Example: black generation in artwork with text, gradients, and embedded image

The following example shows how you can optimize costs and printability using separation rules, make your image editing process more efficient and less prone to errors with the variants feature, and combine GMG ColorPlugin for Illustrator and Photoshop for seamless color conversion.

The artwork

Let’s say you want to convert the artwork shown below from "ISO Coated v2 (39L)" to "PSO Coated v3 (51L)".

The artwork contains the following elements:

• An embedded image showing a printing machine on a grey background
• A black text object overlaid on the image ("The history of printing")
• A vector object filled with solid grey, visually extending the image at the top
• A grey gradient vector object on both the left and right sides of the image to create a fade-out effect

Step 1: Unembed the image

We begin with the embedded image, as it’s the most complex element in the artwork and the grey gradients will need to align with it precisely later.

To make the image accessible for Photoshop, select it and unembed it via the hamburger menu in Illustrator's "Links" panel to create a separate file. Then, click the pencil icon ("Edit in Photoshop") in the "Links" panel to automatically open the file in Photoshop. (See also: Convert embedded images with Adobe Photoshop)

Keep Adobe Illustrator open in the background, as we will return later.

Step 2: Convert the embedded image in Adobe Photoshop

In Adobe Photoshop, first ensure that the correct profile is assigned to the image (Edit > Assign Profile). Then, click the "Dynamic Profile" button in the GMG ColorPlugin panel to open the conversion dialog.

In the conversion dialog, select a source project and an output project, for this demo "ISO Coated v2 (39L) - PANTONE Solid Coated V4" and "PSO Coated v3 (51L) CMYK".

Now let's take a look at the separation details, especially for the "Black" source ink:

By default, the closest visual match would be achieved by separating the input Black to 100% Black, 0% Cyan, 1.5% Magenta and 4.7% Yellow, resulting in an excellent Delta E of 0.05.

We want to prepare the file for offset printing but keep the option open for large-format digital inkjet printing. To ensure stable results across both and compensate for process-related effects, such as mechanical instability or failing nozzles, slightly increase the Magenta value to 4.

As shown in the "∆E00" column, this change results in a Delta E deviation of 0.38. This is still excellent and below the threshold of visibility, so proceed by clicking the "Convert" button to start the conversion.

During the conversion, the customized values for each source ink will be saved as a new variant, allowing you to easily access and re-apply them in future conversions within both Illustrator and Photoshop. In this demo, we’ll make use of the new "Black" variant when converting the artwork’s gradients in Illustrator.

After the conversion is complete, save the file to apply the changes (File > Save), shut down Adobe Photoshop, and return to Adobe Illustrator.

Step 3: Update and reembed the image in Adobe Illustrator

When you return to Adobe Illustrator, you will automatically be notified of the modified image and prompted to update it. Click "Yes" to confirm and to apply the changes in Illustrator. Then click the hamburger menu in Illustrator's "Links" panel and select "Embed" to reembed the image. (See also: Convert embedded images with Adobe Photoshop)

Step 4: Convert the gradients

Next, let's convert the three grey gradients that border the image. Select the objects and click the "Convert selection" button in the GMG ColorPlugin panel.

To avoid visible color shifts at the transition areas and preserve the gradients' visual fade-out effect, use the exact same separation settings in Illustrator as in Photoshop.

First, select the same input and output project. Then, instead of manually re-entering your custom values for Black, apply the Black variant you previously created in Photoshop—saving time, reducing errors, and ensuring consistent color results. To do so, click the three dots icon in Black's "Variants" column to open the variants dialog.

Select the variant and confirm with "Ok".

Since we don’t want to make any changes in the "Advanced Settings" tab, click "Convert" to apply your changes and convert the gradient objects.

Step 5: Convert the text

Finally, let's convert the black text object.

Select the object, click on "Convert selection" and choose the same in- and output projects that you previously used for converting the artwork's image and gradients.

To avoid unwanted color shifts, optimize printability, and keep the text sharp, the converted text needs to be Black only, so do not re-apply the same Black variant this time. Instead, disable all output channels except "Black" in the channel list to automatically set Black to 100%, which also helps reduce costs. Then click the "Convert" button to apply your changes and convert the text.

Now that you've successfully converted all elements of your artwork, save the changes (File > Save), and your artwork is ready for printing.