CS6: Converting PMS to Process for files to be printed 4 Color Process

Question

As the owner of Ripe Inc, a brand design firm, this is proving to be a big problem for us. I've searched forums looking for a solution and read lots of discussions about how the PMS color palettes "simulate" on screen how the color will print on different substrates (glossy vs matte vs uncoated paper). That's great for comps, but if you convert it to CMYK to print it, and the values are representing a "simulated" color it won't look correct (by that I mean come close to matching the spot color). For example, the uncoated palette simulates the color by making them appear a bit washed out on screen - pretty good visual simulation. But it might do so by adding black and cyan to orange for example, etc. - effectively dulling the original color. So if I convert that to CMYK within the new Pantone + color palette, and then send it to the printer - it won't appear as it did on screen, it will dull the end color even more because it's converted the color to the dull simulated version - what a disaster! It's only doing half the job - showing us what it should look like on screen. In order to be truly efficient for design professionals the CMYK conversion might remove black and cyan completely to effectively brighten the color in the final output on uncoated paper. I would prefer it just stick to the standard conversion, which Pantone did have as a standard palette option (PMS to process), and then I can adjust if I think it's necessary.
Any corporate branding system will likely start with a PMS spot color palette for the identity. Then it will build into many different adaptations - full color brochures, large format banners and trade show graphics, website, advertising. So any corporate branding system will need to have PMS, CMYK and RGB versions of their main corporate color palette. There was a standard for these translations that was automatically consistent in the Adobe software and that is now all over the place, so it relies on individuals manually adapting the color mixes for final use - what a great way to screw things up. Please advise.

Answer 1

Not exactly.  You're basicly talking about screen color generation which is hardly ever accurate and a typical desktop print scenario.  When it comes to offset printing, the file should be built to whatever the print vendor requires.  So, when you "communicate" with the print vendor, they can work with you on achieving the results you are looking to achieve.  In your establishing the color for a brand identity guide, the Spot color is the main reference color, with Pantone's CMYK equivalents found in their Pantone Color Guides ( the printed version with conversion numbers for Coated, Uncoated, and Matte.  You can realistically expect to minimalize deviates if you stick to those numbers, some which have not been reformulated for quite some time.  In a professional workflow and a calibrated workflow, a RIP will be used via a proofer printer ( inkjet ) where the RIP converts the Spot color.  In your case, you'd assign the Pantone 166 in the file which is sent to the RIP and then onto the print proofer.  Someone off in la la land may get ahold of the file and do their own conversion and then send it off to their generic, non-postscript desktop office printer.  Usually in that scenario, the print driver cannot deal with Spot color and the user is forced to convert to CMYK.  The color swatch libraries found in Adobe applications can handle the conversion if the user is savvy enough to use the swatch system.  Or, they can use your CMYK equivalents which you have assigned in your Branding Guide ( based on Pantone's printed color guide ).  Pantone has made recent updates challenging to average users.  You are being frustrated by those updates and are being led around by software application color conversion methods.  In the case of RGB and hex code deviates, pantone has done a good job supplying you and everyone else with those numbers on their web site.  I understand your frustration, but try to relax and settle with the 166 = 0C, 64M, 100Y, 0K conversion numbers.  Also, it may not be necessary to include Uncoated equivalents because those will only deviate via whatever paper is used in whatever printer is being used.  A 0C, 64M, 100Y,0K will print different on a coated glossy sheet than it would on a 20lb copier sheet with a different whiteness and different weight and different opaqueness, never mind different inkjets, laser printers, or color copiers.  You cannot control those scenarios, so why pull your hair out on Color Bridge deviates?  The only control you have is how you communicate the color in your Branding Guide, which should be the 166 / 0C, 64M, 100Y, 0K numbers.  End it there.  Those are industry standard color numbers that should hold up on any reasonably good output device.