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  There are essentially two colors in the above graphic:
 
Blue
Red
 

Each color is a spot color: blue is one spot color; and red is the other spot color. If there was one more colors in this graphics, then most likely it would be more economical to print it in process (also know as four color process or 4/c). Since there's only two, it makes sense to use spot colors.

Many customers get into trouble because they don't realize that black is actually a color, but it is. So if you have a graphic that just uses blue and black, for instance, it's considered a two color job.

You can create the illusion of more colors in a job by using shades of your PMS colors: these are know as screens, shades, or tints.

Tints are created by using only a percentage of the full color, with 10% being very light and 90% being very dark. Before digital prepress, tints were created by laying a negative with dots over the film used to shoot your artwork (this is where the term screen comes from: the negative with the dots was called a screen). In those days, you were pretty much restricted to percentages in increments of five per cent. Today, just about anything goes.

It can be difficult to visualize how a tint will print sometimes; you can buy a color tint book from Pantone that will show you each PMS color in tints from 10 to 90%, as well as black overprinting and white reversing out of each tint. It's very handy,
 

How to Pick Spot Colors
  In the United States, the most popular spot color system is the Pantone Matching System (or PMS). You choose PMS colors from a Pantone Swatchbook. Pantone Swatchbooks look something like the paint chips you get from hardware stores:
   
  Pantone Swatch Book
 
  When you pick your colors, they're always a combination of Cyan, Magenta, Yellow and Black. When you pick a PMS color, you look at through the swatch book until you see a color you like. Then you use the number.
   
  Picking the green color (PMS 353 U) from the swatch book
 
  You need to be careful, because the colors are printed on both uncoated and coated paper.Coated vs uncoated stock will show a color difference even though the same PMS number ink is used. Make sure you're looking at the type of paper your final project will be printed on. Uncoated PMS colors will have a U after the number; coated PMS colors will have a C after the number. For instance, the green to match the green in my GolfScapers Logo above might be PMS 353 U.

In your software program, you'd pick the PMS color by displaying Pantone colors in your color picker or swatches, then just clicking on the same number that you've chosen from the Swatch book.
 
  Picking PMS colors in Adobe Illustrator
 
  It's important to choose the colors from the PMS swatch book, and not from your monitor. Unless your monitor is very carefully calibrated, the color may look very different than the actual printed color (we're back to that RGB vs spot color thing). Trust the Pantone swatch books. While the printed color can and will vary from what you see in the swatch book - paper, press operators, etc. can make a difference in the appearance of an ink color - it should be close, and it can be corrected on press to some degree.
 
How do I create spot colors in my document?
  If you're placing EPS graphics (including DCS images) into a layout, the color names used in the graphic will be added to your color list when you place the graphic. If you can do this early on, it can help ensure that your color names are consistent.
 
 
QuarkXPress: Edit/Define Colors... Click New. Under model, select an appropriate PANTONE library. Select the color you wish to use.
   
Adobe PageMaker: Utilities/Define Colors... From the "Libraries" popup menu, select an appropriate PANTONE library. Select the color you wish to use.
   
Adobe Illustrator: Version 7 -- Window/Swatch Libraries... lets you open an appropriate PANTONE library. Drag the desired color(s) into your document's swatch palette. Version 6 -- File/Import styles... and select the appropriate PANTONE library document from the Utilities/Color Systems folder. Or open the file; colors from any open document are available in all open documents.
   
  Tip: Before you save your file, Select All Unused swatches and delete them. This will help reduce the number of unneeded spot colors that show up in your layout.
   
Photoshop has a few different ways of handling spot colors
 
Image/Mode/Bitmap or Image/Mode/Grayscale: You can assign colors to grayscale and bitmap TIFFs in QuarkXPress, PageMaker, or FreeHand. Simply save as TIFF. Only the first channel will be used.
 
Image/Mode/Duotone: From the Duotone dialog box, click a color swatch to show the color picker; click the "Custom" button to show the list of PANTONE color names. Remember to use "Black" not "PANTONE Process Black CV".
   
Image/Mode/Multichannel: (new feature in version 5) Each channel's name is its spot color. In the Channel Options dialog, click the color swatch to show the color picker; click the "Custom" button to show the list of PANTONE color names.
 
How can I ensure that spot colors from different applications separate together?
 

The only thing that matters when creating color separations is the name of the color. "PANTONE 241 CV" and "PANTONE 241 CVC" are two different colors. Capitalization is important, too... "Pantone 241 CV" would be a third color.

Note that the different applications use different versions of the PANTONE color names, depending on which PANTONE libraries they know. If your programs don't agree, you'll have to change the color names yourself so that they match.

Be particularly careful about black in Photoshop duotones and spot color channels... don't select "PANTONE Process Black CV" from the custom color list unless you later change the name to simply "Black". Both PageMaker and QuarkXPress have "Black" as a permanent color and will treat "PANTONE Process Black CV" as a separate spot color.

Also, it really doesn't matter what the name is. You're welcome to create your graphics with descriptive names like "Peach" or "Purple" just so long as you're consistent.

Tip: There's a magazine that uses a different highlight color each issue. Rather than always have to edit their logo graphics, etc., they have consistently named the spot color "Color". When they get to press, we simply separate "Black" and "Color" and mix whichever ink they've requested this time.
 

I changed my mind and want to substitute PANTONE XXX for PANTONE YYY.
  Do I have to edit all my graphics and my file?
  Probably not, unless you need a composite color proof  to reflect the change. We can simply separate the colors according to the old names but use whichever inks you specify on press.
 
What if my job uses just one color (no black ink)?
  In this case, you might find it easier to simply set everything up as black. Of course, if you make a composite color print, you won't see the correct final color.
 
Do I need to print separations?
  Yes, most definitely. Printing with spot color is actually a little more difficult than printing with process color because the software is so picky about color names. Check to make certain that each element appears on the correct separations and that you have only one separation printing for each ink. We don't need to have the seperations, You should you them as a guide.
   
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