Re: CMYK spaces used for document creation
Re: CMYK spaces used for document creation
- Subject: Re: CMYK spaces used for document creation
- From: "dpascale" <email@hidden>
- Date: Sun, 1 Nov 2009 17:28:46 -0500
Roger,
Thanks for this input on your experience with spot colors.
Agreed, a Pantone color is either managed or converted.
If managed, then the working space is irrelevant (at least for this spot
color!); I would also assume that the persons working with RIPs has the
knowledge to properly select a working space and, because of the cost of a
RIP, I may also assume that is is done by a minority of users (Am I right?).
If converted, then we are back to my original question of which working
space is selected.
One very interesting point you mention is how these colors are converted. If
the Pantone database is in L*a*b*, it gets converted to the working space
via the working profile. If the database in in CMYK (as with Pantone
Bridge), the same CMYK values are inserted for all CMYK working spaces; this
is a nice way to get the wrong colors!
I agree with you that so many things can go wrong that many simply attach
the Pantone chip with their proof, but this is almost exactly the reverse of
what is seeked for in color-management...
Danny
----- Original Message -----
From: "Roger" <email@hidden>
To: <email@hidden>
Sent: Sunday, November 01, 2009 4:33 PM
Subject: RE: CMYK spaces used for document creation
Interesting discussion. Thank's for starting it up Mr. Pascale.
Sadly, many designers are still clueless about color management. The spot
color part is often the poor child of the color management family because
it
is used in so many ways.
Some designers like to work with the opened PANTONE colors floating
palettes
in illustration and page layout applications, viewed as small swatches,
and
simply pick and chose colors based on how those colors appear to them
visually on their monitors, because that's what they find most convenient.
For that kind of crowd, the CMYK working space could be just anything. I
suspect many designers too still leave their Color Settings at their
defaults. Just think of all the times that something goes awry with
Photoshop and the only fix is to ditch Preferences, you'll begin to
appreciate why it's very easy to overlook what the current CMYK working
space is and why so many designers simply ignore their Color Settings
altogether, sadly. Many designers that work with strict corporate spot
color
programs or spot color for packaging are not really concerned about CMYK
Working Space because they rely on final proofing to be in the form of a
PANTONE physical swatch attached to their final proof for the printer to
match. But it's true that many RIPs don't have the smarts to manage spot
colors separately from the incoming CMYK stream. Then, whatever is the
going
simulation becomes the space into which spot colors are simulated. I'm
thinking especially about the thousands of color laser proofs that are
routinely outputted in agencies, studios, publishers and, yes, printers,
where spot colors are strictly defined by their CMYK counterparts, much
like
in the PANTONE Bridge these days.
Last but not least, let's not forget the "creativity" that the last CS 2,3
and 4 series have afforded designers, as far as spot color management is
concerned. In both InDesign and Illustrator, for example, by default, spot
colors are defined by the strict (and meaningful?) CMYK recipes provided
by
PANTONE Inc., but there is nothing keeping the designer to override that
preference and instead work with the more "accurate" Lab values, which
then
get converted to the document CMYK space on output.
These are in my view "current practices".
Best / Roger
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