Color Management

We defined a wide-ranging RGB/HEX color palette for a brand that is moving towards being more digital-first. However, since it still produces a range of printed products, we now need to develop matching PMS and CMYK values.It’s not an ideal way to start with the broadest gamut space, but that’s where we are now. The goal is to have a consistent appearance across the board.The challenge is that the RGB/HEX (on-screen) palette is already defined with bright, clean colors; some may be hard to match in print (narrower gamut).Compromises will be necessary. I’ll focus on the primary brand colors and may skip some darker or lighter shades for the PMS/CMYK palette. There are variables and factors like the printing process and paper quality beyond our control as we work with different vendors — we may not be able to do test printing in most cases. My question is:What is the best way to get PMS/CMYK (coated and uncoated) values consistent with the already defined RGB/HEX values? H

I have been trying to save my images to print so I can sell them on my Etsy shop.First I copy and paste from Illustrator into Photoshop onto the canvas (8x10 inches / 2400x3000 pixels at 300ppi) as a vector smart object. Then I flatten or merge all the layers then go to Layer > Export as > PNG.After I saved it I open the document again. I check the ppi which is now at 72ppi and the inches have changed to 33 x 41 inches but the pixels remain the same!! wtf?This is so confusing to me. Can someone tell me what I'm doing wrong?

Hello!So right off the bat, I want to be clear that I understand this: the best way to choose a colour profile is ask your printer what they use. I understand why this matters. But this is not the situation I'm dealing with. I'm designing a document for an unknown destination. It's an educational PDF that will made publicly available for download on the internet, and people will print it themselves. Either on home printers, or printers available in their workplaces/ public libraries. Accessibility is the biggest priority- we need to assume people aren't using nice coated paper, that they can't/wont pay to print it professionally, and that they have no control over printer settings.So I need a decent CMYK profile that will work for ordinary, uncoated, white 8.5 X 11 US paper sheets. Something that might approximate the settings of a big lug copy-print-in-one printer in a library, and wont completely soak the paper with ink. (For reference, this is in Canada/US.)Any suggestions?Or i

Bonjour à tous,Je cherche à reproduire la couleur OR qui donne de bon résultat à l'impression sans passer par le Pantone avez vous quelques choses à me proposer?Merci

Hey, I'm looking for a consultation (also paid, as I've been struggling with the issue for a long time) on the topic of preparing Adobe Illustrator => PDF file for printing on RGB desktop printers.In particular, knowledge of:- Color spaces, color profiles, conversions and color management throughout the process- Working with PNGs with transparency- Maximizing compatibility with RGB printers- Using custom ICM profiles for a specific Epson printer (L8180) Specific topics:- Setting up color spaces and profiles for my workflow and explaining to me like a child when and how I should convert between profiles and what to embed and what not to embed (digital illustration in ProCreate > Illustrator/InDesign for typesetting, > export to PDF >Print on RGB printers) When my problem will be solved:Creating a workflow (color space and profile settings, flattening, conversion) on a step-by-step basis in which the resulting PDF will print correctly on a cheap Canon Pixma pri

Hey, I have some issues that I can't handle  myself anymore   Issues:   #Converting Cmyk to RGB Al File and  embedded PNGs with transparency  (illustrations).  #Export of RGB PDF that will print well on home  printers  #RGB Al files with embedded PNGs with  different profiles   I am preparing PDFs (ebooks) in Illustrator that  are supposed to print well on home printers.   So far they have all been prepared in CMYK with  a "Generic CMYK" profile similar to most of the  illustrations embedded inside (PDF with  transparency). I can see that other profiles, like  P3, got tangled up there, because it's easy to missclick when exporting illustrations from Procreate.   The problem arose when I bought a new printer - Epson L8180 with ICM/ICC profile calibrated for  a specific paper.  I learned that under home  printers it should be PDF

I think Ive posted here before about my general lack of understanding for Color Management so please refrain from responding with any 'Jeez what a tool!' comments.I work for a product manufacturer and my team is responsible for creating renders of our products which we do in Cinema 4D. We composite and finish these renders in Photoshop, working in sRGB.Like any product, ours come in many colors and finishes. Our results are shared for feedback via Adobe Workfront where anything up to half a dozen people can review the images and comment.Now when we are finishing the images in Photoshop we are doing so on BenQ PD2705U monitors which are factory calibrated so we dont fiddle with them. We match the images to actual product samples under D50 lighting conditions.The problem is our reviewers are looking at our images on a multitude of different screens, some pretty good and some are abysmal. They are sitting in rooms with yellow sunlight pouring in and holding product samples, then telling u

I have been upgrading my displays and finally have some wide-gamut models that I found cheap (Goodwill FTW!) Unfortunately I don't think my old Huey Pro calibrator is up to the task of properly profiling them. The old software is long since obsolete and using DisplayCal hasn't worked out well. So I'm looking to pickup a cheap but decent display profiler. I currently have an LG 24MD4KLB-B Thunderbolt display and a Dell Ultrasharp U3011 via HDMI on my M1 Mac mini. I also have a second LG and an old NEC 30" wide-gamut model (that weighs about 40 pounds) as backups. I typically edit RAW files in Adobe RGB, 16-bi. Any recommendations? Apple Silicon compatibility is a must, I won't be using it with Windows at all.At some point I'd love to upgrade to a Mac Studio but probably not today so the mini is it.

Hi everyone,I’m having trouble adapting to using a wide-gamut monitor, specifically with a DCI-P3 color profile that I downloaded from RTINGS for my specific monitor model (DELL U3223QE). I’d appreciate some help understanding what's going on and finding a solution to maintain color consistency across programs and profiles. Problem 1: I understand that sRGB colors will look less vivid on a wide-gamut monitor, but when pasting screenshots into color-managed programs like Photoshop or Illustrator, the colors appear very desaturated. Converting the screenshot to sRGB and re-importing it into these programs doesn’t help. I’ve also tried assigning the screenshot to P3 and then converting to sRGB again, but the result doesn’t match the original. In my work I'm always using screenshots to quickly grab colors from references. This has always worked in regular monitors and the consistency of colors was always ok. Problem 2: Additionally, when importing images with an sRGB profile into

HI i have the Mac Studio Display.  When I print straight out of LR the colors are pretty accurate to what I see on my screen.  I have the Mac Studio with True Tone off.   When I export the image as a jpeg it looks the same as it does in Lightroom but if I put that same photo on my iphone it's warmer.If I put that same photo in photoshop and print from there it's wamer and less contrast also if I export it from PS as a jpeg PS changes the colors as well just on the export.   What is the best way to have consistant colors between all plate forms from LR, to PS to print?  Any help would be great thank you!

Hi Guys, I edit my photos in either Lightroom or Photoshop. The photos look vibrant and colourful on my PC, as per the editing I had done. But when I save these photos in my S9-Plus, they look colourless and weird. Can someone please help me here? Do I have to save the files differently once I edit the photo in Photoshop or Lightroom?Example 1 - The photo on PC - Photo/Screenshot from my Samsung S9Plus - ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------Example 2 - The photo on my PC - Screenshot from my Samsung S9Plus-

I guess this would be the best forum. My boss asked me to investigate looking into a new monitor, since he wants to get me a color calibrated one. I'm sadly not tech savy, which it feels like thats a techy thing. Does anyone have any suggestions on monitors they like or suggest? When I try to search, I'm not sure what I'm looking at/for, and I get a bit overwhelmed. Anything would help. Thanks! 

I would be so grateful if somebody could tell me whether this box should or should not be checked. Is the answer the same whether I am saving as RGB or CMYK, should it always be checked, or never be checked? I can't find a clear answer on a google search!At the moment, I do NOT check it if I am saving as CMYK as I then get a hazy film over the jpg's, like they are washed out. If I am saving as RGB then I DO check it. I just would love to know the correct answer! Thanks

Dear Adobe and Lightroom users.I´m using Adobe Lightroom as  raw conversion software for a number of different makes of cameras and lenses. Some of my tasks include photographing misc. metal objects such as coins and medals and also archaeological artifacts as well as two-dimensional graphic art and paintings with misc. different types of reflective surfaces, such as e.g. oil paintings with problematic reflective surfaces. The aim is to reproduce the color with high fidelity.I use misc. gray cards to to obtain neutral reproduction, but the problem of high reflection of highlights in eg. the above mentioned oil paintings and coins has brought me to experiment with cross-polarisation scenarios, where I use e.g. Kaiser reproduction light banks (fluorescent tubes) fitted with Kaiser  linear polarization filters - or similar tubes or small LED lights of misc. make with LEE (gel) filters fitted, in combination with misc. makes of polarization filters on the lenses I use.(Ideally I

I have a question about managing dot gain in greyscale images in a CMYK workflow.I have an RGB image that's superficially greyscale (as in, it looks like grey tones, even though it's made of rgb values). It will be placed in InD in a document that has some colour pages/images, and some black and white. The document will be exported as a PDF/X-1a with a cmyk output intent. The image in question (plus the rest of the b&w content) has to print in k black only, so I convert it to Greyscale mode in PS, adjusting levels as desired, then place it in InD, then export to PDF- in Acrobat's Output Preview, the separations read as k-values only for the image. So far so good.The question: 1) My printer says to compensate for 25% dot gain on all images. In general, can mixed b&w and colour content in the same pdf be adequately compensated for with a single destination profile/output intent? (In this case, everything is being treated like cmyk, so will the cmyk output profile/intent be s

Apologies for my lack of understanding. I've been reading about this extensively in forums and online but I'm clearly missing something still, I'm doing my best to understand. Please be kind ❤️ I'm creating an A4 brochure, 36 pages total, in Adobe Photoshop (so each page is an individual file). I have these set up Image Mode- CMYK. The printer I am using asks for files to be sent as [PDF/X-1a:2001] but when I export to this, I lose some colour, in particular the whole thing becomes very dark. Does anyone have any advice for rectifying this? Is there a way within my psd edit files that I can preview what these colours will look like whilst I'm working on it so that I can adjust accordingly? I've rooted around in the view tab and I have Proof Colours checked and Proof Setup- Device to Simulate: US Web Coated (Swop) V2, but this still looks the same, and only changes after I've saved to PDF. Thank you for any advice and help!

Hi there! I've scoured the internet and the answer always seems to come back as "yes" but I'm working on a project that will be printed AND published online. I've been using Photoshop to edit photos, then place them in my working InDesign file which will then be exported as pdfs (one for print and one for online). When I save the Photoshop files, I usually uncheck the "Embed Color Profile" box. I have so many edited photos and logos I'm working with that the idea of and having to re-save and store twice as many files (one cmyk and one rgb) seems daunting (to me and my external hard drive). Not to mention I'd have to re-place all the images in InDesign depending on the file output. Can someone please let me know the best way to go about saving and exporting my files? Is there a specific way to set up my InDesign document so the photos' color profiles can switch automatically depending if I export it for print or digital?

I work for a newspaper. I make the ads in photoshop, and the printer likes us to use indesign. They request not to use registration black. I'm struggling to figure out how to do ads in CMYK for the color parts of the ad, and then how to switch the black to just black, so 0, 0, 0, 100% for the black is what's needed. I have tried everything. I need help! 

Hi There, How can I get the best results when converting a RGB to CMYK? For example, a tif visual when offset printing... Is there any programme, plug in, machine for this? Many thanks

I just upgraded from Illustrator CS5 to Illustrator CC.  I just noticed that the pantone colors look different - and print different.  I opened on old file from Illustrator CS5 that had this pantone color (Pantone 179), and I opened a new file that was created in CC that has the exact same pantone color.  Illustrator CC is showing them differently on the screen, and when I send them to print (I work for a large format printing company that needs pantones to be accurate), the colors look different.See the image I attached below - both of those colors are set at Pantone 179.  When I print them, they look exactly like they appear on the screen - one of them much more red than the other.  The one on the left is how it is supposed to appear, and that file was set up in Illustrator CS5.  The one on the right was cut and paste from the file on the left into a new file and saved in Illustrator CC.  Nothing else was changed.Please help me get this problem reso

Hello, I am new here and I hope it's the right place for my topic! I will try to keep it as short as possible. Basically, I want to know what exactly adobeRGB gets used for and if a wide gamut monitor is necessary in my case. Currently I am trying to understand a former ebook about colormanagement and what went wrong on my picture. I recently bought a wide gamut monitor (SW240) and thought all my problems will be solved. Or that I'll at least improve my workflow. Shortly about my current setup: My monitor (BenQ SW240) is paired with my windows11 PC and profiled to its native colourspace with a SpyderX Pro. I shoot RAWs with my camera and edit them in Camera Raw/Photoshop. I have this picture of a pit viper and I want to edit it. In Photoshop and camera raw, I used AdobeRGB as my working space and made my changes so the image appeals to me. Now I export it as a JPG and convert it to sRGB to be able to upload it to IG. -> The picture looks terribly unsatu

Hey folks!I finally got myself a decent device for editing and started to get into the color management topic. I am quite confused by now and I hope it is alright to ask some questions! So currently I am doing it like this:I take a picture in RAW on my Nikon and load it in my macbook (air M2) into Lightroom classic. I basically understand that Lightroom converts this RAW Information into something? with a ProPhotoRGB color space. Now I do my Lightroom editing and afterwards export it as one JPG with sRGB and one JPG with AdobeRGB. I want to use the sRGB one for the internet (my website, instagram, sending to people) and the AdobeRGB one for showing the picture on my devices. So, I am questioning a lot about this "workflow" by now. Is editing in ProPhotoRGB recommended with my Macbook set to Display P3?I basically want to use all information I have for editing and if I understood this correctly, my Macbook will show me all the colors its possible to represent from the Pro

Hello there     After previously working in RGB on Photoshop and being repeatedly dissatisfied with the conversion to CMYK results when printing (the blacks always looking washed out) I decided to work thereafter in CMYK. Now when I recently completed my latest art piece, I also discovered the gamut warning option. In using it, I realised that a lot of my art piece was out of gamut so I made a copy of the art piece and systematically began altering the hues and saturation levels of all the many different elements. And in the end, I managed to correct a decent chunk although there was still a good chunk remaining too which brings me to my next point.    In discovering the gamut warning option, I also became aware of sRGB and AdobeRGB. Now for my part both my embedded colour profiles and working spaces are sRGB IEC61966-2.1 and U.S. Web Coated (SWOP) v2 but in reading about AdobeRGB, it became clear that it has a bigger colour gamut than sRGB. So my question

ponThis is a bit of a new one as we have noticed this on multiple computers in our group.  We are saving Photoshop files in RGB Mode for Digital Print. The way the Color Management is setup- the Photoshop files were supposed to be RGB, placed into Illustrator CMYK on our dielines/ vectir files and then output using a OEM supplied PDF Output for our printer.  Things have been all setup, color management was great, and then all of the sudden, boom, our photos started coming out awful. We just noticed that when we save in Photoshop, there is no longer an ICC Checkbox for AdobeRGB, it now says "sRGB..."  Everything only works when Adobe RGB is used- it was always there, automatically, and poof, it gone.  As you can see from my attachments, the ICC is in the folder it should be, everything is set in its place- just that one issue of the sRGB showing up instead of AdobeRGB. We dont know why this changed, but, any help on getting it back?

Hi! I've been having this issue where certain Adobe files print with a pink cast and others don't. I've tried so many different color profile setting combinations and I can't figure out it what is causing it to happen or not, it's driving me crazy. So for instance this morning I printed out this indesign file with both a linked illustrator file and a linked photoshop file, and the illustrator one comes out b&w, but the photoshop one has a pink cast. I've tried exporting the photoshop image instead, with lots of different settings, but even with color mode set to greyscale it prints with a pink cast, on its own or through indesign, when the illustrator file on the same page doesn't! Generally anything I print out that went through photoshop seems to come out with a pink cast. With illustrator some files also out with a pink hue, and others don't, eventhough I don't change any settings when making new documents... If anyone has any idea how to fix this I'd be