Photoshop and Illustrator) Creates a soft proof of colors simulating Windows and Mac OS 
10.6 and later. 
Monitor RGB (Photoshop and Illustrator) Creates a soft proof of RGB colors using your current monitor profile as the 
proof profile.
The Legacy Macintosh, Internet Standard, and Monitor RGB options assume that the simulated device will display 
your document without using color management. These options are unavailable for Lab or CMYK documents.
Color Blindness (Photoshop and Illustrator) Creates a soft proof that reflects colors visible to a person with color 
blindness. The two soft proof options, Protanopia and Deuteranopia, approximate color perception for the most 
common forms of color blindness. For more information, see 
“Soft-proof for color blindness (Photoshop and 
Illustrator)” on page 87.
Custom soft-proof options
Device To Simulate Specifies the color profile of the device for which you want to create the proof. The usefulness of 
the chosen profile depends on how accurately it describes the device’s behavior. Often, custom profiles for specific 
paper and printer combinations create the most accurate soft proof.
Preserve CMYK Numbers or Preserve RGB Numbers Simulates how the colors will appear without being converted to 
the color space of the output device. This option is most useful when you are following a safe CMYK workflow. 
Rendering Intent (Photoshop and Illustrator) When the Preserve Numbers option is deselected, specifies a rendering 
intent for converting colors to the device you are trying to simulate. 
Use Black Point Compensation (Photoshop) Ensures that the shadow detail in the image is preserved by simulating the 
full dynamic range of the output device. Select this option if you plan to use black point compensation when printing 
(which is recommended in most situations).
Simulate Paper Color Simulates the dingy white of real paper, according to the proof profile. Not all profiles support 
this option.