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Another reason I’m taking it into Photoshop is to change the colour profile to ISO Coated v2 (ECI). Click OK. Try Photoshop, free for 7 days then US$20.99/mo. The levels of transparency should be knocking each other out and the spot channel/plate should look similar to what you are showing above. Excellent stuff – many thanks for your help.

If you want some areas to be darker than others, you’ll need to plan accordingly. 5. To add more options click on the Gradient Thumbnail in the Properties Panel and then click on the Gear icon at the top of the Gradient Editor window, from the list select Photographic Toning and then Append your list of gradients. Place the image in InDesign, check “show import options”. Explore creative techniques for layering, masking, and blending to make something unique and unexpected. Return to your InDesign document, and to Page 2. Then you’re ready to merge and blend these layers into a single overlay image. If you overlap spot colors, some areas get darker and bolder onscreen. In the meantime, remember that Overprint Preview is your friend. How do I specify a colour that is 50% of two different Pantones? How to add blur to a photo in Adobe Photoshop. Remember that setting a higher resolution in Photoshop doesn’t give you a higher resolution graphic. How-tos, tips and tricks, and more. Transform photos with image overlays. I left work tonight thinking ‘How the hell am I going to do this?’ And now I know. @Nikki: No, the Overprint Preview settings have no effect on how a PDF is exported. 2. Combine two photos to create a seamless double exposure effect with this quick video tutorial. For best results, start with high-contrast images with distinct light and dark areas.

Since this technique leaves you with a rasterized (pixel-based) image, you lose your sharp-edged vectors. If there is text or vectors in their PDF files, you’re ruining them. Type an uppercase ‘T’ into the frame, and set the Font to Lobster Regular, Size 750 pt. You should be doing all of that those steps outside of Photoshop, if you don’t have the full creative suite you really need to get on someone’s case to buy it for you. Get ready for bright, vibrant color palettes paired with wholesome, meaningful content. Another option is to use two different spot colors. It doesn’t create a third spot colour – it’s akin to saying if I make a fruit salad with apples and bananas and they touch, they create a third fruit – so no that won’t happen. Never a boring presentation ye shall make. Note I said InDesign usually doesn’t know that the colors can’t get darker. Photoshop images, even when flattened tend to be larger than even the most complex of vector art. The quality of printing with process colors is different than with spot colors, but at least you’d be closer to the desired end result. 1. To ensure that all the “blacks” on the advert are correct (all black text to be 100%K and all black backgrounds to be Rich Black) – we print on recycled newsprint so there are set specifics we have to work to with the blacks to ensure the best final outcome. Experiment with different blend modes and adjust the opacity of your images to find the right effect. Required fields are marked *, Photoshop, Illustrator and InDesign Tutorials. If you need a bunch of combinations, you can create a mixed ink group. Since this technique leaves you with a rasterized (pixel-based) image, you lose your sharp-edged vectors. In the text frame type the following There are other solutions, such as recreating objects in Illustrator, but you’ll still have the same basic limitation: You can’t make an ink any darker than it is, no matter how much of that ink you overlay. Some spot colors are difficult, or even impossible to represent properly on screen. FA Get total control over your blending and overlay images with layer masks and transparency settings. If you are working in newsprint why would you be saving to the ISO coated profile? 3. I have a piece of art ready for printing onto package flute in 2 Pantone colours and my client has a PDF to review and there’s a desktop print in CMYK for him to see on Monday. He wants a 50% tint of Pantone 1 to overlay a 50% tint of Pantone 2 in graphics and in type. In this case, one object gets the spot swatch, another spot_Copy, another spot_Copy2, etc. Next, add images or photos on new layers and arrange them over your original base image. Acrobat –preflight –> potential overprint problems should confirm that. First, you could convert the spot color to a process color with InDesign’s Ink Manager. If that is the case there is a preflight fixup to set all white to knockout. Begin your project by opening your base image. This has nothing to do with trapping. My guess on the teddy bear is that the white in the eyes was set to overprint. Any printer worth their salt should be able to trap this correctly during prepress art check. You describe how the pantone ink is “overlaying” the same pantone ink…why??? And what can I do to prevent disappearing elements on my side? Open the effects panel – WINDOW menu > EFFECTS. Go to the FILE menu > PLACE and select Fashion Portrait.PSD. The default on almost every application (excluding Photshop) is that text will be k=100. 10. To crop the advert to the client’s supplied crop marks, 2. I have had to do this once some time ago just because of time-frame constraints: the job was needed at a very short notice and no designer available. (Though it depends on the inks–some thick spot colors don’t tint well, so check with your printer.). IO This is a case of WYSINWYG (“what you see is not what you get”)! 8. Selecting a region changes the language and/or content on You make the same point I do: “you can only have 100% of the spot in any given area”!

1. Gradient Map replaces the range of tonal values in the image with a range of color as defined by a gradient. Or will I get other colors that are behind/under the outline? Select the Text frame with the Selection Tool (Black Arrow) and then go to the TYPE menu > CREATE OUTLINES.

Not only does this illustrate the issue that David’s post highlighted, but also reveals effects which will only work on process colors and not spot colors, such as Soft Light. Another way (useful for Pantone and Spot printing) Use the color mode "Duotone." You have made some very good points. Yes, if it was a photoshop file with layers flattening will reduce size, but if not try saving as an optimized pdf or redued size pdf.

Change the Blend Mode to Overlay and the Opacity to 50%. Any feedback you can give me would be much appreciated. Spot colors, InDesign Magazine Issue 122: Cross-Media Color, Ink Manager: Never Forget This Step Before Exporting a PDF. To add a more dramatic effect, you put the color image on top of these 2 layers and use the "Overlay" blending mode at 60% transparency. Align the graphic to the right hand side margin. But of course, that ignores the fact that if you’re paying for a spot color job like this, you’re almost certainly using 100% of the spot color ink elsewhere (like type or other solids), and you’d get the too-dark version there. A trick that we used to use when I worked in publishing was to use a process color in place of the spot color when building the documents, which allowed the full range of process only effects to be used in creating art.

Choose other modes, like Darken, to blend the pixels differently. i.e I do NOT want to add a child div within the div "testclass" for the color overlay. If you need a preview with the actual spot color then export it as a EPS or PDF, open it in photoshop and convert the appropriate process channel to a spot color channel. When you turn on overprint preview, InDesign suddenly wakes up and shows you an accurate preview. You can find more about David at And it worked! But the printed output may be a different situation. David Blatner is the co-founder of the Creative Publishing Network, InDesign Magazine, and the author or co-author of 15 books, including Real World InDesign. Click on the upper left corner of the document to place it on the page. In this case, it seems like the designer should have simply used a darker spot color.

It will create an Instagram style filter effect. That’s superb, David. The job could not be printed as is. There should be no reason to rasterize them. Creating color overlays in Photoshop is a simple way to make your photos pop—especially if you’re using Pantone’s Color of the Year.

Here are several solutions to remember should you ever find yourself in a similar boat. Other very bold, rich colors–like bright teals and oranges–are similarly impossible to preview in the RGB gamut of most monitors.

5. How-tos, tips and tricks and more. His InDesign videos at LinkedIn Learning ( are among the most watched InDesign training in the world. All the text, all the vector art, all gets lost so you’ll never get a really clean sharp line anymore.

It’s only on import and conversion to working color space that it changes. Get your glow on with this simple technique. 10. 3. Throwing the art in photoshop and converting profile is one way to ensure that your ink percentages will be wrong and that you will have to fix them, as it first converts to LAB then to your cmyk based on what it thinks it should look like. Because of the paper we print on, we have huge issues with colour – so to get as close as possible to the correct colour we have to convert all images / ads to be the same profile as our printers. :shrugs: @Don: Huh?! The login page will open in a new tab. SH

There is no doubt that spot colors can help you achieve striking, effective designs.

Poor final print image would be vendor’s fault. I take the pdf into Photoshop first for the following reasons: 1. Create beautiful images with Photoshop brushes, Content-Aware Fill, and the many tools photographers rely on. Change the Blending mode of the Gradient Map layer to Darken (this will blend the darker of the original colors into the image) Save the file as Fashion Portrait.PSD. This will have the same effect on the resolution as any scaling you do in Photoshop. Fill – just like it sounds, fills in the whole shape or text with a color. Photoshop will recognize this on import and rasterize accordingly. With the graphic still selected, change the fill color to paper (white) Your email address will not be published. Specifically, blending modes control how pixels in your image are affected by a painting or editing tool. I’ve done double-hits of spot colors (fluorescents which look dull even with full coverage really pop with 140-160%). Case in point: The other day, I received an email from a printer who was ranting about a client’s artwork. I would like to get the silver foil getting through the outlines of some objects. Scale the text graphic to the full height of the margins, make sure to hold the shift key down and drag from a corner to ensure the graphic stays in proportion. The example shown in this story should not be any trouble to print on a commercial press with spots. Ok – let me explain… our clients are supplying artwork of their adverts which we have to place into the layouts of our magazine before we can pdf our pages… so I have to take their flattened adverts into Indesign (into our layouts) and put them in their placeholders with our page straps and footlines.

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