Incorrect Process builds Pantone Color tables in INDD CS6 and CC.

Why are the Pantone Color tables/libraries in INDD CS6 and CC giving the incorrect process builds?

I did just that in CS 5.5 and I received a different build. I got 100C,84.22M,41.89Y and 50.43K this is different than the builds I was getting before and matches neither.
If you want the legacy definitions you have to follow the directions in the link in Peter's #1 post—delete the new PANTONE + spot libraries, install the old libraries and uncheck Use Standard Lab Values for Spots.
They also provided their brand sheet and neither of these match the readings from Illustartor or InDesign.
If you don't want color managed conversions of spot colors Pantone now provides CMYK simulation libraries—PANTONE + Color Bridge. Those colors are process and will attempt to simulate solid spot colors but for one assumed press profile. Color Bridge builds are still different from the legacy CMYK builds.

Similar Messages

Color management in Illustrator CS6 and InDesign CS 6-settings & workflow questions.

I've read the color management posts and the Adobe help file regarding the Pantone + libraries and the new differences between CS5 & 6. However I'm still a bit confused as to just what my settings should be, and a few posts offer different pieces of advice, so I'm looking for clarification. I don't need to work with legacy CS files, so I don't want to swap out the old Pantone libraries for the Plus ones. However I still have my old Pantone Solid, Coated and Uncoated swatchbooks and until I can afford the new Plus swatchbooks, I'll depend on those. I'm hoping the difference between Pantone 321U and Pantone+ 321 is not great.
If I'm preparing a file for print and to be placed into an InDesign CS6 document for print, I know both document color modes should be CMYK—got that. In Illustrator CS6, I'm assuming I would use a Pantone+ Uncoated swatch (remember I'm using the old Pantone Uncoated swatch book as a visual guide and praying that the difference isn't too noticeable.)
1. In the Swatch settings pallette, should I set the Spot Color option to use the first choice—use LAB values specified by the book manufacturer, or use CMYK values from the manufacturer process books.
2. In the View menu, should I select Overprint Preview to get a (more or less-I know the drill) closer monitor color to what will be printed.
I don't want to fool around with trying to set the CMYK values as listed in Pantone Color Bridge CMYK EC (found on Scribed here: http://www.scribd.com/doc/33104/Pantoner-Color-BridgeTm-Cmyk-Ec ), and I'm not even sure of the point in doing so or what it would do for me.
What I want is to depend on a swatch book, select the named swatch from the Pantone library, have all my settings set properly, then place it in InDesign, then send the file to a digital printer and get as close an approximation to the swatch book selection as possible. I need monitor color settings to reflect the swatches as best possible.
When I can afford it, should I opt for the Pantone+ Coated and Uncoated swatchbooks, or the Color Bridge? I'm usure of the difference, and if there are any Illustrator or InDesign settings that would need to be changed depending.
As a corollary to this questions, once the settings are OK in Illustrator, what do they need to be in InDesign? There are settings for Ink Manager (all spots to process or use standard LAB values for spots, the Color palette has check options for LAB, CMYK, RGB.
I'm not sure what needs to be set in InDesign to make sure colors are consistent between what is set in Illustrator and then what InDesign does.

Let me try to help you further:
1. In Illustrator's Swatch settings pallette, should the Spot Color Mode option be set to use:
a. CMYK
b. LAB
c. Book Color (not sure if this refers to the pantone swatchbook)
- I would use "c" - Book Color. This is the file going to the printer which will use Spot Color on press. For a copy of the file to be output by your Canon, use "a" - CMYK.
2. In the View menu should Overprint Preview be checked, and why, and would it differ based on the settings for #1.
- Only if the color was transparent ( which it isn't ) would overprint preview be of any use or you use a tint value of the Spot color and a black, but even then you may not be able to detect any change in the screen view. I typically do not use any overprint preview and I do not rely on the monitor for any color deisions. You could be different and that is OK. Let me know if you are able to detect any deviates using overprint preview.
I'm sorry for being a little short. There is a lot of confusion about these issues and Adobe and Pantone are not making things any easier.
The key is your Canon will not be able to print accurate Spot color without a RIP for the necessary color tables and conversions for that particular printer. In your case, it will be necessary to build a CMYK file to print a somewhat approximate representation of that specific Spot color. Another frustrating part of this matrix is CMYK cannot match all Pantone Spot Colors.

Can I replace Pantone color books in InDesign, Illustrator, and Photoshop?

These new Pantone + books are a pain in ...well... you understand. In my years as a designer, I have just clicked on the correct book and color swatch, but now...
I am using Windows 7 and the CS6 suite of products. We have a company logo in which both main colors have dramatically changed with the new books. I won't go into all of the tricks we've tried to be able to place it in new documents without the color changing. I now think the only answer is to replace the color books as Adobe recommends. I do have two questions, though.
First, can I change the books in all of my products? Adobe only gives instructions for Illustrator and InDesign, but I regularly have to change vendor logos into our company colors in photoshop, and I am finding the color in Photoshop isn't the same when I bring that logo into Illustrator, even though they have the same number.
Second, what are the end results if I do change the books when I send a document to a printer? We usually do our printing in-house, so I am wondering when we buy PMS 2955 if it will be what I see in the old books or the new books. And what will an out-of-house printer be using?
My main two concerns are (1) seeing the correct color on screen and (2) printing the correct color. I don't really care how I get there, but I'd like it to be a permanent fix so I don't have to go in and manipulate swatches every time I add a logo to an item.
Thanks for any help!
BTW - haven't been to this new forum format and don't know if I am posting this in the right place. If not, please help me find the correct location. Thanks!

HI this is good. But i have already seen this.
Its very informative but somehow i felt it lacks the punch and fun factor in a video. I need something which captivates and entrances the audience, not a speech kind of a thing.
Anything else??

FAQ: What is the Lumetri Deep Color Engine in SpeedGrade CS6 and CC?

The Lumetri Deep Color Engine is the 32-bit floating-point image processing technology at the heart of SpeedGrade CC. This nondestructive color engine offers maximum latitude for working with RAW and HDR footage, allowing you to pull details from your blacks and highlights that might otherwise be lost.
Details about the Lumetri Deep Color Engine on Adobe.com
The Lumetri Deep Color Engine and Premiere Pro

i have the latest versions of both Premiere Pro and Speedgrade CC but there are no Lumetri "Looks".
In the Effects Tab is can see the Lumetri Effect, but when I click or drag to a clip to apply it, a search window opens up asking me to find where the "Look" files are.
I am on a Mac at the moment - where would I find those "Look" or luts?
UPDATE!
My bad... The Lumetri Filter is NOT where you would use Lumetri Looks to apply to a clip or adjustment layer. That specific effect filter is for applying your own or other's LUTS.
Scroll down to the bottom of the Video Effects section and you will see another effects filter named "Lumetri Looks" - that is where the "Looks" like Cinematic 1 &2 or located.
Maybe it would be better to have the 2 available Lumetri Video Effects listed next to each other?

I am building an online portfolio in Indesign CS6 and have scrolling boxes for content. When I expor

If there is no way to use scrolling boxes in interactive pdfs is there another way to share the file for job interviews, etc.?

Hi daves,
I've checked your account using the email address/Adobe ID that you use here in the forums, and I don't see any registered products. Is it possible that you registered InDesign under a different Adobe ID?
That said, you might find this document useful: Find your serial number quickly. And you're welcome to Contact Customer Care again; if you did register under a different Adobe ID, they may be able to help you track that down.
Best,
Sara

Pantone color matching problem

Why is this happening? A Pantone chip in the solid, coated swatch book and AI CS3 pantone swatch library don't match.
811C in the chip book is flourescent orange but onscreen it's peach.
Thanks,
Ian

Its as accurate as it can be considering the differences between RGB and CMYK and Pantone. Remember, RGB is really only suitable for screen based graphics - light emitting devices. CMYK is best for 4 color printing processes. Pantone colors are 'spot' or single colors mixed to get that result.
Alot of confusion happens because the three different systems do not easily 'convert' and people get caught when the printed result bears no resembelance to the screen result.
For really best results get your self a Pantone Color Bridge book, select your Pantone color, and then use the RGB or CMYK breakdown they recommend for best color match.
Fluro colors will never print well as CMYK or RGB although they my view well on screen.

8 steps to load a Pantone color in Illustrator - What?

Hi There,
Illustrator's way of specifying Pantone colors has driven my colleagues and I to distraction.
Firstly we go through 4 menus to select the book color, then view the swatch library as a small list, then show the find field, then search for the color, then finally load the color - 8 steps in total.
Then if you need to specify an uncoated color, you have go through all 8 steps again.
what is the proper way to load a Pantone color in Illustrator?
Any help would be much appreciated.
Cheers

I'm on CS2 and I've been using Illy since it started.
I have always found that the quickest and easiest way of making a Pantone colour is to use Pantone's Solid to Process Imaging Guide. Make a CMYK colour using the CMYK values given up in the guide, make a swatch of it and then edit the swatch to a spot colour with the appropriate Pantone name and number. It's really far less trouble than using Illy's ready-mades. Believe me :-)
As for CS3, there is apparently little to recommend it. It seems to have far too many bugs. I'm awaiting a version that works properly and it looks like it may be a longish wait. I occasionally have to revert to Illy 6 and 9 (6 was brilliant) on an old computer for special effects and filters that "improved" versions can't cope with. Illy has somehow got far too complicated and unintuitive for basic run-of-the-mill vector work. The bottom line: if it wasn't busted why did they mend it?
And yet again, where did Dimensions go to? Illy's 3D is total junk.

Want to know the PANTONE color of at a certain pixel of the image

Dear Sir ,
I am designing a software that will get the pantone color of certain location of the image . I will define a certain pixel location of the image , then I want the software to detect the equivalent pantone color .
NB> the image is obtained from a scanner .
thanks, Dr.WS Mak.

Dear Dir ,
Thank you so much for you interest , I really appreciate it so much .
Regarding the Pantone color table ( conversion between Pantone and RGB system ) , I have that table in *.mdb (MicroSoft Access Database) that have each Pantone color and the corresponding RGB , CMY and HEX values .
The problem is : HOW to make such comparisons to get the corresponding Pantone . To make the situation easier to you , I have a certain color that is supposed to be a certain Pantone C137 . I want to check if it is Pantone C137 or not . I need this to be done by getting the CORRLEATION between two colors , ie the test color is 100 % of Pantone C137 , ie Iam 100% certain that the test color is the Pantone color . In the real world , the test color may not be the same as Pantone C137 , if it is very close to the reference color , it the correlation will be 99.85 % , and so on . I will make my software make a tolerance for the test color , ie my tolerance is 2 % . ie , I will only accept colors that are 2 % different from the reference color . NB> I can get the reference color (eg in this case Pantone C137) by scanning this pantone and storing the color in the software .
if you can supply me with a simple code that can compare 2 colors together and get the correlation between them , it will be so helpfull .
Thanks.
Best Regards,
Dr.WS Mak.

Are there any (dis)advantages in building a universe on fully normalized tables instead of building dimensional model/tables and then universe on top of them?

Hello,
I’m hoping someone can help me with understanding advantages and disadvantages if we want to build a universe on top of a fully normalized tables, compared to using a dimensional model with star schemas.
I’ve read some discussions here that say that it is possible to create a universe on top of normalized tables. Then, can we avoid building of dimensional tables (a data mart), and just use normalized tables? I would say that it is easier to use star schema dimensions and facts tables to build a universe, but our end users might ask “why do we have to go through building a dimensional data mart, if we can have same reports with hierarchies and drill-down functionality based on a universe built on top of our already existing normalized tables?”
Can you point me to some established best practices regarding using normalized tables to build a universe? Any documents with some examples for this?
Any expected difficulties during design/development phase of our universe, related to using normalized tables?
Any expected performance degradation if we use normalized tables compared to using dimensional tables?
Can I build universe more easily if I transform (modify) our normalized model (by using alias tables and views) to look like snowflake model?
I’m using BOE XI 3.1, tables are in Oracle 11.2.
Thank you

Few Disadvantages that I usually face when building universe on Normalized tables,
1. Performance - Read operations have to suffer because indexing strategies do not go well with table joins
2. Derived Tables - Due to complex Queries/ Logic, most of the time, end-up creating derived tables, which doesn't use back-end table indexes and slows down the report runtime.
3. Normalized table/ Transaction tables may not always have proper cardinality and often results in Cartesian products
4. Normalized tables may not have tight referential integrity and may have to join more than one column and join on varchar, etc whereas, good Dimensional model datawarehouse will have proper keys/ integer joins and not always necessary to join on multiple fields
5. Often deal with Fan and Chasm Traps
6. Dealing with Database fields with nulls, blanks, date in numeric format, etc.,
7. No Facts, Dimensions separated and most of the time they are in same table
and More...
If performance is not a matter and building Datawarehouse is a big deal, then I will start building Universe on normalized tables by having the database diagram as reference for Joins, contexts, etc
Note: After dealing with universes based on normalized tables for few years (by creating views, complex sql queries data loading to tables and unv on these tables, derived tables), I ended up creating star-schema dimensional model (couple of months extra ETL work), users/ developers felt lot better when they have to create standard/ ad-hoc reports and they are super fast compared to previous universes.

Showing clients a Pantone color vs. the CMYK match

Is there a way to show a client a sqaure of a Pantone color with a square of the same color done out of CMYK, and be accurate? I have some out of state clients that don't have Pantone/CMYK books and have asked this question. They utilize pantone colors in their logos and we only have CMYK digital presses. I would like to show them how close of a "match" we can reasonably achieve. Assuming their monitors are calibrated, is there an accurate way to do this via a PDF proof?
Thanks.

Bart's tip is ideal if you have the time to send mail. If there's no time for mail delivery and you typically proof online, lay a sample print and a pantone color chip on a scanner and send them the scanned image over the internets. They'll be able to compare any color shift from both color samples in the same scanned image, even if their monitors are whacked.

Missing Pantone colors in CS4

How do I add the missing Pantone in the 700's colors into the swatch list in Illustrator CS4? They are in my latest Pantone swatch books but are not in the color lists in the Pantone Swatch book group in Illustrator.
Message was edited by: deesign1

Hi,
I actually found an earlier post which mentioned downloading the Pantone Color Manager, which I did, and within that they gave instructions on how to add them to the Adobe CS4 lists of swatch books. I did that and now I have a complete list of the Pantone Plus colors as an option in the swatch book selection of Illustrator. I will add the list to Photoshop and InDesign also.

Problem with Light Table in Bridge CS6

Hi! After a re-install (which didn't fix the problem with PS), I now find that, when using the light table in Bridge CS6 and after hitting the space bar, if I then click on the image, it goes to 800% size! Prior to the uninstall & re-install, it worked perfectly in taking images to 100% size.
Hope someone can help.......
Thanks, Wardie

Why did you reinstall photoshop cs6?
What operating system are you using?
Did you reinstall all the updates for photoshop cs6 by going to Help>Updates from within photoshop cs6?
After you enter the light table, use your mouse scroll wheel to zoom back to 100% and exit the light table.
The next time you go to the light table and click on the picture it should only go to 100%.

Converting a gradient from a spot color to a process build, hides vector elements

I have been using Illustrator for many years and consider myself very familiar with it, but recently ran into a strange issue I have never seen before.
The background element is a radial gradient with points of 0% to 50% of a spot color. The file came to me as one single layer, with the gradient in question above a vector rectangle. The rectangle shows up fine, however, until I convert the gradient from a spot to a process build at which point the box is no longer visible. The initial issue I found was that the box is beneath the gradient, but my question is why would it be visible as long as the gradient uses a spot and then disappear behind it when converted to a process build?

Version is CS5.
Part of what made the issue so confusing is that there are no effects applied. Applying the overprint feature or multiply effect don't effect the outcome either. It's only something that can be fixed by moving the gradient to a layer behind the element which is disappearing. My question is less about how to fix it (I've done that and moved on) and more about why this would happen - it seems to be a strange anomoly.
In response to the replies involving the method of color conversion:
I have used all of the methods mentioned and the end result is the same. It is starting to look to me like this is a fluke that happened with this particular file and that it is not something that can be duplicated intentionally.

Prepress question: Pantone colors set as Lab colors?

We sent a native InDesign file to a commercial printer, built in 2 PMS spot inks and CMYK images, for CMYK printing. (normally we send a PDF but they said that would make us responsible for the CMYK conversion so safer to send the native InDD files...) We get the printed proof, and the PMS inks are a bad match. The printer says, our file was set for Lab values for the spot inks, and they charge us for another round of proofs. I researched and found where the settings are for this, and we hadn't touched anything in that panel (output / separations preview / ink manager /checkbox: use standard Lab values for spots, we had not clicked the box). Isn't the printer responsible for setting their output preferences for their setup? How could this happen, how can we prevent it from happening again? Thanks in CT.

Technically, as Peter said, Lab definitions for Pantones are best. The problem is hardly anyone uses the Lab approach when building colors (unless they are in Photoshop). That's why your printer said what he said.
One problem when defining the color as Lab is you get different results when using different CMYK destinations. This confuses people, especially people who subscribe to "book values" (but which book? STP? Bridge? Your guess is as good as mine). Also, Lab may introduce the gray component. A blue may end up with yellow to darken for example. In theory this is not a problem, but it can contaminate the saturation of the color.
My advice is to push the Pantone Solids out of the equation. These are for spot color printing. The whole idea of trying to match special inks using 4C process is, well, a little bit crazy.
Calibrate and profile your monitor. Obtain a CMYK ICC profile from the printer or get him to recommend one. Pick a Pantone Process swatch. The ones that start with DS. Use a properly profiled display to render these colors in the color space of the CMYK print condition (also called destination or target color).
In Pantone Process there are thousands and thousands of colors to choose from (a LOT more than in the other libraries). It is much better to use this library, instead of the others that try to simulate the solids. Those (Solid to Process, Bridge) are confusing and amount to a bunch of nonsense. Why the builds are touted as "matches" when they don't match is beyond me. Sometimes the color is so far off it's laughable (293).
Use Photoshop to map your spot to Pantone Process. The colors are very straightforward. I must emphasize you will most likely not get a match to the Pantone Solid, it may not even be very close. But in this library there is 4C, and only 4C. You eliminate a lot of confusion that way and the colors are cleaner.

Mesh tool and pantone colors.

Hello,
I'm trying to make a logo using the mesh tool. I have to use pantone colors, since it will be used on a bussinesscard.
Now, I'm experiencing the following problem: I select a darker color on the bottom part of the object, and the gradient is going from dark, to light, to normal.
Why is this happening? Is it because I'm using pantones? it just looks icky.
Thank you!
Image:
[IMG]http://i22.photobucket.com/albums/b338/Aetza/drop.png[/IMG]
I clicked three times, so I have three horizontal and three vertical lines. The light part is happening between two lines.

function(){return A.apply(null,[this].concat($A(arguments)))}
Also, I have no knowledge of printstuff.
And because of that, others here are trying to help you avoid getting yourself into trouble. Before anyone actually starts charging money for doing design or prep work for commercial print, they really should consider it their responsibilty to (what a concept!) actually be at least familiar with the printing process. Otherwise, if you present yourself as a for-print designer, you really are defrauding the customer.
Take a course at the local tech school; work part time in a press room for peanuts, just to learn. At the very least, get someone to give you a functional tour of a press room whenever you can.
It's not rocket science; it's mostly just simple mehanics. But it is also not just a simple matter of re-purposing your RGB web work. (In fact, that's backward; usually you should design for print first and then repurpose for web.)
As soon as you start talking about real ink-on-paper, you're talking about real labor and materials and real time on some really expensive equipment. Commercial offset printing is very competitive. Printing houses by necessity quote jobs according to the assumtion that jobs incomming from external preparers are built right, i.e.; that the external designer knows what he's doing. You can't expect a printing house to eat the costs involved in fixing your file-preparation mistakes.
In short, the printing world is chock-full of very bad relationships between angry designers who think they know what they're doing (often these days just because they've been doing some design work for the web) and printing houses who know they don't. Trust me: You don't need that stigma. A print designer should consider it a matter of necessity to develop very strong relationships with printing houses, based on mutual professional respect. Without that, you really won't be competitive, no matter how artfully talented you consider yourself.
function(){return A.apply(null,[this].concat($A(arguments)))}
But it really is a pantone
There is no such thing as "a pantone". Pantone is a brand; it's a company. The various Pantone libraries are just sets of standardized spot color or process color specs published by Pantone, and used to communicate colors to printing houses. Pantone is not the only set of spot colors, but it is the most commonly-recognized in offset lithography printing; it predates graphics computers by decades.
When designing a file intended for color-separation (i.e.; mass printing), your concern is whether it will be printed in spot color or process color (or, in some cases, a combination of both). In order for your file to color-separate correctly, you have to build it correctly.
And color separation is not the only issue; there are other issues that affect whether the job prints correctly, such as trapping and total ink density. For example, spot color is by its nature less forgiving when you neglect the matter of trapping.
All printing is a matter of production economy. In the matter of process vs. spot color, several practical factors come into play, including the paper type, the specific press which will run the job, and even the nature of the artwork itself (ex: line-art vs. continuous-tone, tightness of the color registration, and others).
When designing for color-separated print, don't think in terms of "colors"; think in terms of real-world, physical inks. Basically, Your job is to deliver to the printing house a file which contains one image per ink--especially with spot color (i.e.; what far too many people think of as synonomous with "Pantone"). Don't think of a spot color as a "color"; think of it as an ink.
Offset presses have a separate ink well for each ink that will be printed. Each ink hits the paper at a different time as the sheet passes through the press. At the typical small-to-medium printing house, bread & butter jobs like business cards are usually run on smallish presses. Those are seldom more than 4-color presses, and are often 2-color presses. If, in your artwork, the number of separation colors exceeds then number of ink wells on the specific press, the job cannot be printed in one pass; the paper has to be re-run to apply the full number of inks and that entails another press set-up operation--which you pay for.
So if (as it sounds) you take the admonition to "use Pantone colors" to simply mean 'make sure all the colors you use are selected from the Pantone Swatch Library', you are already in trouble. Each time you add a color from a spot color library to your file, you are necessitating another ink well on the press.
If you've read and seriously considered the above, you'll understand that, by and large, it is rarely practical (cost efficient) to design a piece containing more than three spot colors. As soon as you need more than three colors, you should be considering 4-color (CMYK) process.
(Higher-end printing is frequently done involving more than four inks; it is not uncommon for sheetfed work to be process-plus-1 or process-plus-2 spot inks. Multi-pass jobs can involve foils, metallic inks, and varnishes. But such "glitzy" printing is knowingly extravagant and is still carefully prepared for to maximize economy within the requirements. Although it certainly can be, such extravagance is not usually the kind of thing used for the typical business card project.)
JET

Incorrect Process builds Pantone Color tables in INDD CS6 and CC.

Similar Messages

Maybe you are looking for