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8

As per thebodzio's answer, there's plenty of ways to get that colour. No matter what browser you use there will be some sort of colour picker add-on you can get. Alternatively you could take a screen shot and open it in photoshop. Another way is to open developer tools and look at the sites stylesheet, in chrome you could right click the background and hit ...


7

"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 ...


4

If your PSD contains any vector information, don't place it in the InDesign layout. Save as a PDF instead, and place the PDF. The reason for this is that a placed PSD is always a raster image in InDesign, because Id uses the raster layer that Photoshop saves within the PSD. A PDF retains all the vector information and makes it available to InDesign. A quick ...


4

As to the page elements (excluding images), their colour (in RGB, sometimes in HSL) can be determined in a lot of different ways. One of the easiest is using any “developer tools” available in almost every contemporary web browser (Firefox, Chrome etc.). Colours in images can be sampled with any image editor having a tool like “colour picker”. Having said ...


4

RGB or CMYK blending modes reflect what is possible in real world use. Many blending modes rely on the interaction of light though colors. RGB is an additive color model - adding all colors together produces white. (add to get white). Because of how RGB colors work, it's possible to "filter" one aspect of a color and allow light to pass through the ...


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.


3

When working with CMYK form the beginning in Photoshop does not always allow you to work with some specific techniques and blend modes the same way. If you are doing something more simplistic that does not have a lot of lighting effects for example this will be fine. Also RGB has a larger color range than CMYK and when you convert your colors will become ...


3

There are two ways to get the colors from any website webpage etc.... 1) Using Browser Color Picker Add-ons e.g ColorZilla 2) Take screenshot of your webpage by using Print Screen button on your keyboard and paste that image in Photoshop or any other image editing software and pick color from there with color picker tool You can also use browser add-on ...


3

If I understand correctly, your assets are: CMYK logo Grayscale image This is what I would do Create an empty CMYK PSD file Copy your grayscale image Open the Channels palette. Windows->Channels Click on the Black channel (the last one) and paste your (previously copied) grayscale image. This pastes it ONLY in the K layer, so it will be rendered with ...


3

Blend modes will give very unexpected results in CMYK if you're used to working with them only in RGB. If the purpose of the PSD is only to provide a transparency mask, why not create a PSD consisting only of the (alpha channel) luminosity values and place that instead? You could create that very quickly with Image > Calculations, using the gray values ...


3

What the printer is telling you is that you're over-inking your rich blacks. Maximum ink coverage is almost always much less than 300% total (275% in this case), depending on the press and the paper, so a rich (or "built") black can't be 100% on all plates. There's more information on black vs. rich black here. I'm guessing, since even RGB black from ...


3

There are a few issues here: Pantone colors are spot colors. They are custom mixes. Not every Pantone color can be replicated in CMYK. As such, there will be a shift when converting from Pantone to CMYK. Screens are projected light. Ink is reflective light. Screens and Ink can't replicate all the same colors. So what you see on screen isn't always what you ...


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

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 ...


2

Actually, to do things correctly you need to color adjust at least twice. If you are working in RGB, you should color correct in RGB. And if you then convert to CMYK, you should color correct again for CMYK. One color correction is never a good idea if you change color modes.


2

I usually start by working in CMYK mode if I intend to use the file for print. As you have noticed screens can't replicate CMYK colours exactly but InDesign/Photoshop etc tries to emulate them. There is certainly going to be variations between what you see and what gets printed. I suggest you spend a bit of resources getting a Pantone swatch book so you ...


2

Since spot color conversions out of almost every application, InDesign, Quark, Illustrator, Photoshop etc... are different when you convert them on the fly, it makes it really tough to manage. What we find is InDesign is always best. Keep in mind, the end user, what do they want? They usually don't even know what a bridge book is. They are mostly expecting ...


2

If you are using Chrome you can simply hit F12 and show the page elements. On the right are the page styles which use the Hexadecimal codes for colours. These in turn translate into RGB colours. For example if I scroll down a short way on the styles tab I can see that the background colour for the page is #f4f4f4. The equivalent RGB colour is: R: 244 G: ...


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

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 ...


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 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

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 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 ...


1

Under 'File' check that the document mode is set to CMYK. Instead of 'Export' go to 'Save a Copy' and choose 'Adobe PDF'. In the options dialogue box click on 'Standard' and select a suitable print standard such as PDF/X-1a:2001 I just did an 'Export' as JPG from Illustrator and checked it in Photoshop with the 'Info' tool and the colour shows as 0, 0, 0, ...


1

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, ...


1

I always use Colorzilla for this type of thing. It's a neat extension that lets you select colors directly from any page and gives you the color in different formats. Also, just as a bonus, there is Web Colour Data which gives you the color palette used on a given website.


1

There is a new 'Eyedropper' tool included with Firefox that lets you point at a pixel, view the colour hex value, and copy it to the clipboard.



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