Change Default Soft Proof Color – Illustrator CS5.1

Short Question:
How to change the default soft color proof setting in Illustrator CS5.1?
Backstory:
Every time a document is opened in Illustrator CS5.1, it defaults to Working CMYK soft color proof. For those that work in web, the default soft proof color space of CMYK results in dull colors. This means that every time a new document is opened, the soft color proof settings need to be changed manually. There's got to be a way to change the default soft color proof settings in Illustrator? I know it's possible in Photoshop already.
Many Thanks!

You could try if either a custom Workspace or Document profile does the trick:
http://blogs.adobe.com/infiniteresolution/2009/05/startup_profiles_a_great_tool.html

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Printing, Soft Proofing & Color Management in LR 1.2: Two Questions

Printing, Soft Proofing, and Color Management in LR 1.2: Two Questions
There are 2 common ways to set color management in Adobe CS2:
1. use managed by printer setting or,
2. use managed by Adobe CS2 program.
I want to ask how Color Management for Adobe LR 1.2 differs from that in CS2?
As is well known, Color Management by printer requires accurate printer profiles including specific model printer, types of ink and specific paper. It is clear that this seems to work well for LR 1.2 when using the Printer module.
Now lets consider what happens one tries to use Color Management by Adobe LR 1.2. Again, as is well known, Color Management by printer must be turned off so that only one Color Management system is used. It has been my experience that LR 1.2 cant Color Manage my images correctly. Perhaps someone with more experience can state whether this is true or what I might be doing to invalidate LR 1.2 Color Management.
Specifically, I cant use Soft Proofing to see how my images are changed on my monitor when I try to use the edit functions in LR 1.2. Martin Evening states in his text, The Adobe Photoshop Lightroom Book that it is not possible to display the results of the rendered choices (Perceptual or Relative) on the display monitor. While it is not clear in Evenings text if this applies to LR 1.2, my experience would suggest that it still applies to the 1.2 update even though the publication date of his book preceded this update.
Can someone with specific knowledge of Adobe LR 1.2 confirm that Color Management and Soft Proofing with LR 1.2 hasnt been implemented at the present.
The writer is a retired physicist with experience in laser physics and quantum optics.
Thanks,
Hersch Pilloff

Hersch,
since just like me, you're a physicist (I am just a little further from retirement ;) ) I'll explain a little further. computer screens (whether they are CRT or LCD) are based on emission (or transmission) of three colors of light in specific (but different for every screen) shades of red, green, and blue. This light stimulates the receptors in your eye which are sensitive to certain but different bands of red, green and blue as the display emits, making your brain think it sees a certain color instead of a mix of red green and blue. Printers however, produce color by modifying the reflection of the paper by absorbing light. Their color mixing operates completely differently than displays. When you throw all colors of ink on the paper, you get black (the mixing is said to be subtractive) instead of white as you get in displays (the mixing there is additive). The consequence of this is that in the absence of an infinite number of inks you cannot produce all the colors you can display on a monitor using a printer and vice versa. This can be easily seen if you compare a display's profile to a printer profile in a program such as Colorsync utility (on every mac) or
Gamut vision. Typically printers cannot reproduce a very large region in the blue but most displays on the other hand cannot make saturated yellows and cyans.
Here is a flattened XY diagram of a few color spaces and a typical printer profile to illustrate this. Most displays are close to sRGB, but some expensive ones are close to adobeRGB, making the possible difference between print and screen even worse.
So, when the conversion to the printer's profile is made from your source file (which in Lightroom is in a variant of prophotoRGB), for a lot of colors, the color management routine in the computer software has to make an approximation (the choice of perceptual and relative colorimetric determine what sort of approximation is made). Soft proofing allows you to see the result of this approximation and to correct specific problems with it.

Why don't color values change when using proof colors?

Hi,
i am very interested in obtaining exact replicas of the image in screen (in ProPhoto) and the image printed (using a suitable printer profile). However when I select Proof Colors from the view menu, the appearance changes but the RGBV or Lab colors remain the same. This is counter intuitive and goes against the well known recomendation to do color correcting using numbers instead of your eyes.
What's happening? Is there a way to accomplish what I want?
Thanks,
Juan

Juan,
please let me tell you my opinion, based on working with i1Pro, ProfileMaker and a couple
of printers and monitors:
a) one doesn't calibrate a monitor for a better match of monitor view and print result.
The monitor has to be calibrated for preferred settings, here for 100cd/m² and 6500K.
In my case, calibrated in an almost dark room in order to avoid any flare, the minimal
luminance is about 0.3cd/m², which results in a contrast of about 300. With some ambient
light the actual contrast is probably not as large.
b) one doesnt calibrate a printer with respect to a monitor. The printer is calibrated by
printing a target and measuring this, followed by profile generation. As a result, a printer
can print color patches with certain Lab values with a measurable accuracy, without any
reference to a monitor. By the way: calibration takes the paper color into account, there-
for one needs for each paper a new profile (as well for different printing modes or diffferent
black inks and so on).
What is to do?
You have already i1 Profiler. Each version can profile monitors, but you need a version
which can profile printers as well. In this German doc means Drucker=printer:
http://www.pdfmarkt.de/index_de,marktcm,15,528,,49.php
It looks as you have a version which can calibrate printers in RGB mode (perhaps i1 Basic Pro2 ).
Then follow the procedures in these docs, mainly the third:
http://www.northlight-images.co.uk/reviews/profiling/i1_profiler_overview.html
http://www.northlight-images.co.uk/reviews/profiling/i1_profiler_monitor.html
http://www.northlight-images.co.uk/reviews/profiling/i1_profiler_rgb_print.html
What means RGB mode? Epson printers, for instance my model 7890, can be calibrated in
RGB mode or in CMYK mode. Of course. the printer prints finally by CMYK inks, but the
targets are defined either by RGB values or by CMYK values.
RGB mode is preferred by photographers (RGB images), CMYK mode accepts as well CMYK
data as generated in PostScript workflows and is used for proofing offset-print-ready PDFs.
An example: technical graphics may contain one or two inks in order to avoid registration
errors. Sending these data to an 'RGB-printer' would result in printing by all inks.
I'm calibrating in CMYK mode. The profile interpretation by Profile Inspector shows CMYK
as device space. Available profiles by others (for common papers) show RGB as device space.
Profile connection space is in either case CIELab.
How are the viewing conditions?
Probably not by viewing monitor and print side by side. The monitor has 6500K, prints are
to be inspected under 5000K. Thus, a simultaneous adaptation is impossible.
Also, it would be wrong, because the rendering is mostly not Absolute Colorimetric.
For the critical inspection of prints the illuminance should be very bright, 2000lx (lux),
according to ISO. 100cd/m² is roughly equivalent to 300lx (3-hundred).
As a result, one cannot expect a match, but an impression: looks right on the monitor, looks
right on the print. And an offset printing press can be adjusted by matching a proof print.
Best regards --Gernot Hoffmann

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thx

Right-click on tool, choose 'Tool Default Propeties', now changed color will be default color.

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Hi there,
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So I tried to make my own color profile, and it looks better. Still not as perfect as it should be... Maybe go back to the store?
Anyways, I want to override the default color profile with my profile, so the Login screen and other accounts have more realistisc colors. Couldn't find any simple way to do that.
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Seb99 wrote:
compared to other Macbooks too!
Back to the store.

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Hi AFace; hope you are doing well and sorry to hear that you are having this issue.
Your HP Color Laserjet CM1015 MFP is a commercial product. I will suggest posting and looking in the forum for HP Business Support for a better chance at finding a prompt solution.
You may find the commercial Laserjet board here.
http://h30499.www3.hp.com/t5/Printers-LaserJet/bd-p/bsc-413
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You can say THANKS by clicking the KUDOS STAR. If my suggestion resolves your issue Mark as a "SOLUTION" this way others can benefit Thanks in Advance!

How can I change an image designed in Illustrator CS5 into linework?

I've designed a complex floral pattern and need to change it to line work in order for conversion into a DWG format.
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Without seeing the artwork and knowing what methods you used to create it, nobody can tell you anything.
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Colors in print preview not matching colors in soft proofing

Hi There,
Just wanted to print a new photo and realized that the colors in print preview do not match the colors in soft proofing. In both cases I selected the same icc profile and rendering method. The print colors matched the colors in print preview. I never had a problem so far. All new prints will be checked with soft proofing and adjusted when necessary. I never paid attention to the color rendition in print preview and all prints perfectly matched the colors from the soft proofing. I was surprised when my print came out of the printer and the colors weren't matching the soft proofing colors, but that of the print preview.
I don't understand why Photoshop renders the colors differently in the first place. Please see attached screenshot for the difference in the blue/cyan colors.
I would appreciate if anybody could point me in the right direction in what is causing this difference. I don't care if the print view colors will match the print, but I do care when soft proofing is not working.
Thank you.
Best regards,
D.

Here are some addtional details:
PS 13.1.2
Mac OS X 10.8.4
12 GB Ram
60 GB free disk space
I printed the same photo from two other computers (MacBook and iMac) with different PS versions (CS4 and CS5). The prints turned out identical to the first one which matches the print preview color rendition on my main computer (MacPro) running CS6. Strangely the colors in print preview of CS5 on the iMac renders the colors identical to the soft proofing colors.

[LR 5] Soft Proofing - Monitor Gamut Warning vary with printer profile ?!?!

Hi,
There's something I can't understand when using the soft proofing feature in LR.
The Monitor Gamut Warning feature (top left icon in the histogram when soft proofing is enabled) is supposed to show us what colors in the current image cannot be reproduced on the display. Right ? If I understand well, the warning computation is made by comparing the current image (virtualized by LR in the Melissa RGB color space) to the gamut of the display (read from the active calibration profile).
So why does LR show different "out of gamut" areas for the display when I change the printer profile selected when using soft proofing? This doesn't make sense to me.
Did I miss something?
Thanks in advance.

indeed they are vague about this. My thought about this comes from conversing with Adobe folks here and elsewhere as I am pretty sure I'vce discussed this on the forum before. As far as I know the monitor warning is supposed to be calculated after the conversion to the printer profile so that you get an idea whether the soft proofed color is accurately displayed. That shoud be the correct behavior as proofing can actually take a color either in or out of the monitor gamut. I am not 100% sure on this though but it certainly explains how it behaves.
Also if you calibrate your display and write out a icc v4 display profile, the situation changes again as now the display profile can actually contain a perceptual rendering intent, making it even less precise and the assumption of simple one-to-one linear conversions between color spaces is invalid. Few calibration software packages do this though but there are a few exceptions.
If you only want to know whether your image is outside of the display profile, you can indeed trick the soft proof to allow you to select a display profile as the printer proofing profile. You can in principle select a standard working space such as prophotoRGB there and get results that make sense. But you definitely do not want to have a random printer profile selected for the reasons cited above. I guess they could add some smartness to detect that you selected the profile of the current display and not a profile of another random display and then collapse the interface but that is such an edge case that I doubt Adobe would prioritize this. It works fine if you simply realize that you selected your monitor profile as the printer proof profile.

Soft proofing - implementation suggestions

Reading this thread it seems the Lightroom team is seriously considering or actually implementing soft proofing for LR3.0. Since it's not in the current beta, the users cannot give feedback on the implementation. Instead, let's use this thread to give suggestions on how soft proofing should work.
Here are my suggestions:
availability: soft proofing should be available in all modules: you need it for print and web output, but the necessary corrections are made in the develop and library modules.
UI placement: the film strip seems to be a logical place for a tool that can be used from within all modules.
features: soft proofing would need an on/off toggle, a clipping indicator toggle and a list menu to select/create soft proofing profiles (with a choice of relative/perceptual; black point would be nice but doesn't fit the 'lightroom way').
monitor proofing: make it easy for users to select the profile corresponding to their monitor. That way they get a warning that their monitor may be 'cheating' them (especially on laptops).
further: the tool could show a warning if it is switched on with the 'wrong' profile for the active module. For example, for web you should only use sRGB, for print the same as selected for the printer and for the slideshow perhaps only the monitor profile.
Anyone else?
Simon

Jeff Schewe wrote:
I disagree for several reason: 1) the Develop module is the ONLY color accurate viewing environment, 2) Develop already has a before/after built in that can be adapted to the task of showing a before and an after with the after representing the output space. 3) the Develop module allows the creation and or selection of Develop templates as well as snapshots. Snapshots might make an excellent vehicle for carrying image adjustments.
I am not sure what you mean by the develop module being the only color accurate viewing environment. I just checked it by setting my monitor gamma to 1.0, and all modules applied the necessary adjustments to the images. The only difference I could find is that the other modules use heavily compressed JPGs, leading to the occasional artifact when viewing at 1:1.
I really believe that soft proofing itself is fundamentally an analysis tool that should be accessible from all modules, and not necessarily be linked to image adjustment tools. If someone wants to work on a set of images for a particular output process, he/she should be able to make all necessary changes with soft proofing turned on, and have the effects visible in all modules. Of course, in practice many users will want to target different output media for the same image, and such tools are important, but need not be a show-stopper for soft-proofing to appear.
On your number (2), I personally don't find before/after view essential, or even that useful, when making adjustments for printing. When you want to compress an image into the gamut of a printer, I tend to make small adjustments in the context of that particular image, not with a reference to some master image. The exception to this case would be if you really have something which you would call the 'master' (say, some really famous image), and you want the output to be as close as possible on more restricted printing process. In any case, I wouldn't consider a before/after view as essential. And when it's needed, it could be implemented by an on/off toggle as well, IMO.
I find snapshots quite cumbersome, and especially for the purpose of keeping track of such 'output versions'. The problem is that they exist inside the develop module, they are 'all or nothing', and there is no easy way to transfer partial settings between snapshots. For example, suppose I have three 'output versions' of an image, and I decide to change some of the underlying settings (say, the white balance). Then I don't have an easy way to synchronize these changes between the output versions. Another issue is that there is no easy way to recall snapshots from outside the develop module. If I want to print a couple of images for which I have the necessary adjustments at some other time, I have to go in and select the appropriate snapshot for each of them. In the context of these 'output versions', this is something that should be possible from the library module, where you select the versions you have worked on before.
Also note that while Develop might be the place for adjusting the image for the output, the creation of an output adjustment might be best called up in Print (or Export). So you might create a saved preset that contains the output device, the specific profile, the rendering intent and whatever output based adjustments the image (or images) may need. That could be done directly in the Print module...
The three main factors that soft proofed adjustments require is a change in the tone curve required by differences in dynamic range or outputs, hue and saturation adjustments to counter or alter the way a profile may render a certain (or several) colors and a local area contrast adjustment in the form of Clarity. Ideally, the soft proofing tools should contain a soft proofed histogram, color samples in the output space and tone/color adjustments suited for correcting for the output condition.
Ok, I can see a benefit to a separate output adjustment tool that is specifically aimed for the type of adjustments you'd make when soft-proofing. The settings for this tool could be linked to the output device and profile, so that they would switch automatically according to the profile that is selected. When soft-proofing is turned on in the library module, there could be an icon in the images for which a particular output transformation is defined. And because soft-proofing would be fully functional in the develop module, you could inspect which other images need further adjustments.
I don't think it's very useful to have a 'preset' for this tool for a particular output profile and rendering intent, independent of the image. That's the job of the profile itself. However, it should be possible to easily copy-paste such settings between images. For example, if I have shots a number of images in bright green grass, I will probably need similar adjustments for all of them. Also, settings should be copyable to serve as a starting point for use with a different profile.
The 'output adjustment tool' itself should IMO contain two things:
1) Photoshop-like hue/sat control (with selectable color ranges) [most important]
2) Manual tone curve adjustments.
I wouldn't mind if the tool is only accessible from within the develop module, as long as you can see the soft-proof from all modules. The soft-proofing functionality (separate from this tool) should also take care of adjusting the histogram in the library and develop modules.
Summarinzing, I see room for two separate tool sets that do not necessarily need to be implemented at the same time. The first is an overarching soft-proofing solution that makes the effects of the output transformation visible throughout the workflow. The second is a separate output adjustment tool in the develop module, that is able to link it's settings to the currently selected output device/profile.
Simon

Missing folder: Illustrator CS5 settings

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Okay, I basically made three different documents and I made sure that I had everything chosen in each. I then saved the three to that file and they now appear in the list:
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I am working with the color profile ProPhoto RGB in both Lightroom 5 and Photoshop CC. In preparing for my first Blurb book I have tried to generate pictures in sRGB in Lightroom, using the Soft Proofing feature, but there are no changes at all. Then I transfer the same pictures into Photoshop, change the color profiles and the results are dramatically different.
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With an average monitor what you see on-screen is already soft proofed to sRGB (or something very close to it), because that's all the monitor is capable of displaying anyway. So soft proofing to sRGB won't tell you anything. You won't see any difference.
In Photoshop it sounds as if you assign profiles. That's not the way to do it. If you convert correctly you won't see any difference. Same principle as above: there may be clipping in the process, but what you see on screen is already clipped, so no visual on-screen difference.
With a wide gamut monitor soft proofing becomes slightly more useful. But still you won't see any changes occurring outside Adobe RGB. You'll get a better idea by keeping an eye on the histogram. Ideally, all three channels should taper gently off towards the endpoints. If any one or two channels are backed solidly up against the endpoint, on either side, that's gamut clipping.
If Blurb gave you a real profile, one that reflected their actual printing process, you could soft proof to that. But apparently they don't.

Change Default Soft Proof Color – Illustrator CS5.1

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