Macworld Masterclass: Proofs you can trust

The principles of soft and hard proofing explained

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  • mw proof 01 1. Get calibrated
  • mw proof 02 2. As undefinedbrightundefined as paper
  • mw proof 03 3. Monitors mimicking print
  • mw proof 04 4. Beyond generic settings
  • mw proof 05 5. Soft proofing in Preview
  • mw proof 06 6. Profile printing
  • mw proof 07 7. Colour-aware applications
  • mw proof 08 8. Soft proofing in Photoshop
  • mw proof 09 9. Accurate profiles
  • mw proof 10 10. Soft proof options
  • mw proof 11 11. Rendering intent
  • mw proof 12 12. Saving proof conditions
  • mw proof 13 13. Check-up kits
  • mw proof 14 14. The printed proof
  • mw proof 15 15. The whole truth
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1. Get calibrated

This tutorial illustrates the extra steps needed to turn correctly set-up monitors and printers into proofing devices. A monitor needs to be calibrated and profiled. Using a good-quality display and either a colorimeter or spectrophotometer, follow the manufacturer’s instructions to set up your monitor.

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Next Prev mw proof 01

This tutorial illustrates the extra steps needed to turn correctly set-up monitors and printers into proofing devices. A monitor needs to be calibrated and profiled. Using a good-quality display and either a colorimeter or spectrophotometer, follow the manufacturer’s instructions to set up your monitor.

 

Step 2 of 15: 2. As undefinedbrightundefined as paper

During the calibration process, print designers and photographers would be asked to set the luminance of their monitor to a range of 80 to 120cd/m. This ensures the brightest white of the display matches the brightness of a standard sheet of white paper. But these are only generic settings.

 

Step 3 of 15: 3. Monitors mimicking print

Even without using a dedicated spectrophotometer, you can follow the rest of the tutorial from here. Though your results won’t be accurate, you should understand why we make monitors mimic print. The factory settings of new monitors can be very good, but they can always be refined.

 

Step 4 of 15: 4. Beyond generic settings

What about the newsprint? Its whiteness and ink absorption is very different from copier paper. Soft proofing can make your monitor accurately mimic different paper types. To see how this works, first open a colourful image in Preview – one with some white areas is best.

 

Step 5 of 15: 5. Soft proofing in Preview

Under Preview’s View menu, select Soft Proof With Profile. The list that pops up contains all the output colour profiles installed on your system. Select sRGB and nothing much should happen. Choose Coated FOGRA39 (ISO 12647-2:2004) and bright colours, such as reds, will lose saturation.

 

Step 6 of 15: 6. Profile printing

Preview is showing you an approximate proof of your image if it were printed using a specific repro-print standard. Try selecting one of your inkjet printer’s profiles. We’ve chosen to soft proof Epson Fine Art Velvet on an Epson 3800 (Pro38 VFAP). Try different profiles to change the relative whiteness.

 

Step 7 of 15: 7. Colour-aware applications

Aperture, Photoshop, Illustrator and InDesign all have soft proofing. Although it doesn’t matter which application you’re using, make sure that you only switch on soft proofing when you’re preparing an output version of your work and tweaking its tone and colour for a specific print process.

 

Step 8 of 15: 8. Soft proofing in Photoshop

The soft proofing setup is similar in all the Adobe applications that support it. We’ll use Photoshop and the same colour chart as before. With a file already open, go to View > Proof Setup > Custom. A dialog box will appear. Select a profile from the Device to Simulate menu.

 

Step 9 of 15: 9. Accurate profiles

We’ve chosen the factory profile for printing Epson Velvet Fine Art paper using an Epson 3800 printer. Soft proofing’s success relies on an accurate monitor and printer setup and requires accurate profiles. Custom profiles made using a spectrophotometer give far better results than factory ones.

 

Step 10 of 15: 10. Soft proof options

If the Device to Simulate is a standard inkjet, the output profile will be RGB. Tick the Preview box, but don’t tick Preserve RGB Numbers. Often the Black Point Compensation box should be ticked. Verify this by checking your paper’s printing instructions found on its manufacturer’s website.

 

Step 11 of 15: 11. Rendering intent

Designers and photographers will often choose either Relative Colorimetric or Perceptual Rendering Intents. Ticking the Simulate Black Ink or Simulate Paper Color boxes can give an indication of a print’s altered tonal range. With newsprint or tinted paper, it’ll also indicate its likely colour cast.

 

Step 12 of 15: 12. Saving proof conditions

Soft proofing’s success relies on a good monitor/printer setup and accurate profiles. Using Colour Confidence’s Check Up Kit will help you verify how well you’ve tuned your system. Once verified, save your custom settings before closing the Customize Proof Conditions dialog box.

 

Step 13 of 15: 13. Check-up kits

These are available for both RGB and CMYK output devices. Containing an electronic and printed target, they provide a benchmark reference, and answer the following questions. Does the printed target match the electronic version displayed on your system? Does your print match the target print?

 

Step 14 of 15: 14. The printed proof

Great prints make us happy, but a printed proof may need to be a distortion of a ‘great’ print. Consider proofing the newsprint artwork. In Photoshop, print your test file using variations of these parameters that suit your printer. Here, we’re asking the printer to mimic the colour of Working CMYK.

 

Step 15 of 15: 15. The whole truth

Hopefully, the role of proofing has been clearly illustrated over the last three pages, even though we’ve only outlined the general principles. For a perfect proof it’s not enough just to profile your devices, because that doesn’t create a specific condition – only making soft and hard proofs will.

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