I've posted this request before. Then again, I've posted many features before. I don't know how many times over the years a customer would send a file in built in process and they suddenly want to change some of the artwork to spot, but they don't know what PMS ink to use, they just want it to match what they sent in. Blah, blah, blah.
I think that is what the OP was getting at, was the ability to show the closest Pantone match, not necessarily the exact same match. This makes me wonder what kind of algorithm it would take to accomplish this task though. Hmmm.
Art containing two non-global process colors has been selected, and the Live Color dialog opened:
Below, the Pantone solid coated library has been selected from the Limit to Library popup menu, which causes an immediate lookup of the closest matching color in the library to
every color in the selected art
(notice that the brown is a tiny bit redder and the green a little yellower, showing you that the replacements have happened):
The sliders above have also been switched to Tint and a new color group was created by clicking on the little folder with the + sign above the color group list. These two steps are not necessary, I just wanted to show that they were possible. Also it was the best way to display the names of both Pantone colors.
If all you want to do is recolor your document with the same number of Pantone colors that your design uses distinct mixed colors, you're done!
All the rest of this post is just showing more variations of what you can do, especially reducing the number of spot colors used when the original document has more color variation than you want.
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Here I have switched to the metallic library:
If the selected art had contained more original colors than desired number of spot colors, then you can enter the number of desired spot colors to reduce to, and it will pick the best color set of that size from the chosen library to "posterize" to, as shown below:
After reduction to two colors:
After limiting to ANPA library:
Next I've switched to the Color Wheel view, and rotated the color markers to a different position. When limiting to a library, the entire color wheel is drawn using only the colors in that library, so that you can easily navigate to nearby colors:
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Swatches from Color Books and other libraries can be accessed in the Color Picker, but only when it is opened from within the Live Color dialog (by double-clicking on any color well) while limiting to that library. This gives you another method of picking a different color if you don't like the default match.
There is not yet any ability to switch libraries while the Color Picker is open, but we hope to enable that in CS4.
> I would imagine that it would take the created CMYK color, then match it to the closest Pantone-to-CMYK conversion. Unless I'm wrong, that seems pretty simple.
Ah, but in a multi-variable situation, there are many ways to define "closest". What difference metric do you minimize?
The definition of "closest color" that Live Color uses is the same one that ImageReady and Save for Web (and Live Trace) use. It converts the original document color and each library spot color to RGB using whatever the spot color conversion options and the color profile specify (so depending on your options it can give a different result if the swatch library contains both Lab and CMYK metrics), then it uses a weighted RGB distance between those two colors, with the weights being the same ones that Photoshop uses. (The green channel is weighted the heaviest because it is the brightest color and thus contributes the most to the lightness or darkness of the color as well as to the hue.)
In libraries that have a color which is close in both hue and saturation, it is pretty good, and very fast. I don't much like what it chooses as the closest color in sparse libraries like Pastel and Metallic if the original color isn't close to any color in the library. The weighted RGB distance metric tends to cause a shift towards grays if the best hue match is significantly darker or lighter than the original color. I think it would usually work better to use an HSB distance metric and weight hue more heavily than saturation or brightness, since you can always reduce the tint or overprint black if you have a spot color with the best hue match but it is too dark or too light. But since we had an efficient ready-to-use nearest swatch function from the Save for Web library, we did like Live Trace did in CS2 and picked it up rather than roll our own, despite the limitations.
Is there a way in Photoshop to click on a pantone color that is part of the art work and have that pantone color and its number appear in a block as part of the art work, so that you know what pantone colors were used in the document??
> Is there a way in Photoshop to click on a pantone color that is part of the art work and have that pantone color and its number appear in a block as part of the art work, so that you know what pantone colors were used in the document?
Buddy, you are waaaay lost. This if the Illustrator (not Photoshop) forum for feature requests (not help). Ask in either the Macintosh or Windows Photoshop forum, and be sure to include version number.
im haveing a huge irritation useing illustrator cs4 live paint bucket because i can use everything else apart from the paint bucket which should be the easyiest tool to use sometimes it works with the white arrow sometimes it doesnt i sometimes get this below message
the selection contains objects that cannot be converted. live paint groups can only contain paths and compound paths. clipping paths are not allowed
the lines which i have drawn are connected which i believe have to be in order to use the paint bucket and i have no clipping paths so i am am baffled
presume it is because the line is set to 0.01 it seems the live paint bucket wont notice thin lines, but i tried makeing the line thicker so i could use the paint bucket and it still doesnt work