Spot Ink Solidity in CS5

In CS4 and before for as long as I've been doing spot color separations (since 2001) when you set spot ink solidity the inks would remain completely solid when on top of other spot colors like the inks do in real life — at least in screen printing. If you set a 10% ink solidity when on top of the flat color background (for the shirt) the ink would appear to be at 10% while on top of other colors they'd appear to be quite solid.
Now in CS5 when you set ink solidity it's as if you set the opacity of the layer. It completely shuts me down as I can't see a reliable preview as to how the print would look; with CS5 I'm incapable of doing any sort of spot separations for screen printing.
Is there any way to get the behavior from CS4 when it comes to ink solidity?

Meh. Disregard my message. In the usual process of troubleshooting I dumped the preferences and everything works fine. Just wonder what messed up or what setting I set to make it do that. Perhaps this'll be here for anyone out there who have experienced this problem.

Similar Messages

  • Pantone Ink Solidity

    I need to mix a spot color with a grayscale image.
    Photoshop let's me choose the solidity of the spot channel, which is if i understood well, only for previewing the image, and doesn't affect the printing itself.
    So... what's are the "correct" solidity percentages for pantone solid colors?
    Documentation and forums bring me no further than: 0% for varnish, 100% for metallic inks. But how opaque are pantone solid colors? (I guess they are more opaque than process colors?).
    PMS 032C is the color in fact.
    It's a big difference between 0 and 100%, so what would be a reasonable percentage to have a (somewhat) correct simulation of the ink mixing?

    I consulted my printer, he told me something similar: the darker the ink, the less transparent it is.
    Meanwhile i did print something with pms 032 c (bright red), and 0% solidity gives me the most realistic preview on screen, compared with the printed result.
    For dark pms colors, i shouldn't set the solidity much higher than maybe 20%, as pms inks seem to be very un-opaque (uh what's to oposite of opaque?). Bright pms inks in offset printing should be set to 0% solidity. Hope that helps.

  • Printing Metallic spot inks

    Apologies if this is posted in the wrong area but....
    I have a black and white image that looks nice but the client wants to 'lift it a bit' and has asked for us to use silver as well as black.
    We've suggested using a silver or mother of pearl type stock which is an option, but they want certain bts of the image (one is a cocktail glass with a lemon in it), like the lemon to 'pop' a bit, ie stand out more than the rest of the image.
    is it possible to print the job as a duotone, using black and a spot metallic silver ink? I've only really used metallics for type where we use it at 100% and have never used it on images or in tints.
    is this possible or if not any ideas guys?
    Many Thanks in advance,
    Dave

    Good on your client for being willing to spend the extra to "lift it a bit", the problem is that it is basically impossible to proof metallic colours apart from a full wet proof/colour pass scenario.
    You're going to want to do the duotone in Photoshop, I'd try to use prints of that and samples from your printer to illustrate the difference while warning that the final result is an art not a science, therefore imprecise!

  • Why does spot CMYK paste as spot book colour? CS5

    open pre-existing doc with CMYK spot colour defined named as PANTONE 280 C
    copy  element
    paste into new document
    Both existing doc and new doc have identical colour proof set-up
    new doc has empty colour palette
    When pasted into new doc, CMYK spot becomes Book Colour Spot
    Same element with colour defined as a CMYK Process swatch is unchanged
    Book Colour Swatch has colour shift (on-screen)
    Once processed in ONYX rip this colour has huge shift in colour.
    Any ideas as to how to fix this?
    (so result is pasted as CMYK spot without transformation)
    Adrian

    original doc
    Pantone 280 C is spot CMYK
    $ 72 0 18
    Pasted element in new document
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    I don't mind the different colour space definitions, but the arbitary change to Book colour means our RIP software deals with the colour differently.
    I'd like to know why this is happening, to either make a change in our RIP or to change our workflow
    This is CS5 not CS6...

  • ID CS5.5 IDML file and missing plug-ins...need help

    I'm currently running ID CS5.5 and trying to open a CS5 file, ( I think). However, even after converting it to a IDML file extension it just hangs and forces me to shut down. The whole purpose of this is there are several plug-ins including InBooklet SE that I no longer have access to. I'm unable to find the other plugins as well but need to be able to work in this file as the original creator. Any help or suggestions?
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    ADOBE INDESIGN PRINTING INSTRUCTIONS FOR SERVICE PROVIDER REPORT
    PUBLICATION NAME: 2010 Hayden Catalog 4-27-10 (CS5).indd
    PACKAGE DATE: 1/28/11 12:07 PM
    Creation Date: 1/28/11
    Modification Date: 1/28/11
    CONTACT INFORMATION
    Company Name:
    Contact:
    Address:
    Phone:
    Fax:
    Email:
    SPECIAL INSTRUCTIONS AND OTHER NOTES
    External Plug-ins 5
    InBooklet SE.4x.pln.framework
    WWStyling.pln.framework
    SmartTables.InDesignPlugin
    Style Flocker.InDesignPlugin
    SCFusionIDCS2Plugin.framework
    Non Opaque Objects :On PagePB, 5, 65, 66, 67, 69, 71, 72, 95, 96, 97, 98, 130
    FONTS
    31 Fonts Used; 0 Missing, 6 Embedded, 0 Incomplete, 0 Protected
    Fonts Packaged
    - Name: Arial-BoldMT; Type: TrueType, Status: Embedded
    - Name: ArialMT; Type: TrueType, Status: Embedded
    - Name: Eurostile; Type: Type 1, Status: OK
    - Name: Eurostile-Bold; Type: Type 1, Status: OK
    - Name: EurostileBold; Type: OpenType TrueType, Status: OK
    - Name: Futura-Condensed; Type: Type 1, Status: OK
    - Name: Futura-CondensedBold; Type: Type 1, Status: OK
    - Name: Futura-CondensedBoldOblique; Type: Type 1, Status: OK
    - Name: Futura-CondensedExtraBold; Type: Type 1, Status: OK
    - Name: Futura-CondensedLight; Type: Type 1, Status: OK
    - Name: Futura-CondensedOblique; Type: Type 1, Status: OK
    - Name: Futura-ExtraBold; Type: Type 1, Status: OK
    - Name: Futura-ExtraBoldOblique; Type: Type 1, Status: OK
    - Name: Futura-Heavy; Type: Type 1, Status: OK
    - Name: Helvetica-Bold; Type: Type 1, Status: OK
    - Name: Helvetica-BoldOblique; Type: Type 1, Status: OK
    - Name: Helvetica-Condensed-Bold; Type: Type 1, Status: OK
    - Name: HelveticaNeue-BoldCond; Type: Type 1, Status: OK
    - Name: HelveticaNeue-BoldItalic; Type: Type 1, Status: OK
    - Name: MyriadPro-Regular; Type: Type 1, Status: Embedded
    - Name: OfficinaSans-Bold; Type: Type 1, Status: OK
    - Name: OfficinaSans-Book; Type: Type 1, Status: Embedded
    - Name: OfficinaSans-BookItalic; Type: Type 1, Status: OK
    - Name: Techno; Type: Type 1, Status: Embedded
    - Name: TechnoRegular; Type: TrueType, Status: OK
    - Name: Times-BoldItalic; Type: TrueType, Status: OK
    - Name: Times-Italic; Type: TrueType, Status: OK
    - Name: Times-Roman; Type: TrueType, Status: OK
    - Name: Times-Roman; Type: TrueType, Status: OK
    - Name: Universal-NewswithCommPi; Type: Type 1, Status: Embedded
    - Name: ZapfDingbats; Type: Type 1, Status: OK
    COLORS AND INKS
    4 Process Inks; 0 Spot Inks
    - Name and Type: Process Cyan; Angle: 0.000; Lines/Inch: 0.000
    - Name and Type: Process Magenta; Angle: 0.000; Lines/Inch: 0.000
    - Name and Type: Process Yellow; Angle: 0.000; Lines/Inch: 0.000
    - Name and Type: Process Black; Angle: 0.000; Lines/Inch: 0.000
    LINKS AND IMAGES
    (Missing & Embedded Links Only)
    Links and Images: 284 Links Found; 0 Modified, 0 Missing 0 Inaccessible
    Images: 0 Embedded, 0 use RGB color space
    PRINT SETTINGS
    PPD: N/A, (AL-CX11-D06AAC)
    Printing To: Printer
    Number of Copies: 1
    Reader Spreads: No
    Even/Odd Pages: Both
    Pages: All
    Proof: No
    Tiling: None
    Scale: Scale to fit page
    Page Position: Center
    Print Layers: Visible & Printable Layers
    Printer's Marks: Crops
    Bleed: 0p0, 0p0, 0p0, 0p0
    Color: Composite RGB
    Trapping Mode: None
    Send Image Data: All
    OPI/DCS Image Replacement: No
    Page Size: Custom: 50p2.64 x 65p2.64
    Paper Dimensions: 51p0 x 66p0
    Orientation: Portrait
    Negative: No
    Flip Mode: Off
    FILE PACKAGE LIST
    1. 2010 Hayden Catalog 4-27-10 (CS5).indd; type: Adobe InDesign publication; size: 97320K
    2. Euros; type: Font file; size: 27K
    3. Eurostile; type: Font file; size: 7K
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    7. Futura-Condensed; type: Font file; size: 7K
    8. FuturConBol; type: Font file; size: 28K
    9. Futura-CondensedBold; type: Font file; size: 5K
    10. FuturConBolObl; type: Font file; size: 36K
    11. Futura-CondensedBoldOblique; type: Font file; size: 4K
    12. FuturConExtBol; type: Font file; size: 29K
    13. Futura-CondensedExtraBold; type: Font file; size: 5K
    14. FuturConLig; type: Font file; size: 27K
    15. Futura-CondensedLight; type: Font file; size: 5K
    16. FuturConObl; type: Font file; size: 34K
    17. Futura-CondensedOblique; type: Font file; size: 5K
    18. FuturExtBol; type: Font file; size: 29K
    19. Futura-ExtraBold; type: Font file; size: 6K
    20. FuturExtBolObl; type: Font file; size: 40K
    21. Futura-ExtraBoldOblique; type: Font file; size: 5K
    22. FuturHea; type: Font file; size: 28K
    23. Futura-Heavy; type: Font file; size: 5K
    24. HelveBol; type: Font file; size: 29K
    25. Helvetica-Bold; type: Font file; size: 8K
    26. HelveBolObl; type: Font file; size: 38K
    27. Helvetica-BoldOblique; type: Font file; size: 8K
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    32. HelveNeuBolIta; type: Font file; size: 31K
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    34. OfficSanBol; type: Font file; size: 32K
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    36. OfficSanBooIta; type: Font file; size: 33K
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    39. Times-BoldItalic; type: Font file; size: 91K
    40. Times-Italic; type: Font file; size: 92K
    41. Times-Roman; type: Font file; size: 89K
    42. ZapfDin; type: Font file; size: 40K
    43. ZapfDingbats; type: Font file; size: 4K

    You can't convert to .idml by changing the file extension. You must export the file from the oringal version as a .idml file.
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    That said, InBooklet SE was part of InDesign CS3, but I see it listed inthe plugins used. I also see a number of what look like third-party plugins listed, and that may be the problem. What's happening when you try to open the file?

  • Spot Channels Workflow

    I do a lot of packaging work using spot channels. I have to keep everything as editable as possible all the time.
    I've been trying to figure out a workflow whereby I can simulate spot channels before creating them.
    For example for each spot colour I'd like to have a group of different greyscale layers that I could apply masks/vector masks and adjustment layers to, and the group would display as if it were a sopt colour.
    Once I'd finalised the position and tonal values of elements, I would duplicate each group, merge it and copy the contents to the appropriate spot channel. I'd then save a flattened copy for export to Illustrator.
    My problem is getting the pretend 'spot colour' groups to display and interact so they look the same as they will when I create the final spot channels. I've tried mucking about with solid colour clipping layers above the greyscale layers, but I just can't get it to work.
    Can anyone think of a way of approaching this? I may not have explained it very well!
    My dream would be for Photoshop to have the same power in the channels pallete as in the layers pallete, except everything would be greyscale if you know what I mean.

    Mike and Donald:
    Take a look at this refined layout: http://www.pixentral.com/show.php?picture=1M2goWIEOhySzJ484dTTEB1MKprdIb0
    Set 1 and set 2 are screen and set 3 and 4 are multiply. There is a solid color layer with white at the bottom of sets 1 and 2 stack, so that when you tansform set 1 or 2 (or sets 1 AND 2), the white knowckout doesn't drop out (essential for the screening to work).
    Mike, the advantage I see to something like this if Donald will have an active layer stack that works much the same way as any "normal" colorspace.
    Any objects that have color information in multiple channels should probably be linked to move/transform them together. I haven't played with all the possibilities (and made some "major" changes to this file, so...), but in general, I think you have a lot of the features of "layers" in a "spot" file.
    Donald, if you drop a curve adjustment layer on top of everything you should be able to more accurately simulate your spot inks (which in YMK won't be problem!!).
    What I don't understand Mike is why a solid fill color layer that is set to a spot can't be at least set to act like a spot density-wise.
    This is where someone chimes in and says...
    Maybe I didn't understand some of your references, Mike, but this workflow gives you editability that layer masks don't (stackable layers etc).
    J

  • 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.

  • Should the print company I use be able to change a file to spot color for me?

    I recently sent a document in to a major print company to have a folder printed.  The document was created in Illustrator using only two colors. They said they could not print it because it was still more than two colors and that I needed to change it to a two color document using Pantone Spot Color.
    I've never had to do that for a print company before but I've also never had a two color project before. I opened the file back up and selected my objects and "recolored" the work and deleted all the swatches aside from the two colors I needed that were now Pantone Spot Color (HSB). It literally took me 2 minutes.
    The reason I am asking is because they pretty much said that I don't know what I'm doing, which to a designer is completely insulting.  We all do new things from time to time but that is an insult. Shouldn't they, a large print company with years of experience, know how to do this for me? They had the original design file.. Maybe they don't know what they are doing?
    Any clarity on as to why I needed to do it and not them is greatly appreciated.  Also.. any direction as the best way to use spot color over cmyk is appreciated too.

    ...which to a designer is completely insulting...
    What's so special about "a designer"?
    Prior to the mid 1980s, designers could get away with prima Donna attitudes, because they (or their employers) were paying pre-press "color houses" around $350 per hour to tweak colors to sooth their oh-so-erudite discernment and hyper-developed color sensitivities, and to gain reimbursement for the $100 per plate lunches on proof-check days.
    That all changed when designers (and their employers) got tired of paying those fees and took on the responsibility for the technical side of assembling their designs into something printable. That was the so-called "desktop revolution" and "revolution" was not a bad word for it. It turned a huge industry on its head. Color houses which didn't adopt PostScript devices and workflows were soon dropping like flies--and so were designers who didn't climb down off their lofty pedestals and buckle down to learning the technical realities of what they were doing.
    Don't be insulted, but the simple fact is, you still don't know what you're doing if you think converting any given process color job to a two-spot job is "just a couple of minutes' work." Only in the very simplest designs would it be as simple as re-defining a couple of process Swatches as spot color Swatches.
    In Illustrator in particular, doing so won't even work if the original Swatches were not originally defined as Global Swatches.
    If those two process Swatches were used in any Blends, converting them to spot will likely not update the intermediate steps of the Blend. In earlier versions of Illustrator, the same problem applied to grads.
    You can often get away with not having properly trapped the file with process swatches, because there are potentially four component inks which may be shared between adjacent different-color objects. Spot inks are not so forgiving. Trapping is essential if the two spot colors touch.
    So you really expect a printer to just have a policy to do that for you? And thereby bear responsibility for anything they may misinterpret or overlook that may cause a registration sliver on press and thereby loose every bit of profit on the printing (which these days is cut-throat competitive)?
    No. It's your responsibility to build the file correctly. The printing houses I use know better. They know I would have a coniption fit if I ever caught them modifying one of my files. They know they are to return any problem file to me for correction.
    JET

  • How do I load CS5 onto new iMac?

    I purchased a new iMac, which doesn't have a spot to insert my CS5 disc. How will I be able to install my CS5 onto my new computer?

    I get this message: "install" can't be opened because it is from an unidentified developer.
    That's the Gatekeeper feature in OS X Mavericks kicking in. Nothing to do with Adobe,
    See http://www.tekrevue.com/tip/turn-off-manage-mac-os-xs-gatekeeper/

  • Creating a Spot Color Channel in Photoshop

    Can anyone teach me how to make a Spot Color Channel on Photoshop? I am using this image as an example. The blue color in the background needs to be printed mostly with a spot color that is close to the original painting color (ex: Pantone Blue 072C) . But the CMYK color still should be present in within the blues to resemble the subtle nuances of the brush strokes. I can’t figure it out on my own.
    For more samples of painting images, please go to http://www.flickr.com/photos/batzorig
    The reason I am doing this is because the artist’s works were represented on many publications over the years from many different countries. And we found out that CMYK color alone cannot duplicate the blue color very well (I mean the blue only, no problem with other colors). I know, it is hard to believe, but if you see all the publications and compare it to the original art, you would see the huge difference in color saturation and luminosity. That is the reason, I think it is necessary to use a spot blue for an upcoming catalog of the artist.
    It will be a huge help in my work progress if I learn to make the Spot Color Channel. Then I can talk with the printers about this method.

    Understanding color space diagrams for CIE(1931) and CIELab isn't easy,
    but gradually one gets used to interpret them by intuition.
    (1) helps understanding CIE(1931) chromaticity.
    The horseshoe contour contains all possible colors with luminance left
    out. Indicated colors are just for orientation. Yellow is the 'locus' for
    bright yellow  and brown (dark yellow) as well. White is the locus for
    white and black - colors without saturation at a certain center. For two
    colors on the same ray to the center, the color with larger distance is
    more brilliant or vibrant.
    You're right - adding green and orange ink in Hexachrome doesn't
    extend the gamut at the blue side. But Cyan and Magenta (and Yellow
    and Black) are different to common CMYK inks as well, and this
    delivers more brilliant blues.
    (2) shows the effect, now in CIELab in a horizontal slice for constant
    lightness. Besides theoretical aspects, the diagram can be (again) inter-
    preted by intuition.
    The complete diagram is threedimensional. A shown color is not just
    a placeholder (as in the CIE chromaticity diagram) but a more or less
    correct reproduction, as good as possible, depending on the medium.
    It seems indeed that there are few print houses using Hexachrome,
    but (3)  is one of them.
    What's to do for the actual catalog? Printing by inkjet would be a
    solution, because inkjets can use additional inks like Green, Orange,
    Blue, mostly by replacing standard inks like LightCyan, LightMagenta,
    Gray. The inkjet can be calibrated by GretagMacbeth ProfileMaker's
    Multicolor Module. That would be very expensive. Even without
    additional inks the blues can be reproduced fairly good.
    As already said - just adding a Spot Blue would cure the problem
    for some paintings, but there is no systematical workflow.
    If Hexachrome is not an option, then one may try to modify the
    blue in the image by shifting it towards cyan with less lightness,
    which is better printable.
    Of course wrong, but what finally counts is the impression.
    A friend of mine is a famous German photographer for calendars
    and tourist guide books which contain plenty images with blue skies.
    So far he got almost always pleasant print results - by applying
    appropriate image processing with Soft Proofing in Photoshop.
    Examples are in (4).
    It would be nice, if somebody who is practically working with
    Hexachrome or other Multicolor processes could contribute.
    About this question:
    I don't know if it is about LAB colors or Hexachrome colors.
    The CIE (1931) color space appears mainly by two representations:
    1. CIE xyY Chromaticity diagram (horseshoe)
    2. CIELab = Lab
    These are color spaces which contain all possible colors. Spot inks
    and primary inks (Pantone, CMYK, Hexachrome CMYKOG) can
    be shown in all diagrams.
    Best regards --Gernot Hoffmann 
    (1)
    http://www.google.de/search?hl=de&as_q=&as_epq=CIE+chromaticity+diagram&as_oq=&as_eq=&as_n lo=&as_nhi=&lr=&cr=&as_qdr=all&as_sitesearch=&as_occt=any&safe=images&as_filetype=&as_righ ts=
    (2)
    http://www.google.de/url?sa=t&rct=j&q=&source=web&cd=1&ved=0CDUQFjAA&url=http%3A%2F%2Fwww. pantone.com%2Fdownloads%2Farticles%2Fpdfs%2Fart_hex_primer.pdf&ei=CTJQUKnOEaWr0QWfg4DoDg&u sg=AFQjCNFx7-5XXealXZGPTQ5ek-A7FWb8gQ&cad=rja
    p.2
    (3)
    http://www.ellerhold.de/index/page/357/subContent/423/index.html
    (4)
    http://www.fho-emden.de/~hoffmann/labproof15092008.pdf
    Edited by author

  • Trapping problems with spot colors

    MAC 10.5.4 CS3
    I have had two books present similar problems with one of our printers. Both books are 2 color. The first is 2 spot colors and the second is spot and black. The problem is that the traps are showing up as white. It looks like anything that is trapped has a white stoke applied. One book has headers using the spot ink for the text, in a black box. These are all getting the white outline around the text. The other book has the the darker spot for text overprinting screened boxes of the lighter spot. The overprinted text looks ok.
    I had previously posted about the illustrations in the 2 spot book and have been able to take care of the issue regarding Transparency vs. postscript. But as we are still having this issue with some text and there is no transparency used I am wondering if there is some setting I can adjust to fix this.

    How is the trapping being applied? Did you set it yourself in InDesign?
    I think the default for InDesign is to use an InRIP trapping. And I always thought that was not part of ID's setup.
    Maybe I'm wrong. So let me know.

  • Black and white Photo to Spot Pantone

    hi guys,
    1) I have a black and white image,
    the client wants to print just with one ink, Pantone 425, which is 77% black. Which is the best way to remove the black from the image an replace it with a spot color?
    2) Another question, i might have the option of a second red spot ink, so it will be two Pantones then. Is it very difficult to create a duotone. The guy at the printer told me that he can do a digital test but you never know how a duotone it will really turn out, it depends on different papers an so on...
    Thanks for any help or info!
    Sebs

    Thanks for the very interesting info C.pfaffenbichler
    I decided to convert my image (TIFF) to greyscale and then apply Image>Mode>Duotone. The final file is a .PSD that i will Place in InDesign later.
    But it is true that the actual print results are difficult to predict.
    That is what concern me the most
    Copy the Gray Channel (or the Composite Channel if you are working on  an RGB-image) and paste it into a New Spot Channel (from the Channels  Panel fly-out menu), then clear or hide the original content and save as  psd. But if you place the image in some layout  application anyway you could just use the grayscale image and apply the  spot color there (at least in Indesign and Illustrator).
    But if i decide to go with Phothoshop regular apply Image>Mode>Duotone, is that very different from what you are suggesting?
    Thanks again,
    S

  • Add a "Mixed Ink" swatch like in InDesign

    The new separations palette in Illustrator CS4 is a strong move in the right direction for designers and print production, but having the ability to add a Multi-Ink to your swatches like you can in InDesign would be even better. As a printing company, we often do double hits of spot inks and CMYK mixes under spot inks for special effects. These are very easy to do using Mixed Inks in InDesign, but in Illustrator we have to duplicate objects and set them to overprint each other.
    Also, an Ink Manager similar to InDesign would be great too.

    I agree! It will also minimize the errors especially that there's a tendency to forget setting the overprint in the spot color.
    There are lot of medical/scientific Journals that requires a lot of mixed ink swatches not only in the layout but also in individual artworks.
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    Since this feature is already available in InDesign, I hope there should be little compatibility issue when linking the artwork in the layout even in lower versions of InDesign.
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  • Overprint preview + white ink = trouble

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    Examples: (1) Vector t-shirt art, one color ink (prob opaque white) on darker shirts, or (2) silver ink on black cover stock invitations.
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    Lo-res from screenshot attached, as example.

    I fully understand your problem. Does an opacity mask help?
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  • Preflight Help in InDesign CS5

    I am having a problem in InDesign with image errors in the preflight. It says, "content generates cyan, magenta, or yellow plate", it then says I must fix them to a CMYK. The company I am designing this for requires I use RGB images. So, my question is this, do I have to change these images, or are they fine in RGB? If not fine in RGB how do I fix them and what will this do to the fact that they need to be RGB?
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