COLOURSPACE, GAMUT & INK WEIGHT

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RGB

The colourspace where every colour represented is constructed by mixing varying percentages of Red, Green and Blue. It is used in everyday applications such as computer monitors, digital cameras and scanners. It works because it is an illuminated source . . . i.e. it has light shining through it. It is not possible to reproduce colours mixed in RGB onto the printed page (no illuminated source being the fundamental downfall) we have to convert everything to . . .

CMYK

A colourspace where every colour represented is constructed by mixing varying percentages of Cyan, Magenta, Yellow and Key (Black to me and you). The different percentages are achieved by printing different amounts of these colours by using randomly-placed dots on printing plates. Of course, the CMYK printing process has limitations, and that is why a company called Pantone came up with a reference system called . . .

PANTONE

Pantone colours are “Spot” colours and are made up from printing solid areas of ink. Pantone colours are not used in newsprint publications. The make up of the Presses does not cater for anything other than the four process inks (CMYK). However, most pre-Press graphic design programs have Pantone to CMYK colour conversions that match – as close as possible – specified Pantone colours. There is a newsprint alternative, it is . . .

FOCOLTONE

Archant’s own pre-Press and Design Studio departments uses, and recommends the use of, the Focoltone Colour System in all newsprint publications. The complete Focoltone Colour System consists of 763 four-colour combinations of the process colours, in single tints of all four inks from 5% to 85%. The Focoltone system is supported in all commonly-used pre-Press programs . . . InDesign, QuarkXPress, Illustrator, Photoshop.

THE DIFFERENCES BETWEEN ON-SCREEN COLOURS AND THE PRINTED COLOURS

Q Why does the image on my PC look different to the hard copy proof from my ink jet/laser printer which also looks different to the one in the newspaper?
A No device in a publishing system is capable of reproducing the full range of colours viewable to the human eye. Each device operates within a specific colour space that can produce a certain range, or gamut, of colours.
A colour model determines the relationship between values, and the colour space defines the absolute meaning of those values as colours. Some colour models (such as CIE L*a*b) have a fixed colour space because they relate directly to the way humans perceive colour. These models are described as being device-independent. Other colour models (RGB, HSL, HSB, CMYK, and so forth) can have many different colour spaces. Because these models vary with each associated colour space or device, they are described as being device-dependent.
The three colour receptors in the human eye are Red, Green and Blue, PC monitors/TVs display in Red, Green and Blue. Red, Green, Blue (RGB) colours cannot be reproduced accurately when using Cyan, Magenta, Yellow and Black inks from the CMYK printing process. Because of these varying colour spaces, colours can shift in appearance as you transfer documents between different devices. Colour variations can result from differences in image sources; the way software applications define colour; 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.

DON'T BE FOOLED BY SCREEN BRIGHTNESS

Our computer monitors, tablets, phones and camera LCDs are all backlit devices. They will always display our images brighter than any physical print. Be sure to correct for this, otherwise your prints may end up much darker than you expect. To get an idea of how your advert will look in print, be sure to soft proof your advert to either ISOnewspaper 26v4 or ISO Coated v2 300% on a correctly calibrated screen to get an idea of how the advert will print. It's always best to calibrate your screen using a colorimeter. Two popular colorimeters on the market are the X-Rite i1 Display PRO and the Datacolor Spyder 4 Elite

How to install ICC profiles on your Windows computer
Right click on the ICC Profile once downloaded and select “Install Profile”.
Any applications (such as Adobe InDesign / Adobe Photoshop etc) that will use the profiles must be restarted to see the new profiles.

How to install ICC profiles on your computer - Apple / Mac
The ICC profile must be placed in the correct folder for your software to use them. (Macintosh HD > Library > Colorsync > Profiles)
Any applications (such as Adobe InDesign / Adobe Photoshop etc) that will use the profiles must be restarted to see the new profiles.

CONVERSION OF RGB TO CMYK

The easiest way to gain an understanding of the colour conversion process is to view this publication in both hard copy and online versions at the same time. If you are reading this from the newsprint version please go online and, from the front page of Archant Publishing Services website (http://www.digitalnorfolk.com/production), you will find a link to the PageSuite RGB version of this colour guide.

If you are a graphic designer or page designer viewing the PageSuite RGB version and would like a hard copy version of this publication please email Archant Publishing Services Technical Manager Alan Doy at alan.doy@archant.co.uk with contact details.
If you are a prospective contract print customer viewing the PageSuite RGB version and would like a hard copy version of this publication please email Archant Print Sales Manager Ashley Barnes at ashley.barnes@archant.co.uk with contact details.
Wikipedia has some very good information at http://en.wikipedia.org/wiki/RGB_color_model and http://en.wikipedia.org/wiki/CMYK_color_model

RGB = ADDITIVE

The RGB colour model is an additive colour model in which Red, Green and Blue light are added together to reproduce a broad array of colours. The name of the model comes from the initials of the three additive primary colours, Red, Green, and Blue.

Equal values of Red, Green and Blue lightwaves = White.
Overlapping elements (secondary colours) are Cyan, Magenta and Yellow.

CMYK = SUBTRACTIVE

The CMYK model works by partially or entirely masking colours on a lighter, newsprint, background. The ink reduces the light that would otherwise be reflected. Such a model is called subtractive because inks “subtract” brightness from white.

Equal values of Cyan, Magenta and Yellow ink = Black.
Overlapping elements (secondary colours) are Red, Green and Blue.

DESTINATION SPACE

Convert all images to the correct icc profile (ISOnewspaper 26v4 or ISO Coated v2 300% (ECI), this will convert any RGB elements to the correct CMYK colour space and Ink weight. Nb: If ink weight is in excess of 240% for newsprint and 300% for magazines, detail in any shadow areas will be lost as the paper becomes over saturated.

GAMUT

In colour reproduction either on computer monitors, desktop printers, newsprint presses or in photography, the gamut is a subset of colours. The most common usage refers to the subset of colours which can be accurately represented in a given circumstance, such as within a given colour space (i.e. RGB on a monitor or CMYK on a Press). Another sense, less frequently used but no less correct, refers to the complete set of colours found within an image at a given time. In this context, digitising a photograph, converting a digitised image to a different colour space, or outputting it to a given medium using a certain output device generally alters its gamut, in the sense that some of the colours in the original are lost in the process.

The representation of gamuts are sRGB to the left and CMYK for newsprint to the right. In general terms . . . when using a digital camera or desktop scanner any images taken or scanned will, by default, be written away in sRGB colour mode (far left). When converted into CMYK images for use on newsprint the range of colours available is the smaller gamut (considerably smaller gamut) to the right.

Designers have the ability to check their colour gamut in any of the professional image editing programs (Photoshop CS3 screen shots below). The image (below left) shows the selection of the red in the main window to be at top right. The “Warning Triangle” tells the designer the colour cannot be made in CMYK. The image (below right) shows where the selection moves to – and the closest CMYK colour available – when the “Warning Triangle” is clicked.

Designers also have the ability to check their colour gamut in any image (Photoshop CS3 screen shot below). In reality most leave the conversion to the software. The “Information” palette shown on top of the image of the tractor shows exclamation marks in the right hand CMYK info. This is where it’s out of gamut and cannot be converted exactly.

INK WEIGHT (TAC)

This is the area where most, if not all, colour issues stem from in newspaper printing. If a designer is manually colour correcting images for newsprint in Photoshop none of the default CMYK colour spaces use ISOnewsprint26v4.icc 240% Total Area Coverage (TAC) colour space.
The US Web (Coated) profile in early versions of Photoshop is, as it says in the name, for magazine work in the USA – a 300% TAC. FOGRA 39 in Photoshop CS6 in both General Purpose and Pre-Press CMYK settings is a 350% TAC magazine profile.

Download ISOnewsprint26v4.icc profile for newsprint
Download ISO Coated v2 300% (ECI).icc profile for magazine print

It is simply a matter of loading the .icc profile into Photoshop, etc. via Edit – Colour Settings – Working Spaces and letting the software handle the sRGB to CMYK conversion. The alternative is to follow a similar route to Archant Publishing Services in-house colour correction . . . use one of the many Automatic Image Processing solutions.

The above Contone Image is the CMYK result of processing the original sRGB off a Nikon Coolpix L810 Digital Still Camera (DSC) via Photoshop using the default colour settings of the program. Result is too much ink coverage within the image – 300% ink coverage instead of 240%. Below is same image with FOGRA 39 and 350% ink coverage.
The image to the left shows (in red) where there is too much ink.

Example of over ink weight images printing on Newspaper stock

Figure 1. This supplied image looks ok on screen and has been supplied in the CMYK colour space. The image has been colour corrected to the wrong icc print profile (U.S. Web Coated (SWOP) v2) and has an ink weight in excess of 340% because of this. For reproduction on absorbent newspaper the ink weight is miles too high and the graphics designer should have used the icc profile ISOnewspaper 26v4 when correcting the image in Photoshop as this would have lowered the ink weight (TAC) to 240%.

Figure 2. This is how figure 1 has printed. The over ink weight image has resulted in the dark areas of the image having excessive ink laid down on the press run and has caused the dark areas to lose detail and fill/bleed in, resulting in an image that is too dark with no detail in the shadows compared to the screen version (figure 1)

Figure 3. Has been supplied in the correct colour space (CMYK) and has been colour corrected to the correct icc profile (ISOnewspaper26v4) which has reduce the ink weight to 240%. Figure 3 will print as intended and is much brighter in the darker areas with visible detail in the shadows.

Nb: For printing on newspaper, use the ISOnewspaper 26v4 icc profile which has a TAC (Total Area Coverage / Ink Weight) of 240%. For printing on glossy magazine stock use ISO Coated v2 300% ECI icc profile which has a TAC (Total Area Coverage / Ink Weight) of 300%.

Iso Newspaper 26v4.icc -

Why do I need to calibrate my screen?

Display and monitor types are different, resulting in different outputs, even monitors from the same brand and batch will display the same image slightly differently when compared to one another. Typical screen types are (normal gamut, wide gamut, CCFL, LED, White LED, RGB LED and OLED.

Colour correcting an image on a non calibrated display

You really are up against it when trying to colour correct an image on a non calibrated display, as you’re not seeing the real image located on your hard drive. What you are viewing is your monitors uncalibrated interpretation of the image. Basically put, you’re looking through a window to the image on your hard drive, but the window isn’t showing you the true picture as the colour, brightness or contrast hasn’t been calibrated. What’s going to be printed is anyone’s guess on an uncalibrated system.

Example If you see a green cast on the image, you will add some magenta to get the image to somewhere nearer to what the image should look like. The only problem is that on a correctly calibrated screen there was no green cast and all you’ve done now is add a magenta cast to neutralise the image. The only time you will notice the magenta colour cast, is when you see the printed result. The same can be said for correcting colour, brightness and contrast.

1. Image taken on camera and displayed on the back. The back of the camera is not calibrated so is only a general guide.
2. Image saved to computer hard drive and is an exact match of what the sensor in the camera captured and the camera settings applied if not shooting in RAW.
3. In this example the screen is uncalibrated and the colours are off when viewing the image from the hard drive.
4. Magenta level / curve adjustments are added in Photoshop to neutralise the green colour cast which was visible earlier.
5. Image looks good on screen and appears to be nearer to what was viewed on the back of the camera.
6. Image saved back to the hard drive with colour corrections, but now has a magenta colour cast which was used to neutralise the green colour cast which didn’t exist and cannot be seen on the uncalibrated screen.
7. Image printed will also show the magenta colour cast as you’ve tried to colour correct something that you couldn’t correctly see on a non calibrated monitor.

Can I visually calibrate my screen?

You could go down this route, but it’s not very accurate or advisable as your eyes are easily tricked and are not a true measurement for colour. The Edward H Adelson image to the right (i) shows 2 squares (A&B) on a chequerboard. In the top image (i), square (A) is darker than square (B). In reality, both squares are identical in colour, as illustrated in image (ii). I couldn’t believe it either, but if you open the image in Photoshop and move the square up, you will see that they are the same. The reason your eyes have been tricked is because of the shadow cast across the chequerboard by the cylinder. If you still want to try and calibrate your screen using your eyes, here’s a useful link http://www.ephotozine.com/article/7-free-online-tools-to-help-calibrate-your-monitor-25803 and good luck.

The kit you will need for accurate prints

To correctly calibrate a monitor you’re going to need a colorimeter. By sticking an ‘electronic eye’ (colorimeter) on your screen and firing a selection (100’s) of colours at it, any colour discrepancies can be detected and your computer programmed to compensate its colour output for the traits of your monitor. The colorimeter we use at Archant is the X-Rite i1 Display PRO and currently retails for about £160. The one I use at home for my image editing (www.stevedocwra.co.uk) is the Datacolor Spyder 4 Pro and retails for about £140. Personally, I prefer the X-Rite i1 Display PRO as there are more options for calibration and the colour temperature is easier to set and control.

Once you’ve got your colorimeter, you’re going to need your screen turned on for at least 30 minutes, which will give the display time to settle. After following the software installation instructions, you will need to reset your monitors settings to the factory default before starting the calibration process, making adjustments to brightness and contrast etc when prompted. The calibration settings we use at Archant are: Gamma response 2.2, White Point 5000°K (D50), Screen Luminance of 120 cd.

White Point
Colour is displayed on a monitor by mixing the pure primary colours : pure Red, pure Green and pure Blue. The white point describes the balance of Red, Green and Blue light when a white colour is displayed on the screen. A white point of 5000k (D50) gives a neutral daylight white. It is recommended to use a 5000K light source for critical viewing of prints. Various print viewing booths with 5000K light sources are available.

Brightness
There is an ISO standard that specifies a screens brightness of 160 candela/cd for critical inspections of color prints. Ideally you could set your monitor for a brightness of 160 candela/cd and having a viewing booth which matches that brightness level. Running a monitor at this brightness could reduce its life span. A good compromise is 120 candela/cd. Most viewing booths can easily be dimmed to match that brightness level and it is fairly bright for critical color judging.

Gamma response
The gamma value refers to the mathematical gamma function and is used to describe the un-linear response of the monitor. Historically, Mac computers used a gamma value of 1.8 and windows PCs used 2.2. Apple chose 1.8 as it was easier for them to match images on a monitor and a printer when using gamma 1.8. In those days the ICC colour management system was not invented.
With today’s ICC colour Management workflow, you will get equally good results if using gamma 1.8 or 2.2. However, as the most often used workspaces for images (Adobe RGB (1998) and sRGB) use gamma 2.2, it has become the default standard to use gamma 2.2 for the monitor setup.

Tips for calibration and consistent colour correction
1. Locate your computer in the proper environment with moderate ambient lighting and no direct light sources shining on the monitor.
2. Achieve a stabilised room light situation
3. Turn the monitor on at least 30 minutes before calibrating or colour correction
4. Recalibrate your monitor every 2 weeks as there is a screen ageing process.
5. Avoid colourful walls and surfaces around your monitor as this can either reflect onto the screen or influence your colour perception.
6. Don’t colour correct images wearing a bright colourful t-shirt as the colour will reflect onto the screen and result in a colour cast being added.

Now that you’re running a calibrated screen, you should be seeing the same as what we see, but not necessarily the same as what we see to print. The reason for this is that you are viewing the image in an RGB colour space (lots of colours) and we print in the CMYK colour space (not so many colours). Also, we print using the 2 print profiles (ISO Coated v2 300% ECI for glossy magazine and ISO Newspaper 26v4 for newsprint). These profiles are simply look-up tables that describe the properties of a colour space. They define the ink weight, paper stock and colours available in that specific colour space; i.e. the bluest blue or deepest black the printer can produce. If you don’t use a profile, the trio of Red, Green, and Blue values (or CMYK) that make up a colour have no particular meaning — you can say something is blue, but not exactly which shade of blue.

Using the correct profile is the key to a colour-managed workflow. With accurate monitor and printer profiles, your prints will closely match what you see on your monitor. Without profiles, you need to rely on trial and error combined combined with lots of guess work.

How to install ICC profiles on your Windows computer
Right click on the ICC Profile once downloaded and select “Install Profile”.
Any applications (such as Adobe InDesign / Adobe Photoshop etc) that will use the profiles must be restarted to see the new profiles.

How to install ICC profiles on your computer – Apple / Mac
The ICC profile must be placed in the correct folder for your software to use them. (Macintosh HD > Library > Colorsync > Profiles)
Any applications (such as Adobe InDesign / Adobe Photoshop etc) that will use the profiles must be restarted to see the new profiles.

The Grainger Chart below illustrates the sRGB spectrum of colours available through your monitor.
nb. The Grainger gamut is mathematically generated, so expect that not all colours will be viewable.

The Grainger Chart below illustrates the sRGB colour spectrum of colours, softproofed to the destination colour space (CMYK) and the printer profile ISOCoated v2 300% ECI.icc
nb. If the image above was sent to print, it would reproduce something like the image below as a large percentage of the colours are out of gamut.

Colour Gamut
The graphic below shows the comparison of the popular colour spaces that are used for backlit computer displays (sRGB, Adobe RGB & ProPhoto) and the gamut of possible colours that can theoretically be achieved. The solid area inside the various wire frames, shows the popular printing colour spaces and the achievable colours that can be reproduced with CMYK inks on the chosen printer and media. Any colour outside of the solid coloured area is out of gamut and therefore cannot be reproduced by that printing method and would have to be colour corrected by the designer.

nb. Please do not use the generic default USWebcoatedSWOP icc profile that ships with Adobe software as this is intended for the North America markets and not European printing presses. Also the colour space is a fraction smaller than the ISOCoated_v2_300%_ECI profile, so you would have the chance of more out of gamut colours.

Useful links
1. Gamma and White Point Explained by 2. Want to see how well you perceive colour? Munsell Hue Test

Softproof to see how the image will look in print

Now that we are running a calibrated monitor it’s time to bring it all together and see how our image will reproduce when printed. Download the icc print profiles (ISO Coated v2 300% ECI for glossy magazine and ISO Newspaper 26v4 for newsprint) as these are what you will use to softproof the artwork to. Once downloaded, right click on the profile and select “Install Profile” for PC. The icc profile should now be installed on your system and will be available in Adobe Photoshop, Adobe InDesign and Adobe Acrobat Professional.

Open your image in Adobe Photoshop, chances are it will be in the sRGB , AdobeRGB or ProPhoto colour space if you haven’t edited the image before.

To see how the image will look when converted to the CMYK colour space, select VIEW / PROOF SETUP / CUSTOM from the menu in Adobe Photoshop. If the image is to be printed in a glossy magazine, the Device to simulate to would be ISO Coated v2 300% ECI, for newsprint it would be ISO Newspaper 26 v4. Simulate paper colour needs to be ticked as below. OK this and then head to VIEW / PROOF COLOURS. The image should then change slightly as you are now viewing it to the new colour space. To toggle between the 2 views, you can use the keyboard shortcut Ctrl+Y.

The image below shows what the image looks like softproofed to ISO Coated v2 300% (ECI), but what it doesn’t show is if there are any colours that cannot be replicated (out of gamut) in the ISO Coated v2 300% ECI CMYK colour space.

To show colours that are out of gamut of the colour space that you are softproofing to, you need to head back up to the menu and select VIEW / GAMUT WARNING. Depending how you have Photoshop setup, you may have different coloured blobs appear over the image as below.

The green blobs in the image above are showing some shades of red that are outside of the CMYK colour space you’re working in. Unfortunately, if left this way, the red in question would print different to what was viewed on screen as the colour in question cannot be reproduced with CMYK ink. The easiest way to correct for this, is duplicated the image and edit the softproofed image along side the original RGB image and keep comparing the two images side by side. With adjustment levels / curves and masks, you should be able to get the 2 images close in appearance.

A very basic option to correct out of gamut colours
1. Select the Sponge tool in Adobe Photoshop. It’s grouped with the Dodge and Burn tool icons in the toolbar.
2. Select the smallest brush size for the problem area. Set the pressure setting to a low number (in the Tool options bar).
3. Mouse over the problem spots with the Sponge tool, and it will replace the unprintable colour with one close to the colour but printable (in Gamut).

The final step is to save the image out of Adobe Photoshop and in to the correct destination space. EDIT / CONVERT TO PROFILE and in the destination space, select either ISO Coated v2 300% ECI for glossy magazines or for newsprint it would be ISO Newspaper 26 v4 This will save the image out in the correct CMYK format and to the correct ink weight (TAC).

Softproofing using Adobe InDesign

You can softproof your advert in Adobe InDesign (VIEW / OVERPRINT PREVIEW) to turn the overprint preview on. VIEW /PROOF SETUP / CUSTOM) and select either ISOnewspaper 26v4.icc for newspaper print or ISOcoated v2 300% ECI.icc for magazine print and then tick both Simulate Paper Colour and Simulate Black Ink.

Iso Newspaper 26v4 Icc Download

The screen grab below is now showing an approximation of how the PDF will print to the specified device.

Softproofing using Adobe Acrobat Pro

To view how your PDF will reproduce in print using Adobe Acrobat Pro you will first need to open the PDF you want to softproof.

Profile Icc Iso Newspaper 26v4

You will need to have Overprint Preview enabled, from the drop down menu in Adobe Acrobat Professional select (ADVANCED / OVERPRINT PREVIEW). Then you will need to open the Output Preview window from the drop down menu (ADVANCED / OUTPUT PREVIEW) and for the Simulated Profile select the icc that you want to softproof the PDF to, either ISO Newspaper 26v4.icc for newspaper print or ISO Coated v2 300% ECI.icc for magazine print. Also, at the bottom of the Output Preview window is a tick box for Total Area Coverage (TAC), this is the section where you can monitor the ink weight used in the advert. For newspaper print its 240% and for glossy magazine its 300%. Clicking this and changing the values to either 240% or 300% will show you if the advert is over saturated in ink by covering the area with a coloured patch. If any of your advert is over ink weight, the section in question will reproduce darker than expected.