I forgot to mention in the video that this will also work in Illustrator as well. If your swatches are set to RGB in Illustrator, just output in the same manner as in the video and set up and run the preflight the same way.
This assumes that those CMYK numbers are SWOP to begin with. It's frustrating that brand guides don't specify WHICH CMYK. Chances are this would print to something with a different profile, so those numbers are going to change to preserve appearance?
True. The problem is that you’re trying to have one step for two different processes. This example is trying to keep RGB and CMYK the same, which is impossible. However the point is to try and be as close as possible. The best solution is always to use PANTONE colors for print when possible.
@@miketheprintman I don't know. So many pantone colors are well out of the gamut of CMYK and even some wide-gamut devices, don't know if its always worth the trouble. And pantone themselves can be inconsistent between books, and have colors who's difference is less than the tolerance of the printers. Eddy Hagen's written a ton about getting past Pantone which is interesting.
@@danselzer good points, but unfortunately most of the industry still uses Pantone as their good standard, and what the customer wants they get. I often find that I’m setting up a file with incorrect colors and then trying to match to a hard copy sample that has the supposed Pantone color way off. It’s never easy in this business, even if try to maintain the highest level of standards.
I forgot to mention in the video that this will also work in Illustrator as well. If your swatches are set to RGB in Illustrator, just output in the same manner as in the video and set up and run the preflight the same way.
thank you! This is so helpful :) also like your rich black tutorial, very clear and it works
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This assumes that those CMYK numbers are SWOP to begin with. It's frustrating that brand guides don't specify WHICH CMYK. Chances are this would print to something with a different profile, so those numbers are going to change to preserve appearance?
True. The problem is that you’re trying to have one step for two different processes. This example is trying to keep RGB and CMYK the same, which is impossible. However the point is to try and be as close as possible. The best solution is always to use PANTONE colors for print when possible.
@@miketheprintman I don't know. So many pantone colors are well out of the gamut of CMYK and even some wide-gamut devices, don't know if its always worth the trouble. And pantone themselves can be inconsistent between books, and have colors who's difference is less than the tolerance of the printers. Eddy Hagen's written a ton about getting past Pantone which is interesting.
@@danselzer good points, but unfortunately most of the industry still uses Pantone as their good standard, and what the customer wants they get. I often find that I’m setting up a file with incorrect colors and then trying to match to a hard copy sample that has the supposed Pantone color way off. It’s never easy in this business, even if try to maintain the highest level of standards.