Thumbnail for Lab Spot Color PDF incorrect.

The thumbnail for a Lab spot color in a PDF shows up as black. It is also black when viewed in Preview.
-nt

PDF/X-4 is an ISO printing standard. It is Adobe's recommendation for all printing.
Press Quality produces PDF with live transparency, but all colors are (prematurely) converted to a particular CMYK color space with no ICC profiles (spot colors can be preserved depending upon your Ink Manager settings). You are effectively locked into a particular CMYK printing condition. We do not recommend this!
High Quality Print maintains transparency and some color management. By default it does no color conversions - that's great - but it also doesn't provide all the source profiles by default, only those of placed content that have such profiles associated with them. You could change this to include all color profiles, in which case you are only a small step away from PDF/X-4.
Again, we most strongly recommend PDF/X-4.
          - Dov

Similar Messages

  • Create spot color pdf for press

    I work in a small print shop with aging pressroom equipment.  I was able to send directly from my old Mac to the press from InDesign or photoshop and use the color separations dialog.  In order to upgrade Adobe I need to upgrade the Mac and if we do that I loose compatablity with the pressroom.  I will be able to print via pdf to the press room. How do I send files that are not CMYK?  My only thought so far is create ID files with layers for each plate and change everything to black, creating separate pdfs with layers turned off. Is there a better way?  That would mean have two color logos aligned on two layers, etc. which is not ideal. it would also mean creating a true color file for client proofs and then changing it all to black for press,  Again, no ideal.

    PDF/X-4 is an ISO printing standard. It is Adobe's recommendation for all printing.
    Press Quality produces PDF with live transparency, but all colors are (prematurely) converted to a particular CMYK color space with no ICC profiles (spot colors can be preserved depending upon your Ink Manager settings). You are effectively locked into a particular CMYK printing condition. We do not recommend this!
    High Quality Print maintains transparency and some color management. By default it does no color conversions - that's great - but it also doesn't provide all the source profiles by default, only those of placed content that have such profiles associated with them. You could change this to include all color profiles, in which case you are only a small step away from PDF/X-4.
    Again, we most strongly recommend PDF/X-4.
              - Dov

  • Can I have "All spots to process" checked at all times, even for new spot colors?

    When I check “All spots to process” in the pdf export settings and save my settings the settings remember that I've checked this option. But, if new spot color objects using new spot color swatches are added to the document (or another document) and I go into the pdf export settings the check mark has been changed into a dash (with the actual checkbox highlighted) – signifying that only some of of the spot colors will be changed to process colors during export. I absolutely fail to see how this could possibly be seen as a feature and not a bug … if the user has checked “ALL spots to process” wouldn't the user expect ALL spots to be converted to process colors, rather than just any spot colors that happened to be in the document that happened to be open when the user first checked that checkbox and saved that setting?
    Am I missing something here? What's the point of even having that checkbox as part of your saved export settings if it doesn't include any other spot colors than those used when saving the settings?
    What's the point of having settings if you can't trust them, and still need to manually "override" them every time?
    I see that some users have taken to writing scripts that instead turn all spot colors in the swatch panel to process colors, and while I commend them for creating that workaround, I'm still pissed at Adobe for not getting the function right.
    If this is a feature, who is it for? People who want to add just certain spot colors and turn those into process colors rather than turning all spot colors into process colors are surely better off doing that in the swatches panel, where they're in total control of what's what. And if they don't want to "permanently" change their spot colors to process colors, and prefer to (temporarily) convert them during exporting/printing only, they can do that in the ink manager. But when someone checks convert "All spots to process" couldn't we safely assume they really want ALL spot colors to be converted and not just some of them? I mean, the way that checkbox behaves now, it's like it's a button and not a checkbox. As in: hit the button "All spots to process" to switch all currently viewed spot colors to process colors in the ink manager, OR check the "All spots to process" checkbox to always convert ALL spot colors to process colors during exporting/printing.
    Anyone got any light to shed on this?
    And is there a way to actually get the advertised behavior, because if you have to run a script every time you export/print you might as well just manually select the checkbox every time instead, but either way it's just really unnecessary as far as I'm concerned … Adobe should get the feature right instead.
    If you save a setting and recall it, it shouldn't be possible for that setting to change into something else (in this case changing a checkmark to a dash).
    Clearly CMYK printing is the norm, so for most users it would make a lot of sense to have the "All spots to process" checked most of the time, and then you just go into the swatches panel or the ink manager and set things correctly for those print jobs that really do need spot colors.
    I myself am not one of those who add spot colors to my swatches unless I'm really using them as spot colors, but I often work with magazines and folders featuring adverts made by whoever, and typically there's always at least one advert that features spot colors, and therefore it would be very nice if the "All spots to process" feature actually worked as advertised without any required actions from me.
    We stopped sending ads back to the advertisers for adjustments a long time ago, unless we absolutely had to, because there were so many things wrong with so many ads that it was simply too much work to write back and explain everything to people who most of the time didn't even understand what we were talking about. We found that it was usually a LOT faster and easier to just adapt the ads ourselves, as long as it was something that could be worked out really quickly from within InDesign itself, which pretty much included most typical errors.
    But with this feature I find Adobe is trying to make my job harder rather than easier, and it's pissing me off. Arrrghh… ;-)

    But It's not a preference it's a shortcut
    It's a bad joke, is what it is. ;-)
    So, why in your opinion should it be presented the way it is? I keep saying in it's current functionality it shouldn't be presented the way it is (and that: if it is, it shouldn't work the way it does). If it's not a preference or even a proper checkbox, why present it that way?
    If you put it right next to the table at the top of the window (so that it's directly associated with that information, rather than information right above it) and just called the checkbox “Spot(s) to process” and had it only visually reflect the content of the sleected spot colors in the table, then I'd see your point with likening it to the “Hyphenate” checkbox.
    If a story has two selected paragraphs that uses two different hyphenation settings then the checkbox should present the way it does now, but if you hit the checkbox so that both paragraphs now use hyphenation and create a third paragraph inbetween the two previous ones it better inherit that setting and not turn off hyphenation for the new paragraph (unless of course there's a defined next paragraph style that switches to a style with hyphenation turned off). And if that checkbox said “Hyphenate all paragraphs” instead, then I would expect it to do just that, and not just the selected ones, and not just the current paragraphs but quite literally all paragraphs even newly created ones – otherwise it doesn't do what it says it does, and simply shouldn't be labeled that way.
    And seriously bad interface design aside, you'd have to rename “All spots to process” to “Switch all currently displayed spot swatches listed in the table above to process” to actually describe what that checkbox does. So even if you're a fan of the current functionality, as opposed to one that actually lets the user set and forget a setting like that, and think it's better that users manually check it repeatedly (which I'm not saying that you are, but you're not giving me any feedback suggesting you even see my point of view with any of this, so what do I know?), then why wouldn't you still support an interface that visually matches/signals that functionality better? If it's a “Select all” checkbox supplementing a table containing a column of checkboxes, then present it that way. Don't put it at the bottom of the window next to another checkbox that works just like a regular checkbox and label it “All spots to process” – because that way you are signalling a different behavior.
    Seriously, if I was to do design using the same mentality that Adobe uses when designing their user interfaces it wouldn't be long before I lost all clients. There's a lot to be said for de facto monopolies, I suppose. Oh no, there's nothing wrong with the design, just as long as you accept it on it's own terms and don't compare it to anything relevant, and just as long as you give people enough time to understand and accept it … and surrender to it.
    For real … I wouldn't win one single pitch that way.
    Today's threads have in many ways been a thorough reminder of the following quote from the second link I provided:
    Is there an Internet rule yet stating that even the most obviously indefensible mistake will eventually be defended by someone somewhere? Awful marketing efforts get explained as genius viral campaigns, broken features become solutions.
    And whether or not you're able to see my point of view or not is really besides the point too.
    The real point was, and remains to be:
    That for those who receive lots of ads or other external files that may or may not contain spot colors it would be far more useful to be able to set a checkbox to always convert all spots to process when exporting, than the current functionality is (and I'm not suggesting eliminating the current functionality, just change so it's presented like what it really is, and then just let that separate checkbox do what it says) … causing unnecessary manual action on the user's behalf shouldn't be the business of Adobe – preventing it should.
    And here's further reading on the subject of bad Adobe interface design for those who might feel so inclined. ;-)
    Cheers!

  • Transparency for overlapping spot colors

    Hello there,
    I have a file that has the 2 objects with PMS483 spot color at 75% transparency overlapping one another. Now when I try to export the pdf the transparency disappears and it becomes one color? Can someone please help.
    Thanks.

    Maybe not a good idea to use effects with spot colour in gradient fills...I've seen that before...you used a spot colour in a gradient fill and then applied 'Effects/Transperancy %' to it...what happens is the gradients converts to CMYK....test this by converting to PDF, open the PDF output preview, run your cursor over the object and look at the CMYK % ...is it still spot colour when you do that?

  • IPhone 5 thumbnails for album artwork incorrect

    I've been having a problem with the album artwork that displays as a thumbnail when you open the music app. For all the albums which contain music videos, a snapshot of the video appears to be replacing the normal artwork for the album. However when I open the album to view the tracklist, or actually play any of the songs in it, it displays the correct artwork as it did before the problem arose. So the issue here is simply with the thumbnails that display in the album menu of the music app.
    This first started occurring after I attempted to sync my iPhone to my PC through iTunes, after which the thumbnails for the album artwork all disappeared entirely. I unsynced and redownloaded my music only to find that the thumbnails for several albums were still incorrect as I explained above.
    Deleting the videos from the albums does not solve the issue, nor does redownloading the album in it's entirety.

    This is what I figured out I went back to my itunes 10.7 on my MBP and all my album artwork that was not showing up on my iPhone 5  was showing up in coverflow on my MBP but after closer exam the ones missing from iphone 5 actually were missing from the selected item pane or the drag artwork here area so I downloaded and added my art by going to just the ones that were missing from that or you can get info on selected track and go to art tab and add it there after doing that on the first 25 missing I synced the phone and they all came back. Still don't know how they got stripped out of itunes in the preview but not the coverflow but I guess that's for the Geniuses at Apple to come up with. Apple please don't remove coverflow and Album art people love that dont screw it up
    Make sure you stay away from upgrading to itunes 11 if you love album art and coverflow they have been removed and the new interface is really really complicated and very unappealing graphically

  • Dear Spot Color Printing Gods......... Please Help Me!

    Ok so here is my story...
    I have been doing graphic design and 3D work for about 7 years. I have NEVER worked in print before, and no NOTHING of color separation or spot color, etc... I am learning all this right now on the fly for my new job, and its not going well.  I was hired and expected to hit the ground running, even though I made it clear I did not have any screen printing experience. (I was mainly hired to help with web design) I have had some mistakes doing the color separation (not 4 color) and its costing the printer money to see if I did it wrong or not.  The printer has no experience with the software (and only speaks English fairly well), nor does my boss know the software, but they both know how its SUPPOSED to look, and they are getting impatient.. Needless to say, I have to turn to the internet for help, so please be gentle with me not knowing much...
    SO....Im a PC user working on a Mac & Illustrator Cs3(I know Mac fairly well).  I have learned the basics pretty fast for screen printing.  The printer is using spot colors only.  After I get the Illustrator file (yes its vector), I delete all swatches except the "Pantone Solid Coated" colors used in the art - or I have to add them from the Solid Coated color book.  After that, I would separate the colors by 1) Duplicating the image however many times that there are colors. (So a splat of soup has 3 colors, I duplicate it 3 times with register marks)  2) I remove all the color except the one Im trying to show. (Im showing the green peas, so I remove the red and yellow colors from the other objects) 3) then I make what the printer calls the "Flash" (the white undertone that the paint adheres to on the garment)  I make this by taking the art, and reducing the size to 1pt smaller.  Once all the colors are seperated, I make each color 100% black, convert the image to grayscale and THEN Im done.  Problems I have been running into have been registration marks somehow not lining up and some colors do not end up 100% spot tones.. One other wierd thing is when I convert to grayscale on the Mac, the art work retains its color on the screen.  When I tried to do that at home on my PC, the artwork turns gray????
    WHEW!  So what I am asking for is a fast, simple way to color seperate a vector file and then create the flash.  And/or how to create a template that I can reuse, that is ready for me to just drop artwork into for spot color seperation.   I have included an image to show you a project I am working on.  Its an  ice cream spill on a shirt.  I have tried to start a template with reg. marks, and that is what you will see here.  There are 5 colors that I have to specify.  The printer actually told me that I do not need to split up the art work the way I have been, nor do I need to change it to black, and all that I have to do is specify all the colors,(spot colors/100% only) and then the printer does the seperation on the clear film. (it only prints in black)  I was also curious why my PC would change the artwork gray and the Mac does not when converting to grayscale.  I thank you VERY MUCH for even reading this maddness that is my life right now, and hope you can give me some helpful wisdom to assist and lead me on my journey.  The job pays well, and I need the money badly!  Thank you very much for any and all help you can give me!
    ~LiQ

    Some misconceptions evidenced in your post.
    You don't have to use a Pantone library to create spot colors. Pantone is just one brand of spot color definitions and inks intended for offset lithography; not screen printing. You can define any color you want as a Swatch and then specify it as Spot. A Spot color is simply a color that represents an individual ink that will be physically used in the printing process. Therefore, if you want to please your boss:
    1. Get the color chip brochure for the particular brand(s) of screen ink your operation uses.
    2. Open Illustrator. New CMYK document. Delete all the Swatches that can be deleted.
    3. In the Swatches palette, for each color of your screen inks, create a new Swatch. Use the CMYK sliders to make its color match the ink as best you can. Name the swatch according to the name of the actual screen ink (ex: Nazdar_BrilliantBlue). In fact, the ink manufacturer(s) you use may already provide a ready-made Illustrator Swatch Library for their various series of inks. Check their websites to see.
    4. After creating the swatches, save the Library, and/or save the file as a tempate file. Now you'll always have your Spot colors available for new projects.
    Now just draw your design and apply the spot colors to the paths as fills and/or strokes. When you print the file as separations, you'll get a separate print for each spot color used. One of the simplest ways to "proof" (test) this is to "print" as separations to the Adobe PDF virtual printer. That will result in a PDF file that has one grayscale page for each ink in your design. That way, you can check what overprints and what knocks out on screen without wasting time or materials. Once confident everything is right, you can then use the PDF to print the actual film positives.
    One of your swatches should be a spot white for your underprint. ( "Flash" is not actually an ink color. It's a production step in which a dryer semi-dries an imprinted ink before overprinting it with another. You usually flash a white underprint, but you just as often flash any color with significant density that needs to be overprinted with a following color.) Understand, you don't have to make this swatch actually appear white. For example, I often make it a pale magenta just so I can see it on screen when working with it.
    Just because the white underprint is going to be printed underneath the other colors, doesn't mean it has to be layered under your other colors in your Illustrator document. Remember, each ink is going to be printed to its own plate anyway. So it's simpler to just put your white underprint objects on a Layer above the rest of the artwork, and set it to overprint, so that it doesn't knock out the rest of the artwork on layers below it in the stacking order.
    Assuming the white underprint has to underprint all the other colors, creating the white underprint should be the near-last step. It's simply a matter of duplicating the colored artwork objects, moving them to the Underprint layer, filling/stroking them with the spot white color and (for efficiency) merging them into as few paths as possible. The Merge or Union Pathfinder commands are typically used for that.
    JET

  • Sending spot color separated art to DPM, can 1 color be sent lighter?

    I have a two spot color PDF (black and a PMS green).  The photos are grayscale and look fine on the screen but when I send it to our DPM and look at the preview there, the photos are super dark.  The text is in 100% green so I really dont want that to lighten but was hoping that somehow when sending it over, the blacks are sent at a lighter shade or more screened or something.  There are some options in the Ink Manager when going through the print dialogues that I am not too sure what they do.  One is called "Neutral Density" that sounds like it might be something like this but I cant tell where it does anything.  Is there anything I can do to make what appears on the DPM looks more acceptable and not overly dark?

    IMO, you won't get this answered in the Acrobat forum.
    Without discussing embedded profiles in the images...if you're hesitatnt about photo's because they print to dark, your wasting the functionality of that DPM. Any decent daylight camera will print line copy at half the materials cost...
    I would suggest you have a tech spend a day in the pressroom to calibrate the DPM. We brought one in for 30 days and sent it back, I get better results through a small imagesetter (which is really all your DPM is with the addition of a RIP and material cutter)
    You will probably get the best answers here
    http://printplanet.com/forums/prepress-workflow-discussion/
    In short, there are some test files stored hopefully on the RIP's internal drive - test patterns. Pull one up, plate it, run it on job stock at normal ink levels. Measure the screen values. Input these values into the RIP's calibration sets.
    If you were to create your own - Create twenty .5" x 4" frames, fill them with tints of black from 5% thru 100%, plate it run it...I'm guesiing that everything over 75% is filled solid

  • How to convert a PDF's Process Black to spot color

    We have been asked to build InDesign templates for a two-PMS-color math book. The design calls for two PMS colors: a dark blue for most text and red highlights.
    Because our Math plug-in doesn't work easily with PMS colors (it defaults to Process black), we hope to create all the “blue” text in Process Black. The press PDFs will have two inks: Process Black and PMS red. On press they will print the black plate in our blue PMS color.
    This plan works on press, but for non-press use, we also want the PDFs to visually match the blue and red printed book. Ideally we would convert the Black Process ink to a blue spot but I'm not sure if this can be done.
    Question 1: Does anyone know of a way to convert Process Black in a PDF to a spot color? Pitstop can convert spot to process, but we want the reverse.
    Question 2 (which I may also post in the InDesign forum) Do you know of a way to redefine (or alias?) the indesign black swatch so that it functions as a spot color?

    1 - yes, you can do this with Preflight in Acrobat Pro, but it's not on the default set of fixups.
    Open Preflight, select "Single fixups" - the wrench icon
    Options > Create New Preflight Fixup
    Give it a name (e.g. "process black to spot")
    Choose the Color category in the upper right
    Choose 'Convert to spot color' in the upper left
    Define the source parameters in the main panel (in your case, CMYK%, 0-0-0-100 with tolerance 0)
    Define the spot color to change this color into, and the alternative space for rendering (i.e. your blue color)
    If you wish, add a check to limit the conversion to certain things (e.g. text, vectors, etc.)
    Click OK to save the fixup, then click FIX to apply it. To verify the result, use the Output Preview dialog in Acrobat.

  • Export to PDF and Spot Color Reg Marks

    This sounds like a simple problem but I have not been able to find a way to do this.  When I create a document in ID with 2 spot colors and then export to a pdf and add registration marks (or crop marks) at this stage, the reg marks are created as the spot colors in the document AND Cyan, Magenta, Yellow, Black.  I am outputting to a RIP to generate printing plates.  This is a problem because I will get six plates (four with only reg marks) rather than just the two I need.  Is there a way to add the reg marks in the export stage so that they are created as only the colors that are present in the document?

    Add a slug around your document (File>Document Setup>Show Options)
    If your bleed is 3 mm and you want to add 5 mm crop marks, set the slug to be 8 mm all around
    On the master page make a line at .25 pt and place this outside the bleed area and touching the slug line
    Do this for all master pages.
    Set the stroke colour to registration.
    Export to PDF and choose to include bleed and slug.
    Don't turn on crop marks.

  • Problem exporting file with spot colors to pdf

    I have a book which I designed in InDesign CS3. It has 150 images in it which are Photoshop eps files: black line drawings with a spot color fill. InCS3, when I needed to send files back and forth to the publisher, the eps files came out fine in any pdf I made. Now in CS5.5, no matter what I do, only the spot color shows up in the images -- their black outlines won't show up. I'm sure it's got something to do with settings of some kind but I can't figure it out for the life of me. Help!

    I'm viewing the pdf in Acrobat Pro X. I do see that if I turn Flattener Preview on, I can see the whole image in a separate preview box, but that's not going to work very well when I send it to an editor who is technologically challenged. Is there not a way to ake the pdf behave the way it does if I make it from CS3, where the flattening shows in the pdf by default? As it is, this seems like a step backwards, unless of course, there's something I am missing.

  • How do I stop FH Mx from converting spot colors to cmyk on export to pdf

    I have Freehand Mxa on my PC.  I created a couple of rectangles and filled with two Pantone colors from my swatch pallet.
    I exported to pdf and the spot colors converted to cymk.  Shucks!  How do I stop that?
    (When I print directly to my Adobe Distiller print driver the spot colors are retained as they should in my pdf.)
    In the Freehand export function there is a setup dialog box just below the "cancel" button.  When that opens there is only a drop down button allowing conversion to cmyk and cmyk/rgb.  So, I am guessing that is not where I can tell Freehand to leave my spots alone.
    What am I doing wrong?
    I was going to attach the small test file but the system did allow. Hope my description is enough to render a solution.
    -Steve

    The only thing you're doing wrong is using FH's PDF export. It creates PDF files that are adequate for viewing online or printing to composite inkjet printers, but it doesn't support spot colors.
    There are many more reasons why you shouldn't use FH's PDF export for print work. See this technote for limitations of PDF export.
    http://go.adobe.com/kb/ts_tn_13496_en-us
    When you need to retain spot colors, print to a Postscript file and Distill.

  • Convert PDF Document to PDF with Spot Color

    I want to convert a regular PDF document with RGB/CMYK color profile to one with Spot color. Can this be done using Acrobat X Pro, if so How?

    Hi Steve
    I am still working on the process to automate the conversion of PDF file with RGB color profile to Spot.
    I am nearly there, here is the method...
    1. Have a prefight profile with the spot color fixes. For now I put in 10 colors.
    2. Wrote a Javascript that will invoke the preflight profile
    3. Cretated an application (AutoSpotFix) in VC++ and Acrobat SDK that will open the document and assign the javascript function to 'WillSave' document action. The AutoSpotFix will then trigger the save on the document.
    Java script had to be involved because SDK cannot invoke the preflight profile.
    Now my problem is the document can contain any spot color, I need to
    a) Either put in the thousands of spot color into my preflight profile, which will take days to do. Or I can create a preflight profile file (*.kfp) and load it, which is an XML file.
    b) Dynamically load the preflight profile file with the few current colors, for which I need to dynamically create the preflifgt profile.
    Either way I have to create the *.kfp file, Is there a way to create the Preflight profile file?

  • How can I swap black to a spot color (HKS) in a 1c (Dot Gain Black) PDF?

    Hi,
    does anybody know if this is possible in Acrobat at all?
    I have exported a cmyk ID file as a b&w Dot Gain x3-PDF. I would now like to swap the black color for a HKS spot color, but I don't know if this works at all.
    Thanks for any help,
    Ralf
    Acrobat 11.0.09
    Mac OS 10.9.5

    Do it in InDesign. Acrobat editing is a desperate last resort for when you have lost the original and all the backups were eaten by termites. (And, I'm pretty sure you can't do this in Acrobat).

  • How to open Acrobat PDF contains spot colors with Photoshop?

    I'm looking for a simple way to open a pdf file that contains spot color channels with Photoshop. Currently Photoshop can open only CMYK channels. DCS can be a solution but Acrobat doesn’t have the option to save as DCS. Please advice.

    Are you referring to opening the entire PDF file in Photoshop or do you mean that you have the PDF file open in Acrobat and want to open one of the images into Photoshop for editing?
    Opening PDF files (created in other programs) in Photoshop is often a recipe for disaster... or rather a recipe to raster. 

  • Spot colors now missing in PDF!

    Issue: spot color channel not showing up in Photoshop generated PDFs. Worked previously, this just started last week.
    Workflow: receive PDF ads from client via email. Open file, usually Jpg, Tiff or PDF, in photoshop CS4. save as PSD, with new name, grayscale, 300 dpi for newspaper printing.
    some ads  get spot/PMS color added.  add spot channel. move art from grayscale layer to spot color layer. save file as PSD with spot colors. (for import to InDesign.) Photoshop file looks fine on screen.
    for Client proof, Save As "ad proof", turn OFF photoshop editing, so client does not change ad. Turn ON "as a copy", "spot color" and "view PDF".
    It worked fine for the past year, now, NOT. The PMS spot channel is not showing on the photoshop generated PDF, If I import the psd file into Indesign, and generate the PDF 1x version, same thing.
    Spent 7 hours on phone with tech support, they did not have a clue as to why or what was going on. I have uninstalled, deleted everything Adobe, and spent 7 hours reinstalling CS4.
    Newly installed Photoshop not working, same issue. Print to PDF using PDF 9.0 "printer"  not working.
    HELP!

    I just had a very similar problem using CS5 Master Suite.
    I had a CMYK job (a business card) that needed converting into a spot colour job.
    There was a logo in CMYK that was red, blue and black, so I created 3 new channels in Photoshop and separated the colours into each specific channel. I saved the logo as a Tiff file and imported the logo file into Indesign. On-screen it looked fine (black, red, blue) and I could see the new spot colours had imported into the swatches correctly. However, when I exported the Indesign file as a PDF, one of the spot colours was missing (the red one).
    So I changed the logo file (Tiff) into a Photoshop file hoping it would fix the bug, but no such luck.
    Out of interest, I duplicated the Red channel and repeated my procedure, this time when I made the PDF the blue channel that was there previously disappeared!!!
    When I checked the forum and heard that the poor person spent 7 hours with tech support, I thought bugger that, I just saved each channel as a separate Tiff file, dropped the black file onto the logo so that it was in place, then did a Step&Repeat (ie copied a duplicate of the logo ontop of itself), then dropped the new Tiff file on top of that and changed its colour to Red in the Swatches, and did the same with the blue file.
    Now I have a PDF file that shows all the different spot colours and I can go home on time tonight.
    I could do all this stuff on CS1. The only 'improvements' I have found in CS5 so far is that my beloved 'Variations' option in Photoshop has now disappeared because they couldn't be bothered to create this feature in 64 bit.

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