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Print Production Essentials: Spot Colors and Varnish
Illustration by John Hersey

Choosing a spot color


From:

Print Production Essentials: Spot Colors and Varnish

with Claudia McCue

Video: Choosing a spot color

In Illustrator or InDesign, when you go to create a new swatch, you have a number of reference guides to pick from. So, here I am in InDesign, when I start making a new color swatch under Color Mode, when I click that pull down, I get a really long list of possibilities. So, what are all of those for? So, you might be curious about what they refer to. ANPA is used in the newspaper environment. DIC which is created by Dainippon Ink is used in Asia. And it has some interesting components. It has what they called theme series including Japanese Traditional Colors. So, those are colors that have been used throughout history in Japan. And French Traditional Colors and Chinese Traditional Colors. So, that's sort of an interesting approach to create sort of a theme, a dedicated pallet for certain types of projects.
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  1. 2m 37s
    1. Welcome
      1m 31s
    2. What you should know before watching this course
      33s
    3. Using the exercise files
      33s
  2. 19m 15s
    1. Why spot colors are necessary
      2m 32s
    2. Examples of spot color impact
      1m 45s
    3. Spot or process: Making the decision
      5m 31s
    4. Choosing a spot color
      4m 11s
    5. About the new Pantone Plus color system
      5m 16s
  3. 13m 23s
    1. How spot color inks are created
      6m 8s
    2. Considerations when using certain spot colors
      2m 35s
    3. Effects of stock on color
      2m 6s
    4. Proofing spot and special-mix colors before printing
      1m 0s
    5. Spot colors and digital printing
      1m 34s
  4. 5m 5s
    1. How spot varnishes can enhance a project
      1m 10s
    2. How varnishes, inks, and substrate interact
      2m 30s
    3. Combining different types of varnish to add dimensions
      35s
    4. Aqueous flood coatings
      50s
  5. 28m 26s
    1. Creating a multitone image (duotone and tritone)
      10m 59s
    2. Creating a simple spot color channel
      6m 30s
    3. Creating a touch plate to enhance a color image
      7m 25s
    4. Creating a spot varnish
      3m 32s
  6. 23m 14s
    1. Adding Pantone color swatches
      5m 18s
    2. Using Overprint Preview to proof the display of spot color transparency
      2m 58s
    3. 3D shading: Preview with overprint on
      2m 22s
    4. Converting spot colors to process
      3m 11s
    5. Creating a varnish
      5m 52s
    6. Creating spot gradients
      3m 33s
  7. 17m 44s
    1. Importing art containing spot color content and resolving issues with Ink Manager
      4m 28s
    2. Using Overprint Preview to proof the display of spot color transparency
      2m 30s
    3. Converting spot colors to process
      2m 29s
    4. Creating a spot varnish
      5m 35s
    5. Creating and using mixed inks
      2m 42s
  8. 7m 10s
    1. Examining with Output Preview
      4m 11s
    2. Using preflight profiles
      2m 59s
  9. 1m 9s
    1. What I hope you've learned in this course
      51s
    2. Next steps
      18s

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Print Production Essentials: Spot Colors and Varnish
1h 58m Intermediate May 09, 2013

Viewers: in countries Watching now:

While most printing today is accomplished via a four-color process, there is a wide range of practical and creative options available when you add an additional color or varnish. This course teaches how these additional colors are made and shows some examples of finished projects that use these colors. Author Claudia McCue also dives directly into Adobe Photoshop, Illustrator, InDesign, and other creative apps and shows how to build documents correctly for printing.

Topics include:
  • Why spot colors are necessary
  • Making a decision between spot and process colors
  • Choosing a spot color
  • Understanding the effects of stock on color
  • Printing spot colors digitally
  • Using varnishes
  • Creating a multi-tone image in Photoshop
  • Adding Pantone color swatches to Illustrator
  • Creating spot varnishes in Photoshop, Illustrator, and InDesign
  • Using preflight profiles in Acrobat
Subjects:
Design Print Production Design Skills
Software:
Acrobat Illustrator InDesign Photoshop
Author:
Claudia McCue

Choosing a spot color

In Illustrator or InDesign, when you go to create a new swatch, you have a number of reference guides to pick from. So, here I am in InDesign, when I start making a new color swatch under Color Mode, when I click that pull down, I get a really long list of possibilities. So, what are all of those for? So, you might be curious about what they refer to. ANPA is used in the newspaper environment. DIC which is created by Dainippon Ink is used in Asia. And it has some interesting components. It has what they called theme series including Japanese Traditional Colors. So, those are colors that have been used throughout history in Japan. And French Traditional Colors and Chinese Traditional Colors. So, that's sort of an interesting approach to create sort of a theme, a dedicated pallet for certain types of projects.

FOCOLTONE is actually not a spot reference guide, it's a process reference guide, meaning it uses CMYK ink. And you'll see that used predominately in Britain. HSK is a German reference system, and it has both spot and process components available to you in Illustrator and InDesign. And you'll notice that there's HKS E, K, N, and Z, and for each one of those there are two components spot, and process. So, the E is for continuous stationery.

The K is for gloss art paper. The N is for natural paper, meaning sort of standard stock, and then Z is for newsprint. So, what this implies is that the recipes are a little bit different, in order to get better rendition on these different kinds of paper. And then of course Pantone, even though we see it used widely in the US, it's not used just in the US, it's really used around the world. And there is more then one Pantone book, so when you look at the pull down in Illustrator or InDesign you have whole list of Pantone possibilities.

And it's important to know that, not all of them really refer to spot color. At least some of this is obvious, the Pantone+CMYK Coated, and Uncoated, clearly those are process guides. The Color Bridge is a really nice reference, because it gives you sort of best of both worlds. It doesn't have every single Pantone+ spot color in it, it has a huge subset of them and it gives you something really valuable. It gives you the spot color next to the closes CMYK equivalent. So, as you're creating a job and you're trying to judge, do I want to print this spot or maybe I can get away with printing it process, you can compare right there. The metallic coated, of course those are spots the metallic inks, and then the pastels and neon's coated and uncoated those are spot inks. There's a new kind of metallic in the Pantone+ series called the Premium Metallics.

And they're much finer ground pigments, so they're a smoother coating. And they give a more uniformed appearance. And then, good old fashioned Pantone Solid Coated. When you're looking for a spot color, that's the one you're going to choose. And then Solid Uncoated, and keep in mind that coated and uncoated just refer to the paper substrates. And these different libraries within InDesign and Illustrator are trying to mimic how that ink's going to look on a coated stock, versus and uncoated stock. So, it's the same ink, it's just trying to help you visualized on screen how it's going to print.

And finally TOYO those are used in Japan TOYO 94 uses CMYK values for onscreen rendering. It's not a processed book, it's a spot book, but in trying to show you the ink on screen it's looking at CMYK values. So, you'll find that that's sort of like the old Pantone values in older Adobe applications, it's close but it's not exact. And in the later releases, use Lab values to show on screen. And finally TRUMATCH, is a purely process reference, so if you know you're always going to print process jobs, TRUMATCH is a great resource.

Because then you have a printed component that you can compare, and then you can invoke that from your pull downs, as your adding colors to your InDesign, or Illustrator documents. So, you have a wide range to choose from, in this course, I'm going to concentrate on Pantone, because that's the most commonly used resource. But the same rules apply regardless of which resource you're using.

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