Guillermo Espertino a écrit :
> Even though I agree that most of the CMYK cases mentioned use CMYK
> almost as spot colors, I can think of a very common usage scenario in
> Graphic Design where you need to be able to edit CMYK directly:
> Corporate colors.
> Most frequently Pantones. Brands have their corporate colors and ask
> designers to use them, but they can not always afford extra spot passes
> in offset press, so the colors have to be converted to the most
> aproximate CMYK combination (the Pantone Bridge catalog is for that).
> So you have to adjust the color of a photograph of a sign, a truck and a
> producto of your client to their corporate CMYK color.
> It's a photograph, you need CMYK, you can't use spot.
> This is a very common scenario, and it's a task for a image manipulation
> program.

I cannot agree more. It’s day-to-day work, day-to-day reality.

We could add dozens of examples, I guess.

To this point I don’t believe it’s that important to start figuring out 
whether the case is as good an example as it possibly can. I guess we 
are not at all trying to make the trial of the use of CMYK in the 
printing industry! (Now, that would be a total waste of time!) For those 
interested I bet a full glass of beer — available at LGM! — that they 
can find without too much efforts plenty of explanations about CMYK use 
in the printing industry on the web. Even non-offset printing go by CMYK 
and inkjet printing involves CMYK plus Light Cyan, Light Mangenta and/or 
Vivid Magenta and some Black variations. Somehow, somewhere in the 
process these printers need to convert the data so the printer can use 
one of the CMYK inks that’s in the machine, be it toner or printing ink. 
There is no way to ignore this reality.

We’re back to the basics of color reality. It’s either a projection of 
light or a reflexion of light. I mean, there are good books on the 
subject. This part is easy.

At this point in the discussion, it would be great to hear if the 
quality of the information provided so far in terms of explanations and 
examples is enough to lead someone or a group of developers in the GIMP 
team to envision how this CMYK capability would be implemented into GIMP 
and into what kind of developing frame (time, resource, GSoC, etc.)?

If we do need further examples, I am ready to provide more info, 
although I find the examples so far to be really on target.


> Gez.
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