Convert Cmyk To Pantone Indesign – A frequent topic in this field is the optimal conversion of PANTONE colors to CMYK for inexpensive classic four-color printing. During the last few days, there has been a lively discussion about this topic on the Adobe Forum and the color management forum hilfdirselbst.ch, which I would like to summarize briefly, because our customers often struggle with the same issues.
The central question is what standard or color profile the PANTONE color CMYK value in Droichead refers to. Specifically, a user asked to convert PANTONE 116 C, a color tone specified in the PANTONE Bridge fan to CMYK 0/14/100/0 (here you can see the original value in PANTONE). But if you now convert the original PANTONE Lab color value in InDesign or Photoshop to different CMYK profiles, you will get very different color values. “What does the CMYK Bridge PANTONE color value refer to” was the key question in the discussion.
Convert Cmyk To Pantone Indesign
In the PANTONE Bridge fan, PANTONE color “equivalents” on coated and uncoated paper spots, separated by 4 Pantone scale colors, are visualized and CMYK values are determined.
Client Needs Us To Match Pantone Colors From Our Xerox 1000i Press
But one thing is clear: without accurate information about the substrate, print density, inks used, etc., the information provided there has only limited validity. If, for example, one converts the PANTONE LAB color value 116 C to the commonly used US SWOP Coating Network, then one reaches a value of 20 in magenta instead of 14 as seen in the PANTONE bridge fan.
If you compare PANTONE LAB base values with PANTONE Bridge CMYK values in European standards such as ISOCoatedV2 or PSOCoatedV3 for coated paper or PSOUncoated or PSOUncoatedV3 for uncoated paper, sometimes there are serious color discrepancies. PANTONE Cool Gray 2 is too light in CMYK conversion, PANTONE Cool Gray 11 is always too dark. For PANTONE 3278 C, the Bridge CMYK value for PSOCoatedV3 is a good match, but the same comparison with Uncoated is much worse. What is the reason for this?
Issue 1: Why should a spot color manufacturer provide perfect CMYK replacement values for their products? This would be detrimental to business.
One thing is clear: there are no errors in the system. PANTONE knows what they are doing. But surprisingly, bridge prices seem to vary by several percentage points over the years. One reason for this may be that different primary pigments have been used over the years, so the values have adjusted. But there was no way to know how the values are generated, what the profiles are, or the logic behind the values. Some participants in the discussion thought about a deliberate system error: “Cui bono? Why should a spot color manufacturer provide perfect CMYK replacement values for their products? That would be detrimental to business.”
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This is a very interesting method which, at first sight, does not have some logic. If the head of the company has only seen poor CMYK conversions from a PANTONE spot color long enough, he will sigh and agree to any extra charge for five colors, just to have his company’s color reproduced perfectly. correct again.
We assume that PANTONE “Green1” is colorimetrically equivalent to CMYK 30/0/100/0. If two more saturated shades of green (“Green2” and “Green3”) appear in the fan, which should theoretically appear with CMYK 35/0/110/0 and CMYK 40/0/120/0, then what?
To set all three shades of green to CMYK 30/0/100/0, ie. the next CMYK value completely colorimetrically achievable? This was actually the most obvious way, especially since in practice it is unlikely that two adjacent PANTONE colors will ever be used in CMYK conversions. Because the corporate color of a company is green1 or green2, but almost both at the same time.
On the other hand, buyers of PANTONE Bridge fans would probably be very surprised if different PANTONE colors on the fan had the same CMYK value.
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So the fix for the psychological sales department is clear: To avoid identical CMYK values, we set the most saturated green tone to the incompatible CMYK 30/0/100/0 and then the smaller colors saturated to 25/0/0 /90 / 0 and 20/0/0/80/0, i.e. which do not match CMYK values either. Now nothing matches anymore, but at least all the colors have different CMYK values.
Practice shows: Custom conversion via ICC profile often provides better CMYK color value for PANTONE color conversion similar to CMYK value from PANTONE Bridge.
We have also converted the PANTONE colors used in the graphics mentioned above via fully colorimetric and partially colorimetric depth-compensated ICC profiles (denoted by an “r” behind the CMYK color value) to the two output color spaces PSOCoatedV3 and PSOUncoatedV3 and have mapped the best game visually anyway.
In most cases, this conversion to fit the output color space produces much better results. See for yourself:
Pantone Color Bridge Guide Set
If you need the best possible conversion from one or more PANTONE colors to CMYK, we are happy to support you with our expertise and measurement and measurement technology. We define and compare different rendering versions from PANTONE color to CMYK and show you the best final conversions to CMYK with metrology evaluations in Delta-E00.
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Barcode CIELAB CMYK D50 Digitalproof EAN ECI EFI Copyright 2010 .proof.de sRGB Spectrometer SWOP SWOP 2013 UGRA When it comes to printing, some designers encountered color problems. Finding colors in print media seems difficult, but there is a simple solution. Learning how to convert Pantone to CMYK is the best solution to this modern problem.
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