Spot COlor Problem

[dawgma]

So I am having trouble with a spot color image that I am trying to create in Photoshop and then import into InDesign.

In Photoshop, I've created my spot color channel, selected the Pantone color, pasted a greyscale version of my image into the spot color channel and removed all information from the CMYK channels.

Since my spot color channel is full of various greys, I was expecting to see a full range of TINTS in my image. But for some reason it doesn't look anything like the way I expect it to.

When I choose the same Pantone in InDesign and apply a gradient from 100% to 0% tint, I see a full range of light and dark blues. But in Photoshop everything looks grey-blue.

I thought maybe there was a difference between how the two programs display the color, so I imported the Photoshop file into InDesign anyway. But it still looks grey-blue just like it was in Photoshop.

Please click here to see what I mean:

http://img212.imageshack.us/img212/7479/discrepenciespv9.jpg

After looking at that graphic, can you explain how am I supposed to get a spot color image in Photoshop that has all the tints that I see in InDesign?

 

[apepp]

...photoshop interprets through the lab color space the spot colours, choose ink manager in indesign (swatches flyout menu) and select 'use standard lab values for spots'...

...note that this can effect how your proofs will look rendered through a rip if the alternate color space of spot colors differ, even if they are the same spot color reference, typically the alternate color space for spots can be cmyk (from quark), some can be lab (adobe applications) or calibrated rgb (enfocus pitstop can apply rgb interpreted spot color definitions)...

Andrew

 

[apepp]

...flick through the other pantone libraries in photoshop and you will see the definition change from lab to cmyk depending on the library chosen...

Andrew

 

[apepp]

...in short it is indesign rendering of spot color definitions being different to that of photoshop, the same is true with illustrator which can be changed to match photoshop via the swatches palette flyout menu > spot colors option...

Andrew

 

[apepp]

...for a calibrated proofing workflow LAB is the recommended definitions option, but even so, a digital proofer (and monitor) will inevitably have physical limitations/issues matching spot colors which is why it is important to have a pantone book to hand (and the skill of judgement with monotones, duotones etc)...

Andrew

 

[dawgma]

Thanks apepp!

When I switched over to Lab in InDesign, the colors looked the same as in Photoshop!

But I have another question.. does this affect how the spots are printed? I exported a PDF of a gradient made with Lab values enabled, and one with Lab values disabled. The PDFS looked different and when I printed them they also came out looking different.

I am using an inkjet printer though.. so I suppose the difference could be how they are converted to process colors?

When should I be using Lab values in InDesign and when shouldn't I? Which view more accurately reflects the printer colors?

 

[MarcusStringer]

Indesign also gives you an option of turning your Overprint Preview on or off.

I would try that first.

Unless you have all of your Adobe products colour calibrated then don't trust anything untill you see it in the final Product file, Acrobat (with the overprint preview turned on).

Simply put...

If the numbers match i.e. Pantone 296 Solid Coated in InDesign and Pantone 296 Solid Coated in Photshop then it doesn't matter, because it will still seperate onto one plate and because the Guy putting the ink into the Printing press only puts Pantone 296 Solid Coated into it.

Back before DeviceN and In-RipSeperations...back in the film days...
People used to just make their second solour Cyan, because it was easier to seperate.

Marcus

http://www.midlandtypesetters.com.au

 

[dawgma]

Thanks Marcus. I will trust the values that I use rather than what I am seeing on screen.

 

[MarcusStringer]

Yes,
That's well and good.

But before you change anything to Lab Colour

I think if you turn your Overprint preview on in InDesign you get a match to what you have in Photoshop.

Your example really looks like that is the only problem.





Marcus

http://www.midlandtypesetters.com.au