Pantone color question

Hi, Could someone help me with this please? My printer wants me to switch the text I used in Illustrator to Pantone. I use Illustrator 10 and am wondering how I would go about switching the CMYK font to PMS. Any help would be greatly appreciated.
Thanks.

hrggroup,
Presuming you have unstroked live Type, you may:
1) Select the Type and click the Color box at the bottom (left) of the Toolbox; this should show you the current CMYK value of the Type (fill) in the Color palette;
2) Click Window>Swatch Libraries>PANTONE whichever relevant (you may have to ask the printer which to choose (maybe solid coated/uncoated)); this should open the relevant set of PANTONE swatches;
3) Click the desired swatch; this should now show in the Color palette.
This should change the colour of the Type as desired.

Similar Messages

Color question (Pantone to PDF)

This is probably more of an Adobe Distiller question, but
I'll ask
anyways...
I whipped up a logo design for a client and they love it. I
just eyeballed
on-screen colors and told them that they'll have to sit down
with the
Pantone Swatch book and pick the specific colors they want to
use.
They ended up matching the swatches to the on-screen colors I
picked and
that's what I used.
I then created a PDF (press optimized) of said FH file. Now
the colors look
completely different on-screen (though, obviously, they are
the correct
pantone colors and as long as the printer isn't an idiot,
they'll look fine
on the t-shirts).
The question I have is why do on-screen matched pantone
colors not actually
match on screen when used?
-Darrel

As you requested Darrel, here is my best answer to this
question. (I
didn't answer before because I'm not 100% able to back up my
answer with
facts and typically leave it up people who are.)
The colors are not matching simply because all applications
render
colors differently. I can open up the same PDF in Acrobat 4
and 8 as
well as Preview and get three different color schemes. Each
program has
it's own method of rendering colors on screen. Now you
transfer that
same PDF to someone else's computer with a different monitor,
different
video card and different operating system and you've got a
real mess.
There is not guaranteed way to deliver color on screen. If
you spend
some money and a lot of time you may be able to get FreeHand,
Photoshop
and your desktop printer to agree (more or less) but you can
forget
about much else.
Moral of the story? Never buy clothes online that you haven't
seen in
person.
Rich
P.S. Even on press, Pantone or process, you are going to get
color
variations. If you are printing a t-shirt it better be white,
because
the colors will vary just by virtue of the color they are
printed on and
even just LOOK different because of the color next to it.
darrel wrote:
> This is probably more of an Adobe Distiller question,
but I'll ask
> anyways...
>
> I whipped up a logo design for a client and they love
it. I just eyeballed
> on-screen colors and told them that they'll have to sit
down with the
> Pantone Swatch book and pick the specific colors they
want to use.
>
> They ended up matching the swatches to the on-screen
colors I picked and
> that's what I used.
>
> I then created a PDF (press optimized) of said FH file.
Now the colors look
> completely different on-screen (though, obviously, they
are the correct
> pantone colors and as long as the printer isn't an
idiot, they'll look fine
> on the t-shirts).
>
> The question I have is why do on-screen matched pantone
colors not actually
> match on screen when used?
>
> -Darrel
>
>

Color question

Running Photoshop CS3 intel mac leopard. I made a .psd file with spot PMS 307 chosen from the PMS picker, not as a separate channel. I made another file at home on a imac running 10.4.11 CS2 with PMS 307 chosen the same way. Both are RGB files, both have color management off. The colors did not match. Anyone know why?
Thanks

stephanie,
>This was an RGB question that has been blow all out of proportion and I thank you for pointing that out. The CMYK only comes in because of the pantone picker, used to match a logo color.
Please understand that the folks here are trying to understand what you are seeing and what you are trying to do. In your posts #3, #5 and #26, you clearly refer to commercial printing and unmanaged color.
CMYK and Pantone are not Web color associations. And RGB, CMYK, and Pantone spot colors all have different color spaces/gamuts. You cannot get an exact color equivalents across the board in these color spaces. And there are gamut differences between sRGB, Adobe RGB and all the other RGB spaces you can access in Photoshop.
So I'm confused as to what it is exactly that you want to do with the images, in other words, how they are going to be used and seen when all is done.
We can't be sure you have your monitors properly calibrated (the most important first step to color management). And you seem to be assigning your (unique) monitor profiles to your work. I can't say for sure that I follow your workflow.
So, let me ask a few questions:
1. Are your monitors hardware calibrated to 6500°K with a 2.2 gamma?
2. How are the images in question going to be used? Commercial offset, desktop printer, Website, etc.?
3. What color space are you assigning or embedding or... with your images? Is it sRGB?
4. Which Pantone color are you using (and is it for coated, uncoated, or matte paper)? And if you are going for Web, why are you working with Pantone colors instead of RGB or hexadecimal?
5. Have you read G Ballard's excellent color management basics? Do you have any questions?
6. Can you post a link to a screen shot of your color setup if you are preparing art for print?
7. Can you post a link to a screenshot of the mismatched images and describe how you arrived at the colors?
You can go to the free http://.www.pixentral.com to upload the images in question, and copy the link (per pixentral's instructions) back here.
Thank you.
Neil

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.

Pantone color bars in PDF output

Does anyone knows how to get in PDF output Pantone color bars? When you check "color bars" in "marks" menu in PDF output and save your work as PDF, you'll get CMYK color bars even if there's no CMYK color at all. I don't want to draw swatches and fill them with Pantone color to get those color bars. Any idea pls.? Is it possible at all?

Hello, I don't know the right answer.
I look also for a solution and have the same question as you "Does anyone knows how to get in PDF output Pantone color bars? When you check "color bars" in "marks" menu in PDF output and save your work as PDF, you'll get CMYK color bars even if there's no CMYK color at all. I don't want to draw swatches and fill them with Pantone color to get those color bars. Any idea pls.? Is it possible at all?".
I have CMYK colors and two Pantone colors and need to know if it's possible to get in PDF output Pantone color bars (I do save as from Illustrator). And if yes, then what should I do to get this Pantone color bar in my PDF?

How to turn of specific spot (pantone) colors before i export the document to pdf and these selected colours will not included in pdf...

Hello, i have one question. Please help me with indesign... i have prepared photoshop document with pantone color in channel pallete... This photoshop file i have imported in indesign document and when i export it from indesign to pdf so color (pantone) overlay over cmyk... i have pantone color just for parcial paint not for proof for customer.
For example: i need to disable all pantone colors before i export document into pdf file. It is very clear process what i need to do but without find some solution. I know about pallete preview in window/output/... in indesign but this do not fix it! Please help.

Ok... i understand to overprint process... i have spot color (pantone) in imported image because of preparation to partial varnish... but i'm wondering how can i export the indesign document to pdf without the spot color which recolores my design recolored and i can't it send to customer...
Only way how can i figure out is to delete spot channel in photoshop? This is very annoying and useless prosess
i look at this threat:
Photoshop images with spot channels in Indesign CS6 (layout question)
and there is some answer to my question!
I have maked a problem when i set the spot color in photoshop for parcial with some pantone pink color! and this was the problem! I haven't known that i can set white spot color (lab color) and use it in indesign invisible nad in exported pdf too!!! this is what i exactly want!

How do I convert cymk artwork to pantone colors?

Is there a quick way to convert all the colors in my artwork from cmyk to pantone process uncoated?
Also, it seems that the indesign colors for the pantone books are incredibly small, and no way to view a full spectrum of colors. For instance, my browns are only about 6 swatches??? How do I access more pantone colors within a color book?
Thanks so much!!!

As yo seem to be working with InDesign, I suggest you to ask this question in the aprropriate forum (that is: InDesign's), where you may get more answers. This is for colour management issues.
Gustavo

Finding Pantone Colors By Number In The Palette

I just upgraded to CS3 and have a question. In CS1 when I needed to find a specific pantone color I would go to the pantone solid coated palette and at the top there was a box labeled "find" where I could type in the number and it would bring me to the color I needed.
In CS3 there is no find box and I have to scroll through to find the number I want. Am I missing something here? I want to be able to quickly find them by typing in the number, not by scrolling through a list.
Any help would be appreciated.
Paul W.

In that same palette, there should be a flyout menu. One item should be Show Find Field.
(I'm on CS2 which does indeed have this item. I'm guessing CS3 has the same?)

Mixing Pantone Colors - Just like CMYK channels???

Hey Everyone,
I just signed up to the forum and had a look around. Hello everyone and I'm glad forums like this are around!
So, my question is hopefully one that is possible. I've looked elsewhere but can't find any difinitive answer or perhaps I haven't worded the question right but here it goes...
What I'd like to do [in photoshop] is treat 4 pantone colors just like CMYK channels. What I mean by that is that I would like to replace Cyan, Magenta, Yellow and Black with my own colors [pantone colors] and have them mix and act exactly like those channels. As in, when I open a full color image, and my pantone [or any color] channels or color profile is active, the full color image will react to those colors [with the blending of the colors].
Instead of 45% Cyan, 55% Magenta, 83% Yellow, and 2% Black in a given spot, it would be a mix of the 4 chosen colors [example: 45% pantone A, 55% Pantone B, 83% Pantone C, 2% Pantone D].
or to put it another way, if I were to color the background in, say, a blue, I would be able to use the "Info" panel to see how much of each pantone color was mixed to create that color. Obviously there would be a limit to the colors I could create based on the pantone colors I select.
I don't want to do anything printing wise with this technique. I am looking at it solely as an onscreen viewer or perhaps use it in some manner for screen printing.
Anybody have any ideas on how to achieve this?
Many thanks in advance.

Beyond setting up a multichannel document there is no magic. And it is still merely an approximation because some colors can neither be simulated on-screen nor actually printed that way. That ultimately is the whole point - PS can't simulate anything that is impossibole in the "real world" and expressed as a color profile. Anyway, I have the feeling that you have a wrong understanding what spot colors actually are/ are meant for. They simply won't respond like the basic CMYK channels because their actual inks don't behave that way. Your ink percentages will never represent anything equivalent to a mathematical mixing formula as when using RGB or CMYK, instead they are the inks color multiplied by the opacity. In case of an on-screen simulation/ proof they would not even necessarily include effects that happen due to spectral absorption when light travels through the inks or the inks mixing chemically/ physically at the pigment level. It really doesn't exactly make sense for what you have possibly in mind due to the aforementioned specifics and limitations of the simulation. One could even go so far as to craft everything in red on screen and then swap the color for green during the printing process, assuming only 100% opacities are used. That is to say spot colors are often more considered like masks that constrain the actual ink to certian areas and when you think of it that way, you may begin to understand how and why your grand plan may fall apart. Of course we don't know what your artwork looks like, so it may work, after all, but I realyl think you are heading in the wrong direction, dreaming up something that doesn't exist.
Mylenium

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

W701 with Pantone Color Calibrator Program

Hi all,
I read, that for the ThinkPad W520, W530, W540 is a newer color-calibration-program "Pantone Color Calibrator".
The W701 isn't remarked as a compatible system, which I find a little bit strange.
At the official driver-download of the W701 isn't any color-caliobration program.
I has an old version of Huey-Pro, which is a very old version only for WIndows 7, but also runs under Windows 8.1 - sometimes with some problems.
Therefore my question:
Does anybody know, if the newer Pantone Color Calibrator also runs with the W701?
Thanks a lot,
Klaus Zaeper
Solved!
Go to Solution.

I tested it now:
The Pantone Color Calibrator program doesn't work with the Lenovo W701 Color-Sensor.
So you've to use the Huey Pro-Program (marked as compatibel on WIndows 7, but is also working under WIndows 8.1), downloadable from the official Lenovo-driver-site.

Can I easily match Pantone colors using Illustrator?

Hi all,
I run a small invitation supply company.
Our primary design tool up until now has been Photoshop Elements.
We recently purchased a $6000 printer from Xerox which is the 'gold standard' for graphic arts and Pantone approved.
We also have a pantone color bridge. When I print a color using the hex code, the color looks NOTHING like the pantone swatch.
I contacted Xerox and they told me that because Elements has a very low degree of color management that we will never be able to easily color match our pantone swatches and that they aren't surprised the color is way off.
I suppose I naively figured that spending $6000 on a printer would get us easy and flawless color matching. Xerox says- not so.
They suggested investing in Illustrator and they are convinced that it will be much more likely to get us to the point that we want. Ultimately I want to be able to pick a color from the pantone deck, enter the code, and feel confident that the print will come out 100% the corresponding color.
Am I living a pipe dream?
I would like some feedback before proceeding.
On top of the financial investment, obviously there is a lot of time that my partner and I will have to spend learning Illustrator.
Any input would be great.
Thanks,
Aaron

Am I living a pipe dream?
Yes.
More precisely, you are just failing to understand the fundamental difference between spot color and process color.
I want to be able to pick a color from the pantone deck, enter the code, and feel confident that the print will come out 100% the corresponding color.
Not gonna happen, even if you do all the tedious color management setup you can.
The above assumes you are, in fact, talking about matching Pantone spot colors. (Pantone does not just publish spot color swatches, but that is the usual sense in which beginners refer to Pantone.)
A spot color is, by definition, an actual, physical, single ink which is loaded into a press. The only way to achieve your 100% pipedream is to load that actual, physical, single ink into your $6000 printer.
But that's how a printing press works, not how your $6000 printer works. It works by printing four "primary colors" of inks and then arranging tiny dots of them in proximity to each other in order to "trick" the eye into seeing them as a mixture of colors on the page in proportions which try to approximate the spot color as best it can.
But physical inks are simply not accurate enough to actually do that. There are many, many spot colors which simply cannot be replicated by mixing arrays of primary colors of inks. That's what all this "gamut" talk is about. That's one reason why spot color inks exist.
The Pantone spot color matching system is a means by which to consistently communicate proportional mixtures of actual, real, physical inks of known specific colors. All anyone (including Pantone) can do with the CMYK inks (or dyes) in a desktop printer is try to recommend percentages of those CMYK inks to best approximate a match to an actual, physical spot color ink.
It gets worse. Your monitor cannot actually match a spot color ink swatch, either. Your monitor glows. Ink doesn't. Even on tediously calibrated systems, there is more to perceived "color" than just numerical values of CMYK or RGB or HSL or Lab. There is chroma. There is reflectance. There is opacity. There is grain.
Then there's the whole matter of the incredibly context-sensitive adaptabability of human vision.
So if you are selling the output of your $6000 printer as the final product, you should not use Pantone spot color swatches as any kind of contract color specification, because your printer cannot actually print spot color inks. If you're doing color-critical work that the customer will refuse when specified colors don't match, you and your customer must specify colors which your device can actually produce.
JET

CS5.5 Can't see Pantone Color Bridge libraries!

Hello there!
I am using Creative Suite CS5.5 Trial version for now on Windows 7 platform. For some reason I don't see Pantone Color Bridge libraries, only the old ones, but none of the Plus Series. I was able to see these colors on version 5, but not here. Can't see them on Photoshop, Illustrator or InDesign. I wonder if CS5.5 supports these colors. I even downloaded a plugin from Pantone and Pantone Color Manager, but with no luck. I contacted Pantone, but still waiting for a response. Any help would be much appreciated, thanks!
Aldo

Please post in the InDesign forum. This forum is for suite specific issues only.
Bob

Pantone color changes modes from Illustrator to InDesign

I have a logo designed in Illustrator that uses Pantone color 5275 C. When I place it in InDesign, the color is dull and dark. In my Color palette, it says the spot color is based on the LAB mode instead of CMYK. I've never seen that happen before in earlier InDesign versions. How do I get the color mode to match what it is in Illustrator?

In Illustrator you get the Pantone libraries via Window>Swatch Libraries>Color Books>Pantone + Solid Coated. When you have the library open a selected swatch will show in the Color panel :
InDesign is different. You get a Pantone color via Swatches>New Color Swatch>Pantone + Solid Coated>choose a desired color swatch

Illustrator CS4, new Pantone color books, color channel issue

Since I installed the new Pantone color books, I've been running in a major issue which will affect our whole production line.
If an Illustrator CS4 file contains a Photoshop CS4 image which is using an "old" Pantone color in a color channel, it cannot be opened and I get an error message "File is unreadable". If I replace the "old" Pantone colour with its new equivalent in the color channel in Photoshop, the file can be opened normally.
In our work environment, this means going through all our images to check which one is using a color channel. A painful and time wasting procedure. Furthermore, if one of our suppliers doesn't have the new color books, they won't be able to open any of the files, both Photoshop and Illustrator, so they have no way to revert back to the old Pantone.
Is there another way to fix this?
Thank you

More on the Pantone PLUS saga, hoping to get some input from the users of this forum. I find their silence deafening, to say the least. This is a serious issue, that will cost our agency hours and hours of work if it isn't addressed. And we've already wasted hours of troubleshooting and discussions on how we could resolve it.
We're actually testing a workaround: using both the old and the new libraries in Illustrator. After consulting our suppliers, we've learned that this is what they also do. For them, it's a one shot to get the file to print. For us, it means cheating with files that will get edited again in the future. And the Pantone installer removes the old Pantone books from the Adobe folders for a reason which is mentioned on the download page:
The reason that the PANTONE Color Libraries that had been built into Illustrator need to be removed and replaced with the PANTONE PLUS Color Libraries is that, in Illustrator, a PANTONE Color can only have one data point with which it is associated. In the short term, in order to benefit from the new colors and data associated in PLUS, the PANTONE Libraries that are installed with Adobe Illustrator are removed and replaced with the new PLUS Libraries.
http://www.pantone.com/pages/Pantone/Pantone.aspx?pg=20721&ca=1
I worry this may lead to another bunch of issue, knowing how easily AI files get corrupted. What I need to know is:
What is the exact meaning of the Pantone warning about the "one data point per color?
What are the long term implications of using both Pantone libraries in an Adobe file? Or in the Adobe app?

Pantone color question

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