In this article, I would like to share a recent experience that I had in working with one of by great clients. Through that story, I hope to introduce a concept that I am calling the Rule of Conversion, which is a way of thinking that I believe can be truly valuable. I know it will be for me on future projects!
Recently, I was working on a logo project for a client. Nothing unusual there. The process I followed was pretty typical for the work that I do. I started of with the little spiral-bound notebook that I call the Book of Logos and just sketched out some ideas. Some were interesting, others were horrible and, of course, the one that I liked the best in terms of pure aesthetics was also the on that I felt was probably the least relevant to the actual client.
After selecting three of the most appropriate concepts, I then turned to Illustrator, where I started rendering the logo mark and playing around with typefaces, using some of my installed fonts and even coming up with some custom lettering.
I fired off three concepts to the client. They told me which they liked best, and we went through some revisions, actually combining some elements from another concept into the selected one, while offering a range of colour options. For the typical second round of revision, I also created a smaller “icon” like version of the logo to be used in smaller spaces.
Everything went well. The client was awesome and happy with my work and I felt good about the finished product.
Now, fast forward a few weeks. No this is not one of those Clients from Hell stories of things gone terrible wrong. Everything is still cool with the client, and we’re now talking about actually doing a website. However, I did get an email asking if I could supply the spot (Pantone) colours that I used in the logo design…
That doesn’t seem like all that much of a problem right? Well it wouldn’t have been, except that I did all the design work in CMYK. Yeah, probably not the smartest decision I ever made as a designer, but it’s what I’ve been used to. Almost all of my design is done either for the screen (RGB) or for four colour process (CMYK). I almost never work with spot colours, and it looks as though I’ve picked up a few bad habits that I’m going to need to break.
As for what happened with the client—well I sat down in Illustrator and actually compared Pantone swatches against the three CMYK colours that I had used in the design until I found what I felt were the best matches. Held right up against each other, you could notice a slight difference, but they were close enough that most people wouldn’t be able to make the distinction without a direct comparisson.
A Lesson Learned, A Rule Confirmed
But I’m not telling you this whole story just so that I can make myself look bad. I’m not even telling it to you as a warning about designing logos in CMYK instead of Pantone, though that’s something I am certainly going to be looking at as I move forward. No, what I want to do with this personal anecdote is illustrate something much more generalized.
It’s something I would like to call the Rule of Conversion.
You see, as I was sitting there wading through all kinds of Pantone swatches, I had plenty of time to think. Given my circumstances, a good deal of what I was thinking about had to do with colour and colour conversion. For a long time, I’ve known that, when working in an application like Photoshop or Illustrator, it is always easier to convert from CMYK to RGB than it is to convert from RGB to CMYK. When your monitor displays a CMYK colour, it’s only ever displaying its closest RGB approximation, since your monitor (or other display) is only capable of displaying in RGB.
This, of course, means that you should see virtually no loss or change in colour when converting from CMYK to RGB in the same digital environment. Unfortunately, this is not true of the inverse, and converting from RGB to CMYK can frequently result in noticeable colour loss (especially in blues, in my experience).
As a rule of thumb, then, when I am designing something where there is even the remotest chance that I may need to use it for print in some way, I try to do all of my design work in CMYK. It does tend to result in larger files, but I like the added safety net of knowing that any conversions that I may need to do (into RGB) will be relatively painless.
Unfortunately, as my earlier story clearly illustrated, converting from CMYK to Pantone was not painless. In fact, it was quite an involved process. It would have been much easier to start with Pantone and then convert the colours to CMYK approximates later on. Granted, the colours would probably still not be a perfect match, but the conversion would be a lot simpler.
And that is the basic premise of the Rule of Conversion: design in such a way so as to simplify conversions. In our logo example, the better method would have been to start by selecting Pantone colours and then converting to CMYK and RGB, as required. This would have simplified things later on.
That being said however, the rule does not only need to apply to working with colours. It can apply to any area of design. Here are some other areas where the Rule of Conversion may be useful:
- Create your raster-based designs at a larger DPI. It’s always easier to scale these designs down than it is to scale them up.
- For the same reason (and where appropriate), design shape-based design elements in scalable vector format.
- When working in Photoshop, use non destructive techniques such as layer masks, adjustment layers and layer styles, or adjustable elements such as colour or pattern layers.
- In web design, use stylesheets to apply to control presentational design elements to an entire site. It’s always easier to maintain a single stylesheet than it is to edit inline elements on individual pages.
Article Source: http://blog.echoenduring.com/2010/12/19/the-rule-of-conversion/