Slammer

Thank you that is what amma talking about

No, read my post again, if your vector art is at 100%C then you can combine it with the C-plate, that way you don´t need an extra plate. I did not mention pantone, or am I not understanding what your statement is?

Disclaimer here, if you have spots in your artwork then you will have RGB and the spot until RIPping, technically you then get CMYK and the spots, this is standard in printshops all over. If your workflow is set up correctly and your have post RIP, say an image with 14%C, 5%M, 0%Y 5%K and Pantone 1225C, then you get CMK and a plate for the P.

Exactly, you can however combine a spot color to a plate, as in if your logo is 100% Cyan then you can have your rip or your workflow combine the otherwise two plates.

Spots or pantone. But you are correct you do get cooperate logo´s that come to you as RGB, so where would you change to CMKY? To do this this is precisely why RIP´s exist.

That is why you have a Raster Image Processor (RIP) which takes care of this. I think everybody needs to get their heads around color management, I´ll see if I have my documentation on this topic.

Why? I can´t see any advantage in making vector art in CMYK. Why would you want to limit yourself to such a confined colorspace?

You can have a tad as a smidgen of an oodle.

Ooops! Sorry, I get so many printers calling with really bad "original" files wondering how to get them out without too much hassle. Only recently a printer installed a brand new KBA where I calibrated the workflow. Done in Kodak EVO with Colorflow it was as perfect a calibration as anybody could hope for. A few days later the customer called complaining very loudly that the prints have been rejected from their customer and I should swing my ass back and do my, Quote: "Goddam job properly" I went back and checked the prints, they were perfect in every aspect including a DeltaE of under 1, the prints showed the crappy original files exactly the way they were. I pointed this out that what you see is what you damn well got. And was asked to calibrate the new press exactly the way the old worn out and weary press was because they could not tell the customer, a well known design studio, to change the way they create their files. I did it with a lot of head shaking on my part creating a set of calibrations for this customer´s customer only and the customer´s customer has been a happy camper ever since So don´t feel bad.

And if your "designer" sends you a CMKY file expecting miracles, slap that person and send them back to design school.

Love it.... ;.)

Yes it will, all modern RIP´s are able to take a composite or contone RGB file and give you 100%K where 100%K is present, otherwise you would not be able to separate documents coming from MS Word for instance. I have never come across a RIP that was not able to do this, Global graphic´s Harlequin and all the spin-off´s, Kodak EVO, Agfa Apogee, even that nasty thing from Eagle. Convert RGB to true black, Some applications use RGB colors for everything, including solid black coded as 0 0 0 setrgbcolor (or 0 0 0 in a DeviceRGB color space). You should choose this option to force the RIP to intercept blacks coded in this way and convert them to (0 0 0 1 in) a CMYK color space. This means, that if for instance your text or your black line is at 100%K and your images RGB the RIP will interpret CMY and K from the RGB image and give you the K of that image in the same one bit TIFF file as the text or lineart. I have included the image from a RIP where the box is ticked, as I said, all RIP´s can do this.

For us Lancastrians too.

A tick, a Mu, a split nose hair, a teeny tiny smidgen of movement.

Yup! Layerhog here too, there is no better way than the old one, two, three, four....!