And this mistake was not visible to my eye when viewing the converted images on screen! They looked a shade darker, but nothing like they printed at the litho.
To fix this, should I go back to the original RGB images and leave conversion to CMYK until the output to PDF? Will this avoid the 'Pure Black' trap?
Indeed, how does one convert images to CMYK safely? Just turn off 'Preserve Pure Black' for each conversion, and back on again for the text?
I also notice in the Soft Proofing dialogue a box called 'Preserve CMYK numbers'. Should that be checked?
Any help with this would be gratefully appreciated!
Preserve pure black is not checked by default, if it's on turn it off. Map gray to CMYK black should be checked by default.
I would suggest setting rendering intent to perceptual instead of relative colorimetric. Make sure Photo-PAINTs color management matches Draw. I.E same profiles and rendering intent.
Let Draw embed the images, convert them via edit bitmap, taking them into Photo-PAINT to convert to CMYK, save the Draw file after importing each image, size the image and resample the resolution to what's required for output, then convert to CMYK in PP.
Use the default Press PDF settings in Draw you may want to convert fonts to curves in the PDF settings.
Just that other setting 'Preserve CMYK numbers' in Draw's Proof dialogue - should that be on or off?
Also, when I convert an image to CMYK in PP, should I embed the ICC Profile? I see that the profile gets embedded again in the PDF export. I presume it doesn't get embedded twice?
Unless you're using transparency or complex fountain fills just leave soft proofing off. If you feel you need it then make sure you're soft proofing the CMYK profile. The preserve CMYK numbers in the proof dialog can be off since we will export through the publish to PDF dialog. BEST if you design all in CMYK for print, if you don't RGB vectors will have a color shift. Also best to convert images to CMYK in the live file rather than in the publish to PDF dialog.
Make sure your CMYK profile in Photo-PAINT matches the one in Draw. Once you import an image into Draw AND SAVE the draw file the DRAW FILE color spaces are attached to that image. If it's and RGB image it will be the RGB profile same for CMYK or Grayscale. Import the image and hit ctrl s on the keyboard, then when you edit bitmap the RGB from your Draw file profile travels with the image and when you convert to CMYK in Photo-PAINT that profile will travel back to Draw.
Import the images, resize to fit the space, in the bitmap menu resample for output (print usually 300 dpi), edit bitmap and in PP color correct, send back to Draw and ctrl s.
Once you're happy under the file menu, publish to PDF, use the Corel default print setting for 99% of the world. You may want to set the fonts to curves if you're unsure if they embedded.
Thanks again, David. That's a great help!
David Milisock said:Also best to convert images to CMYK in the live file rather than in the publish to PDF dialog.
Sorry, David, just a question based on the quote above...
Does that mean I set the PDF color output to 'Native' instead of CMYK, if the images are already CMYK?Or if I choose CMYK how will that pan out?
Yes use native.
When the color engine was redesigned in X5 and export features to support that were designed, the concept was to control the color by setting the application and document color management and use DEFAULT PDF settings. Which was set to native color, the reason for that is explained below.
Ergo, color is controlled by the file creator when you create the file! That means you create the files color based on destination, for color print press work use CMYK.
If your work is for digital print engine and or inkjet you can use expanded gamut techniques. What that means is that for those digital work flows you can build your file in RGB, CMYK, grayscale or pantone (Device N) color. The broader color capabilities of the digital devices would receive the NATIVE color in the PDF and do a better job of converting them.
Also native color PDF allows the use of pantone colors in your file it simply passes that information through to the output device.
If the device is a RIP for a press it generates a plate for the Pantone color if digital it passes along the information required for the colors simulation in digital. You can create a press job using CMYK, grayscale and any number of Pantone colors you want.
The concept allows a Draw user to work simultaneously in all color modes. Something Adobe still has issues with.
Thanks again, David. I've used Draw for years, but always found going to 'outside' print (litho or digital) a hit and miss job. My last effort was certainly a miss which I'm determined not to repeat!
Can you suggest a course or book that's up to date with Draw 2019/2020 that has all the information I need to fully understand what I'm doing with Draw?
I got into graphics through the back door over 47 years ago, I started on R Hoe metal decorating presses doing art tins and then 1 to 6 color Heidelberg sheeted presses. For the 31 years I've run my own business which is graphics centered but diversified so I can make a living. The only print work I do is high end print, digital print and art boards for the architectural community and a few museums.
Unfortunately to my knowledge there are exactly zero courses at any U.S educational institutions or books of any value. AVOID anything written by Frank Romano or his son and early books on CorelDRAW have serious flaws but can help with basic tools. Most things written in them concerning transparency, color management are wrong. Find books for X7 or later if available. Roger Wambolt did some decent stuff for Lynda.com.
For the most part you need to already be more knowledgeable then the professor or author to know where they're wrong. With educational institutions you'll end up with a MAC, Adobe software and working your butt off to scratch out a living for the rest of your life!
Quality graphic creation and reproduction is like a mosaic, the more pieces you have in place the more clear the image. Can you get by with lesser gear? Yes, depending on how knowledgeable you are, however top end quality will always be out of your reach. Avoid laptops for serious work, they're great for client meetings.
1. Buy a decent display, ViewSonic makes a reasonable 27" graphics display about $900 Asus and others do too but more money. Work in a well lit work area with the windows covered with thick curtains.
2. Get a display color calibration system Xrite has them for about $250
3. Depending on the scale of work you do budget from $1,200 to $2,000 for a custom desktop, NO AMD, NO XEON processors. Intel and TRUE NVidia graphics cards with about 6GB of vram. Minimum 32 GB RAM, ASUS makes decent main boards and use an SSD and secondary drive. Also have a decent external backup and disable CorelDRAW backup.
Corel color management works for you, use regional setting for print, (I have no idea where you are), if you use transparency for press print make sure you have proofing activated to your CMYK profile.
Use CMYK colors for all press work, or spot color if required! Digital print engines can use wide gamut in some cases.
Use RGB, grayscale, CMYK, or spot color for ink jet and digital print engines.
4. Use press settings for PDF export with native color. Some places require some form of PDFX export, I would avoid such vendors if possible. If you can't avoid them go to www.graphictechnology.com and email or call and I'll explain it in detail. In reality it's all BS just a corporate control process for their weak minded staff but a hoop you'll have to jump through.
5. Spend some time and a little money running some digital color tests at your vender of choice $200 maybe. Once you get you bearings you can send your work anywhere in the world.
6. DON'T BELIEVE 99% of what you hear or read about using CorelDRAW and ESPECIALLY Corel Photo-PAINT. LEARN to utilize them as an integrated suite, you'll be able to do 90% of the image edits you need with PP. I dropped Photoshop completely years ago and substituted PaintShop Pro to augment what Photo-PAINT lacked, you'll also need PhotoZoom for real large image up re-sampling. PaintShop Pro is application color managed so integration requires an ordered process.
7. PRACTICE, figure 1,000 hours of self motivated practice.
Now you have 70% of what you need to know. Go to www.graphictechnoloy.com send an email or call if you need help. I'm Eastern time U.S.