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11

I would contend that this is difficult to answer definitively. If you're talking a four-color process, a straight 100% 'Y' would probably be your best bet. However, highlighters tend to have a neon glow about them, which can't be achieved in CMYK. You'd need a special process color for that. Get your hands on the highlighter you want to emulate, draw on ...


9

To add on to Brendan's answer, the "Neon" quality of "Neon Yellow" can be achieved in CMYK, but that's not all a highlighter is. A physical highlighter doesn't contain the pure yellow we expect from printers and monitors, but a slightly more watered-down version, so step one would be to use, say, 75%-80% yellow to start with. Next, to achieve that ...


8

"4 color" means "CMYK only." Any Pantone solid spot colors are automatically not 4 color, because each will require its own printing plate on press. If you check your Separations Preview (Shift-F6 or Window > Output > Separations Preview) you'll see that there are CMYK plus spot colors. Each of these requires its own printing plate. Use InDesign's ...


8

RGB and CMYK are two different colour spaces. RGB is meant to represent the colours that can be produced with light using Red, Green and Blue dots. CMYK is way more limited. It is meant to represent colours that can be created with ink, but not with any ink but specifically mixing Cyan, Magenta, Yellow and Black. The RGB space and the CMYK space have ...


8

This was confusing at first but the striving for information has led me to a clearer understanding. RGB vs CMYK There is clear discrepency between gradients in RGB and CMYK this becomes clearer when you realise the palettes used by each colour mode are drasitcally different. Colour consists of HUE, SATURATION and BRIGHNESS RGB RGB uses a single HUE ...


5

Highlighters tend to use fluorescent pigments/dyes to give you the bright colors (AKA, 'higlighted' colors). As such, there is no CMYK combination to emulate them as CMYK doesn't include any colors that would be considered part of the 'fluorescent' color space. If you want a true match, then you need to use a spot color. Pantone has a whole line of ...


4

Bottom line: you can't guarantee a file's colors to look identical on any two screens. First, CMYK is nothing but an approximation, as long as it's on your screen. RGB and CMYK are so fundamentally different color spaces that it's impossible to display the one in the other, even if you calibrate. That said, calibration (or lack thereof) are wildly ...


4

CMYK. The Pantone matching system is a print production ink system. Print production always uses CMYK as a basis. Pantone colors have absolutely no basis in the RGB spectrum.


4

That's exactly what they mean :) 0 Magenta 0 Cyan 0 Yellow and 100 Black


4

I use 100%Y at 60% or 70% opacity and set the blend mode to Multiply. I can't say this is "right" or "correct", merely what I prefer. My goal is to provide the appearance of a basic highlighter. I've never been concerned with absolute color matching. Primarily because colors can and do vary by manufacturer. It may seem like I pulled those number out of a ...


3

I have seen this book in an exhibition in Brussels, It's offset inside and airbrush on the sides and the cover. Just by looking at the pictures, you can tell that the colors on the borders of the pages a far more saturated than the colors inside. Anyway, there is simply not any printing process that can reprocude all the gamut of even sRGB, or Adobe RGB. ...


3

Essentially yes. InDesign, when exporting to a press-ready format, will convert RGB images to CMYK based on your assigned color profile settings. So theoretically you could use RGB images in everything and allow Adobe and your color setting to handle all conversions. This will work. However, in many cases you may want to verify color in an image when ...


3

Bar code rule is to be printed from a single process or spot color (100%C, 100%M, 100%Y, 100%K or 100% spot color). It is not advisable to operate them from several colors, because small deviations may occur during printing (couch paper, mapping colors) and this may affect functionality of printed barcode, which would not be readable in that case.


3

Illustrator is a vector illustration tool. Vector files are resolution agnostic--meaning a ppi resolution is irrelevant in this case. Send them the .ai files or a PDF created from the .ai file and that should be fine. If you are using raster effects, then set them to 150. No harm in going a bit higher than the spec. Remember that large format printing ...


3

As I know there is no software that natively supports hexa-color space (e.g. CMYKOG by Pantone or one you mentioned). You can take this advantage manually via multichannel mode in Photoshop. But it is really tricky and requires constant color separation and tests. As for desktop printers which use 6 colors. This printers have own color separation and RIP ...


3

This is not strange at all. It's one of the rudiments of digital color. The glaring omissions in your data are the color profile the hex value is presented in and the color profile that the CMYK numbers are presented in. "Translate to CMYK" is meaningless unless you know the color profile you're starting with and the CMYK color profile you are targeting. ...


3

Your Inkjet printer has to support CYMK. Thus double check before you proceed. Otherwise colours are always converted to RGB. Also make sure that the latest printer drivers are installed. You can export your Illustrator/photoshop file to a PDF file. This way you can open your document in Acrobat which offers advanced print settings like preview color ...


3

CMYK Jpeg, while valid, has limited support in software, especially in browsers and in-built OS preview handlers. It can also vary by software revision. It may be better for you to export an RGB Jpeg file for your clients preview use or provide a PDF or CMYK TIFF instead. OSX CMYK Jpeg color inversion Windows CMYK Jpeg thumbnails do not display (etc)


3

Don't trust on-screen representations of CMYK. Like, ever. Even the most sophisticated .pdf viewers are bad at representing CMYK colours on an RGB screen. If you have created a proper .pdf with a proper colour profile, colours should be ok. The only ways you're ever going to be sure of how it's going to look when printed is either calibrating your monitor ...


2

I have a well-calibrated monitor for color correction, and I have physical proofs from files to confirm the reasonable accuracy of the calibration. Calibration to an idealized target (eg 6500k etc) is not the only step, you should attempt to adjust your calibrated monitor slightly to match your past printed results. This way, you can truly trust what you ...


2

Depending on the color workflow (Early Binding, Intermediate Binding, Late Binding) you convert to the right Colorprofile for the output on different stages of Production. However to work with no colorprofile is never a good idea (as long you want to take control over your colors ^^).


2

You can't really design anything "without regard for color profile" unless you don't care how the colors reproduce. Color profiles are essential to maintaining consistent and accurate output. That said, color space (RGB, CMYK, Lab or a combination) is not important in modern press workflows. InDesign recognizes the color profiles of all placed images (sRGB, ...


2

With no art selected, you can highlight a swatch and use Select > Same > Fill & Stroke to find what objects used that swatch. You can also use Select All Unused from the Swatch Panel Menu which will highlight the unused swatches. Note this tends to leave behind an orange and a green due to their use in Symbols. Brushes, symbols etc which use a ...


2

Illustrator has no direct feature to alter channel data. Any intentional mis-registration has to manually be created. There are raster plug in for raster applications to auto-move channels and create a mis-registered appearance, but for vector, you have to do it yourself.


2

I don't know if there is a way to automate it, I haven't needed to research that myself, but you can save each one individually in the Save As menu:


2

I don't mean to sound pedantic, but you might want to read into the very basics of RGB vs. CMYK, mainly the difference in gamut. #31C68B is an RGB colour that is outside of CMYK's gamut, which means that it cannot be reproduced in that colour space. This is actually indicated in Photoshop's colour picker when you select the colour: What you'll want to ...


2

Use ghostscript, its the most obvious OSS tool for the job. Here's a sample for windows usage from stackoverflow [1]: gswin32.exe ^ -o -o c:/path/to/output-cmyk.pdf ^ -sDEVICE=pdfwrite ^ -dUseCIEColor ^ -sProcessColorModel=DeviceCMYK ^ -sColorConversionStrategy=CMYK ^ -sColorConversionStrategyForImages=CMYK ^ input-rgb.pdf ...


2

I feel compelled to expand the discussion to include * physics and * human perception. Apologies if I have missed something and this is superfluous. (Some of the links lead in these directions.) Physics There is a real-world colour space, which is, foundationally, electromagnetic radiation (think: light) of a particular wave-length. Only a portion of ...


2

If you have Acrobat Pro, you can run a Fix-up on the pdf to convert the color space to CMYK. When you set-up your Fix-up there is a checkbox to Preserve Black Objects that will convert black text to 100%K.


2

It all depends, but often, for large branding projects, the logo may have a Pantone specification, a CMYK specification, and an RGB specification to handle all scenarios.



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