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Let's say you have created Duotones and other graphics with this one particular spot color and you have used that spot color throughout your document but then suddenly, you get word from your client or your art director, hold the presses! We need to change the ink! Are you doomed to do it all over again? No, not at all, because InDesign has a feature called Ink Aliasing that lets you map one spot color to another. Let me show you how it works. I am going to open the Swatches panel and we can see that a lot of objects in here use Pantone 361. In fact, these things here, these images are Duotones and they also use Pantone 361, I happen to know.
These are Photoshop Duotones. And my client has told me that I need to do this all in Pantone 286 now. So I will go to the Swatches panel menu and I will say give me a new color swatch. It's going to be a spot color based on a Pantone solid coated library and I will just type 286 here. It's a nice blue color, click OK and we can see it ends up down here at the bottom of the Swatches panel. Now this is interesting because if you see here, the one that I just added is called Pantone 286 C, but there is another one here called Pantone 286.
Where did that one come from? Oh, look at that. It's blue. This image, it's a PDF image from Illustrator and that Illustrator image had something called Pantone 286 in it. It doesn't have exactly the same name though, so we might have trouble printing it. This is another reason why you need Ink Manager. Ink Manager lets us resolve all of these kinds of ink problems. So I am going to open the Ink Manager now and you can get to the Ink Manager in about five different places inside of InDesign. They all go to the same dialog box. For example, you can open it from the Print dialog box and you can open it from the Export PDF dialog box, but here I am going to open it from the Swatches panel fly-out menu, there it is, way at the bottom, Ink Manager and the Ink Manager dialog box gives me a list of all the different inks in my document.
The process colors first followed by the spot colors. Let me scroll down here and you can see I have got the three spot colors in this document, 361, 286 and 286 C. Now couple of things I should mention about the Ink Manager. First is the majority of the stuff here has to do with trapping and I am going to be covering trapping in a later title. So I am not going to worry about that right now. What I do want to point out is this left column here that has a little dot in it. If I click on that dot, it changes to a process color icon. That means that I have converted this spot color to a process color. That's how you can convert a single spot color into a process color so it will separate to CMYK when you print. In this case, that's not what I wanted to do but I just wanted to point out that you can do that here or you could even convert, all the spots to process colors which just changes all of those for you. So you don't have to click on them one at a time.
But once again that's not what I am trying to do here. What I am trying to do is ink aliasing and that lives here in the Ink Alias pop-up menu. I would like to alias everything that's in Pantone 361, so I click on that up here. Everything that's in 361 alias that to -- I could alias to what a process color if I want to, but I am going to alias it to my brand new Pantone 286 C and you can see it shows up here as being aliased. I will do the same thing with this Pantone 286 color that came in from the Illustrator document. Alias that to Pantone 286 C as well. So now all the spot colors will end up on the Pantone 286 C plate, which is exactly what I need.
I will click OK and we can see that nothing changed at all. Well, it's a little trick. You cannot see the ink aliasing in InDesign until -- you can do it but not until you turn on Overprint Preview. For some reason, Overprint Preview kicks in the make it look more accurate feature in InDesign and when we turn on the Overprint Preview feature we can see that all those colors changed. Everything that was 361 or the 286 without the C, everything got mapped to the true 286 C color.
I can even prove that to you. I am going to close the Swatches panel, go to the Window menu, I will go down to Output and I am going to choose Separation Preview. Now I will make sure Separation is turned on from the View pop-up menu here and I can see that I only have process colors and Pantone colors. In fact, I can turn off Cyan, Magenta and Yellow with no effects of the file because there is no cyan, magenta or yellow in this document anywhere. There is just black and Pantone 286. Someone on the InDesign team at Adobe once told me that one of the philosophies there was to remove stumbling blocks and let people work with more flexibility.
Well, they certainly succeeded with this feature. Ink Aliasing is all about flexibility.
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