One spot color image

How do I convert an image into a one-color (one PMS color) image?

Image > mode > grayscale. Then Image > mode > duotone. Pull down the "type" drop down menu to monotone and use the picker to pick your color. If you want a PMS, you'll have to click the color libraries button in the picker dialogue box.
I would make the grayscale conversion after creating a black & white adjustment layer to optimize the grayscale conversion.
If you don't need a PMS, but just a 4-color simulation, you can use a gradient map adjustment layer instead.

Similar Messages

  • How to import a spot color image in illustrator

    when importing a sport color tiff created in photoshop to illustrator the spot color image is not getting imported properly.

    kandasamy:
    PSDs will do nicely, and remain editable as well. Don't quite know what you mean by spot color TIFF as spots are not supported in this format.
    You should, however, be able to "paint" a grayscale tiff any spot you like in Illustrator.
    J

  • [CS5] Resolution too low in part of 2 spot color image

    This is a 2 spot color book project, no black. I'm having trouble certifying the pdf because of one image.
    The image is a bitmap eps in one of the two spots. On top of it is a vector circle with a non-transparent stroke and a fill at 20%, in the other spot color.
    When rendered to a flattened pdf the parts with the transparency are 1x1 dpi.
    Now I could redo the image in Photoshop, add the circle there and save as a two-color eps of pdf. But is there a way to fix that in Indesign itself?

    This is not the illustration but it's similar
    http://www.megaupload.com/?d=ST2V3FJF
    I've made a second channel here for the second spot. Tried to certify this and that works.
    So am I right in thinking that you can not use transparency with spot bitmaps?
    The tiff option wasn't available for me.

  • Transforming a portion of a cmyk + spot color image

    I'm going to try to make this as easy to understand as possible, so here goes. Let's say I've got an image with two circles on it. One circle is 5" and is filled with 50% Magenta, 50% Yellow and 50% of PMS Reflex Blue. The second circle is 3" and is sitting next to the first circle and is filled with 50% Cyan, 50% Black and 50% 185 Red.
    Now, I decide that I want to scale the 3" circle up to roughly 4". So in order to do so, I drag a marquee around the 3" circle and hit Command T to show the transform handles. Then I proceed to drag one of the corners out to enlarge the circle only to find that it only enlarges the process colors or only enlarges the spot color, but not both at the same time.
    Why is it that Photoshop has been around for 20 years, but I still can't scale up a simple circle that has a process and spot color mix?

    Because after 20 years, you can't select the composite of the CMYK channels -- which you need to select in order to perform any action on a given layer, be it transforming, filtering, painting, blending or whatever -- and the spot channel simultaneously.
    No question in my mind that someone here -- or elsewhere -- knows why this is.

  • Cannot place a two-channel spot color image in ID CS2

    I have a psd file that consists of two pantone spot channels. When I try to place it in indesign, it says
    "Cannot place this file. No filter found for requested operation."
    Why is this, is there any help? I have to find a way around it, I need to make a publication using only black and a shade of pantone green.
    I'm on Indesign CS2, Photoshop is CS4 and I'm on Mac OSX.

    PSD. I don't have much other choice in photoshop, it offers only psd formats once the file is in multichannel mode. Maybe I'm doing something wrong in photoshop?
    Basically I have a photo which is originally in 4 channel CMYK. But I need to convert it two tones only, black and pantone 363 M (or some similar green). What I did was that I deleted the C and M channel and turned Y into pantone. By doing so the image automatically switched from CMYK to Multichannel  mode and wouldn't let me choose any other. I don't know if that's the right way to do it?

  • Spot color questions

    I'm helping someone prepare a logo for the printer. The file he gave me uses two spot colors. There are two issues that concern me.
    1. In part of it, he duplicated an object and assigned a percentage of the spot colors to each and layered them on top of each other using "Multiply" mode. Am I wrong, or is the use of multiply modes using transparency with spot colors going to cause problems when printing?
    2. When creating a gradient from one spot color to the other,the intermediate color turned out kind of a muddy grey. To remedy this, he again layered the spot colors on top of each other and created a black/white transparency mask on the top object so the underlying color would show through. On screen at least, this looks much better, but again, will it cause problems for the printer?
    Thanks for any and all help.

    That should be OK, so long as the logo is not converted to process colours when placed into another file, like an InDesign document. For cases such as that a process colour only version of the logo should be prepared.
    It’s impossible to know without seeing the image and knowing the colours. Illustrator often shows spot colour gradients that way. This is because the intermediate colours are not a blend of the two colours, but screens of both colours, which are, by definition, less saturated.
    Here are a few gradients. At the top, a simple gradient from blue to red. Below that, I duplicated the same appearance by stacking a red to white gradient over a white to blue gradient, with the gradient on top set to Overprint Fill in the Appearance panel. This will produce the same result. Below that are two stacked rectangles with solid fills. The red rectangle on top is masked with a gradient, like in the file your colleague made. All three of these will produce the same output, but the simpler one, the one less likely to cause headaches later on, is the one on top.
    The bottom gradient is made using process colours instead of spot colours. Because Illustrator can mix the intermediate colours in the gradient they can be more saturated. This is impossible using only spot colours.

  • Map Spot Color to Another Spot Color in Acrobat 9?

    In Acrobat 8 I could easily map one spot color to a different spot color using the "Convert Colors" action drop down menu.  With a few clicks, all page items that were colored with Spot 1 could be converted to Spot 2 using this process.  I use it all the time on an hourly basis to create the press sheet layouts for our PDF workflow.
    However, in Acrobat 9 the "Convert Colors" does not give me the "Map to ......" option any longer.
    Simply going to the Ink Manager to make an alias does not change the colors of the elements either.  I have noticed that if I first go to "Convert Colors" and then click "Ink Manager" and then alias the spot x to spot y, it will correctly change those items.  But this is requires a lot more effort and keystrokes to do something that was very simple and easy in Acrobat 8.  [By the way, if I went to Ink Manager directly (not through "Convert Colors") it would NOT change colors.]
    I know that I could do this in Pitstop but that would take more keystrokes and the way I do it in Acrobat 8 is much quicker and more efficient.
    Am I missing something with Acrobat 9?  Can someone tell me how to achieve this in an easier way using Acrobat 9?   How about in Acrobat 10 - is it any easier?
    Thanks for your advice.
    Glenn

    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

  • Why can one spot colour convert into two different sets of CMYK values?

    Working within Illustrator CC, I have an EPS file of a logo which has a colour fill value of:
    Pantone 152 U
    CMYK: 0C 51M 100Y 1K
    When I copy and paste this into a new document I get a much duller colour (orange) with colour values of:
    Pantone 152 U
    CMYK: 2C 57M 83Y 2K
    I have enabled 'ask when opening' & 'ask when pasting' for Profile Mismatches in Edit->Color Settings->'Color Management Policies' - no warning shows up.
    I have also tried turning off, changing color management policies.
    I've opened the original eps file and assigned my working space profile (Coated FOGRA39) and then try copy and pasting without success.
    Help!

    In addition to John's useful comments:
    Using Pantone 512U (uncoated) isn't correct for Coated Fogra.
    Why can one spot color convert into two different CMYK sets if converted by the user?
    Assumed, the one spot color is uniquely defined by one Lab set:
    – the CMYK spaces are different
    – the CMYK spaces are the same but the Rendering Intents are different
    – the CMYK spaces are the same but the Black Point Compensations are different
       (on or off for Relative Colorimetric).
    Assumed, the spot colors are equal by name, but valid for different versions, both in Lab:
    – this obviousl at present the most common source of deviations.
    Assumed, the spot colors are defined by CMYK:
    – a chaotic situation which I wouldn't even like to dicuss.
    – CMYK to CMYK conversions should be avoided under all circumstances.
    The solutions:
    If the spot color will be printed always and everywhere by Pantone spot ink:
    – purchase an actual Pantone color fan und discuss with the printer the mixture for the selected ink.
    If the Pantone color is merely a design feature, but the doc will be printed by CMYK:
    – choose such a color and verify by soft proofing that the color is in-gamut for common CMYK spaces. 
    – read the Lab values and proceed as far as possible using Lab.
    – don't use ink names, don't use any reference to Pantone.
    – convert into to a specificic CMYK space in advance to the generation of the specific PDF.
    Best regards --Gernot Hoffmann

  • How can I remove spot colors?

    I'm still working on changing a document I didn't create. It needs to be CMYK, but I keep getting error messages when I save it that there is a spot color. I saw one spot color in the Swatches (at least I seem to remember that's what the little dot in the corner means) and I double clicked it and changed it to CMYK. And I selected the one item that seems to have that color and I changed it to the CMYK version. But the swatch still has the corner dot and I still get the error message when I save.
    What am I missing?

    You need to change both of these to remove the dot.

  • How do I change an image to Spot color?

    I've linked to an image of our logo in a document, but the file needs to be in two color spot before I print. How do I change our logo from a CMYK file to a SPOT one?

    You cannot change the color of the linked logo in ID. You'll need to open the logo in the appropriate editor and make a new spot color version, then link that.

  • Only 1 spot color of Linked 2-channel Photoshop image appears in acrobat 9.0

    I just installed CS 4 design premium. I have a 2-color business package that was created in Illustrator CS2 with 2-color Photoshop links (spot color multichannel files saved as Photoshop DCS 2.0/eps).
    When working before in CS 2 my spot color links viewed just fine when I saved the Illustrator files as pdfs (smallest file size default). Now, working in CS 4 with Acrobat Pro 9, type & vector objects show fine in both colors, but the linked files only view with one of the spot colors. If I open output preview in Acrobat 9 the missing black channel shows up.
    All I want to do is send my client a final proof. How can get it to appear accurately on my pdf?

    Output Preview invokes Overprint Preview. Since the file displays as expected with Output Preview open, the Overprint Preview may be necessary to view the file properly.
    In Acrobat 9, the default for Overprint Preview is "Only for PDF/X". Overprint Preview was removed from the Menu list, but you can change it's default in Preferences:Page Display. I'd recommend using "Automatic" which looks at the file and determines if there is anything in the file that requires overprint preview to display. You can temporarily turn off "simulate overprinting" while the Output Preview dialog is open. You can also select "Color Warnings" and turn on Show Overprinting, the content should be painted with a highlight.
    Does this work?
    If you are sending a PDF to your client to view, they will need to look at the file with Overprint Preview on. They can download Reader 9 which will allow them to turn on Overprint Preview. Reader's default is also PDF/X compliant files, but this can be changed in the same Preferences area.

  • Changing images (and text) in InDesign file to spot color.

    Hi, Im trying to create a two color job in InDesign that will be black and red. The problem I have is that our imagesetter is not separating the colors.
    I was told that the red color needs to be a spot color in InDesign for the imagesetter to know to separate the colors. Otherwise, if the colors are not set as a spot color then it sends the file as CMYK separations or grayscale separations.
    The question I have is how can I change the images (and text) in my InDesign file to be set as a spot color? Thanks in advance.

    Please re-ask your question in the ID forum:
    Mike

  • 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

  • Converting CYMK to spot color?

    Alright, i just read the 'how to get help quickly', and will attempt to not let my panic show through too much:
    I designed graphics to go into my college's literary magazine. I used only two colors: brown and green (8dc63f and 603913). However, last week he informed us (the magazine production people) that RGB wasn't acceptable, since he was going to print in something called 'spot color'. Never heard of it before, but after reasearching, I think I have a vague grasp on it: basically instead of CYMK printing process, he's just going to have two plates, one with each color, and stamp them on the pages (like screen printing). That's fine, but I don't understand how it relates to my files. So we sent the psd files to the printer's "photoshop specialist" and then yesterday I was informed that there was no way to seperate the colors into pantone plates, and that either the book was now going to be blank (thankfully the cover is going to be printed seperately in CYMK so that's fine), or we could use clipart (!!thanks for discrediting a semester of my work), or I could learn to use illustrator and redesign the whole book by monday.
    I panic, obviuosly, because after downloading the trial version of illustrator I realized that it's actually nothing like working in photoshop (where's my tablet sensitivity? this is NOTHING like 'illustrating'), and at the end of last night's terror, this is all i could produce:  http://img576.imageshack.us/img576/2993/illustrator.jpg
    Now for reference, the image I originally made in photoshop looks like this (when placed on a brown background to simulate paper): http://img829.imageshack.us/img829/7015/photoshopf.jpg
    I am very confused, because I don't understand why the printing company can seperate the illustrator file into two color plates, but not the photoshop file. Both use the same colors (Pantone 375 and Pantone 161 C, I've learned). I have no clue how to save ANYTHING in 'spot format', the only difference between photoshop and illustrator is that I can click on the pantone swatch in illustrator.
    Obviously I'm ignorant and confused, and I appologise for that, since it only makes this situation worse (who knows if I'm using the right terminology).
    tl;dr:
    I have a whole bunch of psd files that need to be converted to something called 'spot color format'
    the images are graphics to be placed in an indesign file, not to be printed on their own, so really, they have to be in the spot color format.
    Is there any way in reality to maintain the quality of these images and convert them into 'spot color format'?
    I'm still trying to understand illustrator (I'm really a painter, not a designer -- wtf is a vector), but would love to convert the psd files I already have into something usable. the printer people didn't know how, I don't know how (or even understand the issue), but maybe you will?

    I tried this with the image you posted, so I can describe in detail the steps.
    From the image menu choose Duplicate to keep the original for reference.
    From the Image menu choose Mode > CMYK Color.
    In the Channels palette, delete (by dragging to the trash there) all channels except the Yellow and Black channels.
    Double click the icon of the Black channel and in the window that opens click on the color swatch, then in the next window that opens click the Color Libraries button, and when the next window opens type quickly on your keyboard 161, make sure the desired color is picked and press OK on this and previous window to apply.
    Repeat the same for the Yellow channel but choose 375.
    Select the 161 channel (former Black) and press Ctrl + L to open Levels. Drag the middle arrow of Input Levels referring to the original to get similar darkness (to me around 0.30 looks similar shade). Press OK to apply and close.
    Hold Ctrl and click on the icon of the 375 (former Yellow) channel to load its shading as a selection, and press Ctrl + Shift + I to invert the selection.
    Make sure the 161 (former Black) channel is selected and press Ctrl + L to open Levels again. Move the right (white) arrow of the Output Levels (at the bottom) until the background matches in brightness the background of the original (to me 150 looks similar).
    That's basically it based on my quick try with your image. This example should help you understand the basic idea and from there if you like, you can further play with the image if you feel you can make it any better with these two colors.
    Regarding Spot colors, the idea is that a printing press uses 4 color plates (in Photoshop represented as the four CMYK channels when the image is in CMYK color mode) to print all possible process colors by mixing these four colors (inks). Spot colors are pure inks in cans and each spot color (ink) requires its own plate. Sometimes people print 4 process color plus an additional spot color for achieving a special effect like gold ink or pure corporate color to ensure color consistency which may not be as good when using the four colors mix. But very often, spot colors are used for printing with less than 4 plates to save money and sometimes for artistic effect with special inks.
    Following the above example converts the CMYK document to Multichannel Color mode and you have only a few file formats available for saving in the Save As options. From these, practical ones are DCS and PSD files. Both are OK for printing but you may want to confirm with your printer. However if you want to place Multichannel image in programs like Illustrator or inDesign you have to use DCS.

  • Sending spot color separated art to DPM, can 1 color be sent lighter?

    I have a two spot color PDF (black and a PMS green).  The photos are grayscale and look fine on the screen but when I send it to our DPM and look at the preview there, the photos are super dark.  The text is in 100% green so I really dont want that to lighten but was hoping that somehow when sending it over, the blacks are sent at a lighter shade or more screened or something.  There are some options in the Ink Manager when going through the print dialogues that I am not too sure what they do.  One is called "Neutral Density" that sounds like it might be something like this but I cant tell where it does anything.  Is there anything I can do to make what appears on the DPM looks more acceptable and not overly dark?

    IMO, you won't get this answered in the Acrobat forum.
    Without discussing embedded profiles in the images...if you're hesitatnt about photo's because they print to dark, your wasting the functionality of that DPM. Any decent daylight camera will print line copy at half the materials cost...
    I would suggest you have a tech spend a day in the pressroom to calibrate the DPM. We brought one in for 30 days and sent it back, I get better results through a small imagesetter (which is really all your DPM is with the addition of a RIP and material cutter)
    You will probably get the best answers here
    http://printplanet.com/forums/prepress-workflow-discussion/
    In short, there are some test files stored hopefully on the RIP's internal drive - test patterns. Pull one up, plate it, run it on job stock at normal ink levels. Measure the screen values. Input these values into the RIP's calibration sets.
    If you were to create your own - Create twenty .5" x 4" frames, fill them with tints of black from 5% thru 100%, plate it run it...I'm guesiing that everything over 75% is filled solid

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