Louis Desjardins schrieb:
> 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.
just to be shure (i'm probably just paraphrasing Andrew A. Gill's follow-up):
I think this task can be done equally well in an RGB space, say sRGB.
If Pantone's Bridge has sRGB approximations, it should be trivial. If not,
you have to convert that single color from your best-guess CMYK to sRGB first.
Thanks to GEGL's dynamic nature, the sRGB->CMYK separation will be "live", so
the resulting CMYK can be cross-checked immediately, like read-after-write with
good old audio tapes.
>> This is a very common scenario, and it's a task for a image manipulation
> I cannot agree more. It’s day-to-day work, day-to-day reality.
> We could add dozens of examples, I guess.
Please do so. The general need for CMYK support beyond mere color separation
has been put out quite clearly. Yet AFAIKS none of the examples has shown a
requirement for doing actual image processing in CMYK space (which is
a good thing, btw). By this i mean anything which can't be done by processing
the "plates" as separate grayscale channels (see Øyvind Kolas's post).
Gimp-developer mailing list