Typophile - Printing black on red. - Comments

For spots, just over print

AGL — Wed, 2 Apr 2008 17:28:57 -0700

For spots, just over print the black over whatever lighter color. Color only match (more or less depending the pressman...) if printed against white, even for the black. For 4 color jobs when having heavy black solids the best is useing the rich black. If you are not sure, you can always ask for a proof. Proofing now a days is pretty affordable, and you can always ask the printer, these guys know a big bunch about it. :)

my approach can be

Ch — Wed, 2 Apr 2008 16:07:06 -0700

my approach can be unorthodox, but i’ve had success taking advantage of undercolors to enhance overcolors, so without a knock-out you could
add cyan or other available red-opposites to the black,
making it a hybrid rich-black which utilizes the red underneath.

depends on ink & paper of course; requires physical proof.

I’m constantly forced to

frode frank — Wed, 2 Apr 2008 14:40:35 -0700

I’m constantly forced to settle for the cheapest option with these clients. It’s kinda frustrating. Thanks for all your advices!

Wierd question: Should I cut a hole shaped like the logo from my red background if I don’t want to mix the two inks?

Why not use the spot colors

jupiterboy — Mon, 31 Mar 2008 14:31:59 -0700

Why not use the spot colors on everything and get a match?

It’s a business card.

frode frank — Mon, 31 Mar 2008 14:27:19 -0700

It’s a business card. Unfortunately it’s not possible to change the colours.

I’m also printing envelopes with the same colours, using spot inks. Any issues I should look out for?

Black on strawberry (for

Paul Cutler — Mon, 31 Mar 2008 12:02:25 -0700

Black on strawberry (for lack of a better word) red is a problem. If you mixed the red to a more orangey color (maybe 0 80 90 0) you have a better fighting chance. Of course that is probably not possible.

pbc

If you bring cyan into the

jupiterboy — Mon, 31 Mar 2008 11:46:40 -0700

If you bring cyan into the rich black and it is not a component of the red you could potentially get a visible edge or halo where the cyan plate was visible. One way to trap process is to include 20% or so of only the colors that exist in the adjacent color.

http://www.adobepress.com/articles/article.asp?p=21092&seqNum=5

That forest green to florescent red look will make you ill. I’ve never know two colors that could flash so hard.

Miss Tiffany said it –

poms — Mon, 31 Mar 2008 11:33:38 -0700

Miss Tiffany said it – black on red could cause problems.
Maybe it’s possible to varnish the black. Or you use a very dark green to recieve s.th. like a “complementary color contrast” effect.

>You could leave the cyan at 0% if the press has any chance of less than perfect registration.
i don’t get it, can you explain

You could leave the cyan at

jupiterboy — Mon, 31 Mar 2008 11:29:22 -0700

You could leave the cyan at 0% if the press has any chance of less than perfect registration.

Hi Miss Tiffany.

AGL — Mon, 31 Mar 2008 10:59:54 -0700

Hi Miss Tiffany.

Where will this be used? If

Miss Tiffany — Mon, 31 Mar 2008 09:41:00 -0700

Where will this be used? If it is anything that might be seen in different lighting situations and still be usable at a distance I would suggest using a different color. Black and red both read as basically the same tone. Especially bad on bus boards and billboards.

rich black:

AGL — Mon, 31 Mar 2008 09:27:01 -0700

rich black: 32c/22m/22y/100k. Cheers! André

Printing black on red.

frode frank — Mon, 31 Mar 2008 09:23:49 -0700

Any suggestions for a cmyk value for a black logo on top of a red background (0 87 69 0)?