eyoungren wrote:1. It seems to be an issue with color management. More specifically with how version 9.x handles it.
2. AI or PDF "seem" to have better results than EPSfor awhile.
* Full Resolution Preview used on the selected image box appears to "help."
* open your document, go into Preferences > Color Manager and check Color Manage Vector EPS/PDF, and Include Existing. Then select the View menu > Proof Output > Composite CMYK (or some custom color setup if you have one).
* First set up the QuarkXPress color management clarified in the thread before [the workaround above]. For EPS [EPS from Illy]: Reopen them in AI [meaning open them back up in Illustrator] and bless them with a appropriate color management and you are done [how to "bless" or save the file with a color profile is described next -->]. Go first to Edit > Color Settings [after you have opened the EPS file]. Reselect your color working space or ensure the correct settings for the creative suite. You can do this also globally in the settings from bridge (weird I know). After changing the color management for the file, go to "save as". [give the file a new name save and import that new EPS file] After reimporting, the preview should be ok. For native AI [if you use AI files instead of EPS from Illustrator]: Always select in the export dialogue embed color profile.
Sorry if I'm describing something peculiar to v7 or 9 but with v8.5 none of this is working for me, I can get on screen matches only if I change the Quark Preference > Application> Monitor Profile to something other than Automatic, I've no idea why quark needs to know the monitor profile or what it does with the information.[:O]
Also this "blessing" of profiles to AI files surely only works for .ai and .pdf as I can't see anyway of attaching a profile to an illustrator eps.
if you carry on your experiment through to pdf (just use [b]As Is or "[b]As Is with [b]use device independant colour checked" for your output space) you may find you get some very wierd numbers and color space info, along with differences between JAWS and Distiller.
As far as I can tell the preview of an EPS in quark is probably looking at the preview/thumbnail data which could be rgb even on a cmyk, (Graham Pm would know) so hoping to get an on screen match is a waste of time?
There is also the question of half-mapping PANTONEs by quark, when you bring in a colour to quark by placing an eps and then choose to colour up a quark object from that swatch, if its called PANTONE 2592 C, they won't match because the Quark object would have an alternate color split defined by quark (probably Lab) and the EPS would have an alternate color split defined by it's application (probably cmyk). The Alternate color splits would form a big chunk of how it looks on screen.
Again as far as I can tell checking Postscript Color Management in the second pane of Save as EPS in Photoshop is also very different to embedding or tagging an ICC profile to an image, to be honest I'm a bit confused about when ICC profile [b]is
the colour space rather than a tag or add-on to a cmyk or rgb. At the moment I'm under the impression that Postscript Color Management converts the file to CIEXYZ (a different way of expressing Lab) along with a route back to the cmyk/rgb numbers, but it relies on something at the other end recognizing and performing the conversion. I'd steer well clear of it.