Adjustment layers for pantones

[Gennady36741311vv21]

Hello, I have a simple task, but I have not found a way to solve it head-on.

There is a link file - https://forum.rudtp.ru/resources/corr_level.3491/  in it with two pontoons, but how do I create two CURVES adjustment layers so that these two pontoons can be
changed independently of each other?

When the file is created in CMYK, without special colors, the task is solved easy, but when the file has pantones, for some reason the pantones do not appear in my correction layer...

Thanks in advance for the advice.

It seems to be an easy problem, but I couldn't figure it out on my own.

[didiermazier]

Adobe doesn't support Pantones any longer. Need a third party subscription. (https://www.pantone.com/eu/fr/products/digital/pantone-connect-for-adobe-creative-cloud)

[Lincoln36162255rjy0]

To create independent CURVES adjustment layers for two pontoon shapes, ensure the document is in RGB color mode to retain Pantone colors in the adjustment layers.

[Stephen Marsh]

@Gennady36741311vv21 

Your question directly relates to spot channels, regardless of the defined colour library or values of the spot colour channel.

Adjustment layers are only for the main document colour mode (RGB, CMYK, Grayscale).

You have to edit the spot channel directly (destructively). Keeping an unedited copy in an alpha channel or separate file would be wise.

[NB, colourmanagement]

Better to choose the right Pantone /spot colour not edit it. A spot colour is intended to be printed using an especially mixed in on an extra press unit. If you are just printing CMYK then forget the spot colours, work on the entire file in CMYK.

Colour expert Mark Levine wrote (on colorsync-users back in 2022):
Lab is the best way to define spot colors. Using Lab eliminates some unknowns in the workflow. For example, if you convert them to CMYK, they you might be changing the color unexpectedly by moving it into a CMYK gamut. Next, there's the issue of reproducing the file and making sure that the CMYK colorspace of the new "spot" if properly recognized and then transformed into your final colorspace. Using Lab skips that part because the color gets to live outside of a colorspace. That way, when you really late-bind, you have a good chance of mapping the spot into the best possible version of that color in your final output condition.

In terms of "alternate colorspace", hopefully that's code for: "don't mess with the spot". When exporting to file, you can choose either "map to CMYK" or "keep as spot". If you plan on actually printing the file using spot inks.... or are unsure of the print-condition/colorspace when it will be printed... I would define your colors in Lab and leave them as spot when you export to PDF. Make sure that's clear in your rule set. If you somehow know you are printing in a particular CMYK condition and need to createa CMYK-only file, then you would use a different rule to convert your spots to CMYK. For example.... maybe you are going to print the file in CMYK-only on an offset commercial press (or a digital device that is simulating one). In that kind of scenario, converting to CMYK makes sense.

I hope this helps
neil barstow, colourmanagement net - adobe forum volunteer - co-author: 'getting colour right'
google me "neil barstow colourmanagement" for lots of free articles on colour management
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[NB, colourmanagement]

@Genaddy, answering your first question - if you want to specific edit areas of an image independently of other areas, this is achieved using a layer mask on the adjustment layer, so the the adjustment applies only in unmasked areas

I hope this helps
neil barstow, colourmanagement net - adobe forum volunteer - co-author: 'getting colour right'
google me "neil barstow colourmanagement" for lots of free articles on colour management
Help others by clicking "Correct Answer" if the question is answered.
Found the answer elsewhere? Share it here. "Upvote" is for useful posts.