Text reflow when converting from rgb spot color to process black

The setup that I'm using is a G5 Mac OSX, version 10.4.11. The InDesign application is CS3, version 5.0.3. The fonts are loaded into Extensis Font Reserve, server 1.7.4. The InDesign document has a text box using 2 different font sets. One set, Helvetica Neue, uses the rgb spot color. The other one, a mixed set of New Century Schoolbook, is used for a paragraph which is process black. When deleting the rgb spot color from the swatches and converting it to process black, the New Century Schoolbook reflows which had already been process black.
If I just select the Helvetica Neue type and change that line to process black there is no reflow problem.
When I tried this document on another Mac with the same set up there was no reflow. Is this an InDesign preference problem? Thanks

If you change the color back and then back again, do you get more reflows?
The reason I ask is that when InDesign opens a document, it holds the existing composition of stories until you apply any edit. So, it could be that what you're seeing here is that yours and your user's setups are different enough that reflow is inevitable the moment you edit the text, and changing the color counts as editing.
Dave

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kat,
You may:
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2) Switch to RGB (for RGB, CMYK for CMYK) in the Color palette/panel, and ;
3) Click New Swatch in the Swatches palette/panel flyout, see that Color Type says Process Color, give it its name (and make it Global if relevant), and press OK.
With that you will have the corresponding RGB colour (closest match) as a swatch.

Color turns Grayscale when converted from RGB to CMYK?!

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How do I keep my original text colours when converting from Publisher 2007 to PDF format?

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I'm getting so frustrated. I am converting Word 2003 documents to Acrobat 8 pdf's. Without fail, the document size shifts upon conversion. So, if I have a table, the PDF is smaller than the Word version. I tried making Acrobat my default printer and then creating the document in Word and converting it to PDF, but that doesn't seem to help.
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Try printing to the Adobe PDF printer if that is not the procedure you have been using. May not fix the problem, but worth the try. Check the printer properties, there are often options for shrink to fit and such. Also look at the print preview and be sure it is not a WORD option!

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Hi ,
I am working on PS module and facing the above mentioned error.Whenever I am attching any material haveing value more than Rs 100000 the system gives "Overflow when converting from "1.64174e+11""
The detailed error description is given below,
Runtime Errors         CONVT_OVERFLOW
Except.                CX_SY_CONVERSION_OVERFLOW
Date and Time          24.11.2008 11:19:23
Short dump has not been completely stored (too big)
Short text
     Overflow when converting from "1.64174e+11"
What happened?
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Error analysis
     An exception occurred that is explained in detail below.
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Missing RAISING Clause in Interface
     Program                                 SAPFV45P
     Include                                 FV45PF0K_KALKULATIONSWERT_UEBE
     Row                                     8
     Module type                             (FORM)
     Module Name                             KALKULATIONSWERT_UEBERNEHMEN
Trigger Location of Exception
     Program                                 SAPFV45P
     Include                                 FV45PF0K_KALKULATIONSWERT_UEBE
     Row                                     140
     Module type                             (FORM)
     Module Name                             KALKULATIONSWERT_UEBERNEHMEN
Source Code Extract
Line SourceCde
110       MTCOM-MATNR = VBAP-MATNR.
111       MTCOM-BWTAR = VBAP-BWTAR.
112       CALL FUNCTION 'MATERIAL_READ'
113            EXPORTING
114                 SCHLUESSEL    = MTCOM
115            IMPORTING
116                 MATDATEN      = MBEW
117            EXCEPTIONS
118                 ERROR_MESSAGE = 04
119                 OTHERS        = 04.
120       MOVE SY-SUBRC TO SAV_SUBRC.
121     ENDIF.
122
123     IF T685A-KRECH = 'C'.
124       IF SAV_SUBRC = 0 AND MBEW-PEINH NE 0.
125         KOMV-KPEIN = MBEW-PEINH.
126       ELSE.
127         KOMV-KPEIN = 1.
128       ENDIF.
129 * Falls keine ET da, Zielmenge nehmen (Gut-/Lastschrift, Kontrakt ...)
130       DATA: DA_MENGE LIKE VBAP-KWMENG.
131       IF TVAP-ETERL EQ SPACE AND VBAP-KWMENG = 0.
132         DA_MENGE               = VBAP-ZMENG.
133       ELSE.
134         DA_MENGE               = VBAP-KWMENG.
135       ENDIF.
136       IF DA_MENGE > 0.
137         DA_WERT         = DA_WERT * KOMV-KPEIN * 1000
138                          / DA_MENGE * VBAP-UMVKN / VBAP-UMVKZ.
139       ENDIF.
>>>>>       KOMV-KBETR      = DA_WERT.
141     ELSEIF T685A-KRECH = 'B'.
142       KOMV-KBETR      = DA_WERT.
143     ELSE.
144       KOMV-KWERT      = DA_WERT.
145     ENDIF.
146
147     KOMV-WAERS         = DA_KALKO-FWAER.
148     RV45A-KOEIN        = DA_KALKO-FWAER.
149     KOMV-KMEIN         = VBAP-MEINS.
150     PERFORM KOMV_PRUEFEN USING SPACE
151                          CHANGING SY-SUBRC.
152 * Nur für den ersten Lauf prüfen, ob Status gesetzt werden muß
153     IF SAV_INDEX = 1.
154       DA_SUBRC = SY-SUBRC.
155     ENDIF.
156     IF SY-SUBRC = 0.
157       PERFORM KOMV_BEARBEITEN.
158     ENDIF.
159   ENDDO.
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Rgds

Hi,
Try to declare your variable using Packed Number:
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Patrick

Converting a gradient from a spot color to a process build, hides vector elements

I have been using Illustrator for many years and consider myself very familiar with it, but recently ran into a strange issue I have never seen before.
The background element is a radial gradient with points of 0% to 50% of a spot color. The file came to me as one single layer, with the gradient in question above a vector rectangle. The rectangle shows up fine, however, until I convert the gradient from a spot to a process build at which point the box is no longer visible. The initial issue I found was that the box is beneath the gradient, but my question is why would it be visible as long as the gradient uses a spot and then disappear behind it when converted to a process build?

Version is CS5.
Part of what made the issue so confusing is that there are no effects applied. Applying the overprint feature or multiply effect don't effect the outcome either. It's only something that can be fixed by moving the gradient to a layer behind the element which is disappearing. My question is less about how to fix it (I've done that and moved on) and more about why this would happen - it seems to be a strange anomoly.
In response to the replies involving the method of color conversion:
I have used all of the methods mentioned and the end result is the same. It is starting to look to me like this is a fluke that happened with this particular file and that it is not something that can be duplicated intentionally.

Converting CYMK to spot color?

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

I tried this with the image you posted, so I can describe in detail the steps.
From the image menu choose Duplicate to keep the original for reference.
From the Image menu choose Mode > CMYK Color.
In the Channels palette, delete (by dragging to the trash there) all channels except the Yellow and Black channels.
Double click the icon of the Black channel and in the window that opens click on the color swatch, then in the next window that opens click the Color Libraries button, and when the next window opens type quickly on your keyboard 161, make sure the desired color is picked and press OK on this and previous window to apply.
Repeat the same for the Yellow channel but choose 375.
Select the 161 channel (former Black) and press Ctrl + L to open Levels. Drag the middle arrow of Input Levels referring to the original to get similar darkness (to me around 0.30 looks similar shade). Press OK to apply and close.
Hold Ctrl and click on the icon of the 375 (former Yellow) channel to load its shading as a selection, and press Ctrl + Shift + I to invert the selection.
Make sure the 161 (former Black) channel is selected and press Ctrl + L to open Levels again. Move the right (white) arrow of the Output Levels (at the bottom) until the background matches in brightness the background of the original (to me 150 looks similar).
That's basically it based on my quick try with your image. This example should help you understand the basic idea and from there if you like, you can further play with the image if you feel you can make it any better with these two colors.
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Following the above example converts the CMYK document to Multichannel Color mode and you have only a few file formats available for saving in the Save As options. From these, practical ones are DCS and PSD files. Both are OK for printing but you may want to confirm with your printer. However if you want to place Multichannel image in programs like Illustrator or inDesign you have to use DCS.

Converting from RGB colorSpace to cs_gray

Pls can anybody help with the conversion from sRGB to cs_GRAY
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I am replying to this topic again in the hope someone will be able to help with step 2 of the subject question. In one of the replies, Michael offered a VI utilizing nested loops to convert the 32 bit array containing RGB values to Cielab Lab values. Because of the extensive computations required for digital images of significant pixels, the cited nested loop approach requires to much computation time (i.e., approximately 30 seconds) when a steady stream of images need to be processed. I believe there exists another Labview approach that will allow the conversion of all the pixels' from RGB coordinate color space to Lab coordinates allowing histrographs to be plotted for the respective L, a, and b distributions. I would appreciate help from an NI engineer or anyone who is familiar with a more efficient colorspace conversion approach for all pixels of a digital image.

Converting from RGB to CMYK makes the image dull. How do I fix?

I have an image that has a really bright vibrant blue in it. When I convert it from RGB to CMYK, it gets pretty dull. Is there a "trick" or something to do to a file after converting to CMYK to bring back some of it's vibrancy?

Sharingene wrote:
Question on workflow... so do I convert my sRGB to CMYK, work to fix different color issues using some of the methods above, then what? Where does the printer's profile come into play during all of this? UPrint told me for offset printing they use US Web-coated SWOP v.2. Just not sure what to do with this information
Whenever you convert, you're always converting from the source color space to the destination color space.
In this case, your source color space is sRGB, because that's the color space your file is in.
Your printer told you that the CMYK profile they use is USWebCoatedSWOPv2, so that's the destination color space you want to convert to. You can consider that the printer's profile.
So, how to convert?
There are two ways.
First, you could go to Image > Mode > CMYK. Easy, but maybe not right.
That method will convert to whatever defaults are set in Photoshop's Color Settings (Edit > Color Settings). Check out your Color Settings. If they are set to any of the North America presets, you're in good shape, because the CMYK default is USWebCoatedSWOPv2. However, let's say that the printer told you to use Web Coated SWOP 2006 Grade 3. Then you need to take a different approach...
Second way: go to Edit > Convert to Profile...
In the dialog that appears, click on the Destination pop-up and scroll to find the appropriate profile.
Click OK. Conversion done.
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-I guess it's used in soft proofing but sure how all this works. If I soft proof and it's still not looking right, am I able to edit with their profile turned on some how?
A soft proof is an on-screen simulation of what your color will look like once you do the conversion. In your case, you would turn on soft-proof (command-Y) while still in sRGB to simulate the look of the CMYK color space.
To select the color space to simulate, go to View > Proof Setup.
Click on Custom...
Click on the Device to Simulate popup.
Scroll to find the destination color space.
Then when you hit command-Y, you'll see a soft proof of that color space.
Best practices suggest that you do the bulk of your color correction while still in RGB, but with soft proof on.
Also, should I get a profile for the paper I'm using as well?
That's what the printer's profile is.
Although I've read somewhere it's hard to have your monitor replicate paper because monitors are so bright....
Not exactly. The challenge in getting a visual match between monitor and proof/print is based on the fact that a monitor is emissive (i.e., it's a light source) and a print is reflective (i.e., it only reflects light that's hitting it.) However, in a proper, well controlled editing environment, it's possible to get a shockingly close match between monitor and proof/print. All the variables are controllable.
The bottom line with all of this is to be able to get accurate, predictable color on press (or out of your inkjet) based on what you see on screen. It can be done; I do it every day. It just takes some study and rigorous process control.
I humbly suggest that you check out my book.
Good luck!
HTH,
Rick
Rick McCleary
author, CMYK 2.0: A Cooperative Workflow for Photographers, Designers, and Printers
Peachpit Press

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Depending on the system version, and Office Word version:
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I like everything with Apple computers and software, except PDF generation. Output files are usually bigger in size, and no better quality, than under Windows. Furthermore, it is weird that something as common as hyperlinks does not work correctly!
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Greetings NoNameGiven,
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I've tried using ...
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Text reflow when converting from rgb spot color to process black

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