Vivid colors in Photoshop

Assume nothing about the actual output until you know better.

Work in RGB until you know better. If you are going to add colour, you may also wish to do so in a separate layer, keeping any black linework separate in your working files.

With modern "late binding" workflows with a digital press, in theory you could possibly have a wider gamut output with greater saturation when sending an RGB file to the RIP/DFE driving the digital press. This is because the colour conversion to the press colour space happens last. That being said, 99% of commercial setups will likely use an intermediate "simulation" colour space where data is converted to a "standard" CMYK space for an offset press before being converted to the final digital press colour space. So even if the digital press has a larger gamut, the input data is most likely being dumbed down anyway and you will never see the benefit unless you have such a discussion with your print service provider.

CMYK is based on real world offset printing processes. A CMYK profile is a representation of actual physical inks on certain paper stock, on an offset press calibrated to a certain standard. That's the limitation in color (the profile's color gamut). It's a hard limit, a brick wall, and there's nothing you can do about it.

So this has nothing to do with Photoshop, it's the physical properties of printing inks, paper and and offset presses.

But you make an interesting remark which is a good example of perception psychology. The eye and brain are very good at adapting to the conditions and environment. So you perceive it as "colorful" even with these limitations. When you prepare your own work you sort of disengage this adaptation, and as a result you're much more critical.

There's a very important consideration in this: good color is not about absolute saturation. Good color is about color relationships.

It's crucial that you use the correct CMYK profile when you prepare your work! You need to ask the printer, there is no way around that. It has to be the one that represents the actual printing process used. There are some regional common practices for this, but standards vary widely around the world. The Photoshop default CMYK is not used and not valid in most parts of the world.

@Agni75 

Read this article from Creative Pro:

https://creativepro.com/import-rgb-images-indesign-convert-cmyk-export/

Note that it was written 10 years ago, so when they say "we’ve been saying this for 15 years", it's been 25.

Jane

Desconozco el concepto brillante en color. Pero sí se que es el contraste de color. Y la relación entre colores primarios y complementarios y, al menos intuitivamente, comprender su relación con lo antedicho. La gestión de color necesita bastante espacio para explicarla, y seguramente por ello, a lo mejor te escasean las respuestas. Propongo , sin aconsejar , que leas lo que puedas en relación con lo expuesto. Después, tu mismo, con las variables que te ofrecen las potentes herramientas que para ello tienen Photoshop o Camera Raw (supongo ambos utilizables en tu Ipad),  probarás y encontrarás resultados que satisfagan.  Cuando voy paseando o examino fotos me pregunto cuál es la razón de que me llamen la atenció o dónde radica su fuerza. La observación es otro instrumento que, modestamente, a mi me ha resultado útil. Leyendo verás también que los colores tiene diferentes longitudes de onda y eso determina que unos vean antes que otros. Para mejor, o para peor, como suele ocurrir con el magenta.