No Pantones in Color Separation Preview CS4

I've got a document with nothing more than two Pantone Process Coated Colors employed in visible layers. The Pantone Colors are not showing up in my Separations Preview window. I'd like to export my separations to black & white PDF as I was able to in CS. Any help?

Pantone Process colors are CMYK (i.e. process colors), not spot colors, so the only separations you would see are cyan, magenta, yellow and black.
If you are trying to set up your design using spot inks, you need to select from a different library (such as the Pantone Solid Coated library).

Similar Messages

  • Color Separation Preview in Illustrator CS3

    I'm sorry...I may be missing something, but can I preview color separations on the screen before printing them out in Illustroator CS3

    You can open your AI file in Acrobat and use its very robust separation preview features. Acrobat can even highlight overprints, rich blacks, and areas that are above user specified ink limits.

  • Why would my spot colors not show up under my separations preview?

    I just sent a job back to press that has 2 spot colors. I let the rip do the separations and I got 3 plates. Black and my 2 spot colors. There is no black that I'm aware of in the document but when I previewed it at the rip, it showed stuff on the black plate.
    So, back at the computer, I checked my elements and they look like they are colored correctly so I was going to do a separations preview in ID. Neither of my spot colors are showing up in there. Any thoughts?
    IDCS2

    Perhaps add the swatch icon to the sep preview, and use a combo icon, the process sq with the spot circle in the middle. But the swatch would out of necessity be unselectable and grayed, so perhaps that would be sufficent. And then there would be the problem of using with more than 10 spots (not unusual for me, BTW), when the preview would be all grayed.
    It would be a great idea to have the indication.
    Rats, if I hadn't had such a busy day I could of nipped Bob on this one, which I had figured before I finished the first post (six hours late!). I do a of of packaging with eight spots (we're going to start using a ten unit press soon, that should be fun), and perhaps it helped that I use the ink manager frequently just for this, because a job with eight printing spots could also have another three or four spots related to substrate and construction details, so I keep those converted to process until it's time to send off the printer's file.
    Yours
    Vern

  • Can you think of a nifty trick to work in grayscale, while previewing in real-time a 2 color separation?

    I need to come up with a procedure that allows a customer to work on a black and white image while assessing the effect of a translation into a 2-color separation.
    To visualize what I’m looking for, place a grayscale image in the magenta channel of an empty (white) cmyk document, and the same grayscale image inverted into the yellow channel. The other 2 channels stay empty (white).
    Now we have the white end of the grayscale expressed as yellow, the black end as magenta. Since one channel is a direct inversion of the other, the sum total of the 2 is always 100% at any point along a gradient.
    I have written a action, that allows one to quickly look at the effect, but what I am being asked is to is to deliver the same thing in real-time.
    Duotone? NO!
    In a duotone document I can only move one curve at atime, thus creating overlap (too much red) or a gap (whashed-out hue) between the profiles of the 2 curves.
    CMYK? NO!
    In a cmyk document I have the option to move 2 curves simultaneously, but what I would need is an option to work one curve, while the other automatically moves equally in opposite.
    Gradient mapping?
    Here I have a rudimentary way to set the starting, mid, and endpoints, but it needs to be done in RGB and I don't know of any way to separate the resulting RGB channels into a grayscale that maintains all the information.
    Anyone? Any ideas are much appreciated.

    Mars_Red wrote:
    I need to come up with a procedure that allows a customer to work on a black and white image while assessing the effect of a translation into a 2-color separation.
    To visualize what I’m looking for, place a grayscale image in the magenta channel of an empty (white) cmyk document, and the same grayscale image inverted into the yellow channel. The other 2 channels stay empty (white).
    Now we have the white end of the grayscale expressed as yellow, the black end as magenta. Since one channel is a direct inversion of the other, the sum total of the 2 is always 100% at any point along a gradient.
    I have written a action, that allows one to quickly look at the effect, but what I am being asked is to is to deliver the same thing in real-time.
    Duotone? NO!
    In a duotone document I can only move one curve at atime, thus creating overlap (too much red) or a gap (whashed-out hue) between the profiles of the 2 curves.
    CMYK? NO!
    In a cmyk document I have the option to move 2 curves simultaneously, but what I would need is an option to work one curve, while the other automatically moves equally in opposite.
    Gradient mapping?
    Here I have a rudimentary way to set the starting, mid, and endpoints, but it needs to be done in RGB and I don't know of any way to separate the resulting RGB channels into a grayscale that maintains all the information.
    Anyone? Any ideas are much appreciated.
    Mars Red,
    This might work. Assuming you now have a CMYK document, with no cyan, no black, and magenta and yellow are inversions of one another
    1. Create a solid yellow fill color layer on top, blend mode normal 100% opacity
    2. Create an empty layer on top of that, blend normal, 100% opacity.
    3. Select all, fill this layer with solid magenta
    3. Hide this and the yellow layer
    4. Load the magenta channel as a selection
    5. Click on the solid magenta layer, Layer - Layer Mask - Hide Selection
    6. Show all the layers
    7. Click on the mask on the magenta layer. You can apply curves to this mask. No matter what you do to the mask, the yellow separation will always remain an exact inversion of the magenta. You will always have 100% ink coverage in every area, no more, no less. The only catch is the mask is opposite the ink, so curve adjustment is opposite of ink behavior.
    That is CMYK solution. Here is duotone solution, much simpler:
    Assuming you have a grayscale image:
    1. Mode duotone
    2. Type duotone.
    3. Ink 1 : color picker, CMYK, 100M (yields name Magenta)
    4. Ink 2: color picker, CMYK, 100Y (yields name Yellow)
    5. Ink 2 curve: 0 = 100, 100 = 0 (inversion)
    6. Hit enter. Now you can make curve adjustments to the duotone channel (not the duotone curves) using Image: Adjustments: Curves. No matter what you do to the duotone channel, you will maintain inversions of magenta and yellow, and you will always have 100% ink coverage in any given area.

  • Acrobat 9 Separations Preview.

    Acrobat 9 Output Preview.
    Just got the new CS4 and when I use the output preview (Separations Preview) in Acrobat it shows the 100% black text to be a CMYK mix (as if the file was RGB but it is not)
    I am a printer and I use this separations preview function continuously all day.
    The file is fine I look at it in Acrobat 8 it's just 100% black and in indesign its just 100% black
    Simulation Profile= US Sheetfed Coated V2
    Show= All
    It has to be a color management issue but
    Color management settings are
    RGB= Adobe RGB (1998)
    CMYK= U.S. Sheetfed Coated V2
    Grayscale= Dot Gain 20%
    Any help?

    Problem Solved but Thanks!

  • Pantone PLUS color definitions

    One of the frustrating things with working with spot colors in the past has been that the CMYK equivalents that Adobe products used, didn't match the equivalents that Pantone provided in their books. I've seen hints that with Pantone Plus, that may no longer be a problem. Does anyone know for sure whether the Pantone Plus color definitions will be consistent from CS products across the Pantone books?
    Thanks!

    Adobe default CMYK value for a spot color is the Solid to Process value. To see this:
    1. Add Pantone 293 Solid Coated to Swatches. You will see the CMYK icon. Wave the cursor over this icon: C=100, M=57, Y=0, K=2.
    2. Add Pantone 293 Solid to Process. Wave your cursor over the CMYK icon: C=100, M=57, Y=0, K=2.
    Adobe maintains this behavior to match legacy files. If they changed behavior now, then future outputs would change, and consequently new printings could look different from previous printings. This problem was encountered by Quark users with the change to version 7, when the Quark default switched from Solid to Process to Color Bridge Coated.
    To download Pantone Plus libraries:
    http://www.pantone.com/pages/Pantone/Pantone.aspx?pg=20721&ca=1
    In previous post PDF mentioned Lab values, and that is the better way to convert Pantone colors to CMYK. But to do this you need to open the Ink Manager through the Swatches panel (in InDesign). Enable "Use Standard Lab Values for Spots". (note: Illustrator has a similar option, although it does not have an Ink Manager like InDesign). Notice that the CMYK icon changes to a Lab icon in the Swatches panel.
    The conversion from Lab to CMYK is affected by the rendering intent and the Document CMYK color space. To see these, go to Edit: Assign Profiles.
    If you have a spot color in InDesign, it is much better to make it process using the Ink Manager, instead of changing the color mode of the Swatch. If you need to convert one ink but not another, click on the spot icon in the Ink Manager to convert just one.
    Regarding Pantone Plus: the Lab values of the spot colors have changed from the older Pantone libraries, along with the book CMYK values.
    Edit: To see all the active inks in InDesign or Illustrator, use Separation Preview.

  • Color Problems with CS4 Upgrade

    I recently upgraded to CS4 and have been experiencing the following problem. When I open an image from ACR to PS CS4 it looks absolutely nothing like it did in ACR. If I was to describe it, it would be that the image has an overall red tint when viewed in CS4. If I then save this image as a PSD file, and then open it in PS CS3 it matches the CS4 ACR image. So, what have I got set wrong in PS CS4 (which is still all of the default settings)?

    I've used dual monitors for many years. I see absolutely no change when moving any image from one monitor to another in Photoshop 7.0.1 through 11 (CS4). Photoshop is smart enough to read the profile for each monitor on the fly.
    HI> Although I'm new to the Mac platform, that has been my experience also.
    Even when I place half of the image in one monitor and the other half in the other one, Photoshop uses the correct monitor for each respective half of the image.
    HI> I agree, for CS3 and Lightroom that is how it works for me too.
    My response to Ray's question ("Where does photoshop assign a primary monitor?") has absolutely nothing to do with monitor profiles, only with which monitor will be the primary monitor, i.e. the one that hosts the menu bar with the Apple menu.
    That is what you can change in the Display Preferences > Arrangement (Mac System Preferences).
    HI> Correct and I agree. But I believe Ray had that setup correctly to begin with, unless I did not understand him.
    The one thing that did change in CS4 is that image files now will always open on the primary monitor. In previous versions of Photoshop, you could just move an image to the secondary monitor, close it, and it or the next image would open on your secondary monitor too. That is not possible in CS4, at least in the current version.
    HI> My observation as well.
    However, the monitor profile used on each monitor respectively remains the correct one as set in Display Preferences > Color.
    Photoshop knows how to apply each monitor profile to each monitor, unless the user has messed that up in Display Preferences > Color.
    HI> As stated, CS3 and Lightroom do apply colors correctly. CS4 does not.
    In Edit > Color Settings, you should be set to the Adobe Color Engine (ACE), not to Color Sync.
    HI> All my observations with CS4 have used ACE. I was getting frustrated and the ColorSync thing was an experiment to see if anything changed.
    In my experience, the Apple CMM, Color Sync, has been unreliable for a long time. I just avoid it. (There are other legitimate uses for the ColorSync Utility, such as repairing profiles [Profile First Aid], visualizing and comparing their gamuts, etc.)
    If both monitors are accurately calibrated and profiled, and if the appropriate monitor profiles are selected for each monitor separately in Display Preferences > Color, Photoshop will use them correctly on each monitor, in my experience.
    HI> CS4 does not seem to work the same way. In fact, if you bring up the images in Bridge CS4 on my setup, the filmstrip version of the image will have the proper color profile (when I move it back and forth from one monitor to the other) and the selected preview image will not! I believe this is a bug in CS4! CS4 should apply the same color profile to each image in Bridge regardless of which monitor I move the window to.
    Something is going wrong in Ray's setup, but there are not enough details to tell what. Screen shots of all the settings would be helpful.
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    Even the cheapest calibrator puck will produce a more accurate profile than can be achieved through Apple's built-in or any other eyeball calibrator like SuperCal.
    HI> I use Graytag McBeth. However, even if I did not use any calibration, I should see the same results in the same window for Bridge CS4, regardless of how far the profiles were off! Comparing that with CS3 and Lightroom makes me believe that this is a software bug in CS4 not a setup issue.

  • Need to PRINT with PANTONE spot colors  - PROBLEMS

    Hello!
    This is my first post here.
    I am from Poland and I designed artwork for a 12" vinyl. It is going to be pressed in the US and so will be the cover get printed there.
    This is my first abroad work... So far when i wanted to use Pantone for printing i prepared the artwork in CMYK and just noted (for the printer) which Pantone spot colors should be used. This is how it works here in Poland. But when i sent my artwork like this to the US printing plant - i got a reply that this is wrong and i need to prepare the files for spot color printing...
    I prepared the artwork in Photoshop CS4 and i put it on a template for printing in InDesign CS4.
    Meanwhile i got to know how to make new spot channels in Photoshop, but when i want to place that file on the template in InDesign - i get a message saying that i can only import RGB or CMYK files...
    I Need Your help!

    yeah, i knew that.
    i think i sorted it out now.
    i think my mistake was that i tried to import PSD files. But later on i saved them as EPS files i could import them to InDesign with the spot colrs.
    We'll see what the printing plant says.
    Should be good now.

  • What is wrong with Separation Preview SLOW SLOW SLOW V2

    In Acrobat 7 I could toggle colors on off on off on off to see what my seps would do, check K.O., traps, builds  etc.
    I cannot even toggle on off on off in 9. I have a horrid delay between the spot color clicks and the entire production comes to a halt and has even unexpectedly quit.
    Has the jump to 9 from 7 made a function that worked flawlessly into such a memory hog that I need to add freaking ram to view what my Seps look like!
    Rendering settings?
    Can this be changed.
    What I have found is  I MUST click the checkmark to turn the color sep off, move my mouse, click again someplace like the color name, move my mouse back to the unchecked checkmark box, click again and turn the now off separation back on. I cannot just leave my mouse in he same location I MUST move my mouse and add a click on nothing. So to view and toggle color separations off/on, the action has changed from CLICK OFF CLICK ON CLICK OFF to CLICK OFF MOVE MOUSE CLICK NOTHING MOVE MOUSE CLICK ON.

    It's not in Acrobat 9. Before I upgraded to Acrobat X, I used Separation Preview on a Mac in Acrobat 9 for two or three years, with no slowdown whatsoever.
    It's something gone wrong with your copy.
    I would consider uninstalling Acrobat 9 and reinstalling it again if it's bugging you as much as you indicate.

  • How do I spot what images are RGB using the separations preview?

    2 Questions: 1. How do I spot what images are RGB using the separations preview? 2. Is there an easy way to convert those to CMYK without opening each one in PS? I did this before all the time but I'm rusty and can't remember how I did it. I'm on CS6.

    You can one of several methods to find out:
    (1) You can use the Links panel.  Open the Links panel. Go the panel menu and choose Panel Options. In the Panel Options dialog, Under Show Column check "Color Space". Now when you view your Links panel it will show the color space of all linked images.
    (2) You could use Preflight, and set up a Preflight Profile. In the profile, go to the Color section > Color Spaces and Modes Not Allowed, and check RGB. Then any RGB images would be flagged.
    (3) If you need to know BEFORE you place the images, use Adobe Bridge. Open the folder where the image are. Use the Metadata panel and view the color space of the images.

  • Color Separations When Using "Print Booklet" feature

    My document has a 2-color logo (black & spot PMS 485) and a 10% black screen on it.  When I make a pdf using the export to pdf everything breaks out correctly.  When I use the print booklet feature and "print" it as a pdf or postscript it changes some of the black in my logo to 4-color black.  It also changes the 10% black screen to 4-color.  I've tried just about every setting I can think of and can't seem to get it to break out correctly.
    The below images show what I'm talking about.  The top part of each image is the original InDesign file.  The bottom images are after they have been inserted into the print layout.  The one on the left shows with all colors shown and the one on the right shows the black turned off in the separations preview.  You can see on the bottom of the right one the black screen is still showing and the black in the logo is also because somehow they have been converted to 4-color.

    In the Print dialog make sure Output>Color is Composite CMYK, Graphics>Send Data is set to All, and Color Management>Printer Profile is set to Document CMYK.

  • Separation preview panel not working

    I have been dealing with this issue for almost a month now and I have contact Adobe five days straight and I am told that someone will call me but no one does. I have clients and projects that are do. I hold myself to a professional standard and I have been getting way less than a professional attitude from Adobe. My issue is this
    I have a 3 color design
    I open up the separation preview panel
    I click on the eye icon to see a particular color
    NOTHING HAPPENS
    I have uninstalled the software and reinstalled and still nothing. The first adobe person had me go through some steps. He told me to delete some folders and still nothing. He said he has to send it to someone with advanced knowledge of Illustrator and I would be contacted, but to my surprise..... not a call. It has been five days now. I call everyday and I am told the same thing. "someone will contact you who has advanced knowledge of illustrator"
    I have been told that Adobe's support services are non existent and I must agree. My next move if not resolved ion the next day is to cancel my subscription. I am so disappointed with the lack of support from such a well known company. This is ridiculous
    I NEED HELP

    If you Illustrator software is malfunctioning and you desperately need to see separations you can do it in Acrobat. Make a pdf and view the separations there. Otherwise what Larry says.

  • Need help with color separation

    Hi
    I just sent my pages document to a printer to make copies. It will be printed by an off set printer. They called back and said that I need to convert my CMYK file into a spot color for color separation to use pantone inks. Can this be done and how??? I have pages 1.0.2.
    thanks

    I was hoping to use this program for layout work (thats what I thought it was for, if a printer can't use it, what's the point!Why do they have all those brochure templates if they can't be printed, or am I using the wrong type of printer?).
    Pages can output CMYK files just fine, which is what most brochures and similar documents would use (many of which, as lo_tech suggests, would be printed digitally). But Pages is simply not a high-end, professional page layout tool suitable for doing more complex things like using Pantone spot colours in separations. That really is the domain of specialized pro products like Quark XPress and Adobe InDesign.
    That said, I would think your printer should be able to do a four-colour separation of the file you've provided. I may not be clear on what their objection is, but it sounds like they simply don't want to produce four plates for the print job, and instead want to only do two. I suppose that's understandable from a cost point of view, but even if the file has a narow colour range, it should still be possible (even if a bit more expensive) to do a CMYK separation.
    The other option is as lo_tech suggested, and print it digitally. For short runs this will be cheaper than offset by quite a bit, although offset really benefits from economies of scale, unlike digital printing.
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  • Color mismatch between CS4 and Canon PIXMA PRO6500

    Hi there! I am trying to research if anyone else is having a problem with color mismatch between CS4 and their printer. Last night I printed a .tiff image out of CS4 to my Canon PRO6500 printer and the sky came out purple / pink! It was supposed to be a stormy grey color. I have the color management turned off on the printer settings. I have CS4 manages color turned on and the correct ICC profile selected for the paper I am using. When I do a soft proof in CS4 the image looks fine, but when I print I get something completely different, mostly with the sky (purple / pink) color! Just for the heck of it I did a Print Preview under my Page Setup and guess what, the sky actually shows purple / pink! So I have no idea what's going on. I checked all my setting, ink cartridges, tried different paper with the appropriate ICC profile and no dice. Still have a goofy looking sky! I thought PROOFING the image is supposed to show you how the printed image is going to look? apparently it doesn't because it's not. The Print Preview has an accurate representation of the print but I have no idea where the pink / purple sky is coming from. They are supposed to be stormy clouds as I said. I appreciate any help anyone can provide .
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    I have the color management turned off on the printer settings.
    But do you have a measured color profile based on a sample print? Most likely not, so this is not doing anything in your favor. The current profile may present the defaults for a given printer, but not the actual density based on your other printer settings. So by all means, unless you can be sure to obey a full calibration throughout, turn on the printer CM. Also, since it is a Pro model, you may actualyl have to use the dedicated RIP software that was bundled with it to get correct results, not the default windows print engine.
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  • Script to activate the Color Separations Panel?

    I've Frankensteined together a script (javascript) using bits and pieces that I've found here that deletes unused swatches, deletes unused character/paragraph styles, and deletes unused text boxes.
    As the final function, I want the script to activate the separatations panel preview (with only the black separation visible). I haven't been able to find any scripts that "activate" a panel for me to manipulate.
    Any help would be much appreciated.
    ------ Additional information that you probably don't need to know but maybe you'll have some clever solution for my problem that I haven't thought of. ------
    If any graphic or text has InDesign [Black] applied to it, it doesn't output to our negative printer. This obviously causes problems if a designer fails to apply a colored swatch to a graphic or text and then fails to check the separation preview for [Black] items.
    I first thought that it'd be fine just to have the script notify the designer if any items in the job had InDesign [Black] applied... but there are two layers on every one of our jobs that use InDesign [Black]... so the "alert" script would have to omit those two layers when searching for instances of InDesign [Black]... and this all seemed much more complicated than just having a script activate the the Separations Panel with Black selected.)
    Again, thank you for your help.

    well now..
    first of all i think we found a bug in CS5 at least. Please (anyone) try to duplicate my problem:
    1) open the Find Object dialog
    2) In the Find Object Format select the Fill Color Black. (Click a few times on Find/Find Next just to be sure)
    3) open ESTK, link it to indesign, open the console and type:
    app.findObjectPreferences.fillColor.name
    i get:    Result: Yellow
    4) in the ESTK Console, type
    app.findObjectPreferences.fillColor='Black'
    in the Find Object Format dialog, you will get: Fill: Color: (Unnamed Color) Click the Find Button, and "Nothing found"
    5) now for the fun part, in the ESTK Console type:
    app.findObjectPreferences.fillColor='Yellow'
    in the Find Object Format dialog, you will get: Fill: Color: [Black]. Clicking on the Find Button you will get the (un)expected results.
    a bit later, apparently is not a new bug: http://forums.adobe.com/message/2914093

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