Jim Gahl, a good review, and I have a question: While it's true the colors won't ever look "dead on" on most monitors calibrated or not, isn't it (or is it not) true that if the colors swatches are input into the computer software and system at the right (true) gamuts and then selected by the artist the "true" color will be in the file used for prepress conversion? In other words, the color on the monitor won't be right, but the information in the file will be "right"?

This is a can of worms, so my question is a technical one about the specific fact and intentionally ignores the difficulties related to managing the technical fact for getting near true color in print reproduction. So, my first question to Trurl was intended to get at how the colors are derived in a way that they are introduced in the system at their true gamut, which is step one necessary for addressing all the can-be-nightmarish steps that follow when dealing with color fidelity for print output.

What's you take on this?