Most digital images, such as those on your computer screen or in your digital camera, are created using these fundamental hues. RGB (Red, Green, and Blue) is Red, Green, and Blue. The RGB Color Model (Red, Green, and Blue) The colour will be converted to the equivalent Pantone code.Our color code converter will show results interactively in the Color Codes section.Input your color codes in any field in color model area.Henry J Kaiser wrote, 'The pursuit of excellence is gratifying and healthy the pursuit of perfection is frustrating, neurotic and a complete waste of time.RGB to PANTONE converter is an online tool to convert your RGB color codes to PANTONE PMS color format. All you have to do is select your color to generate the name in Pantone and match codes. I mean who really cares as long as the printing is in register, free of other defects and the color looks OK in and of itself? Whatever the ideal color or condition of a printed image is (device independence?) is a fleeting thing once it exists on paper.Įveryone would be a whole lot better off if they accepted a certain degree of variance in print as a fact of life, knowing that the reality of a side-by-side comparison of all the pieces in a press run, for example, is not only unrealistic but pointless. To a certain extent, seeking this degree of consistency if a lesson in futility. At times I almost had printers yellow up PMS inks to match an old sample! But I stood my ground. Then they would pull out an old copy of something that we were reprinting and give it to me to use as a guide on press. My bosses had a real hard-on for matching previously printed material if any existed, and they would dutifully save office copies of every job they printed. I used to work for a print broker in Manhattan and my job included going to a bunch of different printers to OK jobs on press. On top of the standard variance through out a press run, or from this press to that, or this paper/ink to that paper/ink, is the factor of yellowing paper and fugitive dyes. The processes involved are just as subject to the second law of thermodynamics as any other system. The only thing that has ever really been consistent in printing is its inconsistency. Try cracking the shrinkwrap on three supposedly-identical swatchbooksįrom different manufacturing runs and you'll see what I mean.

Someday, there may be reliable in-print-stream CMYK to CMYK profiles, that all color-management-saavy printers will dutifully create and use to bring all their color worlds closer together, but until that day, (maybe never?) things will be done the old fashioned way, with each supplier basically reproducing the CMYK percentages you send them, with the occasional in-rip tranfer curve applied to a whole ripped page to account for higher dot gains. Once the RGB>CMYK conversion is done, color management is done. Modern color management is an attempt to bring more consistency to color reproduction across a variety of processes by profiling them, but alas the current implementation only really handles photographic imagery reliably in the sense that a different CMYK is generated for each printing condition.

That has always been the nature of commercial printing, and an accepted fact of life. Geez, I hate to play the devil's advocate, but it should be mentioned that if Lisa decides on a particular CMYK build to simulate her Pantone colors (which is the best advise at this juncture), and she sends this CMYK build to a variety of printshops, using a variety of contract proofing systems, and printing processes, she should expect some degree of variance in her signature color from project to project.

Pms match to cmyk