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

Tags: Illustrator

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