IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Claudia McCue, and you are about
to the enter the world of Spot Colors and Varnish.
| | 00:10 |
Now you've probably already discovered
there are limits to the range of colors
| | 00:13 |
that you can print in combinations of
cyan, magenta, yellow and black.
| | 00:18 |
And in this course I'm going to show you
how go beyond those limitations by using
| | 00:21 |
the huge spectrum of spot colors
available to you, and the enhancements
| | 00:24 |
possible with specialty finishes such as
spot gloss varnishes.
| | 00:29 |
Now while spot colors and varnishes may
add a bit to the cost for a printing job.
| | 00:33 |
They really add visual impact.
You're going to see how spot color inks
| | 00:38 |
are created by skilled ink craftsmen.
And they use not just extensive controls
| | 00:42 |
but truly the instincts of artisans.
In fact I don't think you'll ever look at
| | 00:46 |
ink the same way again once you see what
goes into creating it.
| | 00:49 |
You're going to learn how the new Pantone
Plus series adds hundreds of colors to
| | 00:52 |
your design arsenal.
And I even have a funny story about how
| | 00:56 |
thats not enough for some people.
I'm going to show you how you can
| | 00:59 |
correctly prepare your designs for
printing with spot colors, and I'll also
| | 01:02 |
show you how to create artwork for spot
varnishes.
| | 01:05 |
You might be pleasantly surprised by how
easy that is.
| | 01:09 |
And I'm even going to show you how you
can incorporate spot color into images.
| | 01:12 |
And that will let you enhance the
reproduction of important colors that
| | 01:15 |
just can't be achieved with the old
process inks.
| | 01:18 |
And finally, I hope your imagination is
fired by seeing what's possible.
| | 01:22 |
When you start thinking just a little bit
beyond, cyan, magenta, yellow and black.
| | 01:27 |
So come on, and let's go start having
some fun with ink.
| | 01:29 |
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| What you should know before watching this course| 00:01 |
In this course, I'll be showing you some
techniques for creating artwork and
| | 00:04 |
images that use spot colors and I'll also
show you how to create artwork for
| | 00:08 |
varnishes using Adobe Photoshop,
Illustrator, and InDesign.
| | 00:13 |
So, to make the most of those chapters,
you should already be reasonably
| | 00:16 |
comfortable in those programs.
And of course, you'll find lots of great
| | 00:20 |
essential training courses here on
lynda.com, to help you learn more about
| | 00:23 |
those applications.
In addition, if you'd like to know more
| | 00:26 |
about print production in general, you
might enjoy my print production
| | 00:30 |
fundamentals course.
| | 00:32 |
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| Using the exercise files| 00:01 |
If you're a premium of lynda.com or
watching this on a DVD, you have access
| | 00:04 |
to the exercise files I'll be using.
They can be found in the Exercise Files
| | 00:10 |
tab on the main page of the course.
You'll find exercise files for each
| | 00:14 |
chapter within the Exercise Files folder,
so you can follow along with the same
| | 00:17 |
project I'm working on.
Now, if you don't have access to the
| | 00:21 |
Exercise Files you can still follow along
by working from scratch using your own files.
| | 00:27 |
So, let's get started exploring the ways,
you can enhance your print projects using
| | 00:30 |
spot colors and varnishes.
| | 00:32 |
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|
|
1. Understanding Spot ColorsWhy spot colors are necessary| 00:01 |
So why do we need spot colors?
Well, we as humans can see a wide range
| | 00:05 |
of colors.
Scientists claim we're capable of seeing
| | 00:09 |
10 million shades.
And if that sounds like a lot consider
| | 00:12 |
that some animals, such as tropical fish
and birds, can see colors we can't.
| | 00:16 |
And in fact bees can even see into the
ultraviolet.
| | 00:19 |
Of course, we're not trying to print the
ultraviolet, we just like to print the
| | 00:22 |
colors that we want to see.
But there's a limit to what we can print.
| | 00:26 |
Now, this sort of odd shaped rainbow that
you see is supposed to represent the
| | 00:30 |
range of colors that we can see.
Admittedly, you see a limit there that
| | 00:35 |
defines what we can see on a monitor, so
clearly we're not seeing everything that
| | 00:38 |
we can see.
But this is really just to give you an
| | 00:41 |
idea of what the capabilities are.
The monitor gamut is reasonably big, the
| | 00:45 |
CMYK gamut is pretty much smaller,
although you'll notice that there are
| | 00:49 |
some parts of the CMYK gamut that
actually fall outside the monitor gamut.
| | 00:55 |
colors like cyan you really can't render
faithfully on a monitor, you can come
| | 00:58 |
close, but you can't quite hit it.
And then of course, we have the PANTONE
| | 01:02 |
gamut which is wider than what we can see
in either other reality.
| | 01:07 |
The CMYK or the monitor.
And, I'm using PANTONE here but there are
| | 01:11 |
other spot color systems.
But the concept is the same.
| | 01:14 |
These are specially mixed inks that let
us accomplish stuff in print that we
| | 01:17 |
couldn't with a combination of CMYK.
Now CMYK is adequate for photographic
| | 01:22 |
reproduction for the most part but there
are a lot of colors that we really like
| | 01:26 |
that we can't print within that gamut.
Now there are some colors that you could
| | 01:32 |
print equally well using spot colors or
using CMYK.
| | 01:35 |
For example, and I just pulled this at
random.
| | 01:38 |
PMS 235, you can approximate very closely
with CMYK.
| | 01:43 |
But then when you come across colors like
bright oranges or navy blues, you're
| | 01:47 |
going to find that you really can't print
those satisfactorily with combinations of
| | 01:50 |
the process inks.
And we tend to like those bright colors,
| | 01:54 |
and if you want to image those bright
colors, you're going to have to use a
| | 01:57 |
spot color.
And navy blue, very common problem.
| | 02:01 |
Think how many logos you know of that use
navy blue.
| | 02:04 |
That always goes kind of grey, a little
bit purple.
| | 02:07 |
You really can't do it with CMYK.
If you want navy blue, you're going to
| | 02:11 |
have to use a spot color.
And then, of course, if you want to print
| | 02:14 |
something like a metallic ink.
Or fluorescents, or neons, you can't even
| | 02:19 |
come close in CMYK.
So, that's why we need spot colors.
| | 02:23 |
We need to be able to create a special
ink that accomplishes a color that we
| | 02:27 |
have our heart set on, that we cannot
approximate with CMYK.
| | 02:32 |
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| Examples of spot color impact| 00:01 |
Here are some examples of projects using
spot colors.
| | 00:04 |
Now here's one that's using the synthetic
reflex blue in order to not have problems
| | 00:08 |
on press with drowning time or adhesion.
Why would they use a spot blue instead of process?
| | 00:14 |
They're using process for the
photographic part, but they're using the
| | 00:18 |
spot blue to ensure that they have
uniform color across this large area, and
| | 00:21 |
doing that with one single ink makes it
much easier on press.
| | 00:26 |
This is using a couple of the really
beautiful Pantone metallic colors.
| | 00:31 |
It's a green and then a darker green.
It's also enhanced, it's given a little
| | 00:35 |
dimensionality, because it's an embossed
piece, as well.
| | 00:38 |
But the first thing that catches your
eye, is this beautiful metallic sheen,
| | 00:41 |
and they carry that through to the heart
of the book as well.
| | 00:44 |
It's their color theme, but it's more
than just greens.
| | 00:47 |
The metallic nature of it really makes it
a very fetching piece, it's something
| | 00:50 |
that catches your eye, and it's something
that people are likely to keep.
| | 00:55 |
One of the reasons to use spot colors is
to be able to have a metallic component
| | 00:58 |
in a printed job.
And for something like this piece, the
| | 01:02 |
metallic color is something that
underscores the high quality nature of
| | 01:05 |
the product that they're advertising.
And when you see this in real life of
| | 01:10 |
course it's got a wonderful sheen to it
and it looks like metal.
| | 01:14 |
And again, it's something that speaks of
high value, something of quality,
| | 01:17 |
something worth having.
This is a brochure for a luxury automobile.
| | 01:23 |
And so they've taken advantage of what
you you can do with metallic colors by
| | 01:26 |
adding this beautiful silver accent to
it, and they've also applied a coating to
| | 01:30 |
make it even more high quality.
So, for something like this, being able
| | 01:36 |
to add that beautiful metallic accent
Just adds to the message which is, that
| | 01:39 |
this is something of luxury, this is
something worth having.
| | 01:44 |
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| Spot or process: Making the decision| 00:01 |
When you start working on a print
project, there are a number of factors
| | 00:04 |
that help you decide whether you're going
to use spot colors.
| | 00:08 |
Or whether the project is just going to
run in process colors, CMYK.
| | 00:12 |
Of course, one of the main reasons to use
spot colors is that they allow you to
| | 00:16 |
print colors that can only be
approximated in CMYK.
| | 00:20 |
For example, navy blue, which apparently
we all love.
| | 00:23 |
There are so many logos that use navy
blue that tends to go sort of purplish
| | 00:26 |
and a little grey.
There's really no good way to render a
| | 00:31 |
Navy blue in CMYK.
So, if you really have your heart set on
| | 00:34 |
that Navy blue, you really are going to
need to run a spot color.
| | 00:38 |
And a lot of vibrant colors like bright
oranges and neon greens don't come out
| | 00:42 |
very well if you try to approximate them
in CMYK.
| | 00:46 |
And of course metallic colours, silver
will just look sort of grey.
| | 00:50 |
gold will just looks like a shade of
brown.
| | 00:52 |
So, if you really want a particular color
that you can print in CMYK, then the
| | 00:56 |
decision is sort of made for you.
You are really going to have to run a
| | 01:00 |
spot color.
But even if you don't have to run a spot
| | 01:03 |
color because of a logo or some
consideration like that, they can enhance
| | 01:07 |
a printed piece.
So for example, adding fluorescent colors
| | 01:12 |
can make a document pop.
It's something that people are going to
| | 01:15 |
pick out of the mailbox and go oh, I
wonder what this is.
| | 01:19 |
And then, if you want to add to the
perceived value of a printed piece.
| | 01:22 |
For example, if you're working on a high
profile project like a brochure for a
| | 01:26 |
luxury item, an expensive car or jewelry
or cosmetics or even annual reports.
| | 01:32 |
Because that's an important piece it's an
important publication for a company and
| | 01:36 |
you want to sort of add to the visual
weight of it.
| | 01:39 |
Using components like metallic ink can
make a project look like something more expensive.
| | 01:44 |
Something more in keeping with the
product that it's supposed to represent.
| | 01:49 |
And something you might not even think
about, using a spot color can sometimes
| | 01:52 |
simplify printing.
Now this is an exaggerated example, but
| | 01:56 |
it's still something to keep in mind.
On the top, the logo printed in just one color.
| | 02:01 |
You don't have to worry about any kind of
registration issues, there's only one ink.
| | 02:05 |
The little lighter stripes that you see
are just a tint, all of that's going to
| | 02:08 |
be on one plate, it's all going to hit
the paper at once.
| | 02:12 |
But the bottom version that renders in
CMYK, each color is applied separately.
| | 02:16 |
So, if there's any mis-registration,
you're going to see that offset between
| | 02:20 |
the colors.
Now admittedly, modern day presses aren't
| | 02:23 |
played with registration issues that we
saw many, many years ago.
| | 02:27 |
So you're never going to see quite as far
off.
| | 02:30 |
But, if you want to make sure you don't
have to even worry about registration
| | 02:33 |
issues, if you print that logo in one
color, it can't possibly have
| | 02:36 |
registration issues.
Sometimes using a spot color can actually
| | 02:40 |
save you money.
So here, for example, if I wanted to run
| | 02:44 |
a 10,000 piece, 8 page folded brochure,
saddle-stitched on 100-pound House Gloss
| | 02:49 |
Text, if I run it 4 colors, that'a
$2,100.
| | 02:54 |
If I just run it in two colors, it's
$1,695.
| | 02:57 |
And at first you might think, well, that
would be really dull, just two colors?
| | 03:01 |
Can't I do something that looks really a
lot better in four colors?
| | 03:05 |
Well, if you have color images, that
might make you decide that you're going
| | 03:07 |
to go with the four color.
But you're going to find that you can do
| | 03:10 |
more interesting effects in two colors
that you might think.
| | 03:14 |
And later movie, I'm going to show you
how you can use mixed ink swatches in end design.
| | 03:18 |
To make it look like you really have a
lot more colors to work with.
| | 03:21 |
And of course, spot colors can increase
the job cost.
| | 03:24 |
And using the same job as an example, the
four colors $2,100, if you add a fifth
| | 03:28 |
plate, already you're adding another unit
on the press.
| | 03:32 |
You're using more ink, so I think you
would expect that to increase the price.
| | 03:36 |
2295, it's not bad, but it means I get
that spot orange that I want, and you
| | 03:40 |
know that would go a little dull if I
tried to render it in CMYK.
| | 03:44 |
But this is sort of interesting.
Notice that if I want to use fluorescent
| | 03:48 |
orange, Pantone 804 instead of 021, it
increases the price even more.
| | 03:53 |
Why is that?
Well, you're going to find that the
| | 03:55 |
prices of spot color inks vary, really,
depending on the components.
| | 03:59 |
The colorants that are used, the pigments
that are used, may be more expensive.
| | 04:03 |
When you start to get into the metallics
like the 877 silver, that's even a little
| | 04:07 |
more expensive.
And, you might have noticed that Pantone
| | 04:10 |
now has a premium line of metallics.
And those are very fine colors, you'll
| | 04:15 |
see that it almost has no texture to it
at all.
| | 04:18 |
They're very shiny, they're very smooth,
and of course they cost a little bit more too.
| | 04:23 |
But they are wonderful for high end jobs.
And then, we start looking at two colors,
| | 04:28 |
437 plus black.
Again, we're back down to saving a little
| | 04:31 |
money, if the two colors are black an
silver.
| | 04:34 |
See, because the silver's more expensive
that adds a little bit more.
| | 04:37 |
But it's still a little bit less than the
four color price.
| | 04:41 |
An then if I run three colors, the
silver, the gray and the 437, then I'm a
| | 04:45 |
little bit above that base price.
So when you see those prices, getting
| | 04:49 |
closer and closer, really your decisions
going to be made by the nature of your design.
| | 04:55 |
But if you have some flexibility, or
you're still in the very early stages of
| | 04:58 |
designing a project, take this pricing
into consideration.
| | 05:03 |
It's just sort of a general idea of what
you'd be up against.
| | 05:06 |
But I think one of the things you see
here is that using spot colors, and the
| | 05:10 |
extra life that they might give to the
job Is not really prohibitively expensive.
| | 05:15 |
It's a consideration, but you have to
balance the advantages of the appearance
| | 05:19 |
of spot colors against the price of using
spot colors.
| | 05:24 |
So, your decision is based on design and
cost, and you have to take both of those
| | 05:27 |
into consideration.
| | 05:30 |
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| Choosing a spot color| 00:01 |
In Illustrator or InDesign, when you go
to create a new swatch, you have a number
| | 00:04 |
of reference guides to pick from.
So, here I am in InDesign, when I start
| | 00:09 |
making a new color swatch under Color
Mode, when I click that pull down, I get
| | 00:13 |
a really long list of possibilities.
So, what are all of those for?
| | 00:18 |
So, you might be curious about what they
refer to.
| | 00:22 |
ANPA is used in the newspaper
environment.
| | 00:25 |
DIC which is created by Dainippon Ink is
used in Asia.
| | 00:29 |
And it has some interesting components.
It has what they called theme series
| | 00:33 |
including Japanese Traditional Colors.
So, those are colors that have been used
| | 00:38 |
throughout history in Japan.
And French Traditional Colors and Chinese
| | 00:42 |
Traditional Colors.
So, that's sort of an interesting
| | 00:45 |
approach to create sort of a theme, a
dedicated pallet for certain types of projects.
| | 00:50 |
FOCOLTONE is actually not a spot
reference guide, it's a process reference
| | 00:54 |
guide, meaning it uses CMYK ink.
And you'll see that used predominately in Britain.
| | 01:00 |
HSK is a German reference system, and it
has both spot and process components
| | 01:05 |
available to you in Illustrator and
InDesign.
| | 01:09 |
And you'll notice that there's HKS E, K,
N, and Z, and for each one of those there
| | 01:13 |
are two components spot, and process.
So, the E is for continuous stationery.
| | 01:20 |
The K is for gloss art paper.
The N is for natural paper, meaning sort
| | 01:25 |
of standard stock, and then Z is for
newsprint.
| | 01:29 |
So, what this implies is that the recipes
are a little bit different, in order to
| | 01:32 |
get better rendition on these different
kinds of paper.
| | 01:35 |
And then of course Pantone, even though
we see it used widely in the US, it's not
| | 01:39 |
used just in the US, it's really used
around the world.
| | 01:44 |
And there is more then one Pantone book,
so when you look at the pull down in
| | 01:47 |
Illustrator or InDesign you have whole
list of Pantone possibilities.
| | 01:52 |
And it's important to know that, not all
of them really refer to spot color.
| | 01:56 |
At least some of this is obvious, the
Pantone+CMYK Coated, and Uncoated,
| | 02:00 |
clearly those are process guides.
The Color Bridge is a really nice
| | 02:04 |
reference, because it gives you sort of
best of both worlds.
| | 02:08 |
It doesn't have every single Pantone+
spot color in it, it has a huge subset of
| | 02:12 |
them and it gives you something really
valuable.
| | 02:16 |
It gives you the spot color next to the
closes CMYK equivalent.
| | 02:21 |
So, as you're creating a job and you're
trying to judge, do I want to print this
| | 02:23 |
spot or maybe I can get away with
printing it process, you can compare
| | 02:26 |
right there.
The metallic coated, of course those are
| | 02:30 |
spots the metallic inks, and then the
pastels and neon's coated and uncoated
| | 02:33 |
those are spot inks.
There's a new kind of metallic in the
| | 02:38 |
Pantone+ series called the Premium
Metallics.
| | 02:41 |
And they're much finer ground pigments,
so they're a smoother coating.
| | 02:45 |
And they give a more uniformed
appearance.
| | 02:47 |
And then, good old fashioned Pantone
Solid Coated.
| | 02:50 |
When you're looking for a spot color,
that's the one you're going to choose.
| | 02:53 |
And then Solid Uncoated, and keep in mind
that coated and uncoated just refer to
| | 02:57 |
the paper substrates.
And these different libraries within
| | 03:02 |
InDesign and Illustrator are trying to
mimic how that ink's going to look on a
| | 03:05 |
coated stock, versus and uncoated stock.
So, it's the same ink, it's just trying
| | 03:10 |
to help you visualized on screen how it's
going to print.
| | 03:14 |
And finally TOYO those are used in Japan
TOYO 94 uses CMYK values for onscreen rendering.
| | 03:20 |
It's not a processed book, it's a spot
book, but in trying to show you the ink
| | 03:24 |
on screen it's looking at CMYK values.
So, you'll find that that's sort of like
| | 03:30 |
the old Pantone values in older Adobe
applications, it's close but it's not exact.
| | 03:35 |
And in the later releases, use Lab values
to show on screen.
| | 03:39 |
And finally TRUMATCH, is a purely process
reference, so if you know you're always
| | 03:43 |
going to print process jobs, TRUMATCH is
a great resource.
| | 03:48 |
Because then you have a printed component
that you can compare, and then you can
| | 03:51 |
invoke that from your pull downs, as your
adding colors to your InDesign, or
| | 03:55 |
Illustrator documents.
So, you have a wide range to choose from,
| | 04:00 |
in this course, I'm going to concentrate
on Pantone, because that's the most
| | 04:03 |
commonly used resource.
But the same rules apply regardless of
| | 04:08 |
which resource you're using.
| | 04:10 |
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| About the new Pantone Plus color system| 00:01 |
In the graphic art, you hear the word
Pantone a lot and it's often used
| | 00:04 |
interchangeably with spot color.
But Pantone, the company is not an ink
| | 00:09 |
manufacturer, they're a manufacturer of
color reference guide.
| | 00:13 |
And in fact they're not limited to
printing.
| | 00:15 |
They market color guides for plastics and
for textiles.
| | 00:19 |
But you've probably seen the new Pantone
Plus system.
| | 00:22 |
And you might be curious between that,
and maybe your old Pantone book right
| | 00:25 |
there on your desk.
Well for one thing, there are more colors.
| | 00:29 |
The older PANTONE MATCHING SYSTEM had
1,114 colors.
| | 00:33 |
The new PANTONE PLUS started with 1,341,
and then they added 336, so now there's a
| | 00:38 |
total of 1,677.
And you'll also notice that the new fan
| | 00:43 |
books are arranged chromatically, so they
go by the spectrum instead of numerically.
| | 00:49 |
Which I think makes sense, but if you
have the old habit of looking for
| | 00:52 |
particular swatches by their numbers.
Don't worry there's a numerical index in
| | 00:56 |
the back, so you can find it either way.
If you're looking for it by the number,
| | 01:00 |
you can use the index, if you just want
to look at the colors, that's the way the
| | 01:03 |
book is arranged.
And you might notice that it's on thinner
| | 01:06 |
stock, and that's actually intentional.
The idea is to be more like the majority
| | 01:11 |
of real world print jobs, and text weight
is the most commonly used stock.
| | 01:16 |
And you might be glad to know also that
it's FSC-certified paper.
| | 01:20 |
There's a helpful PDF reference available
about the Pantone Plus system, and it'll
| | 01:23 |
tell you about the thinking in creating
this new system, and it'll give you some
| | 01:27 |
ideas for how you can correctly implement
that new system.
| | 01:31 |
Pantone guides include the Pantone Plus
Formula Guide, which is what ink
| | 01:35 |
technicians use to mix up the spot color
inks.
| | 01:39 |
And then, of course, there's the Pantone
Plus Extra 336 colors Formula Guide.
| | 01:45 |
There's also a new series of metallics
called the Premium Metallics.
| | 01:49 |
Now, you still have the traditional
metallics, the difference is, that the
| | 01:52 |
premium metallics are based on a very
fine grained silver.
| | 01:56 |
It's a very, very small pigment, very
smooth coverage.
| | 01:59 |
And supposedly you can even coat it and
not lose luster, like you can with some
| | 02:02 |
of the traditional metallics.
So, you might want to look at that if
| | 02:06 |
you're working on very high profile jobs.
Then the Pantone Plus Pastels & Neons
| | 02:10 |
very bright and colorful.
And I always tell, especially new people
| | 02:15 |
starting in the graphic arts, if you're
only going to buy one Pantone book, they
| | 02:18 |
are expensive.
But let's consider it runs on a 28-color
| | 02:22 |
press, the only one in the world, and
there are incredibly tight tolerances.
| | 02:26 |
But if you're just going to buy one, get
the Pantone Plus Color Bridge.
| | 02:30 |
And the reason is that it gives you sort
of the best of both worlds.
| | 02:34 |
It shows you spot colors, next to their
closest CMYK equivalents.
| | 02:38 |
That way you have a reference, whether
you're printing spot or you're printing process.
| | 02:43 |
So, again if you're just going to get
one, that would be the one at least to
| | 02:45 |
get you started.
Now, one of the things that happened when
| | 02:49 |
Pantone Plus was released is that the
method of thinking about the color, or
| | 02:52 |
the method of storing the matte of the
color, changed a little bit.
| | 02:57 |
For those of us that are using Adobe
programs, this might become an issue if
| | 03:01 |
you're trying to match old jobs.
So, if you find that you're reprinting a
| | 03:06 |
job that you had specked in spot, but
then printed in process, you're going to
| | 03:09 |
have a problem.
And it's always best if you know that
| | 03:13 |
you're going to print in process, always
specify it in process.
| | 03:17 |
Don't specify a spot color and then print
in process and be surprised that it
| | 03:20 |
doesn't match, after all that's why we
have spot colors.
| | 03:24 |
So, it's always best to start with CMYK
values.
| | 03:27 |
But here's what happened, previously
Adobe applications used a set of CMYK
| | 03:30 |
values that had been supplied to them by
PANTONE.
| | 03:34 |
And the PANTONE PLUS colors are described
in Lab values, now I'm not going to go
| | 03:38 |
deeply into what Lab is, but it's an
enormous color space and it isn't
| | 03:42 |
specific to any device.
And it's not limited to the range of CMYK.
| | 03:48 |
So, now if you pick a spot color in
InDesign or Illustrator or even Photoshop
| | 03:52 |
and then you convert it to CMYK that
conversion is going to be based on those
| | 03:56 |
new Lab values not on those old CMYK
values.
| | 04:01 |
The short story is that this means that
CMYK values on an new job will not match
| | 04:05 |
the CMYK values on an old job.
And then if you look at your newer copy
| | 04:10 |
of the Color Bridge.
And you look at an old Pantone Color
| | 04:12 |
Bridge, you're going to see that the CMYK
recipes have changed even within the
| | 04:15 |
Pantone books.
Now why would that be?
| | 04:19 |
Well for one thing it's modernization.
There have been improvements in pigments,
| | 04:23 |
and there had been substantial
improvements over, oh gosh, the last 10
| | 04:26 |
or 15 years, in the computerized press
controls.
| | 04:29 |
That control register, control ink
coverage, and we can run to higher
| | 04:33 |
standards then we could before.
So, again in the interest in realism
| | 04:37 |
you're going to find that those books
give different values then they did in
| | 04:39 |
the old days.
Now, do you really need to buy a new
| | 04:43 |
Pantone book every year?
Well, far be it for me to argue with the
| | 04:47 |
only 28-color press in the world, but I
will tell you that if you take very good
| | 04:51 |
care of them, they will last probably at
least 366 days.
| | 04:57 |
But, really, take good care of them,
avoid heat, avoid sunlight, don't leave
| | 05:00 |
them in your car, avoid humidity.
And it's best if you keep the original
| | 05:04 |
packaging and you keep them in there.
You want to treat them right, they are
| | 05:08 |
very valuable.
They are something you can hang your hat
| | 05:10 |
on when you're picking a color, so treat
them well, they're your friends.
| | 05:14 |
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|
|
2. Printing Spot ColorsHow spot color inks are created| 00:01 |
I don't know what you think of when I say
ink.
| | 00:03 |
But I can tell you that commercial
printing ink are not at all like those
| | 00:06 |
little ink jet cartridges that we keep
putting in our desktop printers.
| | 00:10 |
They start out as powdered pigments which
are then combined with binders to make
| | 00:14 |
the base inks that then are combined to
make the spot colors.
| | 00:18 |
It used to be 14 base inks, but now with
the PANTONE PLUS series, we have 18 base inks.
| | 00:24 |
So here are the base colors for the
PANTONE PLUS series.
| | 00:27 |
It's a lovely rainbow.
And if you have a PANTONE formula guide,
| | 00:30 |
you can see the recipes.
You can see Which amount of each color is
| | 00:34 |
needed in order to create, a spot color.
If you're creating, a fluorescent color,
| | 00:39 |
here are the base colors for that series.
And then the metallics, an these are the
| | 00:44 |
older metallics not the premiums, these
are the base color, for those metallics.
| | 00:49 |
And then, the pastels an neons, an
they're a little bit fluorescent.
| | 00:53 |
They're a little paler, but they're still
fluorescent.
| | 00:55 |
They still have a certain vibrancy to
them.
| | 00:57 |
Those are the base colors for those.
And then, I mentioned earlier, the
| | 01:00 |
premium metallic series.
And those are all based off this very
| | 01:04 |
fine green silver.
And then that's combined with various
| | 01:08 |
other colors to make color metallics.
You would think with 1,677 colors, that
| | 01:13 |
would be more than you would ever need,
but there are still times when you need
| | 01:17 |
to have an ink specially mixed for
certain purposes.
| | 01:21 |
For example, I live in the Atlanta area,
an over the years I've worked on jobs for
| | 01:24 |
Coca Cola, that required us to have a
special red mixed up, to make sure that
| | 01:28 |
it perfectly matches that Coke red.
And often, we would use that to create
| | 01:33 |
what's called a touch plate, some places
call it bump plate, or kiss plate.
| | 01:38 |
And that's to add color to an image, so
that you perfectly match a product, and
| | 01:41 |
in a later movie, I'm going to show you
how to make a touch plate.
| | 01:45 |
Sometimes, special inks are mixed up so
that a company can have a unique identity.
| | 01:50 |
They're not using a color that anybody
else is using.
| | 01:53 |
I think the funniest story I've heard,
though, about mixed inks involves a
| | 01:56 |
national fast food chain that wanted to
create a chart for their kitchen wall so
| | 01:59 |
that the cooks would know when chicken
nuggets were perfectly done.
| | 02:05 |
If they match the color on that chart,
they knew the chicken nuggets were perfect.
| | 02:09 |
So they brought in a batch of chicken
nuggets for the ink technician, who mixed
| | 02:12 |
up a batch of custom ink that matched
those perfect chicken nuggets.
| | 02:16 |
And when he ran the job on the press,
what did they bring to check the job?
| | 02:20 |
Chicken nuggets.
Press room smelled wonderful, everybody
| | 02:23 |
got lunch, the chart was perfect.
Everybody went home happy.
| | 02:28 |
Printing companies may keep a small stock
of some common spot colors on hand, but
| | 02:32 |
usually, spot colors have to be mixed in
advance of a printing job.
| | 02:37 |
Some printing companies have their own
ink specialists on staff, but many rely
| | 02:40 |
on dedicated ink companies to create the
spot inks for them.
| | 02:44 |
Ink technicians are specialists, they
have an eye for precision and they
| | 02:48 |
understand how ink interacts with paper.
Using the ink mixing recipes in the
| | 02:53 |
PANTONE formula guide, the inks
specialist begins by combining those
| | 02:56 |
specified inks according to weight.
Now here, he's mixing a small test batch
| | 03:01 |
of PANTONE 485.
But the recipes from PANTONE are just the
| | 03:06 |
starting point.
The ink has to be tested for a number of
| | 03:09 |
important characteristics.
Here, he's loading a carrier with the
| | 03:13 |
prescribed amount of ink so that this ink
can be tested for tack.
| | 03:17 |
Now, tack is the inks ability to adhere
to paper and also to earlier inks.
| | 03:23 |
For example, on most printing presses,
they'll run the black first, so it has to
| | 03:26 |
have the highest tack so that it can
adhere to the paper.
| | 03:31 |
Then the cyan is laid down next.
It has to have sufficient tack to stick
| | 03:35 |
to the paper and the black ink, but not
so much tack that it pulls up the black
| | 03:38 |
ink that's already been printed.
And of course, as each subsequent ink is
| | 03:43 |
printed it has to have sufficient tack to
adhere, but not so much as to pull up
| | 03:47 |
previously laid down ink.
Now, while the color of the ink and its
| | 03:52 |
tack level are correct, it may also be
important to determine the opacity of the
| | 03:56 |
ink, and that's its ability to carry that
color on a white substrate as well as On
| | 03:59 |
darker stock.
So here, he's using a little tool to pull
| | 04:05 |
down and apply just a specified thickness
of ink onto paper.
| | 04:09 |
And after it's dried, the color's going
to be judged, but also its coverage as it
| | 04:13 |
falls over both the empty white stock and
that black stripe.
| | 04:19 |
Body in an ink determines how it behaves
on press, that's its viscosity.
| | 04:25 |
And that determines how it transfers from
rollers to plate to blanket, and then how
| | 04:28 |
it transfers to the paper.
So for example, a high speed press needs
| | 04:33 |
ink with a heavier body to avoid misting.
Now that the testing has been completed,
| | 04:38 |
it's time to create the final batch of
ink.
| | 04:40 |
This ink specialist is mixing the
appropriate amounts of the two required
| | 04:44 |
basings in order to create a larger batch
of Pantone 485.
| | 04:49 |
And notice how heavy the ink is.
It's not like the way you envision inkjet
| | 04:53 |
inks being sort of watery.
It's very heavy.
| | 04:56 |
It's very thick.
And he's measuring it out according to weight.
| | 05:00 |
That bucket is sitting on a scale and so
he knows exactly how much ink he's
| | 05:03 |
transferring into the bucket where he's
going to mix those two colors together in
| | 05:07 |
order to make the final batch of PANTONE
485.
| | 05:10 |
And you can see that he's clamping it
down and he's going to mix it with this
| | 05:17 |
industrial mixer.
And now, that may look enormous to you,
| | 05:22 |
this is actually a fairly small batch of
ink.
| | 05:26 |
They mix much larger batches of ink and
they have absolutely enormous devices
| | 05:30 |
that makes those ink.
Very heavy duty that actually make these
| | 05:34 |
look small by comparison.
And here, you can see the enormous
| | 05:44 |
containers of ink.
It's finished an it's ready to be
| | 05:47 |
shipped, to printing companies all over
the United States.
| | 05:50 |
It's hard to get an idea of how big they
are, until you see people standing next
| | 05:54 |
to them, an that gives you an idea of
scale.
| | 05:58 |
Now, after you've seen this process, I
think you probably have a much better
| | 06:02 |
idea of the combination of precision and
artistry that goes into creating printing inks.
| | 06:07 |
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| Considerations when using certain spot colors| 00:01 |
Not all inks behave the same.
Why would some inks behave differently?
| | 00:05 |
Well, really, it boils down to chemistry.
The source pigments that are the basis
| | 00:09 |
for inks can have unique behaviors.
Some of them don't dry fast.
| | 00:13 |
Some of them don't stick well to previous
ink or paper underneath.
| | 00:17 |
Some of them are prone to scuffing, and
some of them don't give very heavy coverage.
| | 00:22 |
So here are some examples of common
problem inks.
| | 00:26 |
Fluorescent inks, for example, use
something called fugitive pigments.
| | 00:29 |
And what fugitive means is those pigments
are subject to fading when they're
| | 00:33 |
exposed to sunlight or any UV light
source.
| | 00:37 |
And high heat can cause fading as well.
So that might mean that if you're
| | 00:41 |
creating an outdoor piece, maybe it's not
a good idea to fluorescent inks.
| | 00:46 |
And sometimes it can take two passes to
get full coverage, to get the strength of
| | 00:50 |
color that you want.
So if that means that you have to use two
| | 00:53 |
units on the press, it means you're using
more ink.
| | 00:56 |
That could add to the cost of the job,
but that could mean that you get the
| | 00:59 |
color that you have your heart set on.
Some fluorescent inks actually have
| | 01:03 |
coarser pigments, so that might mean that
very fine detail and half tones may not
| | 01:07 |
show up the way you want.
So you might consider just using them
| | 01:11 |
more for flat areas.
If you wanted to mail the piece, and you
| | 01:15 |
thought maybe you should varnish on top
of it to prevent scuffing, some varnishes
| | 01:18 |
don't adhere well to fluorescent inks,
and varnishes can dull that bright look
| | 01:22 |
that you're looking for in fluorescent
inks too.
| | 01:26 |
Although it's possible to add dryers to
the ink, and that can speed up the drying
| | 01:30 |
and that may prevent some scuffing too.
Reflex Blue is sort of famous for being a
| | 01:36 |
misbehaving ink and it's a dark blue.
It's something we as human beings
| | 01:40 |
apparently really love.
Think how many logos are navy blue.
| | 01:44 |
But its problems include very slow
drying, it's prone to scuffing and after
| | 01:48 |
the printed piece has been around for
awhile, you'll see some oxidation.
| | 01:53 |
There's a sort of bronze appearance.
On top of the ink.
| | 01:57 |
So, what do you do, not use it?
As much as we want navy blue, there's
| | 02:00 |
gotta be a way.
Well, now we're starting to see synthetic
| | 02:03 |
reflex blues.
The color's a little bit different from
| | 02:06 |
old fashioned reflex blue, but you should
check and see if that's close enough,
| | 02:10 |
it's acceptable to your client, it's
probably the solution.
| | 02:14 |
But with any of these inks, if you have a
conversation with your printer, before
| | 02:17 |
you get too far into the design.
You can prevent these problems.
| | 02:21 |
You don't want to discover these issues
when you're about to go to press.
| | 02:24 |
And then you have to compensate for them.
So as with so many things plan ahead.
| | 02:29 |
Talk to your printer, be aware of these
issues and you can find ways to work
| | 02:32 |
around them.
| | 02:34 |
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| Effects of stock on color| 00:00 |
Planning your job, and designing for it,
you have to take into consideration not
| | 00:04 |
just your choice of ink, but how that
ink's going to look on the final stock.
| | 00:08 |
And here I'm showing you Pantone 1915 on
coated stock and uncoated stock.
| | 00:15 |
It's exactly the same ink.
The difference in appearance is just the
| | 00:18 |
way the ink behaves when it hits the
paper.
| | 00:20 |
So, you're going to find that colors are
more vibrant on coated stock, usually
| | 00:24 |
coated stock is going to be a little
brighter.
| | 00:27 |
You know, it's a little bit shiny, and so
that light that's coming back up through
| | 00:30 |
the ink makes for a brighter color.
And then ink is going to be absorbed a
| | 00:35 |
little bit into uncoated stock.
So, that's going to mean that it's
| | 00:39 |
duller, sometimes it's lighter.
And you don't have the light reflecting
| | 00:42 |
off it, the color is not as strong.
Again that's exactly the same ink.
| | 00:46 |
And I want to underscore that when I, I
point out to you that when you start to
| | 00:50 |
pick your colors in Illustrator or
InDesign.
| | 00:53 |
When you look down through the list
you'll see Solid Coated and Solid
| | 00:56 |
Uncoated, and you'll also see Color
Bridge Coated, Color Bridge Uncoded and
| | 01:00 |
so forth.
The coded and uncoded of course are
| | 01:03 |
referring ot the paper.
But I've already pointed out that the ink
| | 01:07 |
is exactly the same ink.
So, why are there two libraries?
| | 01:11 |
Well, it's because Illustrator and
InDesign, are trying to mimic, onscreen,
| | 01:15 |
how the ink is going to look different on
coated versus uncoated stock.
| | 01:19 |
So, you'll see that it looks a little
duller if you pick an uncoated.
| | 01:23 |
It looks a little brighter, a little
stronger color if you pick the coated.
| | 01:27 |
Again, it's trying to mimic onscreen what
it's going to look like.
| | 01:30 |
You don't really know what it's going to
look like until you see an ink draw down,
| | 01:33 |
or you see the job on press.
Or after you've run a few jobs, you get
| | 01:37 |
sort of a sense of how the ink's going to
look on paper versus how it's displayed onscreen.
| | 01:43 |
But if you have your heart set on a
particular color, and you want something
| | 01:46 |
that's really strong and vibrant, you
should take into consideration that
| | 01:49 |
you're probably going to have better
results if you use coated stock.
| | 01:53 |
It might cost a little bit more to run,
but it means that you're going to get
| | 01:55 |
that color that you had your heart set
on.
| | 01:58 |
So, remember it's sort of an equation,
not just the ink you pick, but it's also
| | 02:01 |
the stock that, that ink's going to print
on.
| | 02:04 |
| | Collapse this transcript |
| Proofing spot and special-mix colors before printing| 00:01 |
After the ink has been mixed, it needs to
be tested with something called a draw down.
| | 00:06 |
Now a draw down just involves sort of a
miniature version of printing the ink on press.
| | 00:11 |
Now he's loading up that brayer, so that
he gets a uniform coverage.
| | 00:14 |
He applies it to the platten, makes sure
that he has adequate ink coverage.
| | 00:19 |
And after years of doing this, he knows
when it's right, and now what he's going
| | 00:24 |
to do is he's going to transfer that ink
to the blanket, bring it over and apply
| | 00:27 |
it to the paper.
So, this means that the coverage of the
| | 00:33 |
ink on the paper is at the same
thickness, that would be achieved on press.
| | 00:38 |
And if that's correct then he knows he's
mixed that ink correctly.
| | 00:43 |
(SOUND) Now he's comparing Pantone
formula guide.
| | 00:46 |
Which is used as the ink reference to
that drawdown sample.
| | 00:50 |
And if it matches under that control
lighting, he knows that, that ink is correct.
| | 00:55 |
And that means it's ready to send to the
pressman and start running the job.
| | 00:58 |
| | Collapse this transcript |
| Spot colors and digital printing| 00:01 |
What if you're designing a job that's
going to print on a digital press?
| | 00:04 |
Can they even print spot colors?
Well, you're going to find that a lot of
| | 00:08 |
digital presses don't support spot
colors.
| | 00:10 |
They're based on CMYK toners or inks.
Although some vendors do offer some
| | 00:15 |
limited spot inks or toners.
The Xerox iGen And HP Indigo presses are
| | 00:19 |
capable of doing some spot colors, but
they have a limited range of offerings.
| | 00:25 |
So you should ask your printer before you
get your heart set on a color.
| | 00:28 |
But here's something kind of interesting,
the inks and the toners that are used on
| | 00:32 |
digital presses, even though they might
be called cyan, magenta, yellow, and
| | 00:35 |
black, use slightly different pigments,
they use slightly different, extenders
| | 00:38 |
and binders.
And they may have a wider color gamut
| | 00:43 |
than offset inks.
You know, it depends on the color that
| | 00:45 |
you're trying to print.
An this is really good news.
| | 00:48 |
Often they can come closer to matching
PANTONE colors, than offset presses can.
| | 00:53 |
So you should ask your printer.
Rather than you losing some vibrancy by
| | 00:57 |
converting to CMYK up front, see if you
can't benefit by keeping your colors
| | 01:00 |
specified as spot colors, and then let
that device do the conversion, because
| | 01:04 |
they have internal software that can.
Look at the PANTONE color that you've
| | 01:11 |
specified in your document, and then
convert that to a value that prints
| | 01:14 |
fairly closely on their press.
So don't give up color, early, because
| | 01:19 |
you may not have to.
But of course talk to the printer, see
| | 01:22 |
how close they can come, and you may find
that this is actually good news.
| | 01:27 |
You may actually get better rendering on
a digital press, then you would on an
| | 01:30 |
offset press.
And I'll bet you that's sort of a surprise.
| | 01:33 |
| | Collapse this transcript |
|
|
3. Using VarnishesHow spot varnishes can enhance a project| 00:01 |
On this piece, they used spot varnish,
not just to add to the visual interest of
| | 00:04 |
the piece, but also to echo the
underlying message of the product that
| | 00:08 |
they're advertising.
This beautifully detailed illustration on
| | 00:14 |
the cover of the book is interesting in
itself.
| | 00:16 |
But when you pick up the book and you
start to read it, the instant you move it
| | 00:19 |
the light catches that spot varnish in
the lower right hand corner.
| | 00:24 |
And that varnish actually becomes part of
the artwork, it adds depth to it.
| | 00:29 |
This is a beautiful piece and they've
accentuated the shapes of the musical
| | 00:32 |
instruments by adding a very high gloss
spot varnish.
| | 00:37 |
And it almost makes it seem like it's
three dimensional.
| | 00:39 |
The instruments seem to almost float off
of the page.
| | 00:43 |
On this piece, they took advantage of a
chemical interaction between two
| | 00:46 |
different coatings.
One coating goes down first, and then the
| | 00:50 |
second coating is an overall gloss
coating.
| | 00:53 |
And where those coatings overlap a
chemical reaction takes place and that
| | 00:57 |
results in this sort of pebbly textured
finish that you see.
| | 01:01 |
And it's something that you really
couldn't accomplish with just a single coating.
| | 01:05 |
It's something that happens only when you
use both of those coatings at once.
| | 01:09 |
| | Collapse this transcript |
| How varnishes, inks, and substrate interact| 00:01 |
In addition to adding visual appeal to a
printed piece, varnishes have other jobs
| | 00:04 |
to do.
For example, if you're using an ink
| | 00:07 |
that's prone to scuffing, and it's a
piece that's going to get handled a lot,
| | 00:10 |
or it's going to be mailed, it's a good
idea to apply a varnish to protect that ink.
| | 00:16 |
And then if you're printing a color on an
uncoated stock you're going to lose some
| | 00:20 |
vibrancy, because it gets absorbed into
the stock.
| | 00:23 |
So sometimes, especially on important
projects, you can come back in with a
| | 00:27 |
tinted varnish that restores some of the
color that you lose by the absorpbancy of
| | 00:30 |
the stock.
And then there are textured varnishes,
| | 00:34 |
and they're really interesting.
They're a really hard thing to show, it's
| | 00:37 |
the sort of thing that you really have to
pick up and feel.
| | 00:40 |
And, of course, that's part of the
appeal.
| | 00:42 |
There are varnishes now that can add sort
of a sand like texture, and it's sort of
| | 00:46 |
an interesting story.
Those really arose out of problems with
| | 00:49 |
varnishes interacting with each other.
And then somebody realize that you could
| | 00:53 |
capitalized on that, and actually do it
intentionally.
| | 00:56 |
So, you'll feel some of those imprinted
pieces you encounter.
| | 01:00 |
There's also a very popular coding these
days called soft-touch, and it feels like velvet.
| | 01:05 |
And again, it's the sort of thing that if
we photograph, it really just looks like
| | 01:08 |
a matte finish, but when you pick it up
it's really delicious.
| | 01:11 |
And then there's some oddball things
going on.
| | 01:13 |
There are some finishes that add sort of
a rubbery feel, or a sticky feel.
| | 01:17 |
And you'll see those used sometimes,
especially in children's book, or in
| | 01:21 |
novelty pieces.
And although they're helpful for
| | 01:24 |
protection, sometimes varnishes can
subdue a color, and maybe you don't want that.
| | 01:29 |
Inks not just fluorescent inks that tend
to scuff if you apply varnish you protect
| | 01:32 |
it, but you're also going to lose some of
that vibrancy, so you have to decide you
| | 01:35 |
know which is more important.
And in the past sometimes if you
| | 01:41 |
varnished metallic inks you'd lose some
luster with them.
| | 01:44 |
But the Newer Pantone Premium metallics
don't lose any luster when you varnish them.
| | 01:49 |
So, you can protect them, and you're not
going to lose any of that wonderful shine.
| | 01:52 |
And then here's a little consideration.
If you're printing a job on what we call
| | 01:56 |
non-paper stocks, such as the Yupo stocks
which are plastic, or Tyvek, and you'll
| | 02:00 |
hear that called a non-woven stock.
You can't really use a lot of the
| | 02:05 |
conventional varnishes, so you're
going to have to use UV coatings.
| | 02:09 |
Is that a big deal?
No, it might add a little bit to the cost
| | 02:12 |
of the job, but it's something you just
kind of have to deal with.
| | 02:15 |
And the whole goal after all is to make
sure that your printed piece comes out
| | 02:19 |
the way you expect.
So, while varnishes in these sense don't
| | 02:23 |
really add to look of a piece, they can
add to the feel of it or they can add to
| | 02:26 |
the permanency of the job.
| | 02:29 |
| | Collapse this transcript |
| Combining different types of varnish to add dimensions| 00:01 |
Here you can compare the look of just ink
on paper, and then the addition of gloss
| | 00:04 |
varnish, and then matte varnish.
There's a difference in reflectivity of
| | 00:09 |
course, but notice that the color of the
ink underneath doesn't really change.
| | 00:14 |
So you might keep this in mind for a
future project.
| | 00:17 |
It sort of changes the texture, when the
matte varnish is applied, or the gloss
| | 00:20 |
varnish is applied.
And you almost get three different looks,
| | 00:24 |
just for using two different varnishes.
So, remember this when you want to add
| | 00:28 |
just a little visual interest, something
a little bit subtle, but just something
| | 00:31 |
to give a unique look to your job.
| | 00:34 |
| | Collapse this transcript |
| Aqueous flood coatings| 00:00 |
The aqueous coating has been applied just
to half of the ink area.
| | 00:04 |
And this is just to you can compare the
look of just the ink by itself with this
| | 00:07 |
aqueous coating.
Even though it's just covering part of
| | 00:11 |
it, this is not usually applied as a spot
coating.
| | 00:14 |
This is just to show what happens when
you apply what's called a flood coating.
| | 00:19 |
And the nice thing about that is that you
can add shine, there are times when this
| | 00:22 |
is helpful if you want to protect certain
inks especially on pieces that are going
| | 00:25 |
to be handled a lot, like pieces that are
going to be mailed.
| | 00:30 |
But also this is applied in line so, it's
not something that takes a separate
| | 00:33 |
process, it's something that happens on
press.
| | 00:37 |
So, you can have both gloss and matte
aqueous coatings.
| | 00:40 |
Most of the time people opt for the
gloss, but it's very easy to apply.
| | 00:44 |
It adds a little bit of shine to the job,
and again, it can also offer some
| | 00:47 |
protection, to the final printed piece.
| | 00:49 |
| | Collapse this transcript |
|
|
4. PhotoshopCreating a multitone image (duotone and tritone)| 00:01 |
I'm working on a project that's going to
print in two colors.
| | 00:03 |
Pantone 185 which is a red and process
black.
| | 00:07 |
So, because I want my images to look a
little bit more interesting, I'm going to
| | 00:10 |
turn them into duotones.
So, here's the finished product, and I
| | 00:14 |
want to show you how you get from point A
to point B.
| | 00:18 |
An interesting thing to know about
duotones is that under the hood, they are
| | 00:21 |
really grayscale images.
I'll show you why.
| | 00:23 |
A duotone is really under the hood still
the original grayscale image with some
| | 00:27 |
instructions attached that tell the
output device what to do.
| | 00:32 |
So, my grayscale plus the duotone
settings that I add to it, become a
| | 00:35 |
duotone, the output device a plate
setter, understands that it's going to
| | 00:38 |
generate two inks, one for the black and
one for the Pantone 185.
| | 00:43 |
And you'll notice, this is kind of
interesting, the file size really doesn't
| | 00:48 |
change much.
So, the original image is 1.7 megabytes.
| | 00:53 |
The duotone is 1.8, and that little extra
is because of those settings that are
| | 00:56 |
attached to that file, and exercised by
the output device.
| | 01:01 |
So, since I need to start with a
grayscale image, I guess I should convert
| | 01:04 |
this to grayscale.
Well let's see what happens.
| | 01:07 |
If I go to Image > Mode, and Grayscale,
for one thing Photoshop says, are you
| | 01:11 |
sure you want to do it this way?
Well I'll show you what happens when you do.
| | 01:16 |
His shirt doesn't look very interesting.
It's a little bit dull, because we've
| | 01:20 |
taken it from that nice red of course, to
grey.
| | 01:23 |
There's a better way to do this, and
that's what Photoshop was talking about.
| | 01:28 |
If you want to control how individual
hues in a color image are converted to
| | 01:31 |
grayscale, you can use this wonderful
adjustment called the Black and White Adjustment.
| | 01:36 |
So, when I click on that, it gives me
little sliders, and notice that it lets
| | 01:40 |
me control each individual hue.
Now, none of the rest of these are
| | 01:44 |
pertinent in this image.
All I really care about It's what's
| | 01:47 |
going to happen to the red.
So, I could make it much, much lighter,
| | 01:50 |
that's a little bit weird, or I could
make it much, much darker.
| | 01:53 |
But notice, it's not really affecting
remainders of the image.
| | 01:57 |
Now his skin tone is going to have a
little bit of red in it.
| | 01:59 |
So, it's going to affect it to certain
extent, but not as much as it affects the shirt.
| | 02:03 |
So, I just want to lighten it a little
bit, just so I show a little bit more
| | 02:06 |
detail back in that shirt.
And notice that because it's an
| | 02:10 |
Adjustment layer, it's non destructive.
So, let me close my properties here.
| | 02:14 |
An you can see under the hood, this is
still the color image.
| | 02:18 |
So, it's not really a grayscale yet.
I need to do one more step.
| | 02:22 |
I need to exercise this Adjustment layer,
and I need to turn this to a real
| | 02:25 |
grayscale, so that I can start on my
duotone.
| | 02:29 |
If I go to Image Mode in Grayscale,
Photshop's going to intercept me and
| | 02:31 |
says, now if you really want to exercise
that Adjustment layer, you're going to
| | 02:34 |
have to flatten it first.
So, be sure to flatten.
| | 02:39 |
And then you get that little warning
again.
| | 02:41 |
But you've done what it asked you to do.
And now you have this nice grayscale as a
| | 02:44 |
starting point.
So to make a duotone, I just go to Image
| | 02:48 |
> Mode, and Duotone.
And it starts out with Monotone, which is
| | 02:52 |
just black, and that's just a black and
white image.
| | 02:55 |
But you can create Duotones, Tritones,
Quadtones, and those are just what you
| | 02:59 |
think they are.
Three inks, four inks, of course, I want
| | 03:02 |
a Duotone.
When you start out, it doesn't have any
| | 03:06 |
idea what color you want to use.
Now if you had created a duotone
| | 03:09 |
previously, this field's going to be
populated with whatever spot color you
| | 03:12 |
used in the past.
So, I'm going to pick my 185, all I have
| | 03:16 |
to do is click in that little square, and
this is not the way to do it, you don't
| | 03:19 |
just pick a red, that would be not what
you want.
| | 03:23 |
What you want to do is you want to shop
through your color libraries.
| | 03:27 |
And remember that in Photoshop CS6, and
beyond, Pantone Plus is used.
| | 03:32 |
So, that means that you can still use
your old Pantone books to pick your
| | 03:35 |
number, but it's just going to designate
it as the Pantone Plus.
| | 03:40 |
I know I want 185, it would take me all
day to scroll down here and find that.
| | 03:45 |
Here's an easier way to do it.
When you know the number that you want,
| | 03:47 |
just type it, you need to type it really
fast.
| | 03:50 |
If I just type 185, oh it just sees the
5.
| | 03:54 |
So, you need to do it really fast, 185,
up, almost.
| | 03:58 |
There I got it.
So, there's now 185, click OK, and there
| | 04:02 |
we go.
But this looks pretty heavy.
| | 04:05 |
Notice it's everything in one place, 185
is as strong as it can be, and so is the
| | 04:09 |
black, this is not the effect that I
want.
| | 04:13 |
If I want to control how the grayscale
values are then mapped to the spot color
| | 04:17 |
values, I'm going to use these little
controls.
| | 04:21 |
So, first of all, I have to decide which
is going to be the predominant color.
| | 04:24 |
Is it going to be mainly a black and
white image with just a little touch of red?
| | 04:28 |
Or is it going to be mainly a red image
with just a little touch of black to
| | 04:31 |
carry some shape?
Well, let's see what we want to do.
| | 04:35 |
So, I'm going to click on this little
diagonal line, and all that really is, is
| | 04:38 |
the diagonal of the curve.
So, if I reduce the black greatly then
| | 04:42 |
the red is the predominate color.
So, we'll try that and see what we think.
| | 04:48 |
Now when I come back into the Pantone
control, I probably don't want it this
| | 04:52 |
heavy, so I start pulling down on that
little curve.
| | 04:56 |
And you notice as I go to different parts
of the curve, little tiny points, they
| | 04:59 |
may be hard to see, but there are little
anchor points on this curve.
| | 05:04 |
So, you can see where it was 50, not it's
going to image as 24.4.
| | 05:08 |
You probably want to round that off, it
doesn't really matter.
| | 05:11 |
It's really go by what you think it's
going to look like.
| | 05:14 |
Don't worry too much about the numbers,
unless somebody gave you a recipe for
| | 05:17 |
making it duotone.
So, now we have fairly equivalent values
| | 05:21 |
between the black and the 185.
So, I think I might go back into the
| | 05:26 |
black and reduce that even farther.
So, if I pull down on that, now you see
| | 05:30 |
the red is leaving, the black is still
holding the shape.
| | 05:34 |
And I almost have what we often call a
skeleton black, and that means that you
| | 05:37 |
really don't have that much black until
you start to get to the midtones and beyond.
| | 05:43 |
And why would you do that?
Because the black is holding the shape,
| | 05:46 |
it's showing you the shadows, and the
creases, and so fourth, but the red is
| | 05:49 |
still winning.
And then I might go back into the
| | 05:52 |
Pantone, and reduce that a little bit
more, when I get up to the three quarter point.
| | 05:57 |
because I don't want it heavy black, and
heavy red, all in the same spot.
| | 06:02 |
So let's see what we think.
There's before.
| | 06:05 |
There's after.
I think that's pretty good.
| | 06:07 |
Now, what if I decide I want to use this
again?
| | 06:11 |
Well, if I click on the curve for the
185, I can choose Save, and then I can
| | 06:15 |
save this wherever I want it.
And I'm just going to call this 185.
| | 06:22 |
And save it, click OK.
So, what does that mean?
| | 06:25 |
Well, I'll show you, if I want to start
over, all I have to do is sort of pull
| | 06:28 |
these little points off.
You just sort of, yank on them, an they
| | 06:32 |
go away.
So, I'm almost there, one more little point.
| | 06:36 |
Or the other way to do it, is to just
come into one of these little fields, hit
| | 06:39 |
your Delete key.
So, there we go.
| | 06:42 |
Now if I want to load that 185, all I
have to do, is go to my Documents,
| | 06:46 |
there's my 185.
Click Open, an there's my curve.
| | 06:52 |
So remember this, when you get a recipe
that you really like, and you want to
| | 06:55 |
invoke it again later, save that curve an
then you can load it in, an give yourself
| | 06:58 |
a little bit of a head start.
So, there's my duotone, I think I like it.
| | 07:03 |
Now what format am I going to use when I
save this file.
| | 07:07 |
Well since I plan to use it in InDesign,
I'm just going to save it as a PSD.
| | 07:11 |
In the olden days we had to save a
duotone as EPS.
| | 07:16 |
And you really don't have to do that
anymore.
| | 07:17 |
If you're in the habit of doing that, you
know what it's time to break that habit.
| | 07:21 |
There's really no harm in EPS, it's still
going to image correctly.
| | 07:25 |
But PSD's are going to be a little bit
smaller on disc, and there's really no
| | 07:28 |
reason to use EPS.
We don't need it to make an image correctly.
| | 07:33 |
Now what if I want to do something that
looks like a black and white, but has a
| | 07:36 |
little more shape to it.
Has a little more definition to it, and
| | 07:39 |
looks a little bit more high quality.
To do that I think I might create a Tritone.
| | 07:45 |
So, let me go back, go back to Image
Mode, and then I'm going to go to
| | 07:49 |
Duotone, and I'm going to make this a
Monotone again, just as sort of a fresh start.
| | 07:55 |
I'm going to click on my Black Plate
controls here, I'm going to take it back
| | 07:59 |
to my original.
There we go.
| | 08:03 |
And for my Tritone, which is going to be
three colors.
| | 08:06 |
This is a trick that you'll often see
done.
| | 08:09 |
It's going to look like a black and white
when it's printed, but it's just going to
| | 08:11 |
look smoother.
It's going to look like it's a little bit
| | 08:14 |
higher quality.
You use some grains, so I'm going to
| | 08:16 |
click here.
Again go to my Color Libraries, and I
| | 08:20 |
want Cool Gray 6, and Cool Gray 9.
So, how am I ever going to find that,
| | 08:25 |
type CO, that gets you in the
neighborhood.
| | 08:27 |
So, there's my Cool Grays, and I'm
going to try to scroll down.
| | 08:31 |
Trying to do that on the right will make
you crazy, the easy way to do it, is to
| | 08:34 |
just use your Arrow keys on your
keyboard, here's my Cool Gray 6.
| | 08:39 |
And now I'm going to add my Cool Gray 9,
and again just go to the Color Libraries,
| | 08:42 |
type CO to get yourself in the
neighborhood, use your Down Arrow keys
| | 08:46 |
and there's my Cool Gray 9.
And of course this looks really, really
| | 08:51 |
heavy now, because remember, it's taking
the values in the original grayscale,
| | 08:54 |
it's mapping them to the potential values
in the final inks.
| | 08:58 |
So, we want to back off on the black
quite a bit, because we want to have the
| | 09:01 |
Cool Gray 6 carry sort of the
quartertones and midtones.
| | 09:06 |
We want to have the Cool Gray 9, go from
midtones to three quartertones.
| | 09:10 |
So, we're going to make a skeleton black
that really just carries the heaviest
| | 09:14 |
shadow shapes.
So, I'm going to pull way down on this,
| | 09:18 |
so already it looks a little better.
The Cool Gray 6, again, I'm going to have
| | 09:23 |
that carry from highlights to midtones.
You may find that sometimes it adds up so
| | 09:29 |
much in the end of the things that you
pull down a little bit on the high end,
| | 09:32 |
so that you don't have three inks piling
up in the deepest parts.
| | 09:36 |
But you still want to have some
definition.
| | 09:38 |
That's starting to look better.
And then finally on the Cool Gray 9.
| | 09:42 |
I'm not going to have that down in the
highlights.
| | 09:45 |
I might have a little bit in the
midtones, but it's really going to carry
| | 09:48 |
the three quartertones and up through the
shadows.
| | 09:50 |
I might actually pull up a little bit on
that.
| | 09:53 |
I think that looks pretty good.
But it's getting a little bit heavy in
| | 09:56 |
the middle of the camera lens, so I think
I'm going to come back in and pull down a
| | 09:59 |
little bit more.
And the Cool Gray 6, and I might end up
| | 10:04 |
going back and reworking the grayscale a
little bit.
| | 10:08 |
I might use some shadow highlights to
open this up, but I think I have a good
| | 10:12 |
Tritone recipe here.
So again, it looks like a grayscale, but
| | 10:16 |
when you see something like this printed,
you'll see that it just looks a little
| | 10:19 |
bit more high quality.
It's smoother, it has a little bit more
| | 10:23 |
character to it.
And on something like an annual report,
| | 10:26 |
this is a treatment that's frequently
used.
| | 10:29 |
So, just remember how these are created.
They really just start life as a
| | 10:32 |
grayscale, so the better your grayscale,
the better your Duotone or Tritone is
| | 10:35 |
going to look.
Remember the little trick about the
| | 10:38 |
Adjustment layers, and using that black
and white conversion initially from your
| | 10:41 |
color image.
So, that you can control how those hues
| | 10:44 |
are converted.
And then use the Duotone controls, to
| | 10:47 |
control how each ink is going to be
output.
| | 10:50 |
And the great thing about this is, even
though you're only using two or three
| | 10:53 |
colors on your job, you're really making
the most of those two or three inks.
| | 10:57 |
| | Collapse this transcript |
| Creating a simple spot color channel| 00:01 |
I'm starting with this nice, color image,
but I'm going to use it on a project
| | 00:04 |
that's just printing in two colors, a
Pantone 354 green, and black.
| | 00:10 |
So, I want to do something sort of
interesting to him.
| | 00:12 |
I don't want to use just a standard
duotone.
| | 00:14 |
I want to make sort of an interesting
effect, where I have a solid hit of that
| | 00:18 |
spot color right where his shirt is.
So, I need to do a couple things to
| | 00:22 |
prepare for that.
First of all I have to start by making my
| | 00:24 |
gray scale image.
And I'm going to use that nice black, and
| | 00:28 |
white adjustment.
Now, a little tip, if you want to use
| | 00:30 |
that black and white adjustment you have
to start with an RGB image.
| | 00:34 |
You'll find that adjustment isn't
available if you start with a CMYK image.
| | 00:38 |
So, if that's what you have, you'll have
to convert it to RGB first, and then you
| | 00:41 |
can do it.
So I have an RGB image, I'm going to use
| | 00:44 |
my Adjustment layer, and I'm actually
going to lighten up a little bit, and
| | 00:48 |
then I'm going to come back and do a
local correction, to the shirt.
| | 00:53 |
So remember, I still have a color image,
even though it looks gray scale, it's
| | 00:56 |
really still an RGB image.
You can see those channels are still
| | 00:59 |
here, in the Channels panel.
So first you need to make it an official
| | 01:03 |
gray scale image, by going to Image >
Mode and Grayscale, and then Photoshop's
| | 01:06 |
going to warn me that I need to flatten
in order to exercise that adjustment, so
| | 01:10 |
I will flatten.
And of course if you get tired of seeing
| | 01:14 |
these you can always check that Don't
Show Again box.
| | 01:17 |
Now I have a good old fashioned gray
scale image.
| | 01:19 |
But I want to pump up the dark parts of
this shirt, so that I sort of accentuate
| | 01:23 |
the creases and I want to lighted the
lighter parts and the mid tones, in order
| | 01:26 |
to leave room for that greens that's
going to come in on top of it.
| | 01:32 |
Otherwise it looks a little bit heavy.
So, sort of like a cooking show, I happen
| | 01:35 |
to have a mask, and I'm going to use
that.
| | 01:38 |
So, I'm going to go to Select and Load
Selection, and I'm going to use that shirtmask.
| | 01:44 |
And, I think for this I'll just use
Levels.
| | 01:46 |
I'm going to drag this little midpoint
slider a little bit to lighten up the midtones.
| | 01:51 |
Remember, it's just happening to the
shirt.
| | 01:52 |
See, it's just the shirt that's being
affected because of that active
| | 01:55 |
selection, I'm going to add a little bit
of white by dragging the black point slider.
| | 02:00 |
This is a fairly heavy green, so we want
that shirt to be able to sort of fight
| | 02:03 |
back, and I'm going to lighten up the
lighter ends.
| | 02:06 |
You don't want to really get rid of
everything, I just want to lighten things up.
| | 02:09 |
So, when I close properties, if I turn
that Adjustment layer off and on, you can
| | 02:13 |
see that I've lightened up the shirt, but
I haven't gotten rid of the content of
| | 02:16 |
it, I still have some gradation.
To do what I want to do next, I'm
| | 02:21 |
going to flatten this.
So, I can choose either Merge Down or
| | 02:24 |
Flatten, either choice is going to really
result the same.
| | 02:28 |
Now I need to make my Spot Channel.
Now I have two channels already in this image.
| | 02:33 |
But they're Alpha Channels, they're just
places to store mask.
| | 02:36 |
What I need is a special kind of channel
which is a dedicated Spot Channel.
| | 02:40 |
So, in the Channel's Panel Menu I just
choose New Spot Channel.
| | 02:44 |
When I click color, it thinks I want to
pick something out of the picker.
| | 02:47 |
But I don't, I want an official Pantone
color.
| | 02:50 |
So, when I go to Color Libraries, I can
choose the correct color.
| | 02:54 |
I want to choose Pantone 354, so I'm just
going to type 354 really fast, there we go.
| | 03:00 |
When I click OK.
I now have my new spot channel, but
| | 03:03 |
again, it has nothing in it to begin
with, so I need to populate it.
| | 03:07 |
Now this going to be a solid hit of that
Pantone 354, so what needs to happen in
| | 03:11 |
this channel is I need to have a solid
fill of black to represent that solid
| | 03:15 |
fill of ink that's going to print.
So I'm going to use my shirtmask.
| | 03:22 |
Now here's another way to load a
selection; this is actually my favorite way.
| | 03:24 |
If you'll just drag it down to this first
little icon, which is, make a selection,
| | 03:28 |
there you go, there are my marching ants.
Now I want to fill this with black.
| | 03:33 |
So if I, were to change my background
color to black an hit Delete you would
| | 03:36 |
think that would happen.
when I hit Delete, I get the content
| | 03:40 |
aware fill.
Well actually the fill dialog remembers
| | 03:43 |
the last choice you made, but the default
is content aware.
| | 03:46 |
Oh, that's not what I want.
Well, I could choose black.
| | 03:49 |
Frankly, that's the long way around.
Let me show you a little trick that I
| | 03:52 |
like of course, it's up to you to do it
however you want.
| | 03:55 |
What I like to do is use a keyboard
shortcut to do this.
| | 03:59 |
So, if I switch my foreground and
background colors, then I can hit
| | 04:02 |
Opt+delete or Alt+delete.
And that's the short cut for fill with
| | 04:06 |
foreground colors.
That's my solution, just swap them, so
| | 04:09 |
that I have black as my foreground color,
hit Opt or Alt+delete and there we go.
| | 04:14 |
A little faster then writing out that
dialog.
| | 04:16 |
So, remember I specified this is Pantone
354, when I turn the gray channel back
| | 04:20 |
on, this is how it's going to print.
Pretty cool, huh?
| | 04:25 |
So, this is the only way to control
exactly where spot colors are going to
| | 04:29 |
fall in a multicolor image.
You can't do it with a standard duotone,
| | 04:33 |
you have to do it manually, like this.
The one other thing I wanted to do, of
| | 04:37 |
course, was separate him from the
background.
| | 04:39 |
So, to do that I could just bleach out
the background, but what if I wanted to
| | 04:42 |
put him in on top of something else when
I wanted to show behind him.
| | 04:46 |
Well then I would just have opaque white,
so that's not what I want.
| | 04:50 |
First of all, to get rid of my shirtmask
just to make the file a little bit smaller.
| | 04:55 |
Generally speaking I keeps those things
around until the last minute, but I think
| | 04:58 |
I'm going to be okay here.
If I want to silhouette him, I can't do
| | 05:03 |
that with this background layer.
The reason is that a background layer is
| | 05:07 |
sort of glued to the ground, it can't
have transparency.
| | 05:10 |
So, this needs to be a floating layer,
before I can mask it off, so that he's
| | 05:14 |
just floating in empty space.
So, first thing I'm going to do is, I'm
| | 05:19 |
going to load the Selection.
That is this knock out selection that I'd
| | 05:22 |
already make.
So, it's a channel that already exists
| | 05:25 |
near my marching ants.
In order to mask this, I need to convert
| | 05:29 |
this to a floating layer.
All you have to do is double-click on
| | 05:32 |
that background, and of course you can
give it a name if you want.
| | 05:36 |
I'm just going to leave it at Layer 0,
and click OK.
| | 05:39 |
And now at the bottom of the Layers
panel, I'm going to choose Add Layer Mask.
| | 05:43 |
And there we go.
And that gingham, of course, is how
| | 05:46 |
Photoshop shows you that this is
transparent.
| | 05:48 |
So, now I can save this image just as it
is, it's going to print in two colors.
| | 05:53 |
And I can put it into Illustrator or into
InDesign.
| | 05:56 |
And he's going to be floating on empty
space.
| | 05:58 |
It's all going to be transparent behind
him, and that way anything that's behind
| | 06:01 |
him is going to show around him.
So, remember how we got here, started
| | 06:06 |
with my color RGB image, used the black
and white adjustment in order to convert
| | 06:09 |
it to a little bit better gray scale.
Need a spot color channel, and then fill
| | 06:15 |
that area of his shirt using a mask in
order to apply that spot color green just there.
| | 06:20 |
So it's really not that hard once you do
it once or twice, and sometimes it's just
| | 06:24 |
a little more interesting result than
just making a standard duotone.
| | 06:30 |
| | Collapse this transcript |
| Creating a touch plate to enhance a color image| 00:00 |
This artwork is going to be used in a
fashion ad, and the shirt that it's
| | 00:03 |
representing, looks magenta onscreen, but
in reality it's going to be a fluorescent pink.
| | 00:09 |
An we're going to use a fluorescent pink
when we print this, so that it's more
| | 00:12 |
representative of the real article.
But we want to have some definition to
| | 00:16 |
it, we want to have a little shape, a
little shading, so we don't want just a
| | 00:20 |
flat shape, shaped like, the shirt.
So we're going to create what's called a
| | 00:24 |
touch plate, or bump plate, or kiss plate
it's different terms for the same thing.
| | 00:30 |
And you'll see it used in fine art
prints, often to accomplish a color that
| | 00:33 |
we can't get within the range of CMYK.
It's a subtle change, but it's just
| | 00:37 |
enough to make a more realistic print.
So, I already have some masks made, that
| | 00:42 |
are going to come in handy, I have one
for the little squiggles on the pants.
| | 00:46 |
One to isolate the shirt, and then one
for the shirt and pants together just in
| | 00:50 |
case I need that.
And then let's look at what we have in
| | 00:54 |
the process color channels at the moment.
There's the cyan, and now that has some
| | 00:58 |
nice shading to it.
And that could come in handy for giving
| | 01:01 |
some definition to the shirt.
But the problem with that is, that if
| | 01:05 |
that cyan falls underneath the pink
fluorescent that we're going to print,
| | 01:08 |
it's going to turn that a little bit
blue, and we don't want that.
| | 01:12 |
But we're going to use this for something
else.
| | 01:14 |
The magenta, I'm going to need to get rid
of, because it's going to compete, it's
| | 01:17 |
going to shift that fluorescent and
really undo what I'm trying to accomplish.
| | 01:22 |
The yellow, there's nothing there.
The black right now just carries the line drawing.
| | 01:26 |
But here's a little tip.
I want the shading that I have right now
| | 01:30 |
in the cyan channel, but I don't want it
to change the hue of that pink that I'm
| | 01:33 |
going to put on top of it.
So, what I'm going to do, is I'm going to
| | 01:37 |
transplant this into the black channel.
And that way, I have something that's not
| | 01:41 |
going to change the cast of it.
It's not going to change the color of it.
| | 01:45 |
In other words, I'll have the shape and
shading in black, but it's not going to
| | 01:48 |
interfere with the shade of the pink.
So, that's my first task, is transplant
| | 01:53 |
this cyan content into the black channel.
So, I'm going to load that shirt mask by
| | 01:58 |
dragging it down to the make a selection
icon.
| | 02:01 |
There are my marching ants.
I'm going to Copy, and then I'm going to
| | 02:06 |
go into the black channel, and Paste.
And I think that's going to work pretty well.
| | 02:12 |
Although I think I would like a little
more contrast in it.
| | 02:15 |
I would like the dark parts to be a
little bit darker.
| | 02:17 |
And I don't want this black tint all the
way across the shirt, because that's
| | 02:20 |
going to sort of dull out the pink.
So, in other words I don't want something
| | 02:24 |
that competes with the spot pink that I'm
going to bring in.
| | 02:27 |
But I want something that kind of
supports it.
| | 02:29 |
So, I'm going to go into Image >
Adjustments and Levels.
| | 02:33 |
Now if you're wondering why I'm not doing
this with an Adjustment layer, it's
| | 02:36 |
because I'm working in an individual
channel.
| | 02:39 |
And Adjustments layers are for adjusting
layers, as you might expect, and here I
| | 02:43 |
just want to target this individual
channel.
| | 02:46 |
So essentially, I want to increase the
Contrast.
| | 02:49 |
So, I'm going to lighten up the light
end, and I'm going to drag the black
| | 02:52 |
point slider.
And you always end up sort of juggling,
| | 02:55 |
you know, one end against the other.
And then, of courses, there's little mid
| | 02:58 |
point guy.
So, I'm trying to clean out that sort of
| | 03:00 |
cast all over the shirt, but I want to
accentuate the little shadows.
| | 03:05 |
I think it's starting to take shape.
So, there aren't any perfect numbers, you
| | 03:12 |
know what you do is going to depend on
the nature of the piece you're working on.
| | 03:16 |
Now sometimes you'll find that the first
pass of this doesn't do quite what you
| | 03:19 |
want, so I'm actually going to hit it
again.
| | 03:21 |
I'm going to go to, back to Image >
Adjustments and Levels, and you can see
| | 03:24 |
that the histogram has changed.
See now I can make the dark parts darker,
| | 03:29 |
pull down on the top end there, that's
good.
| | 03:32 |
Its going to look like a little natural
sketch, and again the black is not
| | 03:35 |
going to change the cast of that pink
color.
| | 03:38 |
Well that's good, but now I need to go
back into the cyan channel, and I need to
| | 03:42 |
get rid of the cyan, because its going to
compete with the pink.
| | 03:46 |
So, I can just fill it with white, I can
just say Edit > Fill and choose White or
| | 03:51 |
I could have used my Option or
Alt+delete.
| | 03:57 |
I'm going to Deselect and let's see
what's going on.
| | 04:00 |
If we look back at the CMYK, you can
still see that there's Magenta there.
| | 04:03 |
So, that I need to clean out too, because
that's going to sort of kill that
| | 04:06 |
fluorescent pink that I want on top.
So, I can load the mask again.
| | 04:11 |
I could have just kept it going, but I
thought it was good to take a look at
| | 04:13 |
what we've accomplished so far.
So, now I'm going to go into just the
| | 04:17 |
magenta, and I'm just going to empty that
out.
| | 04:20 |
So, I'm just going to use my little
keyboard shortcut, my foreground color is
| | 04:23 |
white, so I'm going to use my
Option+delete or Alt+delete.
| | 04:27 |
So, its going to look a little anemic now
when I go back in, it just looks like
| | 04:30 |
black and white.
But now I'm ready to put in my pink,
| | 04:33 |
although I think I might want to get rid
of some of these little squiggles down here.
| | 04:38 |
So, I just happen to have a little pants
mask, and I want that to happen in all
| | 04:42 |
four colors, so I'm selecting what's
called the composite channel, it's just
| | 04:46 |
the CMYK.
And the same thing, I want to fill with
| | 04:51 |
white, so I'm just going to hit
Option+delete.
| | 04:54 |
There we go.
Now there's a little remnant of them, I
| | 04:56 |
may end up coming back later and cleaning
a little more out, but we'll see what the
| | 04:59 |
results are.
So, now I'm ready to bring in the spot color.
| | 05:04 |
So, in the Channels panel, I'm just going
to say New Spot Channel.
| | 05:08 |
And remember that if you're shopping
around, you need to know your color first.
| | 05:12 |
And I think I'm going to go for the 807.
It's a pretty brash color, but it's
| | 05:16 |
going to look really cool when this is
printed.
| | 05:19 |
So, notice, I'm in the Pantone Plus,
solid coded color library, and I'm
| | 05:22 |
picking the fluorescent color.
So, that's part of the color library,
| | 05:26 |
when I click OK.
And then click OK again, right now I just
| | 05:30 |
have, a completely empty channel.
But I'm going to take my shirt mask,
| | 05:35 |
activate that, and for now I want to fill
this with solid, so it's going to be a
| | 05:39 |
solid hit of this, but it's going to have
that black, that's going to change the
| | 05:43 |
shape of it a little bit.
So, I'm going to swap my colors, hit my Option+delete.
| | 05:51 |
And there's my fluorescent pink, and
let's see what this looks like so far, See?
| | 05:55 |
When that comes back on top of the black,
it's not going to change the color, but
| | 05:58 |
it's going to give it some definition.
So, now I have to decide what I want to
| | 06:02 |
do about the pants.
I have a little bit of shape going on in
| | 06:05 |
the other colors, but I think I probably
want to leave that there just to make
| | 06:08 |
them look a little bit different from the
shirt.
| | 06:12 |
If I want to get rid of them later I
always can.
| | 06:14 |
So, I'm going to turn off the visibility
of the CMYK, just so you can tell what's
| | 06:18 |
going on.
I'm in my Pantone 807 C channel, and I'm
| | 06:22 |
going to load the pants mask, and just do
the same thing, I'm going to fill it with
| | 06:25 |
that solid pink.
With my Option+delete, or Alt+delete,
| | 06:31 |
Deselect with a handy Cmd or Ctrl+D.
And you'll notice that these aren't solid.
| | 06:36 |
It may be a little hard to see, I'll zoom
in.
| | 06:39 |
So, they're not entirely solid, but we've
been told that they're not going to be
| | 06:42 |
quite as bright on the pants, because
it's a knit fabric, so it's sort of stretchy.
| | 06:47 |
So, this is actually going to give us a
more realistic result.
| | 06:50 |
Remember, you can always go back and tune
these up.
| | 06:52 |
I could use my levels or curves in order
to strengthen these little squiggles if I want.
| | 06:56 |
But let's see what we have so far.
I think this looks pretty good.
| | 07:00 |
So just remember this, touch plate, bump
plate, kiss plate, again different names
| | 07:04 |
in different circumstances, but it's the
same concept, it's adding a spot color to
| | 07:08 |
an existing four color file.
So, that you accentuate a color, or you
| | 07:14 |
manage to create a color that you
couldn't otherwise render in CMYK.
| | 07:19 |
And when you have all those colors in
Pantone books, think of all the fun that
| | 07:21 |
you could have with them.
| | 07:23 |
| | Collapse this transcript |
| Creating a spot varnish| 00:01 |
Here's an image that I want to do a
couple of special things to.
| | 00:04 |
First of all, I want to silhouette him,
so that I get rid of this background.
| | 00:07 |
And then I want to add a spot varnish to
him.
| | 00:10 |
So, an overall coating, would cover the
whole printed sheet, but a spot varnish
| | 00:13 |
is going to be applied just where I
specify.
| | 00:16 |
So, it's kind of a neat way to sort of,
accentuate him so that he's separated out
| | 00:19 |
from the background.
Not just by being silhouetted, but he'll
| | 00:23 |
have a little shine to him too.
First of all, of course I need to
| | 00:26 |
sillouette him, I just happen to have a
mask channel, so I'm going to load that
| | 00:29 |
mask channel.
And my favorite way is to just drag it
| | 00:33 |
down to the little make a selection icon,
now I have matching ants.
| | 00:37 |
I'm going to go back to my Layers panel,
and remember I have to turn him into a
| | 00:40 |
floating layer, so that I can apply that
mask.
| | 00:43 |
When I double-click, click OK, now he's a
floating layer.
| | 00:47 |
And since I already have my marching
ants, all I have to do is come down here
| | 00:51 |
and click the Add Layer Mask icon, and
there.
| | 00:54 |
Now he's silhouetted from the background.
So, when I place him in Illustrator or
| | 00:59 |
InDesign, he's just going to float on top
of whatever content is already there.
| | 01:04 |
And now I need to create that spot
varnish, well when I go in to channels
| | 01:08 |
and I choose New Spot Channel.
I don't want to use a Pantone color,
| | 01:13 |
because it's not going to be an ink, its
going to be a varnish that's shaped, like
| | 01:17 |
the guy.
So, frankly the color I apply really
| | 01:20 |
doesn't matter, its the name that's
really important.
| | 01:23 |
Now I always used sort of an ugly green,
so that it was pretty obvious what was
| | 01:26 |
going on.
But it's up to you, remember the color
| | 01:29 |
doesn't matter, the name does.
So when I click OK, I don't want to call
| | 01:33 |
it Spot Color One, I'm going to call it
Varnish.
| | 01:36 |
Now, the way you name this is important
in a couple of different ways.
| | 01:39 |
Well for one thing, it helps you
recognize what's going on here.
| | 01:42 |
But as you assemble this image into an
existing project, as you bring it into,
| | 01:45 |
let's say InDesign, you want to make sure
that you have consistent naming.
| | 01:50 |
So, if there were other images that
you're creating spot varnishes for, you
| | 01:53 |
want to name it exactly the same.
It wouldn't really matter what the color
| | 01:56 |
was, although I think it would be nice to
be consistent, but it's going to be the
| | 01:59 |
naming that's important.
So, if you have one image that has a spot
| | 02:03 |
varnish with a capital V, one has a lower
case v, InDesign is actually going to see
| | 02:06 |
that as two separate varnishes, and you'd
have to jump through some hoops to
| | 02:09 |
combine it.
So just kind of establish a naming
| | 02:13 |
convention as you strike this out.
And be sure to use it on every image.
| | 02:17 |
So, now when I choose OK, and I turn on
my Varnish, I don't see anything, because
| | 02:21 |
right now it's just empty.
So, I need to fill just the area of the
| | 02:26 |
guy with a solid coverage for that
Varnish..
| | 02:29 |
So again, I'm going to load that knock
out, there are my marching ants.
| | 02:34 |
I want to make sure that I'm in that
varnish channel.
| | 02:37 |
Double check by turning off your CMYK,
and then I'm going to fill it with black
| | 02:40 |
indicating solid coverage of that
Varnish.
| | 02:44 |
Again, I like to turn my foreground color
to whatever color I want to use it for fill.
| | 02:48 |
Hit Option or Alt+delete there we go.
Now when I turn back on the CMYK, you
| | 02:52 |
know he looks a little bit sickly, but
its a great visual reminder that you have
| | 02:56 |
something else going on in addition to
the image.
| | 03:00 |
I'm going to clean up my image a little
bit by getting rid of that KO.
| | 03:03 |
If I ever needed it back I could reclaim
it from that Varnish, or from my Layer mask.
| | 03:08 |
But now I have the guy floating on space,
so that when he goes into InDesign, which
| | 03:11 |
is where I'm going to use him, he wont
cover up anything that's underneath.
| | 03:16 |
And now I have my spot varnish.
So, this is a really easy trick to do,
| | 03:19 |
frankly the hard part is creating the
mask.
| | 03:22 |
But you needed that anyway to silhouette
it.
| | 03:24 |
So, just remember your names have to be
consistent, so that when you assemble
| | 03:27 |
this into InDesign, that everything falls
into place.
| | 03:30 |
| | Collapse this transcript |
|
|
5. IllustratorAdding Pantone color swatches| 00:00 |
Once you've decided to use a spot color,
how do you get them?
| | 00:03 |
So, here I am in Illustrator, I go to my
Swatches panel, I have a global color
| | 00:07 |
that I've used for the orange on all
these little orange shapes, but that's
| | 00:11 |
still a process build.
And my client has told me that they want
| | 00:16 |
to use Pantone 021, which is very vibrant
orange.
| | 00:20 |
Because orange is one of those colors
that really doesn't render well in CMYK.
| | 00:24 |
You can come close, but you can't get a
really vibrant orange.
| | 00:27 |
So, I know what color they want, now I
have to add it to my Swatches panel and
| | 00:31 |
apply it to all these shapes.
The lower left hand corner of the
| | 00:35 |
Swatches panel in Illustrator, there's
the Swatch Library, and you'll see that
| | 00:38 |
there are a ton of them in here.
When you're looking for a Pantone color
| | 00:42 |
though, your first temptation, I think,
is to look in the P's and there's no Pantone.
| | 00:46 |
That's because they are under Color
Books, and that's because Pantone is not
| | 00:50 |
the only ink reference available.
Although you'll find it's the most widely
| | 00:54 |
used one, ANPA for example is used in
newspapers, TOYO is used in Japan,
| | 00:58 |
TRUMATCH is actually not a spot color
reference at all, it's actually a book
| | 01:01 |
full of process swatches.
And in fact Pantone dopesn't necessarily
| | 01:07 |
mean spot, you can see that there's
Pantone CMYK Coated and Uncoated.
| | 01:12 |
The Color Bridge is great resource, It
shows you spot colors, next to the
| | 01:15 |
closest CMYK equivalents, then of course
metallics and pastels, and so forth.
| | 01:21 |
The most commonly used one, is the
Pantone Solid reference.
| | 01:25 |
You'll notice that they're solid coated,
and Solid Uncoated.
| | 01:28 |
Now that doesn't refer to the ink.
The Pantone O21 that I plan to use is
| | 01:31 |
Pantone O21 regardless of whether it's
being applied to coated stock, or
| | 01:35 |
uncoated stock.
It's just that when an ink is applied to
| | 01:39 |
uncoated stock it tends to spread a
little, and it looks a little darker, and
| | 01:42 |
it looks a little duller.
So, these two libraries try to replicate
| | 01:46 |
on screen the way the ink's going to
look.
| | 01:49 |
Now, you probably know that your monitor
and a printed piece are not going to be identical.
| | 01:54 |
I'm going to tell you, generally
speaking, I just pick from the solid coated.
| | 01:57 |
I know what color I want, I don't count
on the screen to tell me exactly the true
| | 02:00 |
story, so at least I know I'm specifying
the right ink.
| | 02:04 |
Let me show you something nice that
started in Illustrator CS6.
| | 02:08 |
This find field, at the top of the little
library window, lets you immediately type
| | 02:11 |
the number that you want, but if you're
using an older version of Illustrator
| | 02:14 |
you're not going to see that.
You're just going to see this and you're
| | 02:19 |
looking at all these little squares and
you're trying to figure out which one is
| | 02:21 |
the color you want.
Well you could do this, you could choose
| | 02:25 |
Small List View from the Panel Menu, then
at least you get to see the names, but
| | 02:28 |
you can see how it goes on and on
forever.
| | 02:32 |
So, the quick way to do this, if you're
using an older version of Illustrator, is
| | 02:35 |
to show that Find Field.
So, this little phrase makes no sense
| | 02:39 |
when you first see it, Show Find Field,
until you know that there's something
| | 02:42 |
called the Find Field and you need to
show it.
| | 02:45 |
So, when you choose that, this will show
up.
| | 02:47 |
Remember, in CS6 we got this for free.
Now, after all these years we could
| | 02:52 |
finally have the find field, so I know I
want 021, so I'm going to type 021.
| | 02:56 |
But while I'm here I want to show you
what I considerd to be a little bit of a
| | 02:59 |
bug in Illustrator.
Let's say that I wanted Pantone 485,
| | 03:03 |
that's a very commonly used color, It's a
red.
| | 03:06 |
So, I highlight this and I type 485, and
Illustrator says, how about a nice 1485?
| | 03:12 |
Now that's pretty, but that's not what I
wanted.
| | 03:14 |
I wanted 485, so I try it again, 485, no
it wont do it.
| | 03:20 |
So, this little bug will drive you nuts.
You don't have to scroll down to find
| | 03:23 |
that color though.
There's a way to trick it into doing the
| | 03:26 |
right thing.
It's a little crazy but this works.
| | 03:29 |
If Illustrator doesn't give you the right
number, but you can see that it's hearing
| | 03:32 |
part of it.
Do this, hit your Spacebar, then type the number.
| | 03:36 |
So, when I hit spacebar, and then 45,
then it gives me the color I want.
| | 03:40 |
Why it's like that?
I don't know, I'm just telling you that,
| | 03:42 |
because it's a way to get out of it, when
it's driving you crazy, when your trying
| | 03:45 |
to pick a color and it wont let you.
So, I know I'm at, want my 021, and it's
| | 03:50 |
been added up here, so I'm going to close
this up.
| | 03:55 |
And I want to select all these little
orange shapes, and apply that 021.
| | 03:58 |
Now I could Shift+Click and get them all,
frankly I think the easiest way is to
| | 04:02 |
come up here to Select and choose Same,
in this case they all have the same fill,
| | 04:05 |
so I'm going to say select everything
that uses the same fill color.
| | 04:10 |
And then I'm going to add that 021.
There, that's much better.
| | 04:14 |
Now, let me double check, it's a pretty
simple page.
| | 04:17 |
I don't think I've missed anything, but
it's always a good idea to use those
| | 04:19 |
forensic tools that are available to you.
So, under View > Overprint Preview.
| | 04:24 |
All right, everything looks good.
And under Window, when I choose
| | 04:28 |
Separations Preview, I can turn off that
021 and everything that ought to go away,
| | 04:33 |
goes away.
Oh, but I have these extra colors and
| | 04:36 |
that's kind of confusing me.
So, it's a good idea to clean everything up.
| | 04:40 |
I'm going to come over here to my
Swatches panel, and I'm going to say that
| | 04:43 |
I want Illustrator to get rid of
everything that I haven't used.
| | 04:46 |
Select all unused and then when you hit
the Trash Can you get this little alert.
| | 04:51 |
But I'll show you a trick.
If you choose Select All unused and then
| | 04:53 |
you hold down the Option or Alt key and
hit the Trash Can, then you don't get the
| | 04:56 |
little alert.
And that saves you a little bit of time.
| | 05:01 |
So, now there's my little spot color, I
know that my job's going to print correctly.
| | 05:05 |
And now you know where to go shopping to
find your Pantone colors.
| | 05:09 |
Just go under Color Books And then most
of the time as I say you're going to go
| | 05:12 |
to solid coded at least no you know where
to find all of these
| | 05:16 |
| | Collapse this transcript |
| Using Overprint Preview to proof the display of spot color transparency| 00:01 |
I have some simple shapes here, but I'd
like to make them look a little bit more
| | 00:03 |
interesting so I'm thinking about using
Blending modes.
| | 00:07 |
But, let me give you a little caution.
When you're using Blending modes in
| | 00:10 |
Illustrator and they're involving spot
colors, Illustrator doesn't always tell
| | 00:14 |
you the truth about what's going to
happen.
| | 00:17 |
First of all, let's find out what's going
on in the file.
| | 00:19 |
If I go up to Window in Separations
preview, and then turn on Overprint
| | 00:23 |
Preview, then I can see what colors are
used in the file.
| | 00:27 |
Now, I know there's no cyan image on
yellow.
| | 00:30 |
There's black, and then a spot green,
Pantone 339, and a yellow, and an orange.
| | 00:37 |
So, it looks kind of dull, so let's see
what happens if I start using some
| | 00:40 |
Blending modes.
I'm going to turn Overprint Oreview back off.
| | 00:44 |
And then, I'm going to select this orange
flower and see what might be interesting.
| | 00:49 |
How about if I use Color Dodge?
Oh, that's kind of cute.
| | 00:53 |
And then maybe my yellow flower, I could
use Soft Light.
| | 00:57 |
Yeah, that's sort of nice.
I still see the shape, but it sort of
| | 01:00 |
interacts with what's in the background.
But I had some bad news for you.
| | 01:04 |
This is actually not how this would
image.
| | 01:06 |
If I go up to View, and it's near the top
so it's easy to miss.
| | 01:09 |
Over Print Preview will tell me the
truth.
| | 01:12 |
And that's the heart breaking truth.
All of those cute little intersections
| | 01:15 |
that we you saw where we had different
colors, it can't render that.
| | 01:19 |
It cannot make that out of those spot
colors.
| | 01:22 |
It would be neat if Illustrator gave you
a warning, but it just doesn't.
| | 01:25 |
So, I'm going to recommend that you make
this part of your toolbox.
| | 01:28 |
Make this part of your, little forensic
tour through a file before you submit it
| | 01:32 |
for print.
If you're using spot colors and you're
| | 01:35 |
using Blending modes, always check this
with Overprint Preview.
| | 01:38 |
Now, is there something else I could try?
Well, let me go back and change this to Normal.
| | 01:43 |
And change this to Normal.
And let's see if maybe we could
| | 01:46 |
accomplish some of that same look, or at
least something similar to it, by using
| | 01:50 |
opacity instead.
So, I'm going to select the flower, and
| | 01:53 |
instead of using a Blending mode, I'm
going to try Opacity.
| | 01:57 |
Well, let's see what happens with that.
Back to Overprint Preview.
| | 02:01 |
At least this will image.
So, it's telling me that I'm essentially
| | 02:04 |
going to get a tint of that orange here.
And then, I'm going to get a combination
| | 02:08 |
of the green and the orange here.
So, it's not as cute as what I had in mind.
| | 02:13 |
But at least, it means that I get to have
that sort of interaction of shapes.
| | 02:16 |
So, what you might do when you're
thinking about experimenting using
| | 02:19 |
Blending modes or Opacity with spot
colors.
| | 02:22 |
There are some Blending modes with
certain spot colors that will actually
| | 02:25 |
work, but I picked two that I know always
misbehave.
| | 02:28 |
But you probably pretty safe if you use
Opacity.
| | 02:31 |
So here, if I select my little yellow
flower and I back off of the Opacity.
| | 02:36 |
Still, I get to see that interaction of
shapes, but this overprint preview that I
| | 02:40 |
see confirms that this will actually
image at least the way I expect it to.
| | 02:45 |
So, remember this.
When you're using spot colors and you're
| | 02:48 |
thinking about using Blending modes and
Opacity, always double-check by turning
| | 02:51 |
on Overprint Preview.
And then, you'll know ahead of time how
| | 02:54 |
this is really going to image and how
it's going to print.
| | 02:57 |
| | Collapse this transcript |
| 3D shading: Preview with overprint on| 00:01 |
Illustrator lets you add a little bit of
dimensionality to shapes by using some 3D methods.
| | 00:06 |
Now, it isn't really a 3D program, but it
adds the illusion of depth.
| | 00:11 |
So, this is a job that's going to print
in black and Pantone 021 orange.
| | 00:15 |
I'm going to select this flower, and see
what happens when I use the Extrude & Bevel.
| | 00:22 |
When I preview, well, doesn't look bad.
It's, maybe it's a little too far, maybe
| | 00:26 |
I'll make this a little bit more shallow.
Oh, a little trick if you don't know it,
| | 00:32 |
if you want to increase or decrease the
value in a field, and you don't feel like
| | 00:36 |
typing or in this case that little
slider's not very exact, you can use your
| | 00:39 |
Arrow keys.
So, I just clicked in that field, if I
| | 00:43 |
hit my Down Arrow, see it reduces the
value, hit my Up Arrow, it goes up.
| | 00:48 |
And if you're in a hurry, Shift makes it
go faster.
| | 00:51 |
So, that's probably about right.
One little depth, don't want to get
| | 00:54 |
carried away.
notice this little caution here though.
| | 00:57 |
It says, spot colors will be convereted
to process.
| | 01:00 |
Well that's not going to work, this is a
two color job.
| | 01:02 |
All hope is not lost though.
When you click More Options.
| | 01:07 |
There it is, Preserve Spot Colors.
Now why that's not out in the open, I
| | 01:11 |
don't know, but this works.
When I choose Preserve Spot Colors, wow,
| | 01:14 |
great, now it looks even worse.
There's a little trick to this though,
| | 01:18 |
don't give up hope, it really is going to
do the right thing, and it tries to
| | 01:20 |
confirm that for you here.
Spot colors will be shaded with black
| | 01:24 |
overprint, and look it even tells you
what to do.
| | 01:26 |
Turn on Overprint Preview to view.
How helpful is that?
| | 01:31 |
So, although it looks like it's going to
print in grayscale, lets do what it says.
| | 01:35 |
Go to View choose Overprint Preview and
low and behold, it's going to be alright.
| | 01:40 |
So, why is this?
Well it's because Illustrator's using a
| | 01:43 |
little bit of trickery in order to ensure
that this will image correctly.
| | 01:47 |
So, it's sort of cheating, it's putting
the dimensionality out of just black, so
| | 01:51 |
you're getting sort of a black overlay
over it.
| | 01:54 |
And as part of its normal sort of lazy
display, it doesn't show you the overprint.
| | 01:58 |
But at least it's polite enough to tell
you in that dialog that you need to turn
| | 02:02 |
on Overprint Preview, and as I say
Overprint Preview is a great forensic
| | 02:05 |
tool when you're using spot colors.
It's a great way to get a better view on
| | 02:09 |
screen of the color.
And in this case, it's a great way to
| | 02:12 |
assure yourself that this is actually
going to image the way that you hope.
| | 02:17 |
So, don't forget Overprint Preview, it's
kind of your friend, when you're dealing
| | 02:20 |
with spot colors.
| | 02:21 |
| | Collapse this transcript |
| Converting spot colors to process| 00:01 |
When you're working on a project, it's
best if you determine at the beginning of
| | 00:04 |
the project, whether you're going to
print in spot colors or process, because
| | 00:07 |
you can get some disappointing results if
you start by working in spot colors and
| | 00:11 |
then later on in the project you convert
to CMYK.
| | 00:15 |
Now keep in mind sometimes you have no
choice.
| | 00:18 |
So for example, if this job is now
going to print on a digital press, we're
| | 00:20 |
probably not going to get quite as bright
colors, because they can't print spot colors.
| | 00:25 |
But it's a good idea to find out what's
going to happen early on, before we send
| | 00:29 |
this to the printer.
So to get an idea, if you look at that
| | 00:33 |
bright green, it's quite vibrant.
Over here in the swatches panel, if I
| | 00:37 |
double-click on that swatch and check
preview, it would take me two steps to
| | 00:41 |
convert this to process.
First, I have to change it from Color
| | 00:45 |
Mode Book Color, to Color Mode CMYK, and
then it will allow me to change this to process.
| | 00:51 |
And if we look at before, and after,
before it's a very bright fluorescent
| | 00:55 |
green, and afterwards, this is as close
as we can come in CMYK.
| | 01:00 |
But of course this is why we have spot
colors, in order to enable us to print
| | 01:03 |
those vibrant colors that we just can't
accomplish with CMYK.
| | 01:08 |
So, that's one way that I could change it
from spot to process.
| | 01:11 |
But here's another way.
If I hit Cancel, and I select all this
| | 01:14 |
artwork, I can go to Edit > Edit Colors >
Convert to CMYK.
| | 01:19 |
And that does it immediately.
The good news is that that fixes everything.
| | 01:25 |
The sort of bad news is, that now I don't
have swatches in my swatches panel that
| | 01:28 |
correspond to that orange and that green.
And I still have the spot colors.
| | 01:33 |
So, to make my swatches panel content be
consistent with my artwork, especially in
| | 01:36 |
case I want to create other objects using
those colors, I need to add those colors
| | 01:39 |
to my swatches panel.
And I think it'd be a good idea to get
| | 01:43 |
rid of the colors that I'm not using.
So in the swatches panel, I'm going to
| | 01:47 |
choose Select All Unused.
You can see that they're outlined.
| | 01:51 |
And when I hit the trash can, they're
deleted.
| | 01:54 |
And now to add the orange and green, I'm
going to go to the Swatches Panel menu again.
| | 01:59 |
This time I'm going to choose Add Used
Colors.
| | 02:02 |
And you can see there's my orange and my
green.
| | 02:04 |
(SOUND).
Now if you want to give them (SOUND)
| | 02:06 |
maybe more telling names instead of just
the recipe here, you could name it, well,
| | 02:10 |
I don't know.
Orange.
| | 02:13 |
And then, of course, you'd want to name
the green.
| | 02:16 |
Now this is sort of interesting.
Here are the actual values.
| | 02:18 |
In other words, that was the
determination that Illustrator made.
| | 02:22 |
Well, this is as close as I can come to
that green.
| | 02:24 |
And it tried to cut it fine as it could,
but in the name it rounds it off.
| | 02:29 |
The name actually has nothing to do with
the way it's going to look, it's this
| | 02:31 |
recipe over here that really counts.
So it doesn't look as spiffy as it did before.
| | 02:37 |
But at least now I have a better idea of
how it's going to print.
| | 02:40 |
So I would say, in the interest of
realism, when you know that at the end of
| | 02:43 |
the job it's going to print process.
If you know that you're never going to
| | 02:47 |
print spot colors, I recommend that you
actually specify your colors as CMYK to
| | 02:50 |
begin with.
For one thing, it gives you a slightly
| | 02:53 |
more realistic view on screen of what's
going to happen.
| | 02:56 |
It also ensures that your contents
correct when it goes to the printing company.
| | 03:00 |
That way they know for sure that it's
intended to print in process.
| | 03:04 |
So, the more you can do to make sure that
your files in keeping the way it's
| | 03:06 |
going to finally going to print, I think
the better off you are.
| | 03:10 |
| | Collapse this transcript |
| Creating a varnish| 00:00 |
In this project, I'd like to accentuate
the flower shapes and the little
| | 00:03 |
ampersand, but I don't want to have those
components compete with the type.
| | 00:08 |
I don't want to make them darker.
So what I'm going to do is, I'm going to
| | 00:11 |
apply a spot varnish.
First, I'm going to create the varnish color.
| | 00:15 |
Now, there isn't a varnish, book.
So there really isn't any place you can
| | 00:18 |
pick an existing varnish color from.
You just make your own.
| | 00:22 |
So here in the Color panel, I tend to
like to make them bright green just
| | 00:25 |
because I think it makes it obvious that
it's not part of the real artwork, that
| | 00:28 |
it's something separate.
It's up to you what color you pick.
| | 00:34 |
I'm going to add it to the Swatches panel
and I'm going to name it varnish and by
| | 00:37 |
the way, if I were going to incorporate
this with other pieces of artwork.
| | 00:41 |
And in InDesign file, I have to make sure
that that word varnish is spelled the
| | 00:44 |
same and capitalized the same, so that
InDesign understands that's all one varnish.
| | 00:49 |
If there's any difference in the name,
even capitalization, it thinks, oh,
| | 00:52 |
there's two varnishes.
And of course I want it to be a spot color.
| | 00:56 |
And again, this build doesn't matter.
The color mode really doesn't matter,
| | 01:01 |
although if I change it to RGB maybe it
will render a little brighter on screen,
| | 01:04 |
and be a little more obvious.
By the way, you may notice this little
| | 01:08 |
triangle with the alert in it is just
saying well, we can't really do that in
| | 01:11 |
process, we're warning you, that's okay.
I'm going to create a separate layer for
| | 01:16 |
my varnish, you don't have to but I just
sort of like to keep things separate,
| | 01:20 |
just so it's easier to keep track of
things.
| | 01:24 |
So I'm going to make a new layer and I'm
just going to name it varnish.
| | 01:28 |
Because I want the shape of the varnish
to correspond to the shapes that are
| | 01:31 |
already in the page, half my work's
really done.
| | 01:34 |
So I'm going to select this flower and
I'm going to shift click to get this.
| | 01:38 |
Now, these are grouped together, the text
and the ampersand, but that's actually
| | 01:41 |
going to help me with a little problem
that I need to fix.
| | 01:45 |
In order to duplicate, I'm just going to
hold down Option or Alt and I'm going to
| | 01:48 |
drag that little square from layer one up
into the varnish layer.
| | 01:52 |
And you'll notice that the handles change
color, and the selections change color to
| | 01:56 |
sort of ear mark it as being now on layer
varnish.
| | 02:01 |
When I turn off varnish It goes away when
I turn off layer one and turn back on
| | 02:04 |
varnish you can see that, that artwork's
been duplicated.
| | 02:07 |
Always good to double check.
So I'm going to select the big flower and
| | 02:11 |
I'm going to change its color to varnish.
Now the big flower is actually using a
| | 02:15 |
50% tint of the spot color but I don't
want 50% of the varnish I want solid varnish.
| | 02:21 |
But you'll notice that when I apply the
varnish color it takes on that percentage.
| | 02:25 |
So I need to remember to come up to color
and drag that up to 100.
| | 02:28 |
Now for Hansel and petal, where that
overlaps, I only want the varnish where
| | 02:33 |
you see blue now.
So I want it just to correspond to the
| | 02:36 |
little flower shape.
I don't want varnish on the letters.
| | 02:40 |
So I need to knock out the varnish.
I need to make sure that varnish doesn't
| | 02:44 |
happen there.
So I'm just going to double click, to put
| | 02:47 |
myself in Isolation mode.
I love Isolation mode, select the text,
| | 02:51 |
come to the Swatches panel, and fill the
text with white.
| | 02:55 |
Now white in Illustrator doesn't mean
white ink, it means, well, it means no
| | 02:58 |
ink prints here.
So, now, you can see that's exactly the
| | 03:01 |
shape I want in my varnish, I don't want
it going into the letters, and covering
| | 03:04 |
up parts of the letters.
I'm going to hit escape to exit my
| | 03:08 |
isolation mode.
I'm going to select this shape, double
| | 03:12 |
click to get in to isolation mode and get
this and I'm going to apply that spot
| | 03:15 |
ddvarnisj again.
And as you saw with the big flower, it's
| | 03:19 |
taking on the tint value, so I want to
make that 100%.
| | 03:23 |
Hit escape.
And then get my other little piece.
| | 03:28 |
The little ampersand by double clicking
again.
| | 03:30 |
I could've also said select All Same Fill
Color.
| | 03:33 |
That would work too.
Back again, apply the varnish, change
| | 03:37 |
that from 40% to 100.
And now, I think I'm good to go, except
| | 03:41 |
for one thing.
So let me show what happens if we don't
| | 03:44 |
change an attribute of that varnish.
Remember that one of your most valuable
| | 03:49 |
forensic tools in Illustrator is
overprint preview, coupled with
| | 03:52 |
separations preview.
So I'm going to go to Window>Separations Preview.
| | 03:57 |
And it doesn't activate separations
preview unless you turn on overprint preview.
| | 04:02 |
So, again, you get a better view of what
your color is.
| | 04:04 |
But this is pretty important.
If I turn off varnish.
| | 04:08 |
Hey, what happened to my blue?
Knocked it all out.
| | 04:11 |
By default fill colors in Illustrator are
opaque.
| | 04:14 |
So they get rid of whatever's underneath.
So if we were to image this job, the way
| | 04:18 |
it is now, we wouldn't have the blue in
the ampersand, and the two flowers.
| | 04:23 |
So we need to do something special to
these varnish shapes.
| | 04:26 |
So I'm going to select this one, And go
to select same fill color.
| | 04:30 |
So then I have all the little varnish
shapes and I'm going to set them to over print.
| | 04:34 |
And here's where you do that.
Under window an attributes.
| | 04:38 |
And this is one of those things that's
sort of hiding down in the corners.
| | 04:40 |
Look little tiny checkbox over print
fill.
| | 04:44 |
An now you can see a change in the color
and the reason is now it's showing you
| | 04:46 |
that green.
Coupled with the blue of the artwork underneath.
| | 04:51 |
And we can double check by looking here
in Separations Preview.
| | 04:54 |
If it hasn't knocked out, when we turn
off the little eyeball by varnish, the
| | 04:58 |
blue is still there.
So remember this, any time you create a
| | 05:02 |
varnish, be consistent with the name If
it's going to be combined with other
| | 05:05 |
components in InDesign later on.
And also remember to take those varnish
| | 05:10 |
shapes, and always set their attribute to
overprint.
| | 05:13 |
So a little reminder, because it's not a
panel you use very often.
| | 05:16 |
It's under Window, which is where all
panels are, Attributes, and Overprint Fill.
| | 05:21 |
Now, these shapes don't have strokes on
them, but just for future reference, if
| | 05:24 |
you ever need to do that to a stroke
There it is, overprint stroke.
| | 05:28 |
And that's one of the main jobs in the
Attributes panel, is just set things to overprint.
| | 05:32 |
So now, I know that this is built
correctly, I have my little spot
| | 05:35 |
varnishes, and when this job is printed,
and the varnish is applied, those little
| | 05:38 |
areas are going to be a little shinier,
and so it's just going to sort of call
| | 05:41 |
attention to them.
It just sort of emphasizes them.
| | 05:46 |
It's a subtle way without changing colors
to call attention to certain important
| | 05:49 |
spots in a design.
| | 05:51 |
| | Collapse this transcript |
| Creating spot gradients| 00:01 |
I was hoping to add a little interest to
this job by adding a gradient that goes
| | 00:04 |
from spot orange to black.
But you can see how anemic it is.
| | 00:08 |
So it's a little bit disappointing.
If we look at this in Separations
| | 00:11 |
Preview, you can get a better idea of
what's going on.
| | 00:14 |
When I go to Window > Separations
Preview, if I turn off the Orange, so
| | 00:17 |
that we can see the Black, it's going
from solid black at the very right, and a
| | 00:21 |
little transition off to white on the
left.
| | 00:26 |
And then if I turn off Black, you can see
what's happening to the Orange.
| | 00:29 |
So you can see that they both start
falling off pretty much immediately.
| | 00:32 |
And so that mean that you don't have any
real, strong combination of those colors
| | 00:35 |
here in the middle and that's why it
looks a little bit weak.
| | 00:39 |
It looks a little bit gray.
Now there is no way in Illustrator to
| | 00:42 |
create an ink that's a combination of two
colors.
| | 00:46 |
So, I can't make a swatch that's a
combination of Black and Pantone Orange,
| | 00:49 |
that's what I really like to do, but
since I can't do that, I am going to cheat.
| | 00:54 |
So in the Layers panel, you can see
there's my Gradient, so I'm going to
| | 00:57 |
select that object, and I'm going to
duplicate it.
| | 01:01 |
And I can just drag it down to the new
sublayer icon, and that'll do that.
| | 01:05 |
So here's my game plan.
I'm going to have two versions of the gradient.
| | 01:08 |
One is just going to be for the orange,
and one is going to be for that
| | 01:11 |
transition from black to white.
So I'm going to turn off the top one,
| | 01:15 |
select the bottom one, and this is really
just going to be solid.
| | 01:20 |
It's just going to be that solid orange.
And now I'm going to come back and turn
| | 01:23 |
on the other one.
By the way, this is kind of a great
| | 01:27 |
little trick.
If you want to select something sort of
| | 01:29 |
by remote control, that little circle
there is a target for that object.
| | 01:33 |
If I click on the circle, that selects
the object.
| | 01:35 |
Sometimes in a really messy document,
that's an easier way to get a hold of something.
| | 01:39 |
So for this, I'm going to go into my
gradient panel, and where I now have
| | 01:42 |
orange on the left, I'm going to change
that to just be white.
| | 01:47 |
Now, what's going on up to this point?
Well, if I turn the original little shape
| | 01:51 |
on, we can't see it because the black
doesn't overprint.
| | 01:55 |
So now, I'm going to select my black
gradient, and I'm going to go to Window >
| | 02:00 |
Attributes, and set the Fill to
Overprint.
| | 02:04 |
We don't see the results, because
Illustrator is not showing me Overprint,
| | 02:07 |
but since I already have my Separations
Preview open, I can just do it there.
| | 02:11 |
When I click on Overprint Preview, now
you can see, that looks much better.
| | 02:16 |
Although, now that I'm doing it this way,
I think I might change the distribution
| | 02:19 |
of that black to white gradient.
So with this shape still selected, I'm
| | 02:23 |
going to go into my gradient panel.
And this little diamond up above the
| | 02:27 |
little ramp here, lets me determine the
break point.
| | 02:30 |
If I move it all the way to the left, you
can see that it stays solid black longer,
| | 02:33 |
and then there's a sudden transition to
white.
| | 02:36 |
If I move it to the right, it stays white
longer, and there's a sudden transition
| | 02:39 |
to black.
So what I want to do is have that heavy
| | 02:43 |
end happen a little longer.
So I want a little more weight over here.
| | 02:48 |
So, I'm going to move it a little left of
center.
| | 02:50 |
And I think that does what I want.
I still see plenty of orange but I have
| | 02:54 |
enough weight over here that it looks
more robust.
| | 02:58 |
So this is a little trick.
It's a bit of a cheat, it's going to look
| | 03:00 |
a little weird unless you have overprint
preview on.
| | 03:04 |
But anytime you have a gradient that goes
from a spot color to black, remember this
| | 03:07 |
little trick in Illustrator.
It's the only way you can get a good mix
| | 03:11 |
of the spot color and the black and not
have that sort of anemic gray look that
| | 03:14 |
you saw initially.
It takes two objects, and you have to
| | 03:18 |
remember to turn on Overprint Preview.
And remember the way I induced Overprint
| | 03:23 |
in that shape was to go to Attributes And
turn on Overprint Fill.
| | 03:28 |
So, remember that little trick in the
future and your Gradients will look a lot better.
| | 03:32 |
| | Collapse this transcript |
|
|
6. InDesignImporting art containing spot color content and resolving issues with Ink Manager| 00:00 |
When you bring in artwork to an InDesign
file, and that artwork is using a spot
| | 00:04 |
color, you don't have to worry about
adding that color to the Swatches panel
| | 00:07 |
ahead of time, that artwork actually
imports it for you.
| | 00:12 |
So here I have two spot colors in my
Swatches panel, and I'm about to bring in
| | 00:16 |
a Duo Tone.
When I go to File > Place, and I choose
| | 00:20 |
that Duo Tone, notice that even before we
see the image, that new color, that
| | 00:24 |
PANTONE 202 has been added to my Swatches
panel.
| | 00:28 |
So when I place him, now I think you
start to suspect his color's a little bit different.
| | 00:35 |
And we already had a hint when we see the
spot color numbers, so there are some
| | 00:38 |
issues with this that I'm going to need
to fix.
| | 00:41 |
Let's see what's going on, and where
these colors are used.
| | 00:45 |
When I go into Window and Output, and
Separations Preview, and I turn on
| | 00:48 |
Separations Preview, now I have three
spot colors in my list.
| | 00:53 |
I happen to know this is really a two
color job.
| | 00:56 |
So somehow, I'm going to have to combine
these colors, or I'm going to have to
| | 00:59 |
correct the art work.
If I turn off the 185, you can see that's
| | 01:03 |
used in this text.
Well, that would be easy to change,
| | 01:06 |
because that's something that was created
right here in InDesign.
| | 01:09 |
Then there's the 187, and that's used for
most of these images, and then the
| | 01:13 |
PANTONE 202 that came in when I imported
the Duo Tone of the photographer.
| | 01:19 |
It'd take a fair amount of time to go
back to Illustrator and fix the logos and
| | 01:22 |
fix the spiral.
And it wouldn't take too long to go back
| | 01:26 |
into Photoshop and fix these two images.
But I really don't have to do that, and
| | 01:30 |
this is one of the really nice things
about InDesign.
| | 01:33 |
You can actually fix this problem.
I have three spot colors, I really should
| | 01:36 |
just have one.
I can do this all in InDesign without
| | 01:39 |
having to change any of the artwork.
And here's how you do it.
| | 01:43 |
You do it with something called Ink
Manager.
| | 01:45 |
And you can find Ink Manager in several
locations.
| | 01:48 |
In the Swatches Panel, there's Ink
manager.
| | 01:50 |
In the Separation's Panel, there's Ink
Manager.
| | 01:53 |
And I think that's because sometimes
these problems aren't discovered until
| | 01:56 |
you go into Separations Preview.
It doesn't matter where you choose it, it
| | 02:00 |
still preforms the same function.
Ink Managers purpose is to fix this
| | 02:05 |
common, frankly fairly age old problem.
Gee, I have multiple spot colors, but I
| | 02:10 |
really only want one plate generated.
So what you do is what's called Ink Aliasing.
| | 02:15 |
So first I need to know what the correct
color is.
| | 02:18 |
And I just happen to know that PANTONE
187 is the correct color.
| | 02:22 |
So I need everything on the 185 plate to
go out on the 187 plate and everything on
| | 02:26 |
the 202 has to go out on the 187 plate.
And here's how I do it, I choose the 185,
| | 02:32 |
and then the rest of this dialog sort of
wakes up, and under Ink Alias, I tell it
| | 02:37 |
to become 187.
And I'll do the same thing for everything
| | 02:42 |
that's using 202.
I tell that to now become 187.
| | 02:46 |
And you can see a little icon here.
It's a little arrow pointing at an ink bottle.
| | 02:51 |
When I click OK, well, nothing's changed.
Look, I still have these spot colors.
| | 02:56 |
I don't understand.
but look over here in my Separations
| | 02:59 |
Preview panel.
I just have one.
| | 03:01 |
And when I turn off that one color,
notice that everything travels
| | 03:04 |
together,and that's what I want.
So it looks like it's correct in the
| | 03:09 |
Separations Preview, but it's not correct
over here.
| | 03:11 |
Well, here's what's going on.
The Ink Manager fix is actually a
| | 03:15 |
non-destructive fix.
So it gives you sort of a back door, if
| | 03:19 |
for some crazy reason, you really wanted
these three very close reds, they're
| | 03:22 |
really still this way.
So if I double-click that 185, we look in
| | 03:26 |
here, it still is 185.
So it's a non-destructive change.
| | 03:31 |
If I hit File > Print, and I print out of
InDesign or I create a PDF.
| | 03:37 |
Those three colors are going to be
combined into that one 187 plate.
| | 03:41 |
So, the outgoing content is going to be
correct.
| | 03:44 |
It may seem to you that what's left
behind in InDesign hasn't been fixed, but
| | 03:47 |
it's InDesign's way of giving you sort of
the best of both worlds.
| | 03:51 |
If you needed to go back to the original
arrangement of things, it's still there
| | 03:55 |
it really hasn't been changed, but using
Ink Manager has guaranteed that I'm
| | 03:58 |
going to get correct output.
Now, this might be a little bit confusing
| | 04:02 |
to somebody who picks up the job, I wish
there were little icons that appeared
| | 04:05 |
here in Swatches panel to inform us that
these colors have been managed by Ink Manager.
| | 04:10 |
We don't have that.
But you'll know that everything is all
| | 04:13 |
right when you use your Separations
Preview.
| | 04:15 |
So, remember to use that as sort of a
forensic tool to make sure you know
| | 04:18 |
exactly what's going on in the file.
And be glad to know that you can use Ink
| | 04:22 |
Manager to fix this common problem
without having to go back and change all
| | 04:25 |
your artwork.
| | 04:27 |
| | Collapse this transcript |
| Using Overprint Preview to proof the display of spot color transparency| 00:01 |
This is a five color project, I have four
colors, CMYK for my color image, and then
| | 00:05 |
I have a fifth color which is PANTONE
202.
| | 00:09 |
And I have a nice gradient here and I set
up a little interaction between that
| | 00:12 |
gradient and the color image underneath,
by going into the Effects Panel and
| | 00:15 |
choosing Color Dodge.
But I want to be sure of course, that
| | 00:19 |
this is how it's going to print.
You might notice that things look a
| | 00:22 |
little ragged.
Well, I'm going to go up to View, go to
| | 00:24 |
Display Performance and choose High
Quality Display.
| | 00:28 |
Now things look a little bit sharper.
And here's a warning, that isn't enough
| | 00:31 |
to tell you the true story about how this
is going to print.
| | 00:35 |
Big caution, and remember this, any time
you're using spot color components in
| | 00:39 |
your project, and you start playing with
any of those blending modes, worry that
| | 00:42 |
it's not going to image the way it
initially looks on screen.
| | 00:46 |
Is InDesign lying to you on purpose?
Well, no.
| | 00:50 |
It's not taking the time, or the
computational effort to show you
| | 00:53 |
everything on screen.
So, it's enough to keep you going but,
| | 00:56 |
it's not enough to tell you the whole
story.
| | 00:58 |
So make this a habit.
Any time you're using Spot Color
| | 01:01 |
components and you're using any kind of
Blending Modes, use this forensic tool.
| | 01:05 |
Go up to View and choose Overprint
Preview.
| | 01:08 |
It's the first thing on the list so it's
sort of easy to overlook.
| | 01:11 |
Watch the bottom of the screen when I
choose that.
| | 01:14 |
Oh, it looks totally different.
I don't have that nice interaction
| | 01:17 |
between my gradient and that image
underneath, and I have these ugly yellow splotches.
| | 01:21 |
And this is how it's going to print, too.
Not at all what we want.
| | 01:25 |
So, let me select this shape and consider
maybe using a different Blending Mode.
| | 01:30 |
As long as I'm still in Overprint
Preview, I'm going to see how it's really
| | 01:32 |
going to image.
So, I can go through the list.
| | 01:36 |
Now, Multiply's going to be a little bit
heavy.
| | 01:39 |
Screen gets rid of the image entirely.
Now Overlay looks sort of like what I
| | 01:44 |
originally had in mind, so I think I'll
settle on that.
| | 01:48 |
But remember, if you go back and you turn
off Overprint Preview, you can be misled.
| | 01:52 |
This is not how it's going to image.
It's not how it's going to print.
| | 01:56 |
This is the true story when you use
Overprint Preview.
| | 01:59 |
Now you might find in a graphic heavy
document that having Overprint Preview on
| | 02:02 |
all the time, may slow your performance a
little bit.
| | 02:07 |
An that's why InDesign doesn't turn it on
by default.
| | 02:09 |
But remember any time you use spot color
components and you start experimenting
| | 02:12 |
with blending modes.
It's probably a good idea to work with
| | 02:17 |
Overprint Preview on, but if you don't
want to do that, at least remember,
| | 02:19 |
before you finish the job, go up to View,
turn on Overprint Preview, take a good
| | 02:22 |
look at everything and make sure that
things are really going to image the way
| | 02:25 |
you expect.
| | 02:29 |
| | Collapse this transcript |
| Converting spot colors to process| 00:01 |
If you've created your job using Spot
Colors, but then you print that job in
| | 00:04 |
CNYK, you have to expect that your color
is going to change.
| | 00:09 |
Now sometimes that's because the job's
specs change, sometimes that's because
| | 00:12 |
people pick colors out of the spot book,
knowing that it's going to print CMYK.
| | 00:17 |
My recommendation is that you always
start up front with the specs for the
| | 00:20 |
job, the way it's going to print, and
then you specify your colors that way,
| | 00:23 |
and here's why.
Here we have two very bright colors,
| | 00:28 |
Pantone 802 which is a fluorescent, and
then Pantone green, which is also sort of
| | 00:31 |
a fluorescent.
So that's nice and festive, it's in
| | 00:35 |
keeping with the, the floral theme of
this.
| | 00:38 |
But let's see what happens when we
convert this to CMYK.
| | 00:41 |
So I'm just going to Double-click on that
swatch.
| | 00:43 |
I've checked Preview, and to make this
into Real Process, I have to do two
| | 00:47 |
steps, but when I choose CMYK as my color
mode.
| | 00:52 |
Immediately you're going to see the
results.
| | 00:54 |
So this is InDesign's way of saying, well
this is as close as I can come.
| | 00:58 |
Now of course if this is going to print
process, I need to do one extra step,
| | 01:01 |
which is Convert that to Process.
And then then I Click OK, well it's a
| | 01:05 |
little bit disappointing.
Undo, and Redo, now that's one way to
| | 01:09 |
change to Process, but here's another way
to change it.
| | 01:14 |
And, this is a non-destructive way, so
you might like this way better.
| | 01:18 |
And that's by using Ink Manager.
So, you can find Ink Manager in the Panel
| | 01:22 |
Menu of the Swatches Panel.
You'll find it in Export Dialogues as well.
| | 01:26 |
And when you're in Separations Preview
you'll see it too.
| | 01:29 |
So Ink Manager's job of course is to map
a spot color to a process color, change a
| | 01:33 |
spot color to Process, or map one spot
color to another, and this is one real
| | 01:37 |
easy way to change them all to Process.
So you'll notice there is the little spot
| | 01:43 |
icon, and when I check Use All Spots to
Process, there we go.
| | 01:47 |
Now when I Click, OK you'll see both of
them change.
| | 01:51 |
So the blue's gotten duller, the green's
gotten duller, that's unavoidable, that's
| | 01:55 |
the best we can do if we print in CMYK.
But again remember, that Ink Manager is a
| | 02:00 |
non destructive force, so you don't see
any change in your Swatches panel.
| | 02:04 |
The colors still think they're Spot, but
if I export a PDF, those are going to be
| | 02:08 |
rendered in CMYK.
So this is typical of the sort of change
| | 02:12 |
you're going to see when you start with a
spot color, but then you convert to CNYK.
| | 02:17 |
So keep this in mind as you plan your
jobs, know the most that you can about
| | 02:20 |
how a job's going to print, and then spec
your colors accordingly.
| | 02:25 |
And that way you don't have any
disappointment at the end.
| | 02:27 |
| | Collapse this transcript |
| Creating a spot varnish| 00:01 |
This is, part of a project that we're
doing for the Roux Academy of Art, Media
| | 00:04 |
and Design, and we want to make it, just
a little bit higher quality.
| | 00:09 |
So, what I want to do is, I want to
create a spot varnish that's just
| | 00:12 |
going to cover, the photographer here.
Now I could do that, in Photoshop, but
| | 00:16 |
I'm going to show you kind of a neat way
to do this within InDesign.
| | 00:20 |
And the success of it depends on me
having a path in that Photoshop file,
| | 00:24 |
that I can invoke in order to serve as a
home for my spot varnish.
| | 00:29 |
First, I'm going to make the swatch for
the spot varnish.
| | 00:33 |
So I'm just going to choose New Color
Swatch.
| | 00:35 |
Now, this is going to be a spot color,
because it's going to represent that varnish.
| | 00:40 |
Now, it's Color Mode frankly wouldn't
matter, but I tend to want to make the
| | 00:43 |
varnish representation kind of loud, so I
can recognized it in the pack.
| | 00:48 |
So, I'm just going to make it a nice
bright green.
| | 00:50 |
Again the color doesn't really matter,
the name does.
| | 00:53 |
So, I'm going to name this varnish, and I
need to make sure that if I'm going to
| | 00:56 |
knit this back into an existing InDesign
file, I need to make sure that the name
| | 01:00 |
is consistent with the name for the
varnish in other parts of the file.
| | 01:07 |
So, when I click OK.
There we go.
| | 01:08 |
Now, you might notice the way this is
represented in the Swatches panel, the
| | 01:11 |
little spot icon tells you that it's
spot.
| | 01:14 |
The RGB tells you that it's RGB, but it
doesn't really have color, right?
| | 01:19 |
It's really just going to represent one
output and that's for that spot varnish.
| | 01:23 |
This is just InDesigns way of telling you
hey, I'm using RGB values, because that's
| | 01:26 |
what you told me.
To try to render this on screen, and
| | 01:30 |
that's all that signifies.
So, in this image, I actually have a
| | 01:34 |
path, and this is what I'm going to use
as a bases.
| | 01:38 |
I'm going to make it a little bit easier
on myself, by going into the Layers
| | 01:41 |
panel, and I love this about InDesign,
you can look at the individual objects,
| | 01:44 |
and address them.
So, I'm going to duplicate him, and I'm
| | 01:48 |
just going to drag him down to the New
Object, so now I have two of him, there's
| | 01:52 |
the original.
And I'm going to turn off the original,
| | 01:56 |
and then turn on this new one, and select
it.
| | 02:00 |
I'm going to go to Object > Clipping Path
> Options, and I'm going to check
| | 02:04 |
Preview, and it's not really going to
change much.
| | 02:08 |
But when I choose Photoshop Path, it
recognizes that path in the document, so
| | 02:12 |
this is one of the cool things about
InDesign and Photoshop and Illustrator,
| | 02:15 |
sort of an ecosystem.
And if you think of InDesign as sort of
| | 02:20 |
the mixing bowl, it understands the way
the Illustrator and Photoshop files
| | 02:24 |
behave, it understands whats in those
files.
| | 02:27 |
And that's why it can be aware of this
path.
| | 02:30 |
Then you can do funny things like invert
it and get rid of the photographer, but
| | 02:34 |
what I want is this shape.
Now I could of gone to Photoshop and
| | 02:38 |
copied that path and tried to paste it in
position.
| | 02:41 |
But this is kind of a neater way to do
this, I think.
| | 02:45 |
So, I'm going to click OK.
And now I just have the photographer, but
| | 02:47 |
I don't need the photographer.
I have him in that other instance of the image.
| | 02:52 |
What I need is just the shape, so here's
what I'm going to do.
| | 02:55 |
I'm going to keep the shape, but I'm
going to get rid of the image.
| | 02:58 |
So, when I go to Object, and Clipping
Path, here we go Convert Clipping Path to
| | 03:03 |
Frame, because right now the frame, is
that enclosure.
| | 03:08 |
You can see the blue outline, that's the
frame, and then within it we're isolating
| | 03:11 |
part of the image by invoking that path.
But when I choose Object > Clipping Path
| | 03:17 |
> Convert Clipping Path to Frame, it gets
rid of that original rectangular frame
| | 03:21 |
and it leaves just that little edge.
And it might be a little hard to see, I'm
| | 03:26 |
going to turn on my frame edges.
Can you see that little blue outline?
| | 03:30 |
Now there's the rectangular bounding box,
don't let that confuse you.
| | 03:33 |
Now there is a frame shaped like the guy.
That's great, but I don't need the guy, I
| | 03:38 |
just need the frame.
So, I'm going to switch to the Direct
| | 03:41 |
Selection tool, and when I click you can
tell by the change in the color that what
| | 03:44 |
I'm talking to now is the image, not the
container, and I'm just going to delete.
| | 03:49 |
See, there we go.
There's my photographer's shape.
| | 03:51 |
And now I can select that shape and I can
go into my Swatches panel and I can apply
| | 03:56 |
that varnish.
Now it looks a little dull here, but
| | 04:00 |
remember color doesn't matter, it's just
really a way to identify it.
| | 04:04 |
Now back in my Layers panel, I'm going to
turn the original image back on.
| | 04:07 |
If I were to out put this, this is what's
going to happen.
| | 04:11 |
I'm just going to have a knock out shape,
on top of him.
| | 04:14 |
So, just to kind of prove that, if I go
to Window > Output > Separations Preview,
| | 04:18 |
turn on Separations Preview, if I turn
off the varnish, see it would knock the
| | 04:22 |
guy out, we don't want that, we want it
to overprint.
| | 04:27 |
So, what we have to do is select this
shape, and do one of two things.
| | 04:31 |
Either set it to multiply using Blend
Mode, or you can go to Window > Output,
| | 04:35 |
and Attributes.
It's kind of buried, there.
| | 04:39 |
You have to sort of search for it.
And this is really its only job.
| | 04:42 |
It lets me designate this as
overprinting, and immediately you can see
| | 04:45 |
what's going to happen.
Now remember, it's not going to be a
| | 04:48 |
green varnish.
He's not going to turn green.
| | 04:50 |
The green's just to help me identify the
area, but now I have something that's
| | 04:54 |
going to make this look just a little bit
better when that spot varnish is applied.
| | 05:00 |
It's just going to sort of make him pop
out, because he's going to be shining,
| | 05:02 |
everything around him is going to be a
little duller, because the colors
| | 05:05 |
grayscale, and because it's going to be
on sort of matte stock.
| | 05:09 |
So, it's going to really give him the
illusion of a little bit of dimensionality.
| | 05:13 |
And look how easy that was to create, so
just remember the trick here was that I
| | 05:16 |
had a path in my Photoshop file.
I could invoke it here in InDesign, and
| | 05:21 |
then I could keep that path, and then get
rid of the image inside, and use that
| | 05:24 |
path, just as a carrier for my varnish.
And it's a really great trick, it's a
| | 05:29 |
great way, to enhance a printed piece,
and give it a little bit more depth and dimension.
| | 05:34 |
| | Collapse this transcript |
| Creating and using mixed inks| 00:01 |
When you're working with just two colors,
it can seem like you have a very limited
| | 00:04 |
palette to work with.
Here, I've created a gradient that goes
| | 00:08 |
from a spot color to black.
But you can see how anemic it looks and
| | 00:12 |
it's sort of grayed out in the middle.
Let's take a look at separations, an
| | 00:15 |
this'll give you a better idea of what's
going on.
| | 00:19 |
When I go to Window > Output >
Separations Preview, and then turn ns.
| | 00:25 |
I get a truer look at what's going to
print and it's still not good enough.
| | 00:29 |
If I turn off the 187 you can see that
the black starts at 100% at the top and
| | 00:33 |
it fades off to the bottom.
And then the red, the 187, is doing the opposite.
| | 00:40 |
So, as they fade out, it gets very weak
in the middle of this gradient.
| | 00:45 |
So to strengthen this and to make a much
more attractive gradient, I'm going to
| | 00:48 |
use a great feature in InDesign called
Mixed Ink Swatches.
| | 00:51 |
In the Swatches panel- Go to the Panel
menu, and I choose this, New Mixed Ink Swatch.
| | 00:59 |
What this lets me do is combine a spot
color and a process color, or several
| | 01:02 |
spots and several process colors.
And this can be a great way to extend at
| | 01:08 |
least the illusion that you have a larger
spectrum to work with in a two-color job.
| | 01:13 |
So this'll just be my black plus 187, and
I'm going to add 100% of my 187 To 100%
| | 01:17 |
black, and you can see here that I could
have less then 100%, and keep this in the
| | 01:22 |
back of your mind.
When you're working on jobs that involve
| | 01:27 |
spot colors, especially if you're working
on a two color job, this can make it look
| | 01:30 |
like you have more crayons to work with.
So I'm going to click OK, you can see
| | 01:35 |
that new little icon there that tells me
that this is a Mixed Ink Swatch.
| | 01:40 |
And now, I'm going to use that to modify
my gradient.
| | 01:42 |
So, instead of having just black all by
itself for this stop, I'm going to change
| | 01:47 |
that so that it uses that black plus 187.
And immediately you can see the change in
| | 01:52 |
that gradient.
I'll click okay.
| | 01:55 |
And anytime you're using spot colors,
it's always a good idea to double check-
| | 01:59 |
By going into separations preview an
turning on separations, because that
| | 02:02 |
turns on overprint preview.
An we already know that we just have two
| | 02:07 |
colors, but keep that in mind to, even if
you aren't going to wake up that
| | 02:10 |
Separations panel.
Up under View, and it's the first item so
| | 02:14 |
it's easy to overlook, Overprint Preview
gives you a truer rendition of color onscreen.
| | 02:19 |
And especially, if you're using blending
modes or anything like that with spot
| | 02:22 |
colors, again, it gives you a truer
rendition of what you're doing and you
| | 02:25 |
have a better idea of how this is going
to print.
| | 02:29 |
So in the future, when you're working on
two-colored jobs and it seems to you that
| | 02:33 |
you're very limited in your range.
Remember this, you can create mixed ink
| | 02:37 |
colors and you can greatly extend, what
you can do in that project.
| | 02:41 |
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7. Acrobat XIExamining with Output Preview| 00:01 |
This is part of a larger project that
we're doing for Roux Academy, and the
| | 00:04 |
entire project is supposed to print in
two colors, PANTONE 187 and black.
| | 00:10 |
And, this PDF that I've just received
doesn't look quite right.
| | 00:13 |
You'll notice that the word Graphic is a
little brighter than the other text, and
| | 00:16 |
the duotone of the photographer doesn't
look right either, so I'm going to find
| | 00:19 |
out what's really going on.
And for that I need the Print Production tools.
| | 00:24 |
When I click Tools and wake up the Tools
pane, that doesn't show up by default.
| | 00:29 |
You have to go and find it, and you do
that by clicking on this little icon at
| | 00:32 |
the upper right, and then choosing Print
Production.
| | 00:35 |
Now, you know that there is a limit to
what you can fix in a PDF, but this is
| | 00:38 |
something I probably can fix.
First of all, I need to find out exactly
| | 00:42 |
the nature of the problem.
When I click Output Preview, my
| | 00:45 |
suspicions are confirmed.
I have three spot colors where I really
| | 00:49 |
ought to just have 187.
So let's find out what's going on where.
| | 00:53 |
I'm going to turn off my Process Plates,
and then one by one, I'm going to check
| | 00:56 |
to see which components use which colors.
So 187 is my correct color, well at
| | 01:01 |
least, most of my components use that 185
for the word graphic, that's why it looks
| | 01:05 |
so much brighter, and the 202 has been
used in the Duo Tone for the photographer.
| | 01:12 |
This is one of those problems that I
actually can fix by using Ink Manager.
| | 01:17 |
And if you're an InDesign user, that
rings a bell with you, you might have
| | 01:20 |
used Ink Manager in InDesign, and it
works just the same here in Acrobat.
| | 01:24 |
Although, I will point out that on the
Mac, there's a little bug.
| | 01:27 |
You had a little idea of what 187 and 185
and 202 look like now, but you notice
| | 01:31 |
this little set of rectangles doesn't
look right.
| | 01:35 |
It's just one of those things.
It's a bug in Acrobat 10 Pro and Acrobat
| | 01:38 |
11 Pro on the Mac.
But we're working from the number anyway
| | 01:42 |
so, you know what?
We'll just ignore that.
| | 01:45 |
So I want everything that uses 185 to
actually image on the 187 plate.
| | 01:49 |
And when I select 185, you can see that
the rest of the dialog wakes up.
| | 01:53 |
And I'm going to use what Ink Manager
calls Ink Aliasing.
| | 01:56 |
I'm going to tell everything that's
currently 185, go out the door on the 187 plate.
| | 02:01 |
And you can see the little arrow that
confirms that it's going to do that.
| | 02:05 |
Anything that's 202 is also going to go
out on the 187 plate.
| | 02:10 |
When I click OK, it looks like
everything's just fine.
| | 02:13 |
And you can see now, it's been
consolidated into just the one spot color.
| | 02:17 |
If I turn off that color, everything
travels together, that's great.
| | 02:22 |
But watch what happens when I close out
Print Preview.
| | 02:25 |
Well now it's back to the way it was.
What does this mean?
| | 02:27 |
Well, this is just one of those things.
Ink Manager, as it is in InDesign is a
| | 02:32 |
non-destructive process.
Acrobat's thinking is, well, if you image
| | 02:36 |
directly out of Acrobat, I'll fix this on
the way out the door.
| | 02:39 |
But we almost never work that way.
This PDF is actually going to go into an
| | 02:43 |
imposition program.
And it's going to ignore that, it's not
| | 02:46 |
going to see that set of instructions.
Only Acrobat sees that and exercises it.
| | 02:51 |
So what we have to do to sort bake that
Ink Manager instruction is use Convert Colors.
| | 02:58 |
What you do is chose Preserve, because
you want to preserve what's in there, but
| | 03:01 |
down at the bottom, and this is something
that's easy to overlook.
| | 03:06 |
It does recognize what I've asked it to
do in Ink Manager.
| | 03:09 |
So I check preserve to make sure that it
doesn't convert any spot content to process.
| | 03:14 |
I'm going to click OK.
I get this little message, and there's a
| | 03:16 |
lot of stuff that you can do in Acrobat
for which, you're not going to have an
| | 03:19 |
Undo, at least it's polite enough to tell
you.
| | 03:22 |
And in this case, I don't want an undo, I
want it to fix it.
| | 03:26 |
So I'm going to choose Yes.
I'm going to double check, and back
| | 03:29 |
there, you can see that everything looks
okay.
| | 03:31 |
When I turn off the Spot Plates,
everything travels together, and when I
| | 03:35 |
close Output Preview, look the colors
have really been converted.
| | 03:39 |
So if you have this kind of a problem,
this will actually fix it.
| | 03:43 |
This PDF is actually safe to send on down
the line.
| | 03:46 |
It will image correctly.
It will just generate that one Spot Plate
| | 03:49 |
and black.
You know that there's some things that
| | 03:51 |
you can't fix, but this is one of the
things you can.
| | 03:53 |
But, do remember that it takes two steps.
You use Ink Manager to set up the
| | 03:57 |
instructions how you want Acrobat to
handle those colors.
| | 04:01 |
And then you bake it in, if you will, by
using Convert Colors.
| | 04:05 |
So just remember the Print Production
tools give you a lot of ability to fix
| | 04:09 |
problems with PDFs.
| | 04:11 |
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| Using preflight profiles| 00:01 |
If you're looking for problems in just a
single PDF, you can probably just use
| | 00:04 |
Output Preview.
But if you're looking for problems in
| | 00:07 |
multiple PDFs and you'd like to batch
process them.
| | 00:11 |
Then you need to create a Preflight
profile.
| | 00:13 |
To do that, go to your Print Production
Tools and choose Preflight.
| | 00:18 |
And you'll see that there's a pretty good
number of presets that ship with Acrobat.
| | 00:23 |
But what I'm going to do, is use one of
those as a starting point, and then I'm
| | 00:26 |
going to customize it and have it look
for anything that's not spot color or black.
| | 00:31 |
In other words, anything that's going to
generate a cyan, magenta, or yellow
| | 00:34 |
plate, So under Prepress, I'm going to
use this Sheetfed Offset profile as a
| | 00:38 |
starting point.
Now, I don't want to change it.
| | 00:42 |
I want to leave it intact.
So I'm going to come up to Options and
| | 00:45 |
choose Create New PreFlight Profile.
And I need to name it.
| | 00:49 |
And I'm going to tell it to search for
CMYK.
| | 00:52 |
So I'm going to name it no CMYK.
And you can put all sorts of information
| | 00:56 |
in here if you want to.
And here on the left, you can see that
| | 00:59 |
there are a number of kinds of problems
you can have it look for.
| | 01:02 |
But in this case, all I'm really worried
about is what sort of plates it's going
| | 01:05 |
to generate, and there it is right at the
top, and that tells you something, this
| | 01:08 |
is really a common problem.
So I wanted to search for anything that's
| | 01:13 |
going to generate (INAUDIBLE) or yellow
plates, and I have 4 options here, the
| | 01:16 |
inactive option, well it might find it
but it's not going to report on it.
| | 01:22 |
Info, Warning, and Error, well, all three
inform me that it's found something.
| | 01:25 |
So really I could use any one of them,
but I'm a fan of just using the error,
| | 01:28 |
because when we see that big red X we
know we have a problem.
| | 01:33 |
I might check to make sure there's
nothing RGB as well, because that would
| | 01:36 |
also generate cyan, magenta, and yellow
plates when it goes to a plate setter.
| | 01:41 |
So, I'm going to save this and then I'm
going to have it look at this file.
| | 01:47 |
So when I click analyze, well immediately
we see that we have a problem.
| | 01:51 |
But think how beneficial this would be if
I had to do this to 50 pdf's.
| | 01:55 |
It would report on all of them.
I notice there's a problem, but I don't
| | 01:59 |
know exactly where the problem is, so I
don't really know what to tell the
| | 02:01 |
original designer to fix.
So I need to know what the image is or
| | 02:05 |
multiple images if multiple images are
causing the problem.
| | 02:09 |
When I click on this, nothing happens,
well this is the secret.
| | 02:13 |
Down here at the lower left it says show
in Snap, which makes no sense until you
| | 02:16 |
know there's something called Snap view,
and this is it Snap view.
| | 02:21 |
There, now I know what the problem is,
it's this image.
| | 02:25 |
So, now I know how to inform the
designer, they need to go back, into
| | 02:27 |
Photoshop and fix that image, so that
it's really a duotone.
| | 02:31 |
It looks like a duotone, but it isn't
one.
| | 02:33 |
So, I can't fix this.
There's no way to repair this.
| | 02:37 |
Here in Acrobat but at least now I know
what the problem is and so now i can
| | 02:40 |
inform the designer.
So if you have multiple PDFs that you
| | 02:44 |
want to check, make sure that they're
healthy consider making a Preflight
| | 02:47 |
profile, it sort of does the work for you
it's much more efficient.
| | 02:51 |
You can automate the process and it's all
about trying to make sure that your files
| | 02:55 |
are healthy before you send them to
press.
| | 02:58 |
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ConclusionWhat I hope you've learned in this course| 00:01 |
After taking this course, I think you
understand why we need spot colors to
| | 00:04 |
extend the range of hues that we can
print.
| | 00:08 |
And I'll bet you have some appreciation
now for the craftsmanship that goes into
| | 00:11 |
creating printing inks.
You've seen some examples of how spot
| | 00:15 |
colors and varnishes can enhance printing
projects.
| | 00:18 |
And you also have some idea of the
printing issues that you might face, so
| | 00:21 |
you should consider them when you plan
your job with spot colors and varnishes.
| | 00:26 |
I hope I've taught you some useful
techniques for creating artwork for the
| | 00:29 |
correct printing of spot colors and
varnishes.
| | 00:32 |
An I've also shown you how to use some
forensic tools in Adobe Acrobat, so that
| | 00:35 |
you can check your files before you send
them off for print.
| | 00:40 |
And most of all, I hope I've inspired you
to explore the wonderful possibilities
| | 00:43 |
that spot colors and special finishes
provide, so that you can translate what
| | 00:47 |
you imagine into print.
| | 00:49 |
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| Next steps| 00:01 |
If you want to learn more about spot
colors, and the ink reference guides.
| | 00:05 |
I've complied a short list of resources
that you might find helpful.
| | 00:08 |
And if want to expand your skills and
learn new techniques in the graphic
| | 00:11 |
design programs that you use everyday.
You'll find a multitude of courses right
| | 00:16 |
here, within this library.
| | 00:17 |
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