An out-of-gamut colour lies outside the set a destination device or colour space can reproduce. Clipping handles that conflict by forcing one or more coordinates to a permitted boundary. Ordinary desaturation is a chosen reduction in colourfulness or chroma. The pictures may sometimes look similar, but the operations, evidence and artistic consequences differ.
Consider a fictional linear-RGB source colour (1.18, 0.42, -0.06) prepared for a destination that accepts channel values only from 0 to 1. Simple per-channel clipping produces (1.00, 0.42, 0.00). That is not a uniform 15% desaturation: two channels hit different boundaries while the middle channel stays unchanged. A deliberate chroma reduction in a perceptual space can instead move the colour toward the destination gamut while trying to preserve lightness and hue.
This article teaches diagnosis and comparison. It does not prescribe one universal rendering intent or declare a mapped colour artistically correct. The appropriate result depends on the destination, neighbouring colours, output conditions and the purpose of the work.
This guide develops a focused reader question within the Visual Arts subject guide. It adds a complete evidence chain, original worked examples, changed-context checks and explicit limits. Read it with The Gold Standard of Education | Learning That Transfers into Life and the How X Works.
Every dataset and calculation below is an invented teaching case. It does not report a real artwork, university, radio installation, food product or compliance test. Use current official documents, appropriate instruments and qualified specialists for operational decisions.
The reader job is to decide why a colour changed. Start with the encoded source values and their declared colour space. Name the destination profile or colour space, test whether the colour is inside its gamut, and record the transformation. A screenshot or eyedropper value without that chain cannot distinguish authoring, conversion, clipping, display limitation and capture error.
Gamut is a property of a representation or device under stated conditions. A colour can be valid in a wide-gamut source and unrepresentable in sRGB; another can fit the display but not a particular printer, ink and paper combination. “Too saturated” is therefore incomplete until the destination and rendering conditions are named.
Clipping is local to a boundary rule. Per-channel RGB clipping can flatten different source colours onto the same endpoint and can change hue or lightness. A gamut-mapping method may instead reduce chroma, alter lightness, compress a region or use another compromise. Desaturation is broader: an artist may reduce chroma even when every colour is already in gamut.
The central evidence test compares three versions from the same source: unchanged source coordinates, a documented clipped conversion and a documented chroma-reduced conversion. Inspect numerical values, gradients and relationships to neighbouring colours. If only the final picture survives, the mechanism usually cannot be recovered uniquely.
The W3C CSS Color Module Level 4 defines colour spaces, in-gamut tests and current CSS gamut-mapping work. It provides a standards route for the technical terms, while the artistic decision remains tied to the intended image and output.
Related Visual Arts work remains distinct. Why Colour Contrast Can Disappear in Grayscale studies equal-lightness contrast. Predicting Paint Mixtures Without Treating RGB Values as Pigment Recipes separates digital coordinates from physical pigments. This guide stays with output-gamut decisions for digital or profiled reproduction.
A practical evidence card can be small. Record the source colour space, destination, original coordinates, mapped coordinates, conversion software, method and one visual consequence. Add a thumbnail showing the colour in context. That record is more informative than a label such as “fixed saturation”, because it lets another learner reconstruct which boundary was crossed and what relationship changed.
The order of operations matters. Desaturating before conversion changes the input presented to the gamut mapper. Mapping first and then applying an artistic edit changes an already transformed colour. These paths can end at different coordinates even when a slider displays the same nominal amount. Preserve layers or versions so the paths can be compared.
A useful limit case is a neutral colour with zero chroma. Further chroma reduction cannot make it less colourful in the same model, but clipping or tone mapping could still alter its channel values. Another limit case is a colour already well inside the destination gamut. If it changes, the explanation must include a broader transform, an edit or implementation behaviour rather than necessary boundary clipping alone.
Comparisons need controlled viewing. Place versions beside each other at the intended size, on the same calibrated or at least stable display, under one surround. Then repeat on the target output if possible. A viewer preference is valid as a response, yet it does not identify the transformation. Pair perception with the saved coordinate and pipeline record.
The final decision should use relationships, not only maximum chroma. Ask whether focal colour, gradient order, text contrast, category distinction and overall balance survive. A mapped image with a lower numerical peak can preserve the work better than a clipped image with the brightest possible endpoint.
eduKateSG · Visual Arts
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Keep source colour, destination gamut, rendering method, chroma reduction, channel clipping, display conditions and artistic intent separate.
ROUTE 1 · CHAPTERS 1–6
Locate the colour boundary
Define source and destination spaces, channel limits, gamut and the main clipping example.
ROUTE 2 · CHAPTERS 7–12
Compare transformations
Distinguish clipping, chroma reduction, tone changes, conversions and proof conditions.
ROUTE 3 · CHAPTERS 13–18
Change the artistic context
Test gradients, brand colours, print, displays, photographs and perceptual trade-offs.
ROUTE 4 · CHAPTERS 19–22
Audit and continue
Repair common claims, preserve the colour record and follow standards and sibling guides.
Chapter contents
Locate the colour boundary · Chapters 1–6
1. Name the source and destination colour spaces
2. Define gamut as a reproducible set
3. Work the channel-clipping example
4. Separate clipping from deliberate chroma reduction
Compare transformations · Chapters 7–12
7. Compare mapping methods from one source
8. Preserve colours already inside the destination when claimed
9. Distinguish encoding limits from display capability
10. Do not diagnose from an eyedropper alone
Change the artistic context · Chapters 13–18
13. Protect brand colours without pretending exactness
14. Treat photographs as neighbourhoods of colour
15. Separate artistic desaturation from technical repair
16. Use soft proofing as a prediction with limits
Audit and continue · Chapters 19–22
19. Repair common clipping claims
20. Build a reproducible colour record
CHAPTER 1 OF 22 · Locate the colour boundary
1. Name the source and destination colour spaces
A colour coordinate has meaning only inside its colour space. Record transfer function, primaries, white point and encoding where relevant, then name the destination. The same numerical triplet can denote different colours in sRGB, Display-P3 and other spaces.
Start with a claim ledger. Write the reported quantity, numerator, denominator, observational unit, time window and transformation rule in separate fields. Mark every value as observed, stipulated, estimated or assumed. This prevents a familiar label from carrying a different basis into the calculation. Keep the raw record beside each derived value so another reader can reproduce the step and locate any disagreement.
A fictional source label says Display-P3 but an export process silently interprets the numbers as sRGB. The visible change occurs before any legitimate gamut mapping, so calling it clipping would misdiagnose the fault.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to repeat the example with the correct source tag and compare the resulting destination coordinates. State what changes, what remains comparable and what the new result still cannot establish.
A destination gamut is the set of colours representable under the specified model or device conditions. It is not a universal boundary around good colour. Device-independent coordinates can describe colours beyond a particular RGB cube, while a printer profile represents a different shaped set.
Draw the mechanism before interpreting the number. Show where material, information or energy enters, what transformation occurs and where a loss or bias can arise. Then ask which observation would distinguish two plausible explanations. A diagram is useful only when every arrow has a stated condition and an evidence route.
Plot three invented colours against one declared destination. Two lie inside and one lies outside. Only the third requires a mapping step, even if an observer personally finds all three intense.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to change the destination from sRGB to a wider space and reclassify the same source coordinates. State what changes, what remains comparable and what the new result still cannot establish.
Simple clipping limits each destination RGB channel independently. It is easy to calculate but can discard how far a source lay beyond a boundary and can distort relationships among channels. Preserve the pre-clipped values.
Use two checks that fail differently. Reconstruct an input from outputs, calculate a limiting case, or solve the same example from the original definitions. Agreement matters most when the checks do not repeat the same assumption in different notation. Preserve the first result in the audit trail if a later check changes it.
For linear RGB (1.18, 0.42, -0.06), clipping to [0,1] gives (1.00, 0.42, 0.00). The red excess 0.18 and negative blue -0.06 vanish; the result cannot reveal either original magnitude.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to compare (1.02,0.42,-0.01) with the main source and show that both can map near the same boundary colour. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 4 OF 22 · Locate the colour boundary
4. Separate clipping from deliberate chroma reduction
Desaturation normally describes a chosen movement toward a less colourful result. It can be applied to an in-gamut colour and need not touch a channel boundary. Gamut mapping may use chroma reduction, but purpose and trigger still matter.
Keep the comparison fair. Hold the population, interval, boundary, protocol and unit constant before treating a difference as evidence of change. If one condition differs, report the difference as a changed context and either standardise it transparently or narrow the claim.
An in-gamut orange is reduced from a stipulated chroma 0.18 to 0.12 while lightness and hue are held fixed. No channel exceeded the destination range, so the change is deliberate desaturation rather than boundary repair.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to apply the same chroma reduction to both an in-gamut and out-of-gamut source and record which operation was required. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 5 OF 22 · Locate the colour boundary
5. Check hue and lightness as well as saturation
Per-channel clipping can alter hue and lightness because RGB coordinates are not perceptual attributes. A result that looks less colourful may also have shifted in another dimension. Compare in a suitable perceptual representation and by viewing.
Separate a measurement from the decision built on it. A value can be calculated correctly while remaining too uncertain, too local or too method-dependent for the intended action. Report the result, the conditions that make it interpretable and the next observation needed for the real decision.
Two fictional conversions reduce a source chroma by similar amounts. Version A changes hue by one degree; version B changes it by twelve degrees. Calling both equally desaturated hides the more consequential hue change.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to hold chroma constant while changing lightness, then test whether viewers still describe the change as desaturation. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 6 OF 22 · Locate the colour boundary
6. Use a gradient to reveal collapsed distinctions
A single patch can hide clipping. In a smooth gradient, several distinct source values may all map to the same endpoint, creating a flat region or contour. Inspect spatial structure rather than only one sample.
Treat missing and excluded observations as data. Record why they are absent, whether absence is related to the process being studied and which denominator they leave. A clean table produced by silently dropping difficult cases is less trustworthy than an incomplete table whose limits are explicit.
Five source reds rise from 0.92 to 1.20. Direct clipping maps the last four values above 1.00 to the same red endpoint, while a documented compression preserves ordered differences.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to reverse the gradient and verify that the output ordering remains monotonic. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 7 OF 22 · Compare transformations
7. Compare mapping methods from one source
A fair comparison starts from identical source pixels and the same destination. Record whether the method clips channels, reduces chroma, changes lightness, compresses the whole gamut or uses a profile rendering intent.
Preserve sequence and identity. Two datasets with the same totals can imply different mechanisms when events occur in a different order or belong to different units. Keep timestamps, specimen or cohort identities and processing stages until the reader question no longer depends on them.
Method C clips the main orange at the boundary. Method D reduces its chroma until it is in gamut. The correct report describes both transformations and asks which better preserves the artwork’s relationships.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to add a second neighbouring colour and judge the pair rather than the focal patch alone. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 8 OF 22 · Compare transformations
8. Preserve colours already inside the destination when claimed
Some mapping algorithms leave in-gamut colours unchanged; others compress a wider region. Verify the chosen method instead of assuming every conversion protects all safe colours.
Test a deliberately changed case. Change one assumption while holding the rest fixed, calculate again and explain why the conclusion moves or stays stable. Transfer is demonstrated when the reasoning survives a new context, not when the original numbers are merely substituted into the same line of arithmetic.
A neutral grey changes slightly in one export even though it was in gamut. That points to a broader transform, profile conversion or tone adjustment, not proof that grey itself was clipped.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to test a set of neutral and low-chroma control patches through the same pipeline. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 9 OF 22 · Compare transformations
9. Distinguish encoding limits from display capability
A file may encode a wide-gamut colour that a current display cannot show. A screenshot, browser path or operating system may also convert it. Separate file validity, software colour management and physical display gamut.
State the boundary of inference in the answer itself. Name the system, population, representation or interval to which the result applies, then name one tempting stronger claim that the evidence cannot support. This turns a caveat into part of the reasoning rather than an afterthought.
The same tagged file appears vivid on one managed display and flatter on another. Without measuring or profiling the displays, the difference cannot be assigned solely to the artwork.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to view the file through a controlled soft-proof and an unmanaged viewer, documenting the pipeline difference. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 10 OF 22 · Compare transformations
10. Do not diagnose from an eyedropper alone
An eyedropper reports coordinates in some sampling context. It does not automatically reveal the source profile, post-conversion space, display output or perceptual difference. Save the document settings and conversion history.
Use uncertainty as structure. Identify which input controls the conclusion, vary it over a defensible range and show whether the decision changes. A long list of generic caveats is weaker than one sensitivity calculation tied to the actual mechanism.
A sampled value reads 255,107,0 in an 8-bit export. That boundary red channel is consistent with clipping but does not prove it; the artist could have authored that exact in-gamut value.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to trace the same pixel back to a layered source and compare pre-export coordinates. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 11 OF 22 · Compare transformations
11. Keep quantisation separate from gamut mapping
Bit-depth quantisation rounds representable values to discrete codes. It can produce banding even when all colours are in gamut. Gamut clipping concerns the boundary of representable colours, so the two failures need different evidence.
Finish with an evidence package. Include raw observations, definitions, exclusions, processing version, calculations, validation result and decision rule. A future reviewer should be able to reproduce the result and understand what would require the conclusion to be revised.
A shallow in-gamut gradient shows steps after conversion to a low-bit-depth format. No channel exceeds its permitted range; increasing precision helps, while changing gamut mapping alone may not.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to hold bit depth high and force an out-of-gamut endpoint to isolate the other mechanism. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 12 OF 22 · Compare transformations
12. Check profile and rendering-intent metadata
Profile-based output can use relative colorimetric, perceptual or other intents with behaviour dependent on profiles and implementations. Record profiles and settings rather than reducing every result to clipping versus saturation.
Start with a claim ledger. Write the reported quantity, numerator, denominator, observational unit, time window and transformation rule in separate fields. Mark every value as observed, stipulated, estimated or assumed. This prevents a familiar label from carrying a different basis into the calculation. Keep the raw record beside each derived value so another reader can reproduce the step and locate any disagreement.
Two exports use the same source file but different destination profiles. Their boundary colours differ because the devices describe different gamuts. A visual disagreement is expected and auditable.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to keep the profile fixed and change only the rendering intent. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 13 OF 22 · Change the artistic context
13. Protect brand colours without pretending exactness
A specified colour may fall outside a destination gamut. The task becomes choosing and documenting an acceptable reproduction, not claiming the impossible source coordinate was printed exactly.
Draw the mechanism before interpreting the number. Show where material, information or energy enters, what transformation occurs and where a loss or bias can arise. Then ask which observation would distinguish two plausible explanations. A diagram is useful only when every arrow has a stated condition and an evidence route.
A fictional brand cyan fits a wide-gamut display but not a proofed print condition. The designer compares nearest boundary, chroma-reduced and alternate-ink versions against an approved reference.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to change the paper profile while keeping the source specification fixed. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 14 OF 22 · Change the artistic context
14. Treat photographs as neighbourhoods of colour
Photographs contain gradients, textures and relationships. Mapping one pixel independently can create seams or flatten highlight detail. Inspect representative regions and the whole image at intended viewing size.
Use two checks that fail differently. Reconstruct an input from outputs, calculate a limiting case, or solve the same example from the original definitions. Agreement matters most when the checks do not repeat the same assumption in different notation. Preserve the first result in the audit trail if a later check changes it.
A sunset export keeps the central orange but clips surrounding reds into one plateau. The patch match looks acceptable while the gradient loses depth.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to test a local crop and the full image under identical viewing conditions. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 15 OF 22 · Change the artistic context
15. Separate artistic desaturation from technical repair
An artist may desaturate to alter emphasis, mood or unity even when the source fits every intended output. Preserve that intention as an edit step distinct from later output conversion.
Keep the comparison fair. Hold the population, interval, boundary, protocol and unit constant before treating a difference as evidence of change. If one condition differs, report the difference as a changed context and either standardise it transparently or narrow the claim.
A painterly digital scene is deliberately muted by 20% before an sRGB export. A second small gamut adjustment occurs at export. Combining both into one label loses authorship and reproducibility.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to export the original and deliberately muted versions through the same destination transform. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 16 OF 22 · Change the artistic context
16. Use soft proofing as a prediction with limits
A soft proof simulates an output condition on another display. Its value depends on profiles, calibration, viewing conditions and whether the display can represent the simulated colours. It is evidence, not the physical print.
Separate a measurement from the decision built on it. A value can be calculated correctly while remaining too uncertain, too local or too method-dependent for the intended action. Report the result, the conditions that make it interpretable and the next observation needed for the real decision.
A proof flags two flowers as out of gamut and shows reduced separation. The later print confirms the direction but not every magnitude because paper, illumination and calibration also matter.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to repeat under a second approved viewing illuminant and describe what remains stable. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 17 OF 22 · Change the artistic context
17. Check accessibility and meaning after mapping
Colour changes can alter distinctions used for reading or interpretation. Gamut mapping does not guarantee sufficient contrast or preserve category separation. Test the actual communication goal after conversion.
Treat missing and excluded observations as data. Record why they are absent, whether absence is related to the process being studied and which denominator they leave. A clean table produced by silently dropping difficult cases is less trustworthy than an incomplete table whose limits are explicit.
Three map categories are distinct in the source but two become nearly identical after clipping. Adding labels or patterns preserves the task without claiming the original colours survived.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to convert a chart and an artwork with the same palette, then apply different decision criteria. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 18 OF 22 · Change the artistic context
18. Respect physical-pigment boundaries
Digital gamut mapping does not predict a paint mixture. Pigment spectra, opacity, substrate and lighting create a different mechanism. Use the linked paint-mixture guide when material recipes are the reader’s question.
Preserve sequence and identity. Two datasets with the same totals can imply different mechanisms when events occur in a different order or belong to different units. Keep timestamps, specimen or cohort identities and processing stages until the reader question no longer depends on them.
A clipped digital orange and a physical orange swatch share a screen reading under one capture. That coincidence does not establish a mixing recipe or equality under another light.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to change illumination and compare the photographed and physical results again. State what changes, what remains comparable and what the new result still cannot establish.
Statements such as “the colour was clipped because it looks dull” skip the source, destination and transform. Repair them by naming the gamut test, saved coordinates and competing explanations.
Test a deliberately changed case. Change one assumption while holding the rest fixed, calculate again and explain why the conclusion moves or stays stable. Transfer is demonstrated when the reasoning survives a new context, not when the original numbers are merely substituted into the same line of arithmetic.
A student compares two JPEGs and calls the flatter one clipped. Metadata shows it was intentionally desaturated before export; both files are fully within sRGB. The original claim is rejected.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to construct a genuinely clipped file that looks vivid and explain why appearance alone misleads. State what changes, what remains comparable and what the new result still cannot establish.
Store the source file, embedded profiles, software and version, destination profile, rendering settings, bit depth, test patches, output date and viewing conditions. Preserve screenshots only as secondary evidence.
State the boundary of inference in the answer itself. Name the system, population, representation or interval to which the result applies, then name one tempting stronger claim that the evidence cannot support. This turns a caveat into part of the reasoning rather than an afterthought.
A reviewer recreates the conversion from a saved wide-gamut file and obtains the same boundary values. When a later software version differs, both outputs remain traceable.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to remove the profile tag from a copy and document the ambiguity that follows. State what changes, what remains comparable and what the new result still cannot establish.
CHAPTER 21 OF 22 · Audit and continue
21. Answer the practical question before choosing a method
The best mapping depends on the task: preserve a logo relation, retain a photographic gradient, match an approved proof, or keep chart categories distinct. Translate the artistic goal into observable checks.
Use uncertainty as structure. Identify which input controls the conclusion, vary it over a defensible range and show whether the decision changes. A long list of generic caveats is weaker than one sensitivity calculation tied to the actual mechanism.
For a fictional poster, the chosen method must keep three oranges ordered and maintain text contrast. A slightly lower maximum chroma is accepted because it protects those relationships.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to switch the task from poster legibility to expressive single-colour impact and reconsider the decision rule. State what changes, what remains comparable and what the new result still cannot establish.
Use the W3C CSS Color Module Level 4 for current web-colour definitions and gamut-mapping concepts. Continue with grayscale contrast, paint mixtures and matching reflectance records for adjacent mechanisms.
Finish with an evidence package. Include raw observations, definitions, exclusions, processing version, calculations, validation result and decision rule. A future reviewer should be able to reproduce the result and understand what would require the conclusion to be revised.
The final transfer is to explain one changed colour with a complete source-to-destination chain, then identify a second plausible mechanism and the evidence that separates them.
Before moving on, identify the observation that would most directly challenge the current explanation. If no feasible observation exists, narrow the claim instead of hiding the ambiguity.
A changed-context transfer check is to repeat the audit for a print profile and state why its result cannot be inferred from the screen conversion alone. State what changes, what remains comparable and what the new result still cannot establish.
