On Sep 24, 2013, at 1:18 AM, Christoph Sch?fer wrote: > The reason for the huge deviation is, of course, that each palette has been > created for a specific output target, namely coated and uncoated paper (HKS > went even further and added two other output targets for each colour set: > newspaper printing and continuous printing). Moreover, Pantone created > several versions for each swatch: "solid" (spot colours), "CMYK" (CMYK > colours) and "solid to process", now renamed to "Color Bridge" (pure CMYK > colours with the closest approximation to a spot colour). > > It should be clear by now that a simple colour number like "PMS 100" isn't > really helpful to anyone
Excellent post. I would like to disagree somewhat here and add a feature suggestion. The one publishing application which got colour right was Cerilica's Truism --- it used individual ink definitions instead of multiple ones, and instead, had a concept of ``substrate'' w/ attendant colour and ink absorption characteristics at the page level. This allowed one to define a spread has having two _different_ types of paper (which often happens when one has a cross-over ad at the inside front (or back) and first (or last) pages of a magazine) and to have the ad previewed on-screen as it would actually print. One could also do coloured paper and preview how the ink would appear on it, or separations w/ arbitrary ink (an amazing example I saw once was a jeans catalog printed in blue and brown which looked amazingly lifelike despite being printed w/ only 2 inks --- this inspired me to do a bell pepper vegetable display box once using red and green inks which we mixed to create brown so as to make a quite nice print of a full-colour photograph despite using only 2 inks). William -- William Adams senior graphic designer Fry Communications Sphinx of black quartz, judge my vow.
