PANTONE CMYK failures different Pantone Color Bridge

Similar Questions

• PANTONE Color Bridge vs Photoshop

  Hello

  I'm curious why my Pantone Color Bridge gives me different information than Photoshop CS4 for the SPM 549.  I am creating a style guide for a client of mine and he prayed the spot, process, RGB HTML color codes.

  PANTONE Color Bridge says:

  PMS 549C

  RGB 94/156/174

  CMYK/59/8/9/19

  HTML 5E9CAE

  Photoshop says:

  PMS 549C

  RGB 94/156/174

  CMYK 65/26/26/1

  HTML 5e9cae

  65/26/26/1 seems much closer on the screen (I know, I know...) Is anyone know why the anomaly?

  A little quick test shows that your Photoshop for CMYK setting is USWebCoatedSWOPv2 - a very good moderate profile.

  The construction of the bridge of color uses a very heavy black generation - probably an approach lowest common denominator Pantone uses to provide more consistent color in the face of the inevitable press derive in most certainly unknown press conditions. A roll of the dice.

  The actual color that comes off a press of a given generation of CMYK depends very much on the conditions of paper and press.

  Tread lightly here when recommending a CMYK build to your customer. Include GREAT opposition.

• Values of Pantone Pantone values vs + Color Bridge Coated Book swatches

  I work with a set of Pantone colors.

  Why CMYK/RGB to Pantone in Illustrator CC values match the values given in the book of most Pantone color bridge?

  J,

  I understand the other threads that the game of RGB values is predetermined by society and not be replaced by something that (same Pantone).

  In addition, when you have the color of a Pantone ink and need to replace it with a set of CMYK or RGB values, it will always out one way or another. And if you need to combine several colors of replacement, they may well be out of different ways with the conversions provided by Pantone, which mean that they are inferior to the Pantone inks as necessary. Something similar may apply to cases with combinations of colors of substituted Pantone ink and CMYK/RGB of origin.

  Thus, at least in some cases it may be a better choice of retraining provided by Pantone CMYK/RGB values.

  In other words: who said that you agree, or should agree with the transformation (latest version) provided by Pantone in each case?

  It may be interesting to note that Pantone themselves have changed their minds about the best conversions more than once.

• Pantone swatches + Color Bridge come to overview of separation and export to PDF (InDesign)

  Hello

  Export the PDF to print business cards, showed that colors Pantone Color Bridge are not pantone colors. Only CMYK appears.

  The colors are not displayed in overview of separation:

  

  Pantone Solid colors are.

  Reinstall of Pantone Color Manager and exporting to InDesign didn't work.

  Is anyone familiar with this problem? Adobe's Support team could not solve the problem jet.

  Can I change the settings?

  PANTONE says: "the PANTONE COLOR BRIDGE libraries are fully supported in PANTONE color Manager and must be exported in CMYK, s because these libraries are the CMYK simulations for the colors solid PANTONE; in physical PANTONE COLOR BRIDGE guides are the colors on the right side. »

  CMYK the problem is?

  Thanks in advance.

  Color Bridge books are specifically developed after the conversions to CMYK (for an unknown color space) of libraries spots. If you want to spot colors, you must use one of the Pantone Solid libraries (i.e. Pantone + Solid Coated).

• 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.

• How is the Pantone color chart more Series is not everything appears under the pantone + solid coated library? Some colors are missing...?

  In illustrator CC under the menu LIBRARY of NUANCES, under COLOR BOOKS, in PANTONE + COATING SOLID, I can not find the green color C 2290 or any green color of the series?

  These colors are available? What's wrong?

  Standard text:

  Update of the Adobe color books:

  http://Pantone.custhelp.com/app/answers/detail/A_ID/1803/~/exporting-PANTONE-libraries-for-Adobe-and-other-solutions-from-PANTONE-color

  PANTONE Color Manager does not 'automatically' Refresh libraries; on the contrary, it gives you access to libraries for export in your applications.

  The steps to do this are entirely documented within the system of online help installed with the software and accessible from the Help menu. You can find them on Page 11 y. Here's a brief description:

  1. If your target applications are open, close them.
  2. launch PANTONE Color Manager
  3. go on display/Fandeck, then select the library you want to export.*
  4. go to file/export/select your application/choose L * a * b * to print or sRGB for Web design *.
  5. the library is exported and is now accessible from your target application.

  * PANTONE Color Manager also allows you the flexibility to assemble and work with color palettes, or apply an output profile for your front of libraries/pallets for export, to provide management of the PANTONE colors for a particular device. Please refer to the 'Help' system for more details.

  * PANTONE + Color Bridge libraries must be exported in CMYK.

  -OB

• CMYK and Pantone Color in artificial intelligence

  If I have only the pantone color, find the CMYK in artificial intelligence?

  Double click on the sample, and you should see the CMYK values for this ink.

  

  If you want to convert this to print in CMYK, there are 2 settings to change

  • Book in CMYK
  • Spot to process

  You will notice the icon change in the color chart to show that this color is so more spot but CMYK.

  There is now no exact value of CMYK to PMS colors. Adobe and Pantone changed their CMYK values over the years. While most of the CMYK matches are close, some are significantly different because you have only 4 inks trying to simulate the pantone together library, and a fluorescent or metallic PMS color for example would be very far. More muddy PMS colours usually have a close game, but especially those most dynamic have a close game.

• 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.

• Conversion of pantone color mode to CMYK in Indesign CS3?

  I'm working on a business card for a client, I use Adobe Indesign CS3.

  I use the outside for the print job company called 4over (4over.com) and they require that you use their print CMYK pdf engine so that they can do the job properly... Basically it bring down: I'm in Indesign CS3, I chose to print and the printer choose their "4over pdf engine CMYK to print" so the colors do not convert and the color does not change when they use their printers.

  4over tells me that my document is in pantone color mode, they can see the pantone 371C color, but not the CMYK values.

  How to change color pantone in CMYK color mode mode?

  If anyone can help me please. I would really appreciate it.

  I have attached the file I sent to 4over snack for anyone to respond to my question.

  Thank you

  Brandon

  Before export, in the swatch Panel, choose your Pantone color, right click and select options for nuance. Change the type of color to the process and the color to CMYK mode.

  If it is a business card, and you have shown to the customer a pantone swatch, know that you will not get the same results of color. There is a very useful book of Pantone available that shows samples side by side with the CMYK values.

  http://www.Pantone.com/pages/products/product.aspx?pid=283&CA=1&s=4

• PANTONE color Mismatch - Please Help!

  Hi all

  I'm sure this is an old topic, but I'm pulling out my hair at this time to try to understand why a color marked as Pantone Orange 021 C poster completely differently in the two files.

  Basically, I was sent a swatch source file to work from (in the form of a PDF document with coloured boxes and their Pantone code written on them), but when I copy and paste a color into my new file or select it from the swatches Pantone, color is completely different and in-depth has different LAB and CMYK colors to the original file.

  I see that my new file displays the color as a color of paper, in which case the source PDF displays colors in CMYK... that means that my source file was made using the non-Pantone book more color?

  If so, could someone please suggest how I could copy and paste these colors in my new files using the original CMYK values? Essentially, it is important that I keep the colors in my new compatible with the source PDF file - tips on how to do this would be greatly appreciated...

  P.S. I use Illustrator CC and made sure that I work in the same evidence in place.

  Thank you very much

  

  Giles

  Yes, your source file was made with old books of color Pantone containing simulation CMYK values.

  Since the CS6 these CMYK values are no longer present in the Pantone libraries +, but Lab values are used to calculate the closest possible CMYK simulation based on your color settings.

  Lab values for this color have not changed.

  If you want to keep the old values CMYK, double click on the nuance in the swatches Panel in your old document and choose: Type color > color

• 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

• Pantone colors

  How to change the color of an item on photoshop for a different color using pantone colors.

  Actual Pantone colors as Spot channels?

  Otherwise, please refer to what is sure to be many tutorials on the recovery of objects in Photoshop.

  Change the color of an object in Adobe Photoshop | Adobe Photoshop CC tutorials

  Photoshop change object color

• Help to find the Pantone colors

  Hello

  I try to use Pantone colors and some of them do not appear when I type the number e.g. 2333 CP.  I'm going between different libraries, sex / non-couche, etc., and most of them see fine.

  I have about 40 colors to find / match because I use to create accurate models of clothes.  It seems to be of those who are 2XXX I have problems with. Does anyone know what is the problem?

  Thank you

  
  Emma

  There is a Pantone iPhone app that includes 4 figures. A sample of the color (of modest value) comes with its Lab value (among others). By entering the value of laboratory in the Photoshop color picker, you can see and have precise color. Your 2333 C is 46, 1, 3. (It shows Lab to two decimal places. I rounded it)

  

• How to get gradient Pantone colors?

  My customer logo has a shield with a gradient on it, and I don't know how to determine what pantone colors they are. Any advice is greatly appreciated!

  If its juice all made from random CMYK or rub generates, then you could open it in photoshop, or copy - paste in it.

  You can then use the pipette and the photoshop color picker lets you click to display the closest Pantone color match.

  its not always accurate, but it's a good start, you can then look for numbers in the book of pantone and soften it to something that seems closer, or has a substitute CMYK better / build process work.

• Find Pantone colors in Illustrator

  I have a logo that will be put on the golf shirts, and has asked the company for Pantone colors. I have changed all the colors of CMYK to Pantone in Illustrator, but I was wondering if there is a way to see a list of all the colors that are used or I have to find everything manually?

  Try the script make the Swatch legend:

  http://www.Wundes.com/JS4AI/