prcodIn a relay race there is an incredibly important point where the baton is passed from one runner to the next. It is at these critical points that races are won or lost. So it is with this relay race called publishing.
prcodWhile there are a number of critical passes of the “baton” during the production of every print project, none is more critical than the one where the creative team hands the project off to the prepress team. Because it is during this phase that the fate of all critical image colors and tonality is determined.
prcodThe importance of continuity between design and print cannot be overstressed. The sage advice to “begin with the end in mind” is never more imperative than in the publishing trade.
prcodFrom the very beginning of each project there must be a solid understanding and commitment to build within a project the image integrity necessary to deliver the project as envisioned.
prcodIntegrity is a word that is derived from the word integer, meaning whole or undiluted. The integrity I am speaking of has to do with singe focus.

prcod From the start, EVERY project must focus on color management issues. And this starts with the image origin itself. If images of mixed color pedigree are introduced into a project some are going to suffer a quality loss. Photographic images must begin their voyage through the process using the most appropriate (Source) color space for print. If the images compiled for the project arrive with mixed color identities, they should have their profiles unified with the working color space of the project itself.
prcod All images are captured in RGB, but RGB is not a color “space,” it is simply a color mode. There are several different expressions of RGB. Most digital cameras default to sRGB gamut for reasons foreign to print. The color gamut of sRGB IEC611966 is less desirable than Adobe RGB (1998) for print applications.
prcod Once all images are transposed to the proper mode of RGB, it is time to work on the tonality, saturation and sharpness of each. The artist should maintain this RGB status with all images even though they will eventually be converted to a CMYK color space for print. Instead, each image must be optimized for highlight, shadow and clean midtones. Conversion comes later.
prcod All images should be placed in your page layout software in the Adobe RGB (1998) color space. Here is where this can

get dicey. If images of mixed color spaces are placed in the document prior to the document being converted to CMYK, some critical color gamut (the range of possible colors that express an image) information could be compromised.
prcodOn a related note... unless you absolutely know what papers and printing processes will be used to ultimately produce the project, and you know the correct CMYK conversion profile to use, DO NOT convert the file from RGB color space to (a generic) CMYK color space (see The SWOP Mystique). Color separation is a science and should be left to those who understand all variables involved.
prcodRemember the old phrase “what you don’t know will hurt you?” Take it to heart. Designers should do what they do best and leave the color science to those who understand it.
prcodPassing the project off to the printing company as a predisposed CMYK file could potentially do more harm than good. If you are a designer, be smart. Either learn about color separation science or leave it to the printer.
prcodIf you are a printer, use the right profile for conversion and counsel your clients to prepare well behaved RGB PDF files for YOU to convert to CMYK. Never sacrifice quality!