Reverse text out of spot colour?

Hi there
I have a block of over-printing spot colour out of which I would like to reverse some text. However, the block overlaps some other coloured objects and these must not have anything knocking out of them, meaning I can't just use the Paper swatch for the text. I can convert the text to outlines and punch it out of the block with the Pathfinder, but is there anyway of achieving the same effect while keeping the text editable?
I'd appreciate any thoughts.

You could try these
http://indesignsecrets.com/indesign-eye-candy-part-3.php

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How do I use mono and 1 spot colour for print, where the spot colour applies to an element, rather than the whole image?

I am struggling to work with spot colours, using scanned images edited in Photoshop for use in InDesign to then go to print.
We print to two plates to save money for our publication. In this case magenta and black.
I could use the spot colour mode but that works with curves and I only want a certain part magenta. Imagine a business card with a gloss finish where I only want to apply it to certain part ie the name of the employee, using a curve would match a certain shade therefore this method would be unsuitable.
I have also tried using channels, one grayscale and one magenta, but using the file types either InDesign bugs or it comes out in mono.
It isn't possible to recreate the logo in InDesign, if only it was this easy...
If someones already discussed this, I can't find it, but if someone could point me in the right direction—I'd be very grateful!
Using Photoshop CS4, InDesign CS4. Access to Adobe Cloud at home...

I'm assuming at least some people on here must have experience of the Scintilla control for creating a Notepad++ type application. I'd like to use this control, unfortunately there is very little in the way of documentation or working examples
around
>unfortunately there is very little in the way of documentation
Have you read all of this?
Scintilla Documentation
http://www.scintilla.org/ScintillaDoc.html
>or working examples around
Have you examined this project in detail?
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SciTE Documentation
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Soft proofing spot colour build ups?

Hi all, I need to build up a series of patterns from 2 spot colours.
The designer has specified 2 PMS colours - one for the lighter regions and one for the darker regions. But in the build up, the dark areas will not knock out the base colour. So I'm trying my best to find a PMS which will match the dark colour when it's overprinting the lighter one.
Photoshop gives me the option to specify the solidity of the ink in the preview - but I dont really know how opaque the ink will be. In your experience do the previews at 50% solidity preview fairly accurately - or is it best to preview at 0% solidity?
I'm assuming using a wider colour space when on screen previeing won't help me here either?
Wet proofs are not an option at this stage. So, Id like to use my on-screen preview to get at least close to the final result. Does anyone have any tips on this?
Many thanks.
R

I hoped someone would know by having hands-on experience of this, clearly. Someone who works with printing inks rather than pixels.
Photoshop gives me the option to preview at different solidity settings – what's most common? Are darker inks more dense and therefore more opaque (meaning I should preview at a higher solidity). Or is the reverse true.
From my youth I remember oil paint having wildly different transparency from colour to colour due to the different constituent parts - is this true of PMS colours also?

Reverse Text Printing Problem

Using Pagemaker 7, Mac (10.3, and 10.4) and PC (Windows 2000), have always used reverse text, ie black on white, by selecting "Paper" as the text colour.
Trying to print to a new Xerox 4112 printer with Fiery RIP, and reversed text is not printing out. Just a black box (which should be behind the text.)
The reversed text prints fine to other printers on the network.
Changing the font makes no difference.
Using the most up-to-date printer drivers and PPDs.
Any suggestions please? I am using a fix by allocating a colour to the text (say - yellow) and then editing the color to zero yellow. The text then prints OK but I'd rather not have to keep checking through files to edit the paper colour!
Still waiting (several hours) for Xerox Software support to ring me back!
Anyone come across this problem please?
VivW.

Hi Jay,
I've tried making a PDF (and I attach one) but still the same problem, the white text does not show when printed to the Xerox - it does show on all the other printers here.
I also coloured the box a 100% tint of black (normal black overprints by default) and set the 100% tint of black not to overprint - but still had the same problem.
I then tried to print out a normal black separation (as opposed to a composite) and the reversed out text does print in this instance (hooray!).
So, I know have two "fixes" but not a complete solution which would be for the Xerox to print out white text on black (frm a composite) as every other printer in the building does.
Regards,
VivW

Is it possible to turn off a spot colour

Hello
Probably a dumb question but I will ask anyway. Is it possible to turn off a spot colour in CS4. I can effectively do it by creating a spot white and merging the spot colour I want to delete to the spot white using the ink aliasing. However, this leaves a spot colour in the high res pdf at th end of the job. This then causes a problem as we use an online proofing system which then fails the flightcheck as there is a spot colour in the pdf.
Cheers
Beeefcake

The spot colour is used so that we can perform a find on any text with a fill of the spot colour and delete it. The spot colour is put in for this purpose when the original artwork is created in the US.
Kathlene - I can't believe I didn't spot that! This would work! We could just convert the swatch to 0% cmyk as you suggest. The majority of the pages in the catalogue are on a white background so the pricing would simply disappear resulting in no spot place when pdf's are made. There are some pages on a coloured background but these are very few and the pricing could be deleted manually.
Thanks for the help!
Beefcake

Making a PDF with an image that has both spot colour channel and alpha channel

Hi I have a logo that was supplied to us as a PSD it has a transparent background, it also has a pantone colour channel. I have made a alpha channel from the transparent background as well.
The graphic looks fine in InDesign (alpha channel selected in the import options), ie the background is transparent.
But when we try to make a Hi Res PDF the result is that the graphic is on a solid white background.
If I go back to the PSD and merge the spot channel with so that it is just CMYK and try again the PDF is fine, but we obviously loose the spot colour.
How do you make a PDF with a transparent PSD that has a spot colour?

You know that annoying response from support staff? "We cannot replicate your issue". Well....
I created a PSD in CS5, with a bunch of process stuff, then loaded a spot color channel and painted in some pawprints using Pantone 172C:
Saved this as a PSD file, default settings (maximize compatibility on, but it doesn't make any difference in this situation).
Created a new InDesign document in CS5, added a gradient and some text, then placed the PSD. ID understands the PSD has an inbuilt background so there's no need to bother with a dedicated alpha mask:
Exported from ID using the High Quality Print option (PDF/1.4, which keeps the live transparency):
Re-exported to PDF/X-1a (based on PDF/1.3 which flattens transparency) - looks exactly the same. In all cases the spot channel is intact and the see-through regions of the PSD are maintained.

Colour management of spot colour channels

Hello
I have some single layer images using cmyk (black only) + Pantone Process Blue U that will eventually be printed on a sheetfed offset press. A ballpark estimate would suffice for this low budget book, so I thought I'd give soft proofing a try. I'm therefore interested in understanding Photoshop's implementation of colour management for spot colour channels so as to have a less vague idea of the approximations this workflow involves.
Moreover, I'm stuck on exporting to pdf to let the client evaluate my conversions of the original rgb scans. Photoshop seems to layer an Euroscale Uncoated v2 overprinting image on top of a spot coloured image whose alternate colour space is "Calibrated RGB". What baffles me is that the pdfs display consistently in Acrobat 8 and 9 but rather differently from the Photoshop document.
Here come my questions:
1) Am I right in saying that these programs still don't support colour profiles involving spots? If so, are Adobe people willing to comment on the relevant intricacies?
2) Which colour profiles and colour conversions do Photoshop and Acrobat use to display such documents?
3) Which software tools will allow me to convert the Photoshop documents to an output profile for hard proofing?
4) Short of alternatives, when only K is needed and as long as each spot colour bears a decent resemblance to a cmy primary, how well will the profiling software deal with a cmyk target printed substituting the inks on press?
Thank you very much for your help.
Giordano

As far as I know …
1) Photoshop uses the Spot setting from your Color Settings (Edit – Color Settings) to display spot channels (and one can use gray-profiles or the K-channel of CMYK-profiles for that); the Solidity one can set manually, but one should bear in mind that even a 100% solid spot channel does not knock out the process channels.
As for the actual physical properties of the color and its mixing with the other colors I’m afraid Photoshop produces a pretty rough simulation – profiles for more than four colors are considerably more complicated and would, if I’m not mistaken, preclude much of Photoshop’s functionality.
2) If you pass unprofiled Files between programs they will be displayed using the programs’ respective Color Settings.
And your screen profile will be employed in the process naturally … but you might want to read up on color management if you want to know more about all that.
As to why the display differs between Acrobat and Photoshop it would appear that Acrobat use the RGB-setting for displaying spots and not an extra setting like Photoshop.
3) Photoshop is capable of separating files – but I may not understand what you’re driving at.
4) Epson-proofers using the latest generation of inks for example have a fairly wide gamut and should be able to simulate a lot of Pantone colors, so you might want to contact your provider to make sure if such a workaround is necessary at all.

Having problems with Spot Colour gradients

Hello All,
I have little experience in dealing with spot colours. I'm trying to blend two spot colours for a print job. Unfortunately the spot colour gradient (left image) does not blend like the process colour gradient (right image). Instead they fade to a lighter colour in the center where they meet. I'm sure someone out there can help as I think this is more of a technical issue that I am simply unfamiliar with. Thank you in advance to all comments!
Hugues

Hello, i run into this all the time.
What you can do is actually make one spot color overprint (or darken, or multiply) on top of another one.
that will work,
What I see you have is one spot color at one end and another spot color at the other, where they meet you get the "grey".
The 4/c gradient is a blend of the C<M<Y<K, inks.
I usually rant over the fact that Illustrator does not have an Ink Manager, to make a swatch of 2 (or more ) spotcolors.
As far as color gamut goes, 4/c color printing is so passe, right.
Till Adobe recognizes that printers print with more than the 4/c color space, hexacolor, opaltone, optimized 7, and 8 we just have to improvise.

Spot colour blues

Hi Guys (and Gal's)
I have a little problem which is slowly turning into a major irritation. What happens is that I create spot colours, say one for Silver and one for Metallic board. The relevant objects and elements are "coloured" as required, the file saved and all the colours are okay / correct / in spot.
Yet when I open the files later, the spots magically convert to process. Not even global process colours, just the plain old colour makeup in process that
I chose for the colour. (Which was definitely a spot when I saved it). For some reason this issue happens mostly to light grey's or colours intended to
be "metallic".
And what blows my mind even more is that the one file where the metallic board changes from spot to process is a file that was made from another file
of a variant that uses the same design only with a different colour in one of the logos. For instance, FILE A would be the file I used, metallic board, blue spot,
silver text etc. saves fine, opens fine... the spots stay spot colours. Then I copy the file to another "variant" folder, change the blue spot to green, save the
file, the spots are spot colours. But once I open the file again the metallic has turned into 0c 0m 0y 25k. Yet the "blue" one is still as I saved it.
Have any of you guys come across something like this before?
Regards
JC

HELLO
i don't understand very well,maybe is better that you try again,try to see if working your pictures in filter and gone to light effect ,open this to material
effect,try to move the slider on the left and move to plastic direction...maybe is only a little light adjustment issue.(ps4 for this is the same of ps5).
alessandra minotti

Spot colour overprint

Hi, all
I've got a premade PDF file with a spot colour overprint on an image with a white line art logo on top. I want to convert this spot colour to process colour and preserve the overprint in the mean while. I used PDF X, convert colour, it turns out that the overprint is gone and the white logo was shaded to that spot colour, the worse is I even lost the background image. I also tried flatten image in vain.
Is there any solution to convert spot colour to process colour but preserveing the overprint as well?

Hi FanieJansen,
how do you know that the Overprint Preview is wrong?
The only real way to know what the result is of mixing process inks into a solid spot and how the resulting tints will look like, is to print with the actual ink.
If you look how a similar spot color like Pantone 4625C would behave you will see the same greyish preview.

How to delete a spot colour swatch set up incorrectly

Hi i'm running indesign CC2014 and having problems deleting a spot colour swatch 877 initial set up incorrectly as a lab spot colour, rather than choosing from the colour books
I've since converted it to a processed lab colour and still it won't delete. I also can't i find the colour and where it is used in my document.
I've tried to add metallic coated 877c (correctly this time) swatch again but it won't allow two swatches with the same name.
Can anyone help as i really need to correct this for the printers.

Is there anyway to find this out as i'm dealing with a 60 page brochure and not easy to manually find.
You can use the preflight panel to find all instances of a spot color.
In the lower left corner of the doc window you can define a preflight profile and apply it to the document:
Here I've made a profile named No Spots with Spot color checked under Color Spaces not Allowed
With Preflight on the profile will list any placed objects using a spot. in this case a PS monotone named Untitled-1

My Safari displays text in certains spots on a web page as mixed characters

My Safari displays text in certains spots on a web page as mixed characters. Is there a fix for this or does anyone have an idea what may be going on? I have looked at my fonts and everything seems to be working just fine. I can't quite figure out why this only happens to certain text and not others. But I can't read half of the pages on the web because of this. I can copy the mixed up text out of Safari and past it in another application and the copy is in perfect english then.
an example of what I am talking about is below:
(Kvg"Urgekhkeu"/Crmg"/"Crmg"Fgumvqru
Here is what it says when I copy the same characters out of Safari and paste them below:
(Item Specifics - Apple Desktops)
Any help or advice will be greatly appreciated

I work as a graphic designer so I keep a very clsoe eye on my font library. In fact I don't use font Book, I use Suitcase Fusion. But i went to font book and double checked and I don't have any duplicae fonts in there. Would you have any other ideas?
thanks for your help!

Rich black spot colour

hello indesigners.
can a rich black become a spot colour if i choose from process to spot colour?
and can a white or black become a spot colours or are those 2 colours considered just simple shades?
thank you.

Your answer makes me think you really don't understand process and spot colors.
First black is most certainly a color, but more importantly it is, in fact, already always on its own plate, just as Cyan, Magenta and Yellow inkls also have their own plates when building a process color.
Process inks (the regular CMYand K) are translucent and when mixed on the paper blend together to fool your eye into seeing thousands of other colors, but you cannot mix them together in a pot to make a single color to run on a separate plate. Spot color inks are opaque, and are a lot like paint. They get mixed from a set of basic color pigments and are laid down on a single plate. If you pick a page at random from a Pantone Formula Guide swatch book (the kind with 7 swatches on a page and the ink mix formula listed), you'll probably see that the center swatch is the baseline color, and the ones above it have white added, while the ones below have black added to the mix.
As has already been mentioned, Rich Black, at least using the tradtional meaning of a mix of Black and some amounts of CM and Y, is not a spot color, and you would not typically use it for type. There ARE spot black inks, but you are much more likely to want to use a spot ink for gray type or for some other color like red or green, especailly if the color does not have a good process equivalent. Light colors, especially, will print crisper as spots than as simulations, too, because they will be laid down solid instead of as screened dots.
There are cases where it makes sense to have TWO black plates. One of them is with documents that will be translated into multiple languages. In that case a second black plate can be defined as a spot color and all of the text will be assigned to that color. This allow the creation of 1 set of CMYK plates for the illustrative content, and the changing of the spot plate to change languages. This can reduce the setup time during language changeovers since the registration for text is not as critical in most cases and the CMYK plates will already have been registered on the first run. There is no advantage, though, to adding a fifth plate for black if there will not be a change in mid-run.

InDesign converting legacy spot colours

Hi there,
I have been supplied a pdf that contains the spot colour Pantone Yellow C. The PDF properties says that it was created in InDesign CC and I have no reason to doubt this. For our own internal prepress workflow I need to bring the PDF back into InDesign CC and make another PDF. When I do this the spot colour appears in InDesign swatches palette as a Lab Spot colour. Now I know this is down to the introduction of Pantone+ libraries since CS6 but I do not want to print the spot colour, I want to convert it to CMYK. The Pantone Plus book states that this colour should have the breakdown 0%C 1%M 100%Y 0%K however InDesign CC converts this colour to 2%C 9%M 100%Y 0%K which is quite a difference and gives quite a brown tinge through our ISO proofing device. I then forced the PDF open in Illustrator CC and the swatch appears as a CMYK Spot with the correct pantone breakdown. So my first question is why if Illustrator and InDesign CC are using the same Pantone+ libraries do they both interpret the colour differently?
Hopefully you're still with me on this as it has been melting my brain. My next test was to place the supplied PDF into InDesign CS4, when I did this the spot colour came in as a CMYK spot with the correct breakdown. So my last test was to create a new CS4 document and add the swatch colour to my document. I then opened that document in CC and what do you know it preserved the colour as a CMYK spot.
The nature of our business means that we have to bring supplied PDFs back into CC to produce a new PDF but my concern is that will now be incorrectly converting spot colours to the wrong values.
I know you may say go back to the client and ask them to convert the colour but this is not always practical and we may receive multiple PDFs from different design agencies.
If you have any input/solution I would greatly appreciate your feedback.
Many Thanks,
Nik

Hi Rob,
that InDesign document is great. I've just knocked up a quick script to get the values and write them to a csv file. The reason I want a csv file is so I can embed this in my script and just use grep to find a colour and get it's cmyk values.
set cmykSpotFile to POSIX path of ((path to desktop as string) & "Spot_to_CMYK.csv")
tell application "Adobe InDesign CS6"
set spot_list to every color of active document whose model is spot
repeat with thisSpot in spot_list
set colourName to name of thisSpot
set colourValues to color value of thisSpot
my updateList(colourValues, colourName, cmykSpotFile)
end repeat
end tell
on updateList(colourValues, colourName, cmykSpotFile)
set the beginning of colourValues to colourName
set recordString to ""
repeat with thisItem in colourValues
set recordString to recordString & thisItem & ","
end repeat
set recordString to text 1 thru -2 of recordString
do shell script "echo " & quoted form of recordString & " >> " & quoted form of cmykSpotFile
end updateList
Many Thanks,
Nik

InDesign CS3 and Fluorescent Spot Colours

I am having a problem with importing Photoshop files into InDesign CS3 and laying them over a fluorescent spot colour.
The PS file is Greyscale with a transparent background, this is being inported into a picture box in InDesign which in turn is sitting on top of a square with a fluorescent spot colour in it. (Pantone 804c). The problem is that the spot colour is being affected by the photoshop box that contains the greyscale image. Outside of the box the spot colour represents normally, but underneath the photoshop box the fluorescent spot is changing colour to a lighter shade. Has anyone seen this and figured out how to fix it. This occurance has happened only through my local printer and has not yet been printed Litho.
Thanks.

If your Transparency Blend Space is CMYK, make sure you check Use Standard Lab Values for Spots and turn on View>Overprint Preview (or turn on Separations in the Separations Preview panel).
If your output will be offset separations, you'll need to keep the blend space as CMYK in order to keep the grayscale on the black plate (the change in color with Overprint turned off is only a preview problem and will not effect separations). If you are always printing to a composite printer you could also set your blend space to RGB, but in that case the preview won't change and you will not get a correct spot/black separation.
http://www.zenodesign.com/scripts/Pantone806.png

Reverse text out of spot colour?

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