CMYK Sliders

How do you get the CMYK and RGB sliders in the colour pane working to add some colour to a black and white logo, am using CS6 and the both colour sliders are grayed out so you cant use them, only seem to be able to add shades of gray.

Similar Messages

How do I set my colors to CMYK in the text form properties? I have seen some screenshots where there are cmyk sliders. I don't have any of these options. All my color options are in RGB. How do I change this in Acrobat? Please Help.

What I'm trying to do is make an editable invitation. So I export my file from InDesign to an interactive pdf. I would like to set the editable text in the form field to a specific cmyk color. Is there anyway of exporting specific color swatches into the pdf and then applying them to the text in the form field? I have been searching this topic for a while and am getting really frustrated with the lack of information on this topic. Any help would be great!
I saw this screenshot with cmyk sliders. Where can I access these settings or options? I'm on a PC, not a MAC.
My Options look like this...
and when I click on "Other Color..."
I don't see any options to set to cmyk color sliders...anyone run into this problem and know a solution?

Though it has to be said that the Mac colour selector is very confusing. Although you can select in CMYK on the Mac in almost any app, it is converted to RGB by the Mac, and you get RGB anyway.

CMYK Images and Save as Word

I'm having an issue with CMYK images in Pages when saving my document as a Word Document. The images look fine in Pages, and any exported Pages format (document or template), but when I save as a Word Document and then open the saved file, the colors aren't appearing correctly.
Has anyone run into this, and if so, is there a fix?

Jerrold Green1 wrote:
Have you noticed that you can create a color in the Colors Pane with the CMYK sliders, and upon going back to that color and checking it with the magnifying glass, the settings will have changed? You can find this in both Word and Pages. With HSB or RGB generally there is no change, and sometimes one component will change by one digit, but nowhere near the difference I've seen in CMYK.
I'm left wondering if the resolution of the color mapping for CMYK in OS X is coarse or if this could be a graphics chip issue, or something else altogether.
No, I have not noticed that particular case, but there are cases when the numbers will change. The most obvious case may be when you click on the little icon below the magnifying glass in the sliders color palette. When you change colour profile, the numbers will understandably change. Could it be that when you noticed this shift, you could have different colour profiles loaded due to something - different images loaded or something?
Anyhow, I do not think that has anything to do with the problem of Dave here. When you open the jpegs in Word, the colours are more or less completely inverted. I think it is something like C -> R, M -> G, Y -> B and K is either ignored or inverted. It is not a slight shift, but the values are completely changed.

Press ready PDF from Pages (CMYK + Distiller)

Sorry for the odd title but i wanted to get as much information in there as possible. I am in the process of switching printing companies for the support propaganda that i use to promote my artwork. I make one of a kind pieces of furniture.
In the past I have used inDesign to prepare the layout and then I export a PDF as per the printers instructions. I always start in Pages as it is so fluid for me to use. I want to try to avoid inDesign this time and I could use some advice on getting the most out of Pages.
In this case I am working on a tri fold. The text in it is black or grey and the images have a 1 pix black border around them. The printer specifies values for rich black that i understand how to add via the color wheel and the CMYK sliders.
As of now I have added the images from Aperture.
I set up a pdf preset from Adobe Distiller that converts the images to CMYK and resizes them to 300DPI via bicubic sampling. compression is set to Zip. The printer does not want a color profile so none is imbedded.
From Pages I can print to my Adobe Printer and choose those presets.
What do you think?
Would I get better results if i exported my Aperture images as Tiffs and converted them to CMYK in Photoshop (my old inDesign work flow) and then added them to pages?
I am looking to get the best results for the images and simple text that i use. I should mention the the last element that I have is white text over an image. Are there any problems with Pages created text or graphics when sent to a Professional Printing Press?
Many thanks and I would be happy to provide more information if it would help in answering my questions.

Soooo, worked on this with my printer and this is what we came up with. He sampled the different Images (on one doc) and some came in at 230 dpi. some 600. so we have concluded that Pages will do a good job as for keeping the res. You just have to make sure; for example the 230 was a 300 5x7ish then I resized in the Mask to go up width 2 inches and of course lost the res.- so of course i must go back to the source and make my adjustment say in photoshop. WORK FLOW- i have decided to just layout> then go back as needed ( just the enlarged image). CMYK- the printer said DON"T take it out to photoshop to convert to CMYK ( as they can do it easy enough) and you risk sharpness in the font.
So that was a fun day of research!

Print prep in CMYK? - help, please

I have created some tables in Numbers with color fill headers. I've selected the colors using the CMYK sliders. I have copied and pasted the tables into an InDesign document that will be professionally printed. The InDesign doc is in CMYK, as it must be for print. However, the tables copy and paste as RGB.
I then tried exporting the tables as pdf and converting them to CMYK in PhotoShop. However, when converted the colors are not as I coded them with the CMYK sliders in Numbers.
I need to colors to be coded perfectly in CMYK so they match other colors in the document.
Can anyone please help with this?
Note to Apple: I would like to use iWork at a professional level, but issues like this make it very difficult.
(Does anyone from Apple participate in or monitor these discussions?)
Thanks!

"Note to Apple: I would like to use iWork at a professional level, but issues like this make it very difficult.
(Does anyone from Apple participate in or monitor these discussions?)"
Little if any participation, occasional monitoring, but mostly for TOU compliance.
For communications to Apple, the Feedback channel is the preferred (and direct) path. Current Apple applications have a Provide XXX feedback item in the Application menu (e.g. In the Numbers menu in Numbers, you'll find Provide Numbers Feedback). The menu item connects to the same web form as the link in this message.
Regards,
Barry

CMYK swatches in CS4 Kuler palette?

Wondering if I'm missing something...
As a print designer, I love Kuler and having the ability to access Kuler through the Creative Suite. I've recommended the site to many of my co-workers and they've been using it too, but I have strong reservations about recommending it to any of our clients. With only RGB sliders available, when I add selected colors to my Swatches Palette in InDesign, they are all in RGB - not CMYK, which is what I need for printed design work. While my co-workers and I certainly know that we should take the step to change these RGB colors to CMYK, we are often working with novice clients who do not understand how to work with color (what we all jokingly refer to as the "camera ready" files). I'd rather not have to spend time cleaning up their files, so I don't tell them about Kuler even though I'm sure many of them would find it helpful. Perhaps I'm missing a crucial step myself, but I haven't seen a place where I can switch to CMYK sliders in the Kuler palette inside InDesign and/or load CMYK colors into InDesign. When I do web design in Flash and Photoshop, the RGB is great, as are the Hex values, but print isn't dead yet. Would it be possible to add this function? While we're on the subject, any chance of adding Pantone colors? I know that probably involves some licensing, but for print designers who still use Pantone colors on a regular basis, this could be a great help. Any print designer will tell you that Pantone has been around for a long time for a reason - Pantone color mixtures are predictable on press. Mixing up CMYK colors on your own can have interesting and sometimes unfortunate results. Thanks for a great site. Looking forward to further developments!

I was there 5 mins back, then realized the below.
Solution:
Once you have made your Kulercolors/theme add them to your swatches, when the colors are in the swatchespanel selectnewcolors that are in RGB > go to swatch options > change color mode all at once to what you need.

I've just switched from Freehand and I'm going to have a heart attack ...

In two weeks, my tech department is ripping Freehand MX off of my machine and I'll be finally forced to use Illustrator.
I know it is going to take a bit of time to get used to Illustrator after using Freehand for the past 15 years, but if someone out there can help me with two questions, I'd sure appreciate it because the Adobe help files aren't as helpful as I'd hoped. (Adobe: screen captures are a useful visual guide when I can't find the "t-slider" and have no idea what it might look like ...)
1. How do you adjust the tint of a color? Apparently there's supposed to be a "t-slider" in the color palette. Perhaps mine isn't visible for reasons unfathomable, but if I create a color and I want to use 10 percent of that color as a tint, I don't want to whip out a calculator and drag each of the CMYK sliders accordingly. I want to use the feature Freehand had, where you type in "8" in the tint box and voila, you've got 8 percent. InDesign has this feature, so I know Adobe knows about it. Where is the tint slider in Illustrator? (I don't want to change its transparency, I did find that palette easily enough ...)
2. If I paste in a graphic from Freehand into Illustrator, everything comes over on one layer. That's annoying, but understandable. But I can't select parts of the graphic and assign them to new layers, they remain firmly on the first layer they were pasted on unless I copy each item, delete the original, click on my new target layer and paste it on that way -- and then, it doesn't paste perfectly back into place, it moves randomly around the page and I have to reposition it. ARGH! How can you reassign layers without cutting and pasting? Clicking doesn't work. What am I doing wrong?
Many, many thanks in advance from a *very* frustrated designer. If I thought I could secretly reinstall Freehand on my machine without tech hunting it down and ripping it out again, I wouldn't be fretting about such things ...

Doug, you gave me the first giggle I've had since I opened this blasted program, so thanks for that.
I'd love to keep secretly installing Freehand, because you can save your finished work as an Illustrator file, and I could then open it in Illustrator CS3, save the final as a CS3 EPS file and nobody would be the wiser ... except my tech department is prone to periodic look-sees on everyone's machines, there was a massive freakout that went all the way to the publisher's office when they discovered I'd installed .... wait for it .... free fonts on my machine that weren't part of the Adobe package they bought. In the end I had to yank the fonts out, despite showing them the read-me files that came with the fonts that expressly permitted usage in commercial applications. It's a very controlled environment. I now have 12 days left to start converting all my files ...
The good news is I'm pretty sure they're going to hurl the Freehand install disc at my head when they rip it out of my work station, so I can put it on my home iMac, where I'm still running Tiger. Now to convince them to let me work from home ...
Thanks again to everyone for all the advice,
~michelle

Dear Spot Color Printing Gods......... Please Help Me!

Ok so here is my story...
I have been doing graphic design and 3D work for about 7 years. I have NEVER worked in print before, and no NOTHING of color separation or spot color, etc... I am learning all this right now on the fly for my new job, and its not going well. I was hired and expected to hit the ground running, even though I made it clear I did not have any screen printing experience. (I was mainly hired to help with web design) I have had some mistakes doing the color separation (not 4 color) and its costing the printer money to see if I did it wrong or not. The printer has no experience with the software (and only speaks English fairly well), nor does my boss know the software, but they both know how its SUPPOSED to look, and they are getting impatient.. Needless to say, I have to turn to the internet for help, so please be gentle with me not knowing much...
SO....Im a PC user working on a Mac & Illustrator Cs3(I know Mac fairly well). I have learned the basics pretty fast for screen printing. The printer is using spot colors only. After I get the Illustrator file (yes its vector), I delete all swatches except the "Pantone Solid Coated" colors used in the art - or I have to add them from the Solid Coated color book. After that, I would separate the colors by 1) Duplicating the image however many times that there are colors. (So a splat of soup has 3 colors, I duplicate it 3 times with register marks) 2) I remove all the color except the one Im trying to show. (Im showing the green peas, so I remove the red and yellow colors from the other objects) 3) then I make what the printer calls the "Flash" (the white undertone that the paint adheres to on the garment) I make this by taking the art, and reducing the size to 1pt smaller. Once all the colors are seperated, I make each color 100% black, convert the image to grayscale and THEN Im done. Problems I have been running into have been registration marks somehow not lining up and some colors do not end up 100% spot tones.. One other wierd thing is when I convert to grayscale on the Mac, the art work retains its color on the screen. When I tried to do that at home on my PC, the artwork turns gray????
WHEW! So what I am asking for is a fast, simple way to color seperate a vector file and then create the flash. And/or how to create a template that I can reuse, that is ready for me to just drop artwork into for spot color seperation. I have included an image to show you a project I am working on. Its an ice cream spill on a shirt. I have tried to start a template with reg. marks, and that is what you will see here. There are 5 colors that I have to specify. The printer actually told me that I do not need to split up the art work the way I have been, nor do I need to change it to black, and all that I have to do is specify all the colors,(spot colors/100% only) and then the printer does the seperation on the clear film. (it only prints in black) I was also curious why my PC would change the artwork gray and the Mac does not when converting to grayscale. I thank you VERY MUCH for even reading this maddness that is my life right now, and hope you can give me some helpful wisdom to assist and lead me on my journey. The job pays well, and I need the money badly! Thank you very much for any and all help you can give me!
~LiQ

Some misconceptions evidenced in your post.
You don't have to use a Pantone library to create spot colors. Pantone is just one brand of spot color definitions and inks intended for offset lithography; not screen printing. You can define any color you want as a Swatch and then specify it as Spot. A Spot color is simply a color that represents an individual ink that will be physically used in the printing process. Therefore, if you want to please your boss:
1. Get the color chip brochure for the particular brand(s) of screen ink your operation uses.
2. Open Illustrator. New CMYK document. Delete all the Swatches that can be deleted.
3. In the Swatches palette, for each color of your screen inks, create a new Swatch. Use the CMYK sliders to make its color match the ink as best you can. Name the swatch according to the name of the actual screen ink (ex: Nazdar_BrilliantBlue). In fact, the ink manufacturer(s) you use may already provide a ready-made Illustrator Swatch Library for their various series of inks. Check their websites to see.
4. After creating the swatches, save the Library, and/or save the file as a tempate file. Now you'll always have your Spot colors available for new projects.
Now just draw your design and apply the spot colors to the paths as fills and/or strokes. When you print the file as separations, you'll get a separate print for each spot color used. One of the simplest ways to "proof" (test) this is to "print" as separations to the Adobe PDF virtual printer. That will result in a PDF file that has one grayscale page for each ink in your design. That way, you can check what overprints and what knocks out on screen without wasting time or materials. Once confident everything is right, you can then use the PDF to print the actual film positives.
One of your swatches should be a spot white for your underprint. ( "Flash" is not actually an ink color. It's a production step in which a dryer semi-dries an imprinted ink before overprinting it with another. You usually flash a white underprint, but you just as often flash any color with significant density that needs to be overprinted with a following color.) Understand, you don't have to make this swatch actually appear white. For example, I often make it a pale magenta just so I can see it on screen when working with it.
Just because the white underprint is going to be printed underneath the other colors, doesn't mean it has to be layered under your other colors in your Illustrator document. Remember, each ink is going to be printed to its own plate anyway. So it's simpler to just put your white underprint objects on a Layer above the rest of the artwork, and set it to overprint, so that it doesn't knock out the rest of the artwork on layers below it in the stacking order.
Assuming the white underprint has to underprint all the other colors, creating the white underprint should be the near-last step. It's simply a matter of duplicating the colored artwork objects, moving them to the Underprint layer, filling/stroking them with the spot white color and (for efficiency) merging them into as few paths as possible. The Merge or Union Pathfinder commands are typically used for that.
JET

Color correction for indesign document?

Hi,
I've made a photo book in indesign but when test printed the yellows are coming out green.
The problem is consistent throughout.
Is there any way to correct the colour of the entire document?
I have no control over the printer or colour profile used as these are specified by the printing company (Blurb).
My current solution is to recalibrate my monitor and re-colour each picture individually in photoshop, however this strikes me as a laborious solution to a very common problem.
Perhaps my google-fu is weak but in searching for a solution all I find is page after page of people saying how to set up the colour profiles corectly. I know how to set up colour profiles but on this occasion managed to make a mess of it, as have several million other people judging by the number of pages google can find on the subject.
If I had a set of CMYK sliders I could fix the problem in seconds, so the idea of messing with my computer's settings then individually correcting over 100 images seems absolutely insane, yet this is what the wisdom of the internet keeps telling me to do. Surely there's a better way?
If there's nothing in indesign for correcting print colour, can the document be exported and coloured elsewhere?
Thanks in advance for anyone's thoughts on this,
Ally@Tartan Pixie

Hi,
Yes I am using the Blurb profile etc. The problem is that I made a balls up of calibrating my monitor - 100% my fault.
What I am trying to find out is whether there's a quicker way of rectifying the mistake than re-calibrating the monitor and then re-colouring each picture indivdually in photoshop?
Is it possible to export the document from indesign, then re-colour the document as a whole and save it in the pdf version 1.3 required by Blurb? If so what software would I use for this?
For reference, I am using indesign CS6 and photoshop elements 9. This is just a stop gap until my new computer arrives and I can use everything from creative cloud and acrobat pro. I point this out because there may be a solution using the full fat photoshop to colour a pdf that's been exported from indesign, but I'm unable to experiment at this time.
Cheers,
Ally@TartanPixie

Help with export format - can I meet ad requirements?

Help!
I need to create a color ad for magazine. Starting with a file in either PDF or EPS. Need to tweek existing file by changing some of the text and adding a logo. Final product is for magazine ad with media requirements:
Preferred High Resolution PDF
Embedded fonts - no true type fonts, only Type 1 or open Type fonts
300 DPI
supporting images must be CMYK, not RGB
I also have PS CS3. I have experienced output issues with printers in past, especially using the PDF export format from Pages (problems with fonts and layers).
From reading other posts my plan was to start in Pages, insert PDF file, overlay text and logo, print to Postscript, then open in PSCS3 where I would "save as PDF." Only concern is uncertain resolution of original PDF which is a small file (about 100k for quarter page color ad).
Other thought was to start with EPS in PS, save as PDF or TiFF, open in Pages to ad text/logo, then back to PS. Trying to avoid PS for main editing, just more versed in PAGES.
Will this work?
Any comments appreciated!!

Good evening from Normandy
In response to Barbara's point:
It is serious. At an early stage in my magazine project I lost a client because the background colour in his ad had changed after CMYK separation, and when I noticed it was too late. The client is with us now and very happy with the quality of his ad.
Pages colour palette allows adjusting CMYK separation WITHIN Pages (note: it is also available in other Mac applications, even in SimpleText). Click on the rainbow circle in the tool bar to open it. Click on the second icon with colour sliders, in the drop down menu click on CMYK sliders. They show percentage content of the four colours used in professional printing - Cyan(blue), Magenta (purple), Yellow and Black.
With Pages you work in what-i-see-what-i-get mode (WYSIWYG) which is wonderfully intuitive and the results in print are satisfactory more often than not. As a general rule of thumb, however, I would recommend avoiding sharp, vibrant colours. What looks exciting on screen comes out dull on paper. Mind physiology here: screen colours are generated to go staight into your eyes, but the colours on paper are a reflected and refracted sun- or electric light.
It also makes sense to avoid colours that are too feeble. I used light blue colour wash for background with Cyan reading of 8 percent and it completely disappeared in print. After consulting with my printers I had to change the reading to 15 percent.
Another printers tool is colour-code or colour-guide tablets. They are like a stack of cards with changing colour sequences with exact CMYK percentage reading for each shade of colour. They can be purchased at specialised shops and web-sites, but are costly. Weigh your needs against costs. In my work I have to pay more attention to general lay-out rather than to colours, so I decided against investing in colour tablets.
Another work-around here is to use colour combinations from Apple's own templates that come with iWork suite. Copy colours that work nicely together from templates to your colour palette (I wish there was a feature allowing to give custom names to composite colours) and they will be available for use in your projects.
Re ColourSync utility mentioned here by Dragon. I agree, it is a powerful tool, but Barbara's point is especially relevant here: you have to know what you are doing. I invested some time in creating new workflows with ColourSync. The improvement in quality was dramatic, but while some problems were solved, others appeared. A short article I wrote re using Colour Sync is here:
i-work-in-pages.blogspot.com/2006/10/preparing-colour-separated-pdfs-using.html
So after a while I dropped ColourSync method and started using Enfocus PitStop which allows adjusting PDFs right at the CMYK conversion stage.
Another work-around which makes life even easier is to ask your computer service people to prepare Distiller settings exactly to your requirements as a separate folder which you can install as default in your Distiller settings. That way you just drag-n-drop your files onto the Distiller icon in the Dock and get perfect press quality PDFs in no time.
It is worth remembering that we are mostly end-users, not developers or technicians. Remembering this saves a lot of heart-ache. I call it the Renaissance Man dilemma - if you spend to much time chasing too many things your main goal is not achieved. Leonardo da Vinci was famous for not finishing his projects, because he always got distracted by exciting technical solutions that he stumbled upon while working...
This is more in response to Angiomans thread than to Barbara's comment now, but I assume he followed Dragon's invitation to this thread.
Cheers everybody - it is really exciting to share things with people who have similar experiences.
Alex,
Normandy
<edited by host>

Paint type on black plane only

This question comes up fairly frequently :
1. Start a blank document, in the blank document insert a box for type (Insert > Text Box), set the type size for the default copy in the box to 18pt or 24pt, and open the Apple Colour Picker (View > Show Colours).
2. Type deviceK, select Return to start a new line, and type ICCBased.
3. Select the word deviceK in the first taking care not to select the word ICCBased in the second line, set the Apple Colour Picker to CMYK Sliders, click the Colour Model / Colour Space icon to the left of the CMYK Sliders, scroll down to select Device CMYK, and set the CMYK Sliders to C0 M0 Y0 K100.
4. Don't select the word ICCBased, taking care to leave the default colour model and colour space set by the software and the system.
5. Export as PDF/X-3 with OutputIntent.
6. Open in an auditing application such as Acrobat Professional and select separations preview. Disable the cyan plane/plate, the magenta plane/plate, the yellow plane/plate and note that the word deviceK only paints on the black plane/plate. Select a PDF/X-3 audit and note that there is no CIE reference for the word deviceK (neither a PostScript calibrated colour space nor an ICCBased profile) whereas the word ICCBased references Apple's Generic RGB Profile with the alternate colour space being Apple's Generic Gray Profile. In separations preview the word ICCBased is painted on four planes/plates.
As far as I am aware, this configuration is technically correct. However, if drop shadows are applied to the words or if the words are sandwiched in a transparency/opacity blend space it becomes much more complex. What is or is not correct in that context is uncertain, or perhaps better that I'm uncertain of what would and what would not be correct.
/hh

Do you see major problems if all the OS's and apps including eventually Apple standardize on OpenType for internationalization rendering and AAT/GX fades away?
In answering a question, the first step is to determine what criteria are applicable to considering that an answer has been given. I'm not sure what you would consider an answer, since we have discussed this for a year and a half, and you began by rejecting the simplest level which was improved invertibility for character-glyph-character transforms and improved input methods for interactive identification of character information.
Briefly, the purpose of TrueType Specification 1.0 of 1990 is to establish a drawing model for composition wherein which by definition character processing is separable from glyph processing, and the purpose of separating character processing from glyph processing is to avoid that desired glyph designs be drawn by depiction onto incorrect public characters or alternatively by depiction onto private characters.
TrueType Specification 1.0 supports this model by being indefinitely extensible, and by being indefinitely localisable for extensions. Apple supports this which means that were one to want a feature selector / rendering intent uniquely defined in user space then that is possible and localising that is possible in ISO 10646/Unicode strings (see Specification 1.0 for details). In this sense, the application is the client of the layout in the intelligent font which is what David Lemon and Thomas Phinney of Adobe have posted time and time again that Adobe does not want.
David Lemon posted in 1997 the business model for OpenType which is application-dependent drawing. David Opstad posted the objection, and published the objection in a paper on Apple's drawing implementation versus Microsoft's drawing implementation. By definition, if the application does not have to support the feature selectors / rendering intents in the font file, which will preserve the source character string and the glyph run in the backing store, the workaround is for type makers to make type that draws desired glyph designs by depiction onto incorrect public characters or onto incorrect private characters.
It is not possible in system software to stop user access to the Private Use Area because the Private Use Area is legitimate for innovative ideographs in Japanese (itaiji) and Chinese. The marketing manager for Fontlab has advised in public posts that it is admissable to make CMAP Character Maps with Private Use Area drawing as a way to work around the application-dependent drawing model of OpenType. John Hudson has posted since 2000 when he prepared a discussion of the Windows glyph model for Microsoft that drawing desired glyph designs by incorrect private characters in Adobe OpenType is the replacement for drawing desired glyph designs by incorrect public characters in Adobe Type 1.
1989-1997, Apple failed to provide a platform that would produce parity between the small developer and the big developer by providing the small developer with free internationalisation models and free graphics libraries including a free digital document model. 1997-2007, Adobe and Microsoft provided a platform for the static software suites wherein which the software suite owns the internationalisation models, the graphics libraries and the digital document model which, as John Jenkins notes in a paper, is the model for OpenType.
Adobe (and Linotype/Heidelberg) has in the process of undermining first Apple's implementation and then Microsoft's implementation made and marketed type that destroys the source character string on a scale that is almost incomprehensible. Because Adobe depends on recovering source character strings from glyph names and does not preserve the source character string and the glyph run, public perception of the performance of Adobe PDF is not necessarily affected by the fact that Adobe PDF is in fact a poor model even for professional typography in the simple and linear Latin script.
The model is the same: Separate character processing from glyph processing for the sake of portability and repurposing. The implementation is different: Make the font file a client of the application or make the application a client of the font file. Which implementation one wants depends on which software ecosystem one wants: Decentralised internationalisation including localisation in the hands of independent developers who are in a position to provide what their markets desire or centralised internationalisation including localisation in the hands of Anglo-American corporations.
You will not get a high ratio of academic anthropologists to agree to the centralised model.
/hh

How do you display a color palette for InDesign

I would like to have a similar color palette displayed that is used in PhotoShop for my InDesign work. Right now when
clicking on a swatch color it brings up the rgb or cmyk sliders, but I would like to have the full color spectrum available
to select from as in PhotoShop

You can acess the color picker by double clicking the strok or fill proxies in the tool box or color panel rather than the swatch, but Keep in mind that this is an RGB colorspace tool, and the potential for doing great harm to spot colors or CMYK mixes is tremendous if you exit with the wrong set of values highlighted, so I generally recommend giving it a wide berth.
Peter

Background color palette weirdness

Acrobat 8.1.2
OS 10.5.2
Preferences/Full Screen/Full Screen Appearance/Background color/Other Color
When I go into the color palette I am unable to scroll to the different color settings. ie. CMYK Sliders, RGB Sliders, Crayons, Web Safe Colors, are all "stuck". If I go into another app, then back into Acrobat, they 'unstick'.
Anyone else seen this?
TIA

Anyone?

White swatch is gray

Hi there,
I've noticed that Illustrator CS4 displays the white swatch as gray in swatches palette. The unfortunate thing is that when I place the Illustrator file that has white in the art into InDesign, everything that is colored white appears gray. The problem is that I work in a print shop where we proof things via PDF on screen to some customers. When I produce a PDF out of InDesign with said placed art, white appears gray. Naturally my customers start asking why their job is printing gray instead of white.
My question is if there is any way to disable this appearance of white in the process so I end up with an accurate PDF? Any thoughts would be greatly appreciated.

Hi Wade,
Trashing the preferences seems to have done away with the gray/white swatch. Thanks! In regard to your previous suggestion, I'm 100% sure it was the white swatch I was selecting. The white swatch appeared gray both in the color palette when all CMYK sliders were set to zero, and when I opened the Default CMYK swatches palette. Also, any object I drew had an ever so slight gray cast in Illustrator and PDFs.
It's as if I toggled on some appearance of white setting that is similar to the options for appearance of black. Being of the nature I am, even though the preference trashing seems to have fixed it I would still like to know what setting made the difference.
Thanks for all the help, everyone.

Wrong palette in Appearance panel?

I've setup a document template, specifying the color mdoel as CMYK. To check it is OK, I did a File, New from Template, chose my template and checked the File > Document Color mode. It correctly says CMYK.
Then I drew a rectangle, went to the Appearance panel, and clicked on the little white square next to Fill: . A mini palette opens up, but when I hover the mouse over a color swatch, it pops-up RGB values! However, if I shift-click that little white square next to Fill:, I correctly get shown CMYK sliders. Why is the little palette popping-up RGB values when the document is defined from the start as being in CMYK mode? (Note: I'm sure that hovering over the palette was popping-up CMYK values some time ago....)
In searching for an answer I've seen references to "the default startup profile", but have no idea where this is or how to adjust its settings (if it's relevant anyway).

I believe this is what you're searching for... I stand to be corrected if it's not.
My Computer > Local Disk (C:) > Program Files > Adobe > Adobe Illustrator CS4 > Support Files > Required > New Document Profiles > en_US > Basic CMYK.ai or Basic RGB.ai

CMYK Sliders

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