Corporate color is out of gamut for cmyk

Hi everyone, I inherited a color from someone who has departed my company. It's a lovely, bright blue. He has rolled out this blue in all of our UI...that rebranding is complete. Now I come in to update the other corporate materials around this shade of blue only to find that it is out of gamut. When I click to correct it, I end up with a totally dull and lifeless shade of blue. The contrast between these two blues is really quite severe. No one except a color-blind person or maybe just a blind person would think they were the same. I am at my wit's end. One thing I am thinking of doing is getting one of those Pantone books and try to find a suitable blue using my own eyeballs because all of this has occurred on my computer monitor. Do you think I will find a better match that way or do you think Illustrator is tops at finding the right substitute? Thanks in advance for any advice. Best Regards,
Z.

Z,
You may try this for a start:
In a CMYK document. create a set of differently coloured squares in the range of 100 - 50% C and 50 - 0% M:
1) Create a square, maybe 15 mm x 15 mm, no stroke and a fill of 100% C and 50% M (0% Y and K);
2) Object>Transform>Move a Copy by 10 times the width (150 mm) horizontally, then change the fill of that to 50% C (and keep the 50% M);
3) Object>Blend>Blend Options, set Specified Steps to 9;
4) Select 1) and 2) and Object>Blend>Make, then Object>Blend>Expand and Ungroup, to get the first row;
5) Select 1) again and repeat 2) - 4), only with a vertical move of the copy, and ending with 0% M, to get the first column;
6) Do the same starting with 2), to get the second column;
7) Create horsizontal blends between the two columns.
This should give you a square of squares of different blue colours as a basis for further considerations, in a size that enables you to have test prints on A4 or Letter size.
You should use the appropriate Color Settings/Management for your region, of course.

Similar Messages

Warning out of gamut for printing

Hi I am not sure whether I have unintentionally changed some setting but I am unable to match the color of my image to the color of my webpage.
I thought it might have something to do with the image, so I made a new image of solid color and put that in and it was better but still did not match perfectly the bg color of the webpage. Colour is #fd5554.
Then I noticed the little icon in my color picker panel, warning out of gamut for printing, so I googled the problem and have followed these instructions:
Choose File > Print.
Choose Color Management from the pop-up menu.
For Color Handling, choose Photoshop Manages Colors.
which did not fix the problem.
Next I went to PS Preferences
which did not fix the problem. So I shut PS down to see if this would help and still the same problem.
This is the image I am trying to insert
If anyone knows how to fix this I would be eternally grateful!

but I am unable to match the color of my image to the color of my webpage.
If your Web page is filled with #fd5554
and you fill an sRGB image in Ps (Photoshop) with #fd5554 and Save a .jpg (strip the profile)
the page and image should match on your Web page (not accurate but "match" none the less).
The problem on the Web test is likely you are embedding a profile in the Ps image (a color managed browser is using the .jpg profile) and the browser app is applying Monitor RGB to your page color — that's why they are mismatching in your first example. Either that or you are using AdobeRGB in Photoshop and not Converting to sRGB...
Ps, on the other test, is using the embedded profile (or applying its Working RGB, i.e. AdobeRGB, if you are not using the embedded sRGB profile) and Converting to your print space.
I don't believe a "gamut" issue would cause a mismatch, if gamut was clipped or compressed they would be eqaually so affected.
It is somewhat complicated to explain any further, but try your Web test AFTER converting your dog to sRGB, then fill #fd5554, then Save As sRGB .jpg (with no profile).
Place that on your Web #fd5554 and the background and Ps will "match/blend" in most/any browser (Mac or PC)...
Note: If you post any more Ps screenshots, be sure to include the selection for your Source Space so we know what Source Space you are using:

Color picker out-of-gamut alert diferent to image gamut warning? (CS5)

I'm confused...
I'm editing an sRGB image. My custom proof condition is set to sRGB IEC, preserve numbers unchecked, intent PER or RC, BPC. Gamut warning is turned on.
I add some text and color it using the text color selector tool. I enable gamut warning in that and choose an out of gamut color such as #ff0000. I return to the image and the the text is *not* flagged as being out of gamut.
In fact *no* color flagged as OOG in the selector seems to be considered OOG once I return to the image with sRGB IEC selected, though they are when I select other devices to simulate.
Why the disparity between the image OOG warning and the selector tool? Is the tool using a different simulated device to that I've selected? Which should I believe?
Ian

Ian Worthington wrote:
I'm editing an sRGB image. My custom proof condition is set to sRGB IEC, preserve numbers unchecked, intent PER or RC, BPC. Gamut warning is turned on.
I ... choose an out of gamut color such as #ff0000.
Perhaps I'm not understanding what you're doing fully, since you're abbreviating a lot of important stuff...
What makes you think a color of #FF0000 is out of gamut in the condition you described - your document is in the sRGB IEC61966-2.1 color space and you're proofing the same sRGB color space? Unless I'm missing something here, nothing could be out of gamut in that condition.
Do you see the expected gamut warning if you assign the Adobe RGB 1998 color profile to your document. In that color space the RGB value #FF0000 is out of gamut for the sRGB IEC61966-2.1 space you're proofing.
-Noel

Spot color to CMYK and out of gamut

I do the following:
- Create a document, CMYK workflow
- Color Settings: CMYK: US Web Uncoated v2
- Select PANTONE solid coated color book
- Create a rectangle and fill it with PANTONE Hexachrome Orange
- Now change the PANTONE Hexachrome Orange (double click on the swatch) to a process color in CMYK. Illustrator tells me everything is OK (no out of gammut warning) but believe me, there is no way this can be printed in CMYK (a DeltaE of 30 is not uncommon). PANTONE Hexachrome Orange is way out of gamut in CMYK prints.
Anyone knowing what I am doing wrong?
Thx,
Dirk Ruys
AGFA Graphics

Indeed, I do get an out of Web Color warning as well ..
Yet Hexachrome orange is out of gamut on top of out of Web color and this warning I do not get ..

New Swatch Type: 'Corporate Color'

Have you ever designed a logo and managed its various color versions? You will want this feature.
Click 'New Swatch' – you get a dialog box with the possibility to choose, among other things, from two color types: Process Color or Spot Color.
Let's imagine there was a third option: 'Corporate Color' (or whatever you want to call it, that's irrelevant).
Choose 'Corporate Color' – and you will be given the possibility to manually select/enter the color values of any/all versions this particular corporate color might have, say: PMS Coated, CMYK, RGB, RAL – and if needed, also PMS Uncoated version, different CMYK versions for newspaper and coated stock, etc.
Of course you would be able to add, remove and edit these color versions of a Corporate Color afterwards, as per the basics of good UX.
The thing is, these fixed values for different color versions would follow with the Corporate Color where ever you use it in your document, and whatever changes you make to your document. Say, you convert your document from CMYK to RGB – normal colors are converted according to whatever color management settings you might be using at the time (and continue to do so regardless of this new feature). But, a Corporate Color would first check if there's a fixed RGB version set, and if there is, skip all conversion calculations and, simply use that fixed version.
Also, if you 'Save for Web', for example, a suitable RGB version would be used of each/any Corporate Colors you've chosen to define and use in the document. Everything else would convert just as it does now.
You could use that? Yeah, thought so. But here's the really cool part: with Corporate Colors, you would also have this new export/save option: 'Export Corporate Color versions'. What would this option do? You guessed it right. It would export all the different color versions of the document, in neatly named files (and folder structure when applicable), and any formats you check for each Corporate Color version.
Let's say you have a two-color logo, and you've defined both colors as Corporate Colors with one CMYK and one RGB version. In the 'Export Corporate Color versions' dialog box (or the document's default settings for the tool) you choose a .pdf, an .eps and a 600ppi .tif format for the CMYK versions and a .svg and 1000px wide .png and .jpg formats for the RGB versions. Then simply click 'Export' and you get the following:
[folder: my-logo-cmyk-versions]
my-logo-cmyk.pdf
my-logo-cmyk.eps
my-logo-cmyk-600ppi.tif
[folder: my-logo-rgb-versions]
my-logo-rgb-1000px-wide.png
my-logo-rgb-1000px-wide.jpg
my-logo-rgb.svg
Each file in the company's official RGB or CMYK colors, effortlessly and with absolutely no mistakes.
If you like this idea, and would love to see it featured as soon as possible, upvote this suggestion and ask your colleagues to do the same.
Thanks everybody. I won't be taking more of your time. Bye!

Hi Ranjith,
This is how I debug output type message related issues :
i) If you get red coloured message against the output type - Put the breakpoint in FORM ENTRY of your print program and check the RETCODE variable. Also check the sy-msgid, sy-msgno variable.
ii) If you get red coloured light after pressing messages button. These Messages are updated using 'NAST_PROTOCAL_UPDATE' fm. Put a breakpoint in the function module and find out the cause.
Regards
DPM

Out-of-gamut colors

I am working on something that will only be seen on a computer screen, and I want to use out-of-gamut colors, but I can't find a color profile that will allow it.
Is there any setting I can use that will allow me to use out-of-gamut colors?
Thanks!!

If by out of gamut you mean the colors that show an exclamation sign in the Color panel and Color picker when working in RGB documents, these are colors in the color space of the document that are not contained in the CMYK color space selected as a Working Space in your Color settings. Or in other words this is how these colors will become when you change the RGB document to CMYK.
For example if you have an RGB document using the sRGB color space and the working CMYK color space is U.S. Web Coated SWOP v2 you will have one set of out of gamut colors, but if you change your working CMYK color space in the Color Settings to US Newsprint which is with much smaller gamut then a lot more RGB colors will show the out of gamut warning sign.
Likewise if you keep your working CMYK color space the same say, U.S. Web Coated SWOP v2 but assign a different RGB color space to your document let's say Adobe RGB or ProphotoRGB which have much larger gamuts than the sRGB color space then also a lot more colors will show out of gamut.
If by out of gamut you mean in general the colors in a any color space regardless its color mode RGB or CMYK that are not contained in another color space, you have to specify which two color spaces you are talking about. Examples of color spaces are those that you can see in the RGB menu in the Working Spaces section of the Color Settings. The color spaces that can be described in a color profiles can be RGB or CMYK.
edit:
tamarasussman wrote:
I am working on something that will only be seen on a computer screen, and I want to use out-of-gamut colors
Each monitor, not only brand, but each unit of the same brand, has a certain unique color space than can be measured with a color measuring device and a color profile describing the color space can be created for it. If your document is assigned the color space of your monitor instead of some of the standard RGB color spaces like sRGB, AdobeRGB, and etc., then you will have an unique set of out of gamut colors showing the warning sign. So in your question you have to also specify which RGB color space you are talking about: standard or device specific?

Preview Out of Gamut Colors

Hi all,
We all know how to display Total Area Coverage in Acrobat and highlight area's with too much ink. But is there also a way to see out of gamut colors, similar too how this is visualised in e.g. Adobe Photoshop. Can't seem to find any means or tools to do so.
Didier

A PDF file can contain any number of per-object color spaces, and within each one the colors will of course be in local gamut, so there's nothing to show you. In Photoshop you can load the color picker with a CMYK swatch even though your document is in RGB, but that concept doesn't exist in Acrobat.

Best way to process out-of-gamut colors

Hi,
My usual colorspace whilst processing RAW images is Srgb, mainly because I print most shots & my printer requires Srgb for this.
The problem is that I experience "out-of-gamut" warnings within ACR and would appreciate some advice on the best way to deal with this - my options seem to be:
continue in Srgb & allow color to be clipped
swap to a wider colorspace (lab/Argb), process the image & tthen convert to Srgb for print
Ultimately though I need to output in Srgb so does it make any difference processing in the wider space as I guess the out-of-gamut color is going to be clipped at some stage anyway ?
thanks for any advice
Simon

simonkit wrote:
My usual colorspace whilst processing RAW images is Srgb, mainly because I print most shots & my printer requires Srgb for this.
The problem is that I experience "out-of-gamut" warnings within ACR and would appreciate some advice on the best way to deal with this - my options seem to be:
What printer are you using? Printers are nonlinear devices and as far as I know, no printer has sRGB as its native color space. Some printing services such as those offered by Walgreen and Walmart expect the image to be in sRGB and then convert behind the scenes to the native printer space. Walgreen often uses the Fuji Frontier and expects sRGB input. Some labs that cater to serious users will give you profiles for the Frontier. Some Costco stores use the Frontier and profiles are available on DryCreek.com. As Mylenium has pointed out in general for printers, the gamut of the Frontier is smaller than sRGB. However, their shapes are different and many colors in the sRGB gamut are not in the Frontier gamut. Conversely, a few colors in the printer gamut are outside of the Frontier gamut.
Here is a 3D gamut plot of sRGB in solid color and a Fuji Frontier printer from a lab in my area shown as a wireframe. The gamut of sRGB is wider in the blues and magentas and these colors that fit in sRGB would be clipped on output to this printer and you would have no way of knowing that in the absence of a profile for the printer. A few yellows in the gamut of the printer are outside the gamut of sRGB, and these could have been saved if you had used a wider space such as aRGB or ProPhotoRGB.
My suggestion is that you find a printer for which a profile is available. Costco uses Frontiers and Noritsus and makes profiles available. Most high end labs will give you a profile (otherwise, you are being ripped off). Then you can use soft proofing to detect and map out of gamut colors. If you are in aRGB and soft proof to see what colors are clipped in sRGB, you still do not know what colors that fit in sRGB would be clipped in printing. Also, if you have a profile with perceptual rendering (such rendering is not available for matrix profiles such as sRGB, aRGB, and ProPhotoRGB) you could try that to map the out of gamut colors.
The most recent inkjets have a considerably wider gamut than photo paper, and the use of ProPhotoRGB is recommended for use with these.

Soft proofing and Out of Gamut warning

I like to use Blurb for a perfect photo book. I am an amateur photographer but like the most of my pictures on paper.
What's the perfect workflow for soft proofing ?
A friend of me has calibrated my screen (Thunderbolt Apple screen).
My current methode :
I take a picture in RAW with AdobeRGB profile setting, i adjust a few parameters in Lightroom and then go to Photoshop and start de soft proofing with the Blurb-ICC profile.
The result with soft proofing is like there's a white mist over the picture. Then i try to optimize this with various parameters.
When i try the soft proofing with the Blurb ICC profile + out of Gamut warning option .... there are many colors out of gamut .
My second methode :
When i import the raw picture in photoshop cc and i convert the picture to the Blurb profile, then there are no out of gamut colors but everything is in CMYK.
Is this a good way for perfect photo books in Blurb ?
Or must i ignore the out of gamut colors ?
Is it better to make my pictures in sRGB ?
When i want to save the end result in Photoshop cc ( jpeg for Blurb ) must i enclose the Blurb ICC (when in CMYK) , Adobe RGB or sRGB profile (when in RGB) ?
Please help me make a perfect photobook
Mario

Since I don't know what "Blurb" is, I'm going to assume that's your printing service somewhere, and that they have provided you with their target printer profile.
What you describe under current method is absolutely normal, expected behavior. Adobe RGB simply is a much larger color space than whatever this Blurb profile is.
If you care to let me know how or where I can get a hold of this Blurb profile, I can in a matter of seconds prepare an illustration of how the two profiles compare to each other. From where I sit, it would appear you're throwing away a lot of image quality by using Blurb.
There are two wacky ways of getting around your seeing the out of gamut warnings. The first is not to soft-proof at all. (Duh! ) The other one is an unorthodox workflow which works just fine PROVIDED you are aware that the image files as an end product are only good for Blurb and for no other purpose, and that is to set your WORKING COLOR SPACE from the get go to the Blurb profile. Of course that is not the recommended or even kosher workflow. It is only a workaround to the deficiencies of this Blurb profile.
I cannot comment on your "second method" until I know more about this Blurb phenomenon. If they print on a CMYK press, then they are throwing away a lot of colors, even if you send them images in sRGB. Nothing you can do about that.
The one thing I can say is that if the outfit doing the printing is the one that sent you the profile, then they will know how to deal with an sRGB file. The profile they sent you is just what their printing process uses. No need to attach a copy of their own profile.

Color picker show only gamut colors

hello all,
in photshop, you can go to View -> Show Gamut Warning and then in the color picker the colors out of gamut will be greyed out.
is there any similar setting in illustrator too?
thanks for answers.

Illustrator is a little different the color picker show the out of gamit warning however if I am corret since illustrator a little different and you really canot select an out of gamit color since it will converted to the cmyk environment for instance or the rgb environment you are creating your document, which is probably the reason that some colors coming from Photoshop do nt always match 100%.
For instance placing a rgb photo in Illustrator converts it to rgb slecting a color out of gamit will also give a cmyk value to it in the picker it is the cmyk value that will be used and there for will not be out of gamit turning on overprint preview will show what the color really looks like if you have a properly calibrated monitor.
The color you are seecing might be out of gamit but what you have in Illustrator will print properly no matter how close it appears on the screen.
Let me Illuustrate this
The color picker, notice the cmyk values and the out of gamit warning
The color panel shows it as cmyk values and as long as it is translated as percentages of cmyk inks then it is not out of gamit.
So the issue is mute in Illustrator

Photoshop's Inherent Weakness - "out of gamut"

Hi Folks, well I think it is about time to for me to say this. After weeks and weeks of head scratching and emails and experiments on my 3800 I have to conclude that photoshop (in my case CS3) has a huge flaw - it does not truly represent colour that is either in gamut or out of gamut. The truth is that ordinary photographs do indeed hide subtle colour inaccurracies that when seen as a single tint on a greyscale image really show up, and photoshop is incapable of dealing with what is in gamut and what is out of gamut with regards to colour mixes on fill layers. Untill I started to tone my images and combine colour fill layers on varying opacities and blend modes I NEVER had any problems with colour management (just tweaks here and there) but when I went into toning I discovered that Photoshop simply fails miserably to tell you what it is able to print within a colour space and what is outside that colour space. Oh and by the way soft proofing? Overated nonsense that is a joke and three quarters.
The only accuracy I got with regards to Photoshop and toning was when I placed these same images into the sRGB space, at that point I was shocked to see Not Perfection by any means, but certainly much more closer to the screen image that was, by the way, in the Adobe RGB1998 workspace. So I tested many of my images that were in Adobe 1998 RGB on the screen and viewed them under the ASSIGN PROFILE = sRGB space and discovered a huge shift closer to the print out - not by any means accurate but very close indeed. This, amongst many other experiments, proves that Adobe have failed here in a basic software operation, rendering out of gamut colour. As I said before - never any problems with ordinary colour photography, and this point is exceedingly important.
Colour fill layers are decpetive and adobe needs to address this - I know of nobody that uses colour fill layers to achieve what I have done and all toning that I have ever read about has been a sort of a flick of a few switches OR using the duotones and tritones menu (which I find lacking in creativity). The colour fill layer dialoh=gue box does not render what is truly out of gamut, and what is more it is not even as though my choices of colours were anywhere near the borders of out of gamut.
Conclusion? Dissappointed in the overall rendering of accuracy of colour gamut with photoshop.

Hallo Rick, how are things? Well to be honest I am so really fed up with this whole situation and have wasted three weeks trying to figure it out. I am tired of repeating myself. I have just, at the suggestion of another person, soft-proofed my adobe rgb 1998 toned image in the sRGB space with colour nubers set to "preserve bumbers" in the soft proof dialogue box. I know see perfect matches between my print out and screen image. NOW, this is important, I have NEVER had this problem with normal colour photographs. So it is not all to do with colour management. And as Tim on photo.net said:'
Chris, I'ld like to add some info I didn't mention in that thread that may explain a bit about Photoshop's Soft Proofing and out of gamut warning tools and their intended use. According to many discussions over at Adobe forums I've participated in on your issue, Soft Proofing is meant for photographs only.
A duotone or toned image as you call it is considered a graphic effect. In fact the old way of getting this look was performed by graphic artists and prepress technicians before digital made it a click and print affair. I used to be both a graphic artist and prepress technician and the process for getting a toned image printed on a commercial press before inkjets came around involved cutting light blocking overlay film knockouts for each Pantone ink that was to be mixed using darkroom exposure tricks performed by the prepress technician.
Color gamuts weren't an issue because the inks were custom mixed on press. Can't do that on an inkjet. This still can be done in Abobe's InDesign by picking spot colors and the separations are done through a RIP (Raster Image Processor) where the 1's and 0's get turned into those light blocking knockouts for burning plates used for printing to a commercial CMYK press.
Another aspect about why Gamut Warning and Soft Proofing is engineered for photographs is because photographs have by their nature a dithered pattern made up of millions of alternatiing pixel colors that act as a color slice and dice mincer that aids a printer that prints with a dithered pattern in smoothing out color TRANSITIONS it can't reproduce.
There's a lot of "faking it" going on utilizing this dither smoothing in an attempt to fool the eye into accepting the color the printer chooses in relationship with the rest of the surrounding colors in the image. This is why there are rendering intents named Relative, Saturation, Perceptual and Absolute in Soft Proofing dialog box and in Photoshop's printer dialog box.
You should try them out and see what happens with your toned images, but outcome can't be guaranteed because toned images don't possess enough alternating color dithering as in a photo to allow the printer to provide smooth color transitions. You'll notice their is a check box for "Dithering" in the Convert To dialog box. This isn't enough for toned images especially if choosing a color fill that doesn't allow the printer to "fake" this look. These printers including yours which uses a gamut limiting pigment inks for longevity over larger gamut dye based only have cyan, magenta, yellow and black to produce transitions in intense colors. That's not much to work with.
And remember saturation is tied to luminance levels. The printer must reproduce the luminance level as well as hue and saturation using just two inks, in your case magenta and yellow, to get that orange brown. The only way to get a darker and lighter version is to add black because adding cyan, a mid density ink, will make it a dull brown. This is just plain physics learned in any paint mixing class.
Pre-visualization tools such as Soft Proofing are primarily meant for allowing the remapping of intense colors like in flowers to allow editing for an alternative hue and saturation level that will allow the printer to "fake it" more precisely.
So basically photoshop might be the problem. But, if you seriously think that I ma at fault then I certainly will give it one last try because I really am sick of this ridiculous situation. I will follow your instructions to the letter and will go through it for the 10th time.
Kindest regards
Chris.

Saving swatches for CMYK while mixing it in RGB?

My document is in RGB mode and I mixed the colors with the RGB sliders, though I am still able to save this swatch for CMYK in the new swatch dialogue window. What is this actually doing to the color?
Thanks.

What is this actually doing to the color?
It's using the current default color profiles to convert those values. This may work for some colors, but you shouldn't let yourself be fooled. If you plan on using any of those swatches in a CMYK document and then do a calibrated proof/ preflight, you sure will get some warnings about insufficient ink densities or out of gamut colors or as a minor, it will not look like anything you expected it to... It's just the nature of the thing.
Mylenium

Change a PMS color to a specific set of CMYK values in a PDF?

IS this possible? without the use of Pit stop?
Here is my dilemma, I want to take an existing pdf with one spot color and make it basically a registration color of 100% of each CMY and K. I can do this manually through Illustrator but to do this over a thousand times is MUCH to tedious.
Anyone know of any other options to do this?
some more details, I work for a specialty print shop and happen to have a 4c DI press. We are trying to get this one color spot job to image the cmyk outputs all at once BUT having different copy on each head/CMYK plate.
So far we can do it through Acrobat to postscript file to RIP BUT I think, because the original file is a PMS/spot its knocking out.
SO we tried through Illustrator which seems to work its just tedious, where we are trying to save time not add more.
Its a crazy work around but if we could get it to work would be great for this job.
Maybe my questions should be is there a way to force the process colors to over print?
WE tried it on the rip and its not working there either.

1. Place PDF in InDesign
2. Make a new CMYK spot color, defined 100C 100M 100Y 100K
3. In Ink Manager, find spot color of the PDF in the list.
4. In the ink alias for this, pull down and select the spot color you created in step 2
5. Still in the Ink Manager - beside the spot color you created in step 2, click once on the spot icon on the left to change it to process
6. Output a new PDF from InDesign
Once you have the InDesign file set up, all the work is done for any future PDF files you place. InDesign simply takes the spot color in the original PDF (ie Pantone 293 C) and maps it to your 100 CMYK spot. The 100 CMYK spot is in turn forced to process by the ink manager (the ink manager can be accessed in the flyout in the swatches panel)

WhenPrinting- Does Photoshop or Epson Determine out of gamut ?

We, (our photo club), have had a discussion going. When finished with your photo using CS2, if you go to Gamut warning and it is out of Gamut, you go to CMYK and back to RGB to get rid of the out of Gamut warning. This removes the out of Gamut colors. We printed 2 pictures using a small portion of the picture blown up 200%. We could not find any difference if we did the above fix or if we just printed the out of Gamut picture on a Epson 1280. Now the question comes up- does Adobe or Epson really drive the printer? Or are we spinning our wheels doing the Gamut correction ?? I may need a Adobe or Epson Techie...?? Anyone know ?
Thanks
Ron Stein

We, (our photo club), have had a discussion going. When finished with your photo using CS2, if you go to Gamut warning and it is out of Gamut, you go to CMYK and back to RGB to get rid of the out of Gamut warning. This removes the out of Gamut colors. We printed 2 pictures using a small portion of the picture blown up 200%. We could not find any difference if we did the above fix or if we just printed the out of Gamut picture on a Epson 1280. Now the question comes up- does Adobe or Epson really drive the printer? Or are we spinning our wheels doing the Gamut correction ?? I may need a Adobe or Epson Techie...?? Anyone know ?
Thanks
Ron Stein

Out of gamut warning

InDesign will not let me use dark blues, greens or purples and it gives me an error message saying "out of gamut warning." What do I do to fix this?

If you make an RGB or Lab swatch that is out-of-gamut to your document's CMYK space an out-of-gamut warning shows in the swatch dialog. When you use the color it will stay in the RGB gamut unchanged as long as you don't have transparency anywhere on the page with the default CMYK Transparency Blend mode selected, or you don't have Overprint/Separation Preview turned on:
No transparency, Overprint Preview off.
a transparent object on the page with a CMYK Transparency Blend space

Corporate color is out of gamut for cmyk

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