From the course: InDesign Secrets
340 Mapping one color swatch to another - InDesign Tutorial
From the course: InDesign Secrets
340 Mapping one color swatch to another
- [Man] In this document, I have applied this dark red color to a bunch of frames, and a dark blue color to a bunch of other frames, and of course the text is just black. The background fill color here is just a tint of the solid color, but I've just been told that we have to print this with just back and blue. Now, one way to get all that red stuff to be blue would be to just delete the red swatch, like this. I'll come over to the swatches panel and I'll drag that dark red swatch onto the trash icon. InDesign asks me which color to replace it with, and I'm going to say, replace it with blue. When I click OK, then all my red frames become blue. But this is kind of a permanent change. What if I want something more temporary? Like, maybe I'm going to need these red again next month. Well, in that case, I may want to use color mapping instead. Color mapping, which is technically called ink aliasing, is normally used to make one spot color look like another spot color. But you can actually use it for almost any color. Here, I'm going to undo this change by pressing command + Z or control + Z on Windows. Now you can see we're back to the way it was. In this case, I want to map the red to the blue. Now technically, ink aliasing, or color mapping, only works with spot colors, but if you look at the icons on the right side of the swatches panel, you can see that all of these colors are process colors. So I'm going to show you how to get the best of both worlds. That is, I want spot colors that act like process colors, or maybe it's process colors that act like spot colors. Whatever the case, this is a little-known and very cool trick. First, I'm going to edit the red swatch by right-clicking on it and choosing Swatch Options. Now you'll see how this is a process color? I'm going to change the color type to spot. But you can see down here, that it's still defined with CMYK colors. It's a CMYK spot color. Now I'll click OK and I'll do the same thing to the blue color. Right click, or control + click with a one-button mouse, and then choose Swatch Options and change this to a spot color. You can see over here in the swatches panel that these color swatches now have a slightly different kind of icon. That means they're spot colors. So if I printed this document right now, I would get extra plates, like cyan, yellow, magenta, black, plus this red color and the blue spot color, and that's not what I want. My printer probably won't be happy if I do that. Instead, I want these to just be normal process colors, but I want all the red to be blue, right? So here's the next part of the trick, inside the swatches panel menu, up here, I'll go down to the very bottom and choose Ink Manager. Now the ink manager shows all the inks that I'm using in this document, including all the spot colors. So I have cyan, magenta, yellow, black, and my two new spot colors. I'm going to choose the dark red spot color and I'm going to come down here to the ink alias pop up menu, and I'm going to tell it to alias it to dark blue. Now this mean, wherever you see the red color in this document, map it or alias it to the blue color. Okay, the last step is to click over here, in the icon to the left of the dark blue color. Now this icon means, convert this to process colors. So it's technically still a spot color swatch, but it's going to separate into the four process colors, which is what we want. Once again, anything that is red is going to be aliased to blue, and blue is going to separate into process colors. So, great, we're done. I'm going to click OK, and you can see that, well, nothing seems to have changed at all. After all that work, it doesn't look like anything happened. But actually it is working, we're just not seeing it in action. To see ink mapping, you need to go up to the view menu and turn on overprint preview. There we go. See, overprint preview really means, make all my colors look a bit more accurate, more like how they really will print. So, now everything that was red, looks blue, but it's not permanent. If I change those swatches back to process colors, or if I turn off ink aliasing in the ink manager, then it can all go back to the way it was again. The ink manager and ink aliasing are incredibly powerful tools in InDesign. When you need maximum control over all your colors, well, now you know where to find it.
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Contents
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229 Batch converting ID files to current version with the Book panel6m 9s
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230 Getting around InDesign limitations6m 46s
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231 Creating better callout lines with effects and object styles5m 47s
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232 Swapping column and row information in tables6m 9s
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233 Making bigger text link targets4m 52s
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161 Keeping page numbers on top of master items3m 55s
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162 Adding automatic currency symbols in a table cell or before text3m 50s
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163 Make a pop-up footnote for your ebook3m 48s
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164 Deleting tabs at the beginning of paragraphs and applying a paragraph style3m 10s
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165 Five InDesign Presentation tips6m 28s
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111 Packaging images on the pasteboard3m 32s
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112 Automatically updating figure references for books6m 9s
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113 Adding Tool Tips to your form fields in InDesign3m 21s
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114 Setting poetry, flush left, center on longest line3m 54s
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115 Use bookmarks to navigate long documents in production4m 57s
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107 Using the same keyboard shortcut for two different commands with the Context feature5m 22s
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108 Making a text highlighter3m 33s
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109 Updating an interactive PDF without losing work done in Acrobat5m 30s
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110 Adding custom text at the beginning of each line automatically4m
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089 Three great Object Styles for any designer8m 1s
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090 Choosing alpha channel image transparency2m 25s
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091 Adding and reading metadata for InDesign files3m 25s
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092 Adding ALT tags to your images6m 59s
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093 How to Place & Link a text frame's text but not its formatting7m 4s
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094 Setting the baseline position of a caption2m 39s
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051 Five things that should be in every new file5m 19s
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052 Forcing EPUB page breaks with invisible objects6m 21s
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053 Understanding component information6m 39s
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054 Creating running heads using section markers4m 16s
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055 Making a font with InDesign using the IndyFont script5m 20s
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056 Finding where that color is used7m 17s
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047 Specifying an exact amount of space between objects5m 17s
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048 Fixing last lines that are too short8m 16s
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049 Creating web graphics from your InDesign artwork7m 20s
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050 Using “No Language” to suppress unwanted hyphenation, spell-checking, and smart quotes2m 48s
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037 Updating a linked table without losing formatting5m 18s
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038 Creating electronic sticky notes4m 49s
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039 Moving master page items to the top layer for visibility2m 48s
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040 Five guide tricks that will impress your coworkers6m 18s
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041 Letting InDesign add the diacritics4m 21s
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042 Using single-cell table cells for custom paragraph formatting6m 2s
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027 Creating running heads using variables5m 1s
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028 Live Caption tips and tricks8m 3s
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029 Making professional drop caps10m 37s
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030 Making two-state buttons in interactive documents5m 5s
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031 Moving pages from one document to another3m 15s
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032 Wrapping bulleted text around a curve5m 58s
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007 Selecting through and into objects using cmd-click and Select Above/Below5m 46s
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008 Some great tips and tricks for the Swatches panel9m 40s
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009 Saving down for backward compatibility with INX and IDML5m 54s
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010 Using the INX and IDML formats to fix problems4m 46s
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