Add pantone color to an object in Illustrator cc 2014?

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• How to script Illustrator to get a library of shades PANTONE color chart

  I've searched high and low, but can't find the answer to this question.  Quite simply, I need a script to convert all spot colors PANTONE an Illustrator file in the PANTONE BRIDGE book CMYK equivalents.

  To do this, however, it seems necessary for the script to search through the various books PANTONE swatch library color to find the one I'm looking for.  I have a string that I need, but I don't see how ExtendScript can perform a search in the libraries of different shades (or even just the a library - 'Coated + PANTONE Color Bridge (UN)'.  I can't just to watch the nuances that are in the main "Swatches" palette using Document.swatches.  Any ideas?

  I'm afraid that code gives me an "MRAP" error in the ESTK.  But, I actually found a way around the problem by using your original suggestion to have a separate file with all color swatches Pantone, added to this, then the script can enter this shade, grasp its getInternalColor, turn it into a CMYKColor, then assign the extracted values of getInternalColor of four properties of the colors of the new shade.

  Yes, it is a bit of a roundabout method and takes a lot of code, but it does the job quickly, and that's what I need.  Here is the code I have (the "workDoc" has already been assigned to the currently open document.):

  // To finish up, we delete the other two layers beyond the first and then save the file for use as digital printing file.
  // First, delete the two layers.
  workDoc.layers[2].locked = false;
  workDoc.layers[2].remove();
  workDoc.layers[1].locked = true;
  //          workDoc.layers[1].remove();
  
  // Before grouping and mirroring all of the artwork, it's time to convert all spot colors to process
  // using the PANTONE Bridge book as a reference.
  
  // First, let's open up the reference document that has all of the PANTONE Bridge book colors as swatches.
  var bridgeDoc = app.open(File("~/Documents/PantoneBridge.ai"));
  
  // Since attempting to colorize textFrame objects seems to crash Illustrator, we're best off just converting them all to paths anyway.
  var texts = workDoc.textFrames;
  for (var t = 0; t < texts.length; t++)
  {
            texts[t].createOutline();
  }
  
  var items = workDoc.pathItems;
  for (var i = 0; i < items.length; i++)
  {
            var myPath = items[i];
            if (myPath.fillColor .typename == "SpotColor")
            {
                      try {var procSwatch = workDoc.swatches.getByName(myPath.fillColor.spot.name + "P");}
                                catch (e) {var procSwatch = addProcSwatch(myPath.fillColor.spot.name + "P", bridgeDoc.swatches);}
                      changePaths(myPath.fillColor.spot.name, procSwatch.color);
            }
  
            if (myPath.fillColor.typename == "GradientColor")
            {
                      for (var g = 0; g < myPath.fillColor.gradient.gradientStops.length; g++)
                      {
                                var gStop = myPath.fillColor.gradient.gradientStops[g].color;
                                if (gStop.typename == "SpotColor")
                                {
                                          try {var procSwatch = workDoc.swatches.getByName(gStop.spot.name + "P");}
                                                    catch (e) {var procSwatch = addProcSwatch(gStop.spot.name + "P", bridgeDoc.swatches);}
                                          changePaths(gStop.spot.name, procSwatch.color);
                                }
                      }
            }
  
            if (myPath.strokeColor .typename == "SpotColor")
            {
                      try {var procSwatch = workDoc.swatches.getByName(myPath.strokeColor.spot.name + "P");}
                                catch (e) {var procSwatch = addProcSwatch(myPath.strokeColor.spot.name + "P", bridgeDoc.swatches);}
                      changePaths(myPath.strokeColor.spot.name, procSwatch.color);
            }
  
            if (myPath.strokeColor.typename == "GradientColor")
            {
                      for (var g = 0; g < myPath.strokeColor.gradient.gradientStops.length; g++)
                      {
                                var gStop = myPath.strokeColor.gradient.gradientStops[g].color;
                                if (gStop.typename == "SpotColor")
                                {
                                          try {var procSwatch = workDoc.swatches.getByName(gStop.spot.name + "P");}
                                                    catch (e) {var procSwatch = addProcSwatch(gStop.spot.name + "P", bridgeDoc.swatches);}
                                          changePaths(gStop.spot.name, procSwatch.color);
                                }
                      }
            }
  }
  
  var rasters = workDoc.rasterItems;
  var bitmapFound = false;
  var checkForTint = false;
  for (var i = 0; i < rasters.length; i++)
  {
            var myRaster = rasters[i];
            if (myRaster.channels == 1 && myRaster.colorizedGrayscale) {if (myRaster.colorizedGrayscale) {bitmapFound = true;}}
            else if (myRaster.channels < 4 && myRaster.colorizedGrayscale)
            {
                      if (/^PANTONE/.test(myRaster.colorants[0]))
                      {
                                try {var rastSwatch = workDoc.swatches.getByName(myRaster.colorants[0] + "P");}
                                          catch (e) {var rastSwatch = addProcSwatch(myRaster.colorants[0] + "P", bridgeDoc.swatches);}
                                changeRasters(myRaster.colorants[0], rastSwatch.color);
                      }
            }
  }
  
  if (bitmapFound) {alert("Found at least one colorized raster image in the Digital file.  Please manually change their colorants to CMYK.\nPlease see Chris McGee for more information.");}
  if (checkForTint) {alert("At least one raster image in the art has been converted to CMYK.  However, if its former spot color was tinted less than 100%, then you will need to manually change the colorant in the Digital file to match.\nPlease see Chris McGee for more information.");}
  
  // We should be done now with the PANTONE Bridge reference document, so close that.
  bridgeDoc.close(SaveOptions.DONOTSAVECHANGES);
  app.redraw();
  
  function addProcSwatch(swatchToGet, docSwatches)
  {
            var bridgeSwatch = docSwatches.getByName(swatchToGet);
            var newSwatch = workDoc.swatches.add();
            var spotName = bridgeSwatch.color.spot.name;
            var spotValue = bridgeSwatch.color.spot.getInternalColor();
            newSwatch.color = CMYKColor;
            newSwatch.name = spotName;
            newSwatch.color.cyan = spotValue[0];
            newSwatch.color.magenta = spotValue[1];
            newSwatch.color.yellow = spotValue[2];
            newSwatch.color.black = spotValue[3];
            return newSwatch;
  }
  
  function changePaths (colorName, newColor)
  {
            var allItems = workDoc.pathItems;
            for (var j = 0; j < allItems.length; j++)
            {
                      var thisPath = allItems[j];
                      if (thisPath.fillColor.typename == "SpotColor" && thisPath.fillColor.spot.name == colorName)
                      {
                                var thisTint = thisPath.fillColor.tint / 100;
  
                                thisPath.fillColor = newColor;
                                thisPath.fillColor.cyan *= thisTint;
                                thisPath.fillColor.magenta *= thisTint;
                                thisPath.fillColor.yellow *= thisTint;
                                thisPath.fillColor.black *= thisTint;
                      }
  
                      if (thisPath.fillColor.typename == "GradientColor")
                      {
                                for (var g = 0; g < thisPath.fillColor.gradient.gradientStops.length; g++)
                                {
                                          var gStop = thisPath.fillColor.gradient.gradientStops[g];
                                          if (gStop.color.typename == "SpotColor" && gStop.color.spot.name == colorName)
                                          {
                                                    var thisTint = gStop.color.tint / 100;
                                                    gStop.color = newColor;
  
                                                    gStop.color.cyan *= thisTint;
                                                    gStop.color.magenta *= thisTint;
                                                    gStop.color.yellow *= thisTint;
                                                    gStop.color.black *= thisTint;
                                          }
                                }
                      }
  
                      if (thisPath.strokeColor.typename == "SpotColor" && thisPath.strokeColor.spot.name == colorName)
                      {
                                var thisTint = thisPath.strokeColor.tint / 100;
  
                                thisPath.strokeColor = newColor;
                                thisPath.strokeColor.cyan *= thisTint;
                                thisPath.strokeColor.magenta *= thisTint;
                                thisPath.strokeColor.yellow *= thisTint;
                                thisPath.strokeColor.black *= thisTint;
                      }
  
                      if (thisPath.strokeColor.typename == "GradientColor")
                      {
                                for (var g = 0; g < thisPath.strokeColor.gradient.gradientStops.length; g++)
                                {
                                          var gStop = thisPath.strokeColor.gradient.gradientStops[g];
                                          if (gStop.color.typename == "SpotColor" && gStop.color.spot.name == colorName)
                                          {
                                                    var thisTint = gStop.color.tint / 100;
                                                    gStop.color = newColor;
  
                                                    gStop.color.cyan *= thisTint;
                                                    gStop.color.magenta *= thisTint;
                                                    gStop.color.yellow *= thisTint;
                                                    gStop.color.black *= thisTint;
                                          }
                                }
                      }
            }
  }
  
  function changeRasters (colorName, newColor)
  {
            var allRasters = workDoc.rasterItems;
            for (var j = 0; j < allRasters.length; j++)
            {
                      var thisRaster = allRasters[j];
                      if (thisRaster.channels > 1 && thisRaster.channels < 4 && thisRaster.colorizedGrayscale)
                      {
                                if (/^PANTONE/.test(thisRaster.colorants[0]) && thisRaster.colorants[0] == colorName)
                                {
                                          thisRaster.colorize(newColor);
                                          checkForTint = true;
                                }
                      }
            }
  }
  // That concludes all of the color-changing steps.
  

  I hope this helps someone else who is faced with this (admittedly unusual) situation.

• Lack of Pantone color in Illustrator Library

  Hello world

  I work with Illustrator 6 and here my question:

  The Pantone Coated 2167 C and 626 C are not available. How to manage to add all the missing colors in the library?

  Thanks in advance for your help.

  Fanny

  There is nothing wrong in sharing libraries. Two sources:

  This thread of the InDesign forum - see #129 on the last page:

  https://forums.Adobe.com/message/8289623?TSTART=0#8289623

  Then see what it does refer to:

  Sharing libraries of PANTONE Color Manager with task force - Pantone.com

• Find Pantone colors in Illustrator

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• Lack of Pantone colors in illustrator and Indesign

  Hello
  

  
  

  I hope someone can help me with the following.

  I use adobe creative cloud every day on a mac. We are currently finishing off a re-brand of the company I work for and we have a new color scheme implemented, which also means PANTONE new colors were chosen.

  But for some reason, I can only find 2 of the 4 colors in my indesign and illustrator PANTONE color libraries. The rest do not seem to be available...

  You miss the following colors:

  PANTONE: 2347

  PANTONE: 2292

  I wonder if there is some sort of an update that I should do for my libraries of colors? and what is the best solution for these missing colors in my adobe design creative cloud account so I can start using them in the future.

  Thanks in advance!

  PANTONE provide all their colors as shades available for download on their site, more free libraries, some only in the context of their commercial software. Check out their site. While there, also read their color guides. The colors you chose may simply have been replaced / replaced by others. For what be more demand in the forums of each product.

  Mylenium

• How to add a PANTONE color to docs?

  Hello world

  I had this script

  docs var = app.documents.

  for (var i = docs.length - 1; i > = 0; i--) {}

  try {}

  docs [i].colors.item ("body text color') .name;

  }

  {} catch (MonErreur)

  . colors.add docs [i] ({name: "Body color", model: ColorModel.process,})

  ({colorValue: [20, 100, 80, 10]});

  }

  }

  to add color to docs, but

  How can change the value of PANTONE color?

  Thank you

  Respect of

  Teetan

  app.activeDocument.importAdobeSwatchbookSpotColor ("PANTONE yellow C");

• How to set text in an object, so the object expands with the text and has even space on both sides of the object in illustrator cc?

  How to set text in an object, so the object expands with the text and has even space on both sides of the object in illustrator cc?

  R,

  You can do this:

  (1) create the initial direct Type;

  (2) in the appearance palette dialog, click on add a new fill and define the color as you wish;

  (3) effect > convert to shape > Rectangle corners round/Rectangle/Ellipse and set parent > width/extra height as you wish (essentially what needs to be added to the size of the bounding box, if anything).

  After that you can change the Type and the filled area will fit as shown on the picture.

• Adobe libraries - Pantone color chart

  I was wondering if you can add some color swatches Pantone libraries from Adobe? At the moment, it seems that I can only add Hex and CMYK.

  I use the latest version of Illustrator (18.1) on a Mac (10.9.5).

  Hello

  Currently we only support the process colors in the design library and no spot colors. So while trying to add any point of color in the design library, color will be converted to process color.

  Thank you and best regards,

  Mohit Gupta

• I want to print or export (PDF) a design with an indication of pantone colors used without separations so that our customers can see them (not in CMYK)

  Before I used illustrator CS, I was able to point used on a print or PDF with coreldraw pantone colors.

  Can someone tell me how to make such an impression with CS6.

  My customers saw no Pantone colors used in the design (not in CMYK)

  Add your tones to your Swatches Panel (window > Swatch Library > color books > Pantone + solid coating >)

  In the menu drop-down of the swatches Panel, select all unused nuances and delete it. Also remove all unused swatch groups.

  File > Configuration of Document > do the purge. 5 ".

  Use the text tool to indicate the spot colors on the outer edge of the background area lost, do the color type matches the specified color spot.

  Save as PDF. This PDF file printed with purge will show the spot. Alternatively, you can select 'Add crop marks and color bar' in the print settings, which should also indicate the tones.

  In InDesign, you can add a box to your page slug, where tones usually added.

• Add used colors (PMS)

  I would like to delete all the nuances in my Swatches palette so I find myself with no color chart (from own). This way when I create illustrations using colors PMS (color chart), I can add later, and then in the Swatches palette, I will have only the PMS colors and CMYK colors used in the document.

  However, and I do not remember what happens before, but now when I "Add used color chart", all PMS colors appear in the Swatches palette, but appear as process colors, represented by CMYK values in the color palette. I used to do (add used shades) and when they were added, they appear as a spot color in the palette of Swatch and read as 'Pantone xyz' in the color palette.

  I don't want the PMS colors to add as tones of PMS, cmyk process...

  Illustrator CS 5 (15.0.2) using MBP 10.6.8.

  
  Thank you.

  PANTONE solid colors are tones when you add in the book of colors, but the moment you delete them in order to 'clean up' the file, you convert spot colors to process. Of course Illustrator is unclear to them as Pantone colors.

  If you want to "clean up" your file, why not just use the command "select not used" in the Panel menu?

• Pantone colors and networking tool.

  Hello

  I am doing a logo using the NET tool. I have to use pantone colors, since it will be used on a bussinesscard.

  Now, I'm having the following problem: I select a darker color on the lower part of the object, and the gradient goes from dark, to light, to normal.

  Why is this happening? Is this because I use the PANTONE? He looks just yucky.

  Thank you!

  Image:

  [IMG] http://i22.Photobucket.com/albums/B338/Aetza/drop.PNG [line]

  I clicked three times, so I have three horizontal and three vertical lines. The bright part that happens between two lines.

  function() {return A.apply (null, [this] .concat ($A (arguments)))}

  Also, I have no knowledge of printstuff.

  And because of this, others are here trying to help you avoid yourself in trouble. Before anyone actually starts to load money to do the work of design or preparation for commercial printing, they have really should consider their responsibility (what a concept!) in fact be less familiar with the printing process. Otherwise, if you present yourself as a designer for print, you really are defrauding the customer.

  Take a course at school local tech. part-time work in a newsroom for peanuts, just learn. At the very least, ask someone to give you a functional to a newsroom tour when you can.

  It's not rocket science; It is especially a simple mehanics. But it is also not just a simple matter of reorienting your work of web RGB. (Actually, it's backwards; usually, you first need to design for printing and then reuse for the web).

  As soon as you start talking about real ink on paper, you talk about the work reality and materials in real-time on some really expensive equipment. Commercial offset printing is very competitive. Printing houses by jobs citation needed according to the jobs coming in from external preparers method are built right, i.e.; that the external designer knows what he does. You can't wait for a print shop to eat the costs involved in the setting of your file-picking errors.

  In short, the printing world is full of very bad relations between angry designers who think they know what they are doing (often these days here just because they did a design work for the web) and printing of the houses who know that they don't. Trust me: you don't need this stigma. A print designer she should consider a question of the need for very strong with publishing houses, based on the mutual respect of professional relationships. Without this, you really will be not competitive, no matter how skillfully talented you consider yourself.

  function() {return A.apply (null, [this] .concat ($A (arguments)))}

  But it's really a pantone

  There is no such thing as 'a pantone. PANTONE is a trademark; It's a business. Different Pantone libraries are a few sets of standard tones or sheet of color published by Pantone and process used to communicate colors to the publishing houses. PANTONE is not the only game of spot colors, but it is most commonly recognized in offset lithography; It precedes graphic computers for decades.

  When you create a file for the separation of color (e.g., mass printing), your concern is if it will be printed in spot color or process-color printing (or, in some cases, a combination of the two). So that your color file correctly, you should build properly.

  And the color separation isn't the only issue; There are other issues affecting if work is printed correctly, such as the density of ink trapping and total.  For example, spot is inherently less forgiving when you neglect the issue of trapping.

  All prints are a matter of production economics. Business process vs. tones, several practical factors come into play, including the type of paper, the specific press which will be executed work and even the nature of the work of art itself (ex: line vs halftone, tightness of registration of color and others).

  When designing for the printing of separate colors, do not think in terms of 'color '; think in terms of real, physical inks. Basically, your job is to deliver to the printing of a file that contains an image by ink - especially with spot (i.e.; that too many people think as a synonym for "Pantone"). Don't think a point of color as a 'color '; Think of it as a ink.

  Offset presses have an ink separate for each ink that will be printed. Each ink hits the paper at a time other than the sheet passes through the press. Typical printing of SME - SMIs, bread & butter jobs like business cards are usually run on rather small presses. Those who are rarely more than 4-color presses and are often 2-color presses. If, in your work, the number of colors for separation then exceeds number of inkwells on the specific press, the job cannot be printed in a single pass; the paper must be rerun to apply the number of inks and implies another implementation of press operation - you pay.

  So if (as it may seem), you take the warning 'use Pantone colors' just average for "make sure that all of the colors you use are selected in the Pantone swatch library", you're already in trouble. Whenever you add a color it draws in a spot color in your file, you're requiring another ink on the press.

  If you've read and taken seriously into consideration the foregoing, you will understand that, overall, it is rarely practical (profitable) to design a room containing more than three tones. As soon as you need three colors, you should consider 4 color (CMYK) process.

  (The high-end printing is often done involving more than four inks; it is not uncommon for work leaves color-plus-1 or process color-plus-2 tones.) MultiPass jobs may involve spreadsheets, varnish and metallic inks. But this impression of "lavish" is knowingly extravagant and is always carefully prepared to maximize the economy within the limits. Bien_qu' it may be, this extravagance isn't definitely usually the sort of thing used for the project type card.)

  JET