Colors of guide on Xfinity

Can anybody tell me a way to change the colors on the guide? The current colors make it almost impossible for me to read from my normal viewing range (about 8 - 10 ft).. I have to admit I am 75 but I had no problem with the old comcast display, but it had several color schemes to choose from. If there is no way then Xfinity should be finding a way pronto.

Hi CG, I'm assuming you are referring to the newer X1 platform. Only based on your comment about the older style of color choices. If so.... The new X1 does not offer color scheme changes at this time, nor can you change the font size. Give it some time, millions of changes are on the horizon. Here is a small library of related options for you to check out, hope it helps a little. http://customer.xfinity.com/help-and-support/cable-tv/x1-font-size-of-the-on-screen-guide

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I haven't been able to figure out (or find on Verizon's web site) what the various colors (shade of green, red, blue, grey) in the guide represent. I think I've determined that the red color are movies (but occasionally a non-movie is in red) but I can't figure out the others. Anyone have any links to an answer or just an answer???

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It's already there. Layout > Ruler Guides...
If you select guides first, only the ones you select will be affected. Set it with no guides selected and all new ones will be affected.

font color="2b8e57" Guide to WiFi Security /font

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Re: The channel guide for XFINITY TV has been out for over a week

it's amazing that the solution is always to sen a tech and hit the customer with a high charg. this happens to me at least twice a week at random times. it's veryu frustrating. we pay an outrages amount to comcat for poor service. whe they say you get 300 channesl alot of those so called channels a re duplicate channels. I've had this porblem for years and yet cc cant resolve it. seriously thinking of looking for an alternative cable service.

orrocos5776 wrote:
it's amazing that the solution is always to sen a tech and hit the customer with a high charg. this happens to me at least twice a week at random times. it's veryu frustrating. we pay an outrages amount to comcat for poor service. whe they say you get 300 channesl alot of those so called channels a re duplicate channels. I've had this porblem for years and yet cc cant resolve it. seriously thinking of looking for an alternative cable service.
Apologies for the issue and the experience that you described above. I have asked a colleague to review your account and reach out to you so that we can get any underlying issues identified and resolved.
There is no charge for a technician visit if the issue is determined to be with our equipment or originating outside your home.
Thanks for your patience.

What color space as base in a brand guide?

What color space forms the base of a color brand guide? How do you start in terms of color spesifications? When I look at most guides it seems that Pantone is always the base, then CMYK, then RGB and Hex? Is RGB and Hex always gonna be a dithered version of the CMYK values or is it best practise to hand pick each one to make them look as close to the CMYK as possible? Is Pantone always mentioned first in the list because that's where the designer started?
Also, is best practise to mimmick the CMYK and Pantone colors so that the RGB and hex values look like them? Seems to me that most brand guides / visual manuals are made firstly for print, then they add the screen based color spaces.
In the enclosed example I also observe that the complete values are not always listed, in many cases the Y and K is missing in the CMYK values, does that mean it doesn't contain any black, or is it simply meaning zero? It rarerly occurs with the other color spaces.

For web, email and screen in general it should always be sRGB. Then you can be fairly certain that it will display correctly (more or less) in any scenario. sRGB wil also work for print (inkjet), it's just that many colors that can be printed are out of sRGB gamut, so it's a restriction that doesn't need to be there. sRGB is a small color space that can't reproduce very saturated colors - they're just clipped. So it's better to start with a larger space like Adobe RGB or even ProPhoto.
For editing purposes you want a large color space simply to have headroom and not hit the wall at every move. The final destination may well be a smaller space, like a printer profile. The software then converts to that destination profile as it goes to the printer. You can soft proof to the printer profile to get an impression of how the final result will look.
You can print directly from InDesign, but the typical InDesign workflow is to export a finished PDF. That is where you specify a final destination profile for the whole document, whether a certain CMYK profile for offset press, or an RGB profile for screen. So you have your master InDesign file, and output PDFs for each destination. The InDesign file can contain placed RGB images in any color space, while text and graphic elements are CMYK. Then everything is converted in one go at export.
You should always go through the PDF Export dialog carefully. Use the presets, but don't automatically accept defaults. For specific purposes, ask here or in the InDesign forum, where they deal with this all the time.
For screen, under "Output" use convert to destination, sRGB, include profile. Under "Compression", things aren't as obvious as they used to be (downsample to 96 or 100 ppi), because of the new retina displays that can benefit from a higher resolution. I hold my judgement on this one.

Is there a way to have multiple color Guides so I can have different colors for different layers

Is there a way to have multiple color Guides in Illustrator and Photoshop CC so I can have different colors for different layers?

I think it's not possible "natively" to have this functionalty but I found these topics for Photoshop :
http://www.ps-scripts.com/bb/viewtopic.php?f=10&t=4618
http://www.ps-scripts.com/bb/viewtopic.php?f=10&t=4617
On this one, you will see a workflow which are well described.
http://graphicdesign.stackexchange.com/questions/6030/how-to-set-different-color-to-guides ai-ps-id-fw
I've not tested them but you should give it a try!

Convert 2 RGB colors to CMYK in AI CS5

Hi,
I created a logo in RGB and now I need to have business cards printed and the file has to be in CMYK. If I change the color mode to CMYK, the colors fade of course and don't match the RGB colors. I only have two colors in the logo:
#CCFFFF
R = 204
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B = 255
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Any assistance is greatly appreciated.
Thanks!

You're working backwards, typically colors would be chosen from the Pantone Spot Color guides and then converted to CMYK and finally RGB for web work. It appears you've got a very light Blue ( 20% C ) and a very dark Purple ( 100%C, 100%M, 20%K ). The closest Pantone to the light Blue is 628C ( 19C, 6Y ); and 662 ( 100C, 72M, 18K ) for the Purple ( these are older PMS numbers; not the "+" series ). I'm showing you these numbers so that you'll have an idea of their relationship to Spot colors. You have not mentioned what type of paper these cards will be printed on...coated or uncoated. That makes a big difference, too. Most of the time, stationery items are printed on uncoated paper using Pantone ( or other ) Spot Colors. I often see coated, glossy business cards similar to those you would buy from VistaPrint online. The danger is trying to match the coated paper color on a uncoated sheet in the future. If you are planning for coated paper, the 20% and 100-100-20 combo will be OK ( although the 100C-100M-20K is a little on the dark side...almost Black ). The dark Purple is a little troublesome because it may look good on the monitor, but you might not like the printed version ( too dark ). If I were you I'd venture into a local print shop and ask to see their Spot Color guide for the paper you plan on using. It's best to use your visual sense this way and then apply the CMYK equivalents in your file. Good luck.

How can you tell if guides are locked?

It sure would be nice if I could tell at a glance if my guides are locked. Is this something I've missed?
(Please don't tell me to go to View > Guides > Lock Guides. I know that. I want to know if I can tell Illustrator to display the locking status of the guides in some control panel.)

Selected guides should become light blue when they're selected. My guides are using the default color of cyan and the guide on the right is selected in the image below.
If you have your guides set to the light blue selection inside the Guides Color drop down menu then you won't see a difference because that specific light blue is the color the guide changes to when it's selected. You can also click on the swatch in the Guides and Grids preferences to select any color you want from a color picker.

Color Consistency For Product Shots

I'm doing product shots for my wife's eBay sideline.
The problem I'm having is that I will take multiple shots of an item, and despite my best intentions the color will be slightly different in each shot (enough so that when placed side-by-side on a web page, it's clearly and amateurishly different).
Here's some details about what I'm doing:
I'm usually shooting in front of a large window so it's mostly natural light. Sometimes I'll use an overhead flash, but if I do, I do so for all shots. It's not like some shots include flash and some don't. So the lighting should be consistent.
I'm usually shooting against a full white background (or full black)
My white balance is set to Auto
My exposure is manual
I'll usually try to start the shoot with a shot of a gray card. Then in Lightroom, I'll set the white balance for that shot by sampling the gray, and then copy/paste that white balance develop setting to all other shots.
So other than perhaps the Auto WB setting, I'm not sure what I'm doing wrong in the shooting to get different colors.
But that aside, this seems like something that should be fixable in LR, but despite copying the WB setting, I can't figure that out either.
What I would really like to be able to do is use the eyedropper tool on Image 1, then sample what should be the same color (but isn't) on Image 2 and say "LR, do whatever you need to in order to make the sampled color in Image 2 the same color as the sampled color in Image 1".

Gray cards (unless designed specifically to be so) are exposure guides, not color temperature guides. A white balance target would do you a better job.
The gray card is from Scott Kelby's Lightroom book, and he specifically mentions using it for color correction (actually, the technique for copy/pasting the WB settings gathered from the card is from his book, too).
Also, in the Lightroom manual, it says "Move the White Balance Selector into an area of the photo that should be a neutral light gray. Avoid spectral highlights or areas that are 100% white."
It is the color of the background that varies that gives it away in a grid of images.
When I get home, I'll try to attach some sample images. But in general, the backgrounds are pretty consistently solid white - it's the coloring on the product that's different. Depending on my time and how expensive the item is, I'll use Photoshop to ensure the background is 100% white.
Without a constant light source (window light changes over the course of time) you really can't depend upon copying and pasting the settings.
Yeah, I know. I'm trying to convince my wife to use her eBay profits to buy me a properly lit mini-studio, but until then, I'm stuck with what I have (referring to the situation, not my wife!). But also, the shots are usually within a few seconds of each other - it's not like the light is changing that much, at least not enough to account for the differences.
I have a feeling that it might actually have to do more with exposure. Like the color balance might be OK, but one shot is just underexposed and so the colors appear darker. But you'd think that the LR exposure controls would be able to do that, but so far I just can't get it dialed in.

Color workflow validation

Hi all. First time post here.
Being self-taught sometimes means having to unlearn bad habits learned from various forums and the good ol' internet, right?
I need some help "validating" my current color workflow, to see whether I'm actually wasting too much time and energy on the wrong habits (probably am!), after having recently seen a colleague of mine use something utterly different as workflow.
Got my screen and printer calibrated right now, and my color settings in Illustrator and Photoshop matching. Basic so far.
Now when I start a new project in Illustrator, I go through my swatch book (4-color process guide book) to pick out a CMYK build I like and apply that to my design. The color up on the screen doesn't really match at all my swatch book (I know, different gamut), but I'm basing myself on the swatch book so I know what I'm aiming for... (& let me make it clear; I do not actually use any spot colors in my final layout, just a small square of it somewhere for referencing purposes only).
Finally, I go to Photoshop once the designing is done and use the color picker to find the closest Pantone match (for solid coated).
So then I return to AI, and apply that Pantone color off my artboard for my printer to have as reference, if needed. The breakdown of that PMS color is never really spot-on the CMYK build I initially started with - it's usually off by 5-10%. Normal I imagine.
For instance, I chose CMYK build 100/70/0/0 in my guide book. That gives me PMS 2945 in PS. When I click "OK" in PS, PMS 2945 becomes 100/70/17/3 in its equivalency as CMYK. Pretty close but not perfect.
When I go back to AI and apply swatch 2945 and click "Convert to CMYK", the breakdown suddenly gives me 100/45/0/14. A little too far off for my tastes, but hey...
Reason I do all these steps is because the colors I pick out in the swatch books to begin with never match what I see on screen, so my clients always freak out when they receive soft proofs and then see the finished printed results. The colors always look a wee bit lighter on screen than on print.
I'm aware that screen representation is pretty much useless even with proper calibration (for lack of better wording), but can I fully trust and base myself on my swatch books - considering that the stock I'm printing on is different, etc, etc? Especially because I'm dealing with blues right now...
Would you(s) say this is a somewhat correct workflow or utterly ridiculous workflow? (And please be gentle if going the ridiculous route ).
And if so, how would you(s) start a project from scratch??
Thanks guys!

First I think you have badly calibrated system. With properly calibrated system what you see on your monitor should give a very good representation of your final colors, although for offset print you should always have a print proof accepted from your print shop. I use print proof not because I don't trust my monitor but because it requires client approval and the print shop can guaranty the color match. Obviously there is a difference between colors produced by emitting light vs reflecting but the eye has a good adaptive system of recognizing the same colors produced differently and proper color management takes this into account. If your standards are very high a proper calibration and viewing environment should give you a very good screen representation of the final result. Many Artists and designers create colors successfully referring entirly to monitors.
type_uk wrote:
Finally, I go to Photoshop once the designing is done and use the color picker to find the closest Pantone match (for solid coated).
So then I return to AI, and apply that Pantone color off my artboard for my printer to have as reference, if needed. The breakdown of that PMS color is never really spot-on the CMYK build I initially started with - it's usually off by 5-10%. Normal I imagine.
For instance, I chose CMYK build 100/70/0/0 in my guide book. That gives me PMS 2945 in PS. When I click "OK" in PS, PMS 2945 becomes 100/70/17/3 in its equivalency as CMYK. Pretty close but not perfect.
When I go back to AI and apply swatch 2945 and click "Convert to CMYK", the breakdown suddenly gives me 100/45/0/14. A little too far off for my tastes, but hey...
Reason I do all these steps is because the colors I pick out in the swatch books to begin with never match what I see on screen, so my clients always freak out when they receive soft proofs and then see the finished printed results. The colors always look a wee bit lighter on screen than on print...
I'm not sure why you are even using Photoshop for that but , Illustrator is much more accurate than Photoshop when matching RGB and CMYK to Pantone colors. Also have in mind that the Pantone match depends on your color settings. The color managed program you are using for matching Pantone color will use the display color space of your image, in combination with your monitor profile to figure out the best Pantone color match based on the assumption of how the color is displayed on the monitor and seen by the user. So the Pantone match may be different for each user if the color settings are set differently. Photoshop will choose Pantone 2945 C for your CMYK color if the image is assumed to be displayed in U.S.Web Coated (SWAP) v2 color space. Change that to something else and the Pantone match will be different. Interestingly though, Illustrator with the same settings picks Pantone 2728 C which is much more closer to the original color. I'm not sure as to why Photoshop is that much off - ask the Photoshop programmers, but this is why I always use Illustrator for color conversions.

Using pen tool, no fill no stroke but still colored line?

I have used the pen tool to draw shapes in Illustrator. Some shapes have normal paths and some are weird. The normal paths disappear when they aren't clicked on, the weird ones have a green stroke always. There is no fill and no stroke on so I am confused. Also when I click on the normal ones and then try to use the pen tool, it creates a normal path. When I click on the weird ones and use the pen tool, it copies it and makes a green line. If I put on a stroke, its like there's an inner stroke. Please help!!

You sure that the green ones aren't Guides. I believe the default color for Guides is green. What happens if you go to View>Guides>Clear Guides? Do the green paths disappear? Cmd(Ctrl)-5 is the KBSC for Make Guide. If you accidentally hit that with a path selected it will become a guide.

Photoshop cs5; problem snapping to guides

Hi, am working on a new version of Photoshop CS5. My curser no longer highlights ( or changes color ) over guides and my selections wont snap to the guides. Have enabled 'snap', as well as 'snap to guides' but nothing changes. I've also alternated between the two just in case they didn't work at the same time. Any idea's, i cant work accurately right now..thanks

ForceQuit and Quit are options, but not a solution. I'm more interested in why it happens and when it happens, how to back out of it.
I asked if you are offered »Quit« or »Force Quit«. I have never seen them both offered in that pop-up.
In latter case you have no further options, I’m afraid.
In the first case you could try quitting all other applications … no guarantees that would help, though.
As to why it happens:
How diligent are you with System maintenance, font validation etc. and are third party plug-ins installed?

Choosing Output (Color) Settings When Creating A Photoshop PDF

I created an illustration in Photoshop (CS2). I worked in RBG. I'm transmitting it to a printer who requires that I send it as a PDF.
I make a copy of the original .psd file. I embed the fonts (rasterize text). I flatten the file. I do a Save As to save it as a PDF.
When I do the Save As, I embed color profile sRBG IEC61966-2.1.
Now I have to mark all the PDF settings in a series of display windows: General, Compression, Output, Security.
The one I'm having doubts about is the third group: the Output (Color) settings.
Here's my question:
Having embedded the RBG profile (sRBG IEC61966-2.1) in my PDF file, if I choose "No Conversion" and "Include Destination Profile," can I be sure that the printer will print my illustration using the embedded color profile sRBG IEC61966-2.1?
I thought it might be helpful to show all the Photoshop display windows in the above sequence, so I've also posted this question here:
http://markarmstrongillustration.wordpress.com/514-2/
Would sincerely appreciate your feedback-- many thanks.

Hi again Scott,
Thanks again for your very helpful feedback. Let me try to sum up what else I've learned, and to try to put the situation in perspective.
I did cover art for a guy who's self-publishing thru Createspace, which is a print-on-demand subsidiary of Amazon. I'm currently awaiting a proof to see how the colors turned out.
I work in Photoshp. Createspace requires cover art files to be submitted in PDF format. You can work in either RGB or CMYK, they say-- doesn't matter.
When I save my file (in Photoshop) as a Photoshop PDF, I can embed the color profile I used. In my case, that was sRGB IEC61966-2.1. And I did embed that profile. I also have to enter Output (Color) settings for the PDF. I went with "No Conversion" (i.e., stick with sRGB IEC61966-2.1) and "Include Destination Profile" (which I thought-hoped would be my embedded profile, again, sRGB IEC61966-2.1).
But I wasn't sure-- I have very limited experience submitting PDF files for print-- so I posted my question here. I also posted it to the Createspace Community Forum, and I also sent it to Createspace Tech Support.
The response I got in the CS Forum was very helpful-- FYI here it is:
"I participated in some of those discussion where no one seemed to agree on a correct answer -- and decided to try to find one (at least, for me and my projects). To that end, I designed a color reference sample booklet, dropped in color swatches working in RGB and CMYK, printed/distilled the pages to PDF using every reasonable combination of settings I could think of, and over the past couple of months have ordered proofs of each and compared the resulting colors to the colors in a commercial printer's 4-color process guide. When working in RGB, I got the most accurate color by selecting the "Convert to sRGB IEC61966-2.1" option and embedding the sRGB ICC color profile data. Obviously, I can't say if that's the right answer for someone else, but it was in my case."
And here's the not-so-helpful response I got from CS Support:
"We accept files in both the RGB and CMYK color spaces. We recommend maintaining all original artwork in Adobe RGB, which allows for the best possible conversion to our digital, CMYK printers.
I apologize that I am unable to offer specific information regarding which color space to use during file creation. We will accept either Adobe RGB or sRGB submissions - we do not recommend one over the other. Any images may be tagged with your choice of CMYK or RGB profiles or left untagged in a generic color space and as such, you are welcome to create your PDF files through any program or method you like.
It is because of the numerous programs and methods available that we are unable to give technical assistance with PDF creation.
I understand your desire to ensure accurate color reproduction; unfortunately, color management for books is not something that we offer at this time.
As you are required to order a proof before making a title available for sale, you will have the opportunity to review a physical copy to ensure you are satisfied with the color. After reviewing the proof copy, you may make adjustments to your files if necessary."
I also googled "color profiles" and "printing" and came across this statement:
"Many printers now prefer digital art files be supplied in the RGB color space with ICC profiles attached. Images can then be converted to the CMYK color space by the printer using color management methods that honor profiles if present; this helps preserve the best possible detail and vibrancy."
And I also found a very credible site (http://www.kenrockwell.com/tech/adobe-rgb.htm) which said that Adobe RGB (1998) is, essentially, only used by niche photographers, and which recommended sRGB IEC61966-2.1 as the "universally accepted" RGB color profile.
Anyway--
Based on all the above, including your own feedback, I think I made the right choices-guesses for my PDF, at least for one being sent to Createspace: embed sRGB IEC61966-2.1, and specify "No Conversion" and "Include Destination Profile." At any rate, I'll get to see how closely the colors match when I finally see the proof.
Probably more than you wanted to know. Oh, well...

Colors of guide on Xfinity

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