Vector RGB vs. CMYK issues

I am not an advanced Illustrator user so please talk in elementary terms.
I downloaded several vector files from shutterstock.com. I need to change them from RGB to CMYK. Below shows what happens when I switch the color profile. How do I keep this from happening? Image 1 is RGB. Image 2 is CMYK.
I'm using Illustrator 5.1 on a PC.

overprint preview doesn't show it any differently.
Here's what it looks like when I did what you suggested in Acrobat....better, but shows more white around the bottom of the tree.
Rasterizing it seems to work.
Some of the terminology a couple of you use I'm not sure about because I'm not advanced in Illustrator.
Thanks so much for your help.

Similar Messages

  • RGB to CMYK conversion issue- Pulling my hair out@

    Hi there-
    I have downloaded a VECTOR image from Shutterstock, and it was built as an RGB file. When I try to convert it to CMYK (File-->Document Mode-->Concert to CMYK), it totally whacks out the image. I have tried everything I know how to do, and can't figure this out. I've tried changing the colors in the palette to CMYK, but it doesn't convert them permanently.
    I'm attaching two files (as JPEGS so you can see the problem), one shows the sunshine image nice and smooth. The other is after the conversion to CMYK.
    If you have any ideas, or want to see the actual file, please email me at [email protected] and I will send you the actual .eps file.
    THANK YOU!
    Brent

    Original file above.
    Select all
    Object> Flatten transparency (check preserve alpha transparency with slider to 100 vector)
    Change color settings (edit> color settings) to emulate Illustrator 6.
    Convert to cmyk mode
    Results
    There were two main issues converting to cmyk.
    Use of screen blending mode and the gradients themselves.
    Screen blending mode was described in previous posts.
    The gradients look also changed when converting from rgb to cmyk. If the screen blending mode was switched to normal, when converting to cmyk, the gradients would not look the same.
    Flattening transparency is not an elegant solution, but it is a quick and dirty one.
    Mario described this method in a previous post.
    Depending on your color settings, it may yield unwanted artifact colors. Turning off CM, setting to Illustrator 6 emulation, will not yield the artifacts.

  • Rgb to cmyk turns white brown

    Hi Guys
    In previous versions - changing from RGB to CMYK or vice versa would change the colours slightly but ever since CC when I change one to the other my white
    goes brown and there is a yellow tone to the image.
    Has anyone else experienced this - it's not slight either see image. I haven't adjusted anything - the original CMYK is on the left and
    when I make it RGB - it goes brown.
    Has anyone else had this issue?

    I'd try a new display profile first. Recalibrate, or if you don't have a calibrator use sRGB (or Adobe RGB if your display is wide gamut).
    Everything in Photoshop passes through the display profile. If there's a problem with the profile it can happen that one conversion goes bad but not another.
    On Windows a common cause for this is bogus manufacturer profiles pushed through Windows Update. Mac isn't as susceptible to this, but there you have an added complication called ColorSync (which is where the actual profile conversions are done). So if a new profile doesn't fix it, you probably need someone with Mac OS X expertise.

  • How to make a script to convert RGB to CMYK as black 100%?

    Hi guy
    my customer sent me a book (144 pages) for print but all of them are RGB and Tiff, she scan them. there are on the page some texts and pictures. The text are R=30 G=30 B=30.I think if I can make a script I will do it very soon to black 100%, but unfortunately I dont know anything to make script 
    anybody can help me ?anybody can make it for me ?

    We need to know some more information.
    1. The book consists of 144 pages, and each page is in fact an RGB image in TIFF format.
        Correct?
        That means, the text is already rasterized, but with low resolution (no more than 300ppi).
        A very bad starting point, in my humble opinion. For offset printing this is not acceptable.
    2. Is the printing process offset printing or by digital printing?
    Nevertheless we may think about a conversion of these images into CMYK K-only (one plate
    per page) . 
    a) Increase contrast until R=G=B=0 for text.
    b) Convert each image into Grayscale, using a so-called Black-Ink-Profile, for instance
        Black-Ink-ISOCoated-v2-eci (can be explained later)
    c) Make empty CMYK image, here for  ISOCoated-v2-eci, and paste the Grayscale into the
        K-channel. All further handling happens as CMYK file for the process ISOCoated-v2-eci.
        Void plates CMY don't matter.
        Post #12 here:
        Re: Colour shift (from CMYK = 0 0 0 20 to Grayscale K = 22 !)
    All this can be done by an action (I hope so...).
    Much better would be a new start by InDesign with typographical text (K-only vector instead of raster)
    with images in RGB or CMYK, taking into account the intended process.
    Note: Photoshop can deliver vector text, if exported as PDF.
    Best regards --Gernot Hoffmann

  • Smart Objects: RGB inside CMYK

    Just two days before completing a two week job the client decided (still dont know why) the job had to be delivered with open layers on CMYK.
    After two weaks and 6 jobs and hundred of layers latter had almost all work done..in RGB. I started to panic thinking of the time I would waste just appling curves,levels,etc... to every layer,while keeping things open if they wanted last minute changes.
    Thats when it struck me..why not leaving everything as it was (RGB) and convert it to a smart object and then convert the parrent file to CMYK?
    I has suprised how it works just fine.In the end the client agreed it was better to keep things as they were,but it sounds a really nice possibility and to some extend makes perfect sense as one would retain the full Gamut of RGB (AdobeRGB or any other) and could convert to proper CMYK acording to needs.
    As anyone experienced this?

    Mark -
    There are a few gross errors in Photoshop that are seen as bugs, but go uncorrected for years due to the amount of work needed to fix them - not to mention - get it worked into the correction cycle in development.  Marketing is steering the train.  Go think about that oxymoron for a few weeks...
    ;o)
    One major problem is the conundrum of being able to open an untagged file, assign a color space, then look at it. That in itself is counter intuitive and basically a HUGE hole in the application with respect to color management. With the new proposed architecture of creating the entire application Smart Photoshop - You not only eliminate this issue, but also have created a new and improved workflow  - integrating source color images into the working space, tagged or untagged, with consistency for all. Adobe products are now far and wide enough to have the majority rule, so why not capitalize on it and implement a global workflow.  This logic works for many industries Adobe serves. From 2d, 3d to motion video, cell phone, bio medical, and who knows what's next. It's image history preservation in its simple form.
    In English, whittle down 9 options to 2 for color policies and change the logic between RGB and CMYK file handling. Convert to working space.  Have the working space 32 bit Pro Photo RGB. Files flow into it as well as color space conversions. Now remember, this is a choice feature and not a force fit. It's a marketing born inception that caters to the masses for best practice. If you want to work outside that environment, its your choice, but it's not advisable unless you are resurrecting trash, re-assigning really bad pictures, or it does not work for your requirement and a new additional per-dim needs to be created.  I'm offering a choice.  Two choices to be specific. Road or off road travel. For here now, and tomorrow. It's a creature of growth, just like the implementation of Smart Objects that has morphed more possibilities as well as options.  But Smart Objects is a representation of Adobe's expanded free for all mentality to push the envelope of development for market share. My advice is to back on the whizz bang wow factor and get some damn control of the features grained in deep rooted experience from power users....
    Smart Photoshop is needed because users are not getting it Gentleman and Ladies. Expecting most users to become geeks is not going to happen. It's a given from a marketing stand point, but they refuse to see how to address it for one reason or another. Maybe too busy dealing with the company merge and product integration. Im pretty sure its quite an undertaking, but its time to make the best - better....
    I remember Bruce Fraser talking about Chris and Thomas wanting 12 ish choices for color policies fearing too much restrain for growth. Thank you Bruce for 9, but my friend, we need even less.... Smart Photoshop gives 2 choices. Structure or Chaos. Right now we only have chaos.  My vote is to have uniformity with very little user understanding and awareness. That's good implementation.  The software has to become intelligent people.....
    I'm game.  Who has balls here?
    nice to see ur pair Rich.

  • Eyedropper tool RGB and CMYK help!

    When I try and sample a color from a graphic imported with the eyedropper tool, it automatically creates the swatch as RGB.  The imported graphic is CMYK and the document color mode is CMYK.  The InDesign file is set for Print.
    Please help.  I hate having to select a swatch and then have to change it to CMYK every time!

    For placed ai and pdf files the preview proxy is always RGB so the eyedropper gets RGB values. With image files the eyedropper will return the actual pixel color. If you are trying to get an exact match to the placed vector file's CMYK values, converting the proxy RGB values to CMYK won't work because the color will be a color managed conversion from RGB to CMYK.

  • Converting RGB to CMYK color

    Hi All,
    I have few BASIC Questions on converting RGB to CMYK  in Photoshop and Illustrator. Hope could get some professional insights here.
    1, Are all the DTG printers set only in CMYK color mode ?
    2, If there is no difference after viewing RGB image with 'Gamaut Warning' (Photoshop),  Does that mean I'll have the exact print result as monitor view ?
    and Basically no need for CMYK conversion  ?
    3, Please list some the most effective way to convert RGB to CMYK, and keep the final CMYK color result as close as the RGB.
    4, when I simply convert one RGB image to CMYK color, why Ps/AI don't allow me to save as PNG file ?
    ( I save the file as PDF, but I cannot edit this PDF using apple preview app  )
    5, compare Photoshop to Illustrator, which one result better final CMYK color image ?

    Thanks for the detailed reply. Sure clear some of the doubts.
    I just start to draw/design in Photoshop and illustrator, I save my files most as PNG, for a transparent background.
    After I went to officework do the poster printing, I found the color of my print image are not as vivid as Mac preview.
    To be precise, the poster I printed looks like has a very thin grey layer, it is not much noticeable, but it indeed lost some vivid color.  As I want to print out my works and keep color as close exact as Mac preview,  here is the issue of coverting RGB CMYK.
    Please feel free to add for below:
    1, Should I set color space in CMYK before drawing in PS/AI 
    2,  in PS, I convert profile from PNG file to CMYK save as psd file,  that psd file preview exactly same as PNG.
    But when saved as PDF, the file preview a bit grey.  Can someone explain this?
    3, Now im thinking, since CMYK is all about printers, it really should be the profession in printing shop who shall check my image, and edit/convert to the right color space to fit their printers.

  • Rich black when converting RGB to CMYK

    I'm working in an older version of PhotoShop (7) but any help on the topic would definitely help.
    My problem is that I am converting RGB native images to CMYK and my Key (Black) comes out rich, contains equal levels of CMY and K, instead of true black, only k.
    Currently my way around this is to do the standard convert to profile CMYK and with my path selected to the section I would like to be true black simply turn off all CM and Y channels and re-save the image but this is a little labor intensive.
    Is there a way that I can go straight from RGB to CMYK and achieve true black without alteration?

    Yes, there is. You can use a CMYK setup or ICC CMYK profile that uses Maximum black generation. Unfortunately, that will almost always hose anything photographic in your image.
    Is it typographical elements that are becoming four color? If so, then they should be done in a page layout program where they can be rasterized separately from the photographic image. If it is type you're worried about, is it large type or small? If you have to set large type in Ps, then it's probably fine to let it run four color.
    If it were me and I had to do everything in Ps, I would probably make two conversions of the file to CMYK - one with a standard black generation and one with Max K. I would then select the black you want from the max K version and paste into the K channel of the "normal" document, and then use that as a selection to delete from the other three channels.
    A third way is to do type in Ps and leave the type as a vector type layer, then save the file out as a Photoshop PDF, which is then placed in a layout app. or just sent to the printer through his RIP. That should work too, but there are too many places for things to wrong for my taste.

  • Having troubles converting RGB to CMYK

    @Hi guys
    I having massive issues with converting my business logo form RGB to CMYK. I need to place this logo on my business card ready for printing. I created the logo in RGB format to start of with, but it keeps coming out darker and abit grayscaled
    once the conversation is set. Can anyone help me out with this issue, and if so, can you also provide the steps in how to resolve this issue for future references. Im using Adobe Photoshop CS5 for this execise. I can also provide the actual image attached below as the second image,.

    These bright pink and purple colours are obviously way out of gamut so they convert badly to CMYK. Exactly how they convert depends on what colour profile you are using
    It will probably be best to either rework the design using mixtures of cyan and magenta only or else use mixtures of Pantone colours.
    The Pantone solution will only work for offset printing but is no use for a home printer.
    Read up on colour management like Mylenium says and learn to think in terms of inks rather than screen colours.

  • Conversion formulas from RGB to CMYK

    Hi,
    I've been writing a Colour swatch tool (in excel! hell yeah!) which allows me to pick a bunch of colours, generate complimentary colours from them, blend between 2 colours in a set number of steps and a whole bunch of other cool stuff, and then output this as a photoshop or illustrator swatch file.
    As part of this tool I want to be able to covert the rgb values to cmyk. There is very little information on this on the web and what there is is fairly inaccurate.
    For example,
    RGB:50,128,128
    Converts to CMYK 61,0,0,50 (%) using the formula found at easyrgb.com (this formula is the most prevalent one on the web/web forums)
    Photoshop converts these RGB values as CMYK: 80,33,48,8 (%)
    While these two colour values are *similar* the ones generated by the easyrgb formulas are nowhere near the photoshop values.
    See? stupid useless formulas. (I am aware of the differences and overlap of the two gamuts)
    Whilst I know that the conversion done in photoshop is done using ICC templates, and that often these conversions are device dependant, there must be a more realiable way of converting from one colour space to another using good old reliable cold hard maths.
    Does anyone know what that might be? you guys at Adobe: I AM LOOKING AT YOU.
    Hope you guys can help,
    ~silvery~
    For reference I have included and commented the easyrgb formulas:
    First: RGB -> CMY
    C = 1 - ( R / 255 )
    M = 1 - ( G / 255 )
    Y = 1 - ( B / 255 )
    Second: CMY -> CMYK
    var_K = 1
    Initally sets var_K as 1, although this is dependant on variables below
    if ( C < var_K )   var_K = C
    if ( M < var_K )   var_K = M
    if ( Y < var_K )   var_K = Y
    This bit finds the smallest value from the CMY range and sets this value as var_K
    if ( var_K == 1 ) { //Black
        C = 0
        M = 0
        Y = 0
    If var_K (the value that K is calculated from) is 1, then all the CMY values are reset to 0
    else {
        C = ( C - var_K ) / ( 1 - var_K )
        M = ( M - var_K ) / ( 1 - var_K )
        Y = ( Y - var_K ) / ( 1 - var_K )
    If the value of var_K is anything other than 1 then use the smallest value from the CMY range
    K = var_K
    The value of K as filtered out from the conditions above

    Oliver,
    I'm not sure what you mean by the term 'meta' color profiles, but I'll take a stab at what I "think" you are asking.  There are some fairly widely accepted "standards" out there for both RGB and CMYK.
    In the RGB world, for example, sRGB, Adobe RGB (and to some extent, ProPhoto RGB) have a fairly wide following. These are all ICC profiles, which nail down the boundaries of the color gamut and the definitions of any tri-stimulus combination of red, green and blue. Basically, they are matrix profiles that establish the positions of the Red, Green and Blue primaries, and these positions define the outer limits, or color gamut, of the color space. sRGB is a relatively small color space, so some viewable and printable colors get clipped (sRGB is the general internet, email standard and is widely assumed for many non-color managed appplications, printers, etc). sRGB can handle a fairly wide range of colors, but does clip some colors in brightly colored originals. It has the advantage of being the most widely adopted standard, plus the steps between colors are very close together. I use sRGB for average images, most people pictures, etc. Adobe RGB spreads the primaries further apart, so it describes a wider color gamut. Because the primaries are further apart, the steps are slightly larger from one color to the next, but marginally so. I use Adobe RGB for most of my brightly colored images that will get clipped in sRGB. Adobe RGB is also generally a good choice for images that will ultimately go to a printing press or inkjet. ProPhoto RGB pushes the primaries WAY apart, so it describes a HUGE color gamut...in fact, many of the colors that can be defined in ProPhoto fall outside human vision, and certainly monitors and printers.Due to the wide spacing of steps in ProPhoto RGB, images should be worked in in 16 bit, otherwide you may see some banding and posterization if large edits are made.
    In the CMYK world, certain "standards" have been established, mainly for commercial offset printers (both web and sheetfed presses). By creating a standard, they are trying to establish the ink limit, densities, color gamut, dynamic range, gray balance, etc, of a "generic" sheet of commercial printing paper on the average well-maintained press using standard ISO inks, using good process control, mesurements, etc. By it's nature, this process has to encompass a wide cross section of presses, so it may act as a limitation on what some modern presses are capable of, but that's what standards usually do. If a good printer, with a modern press and great process control decides to sidestep the standard, they can probably extend color gamut, dynamic range, etc, but at the cost of no longer being "standardized". If commercial printers are "truly" trying to meet the standard, they will run tests, take measurements, and adjust their entire workflow so it matches the standard, within acceptable tolerances. Lots of shops "claim" to adhere to SWOP or GRACoL standards, but the majority of them don't. Standards for presses make some sense, because blending CMYK inks together (especially if they use ISO standard inks) on paper usually has a reasonably narrow range that works, though the paper makes a huge difference. (the same cannot be said for inkjets, monitors and many other processes, so they generally do not have standards). So for presses, there are standards for matte and coated papers, web presses, sheetfed presses, newsprint, etc. Each of these standards has its own ICC profile (or a family of profiles) that establishes ink limits, color gamuts, etc.
    All ICC profiles have the necessary tags and data to comply with the ICC specification. One of those requirements is a "profile connection space", which is usually L*a*b* or a variant. So, an file on your computer may be tagged as an Adobe RGB file, and if you wish to prepare it for a sheetfed press using glossy stock, you could convert the file to GRACoL2006_Coated1v2.ICC (an industry standard profile for No. 1 coated stock on a sheetfed press). Since both files have the ability to "speak Lab" a translation can be made from one color space to the other. The numbers in the Adobe RGB file will be converted to L*a*b* (the universal translator), and then the L*a*b* numbers will be converted to CMYK, specifically GRACoL2006_Coated1v2.ICC. So, now you have a file in CMYK space with new numbers. It is worth noting that RGB has only three colorants to define colors, but CMYK has four. So, while in RGB there is only one way to define a specific color, in CMYK, there are many possible combinations that can generate many colors. This adds complexity to the equation. The CMY colors are called subtractive primaries, and are opposites of RGB (additive primaries). The "K" (black ink) is added for text, line art, neutrality, extra Dmax, and because the CMY inks are not pure and don't deliver a true black all by themselves. If the inks and paper were perfect, you could theoretically get away with CMY all by themselves, except for registration issues, text, line art, etc. Also, the additional "K" ink can help reduce the total ink limit, save ink, reduce costs, and improve quality.
    Sorry for the book. This is not a simple subject, and we have only touched the surface.
    Lou

  • 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.
    This is a more deliberate method that also gives you control over Rendering Intent. (That's another discussion. For now, use Relative.)
    -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

  • Need Info on RGB to CMYK

    Hi,
    I am new to Illustrator (CS5) and not fully comfortable with RGB vs CMYK.  For instance, I created a logo for use on the web using Document Color Mode: RGB where my background color in RGB is 0, 0, 130.  When I create a Print document using Document Color Mode: CMYK and copy the logo into the print document, it converts that background color to CMYK (C:100, M:98, Y:16 K:18) where the RGB is now (44, 45, 111).
    Is there a way to get a closer match to the original RGB color 0, 0, 130?  When the specifications for the print advertisement says images must be in CMYK,  I hope I am accomplishing this by using the Print Document Color Mode of CMYK vs RGB?  I feel somewhat ignorant on utilizing the RGB vs CMYK color modes and if anyone can give me a tip on what techniques they use to get a closer match of colors for RGB to CMYK or vice versa, I would love to hear it.
    Thank you,
    Keith

    Keith,
    First, be aware that you have posted to the Photoshop forum, not the Illustrator forum. The general concepts of color and color management are the same across the spectrum of digital imaging. However, its implementation is slightly different from application to application, so you may also want to post your question to the Illlustrator forum.
    [EDIT: Brain fart on my part... This is the color management forum, NOT the Photoshop forum, so you are in the right place! (I spend most of my time in the Photoshop forum; I lost track of where I was...)]
    That said, you're running up against a general concept: color gamut.
    The color you've spec'd in your RGB file (0/0/130 - and we'll assume for now that it's in the sRGB color space) is outside the gamut of every CMYK color space. That means that the RGB color you see can not be reproduced using a mix of the four CMYK process colors (cyan, magenta, yellow, black). When converting to CMYK, the software picks the closest color that is within the gamut of the CMYK space, hence the color shift.
    When you're designing for CMYK, it's best to work in soft-proof mode which allows you to see a pretty close approximation of what your colors will look like in the final color output space - in your case, CMYK.
    In Photoshop, to turn on soft-proof, go to View > Proof Setup> Custom... and choose the CMYK output space that matches the press conditions you are designing for.
    There are books written about this, but hopefully this short answer points you in the right direction.
    Message was edited by: Rick McCleary

  • I can convert almost things multiple times at the same time including CMYK to RGB (or sRGB), but not RGB to CMYK and not brighten/contrast. How?

    I can convert almost things multiple times at the same time including CMYK to RGB (or sRGB), but not RGB to CMYK and not brighten/contrast. How?

    If you want a relevant answer you may have to elaborate on what you actually mean. Posting screenshots might help, too.
    In any case multiple conversions of an image are not advisable in general.

  • How do I find out if a photo in iPhoto is RGB or CMYK color?  How do I change from RGB to CMYK?

    How do I find out if a photo in iPhoto is RGB or CMYK color?  How do I change from RGB to CMYK?

    Open the file with Preview, type Command + i to bring up the Info pane and it's color mode and profile will be listed as shown here:
    To change the color mode to CMYK you'll need a 3rd party image editor like Photoshotp or GraphicConverter to do it.  Why do you need CMYK?
    OT

  • How can I convert Pdf from RGB to CMYK, keeping font color 100% K while working in Illustrator?

    How can I convert Pdf from RGB to CMYK, keeping font color 100% K while working in Illustrator?
    When I try to open the document in Illustrator and I convert to CMYK the black font converts to rich black, but to set up for Offset printintg I need the text to be only in Black (100%K).
    The original source of the document is a Microsoft Word file, I have converted the Word file to Pdf in order to setup for OFfset Printing.
    Thanks

    I have tried that way, but the downside is that the fonts are set in gray not in a 100%K, also I have to deal with other fonts that are composites and meant to stay Full Color. I could select text by text and convert to gray but, its a 64 page document and I wouldn't want to make a expensive mistake.

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