When changing a colour from RGB to CYMK, we can se a dramatic shift. Being aware of this is important for print.
Select - view - gamut warning - shows all the colours that can be print produced on how it looks on screen, if we convert to CYMK we can expect to see that shift. If we want more control over the conversion and manage these out of gamut colours them we can view the hue and saturation.
We can also make selections if we're wanting to look at specific sections of an image. If we're dealing with out of gamut colours theres an easy way of selecting these. Select - colour range - what is white in the preview is what will be selected, the option - fuzziness means we can expand or extract the selection. Magic want tool does the sam thing. Selecting out of gamut on the colour range and then select hue and saturation. Theres another way we can work with the same considerations, we can take our image, view - proof colours - might see a slight shift in the image, proof colours allows you to work in RGB but we can see what it will look like when its converted to CYMK - turn it on as we start working - this method gives us no unexpected results, everything done to the image there will be surprises.
swatch palette in photoshop - same way of working as illustrator. If we want to apply colour to this image we just look at colour picker. If theres a warning symbol next to colour shows its out of gamut range for printing. Photoshop will change that choice and show the closest looking colour.
(From adobe book)
Work in RGB mode until you finish editing your image. Then convert the image to CYMK mode and ,ale any additional colour and tonal adjustments. Especially check the highlights and shadows of the image.
Use levels, curves, hue/saturation adjustments layers to make corrections. These adjustments should be very minor. Flatten the file if necessary, then send the CYMK file to the professional printer
How to work with spot colours in Photoshop
As soon as colour is applied to image it becomes an RGB with a CYMK preview. With spot colours we always need to see the number reference. That reference number always has to be viewed, so when its printed it can be seen.
A few different approaches working with spot colours in photoshop.
The first application of spot colour - still having access to a unique reference number
Colour mode of this image is in greyscale, as far as the printing goes, would only be printed with the black in CYMK Image - greyscale - duotone (only available with greyscale image) change mode from greyscale to duo tone. With duo tone we can exchange the ink for another ink, initial ink is black, exchange the black ink for a spot colour.
Saving file format, has to be saved as a photoshop file.
Nothing has actually changed in the image, we've just added information to it with monotone. Choosing own spot colours we have that flexibility.
In the type menu - there are three options - monotone - duo tone - tritone
with another duo tone, theres more depth to the image and more tonal variation.
By manipulating curve on colour it adds colour to the lightest or darkest part of the image, we can stylise the image more. More flexibility applied to ink.
Duotone in context
Reproduction of image
Adjustment layers - mapping of the ink will simplify the image even more, keeping the duotone.
Channels
The main function of channels if that they store information about colours (inks that will be applied)
Spot colour channel
Rather than information of CYMK it will contain information about spot colours. This can be applied to any mode of image. Working with greyscale we only have one channel.
Selecting new spot colour channel, a new ink can be chosen, we then have an empty spot channel
Image with my chosen spot colour, the spot colour can be changed at any time.
No comments:
Post a Comment