Cannot remove Pantone Color in INDCS3

We had this problem in CS2 in the past. Running WIN XP, Creative Suite, all updates. Several old CS/CS2 files have embedded color that we cannot remove. It is not being used anywhere in the file. We have inx'ed the file without any result.
A while ago there was a work around. We don't want to copy every element into a new document because they are lengthly.
HELP -- We are desperate.
KPanthen, Albany, NY

Hi Ken,
If the PMS color really isn't in use, there is hope. It probably came in with an imported graphic that is no longer there and is just being stubborn, but open up the separations preview and turn off all the other plates, zoom out to see the whole pasteboard, and scroll through the document to see if anything shows up, just to be sure.
If it really isn't there, make a new document and define a new swatch with exactly the same name as the one that won't delete, but don't use the real PMS spot color -- define it as a process color instead. The actual definition is irrelevant.
Combine the new file and the problem file in a "book" and set the new file as the synchronization source, then synchronize the colors. You should now be able to delete the swatch, and throw away the new file.
Peter

Similar Messages

Cannot Edit a pantone color in illustrator

Has anyone encountered the problem of not being ablw to edit a pantone color in illustrator? I'm trying to switch it to process CMYK and the top portion of the editing box is ghosted out.
Solution?
Thanks !!
Ron

You need to have the swatch palette open > click on the element that uses one of the Pantone colors > the swatch should be highlighted in your swatch palette, panel, whatever > you should see the CMYK triangular square in the palette > click on the CMYK icon to convert the color to process > should show up as a new swatch, if not, just drag it to the swatch palette.

Transparency issues with INDCS3 and Pantone color

Running Windows XP, Serv Pk 2, Creative Suite CS3, All updates.
Heres the deal: We are having problems with PDFs printing and Ripping when using transparencies and drop shadows.
Issue 1: INDD CS3 file with transparent PDF placed as image. Separate frame filled with paper, stroke and drop shadow placed under trans PDF file. Filled frame areas of percentage tint using a PANTONE color used on same page. File re-PDFed (compat to v6) and file printed correctly to XEROX 7760 and HP color. PDF views correctly. Recommended ordering policy applied to all layers as to keep drop shadow below text. PROBLEM: User running Acro 7 to printing to same color printers, receives copy with color tint areas missing.
Issue 2: INDD CS3 file with solid Pantone color on background. Several text frames layered above. Under text frame a solid box with SOLID Drop shadow. PDFed using Acro 8. PROBLEM: User's RIP and DIGITAL presses do not recognize the drop shadow? White knockout box appears in this area.
It seems that CS3 is handling transparency issues differently and/or that Acro 8 (compat to v6) is doing something different. The Acro 8 users have no problem printing or PDFing.
Could this also be the "known issue" of transparencies and PANTONE colors? We are testing out converting all the colors to CMYK.
Please respond at your earliest.
KEN PANTHEN, Albany, NY

Ken,
If your final output is to the Xerox, which can't print Spot colors without converting them to CMYK, you should use process colors instead.
Also, read the articles from InDesign Secrets:
http://indesignsecrets.com/eliminating-the-white-box-effect.php
http://indesignsecrets.com/eliminating-ydb-yucky-discolored-box-syndrome.php
Peter

Illustrator CS4, new Pantone color books, color channel issue

Since I installed the new Pantone color books, I've been running in a major issue which will affect our whole production line.
If an Illustrator CS4 file contains a Photoshop CS4 image which is using an "old" Pantone color in a color channel, it cannot be opened and I get an error message "File is unreadable". If I replace the "old" Pantone colour with its new equivalent in the color channel in Photoshop, the file can be opened normally.
In our work environment, this means going through all our images to check which one is using a color channel. A painful and time wasting procedure. Furthermore, if one of our suppliers doesn't have the new color books, they won't be able to open any of the files, both Photoshop and Illustrator, so they have no way to revert back to the old Pantone.
Is there another way to fix this?
Thank you

More on the Pantone PLUS saga, hoping to get some input from the users of this forum. I find their silence deafening, to say the least. This is a serious issue, that will cost our agency hours and hours of work if it isn't addressed. And we've already wasted hours of troubleshooting and discussions on how we could resolve it.
We're actually testing a workaround: using both the old and the new libraries in Illustrator. After consulting our suppliers, we've learned that this is what they also do. For them, it's a one shot to get the file to print. For us, it means cheating with files that will get edited again in the future. And the Pantone installer removes the old Pantone books from the Adobe folders for a reason which is mentioned on the download page:
The reason that the PANTONE Color Libraries that had been built into Illustrator need to be removed and replaced with the PANTONE PLUS Color Libraries is that, in Illustrator, a PANTONE Color can only have one data point with which it is associated. In the short term, in order to benefit from the new colors and data associated in PLUS, the PANTONE Libraries that are installed with Adobe Illustrator are removed and replaced with the new PLUS Libraries.
http://www.pantone.com/pages/Pantone/Pantone.aspx?pg=20721&ca=1
I worry this may lead to another bunch of issue, knowing how easily AI files get corrupted. What I need to know is:
What is the exact meaning of the Pantone warning about the "one data point per color?
What are the long term implications of using both Pantone libraries in an Adobe file? Or in the Adobe app?

Can I easily match Pantone colors using Illustrator?

Hi all,
I run a small invitation supply company.
Our primary design tool up until now has been Photoshop Elements.
We recently purchased a $6000 printer from Xerox which is the 'gold standard' for graphic arts and Pantone approved.
We also have a pantone color bridge. When I print a color using the hex code, the color looks NOTHING like the pantone swatch.
I contacted Xerox and they told me that because Elements has a very low degree of color management that we will never be able to easily color match our pantone swatches and that they aren't surprised the color is way off.
I suppose I naively figured that spending $6000 on a printer would get us easy and flawless color matching. Xerox says- not so.
They suggested investing in Illustrator and they are convinced that it will be much more likely to get us to the point that we want. Ultimately I want to be able to pick a color from the pantone deck, enter the code, and feel confident that the print will come out 100% the corresponding color.
Am I living a pipe dream?
I would like some feedback before proceeding.
On top of the financial investment, obviously there is a lot of time that my partner and I will have to spend learning Illustrator.
Any input would be great.
Thanks,
Aaron

Am I living a pipe dream?
Yes.
More precisely, you are just failing to understand the fundamental difference between spot color and process color.
I want to be able to pick a color from the pantone deck, enter the code, and feel confident that the print will come out 100% the corresponding color.
Not gonna happen, even if you do all the tedious color management setup you can.
The above assumes you are, in fact, talking about matching Pantone spot colors. (Pantone does not just publish spot color swatches, but that is the usual sense in which beginners refer to Pantone.)
A spot color is, by definition, an actual, physical, single ink which is loaded into a press. The only way to achieve your 100% pipedream is to load that actual, physical, single ink into your $6000 printer.
But that's how a printing press works, not how your $6000 printer works. It works by printing four "primary colors" of inks and then arranging tiny dots of them in proximity to each other in order to "trick" the eye into seeing them as a mixture of colors on the page in proportions which try to approximate the spot color as best it can.
But physical inks are simply not accurate enough to actually do that. There are many, many spot colors which simply cannot be replicated by mixing arrays of primary colors of inks. That's what all this "gamut" talk is about. That's one reason why spot color inks exist.
The Pantone spot color matching system is a means by which to consistently communicate proportional mixtures of actual, real, physical inks of known specific colors. All anyone (including Pantone) can do with the CMYK inks (or dyes) in a desktop printer is try to recommend percentages of those CMYK inks to best approximate a match to an actual, physical spot color ink.
It gets worse. Your monitor cannot actually match a spot color ink swatch, either. Your monitor glows. Ink doesn't. Even on tediously calibrated systems, there is more to perceived "color" than just numerical values of CMYK or RGB or HSL or Lab. There is chroma. There is reflectance. There is opacity. There is grain.
Then there's the whole matter of the incredibly context-sensitive adaptabability of human vision.
So if you are selling the output of your $6000 printer as the final product, you should not use Pantone spot color swatches as any kind of contract color specification, because your printer cannot actually print spot color inks. If you're doing color-critical work that the customer will refuse when specified colors don't match, you and your customer must specify colors which your device can actually produce.
JET

Illustrator cc crashes on start up win 8 - pantone color manager issues?

I was at a clients office yesterday, installed Pantone Color manager on my laptop (I have Adobe Illustrator CC) and on their desktop (They have latest copy of Illustrator, but not cc, it's disc). And imported some pantone swatches into illustrator on both machines.
Since I shut down my laptop on leaving their office and restarted, Illustrator freezes on start up. Their machine is ok.
I have uninstalled and reinstalled illustrator. I checked that it wasn't win updates that is causing this and ran an update. I'm stuck now, still no solution, I'm travelling abroad and I need illustrator! Could anyone walk me through any possible solutions?

I selected the swatch card that I needed using the Pantone Colour Services manager application - I selected a Pantone Textiles colour card - same colour ref guide as my paper swatch book - because it doesn't come as standard with the software, you then choose which Adobe application you want to export it to following the instructions here http://pantone.custhelp.com/app/answers/detail/a_id/1803
In ordder to do this, I installed Pantone Color Services manager from the pantone website - I note that this software seemed to be bundled with X-Rite Services Device manager which installed at the same time. Despite removing this and reinstalling and also trying to use Windows system restore (which didn't work and threw up an error message saying it could not restore) the application still does not launch. Do I need to go into the registry and alter anything?

Is there a way to populate an InDesign document with Pantone colors from a .csv document?

I have a CSV document that inputs copy information into various labels we have set up in InDesign, but we also have Pantone colors that we put into this document. Currently, it just imports the color number and we manually change the color ourselves, but is there a way to automatically populate the colors into the document?

Hi,
Here is some code you may want to play with
Array.prototype.contains = function ( object )
var i = 0, n = this.length;
for ( i = 0 ; i < n ; i++ )
if ( this[i] === object )
return true;
return false;
function createLabels() {
var filterFunction = function(file)
return /\.csv$/.test ( file.name );
var f = File.openDialog("Please select CSV Files…", filterFunction);
var sep = "\t";
var n = 0;
var headers = [];
var rows = [], row = [];
var doc, m, pw,pb,ph, np, tf, tfo;
var p;
if ( !f) { return; }
f.open("r");
headers = f.readln().split(sep);
while ( !f.eof ){
row = f.readln().split(sep);
row.length>1 && rows [ rows.length ] = {contents:row[0], colorName:row[1]};
n = rows.length;
if ( !n ) {
alert("No data");
return;
doc = app.documents.add();
doc.documentPreferences.facingPages = false;
m = doc.pages[0].marginPreferences;
pb = doc.pages[0].bounds;
while (n--) {
row = rows[n];
np = doc.pages.add();
doc.importAdobeSwatchbookSpotColor ( row.colorName );
tfo = {
geometricBounds:[pb[0]+m.top, pb[1]+m.right, pb[2]-m.bottom, pb[3]-m.left],
contents:row.contents,
fillColor:doc.colors.itemByName ( row.colorName ),
tf = np.textFrames.add(tfo);
doc.pages[0].remove();
createLabels();
Sorry for not using the highlighting code option but it wasn't displaying the whole stuff :\
Loic
http://www.ozalto.com

Pantone Colors not showing in Illustrator

Hi,
I've just purchased new @pantone Pantone + Color Bridge Coated and Uncoated books. I have chosen 2347 C but cannot load this swatch in @Illustrator Illustrator or InDesign - in fact I can't see the whole page of 39C or 38C. I am using Adobe Illustrator CC
I urgently need help on this.
Many Thanks,
Amy

where did you install the color books? they should have the extension .acb
and should be placed (with Illustrator not running) in (on a PC-MAC is similar) Programs/Adobe/Adobe Illustrator/Presets/en_US/Swatches/Color Books

Mesh tool and pantone colors.

Hello,
I'm trying to make a logo using the mesh tool. I have to use pantone colors, since it will be used on a bussinesscard.
Now, I'm experiencing the following problem: I select a darker color on the bottom part of the object, and the gradient is going from dark, to light, to normal.
Why is this happening? Is it because I'm using pantones? it just looks icky.
Thank you!
Image:
[IMG]http://i22.photobucket.com/albums/b338/Aetza/drop.png[/IMG]
I clicked three times, so I have three horizontal and three vertical lines. The light part is happening between two lines.

function(){return A.apply(null,[this].concat($A(arguments)))}
Also, I have no knowledge of printstuff.
And because of that, others here are trying to help you avoid getting yourself into trouble. Before anyone actually starts charging money for doing design or prep work for commercial print, they really should consider it their responsibilty to (what a concept!) actually be at least familiar with the printing process. Otherwise, if you present yourself as a for-print designer, you really are defrauding the customer.
Take a course at the local tech school; work part time in a press room for peanuts, just to learn. At the very least, get someone to give you a functional tour of a press room whenever you can.
It's not rocket science; it's mostly just simple mehanics. But it is also not just a simple matter of re-purposing your RGB web work. (In fact, that's backward; usually you should design for print first and then repurpose for web.)
As soon as you start talking about real ink-on-paper, you're talking about real labor and materials and real time on some really expensive equipment. Commercial offset printing is very competitive. Printing houses by necessity quote jobs according to the assumtion that jobs incomming from external preparers are built right, i.e.; that the external designer knows what he's doing. You can't expect a printing house to eat the costs involved in fixing your file-preparation mistakes.
In short, the printing world is chock-full of very bad relationships between angry designers who think they know what they're doing (often these days just because they've been doing some design work for the web) and printing houses who know they don't. Trust me: You don't need that stigma. A print designer should consider it a matter of necessity to develop very strong relationships with printing houses, based on mutual professional respect. Without that, you really won't be competitive, no matter how artfully talented you consider yourself.
function(){return A.apply(null,[this].concat($A(arguments)))}
But it really is a pantone
There is no such thing as "a pantone". Pantone is a brand; it's a company. The various Pantone libraries are just sets of standardized spot color or process color specs published by Pantone, and used to communicate colors to printing houses. Pantone is not the only set of spot colors, but it is the most commonly-recognized in offset lithography printing; it predates graphics computers by decades.
When designing a file intended for color-separation (i.e.; mass printing), your concern is whether it will be printed in spot color or process color (or, in some cases, a combination of both). In order for your file to color-separate correctly, you have to build it correctly.
And color separation is not the only issue; there are other issues that affect whether the job prints correctly, such as trapping and total ink density. For example, spot color is by its nature less forgiving when you neglect the matter of trapping.
All printing is a matter of production economy. In the matter of process vs. spot color, several practical factors come into play, including the paper type, the specific press which will run the job, and even the nature of the artwork itself (ex: line-art vs. continuous-tone, tightness of the color registration, and others).
When designing for color-separated print, don't think in terms of "colors"; think in terms of real-world, physical inks. Basically, Your job is to deliver to the printing house a file which contains one image per ink--especially with spot color (i.e.; what far too many people think of as synonomous with "Pantone"). Don't think of a spot color as a "color"; think of it as an ink.
Offset presses have a separate ink well for each ink that will be printed. Each ink hits the paper at a different time as the sheet passes through the press. At the typical small-to-medium printing house, bread & butter jobs like business cards are usually run on smallish presses. Those are seldom more than 4-color presses, and are often 2-color presses. If, in your artwork, the number of separation colors exceeds then number of ink wells on the specific press, the job cannot be printed in one pass; the paper has to be re-run to apply the full number of inks and that entails another press set-up operation--which you pay for.
So if (as it sounds) you take the admonition to "use Pantone colors" to simply mean 'make sure all the colors you use are selected from the Pantone Swatch Library', you are already in trouble. Each time you add a color from a spot color library to your file, you are necessitating another ink well on the press.
If you've read and seriously considered the above, you'll understand that, by and large, it is rarely practical (cost efficient) to design a piece containing more than three spot colors. As soon as you need more than three colors, you should be considering 4-color (CMYK) process.
(Higher-end printing is frequently done involving more than four inks; it is not uncommon for sheetfed work to be process-plus-1 or process-plus-2 spot inks. Multi-pass jobs can involve foils, metallic inks, and varnishes. But such "glitzy" printing is knowingly extravagant and is still carefully prepared for to maximize economy within the requirements. Although it certainly can be, such extravagance is not usually the kind of thing used for the typical business card project.)
JET

Pantone Colors with CMYK Colors?

Dear all!
I am LUCK. I am wondering about Pantone Colors with CMYK Colors. It's that I got 1 Pantone Color from my customer and then I changed it to the equivalent CMYK Color. Will I get different colors when changing from Pantone to CMYK because I will print with CMYK Printing Process? Anyway, I am wondering whether the Pantone color is the fix and specific color or not. I mean when I print the Pantone Color, I will get the same result as I print before. Is it right?
Please help to explain to me whether Pantone Colors will keep their colors the same and stable or not. Or would you mind telling me what kind of colors that can produce the same color every time I print, especially for the Formal Uses?
Sorry for being unaware of my knowledge here. Thanks a lot and best wishes to all!
I am looking forward to hearing from you.
My best regards,
LUCK

Pantone is a company, not a color. Pantone produces spot color inks, process color inks, and color references.
Understand first: Five color printing ("process plus one") is not uncommon, because six-color presses are not uncommon. When a project is printed on a 6-head press, it does not dramatically affect the costs, because the job can still be printed in one pass. Brochures and other marketing collateral are often printed in 5 inks when a company specifies a spot color as its identity color. When done right, the company's identity specifications also provide a CMYK mix to use in lieu of its spot color(s) when restricted to only CMYK (as in magazine placement ads).
So I'll assume your customer specified a Pantone spot color, and does not provide a preferred CMYK substitute, and your project is restricted to four color process (CMYK) printing.
CMYK mixes do not exactly match spot color inks; they can only approximate. How closely they can approximate depends upon which spot color you are dealing with.
Pantone provides its recommended CMYK values for approximating its spot color inks. That's why Illustrator provides a Pantone solid to process Swatch Library. But such lookups are recommendations; they are not absolute equivalents. There are many many colors in nature (and in spot ink pigment) which simply cannot be matched in CMYK. And any time you try to convert between color models (spot to CMYK, RGB to CMYK, etc.) you encounter ambiguities, because there are multiple algorithms that can be used to generate four values from fewer values.
I often find Pantone's spot-to-process recommendations to be unsatisfactory, and use my own CMYK approximations instead. This is not necessarily due to any failure or shortcoming of the Pantone libraries, but just differences that exist in specific printing houses and workflows. The printing process is full of variables.
Will I get different colors when changing from Pantone to CMYK
Yes, the colors will be different. But whether the difference is noticable depends upon the specific spot ink you are trying to match. It also depends upon the specific use of the color. Fact is, human color perception is very adaptive. Colors that are "mathematically" equivilant according to some colorimetric algorithm are not necessarily perceived as equivilant by human eyes, because much depends upon environment (adjacent colors, etc.)
You can refer to a printed process color reference against which you can compare a printed spot color swatch book and judge for yourself which CMYK values best approximate the spot color. Or, you can set up simple test sheet of your own, and have it printed to determine a "best match" in a particular printing environment.
All the above is just one reason why contract proofs are still important. If your customer is very picky about his spot color, then he needs to understand that converting it to CMYK is merely an approximation, and perfect matching is simply not possible. That's one reason why spot inks exist in the first place. If he is not willing to pay for five-color printing, then he will likely have to settle for a minor compromise.
JET

Mesh gradients using pantone colors

Hi,
I'm struggling to create gradients for screen printing purposes. The artwork will be printed on 12oz canvas using 3-4 pantone spot colors.
1) if I fill an object with a single Pantone color, create a mesh gradient from it using a variety of different opacity settings, say 100%, 50% and 25%, then play around with the mesh handles to produce a pleasant, mixed background, will a gradient of this type work for screen printing? I don't know if a gradient of this type will require halftones, as a linear or radial gradient would.
2) it's my understanding that when you prepare artwork for screen printing using spot colors, each color should be on its own layer. In an attempt to add highlights or shadows to an object, if I copy an object and paste it in front of itself, then apply a gradient using another Pantone spot color, say Pantone Process Black(100% to 0% opacity), does it matter what the blending mode is? Obviously you'll get different results based on the option you choose, but again, I'm concerned here only with screen printing. I can then place the gradient on the Black layer.
The problem is that I'm familiar with off-set printing, and apparently gradients have to be converted into halftones when screen printing, so I'm trying to figure out the best way of creating shadows and highlights.
Thanks for any help you can provide.
Mark

Mark,
Getting your head around a few age-old fundamental repro principles will clarify this stuff for you:
First and foremost: Think in terms of INKS, not "colors." Take off your designer hat and think like a mechanic. You're dealing with real-world substances: scoops of thick, gooey, solid-color ink that will be squished onto some object.
Line Art: Artwork designed to be reproducable using only areas of solid ink coverage. No graduations of any kind whatsoever. In other words, nothing but 100% "tint" (often called "solid") of the ink(s).
Tint Screens: Uniform coverage of a given ink, but at any percentage other than 100%.
Continuous-Tone Artwork (often called "contone"): Anything involving varying percentages of a given ink, be it a "grayscale" gradauation of a single ink or graduation involving two or more inks.
Halftone: A photomechanical process used to distribute small dots (or lines, or some other pattern) of ink so as to SIMULATE tints and/or gradations. That's the important concept: There are no "graduated inks." Any given location on the final print either has ink or it has no ink on it. The ink is always a solid color. So anything other than the actual color of the solid (100%) ink is a mere SIMULATION. That simulation requires that the ink be laid down as a series of tiny dots (or array of lines, etc.) so as to suggest things other than the 100% color of the actual, physical ink that is loaded into the press (or silkscreen).
Spot-color (opaque) versus process-color (translucent) is a SEPARATE ISSUE from line art (no tone screening) versus contone art (tone screening required). You are confusing those two separate and distinct issues.
Now put this in the context of screen printing:
All artwork involving tints or continuous tone requires halftoning. Compared to offset lithography, screen printing is very limited in its ability to handle halftoning. Many small local screen printing shops can't do halftoning at all. Typical medium-size screen printing shops (local T-shirt shops, etc.) can often do halftoning at a very course frequency (i.e.; large dots), often no smaller than 30~50 Lines Per Inch (LPI), and both color fidelity and sharpness suffer. Only larger and more sophisticated screen printing shops, running expensive, high-end automated equipment utilizing very fine screen mesh fabrics can reliably hold small halftone dots and consistently maintain color.
Bottom line: The way you prepare artwork for screen printing is highly dependent upon the kind of shop that will be doing the printing.
Screen printing is done on a wide variety of materials (substrates). Substrates are quite often not white. They are often dark. So spot color inks designed for screen printing are usually very opaque. That puts them in a whole other world from the almost-always translucent inks of offset lithography, AND from the real world that Illustrator's interface is capable of simulating. Illustrator does not provide any means by which to specify the real-world opacity of a Spot Color Swatch. So when you use blends, grads, and overprinting, Illustrator cannot do a good job of simulating what you will actually see in the final screen printed results.
Bottom Line: If you are building continuous-tone artwork involving blends, grads, tints, etc. (i.e.; anything requiring halftoning) and/or overprinting, you need some real-world experience to reasonably well anticipate how your halftoned artwork is going to look when printed. Best advice is to start simple. Design around your limitations, and those of the screen shop you will be using. Limit your designs to spot colors and entirely line art.
Now to your specific questions:
I'm struggling to create gradients for screen printing purposes.
Grads are going to require halftoning. Have you asked your screen printer what halftone frequency (LPI) he is able to reliably hold?
The artwork will be printed on 12oz canvas using 3-4 pantone spot colors.
Understand: Pantone is a company. The Pantone company publishes its own standardized formulae for its own branded inks, which are offset lithography inks, not silkscreen inks. In other words, it's just a commonly-used color reference. You would be better off refering to actual color swatches of the actual screen printing inks your screen printer will be using. Set up your Spot Color Swatches in Illustrator corresponding to the actual inks.
1) if I fill an object with a single Pantone color, create a mesh gradient from it...
Always state WHAT VERSION of Illustrator you are using. Grad mesh did not always support spot colors. Blends still don't.
...using a variety of different opacity settings, say 100%, 50% and 25%...
Don't confuse "opacity" with "tints." What Illustrator calls "opacity" and "transparency" usually involves rasterization and/or conversion to process color.
... then play around with the mesh handles to produce a pleasant, mixed background, will a gradient of this type work for screen printing?
It will work for screen printing IF:
The particular screen printing setup adequately supports halftoning.
The mesh is built appropriately for the color separation model (spot, process, or process-plus-spot) that will be used to print it. Again, you have to be aware of the number of INKS that you are designing for, and make sure your design does not require more than that when it is color-separated (think "ink-separated").
Current version Illustrator provides a color-separation preview feature, which can save you alot of grief if you use it. If using an earlier version, but have Acrobat Pro, save the file as a PDF, open it in Acrobat, and use its Separation Preview feature. If using an earlier version and do not have Acrobat Pro, "print" as color-separations to a PDF virtual printer like Adobe PDF. Then open the PDF in Reader and study the separate pages. (Screen print jobs are, in fact, often delivered as such a pre-separated PDF.)
I don't know if a gradient of this type will require halftones, as a linear or radial gradient would.
Based on the above, you should now know that. Yes, ANYTHING that involves graduated color requires (at least a simulation of) "graduated ink". Since "graduated ink" does not exist, halftoning (or some other kind of tone screening--there are others) is required in order to simulate it.
2) it's my understanding that when you prepare artwork for screen printing using spot colors, each color should be on its own layer.
No. Absolute nonsense. (Don't believe everything you find written by self-proclaimed "experts" or "tutors" on the web, no matter how fancy you think their demonstrations are.) If that were true, then how, (for just one example) could you possibly screen print a rectangle with a spot-to-spot grad fill? The path containing that grad resides on one Layer, doesn't it?
In an attempt to add highlights or shadows to an object, if I copy an object and paste it in front of itself, then apply a gradient using another Pantone spot color, say Pantone Process Black(100% to 0% opacity), does it matter what the blending mode is?
Yes, it matters. Blending Modes has to do with so-called "transparency" effects. Again, anytime you muck around with "transparency" you increase the liklihood of rasterization and/or conversion to process at output. You would be safer setting that copied, pasted, grad-filled object to overprint. Halftoning will still be required, at least on the separation corresponding to the ink(s) for that grad.
Obviously you'll get different results based on the option you choose... I'm concerned here only with screen printing.
If you are designing for SPOT COLOR screen printing (as opposed to process color), stay away from transparency effects unless/until you understand what you're doing.
I can then place the gradient on the Black layer.
Again, forget Layers corresponding to ink separations. A total misconception. Utterly unnecessary.
The problem is that I'm familiar with off-set printing, and apparently gradients have to be converted into halftones when screen printing, so I'm trying to figure out the best way of creating shadows and highlights.
The best way to create shading is HIGHLY dependent upon the technical capabilities of the specific screen printing shop. Always ask:
Can the shop support halftoning?
If so, what is the maximum halftone ruling (LPI) they can reliably hold on the particular target substrate? (If they don't understand this question, either stick to line art or find another screen shop.)
This does not mean that you cannot do shaded artwork without halftoning. (In fact, much of the most stunning screen-printed work is done entirely as line art.) Designer fully acquainted with the limitations of screen printing commonly employ artwork shading techniques to avoid the need for halftoning altogether. They use hatching or stippling or contour linework to build "shading" into the artwork, and all inks are printed as line art. In this regard, preparing artwork for screen printing is often more "creatively rewarding" because you first, understand the real-world limitations of the reproduction method and, second, devise clever and original artwork methods to work within those limitations.
But it's not something anyone can give you a step-by-step, one-size-fits-all-situations crash course in, in an online forum.
JET
JET

Pantone Color Calibrator Will Not Launch

I have a ThinkPad W530 with color sensor and Pantone Color Calibrator. It has worked just fine since I got the computer brand-new over a year ago. For the last week or so, my color calibrator has failed to launch when I click on the "ThinkPad Display needs to be re-profiled" notification. I get the spinning icon, but after a few moments it just disappears. I've tried doing a restore, and chosen a time-point before I think this happened. But the system refuses to go back to that restore point because it "can't find a file." What the ????? I have not deleted any files from the system folders, I can only believe that one of my automatic updates has screwed this up. Of course, the message does not tell me what *kind* of file is missing.
I'm attempting a download and re-install of the Pantone Color Calibrator Program
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 has anyone else encountered this issue? And what did it turn out to be?
I'll report back on the results of the re-install, and thanks for any pother assistance.
Solved!
Go to Solution.

Well, what the Color Calibrator program really does is to create an ICC profile for your monitor, and you can manually set each profile you've created by:
Right clicking on your desktop - select Screen Resolution - Advanced Settings and finally the Color Management Tab.
In the Color Management window, you can see all the ICC profiles that have been created by the Color Calibrator, as well as the default ICC profile for the ThinkPad LCD. You can add remove these at your own leisure.
ThinkPad W540 (20BG) - i7-4800MQ/24GB // ThinkPad T440s (20AQ) - i7-4600U/12GB
ThinkPad T440p (20AW) - i7-4800MQ/16GB // ThinkPad Helix (3698-6EU) - i5-3337U/4GB
ThinkPad W520 (4282-W4Q) - i7-2720QM/32GB // ThinkPad T400 (2767-W1C) - P9500/8GB
ThinkPad T61 (7665-CTO) - T7700/4GB // ThinkPad T60p (8741-C2G) - T7400/4GB

I need aiCS5 pantone color books. Where can I download?

Hello
I have searched high and low and cannot find a link to download previous pantone color books before Adobe "brilliantly" decided to mess with everyone by only having the pantone+ books. Which have no use for me now as I still have clients that refer to the older books.
i need them now. Specifically the Process Coated and Uncoated Pantone books.
I am incredibly annoyed by this STUPID DECISION ADOBE MADE!
Regards

Okay. I fixed it.
Reason why I asked is because in that thread, it gave the workaround links, which was useless without the color books themselves.
After calling up on buddies, I found someone with Cs5 and got the books from him and added to my library and BOOM it was fixed. That is what I was asking.
Thanks. I solved this one for me.

Where are Pantone color library file locations for InDesign CC?

I cannot believe how difficult it is to find this information. It should be a quick search in the regular Help system.
I'd really like to find the file locations for Illustrator CC and Photoshop CC too, because I need to update my Pantone libraries, but every place I can find to save them does not seem to be the default location, so I end up with a really long dropdown menu of strangely duplicated library names, and I have no idea how to clean it up or where the program is looking to give me that list.
As far as I can tell, the default libraries are located whereever that first set is. The lower sets must be somewhere else, but I don't know where, because I've deleted all Pantone sets but one that I could find, but I can still see them (and the other non-pantone color books) duplicated in the lower sets.
Please help! Also, Adobe, if you see this, this information should be READILY and EASILY found through the main Help menu in any Adobe product.

This was the correct answer:
Laubender Jun 2, 2014 12:18 AM (in response to Maurice Castelbuono)
@Maurizio – the standard settings, the joboption files with the brackets like [PDF/X-1a:2001] are stored inside the inDesign app for InDesign CC 9.2.1.
The path for these would be:
/Applications/Adobe InDesign CC.app/Contents/MacOS/Resources/Adobe PDF/settings/mul
or with a Japanese version of InDesign:
/Applications/Adobe InDesign CC.app/Contents/MacOS/Resources/Adobe PDF/settings/japan
If you do a right-click on the InDesign app you can show them with "Show Package Contents" options.
All other PDF joboptions that you are creating are relative to your current User Library. They are stored in:
~/Library/Application Support/Adobe/Adobe PDF/Settings
Where the tilde sign at the beginning indicates the home of the currently used user.
You can access ~/Library, if you press the alt key when accessing the "Go To" menu in the Finder. Otherwise it's invisible.
Uwe

Downloaded Firefox 4--computer asks over and over to restart, Firefox will not load, cannot remove it!!

I received an update message after my system had installed the newest Firefox 3. something, approximately 4 days ago. (Today is 3/22, so about 3/17--18) The newest update , when started, took me to the Mozilla homepage, where It was suggested I download and comment on the new Firefox 4---I do not normally do this, but am so impressed with Firefox versus most others, that I did, now, I cannot open Firefox at all, the older version, 3. something, is not in my system, only 4, but my system/PC upon trying to open the new Firefox, prompts me over and over to restart the system, (which I have done 3 times) I figured I would then simply remove it, (Firefox 4) and either try it again, or re-install the newest 3. something---I cannot remove it, even using my anti-virus program to do so, it simply prompts over and over to restart, wether I try to open, remove, or access it in any way---I do not wish to use system restore, but that seems my only option, please help!!!

I had the same problem and the solution is quite simple:
- delete all data that has to do with Firefox and Mozilla
- Reinstall the new version Firefox 4
You have to make sure that everything is deleted and well yes you will lose your profile data but at least it works again without any problem.

Cannot remove Pantone Color in INDCS3

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