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Creating spot gradients

From: Print Production Essentials: Spot Colors and Varnish

Video: Creating spot gradients

I was hoping to add a little interest to this job by adding a gradient that goes from spot orange to black. But you can see how anemic it is. So it's a little bit disappointing. If we look at this in Separations Preview, you can get a better idea of what's going on. When I go to Window > Separations Preview, if I turn off the Orange, so that we can see the Black, it's going from solid black at the very right, and a little transition off to white on the left. And then if I turn off Black, you can see what's happening to the Orange. So you can see that they both start falling off pretty much immediately.

Creating spot gradients

I was hoping to add a little interest to this job by adding a gradient that goes from spot orange to black. But you can see how anemic it is. So it's a little bit disappointing. If we look at this in Separations Preview, you can get a better idea of what's going on. When I go to Window > Separations Preview, if I turn off the Orange, so that we can see the Black, it's going from solid black at the very right, and a little transition off to white on the left. And then if I turn off Black, you can see what's happening to the Orange. So you can see that they both start falling off pretty much immediately.

And so that mean that you don't have any real, strong combination of those colors here in the middle and that's why it looks a little bit weak. It looks a little bit gray. Now there is no way in Illustrator to create an ink that's a combination of two colors. So, I can't make a swatch that's a combination of Black and Pantone Orange, that's what I really like to do, but since I can't do that, I am going to cheat. So in the Layers panel, you can see there's my Gradient, so I'm going to select that object, and I'm going to duplicate it. And I can just drag it down to the new sublayer icon, and that'll do that.

So here's my game plan. I'm going to have two versions of the gradient. One is just going to be for the orange, and one is going to be for that transition from black to white. So I'm going to turn off the top one, select the bottom one, and this is really just going to be solid. It's just going to be that solid orange. And now I'm going to come back and turn on the other one. By the way, this is kind of a great little trick. If you want to select something sort of by remote control, that little circle there is a target for that object. If I click on the circle, that selects the object.

Sometimes in a really messy document, that's an easier way to get a hold of something. So for this, I'm going to go into my gradient panel, and where I now have orange on the left, I'm going to change that to just be white. Now, what's going on up to this point? Well, if I turn the original little shape on, we can't see it because the black doesn't overprint. So now, I'm going to select my black gradient, and I'm going to go to Window > Attributes, and set the Fill to Overprint. We don't see the results, because Illustrator is not showing me Overprint, but since I already have my Separations Preview open, I can just do it there.

When I click on Overprint Preview, now you can see, that looks much better. Although, now that I'm doing it this way, I think I might change the distribution of that black to white gradient. So with this shape still selected, I'm going to go into my gradient panel. And this little diamond up above the little ramp here, lets me determine the break point. If I move it all the way to the left, you can see that it stays solid black longer, and then there's a sudden transition to white. If I move it to the right, it stays white longer, and there's a sudden transition to black. So what I want to do is have that heavy end happen a little longer. So I want a little more weight over here.

So, I'm going to move it a little left of center. And I think that does what I want. I still see plenty of orange but I have enough weight over here that it looks more robust. So this is a little trick. It's a bit of a cheat, it's going to look a little weird unless you have overprint preview on. But anytime you have a gradient that goes from a spot color to black, remember this little trick in Illustrator. It's the only way you can get a good mix of the spot color and the black and not have that sort of anemic gray look that you saw initially. It takes two objects, and you have to remember to turn on Overprint Preview. And remember the way I induced Overprint in that shape was to go to Attributes And turn on Overprint Fill.

So, remember that little trick in the future and your Gradients will look a lot better.

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This video is part of

Image for Print Production Essentials: Spot Colors and Varnish
 
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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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