Challenge 2: Converting to CMYK Only at the Very Last Step — Solution Walkthrough

The risk in this workflow:

Per this chapter's own material, converting between RGB and CMYK isn't
always lossless — some RGB colors, especially bright, saturated ones,
simply can't be reproduced exactly within CMYK's own smaller color
gamut. Designing the entire poster in RGB, with colors chosen and
finalized based on how they look on-screen, risks the designer
approving colors that will actually shift once converted to CMYK,
since the RGB gamut allows colors CMYK printing genuinely cannot
reproduce.

Why doing the conversion last makes this worse:

By waiting until the very last step, the designer has already made
every color decision assuming the RGB appearance is final. If the
CMYK conversion shifts several of those saturated colors noticeably,
there's no opportunity left to adjust the design around that — the
poster may go to print with colors that look different from what was
approved, discovered only after conversion rather than accounted for
during design.

The better approach, per this chapter:

Work in CMYK mode from the start of a print-destined project, so any
color that can't be reproduced accurately is visible immediately
during design, allowing adjustments to be made proactively rather than
discovered as a surprise at the final step.

WHY THIS WORKS AS AN ANSWER
------------------------------
This exercise applies this chapter's own RGB/CMYK gamut-mismatch point
to a realistic print-design workflow, correctly identifying why
converting at the very end is riskier than working in the destination
color mode from the beginning.