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Adding a fifth color to a CMYK image

From: Photoshop for Designers: Color

Video: Adding a fifth color to a CMYK image

We can use Photoshop's Spot Color channels to extend our range of printing possibilities. Here, I want a really pink Cadillac, not just pink I want it to be honeysuckle pink. And to do that I'm going to need to use a fifth color, so this is going to print in CMYK plus PANTONE 205. Let's take a look at the Channels panel, and we can see that I have a Spot Color channel right there. I've already pre-prepared the alpha channel that will be converted to the Spot Color channel.

Adding a fifth color to a CMYK image

We can use Photoshop's Spot Color channels to extend our range of printing possibilities. Here, I want a really pink Cadillac, not just pink I want it to be honeysuckle pink. And to do that I'm going to need to use a fifth color, so this is going to print in CMYK plus PANTONE 205. Let's take a look at the Channels panel, and we can see that I have a Spot Color channel right there. I've already pre-prepared the alpha channel that will be converted to the Spot Color channel.

We're also going to need to add the text, if we want the text to be reproduced in our fifth, color we also need to add that to our Spot Color channel. Before I do any of this, I'm going to convert it to a CMYK image and ultimately I'm going to end up saving it as a Photoshop file or Photoshop DCS. Let's switch to the starting state, so here is my pink Cadillac I have on a separate layer, the text, which I've converted to a shape layer, so that we don't run into any missing font issues.

So what I'm going to do now is go to the Edit menu, I'm not going to go to the Image menu Mode > CMYK, but instead, I'm going to go to Edit > Convert to Profile. And the reason I'm doing that is so that I can preview the different results I would get with different rendering intents. The rendering intents essentially, if I can use an analogy are like the translation dictionaries that might be used to convert from one color space to another color space.

There is no right or wrong, there are ones that tend to work more often than others, and they're perceptual or relative colorimetric, but really you have to try them to see. And it actually turns out and that in this case, absolute colorimetric gives us a brighter result. There is one other thing that I need to pay careful attention to here, Flattened image to preserve Appearance. I do not want to flatten the image, because I'm going to need to work with this text, which is currently on a separate layer.

I needed to remain on a separate layer, so I'm going to uncheck that option. And then convert my image to CMYK so that we can see I now have Cyan, Magenta, Yellow, and Black the channels, as well as my Alpha channel. I'm going to activate my Alpha channel, and then come to my Channels panel and choose New Spot Channel, click on the color swatch, choose the color that I want. It's remembering what I used last time, PANTONE 205, click OK, I can adjust the Solidity of that color, currently it says 0%, which is going to allow us to see the tonal values of the image beneath.

If I were to set it to set to 100%, you would have an area of flat color, so I'm going to leave it at 0. Now so far if I were to print this with honeysuckle pink of the type would be reproduced in CMYK inks, as opposed to a single premixed Pantone ink, and we want the latter to happen. So what I'm going to need to do is come to the Layers panel where we see the Shape layer that is our type, and I'm going to activate that by Command or Ctrl Clicking on it.

We can now turn off the layer, come to the Channels panel, make sure you're on the Spot Color channel and then I'm going to fill this area with black. So I need to make sure that black is my foreground color and I'll press Option or Alt and the Backspace/Delete key. So that's the result that I'm after. I'm now going to Save this and when I save it, I need to make sure that I'm retaining my Spot Colors, I also want to retain my Alpha channels and I'm saving it either in Photoshop or Photoshop DCS 2.0 format; I'm going to save it in Photoshop.

And just so that we don't overwrite the original, I'm going to append a different suffix to the file name. Now if I were to place this image in InDesign, here I am in a blank InDesign document and I'm going to press Command+D or Ctrl+D, I got to place. Choose my file; if we take a look at the Swatches panel, we can see that we have our Pantone color on the Swatches panel.

I'm not going to look at the Separations Preview. If you don't have your Separations Preview panel open, it's under Output, right there. I'm going to click on that and we can see that I have now five colors, and we can preview those colors individually or in combination, but the essential thing is that we're printing not just in CMYK, but in CMYK Plus PANTONE 205, made possible by the use of Spot Color channels.

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This video is part of

Image for Photoshop for Designers: Color
Photoshop for Designers: Color

75 video lessons · 17535 viewers

Nigel French
Author

 
Expand all | Collapse all
  1. 1m 41s
    1. Welcome
      1m 0s
    2. Using the exercise files
      41s
  2. 25m 26s
    1. Defining color terms
      2m 38s
    2. Understanding the color wheel
      4m 3s
    3. Understanding color relationships
      1m 7s
    4. Using Kuler to understand color harmony rules and create color palettes
      4m 2s
    5. Using the Kuler web site
      3m 10s
    6. Colors on screen and on paper
      1m 42s
    7. Color as a signifier
      3m 14s
    8. Color inspirations
      2m 39s
    9. Color and accessibility
      2m 51s
  3. 38m 22s
    1. Demystifying the Color Picker
      2m 57s
    2. Understanding the role of foreground and background colors
      5m 39s
    3. Choosing colors
      6m 41s
    4. Managing swatches
      7m 40s
    5. Transparency
      9m 42s
    6. Color channels
      5m 43s
  4. 41m 4s
    1. Understanding additive and subtractive color
      2m 57s
    2. RGB mode
      1m 56s
    3. CMYK mode
      2m 41s
    4. Lab mode
      3m 49s
    5. Indexed mode
      2m 16s
    6. Grayscale mode
      5m 0s
    7. Color management
      14m 15s
    8. Color depth (8-, 16-, 24-, and 32-bit)
      4m 19s
    9. Monitor calibration
      3m 51s
  5. 26m 43s
    1. Evaluating color with the Histogram panel
      3m 18s
    2. Evaluating color with the Info panel
      1m 48s
    3. Boosting color with levels
      3m 48s
    4. Auto Tone and Auto Contrast
      7m 38s
    5. Manually setting the black and white point
      3m 50s
    6. Curves
      6m 21s
  6. 18m 30s
    1. What is color correction?
      5m 45s
    2. White balancing in Camera Raw
      1m 46s
    3. Color correction with color balance
      1m 34s
    4. Color balancing using photo filters
      1m 26s
    5. Color correction with variations
      4m 27s
    6. Color correction by the numbers
      3m 32s
  7. 33m 14s
    1. Selecting color with the Magic Wand
      4m 43s
    2. Selecting color with the Quick Selection tool
      2m 26s
    3. Selecting color with Color Range
      4m 0s
    4. Neutralizing whites with the Multiply blend mode
      2m 55s
    5. Neutralizing blacks with the Screen blend mode
      57s
    6. Masking colors with the Blend If sliders
      2m 54s
    7. Masking hair with a channel mask and removing contaminant colors
      2m 58s
    8. Shifting targeted colors using Hue/Saturation
      5m 4s
    9. Matching colors using Hue/Saturation
      3m 16s
    10. Matching colors using the Match Color command
      1m 36s
    11. Matching colors using the Color blend modes
      2m 25s
  8. 21m 8s
    1. Saturating colors
      4m 9s
    2. Desaturating colors
      1m 57s
    3. Desaturating in Camera Raw
      3m 1s
    4. Creating a color accent with selective saturation
      2m 38s
    5. Enhancing a sunrise with a gradient map
      5m 49s
    6. Increasing vibrance
      1m 19s
    7. Using selective color
      2m 15s
  9. 32m 42s
    1. Designing with spot colors
      12m 15s
    2. Adding a fifth color to a CMYK image
      5m 0s
    3. Adding spot colors to a grayscale image
      5m 24s
    4. Create a metallic print effect
      3m 8s
    5. Creating duotones, tritones, and quadtones
      6m 55s
  10. 30m 45s
    1. Creating a silkscreen print look with a limited color palette
      7m 59s
    2. Combining color with black and white
      2m 22s
    3. Creating a nostalgic travel poster using the Cut Out filter
      6m 27s
    4. Mapping an image to a color look up table (CLUT)
      7m 56s
    5. Converting to black and white
      6m 1s
  11. 48m 34s
    1. Creating a hand-tinted portrait (the easy way)
      3m 29s
    2. Creating a hand-tinted portrait (the harder way)
      11m 23s
    3. Creating an Andy Warhol look
      4m 44s
    4. Applying a gradient map
      4m 4s
    5. Sepia toning an image
      8m 41s
    6. Color tinting an image
      5m 15s
    7. Split toning an image
      2m 9s
    8. Working with line art
      8m 49s
  12. 23s
    1. Goodbye
      23s

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