CMYK CMYK conversion Dmax caveat

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• Choice of profiles for RGB forced to CMYK conversion

  When a mixed RGB/CMYK PDF is opened in Illustrator CS6, Illustrator requires a conversion to a color space or another. See this screenshot: http://imgur.com/sK8iEdn

  I guess this is a limitation of the Illustrator and there is no way to keep the two color spaces. Under this assumption, is it possible to choose the profiles used for the conversion of RGB to CMYK? Illustrator is possible to use the RGB and CMYK profiles defined in its color settings to do this conversion?

  I did some experiments with Illustrator CS6 and target RGB of MacBeth and checked my results with Photoshop CS6. I discovered that (especially) illustrator doing what he should do, within an error of 1% (probably rounded) on the output CMYK values. Here is a summary, in case anyone else needs this info:

  Assuming that the elements of the source file are all not marked, when a mixed RGB/CMYK PDF is open in CMYK mode and Illustrator is

  chosen, Illustrator uses the profiles and defined in rendering mode

  Color settings to make conversions from RGB to CMYK color. Thus, we

  have control over the profiles used for this conversion.

  If the RGB elements in the PDF file have embedded ICC profiles,

  Illustrator uses the ICC profile embedded instead of the RGB profile

  defined in the color settings. That happens, however, if the PDF file

  also includes the correct intention to output CMYK profile.

  If the PDF file does not contain an output CMYK mode, Illustrator will fall

  back on the color settings RGB RGB-> CMYK conversion profile. I think that it

  would be more correct for Illustrator use the embedded profile of RGB and

  the CMYK profile defined in the color settings, but this is not how it seems to work.

  If the PDF file contains incorrect output CMYK mode, Illustrator will be

  ignore the color settings and follow the embedded profiles, RGB and CMYK

  for the conversion, as can be expected.

• Anomaly in the CMYK conversion

  I have a file that contains a task - 404c.  When I converted that spot to CMYK (Edit/convert to CMYK), the spot is converted to 0, 8, 22, 56.

  A customer sent me a file.  It contains a task - 404c. When I convert his spot to CMYK in his document (Edit/convert to CMYK), the spot is converted into 51.2/48.73/56.54/17.79.

  The two files being viewed in CS5 (15.1.0), same program, same computer, different tabs.

  When I copy and paste my block of 404c in his file and convert it, it converts to the 51.2/48.73/56.54/17.79.  Conversely, when I copy his block of 404c in my document, it converts to 0, 8, 22, 56.

  My question: where is hiding the conversion variable? What menu/preference etc. is the difference between the two documents?

  Thank you for your patience and your willingness to help me.

  In both files, check the option of spot color in the swatches Panel menu

• Levels of gray to CMYK conversion issue?

  Hi, I have a print job that is currently using a tiff in grayscale for black printing.

  My problem is that I need to add a spot color. When I convert tiff CMYK it splits values among all 4 channels.

  Does anyone know how convert a grayscale in CMYK tiff file, but keep the black of the gray-scale right on the K channel.

  Or I can flatten the CMYK channels and get them on the K only.

  Any suggestion would be appreciated

  Antony

  I'm not sure that's what you're after, but consider this:

  Choose Edition > color settings > CMYK > Custom > Black generation > maximum

  When you change the Mode of the b & w tiff CMYK image will deliver in K

  

  Return to your normal configuration when the project is complete, so that future work will not be affected.

• RGB to CMYK conversion in artificial intelligence

  Hi, my printing says a RGB file I sent him, and he needs to CMYK for printing.

  (1) how can I know that the original file is RGB color mode?

  (2) how to convert file have RGB CMYK AI file?

  Thank you very much!!!

  lhcheng,

  (1) file > Document Color Mode.

  (2) tick CMYK instead of RGB.

  You should be aware that the colors RGB and CMYK are fundamentally different, so more likely, you will need to create at least a few colors again, and you have to accept some inevitable changes.

  Many RGB colors will be changed to CMYK rather muddy and messy, as you can see in the color palette when you select CMYK.

  And a lot of bright colors will become less.

• All the colors in a CMYK conversion file?

  Sometimes I have files having ridiculous color names or a dark palette that does not recognize my rip.  Is there an easy way to convert all colors in a CMYK file?

  If the document is in CMYK color mode, select and remove all the colors in the palette (unless entry that won't let you), then delete them.

• Conversion of PDF to CMYK.  Option "Convert color" is not.

  How can I convert a webpage (html) as a PDF ready to print, including a RGB to CMYK conversion?

  I use Acrobat DC. What I tried, is to use the browser button to convert HTML to PDF. I then open the document and go to the menu "Print Production. I expected to find the option "Convert colors", but he's not here. Help documentation indicates that this option is available only if you export your PDF file to a device "high-end". What is a high-end device? I use Windows on my laptop computer.

  (Cross printing station and prepress.)

  Hey tb66213760,

  Open Acrobat, go to the menu help & repair installation.

  Let me know if it solves the problem.

  Kind regards

  Nicos

• HTML in PDF format ready to print with the CMYK color conversion

  How can I convert a webpage (html) as a PDF ready to print, including a RGB to CMYK conversion?

  I use a free trial of Acrobat DC. What I tried, is to use the browser button to convert HTML to PDF. I then open the document and go to the menu "Print Production. I expected to find the option "Convert colors", but he's not here. Help documentation indicates that this option is available only if you export your PDF file to a device "high-end". What is a high-end device? I use my laptop.

  (1) under the Production of printing tools, in the right pane, you will find the convert colors tool. That's what you're looking for. Its availability has nothing to do with what type of device you send the PDF file.

  (2) that said, converting the PDF to CMYK color space is not necessarily required to print. You certainly can print an RGB and/or the PDF to grayscale for a local or network PostScript laser printer, for example. What makes you think that you absolutely need CMYK for printing any other type? Each RIP/DFE these days can directly manipulate the RGB content.

  -Dov

• Can anyone advise me on the conversion and submitting CMYK for the first time?   (In a language that is slow and easy to please)

  There is more discussion on this subject (and opinions) that Carter has pills and I have read many of them... but I'm still confused and since I was less than 7 hours to solve this problem, I'm crying out for more help.

  1... I know that I need more to learn about this... but that does nothing my period

  2nd... This is a simple corporate Head-shot that is produced in a print magazine with an article written by my client.

  3rd... The Publisher asked for the photo to be in CMYK mode and since this editor is in the USA, my assumption at this late date is that the standard CMYK color profile - U.S. Web Coated (SWOP) v2 produced by Photoshop is enough.

  I can be on the right track now, but I'm completely side stepping of Lightroom for all editing and staying in Photoshop in Adobe RGB (1998)

  At this time, when I click on view and choose a PROOF, CMYK is selected.  I don't know if it's accurate, or if the selection is premature.

  I plan to complete my edits in PS and then click on IMAGE, click MODE and choose CMYK.           Currently, for my editing process, it is set to RGB

  Hopefully save them as CMYK will be available after changing the MODE, but my save as feature currently available, available only ADOBE RGB (1998).  Also save a copy and a box to include diapers or not.

  Yesterday, when working on this folder, I clicked on the EVIDENCE and CMYK, but I didn't see any difference in the editing...  It maybe because I exported a ProPhoto since Lightroom file as a basis to begin by... I'm not sure, though.

  My concern is as follows... yesterday, I have saved in a CMYK file and it looked fine on my monitor.  I sent it to the customer (I chose the JPG extension) and when she had, the colors were OFF.  She sent the files back to me, and they were indeed average off...  He told me that it was not a matter of calibration of monitor between his PC and mine.   Which brings me to the last question... my monitor is calibrated "to eye" to a company of printer that I use for my regular photography - which worked great!    And unfortunately, at this late date, I can't get a profile of the printer of the editor.

  Thanks for reading all of this... I wonder if my current game plan is sufficient for this late hour...

  No Lightroom

  Edit in Photoshop in ADOBE RGB (1998)

  Keep selection 'PROOF' in CMYK, so that I have change

  At the end of my edit, click MODE and change to CMYK

  Save the file with CMYK to jpg.   (all other types of files are too big for the customer to manage e-mail)

  Am I missing something?

  There are a number of potential problems here, and it may not be at your end.

  First of all, it should be clear that CMYK is not so much a generic "image mode" because it is a description of the specific press conditions. If you produce final CMYK, you need to have the right profile. Do not use Image > Mode, use Convert to Profile.

  Given that, I wonder anyone who does not accept the Adobe RGB photographs for a magazine article, because it involves a process that doesn't is not correctly color generally not up to date and not managed. A typical workflow would today use InDesign, where images are usually placed in their original space of RGB whatever that is. Then the final conversion output CMYK is made as the last step, when you generate a ready PDF to InDesign.

  It helps if you know the final CMYK, because then you can the evidence for that so your file survives the CMYK conversion with the least possible damage (we're talking range cut here, not general color moves). But it is not absolutely necessary, that is why this workflow is relaitively safe.

  Thirdly, CMYK jpeg is itself risky, because several decoders of jpeg (in some software) is not a proper CMYK support. The result can be weird colors. This could well be the problem here, because it sounds as if your customer uses a non-standard workflow.

  So what to do? I would send two files. A sRGB as a reference, which is guaranteed to come out correctly. Then find a way to send TIFF to CMYK version if they insist, or ask them to try to open it in different software. Of course , you should have a calibrated and profiled monitor, but I agree this is probably not the immediate problem here. There is no particular reason that a CMYK file should return to the colors twisted if he opened and processed in color management software correctly.

• Filters for Adobe Photoshop greyed out in CMYK mode, why?

  In CMYK mode filters Gallery mode does not work in Adobe Photoshop CS6, can you please tell me what is the correct reason?

  Hi mahalakshmi.gg83470284

  Greetings.

  • Some operations only work in specific color patterns or bit depths. A lot of filters, including the Gallery of filters, does not work in CMYK mode.
  • As a general rule, any treatment in Photoshop works better with fidelity of color in RGB. CMYK conversion should be done as a last step after another editing and changes have been made.

  Concerning

  Rohit

• Print/objects in Illustrator CMYK, background in Photoshop RGB

  It's something that I did some time now without any problems yet, but I would like to know if it is a 'proper' or 'good' technique.

  Essentially putting something together for printing, I work in Illustrator, the text and some objects like vectors. Then configure my backgroung in Photoshop.

  Illustrator document is configured as CMYK, but the background is in RGB, it allows me to use things like filter overlay etc.

  I then place the background in Illustrator and just assume that the colors that don't print will be adjusted automatically by the Illustrator to export.

  Am I right to assume that good?

  Theoretically, you should be able to use RGB images in CMYK files and features (color calibration) are the so-called 'color management' will produce the best conversions CMYK 'possible' appropriately for the target output device.

  However, requires that you work in and understand, a workflow configured properly "managed color' with the correct settings of your monitor on the final print device. (And frankly, if you understand this, you wouldn't ask that question.)

  Realistically, people place RGB images in page layout (design) programs and for decades without problems. They often don't admit it, but it is true. Really, it boils down to two considerations:

  • How color-critical are raster images?
  • How the 'picky' are you?

  Especially if you are one of these creators of prima donna "sensitive artist" who are convinced that they have some color Super humanly increased discernment (gag me) and are simply too learned to never be bothered by something so funny that technical considerations, then you have a lot to learn and you will never be satisfied well-formed output CMYK , and still less the reality hard and cold physically inevitable RGB to CMYK conversion of the compromise.

  But if the project at hand allows you to focus on the practice regarding color accuracy - to-the original and have realistic expectations, most of the workflow auto conversions may be fine for your needs.

  For example, suppose that the raster image is a cartoon, or just a kind of model no objective. In many cases, minor color changes are not really a problem, because nobody in the 'true' color of the original.

  Conversely, suppose that the raster image is a recognizable subject. You wouldn't a greenish blue sky to go or someone tired to go pale.

  It's something that I did some time now without any problems yet, but I would like to know if it is a 'proper' or 'good' technique.

  Of course, it is not 'correct' or 'good '. Best practices, is to only use CMYK color corrected in documents CMYK images. It's just that sometimes, on certain types of projects, it is not really important for all purposes useful.

  For example, I frequently produce technical documents which are delivered via the two composite characters on request and small and efficient interactive PDF format. I'm developing separate versions of RGB and CMYK documents; that would be ridiculous. Photos and vector graphics involved are not critical of color and RGB works very well.

  If you are a serious Designer, you should work with CMYK (in most cases) images and learn more about color calibration of standard practices, but also (and probably more importantly still) learn more about the correction of the color and how to exploit the benefits of RGB and CMYK and Lab to improve of the images for CMYK printing.

  I also frequently produce ads for placement in magazines. I have full CMYK, usual pre-press and practical standards, build them and sweat blood over the realization of optimal color.

  Illustrator document is configured as CMYK, but the background is in RGB, it allows me to use things like filter overlay etc.

  In other words, there are some things you can do in RGB that you can't do in CMYK mode. Guess what: it's nothing new. For example, correction of same color color-critical movements are quite often made in Photoshop in RGB. I'll sometimes use a copy of a RGB channel to change the CMYK channels. But when the image is completed, it is converted to CMYK for the final placement on the page.

  The same can be done in Illustrator. You can work in an RGB document and use the effects of RGB if you want, then flatten transparency and convert all to CMYK. Consider: you can use RGB effects throughout the day, but if you want to be printed using the standard CMYK, all your stuff of RGB color separation will be converted to CMYK before the ink hits the paper somewhere . It's just a matter where that will happen. You can control yourself or entrust it to some automagic along the railroad stage (i.e.; abandoned).

  But if you do use RGB images in projects for the CMYK separation, you must be realistic and understand that the garish neon colors you see on your monitor just won't be mapped in CMYK mode. For example, bright blues will go significantly desaturated, Cyan being the weakest ink in CMYK. If you can consider this rules of thumb and just take what you get. But don't whine (as one of the aforementioned tenors) your print results are "flat" or 'not vibrant' or 'disorder' or 'bad '.

  JET

• Spot-> CMYK

  Maybe I'm just not looking in the right place or skimming top, but I need a hand with a shade SPOT CMYK conversion in CS4.  This problem only happens in InDesign and Illustrator, through several installs and also for a client (which is how I found it).  Normally, I choose the shade of the library, edit it and changeit spot in the PROCESS.  Good way to do and pretty easy, right?  Well, here's what happens:

  PANTONE 440 c - dark Burgundy

  InDesign CMYK values: 82, 76, 100, 30 (print/poster green dark, not even close)

  Illustrator CMYK values: 82, 76, 100, 30 (print/poster green dark, not even close)

  Photoshop CMYK values: 65, 67, 65, 68 (prints/poster, dark Burgundy, like this conversion)

  Bridge color settings: synchronized (not that it matters)

  It looks like 438 and 439 may also have the same problem.  Any suggestions?

  Thank you!

  By default Photoshop defines the Pantone Solid colors as a laboratory. The CMYK values, you get in PS (65, 67, 65, 68) is the transformation of the color of the laboratory management to your workspace CMKY color settings. Change your CMYK working space and you will get different values. The Pantone solid to process in the PS library will give you the same values that you see in the ID and AI (82 | 76 | 100 | 30).

  You can get Lab of Photoshop CMYK behavior to work in the ID checking for tasks using Lab values in the ink Manager.

• PANTONE CMYK failures different Pantone Color Bridge

  I wanted to know why the distribution of the color that Indesign gives a Pantone Spot color is different from the one specified in Pantone Color Bridge Book. Also, the color on the screen that Pantone Color Bridge breakdowns show seems more precise than those specified by Indesign.

  Any ideas on this or items that can explain this?

  Thank you

  If I remember correctly, InDesign´s Pantone Solid CMYK conversion is the conversion table-based us SWOP. Bridge is based on the European color conversion table, probably a standardized ISO profile. That s why I always use CMYK values taken from the booklet of the bridge of the Euro, I never let Indesign convert spot Pantone Solid to CMYK color by changing the color of spot in the process type.

• Crazy color conversion prodblem

  I'm designing a package using PMS662. I have the color will be used in the process. PS, the conversion in the process I have values of C:100 M:94 Y:31 K:13. In InDesign and Illustrator but I have C:100 M:71 Y:0 values K:18. Now I know that I can simply define values in PS since it will be printed in process, so it's more a curiosity thing I think I should better understand.

  General information - color settings are synchronized between the applications and the color has been chosen among the same Pantone book named (Pantone Solid Coated) in all three applications. I've been doing this for a long time and I never notice any other color be so different between programs.

  Any idea would be appreciated. Thank you.

  MIke

  PS - I've attached a screenshot of PS implementation for reference.

  

  InDesign and Illustrator use Pantone Solid to process default values.

  2 options:

  1. in Photoshop, use the solid to Process library when picking out the color.

  2. in InDesign, the swatch Panel, ink Manager, use the Lab values for spots. Illustrator, swatch, tones, use the lab values

  With option 1 you get Pantone Solid to process book numbers. With option 2 you use Lab book of numbers. These are converted to the CMYK destination. As long as the color settings and document profiles are synchronized, the lab CMYK conversion must match in three applications.

  With Illustrator and Photoshop, you should know that if the documents are RGB, that will change the result. Working with PANTONE to RGB can be somewhat difficult. Let me know if you have any questions.

• The design of business card in photoshop?

  Hello

  How to do?

  Thank you

  daniald50947272 wrote:

  Thanks for the reply,

  Could you give me the standard size? Resolution? And CMYK with how many bits?

  How will print the cards?  The printer will be preferred sizes, so you have to ask him.  It is the same in CMYK.  I tend to let the printer to do their own CMYK conversion because they know their equipment better then you, but ask them.

  You should also ask about the purge and the security zone.  I just found this chart with Google Images.  The black represents the size of the map.  Red is the purge, which means how good overlap all items image or color coming to the edge of the map, so they will fit the edges after being cut to size.  Green is the safety zone, and you should not place important elements like text, outside this line.

  

  When you finish your design export to PDF using a preset high quality print and exit all layers intact flatten not the layers.  To verify that you did things correctly, open the PDF file and zoom in as far as possible.  All the text should remain strong of madness without aliasing.