Simulated gold metallic ink with CMYK?

I'm designing a 16-pg brochure on coated paper and I'm trying to simulate a foil stamped title, logo, and text on a photo of a leather book cover. I'm using a technique I found here: Creating Gold Foil Text in Photoshop - YouTube
The problem is while the simulated gold looks great on my monitor, I can't get it to look good on my Epson WF-7520 proofing printer. Since I rely on my proofing printer to approximate the results I'll get on press, this is making me a little nervous. Do you think printing a simulated gold on my Epson inkjet printer is a limitation of that device or am I doing something wrong? Any help or advice is greatly appreciated.

Is it properly calibrated? If not, none of it matters. And well, your printer is by no measure a "proofing printer" in the professional sense to begin with, so such effects that heavily rely on a specific color/ ink balance may never print right if you can't control those aspects of the process en detail.
Mylenium

Similar Messages

On doing a nice GREY with CMYK

Hi guys,
I know if I need a good solid and dark black i can always use an "enriched black" let´s say
C=50, M=0, Y=0, K=100
I am doing a design which i will need a strong GREY, let´s say 80% black. The problem with that something the grey does not cover that well. The client told me to use CMYK so no pantone ink will be available for that. The question is how to get a good and strong GREY with CMYK? If i put more Cyan as the enriched black the color will turn and it will not be straight grey, more of a bluish grey.
Any ideas? Thanks for the help,
Sebastiao

There is no set cmyk value for rich black, it is different for each output scenario. That is what colour management is for.
If you start with a neutral LAB value (as I understand it) then convert to a printer's profile, you should theoretically end up with a neutral on press.
From a printer's point of view, that is only a starting point and I would advise the pressman exactly what you are looking for as he will adjust press settings to balance the colour for current conditions which are unpredictable in all but the most specialised printeries. For a general commercial printer, you should make sure they understand what you are looking to achieve and start with numbers that will make that possible as mentioned at the top.
For the record, my personal preference would be a max colour of about 60/40/40/90 which would bias the grey to the cool side but give plenty of weight to work with....

Pantone Colors with CMYK Colors?

Dear all!
I am LUCK. I am wondering about Pantone Colors with CMYK Colors. It's that I got 1 Pantone Color from my customer and then I changed it to the equivalent CMYK Color. Will I get different colors when changing from Pantone to CMYK because I will print with CMYK Printing Process? Anyway, I am wondering whether the Pantone color is the fix and specific color or not. I mean when I print the Pantone Color, I will get the same result as I print before. Is it right?
Please help to explain to me whether Pantone Colors will keep their colors the same and stable or not. Or would you mind telling me what kind of colors that can produce the same color every time I print, especially for the Formal Uses?
Sorry for being unaware of my knowledge here. Thanks a lot and best wishes to all!
I am looking forward to hearing from you.
My best regards,
LUCK

Pantone is a company, not a color. Pantone produces spot color inks, process color inks, and color references.
Understand first: Five color printing ("process plus one") is not uncommon, because six-color presses are not uncommon. When a project is printed on a 6-head press, it does not dramatically affect the costs, because the job can still be printed in one pass. Brochures and other marketing collateral are often printed in 5 inks when a company specifies a spot color as its identity color. When done right, the company's identity specifications also provide a CMYK mix to use in lieu of its spot color(s) when restricted to only CMYK (as in magazine placement ads).
So I'll assume your customer specified a Pantone spot color, and does not provide a preferred CMYK substitute, and your project is restricted to four color process (CMYK) printing.
CMYK mixes do not exactly match spot color inks; they can only approximate. How closely they can approximate depends upon which spot color you are dealing with.
Pantone provides its recommended CMYK values for approximating its spot color inks. That's why Illustrator provides a Pantone solid to process Swatch Library. But such lookups are recommendations; they are not absolute equivalents. There are many many colors in nature (and in spot ink pigment) which simply cannot be matched in CMYK. And any time you try to convert between color models (spot to CMYK, RGB to CMYK, etc.) you encounter ambiguities, because there are multiple algorithms that can be used to generate four values from fewer values.
I often find Pantone's spot-to-process recommendations to be unsatisfactory, and use my own CMYK approximations instead. This is not necessarily due to any failure or shortcoming of the Pantone libraries, but just differences that exist in specific printing houses and workflows. The printing process is full of variables.
Will I get different colors when changing from Pantone to CMYK
Yes, the colors will be different. But whether the difference is noticable depends upon the specific spot ink you are trying to match. It also depends upon the specific use of the color. Fact is, human color perception is very adaptive. Colors that are "mathematically" equivilant according to some colorimetric algorithm are not necessarily perceived as equivilant by human eyes, because much depends upon environment (adjacent colors, etc.)
You can refer to a printed process color reference against which you can compare a printed spot color swatch book and judge for yourself which CMYK values best approximate the spot color. Or, you can set up simple test sheet of your own, and have it printed to determine a "best match" in a particular printing environment.
All the above is just one reason why contract proofs are still important. If your customer is very picky about his spot color, then he needs to understand that converting it to CMYK is merely an approximation, and perfect matching is simply not possible. That's one reason why spot inks exist in the first place. If he is not willing to pay for five-color printing, then he will likely have to settle for a minor compromise.
JET

Indesign CS4 really slow with CMYK images

Can anyone help me solve this? InDesign CS4 document with a few pages, and approx 24 images on a page. With CMYK images imported the rendering and re-rending is very sluggish. The Processes shows 99% usage for InDesign. Makes it almost impossible to work on a document.
Any ideas to fix this?
I'm using an 27" iMac with 2.8 GHz Intel Core i7 - Memory: 8GB 1067 MHz DDR3

Doesn't surprise me. I find getting help in Adobe forums/support/community very confusing to find my way around.

Problem with cmyk transparency blending in Indesign cs6

Hello everyone! Please give me someone an information about this issue...
All i have in indesign is cmyk color space in all contents, i have set up the transparency blending option to CMYK (edit > transparency blending > cmyk) but when i set the gradient feather on image 1 i have very bad result the transparency is greyscaled not transparent.
I try everything but nothin works for me, please help me somebody.
example 1 show the bad result in cmyk blending transparency
example 2 show the better result with rgb blending transparency with cmyk contents !!!
why i can not set the cmyk transparency blending option? because i have bad result and i do not uderstand that

please explain me the difference in this proces because i do not understand that...
The effect of transparency changes depending on the color mode, that's why you get this warning when you try to change color modes in Photoshop when there is transparency:
I can replicate your problem in Photoshop by layering transparent black on an RGB and CMYK version of the same image (Here are the 2 example files—http://www.zenodesign.com/forum/TransExample.zip) :
InDesign makes things even more complex because you can have different transparent color modes on the same page and you can choose different blending spaces. If color is important I take the extra time to create transparency in a Photoshop RGB file where there's more color contol and I can see the affect of a CMYK conversion and flattening.

Export pdf for screen with CMYK transparency

so i created a pdf and it turns out it for on screen -not print.
so i used transparency effects with CMYK.
changing it to rgb messes up the look.
how can i just flatten this stupid thing for web view?
i exported smallet quality but changed the compression image quality to maximum. still looks dirty a bit...
i just want to flatten it completely. its not being printed at all!

I do a lot of print work for customers who then wish to post a copy to their websites. They still want it to look good, but they need a small file size. I've used the following trick - but JUST for the web, this should never be used for print. Export your file from InDesign using a lower downsampling setting - 150, 100, etc. Whatever setting is a good compromise for your images. Most designers have a lower setting that they use regularly for proofing purposes. Open the file in Acrobat Pro. Go to File Menu—>Save As—>More Options—>Postscript. Take the postcript file and run through Acrobat Distiller. Use the Standard setting (150 dpi). You will find that whether you have used your original CMYK or changed your output to RGB, your file size is significantly reduced (i.e. from over 3MB to 890 kb) and the images still render decently. You can play with the compression numbers to find just the right combo for you. (Printing a postscript from ID will not gain you the same file size savings, but I'm sure if you then ran the resulting PDF through the same procedure it would probably work similarly.) Again, ONLY use this method if you are posting to the web, it will not produce print-ready files.

Can I charge the ink with an iPad charger ?

Can I charge the ink with an iPad or iPhone charger?

Thank you for your response.
I think I used the wrong term I have a original cable I'm wondering
Can I use this cable with iPad or iPhone charge adapter to charge ınk & slide?
so sory cable not problem, my point is to adapter

Using ProShow Gold in conjunction with PSE4

I would be interested if anybody has any comments on using ProShow Gold in conjunction with PSE4 (under Windows XP).
I am currently trying out the evaluation version of ProShow Gold 2.6.
My reasons for trying out ProShow as an alternative to the built in PSE4 slideshow maker are:
(1) More and better transitions available.
(2) More control over audio - timing, fading and voice-overs for individual slides.
(3) DVD burning available without going to Nero or other product.
(4) Getting away from the problem of backing up slideshows under PSE4.
ProShow Gold does have a folder pane for picking photos but if the photos required for a particular show are spread over a large number of folders (which is almost certainly the case for most PSE4 users) it is not very convenient.
I therefore use Organizer, with all its tagging and searching and collection facilities as a "front end" for ProShow from which to drag selected photos. The only problem is that it is rather hard to find room on a single monitor for both programs simultaneously.
ProShow also allows for an "external image editor" to be specified. But after nominating PSE4, I find that clicking on ProShow's "Edit" button only invokes Organizer, and does not open the image in Editor as I would have expected.
EDIT - please disregard last paragraph - I did not have things set up properly.

I use Proshow in preference to Elements. I find the quality of the end product is far better.
I also use Elements Orgainser to make a collection of the images for the show and then drag them onto Proshow. I've found it works best by dragging the images into Proshows Light Box, which can be detached from the main window. You can shrink the Proshow main window down very small and the Organiser down too. As long as you have all the images selected in the Organiser and can just see one, you can drag this over to Proshow.
You need to be careful of the order in which they appear in your Collection.
I've found a 'feature' in Proshow that may just be unique to my setup. The preview, Full Screen or otherwise is not sharp. I have to go into the make Executable dialog and set up my screen dimensions. Once this is done the output is nice and clear.
Colin

Problems with CMYK/LAB colors

I'm independent and I send many print jobs to different print shops. I recently discovered to my horror that some color critical jobs have gone to press (to the same shop) with mismatched PMS colors. At first I blamed the print shop but they complained the CMYK values did not match. When I opened the two brochures in question, one had (for example) Pantone 288 C, color type spot, Color mode CMYK, 100/67/0/23 (dimmed because the colors came from an imported illustrator eps logo). The second (bad) brochure had the same color and color type, but in the mix it had Color Mode: Lab, L 8.039, a 8, b -50 - greyed out because again, the color came from the SAME eps file.
My next step was to remove the logo file from the bad Indesign doc. Then I doublechecked the color - success, the color now says color mode: Pantone solid coated, 288 C (which is from the built-in indesign swatch book). Then I brought BACK IN the logo file from the brochure that printed correctly. The color reverts back to LAB again!
When I import this same logo into a blank document, the colors are fine (CMYK with proper values).
I'd seen in other forums suggestions to check or uncheck "Use Standard Lab Values for Spots" in the Ink Manager, however both documents have this unchecked. (Adobe seems to encourage checking LAB but I've never done this, I'm afraid to start now as it will probably give my print shops fits.) And both have "convert spots to process" checked, which I always thought was the cure-all: shouldn't PMS 288 (CMYK) always be PMS 288 (CMYK), as long as both are converted to process? Why would one being a LAB and the other NOT being a LAB make them different? 288 should be 288....? (but I guess not....)
The good news is, the Zevrix extension "InPreFlight" will warn me if run on each document, so I don't have to drive myself crazy opening old files and doubleclicking every color. But I'm wondering what the heck is happening.
CLUE: I believe this all stemmed from a "brilliant" idea I had to shorten the list of color types to choose from by going into Indesign>Presets>Swatch Libraries and removing libraries I'd thought I wasn't using - I left all my Pantones, but I must have deleted an important one, because it was after I'd done this that I had noticed the Lab colors rearing their ugly heads. However it didn't occur to me that LAB (CMYK) would be different from regular CMYK since they have the same name. When I replaced this folder with one from another mac, viola, the problems stopped. However it doesn't stop the old, previously created files from continuing to open wrong and be printed wrong, if I don't catch them.
Any insight anyone could provide would prove most helpful. It would be nice to get a night's sleep for a change.....thanks!
FYI I'm using Indesign CS3 5.0.4 (recently updated) with Color Settings CMYK: U.S. Sheetfed Coated v2 and color management policies-preserve numbers (ignore linked profiles).

>one had (for example) Pantone 288 C, color type spot,
Mike, you are implying in your post that your jobs are being output as CMYK, but your colors are set as spots. If that's the case your printer is converting the spot colors to process CMYK, which would cause the problem you are describingPantone Solid colors are converted to CMYK via color management when Use Lab is checked. The resulting output values would depend on the document's destination CMYK profile.
If your job is indeed CMYK you should stop using the Pantone Solid library and use the Solid to Process library instead, which always output as Pantones CMYK builds.
Use Lab is useful when a job is to be output as Spot color because you will likely get a more accurate preview of the color and a better proof to a composite printer. Many Pantone colors are out of the CMYK gamut. Lab can also be useful if you are sending a job to CMYK and you want to color manage the conversion of a solid color to CMYK, rather than using Pantones built formulas which are device dependent.

Proper color workflow with CMYK inkjet printer

Hi, I work in an academic science group that has a networked HP DesignJet 800ps printer (postscript RIP). Unlike many inkjets, it appears to be a true CMYK printer - that is, our i1 Match software recognizes it as a CMYK device. We do all our printing in house - we don't have to worry about commercial printing or publishing, and our color management needs are basically confined to trying to have the printer's output match what we see on our monitors when we print photos in Photoshop or posters in Illustrator.
Having previously worked only with RGB printers and in Photoshop, I am pretty much lost now as to how to set up our color management workflow. (And don't even ask about my colleagues. :-)) I've never had to worry about either CMYK workspaces or printers before. I want to keep things as simple as possible for the staff here, given that none, including myself, are graphics specialists.
I've looked at the "Color Workflows for Adobe Creative Suite 3" document published by Adobe, and although it is very meticulous, none of the examples seem to match our situation. Specifically, all the info regarding CMYK printing involves working with commercial presses, which is not relevant to us.
I would like to avoid making my colleagues work in different color spaces depending on whether they are working in Illustrator or Photoshop - ideally, I would like it if we could stay in RGB at all times. First question: Is this unrealistic given that we have a CMYK printer?
No doubt I will have more questions, but I want to start simple for now. Thanks for helping me out - this is not my area of expertise.

> profile them as RGB devices" (to quote the book). The printers that I've profiled in the past with i1 worked this way.
As Peter points out in his post, it is most likely that your RIP is a CMYK RIP (most RIP's are.) If that is the case, you'll be profiling a CMYK device, not an RGB device (as you have in the past.) It is a totally different exercise to profile a CMYK device - ink limits and Kgen are variables that must be dealt with.
> Yes, details would be very helpful. Thanks.
Color management is all about moving from one device/color space to another device/color space while maintaining color appearance as closely as possible.
1) Based on the description of your workflow, step one is to create your original art in a well-behaved RGB color space (like Adobe98) while viewing it on a well-calibrated monitor.
2) If your final output is to be on the HP 800ps, step two would be to preview that art on your monitor as it would look on the HP. This is called soft-proofing - a process by which the art is viewed through the HP profile on-screeen so you can see what happens to all those beautiful, rich RGB colors when they're squeezed into the smaller gamut of the HP profile.
To do this, you go to View > Proof Set-Up > Custom, and choose the HP 800ps profile from the pop-up of all the profiles on your system. You can also choose from among 4 rendering intents - Relative Colorimetric, Perceptual, Absolute Colorimetric, and Saturation. Choosing the correct rendering intent is key - this willl determine how Photoshop deals with the out-of-gamut colors. Without getting into an explanation of what each RI does, the important thing is to choose the one that LOOKS the best on screen. There's no magic to it. In general, for photographic images, you'll be choosing from Relative or Perceptual. For vector graphics (which it sounds like you're doing), throw Saturation into the mix as well. Just try them and see which looks best.
Additionally, be sure to check "Black Point Compensation."
This will give you a good idea of what the final printed version will look like. While you're in soft-proof mode, you can edit the RGB file to alter the way out-of-gamut colors appear. In fact, there's no reason why you couldn't create your art from the beginning while in soft-proof mode. Using a well-built profile and a good calibrated monitor, you should be able to get an extremely close match between monitor and print.
3) When you print, be sure to choose the same profile/rendering intent that you used in Proof Setup.
Again, it all starts with a good profile. Good luck.

Color matching in Illustrator with CMYK

     This is a technical question about the best practice to follow when trying to match a color with Illustrator. A short description of what I'm trying to do is in order. I have a digital printer which uses an Epson 2880 print head and driver. I have not loaded the PPD drivers yet. I'm using Illustrator CS5. My task is to match Reflex Blue, namely Pantone Reflex Blue.
     First thing I noticed is Reflex Blue is an base color and not made up by a formula in my matching guide. Next issue is, this color has to be created by a formula (Mix) of CMYK. I have resisted changing any of the print driver settings and have focused solely on Illustrator. This may be the wrong approach, but I did not want to have 2 different settings adjustments going at the same time.
     My question is, provided that the printer and it's related drivers are set, what settings would be the first place to start, when attempting to"dial in" an specific color.
     I have worked with Illustrator for years in the printing industry, but I rarely have had to match an color coming out of the printer. I just used them for proofs, and always stated that the colors are not exact. Now I have a direct to print situation and I have to hit the color. Fun! Any help would be greatly appreciated. Thanks!

First thing I noticed is Reflex Blue is an base color and not made up by a formula in my matching guide.
The Pantone Solid-To-Process library is provided in CS5 through the Swathes palette flyout menu. That Library suggests 100c73m0y2k. for Reflex Blue.
…this color has to be…CMYK. I have resisted changing any of the print driver settings…I did not want to have 2 different settings adjustments going at the same time.…provided that the printer and it's related drivers are set, what settings would be the first place to start…
It is not clear from your description whether you are printing a document with only a Pantone Reflex Blue separation or if Reflex Blue is just one separation in a document that contains other spot or process separations.
I will assume the typical process-plus-one-spot situation. Suppose you are building full-color process documents (sheetfed brochure, for example). The client's identity standards specify Pantone Reflex Blue as its logo color, and the client is willing for the press job to include the cost of adding a 5th color.
You wouldn't want to alter the color calibration settings (if any) in your workflow just to make your composite draft match the spot color more accurately. Doing that would, of course, throw off the colors of everything else in the document. So a document-level or printer-level setting just to match a particular spot color is silly.
Always bear in mind: Color separation is all about inks, not colors.
By definition, a spot color is just a grayscale image that gets sent to its own separation. The RIP which prints the color separations doesn't care one whit how the spot color looks on your monitor, or how it prints on a composite color device. You can easily create a spot color Swatch and color it and name it any way you want. So long as it's a spot color Swatch, and so long as it's named "Reflex Blue," the RIP is going to print it to an individual color separation plate labeled "Reflex Blue" even if it looks orange on screen and on your composite printer.
So there's nothing constraining you to the default color values that the various provided Color Books use to display (and composite print) their swatches. Just create your own spot color swatch and name it "Reflex Blue." Define the color mix of that Swatch to achieve whatever looks most "right" to you when printed to your composite printer.
How do you determine that mix? You just spend a few minutes to set up a simple swatch test sheet. Using your Reflex Blue as the example:
1. Create a new Illustrator document using the same color settings that you will for the final press-ready file.
2. In that document, set up a horizontal Artboard sized to the maximum sheet size of your composite printer. Draw a small rectangle in the upper left corner.
3. Fill this rectangle with the color mix shown in the upper left of the screenshot below (100c50m0k). Why? Because the default mix of the Pantone Solid To Process swatch is 100c73m0y2k. 50% is well below the M component, and 0% is, well, no K.
4. AltShiftDrag a copy of that rectangle to the upper right corner of the Artboard. Fill this rectangle with the color mix shown in the upper right of the screenshot below (100c80m0k). Why? Because 80% is enough above the default 73% M.
5. AltShiftDrag a copy of both of the rectangles downward to the bottom corners of the Artboard. Change the K component of both of those to 10%. Leave the other components unchanged.
6. Select the two top rectangles. Create a Blend using Specified Steps: 29. This results in an array of rectangles which increase in M values from left to right in 1% increments.
7. Similarly Blend the bottom two rectangles.
8. Expand and Ungroup both Blends.
9. Select the top left and bottom left rectangles. Create a Blend using Specified Steps: 9. This results in a vertical array of rectangles which increase in K values from top to bottom in 1% increments.
10. Repeat step 9 for each corresponding pair of top and bottom rectangles.
11. Now you have a rectangular array of test swatches. The rectangles increase in M horizontally, and increase in K vertically. Print this to your desktop composite printer.
12. Compare the print to a Reflex Blue color chip. Note the printed rectangle that makes the best approximation.
13. In the Illustrator file, find that rectangle. Define a spot color Swatch using the process mix of that rectangle. Name the Swatch "Reflex Blue" and standardize on that swatch for any project which involves Reflex Blue and which will be printed on your composite printer.
I just used them for proofs, and always stated that the colors are not exact.
Be prepared for the hard, cold reality of process printing. The above described procedure is certainly worthwhile. But you are not going to achieve a dead-ringer match to Reflex Blue or to many other standardized spot color inks (or vinyls, or paints, or dyes…). That's the ugly truth about CMYK process. Despite common misconception, process color is a "full color" methodology, but it is not capable of reproducing every color on earth. Far from it.
So you will still end up saying to your customer, "This is just an approximation of your spot color."
JET

Crash when trying to convert mixed ink to CMYK

I have a mixed ink color consisting of Process Cyan (79%) and a spot color that I created (53%).
I'm trying to convert it to CMYK using IColorSystemUtils::ColorTransform(), but that just causes a crash (in CS3, CS4, and CS5).
Here's a code snippet (sourceColorData is an IColorData InterfacePtr):
    // This returns an array of 2 values: .79 and .53
    ColorArray sourceArray = sourceColorData->GetColorData();
    // This returns kPMCsDeviceN (9)
    int32 sourceSpace = sourceColorData->GetColorSpace();
    // Note that nowhere is there any information about the cyan and spot color
    // values that combine to form my mixed ink color! It seems like I'd need that.
    // How do I get it?
    // Trying to convert to CMYK causes a crash
    ColorArray destArray = Utils<IColorSystemUtils>()->ColorTransform(doc, sourceArray, sourceSpace, kPMCsCalCMYK);
Can anyone help? I recently inherited this code and I'd like to make it work. Thanks.
Bob

You can try exporting selections as excel workbook and check
Export Selection As Excel Workbook (.*xlsx): To copy the whole or part of a PDF table to Excel with Adobe Acrobat, select the table you need > Right click to reveal the option "Export Selection As…" > Click Export Selection As… > Name the file and select Excel Workbook (.*xlsx) from the Save as type drop-down list.
Save as Microsoft Excel Workbook: To convert a whole PDF file to Microsoft Excel Workbook with Adobe Acrobat, click File > Save As… >Spreadsheet > Microsoft Excel Workbook.

No Black Ink with a new cartridge and new printer and was working

I put in all new cartridges and everything was working just fine. I printed two black copies and then went into Settings to change to a lighter shade. Now no black copies at all. I went back into Setting and changed it to a darker shade (4) and still no black copies. I can print color - but no black ink appears with the color. It is a new printer. Please Help!!!! Thanks It is a HP Photosmart 6510....new printer. All was working fine until I went into Settings. I corrected what I had done but no black ink at all. HELP!!!!!

Hi patmcshamrock,
I understand that you replaced the ink in your new Photosmart 6510 and now there is no black in printing. I will try my best to help you resolve this issue.
In this document for Printer Does Not Print Black Ink or Color Ink, or Prints Blank Pages are steps that may resolve your issue.
I hope this helps, please let me know.
Thank you,
I worked on behalf of HP.

HP photo B210a not printing black ink with a new cartridge installed

The color cartridges print when I clean the heads, etc. but the black cartridge will not print. It did fine, it ran out of ink, so, I replaced the cartridge with new ink, the same HP ink I always use. I thought it was the cartridge, do, I bought another one, and it too did not print. After several times cleaning, aligning, removing and reinserting, to no avail did it print black. What gives? What do I need to do to correct this situation. It is an HP all-in-one inkjet printer, B210a. It is only 1.5 years old and not used that much.
Thanks,
Bonnie

What can i do to get this new cartridge to work. Very frustrating
Dan Page
Hawaii

Simulation in SAP CRM WITH THE HELP OF SAP BIW

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Hello Anup,
Could you be more specific about your question? I mean could you eloborate it ?
Thanks
Raja Pamireddy
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Simulated gold metallic ink with CMYK?

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