![]() Duplicate the Black channel three times by dragging it on top of the New Channel button in the Channels palette. Notice that the Grayscale channel in the Channels palette has changed to “Black.”ģ. Duplicate your image (select Image > Duplicate).Ģ. A second, more reasonable, way to convert your grayscale image into CMYK form is to convert the file to a Multichannel document first.ġ. That way, the black channel contains more information, and small anomalies on press won’t result in large color shifts.įigure 2: Heavy Black Generation in the Custom CMYK dialog box Nonetheless, if you do use this method, we strongly suggest you set Black Generation to Heavy in the Custom CMYK dialog first (see Figure 2). Plus, Photoshop separation curves are not designed to expand the tonal range of a grayscale image, so you’re losing the opportunity to enhance your image. We rarely use this method it’s clunky and just about impossible to make adjustments to each plate after the conversion. You can use Custom CMYK as an equivalent to creating a quadtone using the Duotone dialog. The amount of black generation (based on the profile or Custom CMYK setting you’ve selected in Color Settings for CMYK) determines what appears in the Black channel. Photoshop uses the color settings preferences to convert neutral grays into colors. ![]() However, many people seem to think that this simply adds three new channels (cyan, magenta, and yellow), and leaves all the grayscale information in the black channel. You can simply switch your image from grayscale to CMYK using the Mode menu. You can use two methods- simple conversion or copying into a new file. In this article we’re discussing using CMYK to create duotones, so you’ll want to switch your image from Grayscale mode to CMYK mode. Converting Grayscale Images to Colorīecause a multitone image typically represents a grayscale image using color, you generally begin with a grayscale image. However, if you’re creating spot-color multitones rather than process-color multitones in CMYK mode, you may have to ignore the colors you see on the screen (which are RGB representations of CMYK colors). Photoshop knows how to represent most spot colors reasonably well on screen when you’re in Duotone mode. This can be very helpful, especially when making small tweaks to the curves (see Figure 1).įigure 1: Grayscale reproduction with the four process inks And you can use features like the white-and-black-point clipping display in Levels to make decisions about your curves. Working in CMYK mode, however, gives you the chance to actually see (interactively) how your curves are affecting the image data. On the other hand, if you’re creating multitones in CMYK mode, you may be changing the image data in each channel, so you want to minimize the number of adjustments you make to avoid image degradation (or use adjustment layers). Or, if your art director decides to print with green instead of yellow ink, you can quickly change the tonal curve to adjust for the difference in ink density. That means you can quickly repurpose the image to a number of different output devices. In Duotone mode, you can always change the duotone curves without affecting the underlying grayscale image data. (We recommend PSD or PDF.)Īdjusting tone. You can save a duotone image in PSD, PDF, or EPS format. For instance, you cannot import a multichannel PSD file into InDesign - it just doesn’t know what to do with it. ![]() When you output a multitone image, the mode it’s in may have an impact on your output process. There’s also no way to create a gradient blend between two spot colors while in Duotone mode. However, this is easy to do in any other mode.īlends. For example, it’s a pain to make a 20 percent blue square in the middle of an image, without black also printing in it. ![]() In Duotone mode, there’s almost no way to create a single area in which only one color is present. Similarly, a two-channel multichannel file is twice as large as a duotone. CMYK images, then, are four times the size, because each pixel is described with 32 bits of information, even if you’re using only two channels. An image in Duotone mode, whatever the number of inks, is saved as an 8-bit grayscale image along with curves. ![]()
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