Getting Used Spot Colors in a Color Legend on MAC JS or Applescript

Hello again:
I've been looking around for a script that will take the used spot colors in a document and place them in a predetermined spot. I've came across several posts about this, such as the COLOR CHIPPER although I think it's focus was on swatches, but it's kind of confusing me. What is confusing is the part of making New CMYKColor or RGB or if I even need to do that. I've looked at other posts and the Adobe docs, but none seem to help. Adding the text isn't difficult, it's getting these spot colors to reflect what's in the document that is. From what I'm seeing now:
I may have to use some other type of script such as Applescript to get rid of unused swatches first throught the actions panel, but I'm not sure.
I could possibly use the getByName method to call out the specific rectangle and the and relative callout with the appropriate color instead of having to position everytime.
I'm going to keep working on it, but if anyone has any ideas, I would appreciate it. Thanks

Hi,
I like to use this script.
Please share it to me.
My email ID: [email protected]
MOhan

Similar Messages

Convert from spot color to custom CMYK value in Applescript

I thought this would be very simple and it's not apparently. I am trying to convert a spot color into a custom CMYK value. Basically:
tell application "Adobe Illustrator"
          set theList to every path item of current document
          repeat with k from 1 to count of theList
                    if fill color of item k of theList = {name:"Dark Green"} then
                              set fill color of item k of theList to {cyan:0.0, magenta:100.0, yellow:0.0, black:0.0}
                    end if
          end repeat
end tell
But this script obviously doesn't work. From what I can tell, the fill color simply returns the tint of the item, not the name of it. I can't find anything that returns the name of a spot color so I can set the correct corresponding color. In the above example, I made the color obviously changed so I could visually see the result.
Any advice would be greatly appreciated! I'm a first time poster here.
Thanks!

tell application "Adobe Illustrator"
          tell current document
                    set theList to every path item
                    set sw to every swatch
                    repeat with i from 1 to count of sw
                              set swname to name of item i of sw
                              if swname = "Dark Green" then
                                        set swco to color of item i of sw
                                        repeat with k from (count of theList) to 1 by -1
                                                  set co to fill color of item k of theList
                                                  if swco = co then
                                                            set fill color of item k of theList to {cyan:0.0, magenta:100.0, yellow:0.0, black:0.0}
                                                  end if
                                        end repeat
                              end if
                    end repeat
          end tell
end tell

Should the print company I use be able to change a file to spot color for me?

I recently sent a document in to a major print company to have a folder printed. The document was created in Illustrator using only two colors. They said they could not print it because it was still more than two colors and that I needed to change it to a two color document using Pantone Spot Color.
I've never had to do that for a print company before but I've also never had a two color project before. I opened the file back up and selected my objects and "recolored" the work and deleted all the swatches aside from the two colors I needed that were now Pantone Spot Color (HSB). It literally took me 2 minutes.
The reason I am asking is because they pretty much said that I don't know what I'm doing, which to a designer is completely insulting. We all do new things from time to time but that is an insult. Shouldn't they, a large print company with years of experience, know how to do this for me? They had the original design file.. Maybe they don't know what they are doing?
Any clarity on as to why I needed to do it and not them is greatly appreciated. Also.. any direction as the best way to use spot color over cmyk is appreciated too.

...which to a designer is completely insulting...
What's so special about "a designer"?
Prior to the mid 1980s, designers could get away with prima Donna attitudes, because they (or their employers) were paying pre-press "color houses" around $350 per hour to tweak colors to sooth their oh-so-erudite discernment and hyper-developed color sensitivities, and to gain reimbursement for the $100 per plate lunches on proof-check days.
That all changed when designers (and their employers) got tired of paying those fees and took on the responsibility for the technical side of assembling their designs into something printable. That was the so-called "desktop revolution" and "revolution" was not a bad word for it. It turned a huge industry on its head. Color houses which didn't adopt PostScript devices and workflows were soon dropping like flies--and so were designers who didn't climb down off their lofty pedestals and buckle down to learning the technical realities of what they were doing.
Don't be insulted, but the simple fact is, you still don't know what you're doing if you think converting any given process color job to a two-spot job is "just a couple of minutes' work." Only in the very simplest designs would it be as simple as re-defining a couple of process Swatches as spot color Swatches.
In Illustrator in particular, doing so won't even work if the original Swatches were not originally defined as Global Swatches.
If those two process Swatches were used in any Blends, converting them to spot will likely not update the intermediate steps of the Blend. In earlier versions of Illustrator, the same problem applied to grads.
You can often get away with not having properly trapped the file with process swatches, because there are potentially four component inks which may be shared between adjacent different-color objects. Spot inks are not so forgiving. Trapping is essential if the two spot colors touch.
So you really expect a printer to just have a policy to do that for you? And thereby bear responsibility for anything they may misinterpret or overlook that may cause a registration sliver on press and thereby loose every bit of profit on the printing (which these days is cut-throat competitive)?
No. It's your responsibility to build the file correctly. The printing houses I use know better. They know I would have a coniption fit if I ever caught them modifying one of my files. They know they are to return any problem file to me for correction.
JET

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

Please help me how to take the "Spot Color" in illustrator?

Hi,
Please help me how to take the "spot color in illustrator CS" using vb script (or) java script.
Regards,
Prabudass E.

Prabudass, If you are just wanting to see if the illustrator file uses spot colors - run the Delete Unused Panel items from the default actions. then view the swatch palette in small or large List View. The color names that have a square containing a gray circle (spot) to the right of their color names are spot colors. The following will get the spot color name of an existing swatch named "Color1" and change it to "Nicks Swatch" and will assign the CMYK values stated. if (app.documents.length > 0){ var swatches = app.activeDocument.spots; for(i=0;i<swatches.length;i++){ var currSwatch = swatches[i]; if(currSwatch.name == "Color1") {currSwatch.name = "Nicks Swatch"; var newColor = new CMYKColor(); newColor.cyan = 35; newColor.magenta = 0; newColor.yellow = 50; newColor.black = 0; currSwatch.color = newColor; } }} When this script has run the swatch palette will not immediately reflect the changes to the swatch name until you double click on a swatch and click OK or Cancel in the Edit Swatch dialog. I hope that I have understood your question correctly and that these responses are helpful. Good Luck Nick

Problems printing spot colors overprinting registration color

In order to get a spot color to overprint a registration color on a proof, I have to change the spot color to multiply and then select convert all spot colors to process in the output dialog. I've never had this problem before using CS4. I'm running Mac OS X 10.5 and printing to an EFI RIP. I can see the error in the preview window inside the print dialog box in Illustrator before I sent to the rip.

Absolutely.
Remember I only have this problem when a registration object interacts with a spot color. I've tried putting either object on top and either item overprinting or multiplying.
For the record, I can get it to work by checking "convert all colors to process" in the print dialog box, but nothing works without checking this box and I would like to avoid checking this box if at all possible.

Mesh gradients using pantone colors

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

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

Created a CYMK vector shape logo in photoshop, now need to change to spot colors HELP!?

I have created a 3 color logo with vector shapes in photoshop CS6. The problem is the client wants it to be 3 spot colors rather than CYMK. Does anyone have a quick and easy way for me to change the individual vector shape layers into various spot colors instead that maintains the vector quality? I don't want to have to redraw all these shapes. Help would be VERY appreciated with this.

Your client is speaking in the language of Illustrator, in which spot colors represent specific, sometimes specialist colours. I can think of no reason why you can't use Photoshop, but ask the client if they want to provide you with values for the spot colours? If I understand it correctly, the printer will interpret each of the three spot colours you use, to represent the specific inks/colours the client needs.
Use spot colors | Adobe Illustrator CC tutorials
You encounter it sometimes when printing catalogs which contain sponsor logos. I can remember once getting an incredibly detailed PDF from Canon on how we could use their logo, with warnings of dire consequences if we got it wrong.

How can I rasterize a spot color file without creating "border" pixels between areas that are adjacent to each other but should not be overlapping?

We use Illustrator to create circuit layouts. For part of our process, we create an image of all of the layers using spot colors to show the printed layers overlapping each other. We then rasterize the file and send the image through a Matlab routine that performs some analysis of the circuits based on the colors of the pixels.
In some cases, I have created images with areas next to each other, but not overlapping. When rasterizing the image, the rasterizing process appears to treat the borders as overlapping and creates a single pixel wide border between the 2 areas when there is none. This is playing havoc with our Matlab routine.
I can manually go in and remove the rasterized border, however on some projects, this is a very lengthy process. Has anyone experienced anything like this, or have any ideas on how to prevent this?

Would align to pixel grid help?
Left is not aligned, Right is aligned to pixel grid

Spot color infomation not shown in Document info objects

Hi,
In the eps file, I have checked the Document info-->Objects menu in that spot color mentioned as "NONE"(refer img1.jpg). But in the same eps file Document info-->"Spot color Objects" menu its shows E(CMYK)(refer img2.jpg) that is spot color name. Could you please advise me why this difference occurs. Also I need to get this spot color object name via javascript, how to get this infomation?. I have attached the screen shot for your references.
Thanks for looking into this,
Maria prabudass

Hi.
TextFrame color informations included under textPath property.
app.activeDocument.selection[0].textPath.fillColor.gradient.gradientStops[0].color.spot.na me
If your selection is textFrames, add "textPath" after "selection[0]".
Ten.

Spot colors

Hi,
I've made a few logo's in Illustrator CS4 using spot colors (pantone solid coated). The spot colors are displaying correctly in Illustrator when I set the option "overprint preview" on.
I've saved my document as a PDF-file. Still no displaying problems in Illustrator...
But when I open my PDF in Acrobat CS4 (Pro and Reader) the spot colors aren't correctly displayed. I have "simulate overprinting" checked in Acrobat Pro. Still the spot colors look dull.
What can I do? What setting do I have to use in acrobat reader and acrobat pro? How do I have do save my PDF in Illustrator?
Thanks,
Ief

I use two spot colors: pantone 293c and pantone 354c. They are all set to Book Color.
In Illustrator CS4 and Indesign CS4 everything looks fine (overprint preview checked). In Acrobat CS4 everything looks dull. It's better when I use the PDF-profile: ScreenPrintSpot_1v4_IND4.joboptions in Indesign (http://www.gwg.org/index.php?search=&vendor=all&version=all&app=indesign+cs2-cs4&region=al l&segment=all&color=all&precre=all&res=all&id=9%2C191%2C0%2C0%2C1%2C0).
Is it normal the spot colors look dull in Acrobat. Am I doing something wrong?
Thanks,
Ief

Problems with spots colors and printing

Hello everyone,
I am currently working on a business card for a client. The design calls for white text with an inner shadow to sit above a bar with a gradient. One of the colors in the gradient is reflex blue. When I export the file to a pdf and try to print it the text box fills with white and the graident bar changes colors and a portion of it becomes solid. I can fix the problem by printing the pdf as an image or removing the reflex blue and substituing it for another dark blue. However there really isn't a close match in cymk to Reflex Blue C. Is there a way I could continue using reflex blue ( incidentally that is one of the company colors) without these short of issues? If it helps I am using Indesign cs5, Acrobat X, Mac OS 10.6.8, using Creo Rip Software and Printing on a Xerox 700 digital press.

I tried putting the text on another layer but it didn't change anything. The only solution that has worked so far is changing the spot color, reflex blue, to a cmyk color. Here is a screen shot of the problem and some of my export options
Hopfully that helps. In a realted issue, is there a way of lowering the transperancy of a graphic that uses spot colors without changing the color? Once again the problem is reflex blue. When I lower the transparacy the color turns purplish. Thanks for the help

Spot colors in acrobat

Hi,
I've made a few logo's in Illustrator CS4 using spot colors (pantone solid coated). The spot colors are displaying correctly in Illustrator when I set the option "overprint preview" on.
I've saved my document as a PDF-file. Still no displaying problems in Illustrator...
But when I open my PDF in Acrobat CS4 (Pro and Reader) the spot colors aren't correctly displayed. I have "simulate overprinting" checked in Acrobat Pro. Still the spot colors look dull.
What can I do? What setting do I have to use in acrobat reader and acrobat pro?
Thanks,
Ief

There synced.
Never had problems using Acrobat CS2. Cause there was an option "overprint preview".
In CS4 the spot-colors aren't displayed correctly in Acrobat Reader and Acrobat pro. I'm absolutely not a color mangement expert. So I don't know what I have to do. In Indesign CS4 and Illustrator CS4 no problems when I turn on overprint preview.
What can I do?
Ief

CC Library, How do you save Spot colors to it?

Every time I have a spot color and then save it to my CC library, it saves it as a web and CMYK instead. Is there a remedy? I ONLY use spot colors for every design and this is a little annoying.

You can't save it as a swatch.
It will only work if the color is applied to an object and you then save the object to the library.

Print Spot Color Gradients?

Hello there,
Could anybody tell me if it's at all possible to print gradients using spot colors? For example, I'm wanting to create a gradient from a near black color to a slightly lighter gray.
I'd be grateful for any advice.
Regards,
Kristopher (UK).

I have never, ever had a gradient built from 2 different Pantones do anything but separate to 4 color. Unfortunately I can't test in ID CS3 as whenever I try to add a second Pantone to the gradient swatch ID crashes.
Please make a PDF from these 2 Pantone gradients and post it. I'd like to see it.
Edit: I stand corrected. I was able to do this in ID CS3. So the day wasn't a total loss for me and I learned something new. Thanks Luke and Scott for setting me straight.

Getting Used Spot Colors in a Color Legend on MAC JS or Applescript

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