Portfolio | Latest Print Designs for October |
Print Ready: CMYK , 300 DPI
Size: 8.5" x 14" with bleeds |
Print Ready: CMYK< 300 DPI
Size 11" x 14" with bleeds |
Print Ready: CMYK < 300 DPI
Size 8.5" x 11" with bleeds |
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Four-Color Process Print |
Although web design is everywhere nowadays (even when we’re not at the computer it still manages to squeeze it’s way in to our everyday life), print design is still a huge part of the design industry and is everywhere we look: newspapers, posters, prints, manuals, restaurant menus, business cards – the list goes on and on. So how do you make sure that you leave a good impression on people holding your piece of art in their hands? This is where experience and advanced print design skills come into play.
The most common way of mass producing printed materials is through what is called offset lithography printing. Offset lithography is a process that uses a combination of four process colors, cyan, magenta, yellow, and black, generally noted as CMYK, to produce full-color images. Spot colors, standardized by the Pantone Matching System®, are also available in offset printing, but know that when creating your documents, you need to be sure of two basic image guidelines.
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In the Right Mode...
First, always make sure that each and every photo or image you include (both raster and vector) are in CMYK format and not RGB. While RBG offers a greater color range and works well in designing for implementation online, it doesn’t cut it when going to press. Any images that you leave in RGB mode will have to be translated into CMYK by your prepress operator before going to print. This not only takes more time for a prepress technician, but leaves you unsure as to how your color will turn out once on press.
Precious Pixels
It shouldn’t have to be said, but 72 dpi (dots per inch) will not produce a quality image on press like it will online. Surprisingly, this is a consistent issue prepress operators face in handling images. Always be sure that each of your images is set to at least 300 dpi before sending them to your printer, or you’ll be sadly disappointed when a gorgeous photo you spent hours editing turns out blurry and pixelated once it’s in your hands.
One of These Blacks is Not Like the Other
 Interestingly enough, there are actually several different types of black when it comes to printing, but the two most widely used terms are “plain black” and “rich” or “full black.” Keep in mind, “rich black” has several variants, depending on your printer’s preference. If you’ve ever created an image in Illustrator that contained sections of black, and later placed it into a Photoshop document where the image sat on top of a black you chose from the color palette in Photoshop, it’s likely you’ve seen this disconnect.
Plain Jane
When you use black in a program like Illustrator or InDesign without choosing a Pantone color, the CMYK breakdown automatically defaults to C=0 M=0 Y=0 K=100, where black is fully saturated and the other three are completely absent.
Richie Rich
As stated before, there are several variants of rich black, but what’s important to know when you’re designing is that the Photoshop default for black is different than other programs (where C: 75, M: 68, Y: 67, K: 90). It’s likely that Photoshop will be the place you find this difference most often if you’re not intentionally trying to give a piece of your design a darker, richer tone than you get with plain black.
If you are intentionally doing so, make sure to ask your printer which variant of rich black they like to use on press, usually referred to as “warm black” or “cool black,” where there are higher levels of either magenta or cyan, respectively. It’s generally not recommended that you use a completely saturated level of all four colors (where C: 100, M: 100, Y: 100, K:100), as this can over-saturate the paper on press and will certainly give the press operator trouble.
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