![]() ![]() And you can use features like the white-and-black-point clipping display in Levels to make decisions about your curves. Working in CMYK mode, however, gives you the chance to actually see (interactively) how your curves are affecting the image data. On the other hand, if you’re creating multitones in CMYK mode, you may be changing the image data in each channel, so you want to minimize the number of adjustments you make to avoid image degradation (or use adjustment layers). Or, if your art director decides to print with green instead of yellow ink, you can quickly change the tonal curve to adjust for the difference in ink density. That means you can quickly repurpose the image to a number of different output devices. In Duotone mode, you can always change the duotone curves without affecting the underlying grayscale image data. (We recommend PSD or PDF.)Īdjusting tone. You can save a duotone image in PSD, PDF, or EPS format. ![]() For instance, you cannot import a multichannel PSD file into InDesign - it just doesn’t know what to do with it. When you output a multitone image, the mode it’s in may have an impact on your output process. There’s also no way to create a gradient blend between two spot colors while in Duotone mode. However, this is easy to do in any other mode.īlends. For example, it’s a pain to make a 20 percent blue square in the middle of an image, without black also printing in it. In Duotone mode, there’s almost no way to create a single area in which only one color is present. Similarly, a two-channel multichannel file is twice as large as a duotone. CMYK images, then, are four times the size, because each pixel is described with 32 bits of information, even if you’re using only two channels. An image in Duotone mode, whatever the number of inks, is saved as an 8-bit grayscale image along with curves. ![]()
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