Pantone color question

Similar Questions

• 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

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  Your copy of PANTONE Color Manager is seriously out of date, because this problem has been fixed for a long time.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

• 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.

• Task of coloring / questions preview overprinting

  Hello all, I have this project t-shirts I work what was supposed to be transformed spot to be silkscreened on t-shirts.  I'm still fairly new to Illustrator and really know nothing about printing, so I need help. the image is CMYK, a lot of oranges/reds/Browns for an association local firemans.  I've already found how to change the colors > Recolor with preset > selected pantone coated colors solid and played with all the colors to get as close to the original as I could.  It started as 26 colors and I got up to 6 tones with success.  I am satisfied with the way it looks on the stage.  Now I come to a few questions... in the "Separations Preview" Panel, I have hidden from view of all CMYK channels and left visible 6 all pantone colors.  Image looks like much.  But when I check the box 'overview of overprinting', the image turns to crap... why? Now, I tried to research exactly what the "overprint Preview" means, and from my limited knowledge, I understand that it is in the sense of transparency that the layers of ink to print.  If someone has an easier explanation, feel free to explain.  So I guess my questions are, why is there such a big difference with the overprint preview? If I send the image to get prints, which will be printed, the bad or the good version overprint preview version? and finally, if I continue to edit the original and keep control of the overprint Preview until it looks good, what is the best way to do it without a blind guess and check? Thanks in advance, after I spent time playing with all colors until he waits just to the right, that my heart sank after that I clicked on the overprint preview...

  Justin

  I really like how the "overprint Preview" looks now so hopefully that's not spoil anything.

  Overview of overprinting is just a display setting. It won't spoil anything, but in a screen printing environment, your misunderstanding of it certainly will.

  Overview of overprinting is trying to simulate on-screen the printed results of overprinting fills and lines assuming that translucent CMYK process inks. It does not simulate the results of overprinting of the opaque , like those commonly used in four-color silkscreen inks.

  Example: It is a common practice in screen printing for:

  1. print a solid black ink,

  2. "flash" (partially dry) it.

  3-overprint a lighter solid color.

  For example, imagine a picture of a dinosaur printed on a black T-shirt. The body of the dino is printed in dark green ink. The leathery texture to hide the Dino is rendered by printing an average green ink on top of the dark. A lighter yet (greenish yellow) ink is printed on top of that, for highlights.

  That kind of accumulation is more akin to painting on a canvas with opaque paints (oil or acrylic) what whether associated to CMYK process in advertising offset press room. Overview of the feature has no Illustrator overprint simulate. In this image, preview overprinting of the Illustrator inks overlapping areas would be displayed as more and more darker, not lighter.

  So you deceive yourself with results potentially job-demolition if you rely on overview of the overlay as an indication of what the printed results will look like in a screen printing environment. Then, turn the power off. Learn what overprint means in fact regarding the separation plates.

  Above is of the major reasons why many stores print screen use Photoshop to build up their work. Multi-Sondage-channel Photoshop files can properly simulate real results of overprinting of opaque inks, because the interface allows you to set the opacity of the inksis expected.

  At design time, do not think that "color". Think inks.

  JET

• 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

• 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 standard will not launch

  I have a ThinkPad W530 with color sensor and Pantone color standard. It has worked very well since I got the computer brand new for more than a year. Since last week, my color Stallion did not launch when I click on the notification "ThinkPad display must be postponed. I have the rotation icon, but it disappears after a few moments. I tried to do a restore and selected a time point before I think it happened. But the system refuses to return to this restore point, because he "can not find a file." What the? I have not deleted all files in system folders, I can't believe that one of my automatic updates has this screwed up. Of course, the message doesn't tell me what * kind * of file is missing.

  I am looking for a download and a re-installation of the program of Pantone color calibrator
  pantone_color_calibrator_setup_v1_2_0_6455.exe from this page: http://support.lenovo.com/en_US/downloads/detail.page?DocID=DS015010.

  Hoping that will work, but someone else has experienced this problem? And that he turn out to be?

  I'll report the results of the re - install and thanks for any help pother.

  For some, the sensor and calibration software is really limited in functionality.

  Check this thread here for pointers on the issue:

  W520 FHD LED TFT 95% range display and sensor color with the Pantone Calibration - review

• 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)

  

• After you have installed the latest Pantone color library in photoshop, some colors are inaccessible

  I try to refer to a specific Pantone color in Photoshop. I want to use the color library browser, so that I can easily get an overview of my chosen color variants. The color, I'm working with is not available in the original Pantone Coated color book provided with my version of Photoshop. So I downloaded and installed the Pantone color Manager and checked the color I want IS identified in the book lying in the Pantone color Manager. Great! I saved the book of color as a .acb file and installed in Photoshop. But I can not yet select some colors. They exist in Pantone color Manager, but they are not searchable from within Photoshop. Very strange!

  Here are the steps I followed to bring the book of the color in Photoshop:

  1. launch Pantone Color Manager

  2. Select the formula Guide - coated color book

  3. perform a search for "2128" and ensure that color exists.

  4. choose Save as... and save the file with a .acb (Adobe color book) file. I named it "PANTONE + Solid Coated - V3.acb.

  5. exit Photoshop

  6 copy the book of color in books color file in Photoshop (/ Applications / Adobe Photoshop CC 2015/Presets/color books).

  7. start Photoshop.

  8. open the color picker and click the button "color libraries".

  9. choose my new book of color in the menu ("PANTONE + Solid Coated-V3')

  10 type '2128': not found (Photoshop shows me 212c instead).

  I scrolled the book color in Photoshop - color isn't here!

  What I am doing wrong?

  You want to export the color book. Then it must meet 2-1-2-8 in the Photoshop color picker and I would choose Lab as the color model during export.

  

  Gene

• I'm looking for updates for Adobe cc pantone color libraries 2015.

  Cannot find the shift of color pantone thereafter books CC 2015.

  PANTONE stopped updating libraries HAVE several versions ago. You should probably download the 30 day trial of Pantone Color Manager and export libraries of here to get the new colors.

• New Pantone colors

  I just bought the new Pantone formula guides and there is that a wide range of colors not specced in InDesign. For example, 2441... I searched in vain, and would appreciate some help. Thanks heaps. I guess Adobe have not simply update their libraries? I didn't think the new new samples, which were however...

  Apologies - just realize that I have to use Pantone Color Manager. I have "save under" the new library there. Thank you.

• 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.

• 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