Illustrator and blending modes. Color management issue.

Similar Questions

• blend mode: color. How does it work?

  Y at - it a simple exercise to see how the blending mode: color?

  Please, I beg you.

  Thank you

  Hello, there is more info on all blending modes: http://photoblogstop.com/photoshop/photoshop-blend-modes-explained#BlendModeDescriptions

• messy color management issues

  I created a few illustrations of hundreds of Quilt to CMYK. The colors in the illustrations are approximate and there is no way around that. Illustration files have been created well before I knew that I have to do the color management.

  My office is as neutral as I can get it, which shouldn't be too hard.   And it will have the desired ambient light. The book goes 4 x color press. The office of printing service provided me with the ICC profile for their press.

  This is the first piece of the puzzle: the quilt is in Wisconsin, and I am in South Carolina. Thus, specific colors are a problem. I sent the author a book of fan of Pantone Coated 4 color Process and asked to match the colors of cloth with Pantone colors as much as she can then send me the CMYK values. The book will be printed on coated text papter. It seems logical that if I am using profiles right and using its CMYK values, we should get a reasonable color rendering. (Note that I didn't say "exact").

  So the question #1: as a starting point, this approach has a sense for you?

  Next piece of the puzzle: I will soon receive a photograph of the quilt in RGB (obviously). The photographer takes snapshots in Adobe RGB. This photo will be the only source of color information, I have, except a few samples of tissue from the quilt.

  So question #2: if I convert to CMYK photo so it has the same color profile that the illustrations, if a color of the carpet seems like a match reasonalbe with the corresponding color in the illustration, can I rely on this information?

  Regarding correction of color between red and green, ago more red and reddish brown than green, so the intention of encouraging the reds in the profile.

  I'm probably too simplify these problems. But I'm in the ballpark?

  Thanks in advance.

  Toni

  Toni,

  Sorry for the delay: the ragworts kept luring me further and further away (others may have other excuses, or maybe wait silently, relying on my ansering as soon as I'm back in the cool of the farm, I hope not just waiting to go for we two).

  I created a few illustrations of hundreds of Quilt to CMYK. The colors in the illustrations are approximate and there is no way around that. Illustration files have been created well before I knew that I have to do the color management. I assume you used a limited number of colors, matching fabrics, so you can change shades or use Select > same > fill color, no?

  My office is as neutral as I can get it, which shouldn't be too hard.   And it will have the desired ambient light. The book goes 4 x color press. The office of printing service provided me with the ICC profile for their press.

  This is the first piece of the puzzle: the quilt is in Wisconsin, and I am in South Carolina. Thus, specific colors are a problem. I sent the author a book of fan of Pantone Coated 4 color Process and asked to match the colors of cloth with Pantone colors as much as she can then send me the CMYK values. The book will be printed on coated text papter. It seems logical that if I am using profiles right and using its CMYK values, we should get a reasonable color rendering. (Note that I didn't say "exact").

  So the question #1: as a starting point, this approach has a sense for you? It does: it's perhaps the best way, assuming that the book is based on the same standards of color than the ink used by the printer (the book in front of me is Euroscale). This means that the author is rather deeply involved in the management of the color, which can be a good thing (she knows more or less what is possible and what she gets).

  Next piece of the puzzle: I will soon receive a photograph of the quilt in RGB (obviously). The photographer takes snapshots in Adobe RGB. This photo will be the only source of color information, I have, except a few samples of tissue from the quilt.

  So question #2: if I convert to CMYK photo so it has the same color profile that the illustrations, if a color of the carpet seems like a match reasonalbe with the corresponding color in the illustration, can I rely on this information? I doubt: depends on the correctness of the colors in the picture (only the author can say, perhaps), and it's two-step, fabric > RGB > CMYK. You can use it as an additional reference.

  Regarding correction of color between red and green, ago more red and reddish brown than green, so the intention of encouraging the reds in the profile. I think you should go for a good game in the Greens (and other colors), to have balanced and enjoyable work.

• Layer masks and blending modes

  I read on the layer blending modes in Photoshop CS6: The Missing Manual, p.121.  They talk about setting exposure using the blending modes, and they show how to darken an image by using the following procedure.  (1) activate a layer, (2) create a mask of levels, (3) the blending mode of the layer to multiply the value.

  My impression is that blending modes change how the pixels on one level interact with the pixels on the next lower level; that is, it implies there are at least two layers of the image.  So I'm not surprised that if I have a single layer without a mask and I change the blending mode from normal to multiply, it is without effect, probably because there is no immediately lower level to allow interaction.  However, if I have a single layer and create a layer mask, then changing the blending mode from normal to multiply darken the image.  That must involve the pixels of the layer are interacting with transparent pixels on the mask.  What?

  Can someone explain what is happening in reality not here?

  Use layer blending modes, you need to the two layers less.

  As you mentioned above:

  '(1) activate a layer, (2) create a mask of levels, (3) the blending mode of the layer to multiply the value'

  step 2 means create a levels adjustment layer that comes with a default mask if you want to make local adjustments.

  in this case, if you have a layer and add an adjustment layer, it works as if you duplicate the layer.

• Preview color management issue - glued assigned Adobe RGB image

  I often web elements page layout in InDesign that my composition tool, then copy and paste in Photoshop as a smart object to then generate optimized web images. It's just easier to use photoshop. Problem, it is in the latest versions of Adobe have clogged the engine of anti-aliasing and now when rasterising a PDF file or paste a picture also as a chip oppose any portion of the image of this asset is smoother. You don't really notice that if the image of origin placed in InDesign is say double or more this resolution of the web version of final product, the scale hides the issue. But if they are closer to really see faceting full size occurs. Long story... anyway, I decided to study the implementation overview of Apple as a gateway for the rasterising instead of photoshop. He did a good job on glued assets resampling, but on this point saving and checking in Photoshop, I note that Preview assigned Adobe RGB profile to the processed image. Even if I opened the InDesign PDF and export as image in my size. My color workflow is sRGB. InDesign and Photoshop are two parameters in this way, the image placed in InDesign also has sRGB profile, the PDF has sRGB profile. If I copy / paste between InDesign and Photoshop, they are both aware glued Trump space and warn me if different from that of the target document. I have no idea where Preview becomes Adobe RGB, I don't see its place in the app to change that as a preference, and in any case, it seems very strange to be a defect when most of the people would not use them.

  In the preview, click on the tools bar menu point and scroll to the bottom of the drop-down list to assign the profile

  the next submenu you can click on and select sRGB at the bottom of this list. To save this profile to your image,

  do a "save under" (click on file, press the option/alt key Save As should appear). You can also test under the view menu bar item.

  

• Help with transparency and blend modes?

  Well, I'm doing a book cover

  The idea is that I have a background at the top of which I put a label that contains the name of the book, but will 'cut' through the label to display in the background.

  I made a sketch of ideas, it's here

  

  Now, the question is how can I do this in Illustrator, but with a real object and a font instead of clear out a rectangle on an iPhone

  Thanks in advance!

  Jonas,

  You can:

  (1) create the Type (no need to describe) on top of the label.

  (2) select the two (and nothing else) and in the tick of the flyout palette transparency opacity masks do.

  If the Type is black have Clip and mask Invert unchecked (if it's white, tick mask Invert, hardly relevant here).

• How to keep the values of opacity and blending Mode

  Hello!

  I work with reflections, shades and given that I do a lot of forms with the same color values, opacity, mixture of fashion, I wonder how can I do to keep them set up, so I don't have to go to each path, and change the values every time. The only value that remains is the color, but for example, the opacity changes each time I start a new shape with the pen tool, and as I said, I work with the shades for a portrait, so I have to do a lot of shapes with the same characteristics. Does anyone know a way to set these values and keep them 'by default' so to speak?

  Thanks in advance.

  Context menu in the appearance Panel.  Deselect new Art has basic appearance

• Color change of values between Illustrator and InDesign

  I have googled and looked here for an answer to my question, but have not been able to find anything.

  I designed several pieces of encumbered asset, all using the same unique color. Some of the pieces I designed in Illustrator and the other in InDesign.

  The problem is, when I copy and paste the yellow color value (if it is RGB or CMYK - I tried both ways), it CHANGES between Illustrator and InDesign. The color stays the same between Illustrator documents, but if I C + P InDesign - or vice versa-, the color value change literally before my eyes. And I don't want to say 'looks like' different, real changes in number.

  Here's a real example:

  Call a box in Illustrator and chose the color #f8f1e0 / 2% 3% 12% 0%. Call a box in InDesign, C + P had the values of color in there, and it DID change the color appropriate for a moment. You click OK. Click New in the color picker and color is now #f8f1e1 / 2% 3% 11% 0%.

  If it is relevant, it seems that the color will change to a slightly darker every time.

  And Yes, the two documents has STARTED OUT as CMYK documents and stayed like that. I also have my color sync via Bridge. I'm working on CC 2015 and all programs are up to date.

  Any idea of what could happen? Thank you in advance.

  ETA: Okay, I just chose preview overprinting in Illustrator and also changed the color of #f8f1e0 to #f8f1e1. I see now this is not a malfunction of the program, but can someone explain WHY this happens? I'm still new to color management and it's quite confusing for me. Thank you once again.

  ETA: thing: when I save the InDesign document to readable PDF and then pull it in Illustrator, the color is now #f8f2e2, even when you preview overprinting.

  Hexadecimal values are RGB color, so if you plug one in the color chart the resulting CMYK values are a conversion of the color management of the profile the document CMYK document RGB profile. You will get different CMYK conversions according to the profile source RGB, CMYK destination profile, intend to color and compensation of the black point used for the conversion.

  In addition the InDesign documents can have colors RGB and CMYK with CMYK and RGB profiles assigned that do not necessarily correspond to the color settings work profiles, in order to sync'ng your color settings may not get everything to match.

  Ultimately if you want to match the CMYK color or nuances between AI and ID, make sure you document assigned CMYK profile matching (Edit > assign profile...) and enter CMYK and hex does not values

• Folder "Global colors without a name" of Pantone Color Manager ASE

  Hi all

  I'm not sure if this - or something similar - has been answered before, but I couldn't find any suitable thread/message /...

  All first of all system information:

  OSX imac running 10.8.x and macbook OSX 10.9.1 running

  * Illustrator CC

  * Pantone Color Manager

  I try to use the Pantone Fashion and home / color paper library provided by Pantone color Manager, clean for the use of the radiant missawi 18-3224 TPX (color of 2014). I saved the library named in a *.ase file and opened it in artificial intelligence. The number of colors, I guess, that all colors are imported, but I can't find the 18-3224. BUT there are a lot of 'no name Global Colors"with some of them who could be in question. Using 'pantone.ase xxd' in the terminal I can find at least the name "radiant 18-3224 TPX Orchid", which means, it is saved in the given file. Does anyone have an idea where start or - even better - how to solve this problem?

  Looking forward to any suggestions,

  Stephan

  Dear Scott:

  Your copy of PANTONE Color Manager is seriously out of date, because this problem has been fixed for a long time.

  To correct this, you will need to register at myPANTONE if you have not already done so - it is a free registration and will allow access to the PANTONE Color Manager update installer.  If you need to register you can do it first at https://www.pantone.com/pages/MYP_myPantone/mypMemberProfile.aspx.

  So here are the steps needed to correct this problem:

  1. delete all exported PANTONE FASHION + libraries HOUSE of all Adobe applications.

  2. log into your myPANTONE account and go to tools/downloaded software.

  3. download the PANTONE Color Manager for Mac or Windows Installer as appropriate.  It is the first product on the software downloads page.

  4. run the installer of PANTONE Color Manager directly on your current installation, which will update to version 2.1.

  5. the re-export the PANTONE FASHION + HOME of PANTONE Color Manager libraries for your Adobe products.  All exported PANTONE FASHION + HOME colors will now properly appear in Adobe Illustrator.

  Please note: when you start the PANTONE Color Manager Update, you will be asked to perform a "PantoneLIVE" update on the cotton F & H PANTONE library.  This update will remove the cotton F & H PANTONE and PANTONE F & H cotton - libraries of new colors and replace them with a single cotton F & H PANTONE library with all the colors of 2,100 in chromatic arrangement.

  Best regards

  John Stanzione

  Director - technical support

  PANTONE, LLC

  E-mail: [email protected]

• Satellite A210-171 - how to check the color management

  I work with the software digital painter on my laptop (satellite A210-171)
  Because my colors are not the same when printed (with the help of a printer of Dell A.I.O.) told me to check my Colour Management on laptop.

  I go to control panel and click on color management
  Then I see a generic PnP monitor - when I click on the drop down menu next to it I found that my printer is listed.

  What should I do next?

  As stated in my other ads, I know only a teeny weeny bit about the computer so please if someone is kind enough to answer, step by step instructions gratefully appreciate

  Sue

  > If there is someone who can fix this error please do, so I hope that I will get an answer to the question
  Why you n t he correct yourself? You can change the own message!
  But it looks like someone already did

  I guess that your laptop uses the ATI graphics card. So, the ATI Catalyst Control Center should be available.
  Usually, you can set some parameters of color in ATI Catalyst Control Center-> color

• blending mode does not work.

  I am unable to use the mix mode (screen) on my videos (shockwave) stock. He worked earlier but for some reason, he decided to stop working. He used to work with only the video layer stock alone, but now its not let me do blend with a single mode layer, now I have to use several layers for it to work. If I disable the other layer (not the stock of video) there is a black screen where the transparency is, as if it's a video of regular stock, same flood on the screen is activated. It's stupid because I just could, be able to have a layer and blend mode would continue to operate. Basically I can't use on a single layer blend modes as to make black become transparent. even if I could do a few minutes ago. Ive tried resetting preferences, Ive tried to restart the computer. With no luck. Someone help me please ():

  Here you can see that his game on the screen and the background is transparent but still black is not transparent.               Here, there is a red solid layer below the video of stock, which is on the screen. It works fine, but I don't want to have to add a solid layer, whenever I want something from the screen.

  

  You're wrong. The screen mode creates no transparency, it does that add some pixel values with a luminance value more high than black. Screen does not generate transparencies, never, never will.

  You can use Knoll Unmult to ensure transparency of the black areas in an image. It's easier work.

• What's up with the bridge color management?

  After obtaining a range wide screen (Eizo S2243W), it was a pleasure to be able to see the Adobe RGB colors that I knew were in the file, but previously could not be displayed. Although the Windows desktop and interface elements user sounds loud, I got used to that.

  ID, PS, AI, everything works perfectly. But I discovered that the bridge does not follow suit. The funny is that it shows the mute, standard version for 'gamut' - saturated not as one would expect with a range wide screen and non-functional color management (if this is the case). The only reasonable explanation for what I see is that the document profile is converted to sRGB. I can't reproduce otherwise.

  I'm no stranger to the color of help desk management, and according to my experience, the prime suspect in this case is still the monitor profile. So I've done several things to validate the profile. I recalibrated using the calibrator Eizo grouped with its EX1 (actually just a renamed Spyder3) sensor, and I recalibrated using color eyes Display Pro with another probe Spyder3. I also tried with Adobe RGB as the monitor profile just for troubleshooting.

  In all cases, I checked in the color settings PS that the profile has been actually used, and in any case, the effect of muting still shows in Bridge. Now, I am sure that PS/ID/HAVE rendering is indeed good. Suite color management is synchronized, using Adobe RGB as RGB working space.

  I have also purged caches of bridge in every way I can think and then reset the preferences of Bridge by ctrl-launch and control of the confirmation dialog box.

  The screenshots of the following two require a color managed browser and a range wide screen, since the difference is outside the sRGB gamut. The first used Adobe RGB as a monitor profile and a Adobe Integrated RGB, the second has the Eizo monitor profile assigned and integrated. They are similar, but the other should show exactly as I see it (click to view the display not set cache, the difference does not directly show in Firefox):

  

  

  Any ideas what is happening here?

  (Also published in the forum for color management)

  Sorry, that was a little short.

  Bridge poster of the images based on the pre-rendered JPEG files that it stores in its memory cache. It's thumbnails, larger and sometimes 100% previews previews. When creating these JPEG files, it uses made color Relative to the color space sRGB. However, it is usually * displays them correctly, based on the primary poster color profile.

  * Sometimes it gets bad, and you must minimize/maximize the window to retrieve.

• Blending mode (where are basis and mix colors?)

  The manual defines these three terms. (See page 350, "Blend Modes"):

  1. The base color is the original color in the image.
  2. The color mixture is the color applied to the painting or editing tool.
  3. The final color is the color resulting from the merger.

  So, if I have the following layers:

  1. Layer 'A' is above the layer "B"; and
  2. Layer 'A' is a blending mode assigned. For example, "Leclerc".

  So which layers contain the base and mix the colors?

  In other words:

  1. Is the 'A' of the blend color layer?
  2. Is layer "B" base color?

  j_french wrote:

  1. Is the 'A' of the blend color layer?

  Yes

  j_french wrote:

  1. Is layer "B" base color?

  Yes

• Color and/or modes of merger and/or the effects appear to be different between AE and SOUL

  First of all, I'm relatively new to CC.  Until now I am almost exclusively in love.  One thing I'm not too happy with that is the need to use the Media Encoder in After Effects to render to "broadcast formats.  I guess I understand global change, but it is annoying when you do iterative work of customer.  "Just use the Media Encoder!"  Right!  However...

  I use a lot of additive mixing in 32 bits.  It looks different if I make in After Effects vs the Media Encoder.  The Media Encoder does not manage correctly the "clearer".  Things are not "bloom" to white as they do in After Effects (and, especially, the way I want what they).

  Something is twisted?  I understand some related to the color adjustment or blending modes?

  It has never worked right since SOUL was introduced. You need make an intermediate file to convert to SOUL when working with 16-bit or 32-bit even.

  Mylenium

• Between 5.5 and CS4 color management problems

  I'm faced with a problem of color management and would be very grateful if someone could help me with that.

  I'm working to create in inDesign CS4 (6.0.6) and using my usual color management settings. I set up at the bridge in my CS4 and then use in InDesign, Photoshop and Illustrator. My settings are for jobs printed here in the United Kingdom, as follows:

  ---

  Workspaces

  RGB: Adobe RGB (1998)

  CMYK: Coated FOGRA39

  Color management policies

  RGB: Convert in the workspace

  CMYK: Convert in the workspace

  All three 'request when opening' checked

  ---

  Then I have a customer takes the file InDesign me, working there and returned to me to complete the development and execution of the high pdf - are for printing. It runs the latest InDesign CS5.5. I have him ordered to open InDesign and set his Edit > color... settings as follows without any open file is by default (am I do this bit correctly, it will work through all the files I send?):

  ---

  Workspaces

  RGB: Adobe RGB (1998)

  CMYK: Coated FOGRA39

  Color management policies

  RGB: Preserve embedded profiles

  CMYK: Preserve embedded profiles

  All three 'request when opening' checked.

  ---

  We did some testing and it doesn't work. It can open and work on the file ok and I see text changes she did without any problems.

  But when I analyze his record returned in detail, I can see that his record is now showing view > test format > Document CMYK - us Web Coated SWOP (v2)

  that suggests something coming to an end that applies US profile. I can change the configuration of evidence to work: Coated FOGRA39, but prefer the US profile never made his reappearance!

  My apologies if I'm doing a very basic error or errors here, but I usually have my color management just on my own system, so this is new territory for me. If anyone can help with what I should advise him to do to an end, I would be very grateful (she is about 300 miles north of England, so can't easily try the options on his MacBook Pro myself!)

  PS I also noticed that some items on the page have been modified when exporting .idml to 80% of transparency-enough to fool me for a while that the colors had changed over those too, when in fact I don't think that had anything to do with the issue of profile, probably just a bug between economy of process CS5.5?

  The easy way to get your colleague to use the settings that you want, is likely to create a .csf (color settings file) by pressing save button in the Edit > color... Settings dialog box, then having his press office in the same dialog box and selecting your .csf you sent.