US Sheetfed Coated

Does anyone know the details within the CMYK US Sheetfed Coated profile? How much dot-gain? if UCR or GCR is used? UCA? Ink Colors? Total Ink? Black ink limit?
THANKS

Cuando abras la ventana de CMYK personalizado en los Ajustes de Color de Photoshop, donde pone Generación de Negro, escoge NINGUNO, de esa forma el componente de gris común de los colores RGB no se convierte, o contribuye a generar la plancha de negro.
A continuación, (guarda los cambios y el perfil CMYK creado antes de cerrar las Preferencias de Color) utiliza el menu de Edición > Convertir a Perfil y elige éste personalizado, verás como el canal K de la imagen pasada a CMYK está en blanco.
Puedes usar el menú de Modo > convertir a CMYK si este perfil es el de trabajo en los Ajustes de Color, tambien puedes crear una acción, etc. para automatizar el proceso.

Similar Messages

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.

Acrobat 9 Separations Preview.

Acrobat 9 Output Preview.
Just got the new CS4 and when I use the output preview (Separations Preview) in Acrobat it shows the 100% black text to be a CMYK mix (as if the file was RGB but it is not)
I am a printer and I use this separations preview function continuously all day.
The file is fine I look at it in Acrobat 8 it's just 100% black and in indesign its just 100% black
Simulation Profile= US Sheetfed Coated V2
Show= All
It has to be a color management issue but
Color management settings are
RGB= Adobe RGB (1998)
CMYK= U.S. Sheetfed Coated V2
Grayscale= Dot Gain 20%
Any help?

Problem Solved but Thanks!

Converting CMYK to Spot Color (InDesign/Illustrator)

I have come across a client that have sent files built in process or CMYK. We want to make it a 2 color job (2 spot colors) but they have not chosen colors. What is the most effective way to determine the spot color that matches the CMYK procees within InDesign/Ilustrator. If it easier to do on one of the 2 programs I am completely open to using either.

You can do it with Photoshop. Click the Foreground color picker, enter the CMYK values, choose Color Libraries, select the Pantone book you want to reference, and the closest ink will be displayed. Keep in mind that the appearance of CMYK depends on the document's color profile or the Color Settings' CMYK Working space if nothing is open. So, for example US Sheetfed Coated will likely return a different Pantone color than US SWOP Coated.

Image displays in CS4 Apps differently

I have a gs tif file that I converted to cmyk. In PS the cmyk version looks virtually identical on screen to the gs version although when you hold the eyedropper over the image, cyan displays as a higher percentage than m or y, with k lowest. In Bridge the cmyk version clearly show with a cyan cast.
Color settings are synchronized in CS4.
Can anyone tell me why: 1, the images are displaying differently, and, 2. using Convert To Profile, cymk, Working CMYK US Sheetfed Coated v2, image appears to have a distince cyan cast?
Thanks in advance
J

the images are displaying differently
Have you proofing enabled in both of them? Even if the profiles match otehrwise, that option still has to be toggled.
image appears to have a distince cyan cast?
Well, if you print CMYK, you want "rich black", which means that it needs to be underprinted with another color to not look like a dull gray. Only spot black/ text black does not require that. That's not the point here, though. It's really due to the conversion being done wrong. If you really want to retain the blacks as a pure channel, use the method described. Also, if you can, in the future simply start out in CMYK to avoid these issues.
Mylenium

Image Displays Differently in PS and Br CS4

I have a gs tif file that I converted to cmyk. In PS the cmyk version looks virtually identical on screen to the gs version although when you hold the eyedropper over the image, cyan displays as a higher percentage than m or y, with k lowest in both the cmyk conversion and the grayscale original...what do I have set wrong! In Bridge the cmyk version clearly shows a cyan cast.
Color settings are synchronized in CS4.
Can anyone tell me why: 1, the images are displaying differently, and, 2. using Convert To Profile, cymk, Working CMYK US Sheetfed Coated v2, image appears to have a distince cyan cast? And why, for that matter, is the GS image showing uneven cmyk percentages?
Thanks in advance
J

the images are displaying differently
Have you proofing enabled in both of them? Even if the profiles match otehrwise, that option still has to be toggled.
image appears to have a distince cyan cast?
Well, if you print CMYK, you want "rich black", which means that it needs to be underprinted with another color to not look like a dull gray. Only spot black/ text black does not require that. That's not the point here, though. It's really due to the conversion being done wrong. If you really want to retain the blacks as a pure channel, use the method described. Also, if you can, in the future simply start out in CMYK to avoid these issues.
Mylenium

Colour management issues! help!!!

Hi,
I have just bought a new printer. an Epson 1430 artisan. And Illustrator won't let me print anything it comes up with an error about colour management being inconsistent.
Just wondering how I can fix this? I need this for my home business and need to use it ASAP.
Thank you

The monitor calibration becomes important when what you see on the screen does not match what you see in your prints. What system are you using PC or Mac? Your monitor may have some controls for such things as brightness. Check the manual to see how you can achieve a fairly decent brightness level ( depending on the screen itself ). Look for the monitor control panel on your computer and see if you can find "Display Preferences > Calibrate". If you have it there are several adjustments that can be made, including "White Point". As I previously mentioned, the Epson 1430 Artisan has a User's Guide that shows you how to access advanced settings in the Print dialogues. That printer, along with many others, is a photographic printer that can achieve a decent color gamut. You have to do some reading and some experiments to establish what works for your particular print application(s). You almost surely are not limited to photography because you printed using Illustrator. In Illustrator, you may want to match colors more closely than you would in a photographic environment like Photoshop. You have told us what type of business and/or what type of printing you do on a daily basis. Just that colors do not match from what look great on screen to what looks like crap in prints. Color management is a very sophisticate and complex issue that is not quite addressed properly by the average consumer. But, ask any professional photographer and they can rattle off their settings in a heartbeat. Open up Illustrator's Color Settings > Advanced dialogue and take a look at some of the work spaces you have to choose from. Look at things like "Rendering Intent" and "Black Point Compensation". I'm a graphic designer. I select and maintain ( in Illustrator ) Rendering Intent = Relative Colorimetric. I have "Black Point Compensation" selected or "ON". My RGB workspace is Adobe RGB; CMYK workspace is US Sheetfed Coated ( SWOP ) v2. My document color space is always CMYK. See if you get some better results using them. By the way, most, if not all, monitors are sold with a White point and brightness too high for Illustrator work.

Colour management for dummies please

I have seen many discusions about ink limits and colour profiles but can anyone offer a dummies' guide?!
I use CS5 and in Bridge it is set to Europe Prepress 3. My understanding is that this should take care of things but when I make a PDF of my job and preflight it in Acrobat I get an ink limit warning. The profile of the placed Photoshop file (which is CMYK) is FOGRA39, as is the InDesign file (obviously, as this is defined by Prepress 3). So if I make a PDF X-1a shouldn't all that control the ink limit?
I have found that if I switch the Photoshop file to RGB then it works fine - I can see in InDesign separations preview that ink is OK, and the PDF preflights OK in Acrobat. So that tells me that the ink control happens when a conversion is required. The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage), so how do I limit the ink if the file is CMYK? Should my Photoshop file not be colour managed perhaps? I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
I called Adobe and their best shot was that I should switch CS5 to North America Prepress, and use the 'High Quality Print' PDF preset. Well maybe I'm taking it too literally, but I'm In England and have a job which is about to be printed in Hungary! And also, this yields a US Web Coated (SWOP) v2 profile which doesn't seem right as I will be printing sheetfed.
I would appreciate it if someone could straighten me out.
* I tested this by switching the Photoshop file to Web Coated FOGRA28 and the colour values did change to allow for a lower ink limit, so maybe there's something in that. So why doesn't FOGRA39 do it? With the colour set to FOGRA39 Photoshop happily accepts a nice black blob coloured as 100% each of C,M,Y and K.
Sorry if this is a bit long but it seems like a useful discussion for Colour management newbies.

I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
Total Ink limit is a parameter of a CMYK profile—so the limit won't be exceeded when you make a color conversion from any other color space into that profile's color space, i.e AdobeRGB>FOGRA39, or US Sheetfed Coated>FOGRA39. However, once the file is converted to CMYK there's nothing stopping me from exceeding the limit via a color correction. For example, I could convert a PS file filled with 0|0|0 RGB to FOGRA39 CMYK and the ink limit would not exceed the 330% defined in the FOGRA39 profile, but as you noted I could also fill the resulting CMYK file with 100|100|100|100 and exceed the 330% limit.
Also, there's nothing stopping me from assigning the FOGRA39 profile to any CMYK file. In that case there's no color conversion—I could make a new SWOP Coated CMYK file, fill it with 100|100|100|100, assign FOGRA39, and the fill would still have 400% total ink.
Total ink is only limited via a color conversion
The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage)
The general wisdom is actually old conventional wisdom, there's nothing wrong with making the conversion from RGB to CMYK when you export—the resulting CMYK values will be no different than the ones you would get out of PS assuming the source and destination profiles, and rendering intents are the same. The no RGB rule is a hangover from when you couldn't make color managed color conversions inside a page layout program.

Color Settings CS3 Mac for CMYK Commercial Print

Can somebody advise me as too what I should be setting my color settings to so they will be the same across the suite and when I send my files to commercial print that prints CMYK sheet fed coated.
I've read so much I'm confused. I'm new to CS3 and the Mac ... In the past my work has come back perfect in color and matched to my monitor. Now on CS3 on the Mac I'm not sure what to do.
If anyone can help it would be most appreciated.

Charlene wrote:
> Marco ... I read your post on rGB / CMYK conversion
Which one was that, if you could remind me?
>I work through a print broker that prints CMYK and the only thing he can tell me is that they print CMYK and on sheet fed coated.
Well, yes, print is always CMYK. As for "sheetfed coated", I would assume that they intend a color space like the one described by the U.S. Sheetfed Coated v2 profile (though it could possibly be the GRACoL2006_Coated1v2 profile). You may want to ask them to confirm one or the other, to be safer.
>So my question is di turn everything to CMYK on my monitor and change to sheet fed coated in the settings?
To make sure I understand your question, I think you are asking me whether you should turn your image file(s) to a chosen CMYK output profile. Yes and no. You should do your color and tonal correction work
b in RGB
, and convert to the intended CMYK output profile
b only as a last step
, just before you deliver the files to the print provider or the prepress specialists.
Do
b not
convert your files to the intended CMYK output profile in the beginning and correct them in CMYK. Do not do that. That is not the most desirable way to work.
The default working spaces in Photoshop's Color Settings are important, but not essential. Yes, you should set the default RGB profile to AdobeRGB (if not ProPhoto RGB, though you may wish to hold off on that one until you have more experience with the application), and the CMYK default profile to U.S. Sheetfed Coated v2.
But, as long as your chosen color management policies are to "Preserve Embedded Profiles", and as long as the image files you work on are tagged with the appropriate profile, then the default profile in Color Settings is no longer relevant.

2 Questios

Running Adobe Acrobat 8.1.2 on Mac Leopard
Is there any way to set the marquee zoom tool as the default tool like to be
able to open a pdf click an drag to zoom in. Without having to find zoom tool top of page.
Can not always keep US Sheetfed Coated V2 set in my output preview. Sometimes its
there but most times not.
Thanks

Randy:
First question: I don't think so; but you can always use the keyboard combination to get your magnification tool at any time. Which would be pressing the space bar and then the "Apple" or "command" key.
Second Question: In your Acrobat Preferences > Color Management > CMYK > make your choice to US Sheetfed Coated v2

ID colour, matching proof

I know this question will cover a range of basic issues, but a little steering in the right direction would be greatly appreciated. I've an Illustrator file containing a photo of marble material which was used as a background for a printed book cover originally laid out in Quark. I'm to recreate that cover in ID and attempt to match colours as much as possible, hopefully avoiding more than one printer's proof. Currently, the marble file appears drastically more pink than the proper sandy yellow, intended for the printed cover.
The circumstances I'm working under are less than ideal, most obviously, in the use of an non-calibrated monitor (it's a simple Asus laptop, whilst stranded here in hospital in Taiwan). Purchasing a high-end monitor, or other calibration equipment (unless there's a handy inexpensive tool or app to address this) aren't really an option at the moment, so what basic steps might I be looking at taking to at least hopefully get the colour somewhere 'in the ballpark' before sending to the printers? I believe everything I'm looking at is a CMYK file, though confirming all that in ID,IL and Qk, hasn't been done.
Appreciatively, Luca.

hopefully avoiding more than one printer's proof.
Given that you probably don't have an accurate display profile or an accurate profile for the POD press, you should expect to need more than one proof, which isn't much of an expense with POD.
The CMYK profile can shift the soft proof of light neutral colors a fair amount. Here's your color with Japan Web, Euroscale, US Web Coated, and US Sheetfed Coated profiles assigned:

CS 3 Epson R2400 printing problem

After recently migrating from Tiger to Leopard I reinstalled the driver software for my Epson R2400, and have been having CS3 printing problems ever since.
The project I'm doing print work from involves CMYK versions of greyscale photos and a spot color (Pantone 200PC, also tried Trumatch 5-a2).
If I try to print from InDesign, or from Acrobat using an InDesign "press quality" pdf, everything's 'thin'. The greyscale photos are a bit washed out, and the spot color is pink rather than rich red.
If I export a jpg from InDesign and print from Photoshop the quality is acceptable
If I export a jpg from InDesign and print from Lightroom the quality is acceptable
InDesign's color settings are-
RGB: sRGB
CMYK: Sheetfed Coated V2
Can anyone help? Many thanks.

If you have a computer that runs Tiger you should stick with Tiger. CS3 was written under Tiger and seems to work best in Tiger. Use the backup of your system drive you made before upgraded to leopard as you can't go back with an Archive and install. The bells and whistles in Leopard are not worth the stability Tiger offers.

Always so confused about color!!

Can someone tell me how to get beautiful bright colors when I export to pdf? I am trying to brighten these photos as much as possible in photoshop so that they'll be bright when they print out, but every time I export to pdf, they dull down and all look slightly more greyish-brown. Is there something I could do to make this better?
Here's how they look in InDesign's preview:
And how they look in Preview App:
And they're not just dark in Mac's Preview app... They are printing dark. Any comments?

I asked the local printer that we're printing with. They said that the color profile they always use is this US SWOP one. And that they also print on a sheet-fed offset press. What do you make of this?
I don't think all printers necessarily have a grip on color management or they might want to simply avoid the liability of color management and conversions. It sounds like they just use the InDesign defaults, but that doesn't mean the profile of their (sheetfed) press is actually US SWOP.
If your jobs are consistently printing too dark, I would consider using US Sheetfed Coated as your document CMYK profile. It allows for more dot gain and density. There's nothing you can do about RGB color that is outside of the CMYK color gamut.

Problems with color from Photoshop to InDesign CS2?

Hi all,
Couple of questions:
When I select "Proof Colors" from "View", the color changes a little bit. Is this normal?
Also, on "View", "Proof Setup", which one should I select "Document CMYK" or "Working CMYK" or some other "Custom"
thanks for all your help,
Alex

>When I select "Proof Colors" from "View", the color changes a little bit. Is this normal?
It's not abnormal, but it will depend on what color spaces the objects are in and the color space that you choose to proof.
>Also, on "View", "Proof Setup", which one should I select "Document CMYK" or "Working CMYK" or some other "Custom"
You have a lot of choices for how to set up color management. I usually leave my settings set up for my most common situation, US Sheetfed coated and Adobe RGB, but if I have a special job I can reassign the document color space (notice I said Assign, not convert, in order to preserve the native object color numbers). You can proof the color in either the Working CMYK (the one in the color settings) the Document CMYK (if that's different) or something else entirely if you are repurposing an existing document for a new output method.
When you proof colors, InDesign calculates the conversions on the fly and displays the results. RGB objects will almost always show some shifting due to gamut differences, but the type and degree will depend on the rendering intent you specify. CMYK objects tend not to show as much shifting because the gamuts are likely to be closer, but again it will depend on the exact profiles and intents. Objects that are already in the chosen proofing space should not show any shift at all.
There is a caveat here regarding working in one space and outputting in another: If you want the colors to be as close as possible you will be converting to the new profile, which will by necessity change some color numbers to match the appearance. This is not usually a problem with things like photographs, but other things, like type, which is created as 100% K can be converted to a four-color mix which is not good. If you know the output conditions, I always recommend setting the document CMYK to that space when you start.
Peter

Color Settings issue in Photoshop CS6

We are currently using G7 Workflow for our profile. I have a couple of questions concerning the color settings.
1.We are also not able to hold these settings even once we leave it as "Custom". It defaults back to U.S. Sheetfed Coated Profile.
2. When trying to set color setting with our profile, it says it is not supported by this version of Photoshop (CS6). It will set this to "Custom" instead of G7 Workflow. What can we do to fix this issue? Please see below for the screen captures.
Please help! Thanks in advance!

Where did you get that color settings file? How was it created?

US Sheetfed Coated

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