Hi guys,

I've colour calibrated my monitor using an i1 Display Pro 2 and now I'm in the process of hiring someone to colour profile my printer (I don't have the hardware to do that myself). This one particular company have sent me through a guide and have asked for me to set my working spaces to:

RGB: Adobe RGB (1998)

CMYK: Euroscale Coated v2

Gray: Dot Gain 15%

Spot: Dot Gain 15%

I personally prefer to keep my RGB working space as sRGB because most RGB images I work with are for web use, but I use ProPhoto RGB for 16-bit per channel, printable RGB work e.g. photography (but that's rare for me to do). Having said that, I'm ok to settle with Adobe RGB if that's what they want. Gray and Spot are fine.

My big concern is with the use of Euroscale Coated v2 for the CMYK working space. Isn't that outdated? I'm certain that Australia uses ISO standard profiles now, and it would be correct to set that to FOGRA39 (ISO 12647-2:2004) or to download either ISO Coated v2 or ISO Coated v2 300% ECI profiles.

But I'm not confident enough to be 100% sure, and I'd like to be 100% sure before I suggest to them they're wrong.

Do you guys know or have any input?

Thanks!

I use color Spyder4 studio. I used it to profile all my monitors and laptop.

All seem to now have a greeish tint. In the last dialogue where one previews a grid of images, I see that b/w images definately look greenish.

I tried profiling again, this time cleaning the surfaces very clean, still see the same issue, but a bit better. Well, more cleaning cannot help further, it is clean at best

Anyone has any idea, what could be going wrong? Anyone else facing similar issues?

Specs:

Dell Monitor 2420L

Dell laptop XT2

Spyder4 studio

Hi,

I've just installed the CS6 suite via Creative Cloud. New install of InDesign / Photoshop / Illustrator / Bridge. Colour settings set via Bridge as 'Europe General Purpose 3' (don't ask me if that's the right choice, that's a question for another post!). My issue is, I'm producing a simple letterhead to be printed on uncoated stock. My Pantone is 2745. Working in versions prior to CS6 both coated and uncoated swatches would look quite similar on screen. However, selecting them (from the + library) in CS6 shows a marked difference, such a difference I find it hard to believe it's supposed to be the same colour. The difference between the two is HUGE - the uncoated colour looks almost like a 50% tint of the coated.

I've ordered a Pantone + coated and uncoated swatch book that's arriving soon, but would assume the colour difference I'm seeing here will not be so drastic in the book.

I know the library has changed to Pantone +  in CS6, but can someone explain why there's such a massive shift in colour between the two? I know I should be using the uncoated stock but given the onscreen representation there's no way I can take the risk of using that. Although my monitor is not fully calibrated, this shift is seen on two another Macs in the studio running CS6.

Assuming this is a setting somewhere (I can't imagine a calibrated monitor would fix such a huge shift), what am I doing wrong?

I need to illustrate an article about color theory, and would like to use the famous horseshoe-shaped CIE chromaticity diagram. Does anyone know where I can locate one suitable for printing in CMYK (GRACoL profile)?

(I am aware that the diagram illustrates a space much larger than can be printed. I'm going to use it to illustrate a concept, so the mismatch is not a problem for me.)

Hey guys

I'm a sign maker although I am now starting to get more and more printing and web design work. To make the colours more consistent throughout the process I am only now just starting to use pantone colours but I am confused with what swatches to use.

I'm sure this question has been asked a 1000 times before and it doesn't matter what I read or who I speak to, I always get a different answer so I am here to hopefully get a bit of clarity on it.

Can someone please confirm what I already know to be true and help me start using pantone swatches correctly.

Firstly, there are 2 types of swatches, coated and uncoated, which one to use depends on the paper... correct?

HOWEVER: I have spoken to other designers and they tell me to forget uncoated and just use coated even on uncoated papers??

Then there are the different types of swatches, Pantone + Solid, Pantone +  Bridge, Pantone +  Formula Guide, from what I understand, the 'Coated swatches' are for when you use pantone colours, the majority of us won't need this swatch as we tend to print only in CMYK which is where I understand the Bridge Swatch comes into effect, this shows us what it will print like in CMYK, but what about signing for web, do we then stay with the bridge swatch or do we go back to the solid swatch.

HOWEVER: Another designer has told me to use the solid 'coated' swatches and convert them to CMYK, the CMYK output will represent what's in the bridge, but then what's the point in the bridge swatches in adobe?

There is too much confusion on this and I want to get this right from the start.

Thanks.

Hello. I am using Adobe AI CS6 and am trying to open a file that has used U.S. Web Coated (SWOP) v2 and since for some reason I don't have that, it wants to convert to AI 6.0 Compatible which I do have. So after some searching, I was able to find what i thought was the solution--ICC profiles which includes what I need (http://www.adobe.com/support/downloads/product.jsp?product=62&platform=Windows). However upon going to Edit>Color Settings>Load, it only accepts .csf files but what I found are .icc files. Obviously I have no idea what I'm doing here and just need to open this file properly. Any insight from someone that is actually knowledgable on this stuff? I appreciate it!! Thank you. [EDIT: I assume the solution would be to find the .csf version of U.S. Web Coated (SWOP) v2 instead of the .icc but I am unable to find those? Or I am going about this all wrong.]

I'm stumped trying to understand how to use Acrobat's View> Tools> Print Production> Convert Colors settings.

I simply want to Convert all tagged elements to a single Destination profile.

I created this control set of 10 PDI images (in one PDF) of five color spaces (five tagged/untagged pairs):

gballard.net/photoshop/pdi_download/PDI_Color_Profile_Test.pdf

The control file displays as expected: untagged are Assuming sRGB (for lack of a better term) and tagged are being Converted to Monitor RGB.

I made my two most obvious guesses at the settings (see below), but both appear to be wrong (a sucessfull Conversion would at least display all the tagged elements the same, correctly, yes?).

Any idea what I may be missing?

Hi Everyone,

Could someone help..

I have a small studio using Adobe Cloud CS6. My work is covers retouching, artworking and digital. My knowledge of a colour workflow is very limited, and in various studios I've worked in have different rules so I'm a little confused in whats the best procedure in setting everything up for colour management. I know its quite a big subject but I could do with a little advice.

My setup:

Adobe CS 6

Photoshop

Indesign

Illustrator

Dell 24"

Eye Once Display 2

Printer

Epson 4880

Profile for final printers

FOGRA39 (COATED)

FOGRA39 (UNCOATED)

I'm a little wary of Synchronising Bridge across various applications as I've had problems with colour shifting in illustrator what do other users do?

Rob

This question has always bothered me, especially when using color in some areas of architectural models, Isn't that car too red in the model? Hey, but I used the same deco paint from the shop they use in the garage! So, is there a factor of "scale" to color?

Let me put it another way, if I print an A4 of some fixed value red. The same value I use in a huge tiled poster, where the same real A4 size appear some 15 meters above, rest area other colors/content. Will that A4 appear to be same red?

Still putting it another way, will the purple flower in close range be same purple I see in that bush when I was kilometers away?

Perceptually I may think they are supposed to be same, but in reality they may not be, not just because of haze etc, but simply because the distance fades away the color. So, does distance fade the intensity (luminosity?) or the color(hue)? Or none! - as light, energy is spherically diminishing anyway.

The answer may need me to modfiy or not modify the hue intensity when using it for small sizes, vs when using it for museum posters or hoardings.

I'm currently using the 30 day trial of CS6. Recently there's been a problem with me trying to colour a text or insert any colored images. The images or colors always appear grey, and i cannot change this. Can anyone help me?

Tearing my hair out here, so I'm turning to people no doubt far more knowledgeable and experienced than me!

I've been given some style guidelines which contain colours referenced by the Pantone Process system, e.g. Pantone DE 196-2 C.

Is it possible to find this colour as a swatch in an Adobe application? It seems that all of the Adobe Pantone libraries use a different numbering convention (PMS).

I've heard mention of "Pantone Process Coated" libraries - I'm not seeing that as part of my CS6 Design Standard installation. I do have "Pantone CMYK Coated", but it uses a numbering convention along the lines of "Pantone P 123-4 C".

Any help? If you're given a colour spec using Pantone Process colours, how do you get started in Adobe?

Many thanks in advance

Pete.

designer copies & pastes a rectangle, that has a gradient fill, from one file to many new files. each time the gradient color changes. not a lot- but enough to make a red turn orange. i have not personally witnessed the c & p, but i have checked the colors on the gradient sliders & they are different. can this be possible? or am i being punked? any help will be greatly appreciated!

Hi there,

I'm having color management issues.

I know this has been spoken about in some discussions already, but I dodn't completely understand the answers.

During this project of creating stationery for a customer, I swapped over to the Adobe Suite CS6 - and all hell broke loose. (Pantone 288 U was being used)

Please can someone help me by answering my below questions.

If you look at screenhot 1, you will notice the different blues between the two documents, although they both are Pantone 288 U, both illustrator files and both have all the exact same settings (overprint preview, CMYK, "North America General Prupose 2", color preview selected.)

The other two screenshots show the same pantone, and show how my working spaces and color profiles are EXACTLY the same.

1. Am I seeing two different blues because I might have started the background document in CS5 and possibly the front one in CS6?

1.1 And if so, how can I create the perfect working space so that I know which blue is closest visually to that Pantone? (I know it can never be 100% correct, but good gracious the top document looks almost lavender instead of blue. Generally my colours look at least vaguely similar to the patnone book, both my digital pantone color and my CMYK). I don't understand how I can have the exact same documents next to each other - showing different outcomes for the same Pantone and each with different CMYK conversion values.

2. I have to create "digital" print runs on some smaller stationery, but both these documents are outputting different CMYK values for those Pantones... I have no idea which CMYK values to use.

3. The Client chose their blue from a pantone book... which looks similar to the background document - which was my original working space. Now, with the top document thrown into the mix, I don't know what to expect when it prints. What do I do? Do I jsut supply my printer with each saved out as a PDF (both will have the smae Pantone name) - even though the PDFs "Look" like I'm using different colours?

4. Should I just install CS5 and continue working on this project with colours that look the same from document to document and know what will be printed?

5. Could someone explain (in laymans terms as much as possible) what these new pantone + colours are?
5.1 do they have specific new color books that we need to buy?

5.2 Does having them in CS6 change the old pantones?

I don't fully understand PMS or LAB colours - I've never needed to know so far - so maybe my ignorence is halting my understanding of these color issues?

Please can someone help me get my project into one correct color space that prints what it is supposed to.

------NOTE------

I went into photoshop and used the OLD pantone library (not the plus) and it STILL doesn't match my original Pantone chosen from the book... Is it because I am looking at it in Photoshop CS6 instead of CS5?

Message was edited by: Xantisant

Hello,

yesterday I calibrated a monitor with the Eizo Color Navigator 6 for the first time.

During setting the target the following dialog appeared. And I wondered why they recommend 60cd/m2 to 120cd/m2.

Usually I use Basiccolor Display 5 and there are presets for both prepress and softproofing purposes. Both are based on significantly higher brightness values (120–160).

And that seems a lot more reasonable for me.

The Swiss Competence Center UGRA also recommends 120–160cd/m2.

Is there any reason why a Eizo monitor should be set to a lower brightness?

Thanks

fprince

I realised that the color photos I work on (on my color calibrated system) look different to people on their monitors (most viewers/users are not using calibrated monitors).

Ok, first let me clarify, that I am using calibration not for web view but for my prints to look as I expect them.

That is what brings up this question - so for web view to look like they look on calibrated monitors, what should be done?

1. Simply tag with sRGB

2. Convert to sRGB (for browsers that don't respect profiles)

3. 1 or 2 will not work. A "reverse" profile is needed (?)

Goal: Make the colors as they appear on a profiled monitor to look the same on a non-calibrated monitor. this may mean two separate images?

Example: I order a "blue" shirt from Amazon, it turned out to be a very different color!

What is better for online shopping? I figured, stores don't really bother, and they are addressing masses with sRGB. Even then, using a calibrated monitor for online purchase, will be a bad idea. Or not?

Hello

I was wondering if someone could give me the CMYK or Pantone numbers for some Roland Versaworks colors. They are RVW - PR10D and RVW-PR06F. Thanks!!

Hi, I’m hoping someone can help. I seem to have opened a colour management can of worms and have now disappeared down the rabbit hole of profiles – leaving me well-intentioned but unsure. Here’s where I am:

The company I work for has two corporate colours. One is a Pantone and the other a specific CMYK value. They are:

Pantone 021 C – Orange

C=100 M=70 Y=0 K=10 – Blue

I’m about to set about recolouring a large number of two colour (orange/blue) vector images in Illustrator that I previously made when given incorrect values. Since then I’ve become more aware of colour management, something I’m on the cusp of ‘getting’ but I need to make that final leap to enlightenment.

My first question is: What colour management setting should I be using in Adobe Bridge? There are so many to choose from. I had assume that one of the Europe setting would be correct as I’m based in the UK, but a brief conversations with the designer at my printers revealed he used U.S. Web Coated (SWOP). I get the feeling this is such a newb question that the answer may be “it depends,” but I need to understand the “on what” part.

Which leads to my second question: I need to convert my CMYK illustrations to RGB for use on our website. I think I’m right in saying that depending on what settings I choose in Adobe Bridge will influence the converted RGB values. I’m going to need to ensure consistency and also include this in a style guide for both print and web.

Which leads me to a third question: Am I doing this the wrong way around? I keep picking up that I should have an RGB workflow and convert to CMYK at the end. If this is the case, how can I ensure that when converted the images etc. will match the Pantone and CMYK values above?

Help! I really need a mentor I can go to on things like this.

Many thanks,

Matt.

Hello everyone, I think I'm really close to understanding colour profiles and need a little more of your support in my conclusions.

Story in brief. I'm a Marketing Manager in the UK and have come into a role not knowing the values of the corporate blue. I finally contacted the litho print company who told me the values were:

C = 100

Y = 70

Y = 0

K = 10

So I set about creating a large number of illustrations but using CMYK Coated FOGRA39 (ISO 12647-2:2004) because, according to everything I've read, this is the correct profile setting for UK.

I then noticed there was a small colour variance compared with previous artwork..so I checked with the printer who looked up the profile and it was set a U.S. Web Coated Swap v2.

Now, I've asked the printer the following questions and he admitted that it's too complicated a question for him - and that he didn't know.

(A) Should I be using FOGRA39 (ISO 12647-2:2004) in the UK. From what I read this is 100% best practise in the UK because it is correct and most people mistakenly end up using US SWOP because it's default in the Adobe Suite.

(B) Here's what I did next. I created the blue 100,70,0,10 under U.S. Web Coated Swap v2, I then copied it into a FOGRA39 (ISO 12647-2:2004) profile document preserving colours and the resulting CMYK values were:

C = 100

M = 67

Y = 6

K = 0

So, it's my understanding that if I use FOGRA..then 100,67,6,0 will produce the same results compared to if I used SWOP...100,70,0,10.

Am I right? On screen the colours are indentical.

(C) A general question here re style guides. Am I right in saying that unless the colour values/numbers are supplied with the profile in which they were created  then it's impossible to know whether a colour will be correct or not.

I feel like I've come a long way on this...hopefully I'm bang on.

Many thanks,

Matthew.

All,

Here is what I hope to be a question that some of you have encountered and solved already. I've tried dealing with Adobe on this, and even went as far as to purchase a pricey Gold Support Program, but that has turned out to be a waste of money so far (response times are horrible, and the "engineers" cannot seem to provide anything more than basic application usage support).

I am running CS4 on Windows 7 and I am looking to set up a custom CSF file for standardizing our color management policies across all of our CS4 apps. The workstations will be used by multiple users, so we configure the default account as we would like, and have new accounts replicate off of that.

The problem we are having is that the CS4 apps, and especially Acrobat, what CSF files in:

C:\Users\USERNAME\AppData\Roaming\Adobe\Color\Settings

When I place the CSF file there when I am customizing the default user account, the file would then reside in:

C:\Users\Default\AppData\Roaming\Adobe\Color\Settings

The problem with this is that when new user profiles replicate off of the default account, the CS4 apps prefs point it to that folder for their CSF file, and I get errors, because the new profiles will not have privs to read from that directory.

So, in response to this, I have created a folder in the root of C and stored the CSF there. In Photoshop, Illustrator and InDesign I can load the CSF file from that location manually. Unfortunately, Bridge doesn't see's only the current users color settings folder, so it cannot see it, but if I set the three apps above before I launch Bridge, Bridge recognizes the CSF. The issue is Acrobat, which seems only to see "Custom" for color settings.

Further, when new profiles are replicated off of this setup, it breaks entirely.

So, what I'm hoping is that someone here has had to configure color management for CS4 in a mutliuse environment, and that you may have a strategy for this.

Is there a way to specify the CSF file for each of the apps with a registry key? This would be easiest...

Please, any thoughts are welcomed.

Matt