"...However, as I'm sure there must be a reason behind all these new percentages. I just wonder if I should say "sorry Mr Client, Adobe and Pantone have changed your colour" and not interfere."
Corporate use of that color, 862, will not change in applications that use that Spot color ink ( stationery, for instance ). You, in theory, do not have to tell the client anything, because nothing has really changed. If you find the ew CMYK values troublesome, then it's your job to figure out a workaround inside your closed loop workflow. This would be considered behind-the-scenes project management and should not involve the client who probably knows nothing about what you are talking about. The added confusion may backfire on you.
Thankyou for response. I assume by colour space you mean working space.
Maybe you don't?
Anyway it is: Europe Prepress 3, which states that CMYK values are preserved.
The problem is, that most work is printed offset as cmyk. The Pantone colours are the chosen standard and 362 was a choice that had a similar appearance as a Pantone spot colour and as a cmyk emulation. It worked in all areas. Specifying plastic lids, some products are flexographic and use spot colours, but most are offset. Easy to match.
Now, there have been some variations in printed jobs. I suspect it is due to revised Pantone formulation.
I assume the percentages shown in colour options are carried through to print output.
If so, the new percentages of 362 (220.127.116.11) create a cleaner green, not the nice leafy green (18.104.22.168) They look different on screen and they appear to print differently. (By the way it is not only green, there are many other colours that have a different printed appearance)
I would prefer to simply rename my colour 'Client X Green' using older values. What I am saying is - I would really like to feel confident that a job I print today,
will match the jobs I printed a year ago.
I hope I have made sense.
Yes, I agree. The new formulations are going to work for first time use, but will create a mismatch if implemeted into an established workflow. The custom named swatch will work in your case. Keep in mind that CMYK color equivalents, even formulated the same from file-to-file, will print differently on different presses and paper(s). That's the advantage to using Spot color when you can...consistency.
I assume by colour space you mean working space.
No, I meant the Color Space of the individual images.
If you should save your files without embedding the profile the Working Space is assumed, but that would smack of unprofessionalism somewhat as the images would appear differently for someone who employ another Working Space.
Thanks, I think I am getting closer to the nub of the problem.
Individual photographic images are not a problem. I can choose to use the embedded profile or my workspace.
It's the solid areas of graphic colour that is the problem – Such as logos imported into InDesign from Illustrator, and other graphic elements created in InDesign.
Also pack designs and graphic elements created solely in Illustrator. Most of my work involves graphics. Packaging manufacturers/printers often specify Illustrator as the preferred file format. These files rarely contain photographic images - only vector images and typography. So colour control and expectation is very important.
For instance, I will want the Illustrator pack artwork and the associated InDesign brochure to have visibly matching colours, and preferably the colours that I was using prior to CS6, as they already exist on current packaging and literature in the marketplace. Its the consistency of colour that concerns me. Noting that most work is produced by cmyk processes.
I think that creating my own custom colour library is the best bet and will add certainty and regularity. As I have mentioned previously, the new Pantone percentages for many colours do not look as close to their spot colour versions as the earlier ones.