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Creating and using mixed inks

From: Print Production Essentials: Spot Colors and Varnish

Video: Creating and using mixed inks

When you're working with just two colors, it can seem like you have a very limited palette to work with. Here, I've created a gradient that goes from a spot color to black. But you can see how anemic it looks and it's sort of grayed out in the middle. Let's take a look at separations, an this'll give you a better idea of what's going on. When I go to Window > Output > Separations Preview, and then turn ns. I get a truer look at what's going to print and it's still not good enough. If I turn off the 187 you can see that the black starts at 100% at the top and it fades off to the bottom. And then the red, the 187, is doing the opposite.

Creating and using mixed inks

When you're working with just two colors, it can seem like you have a very limited palette to work with. Here, I've created a gradient that goes from a spot color to black. But you can see how anemic it looks and it's sort of grayed out in the middle. Let's take a look at separations, an this'll give you a better idea of what's going on. When I go to Window > Output > Separations Preview, and then turn ns. I get a truer look at what's going to print and it's still not good enough. If I turn off the 187 you can see that the black starts at 100% at the top and it fades off to the bottom. And then the red, the 187, is doing the opposite.

So, as they fade out, it gets very weak in the middle of this gradient. So to strengthen this and to make a much more attractive gradient, I'm going to use a great feature in InDesign called Mixed Ink Swatches. In the Swatches panel- Go to the Panel menu, and I choose this, New Mixed Ink Swatch. What this lets me do is combine a spot color and a process color, or several spots and several process colors. And this can be a great way to extend at least the illusion that you have a larger spectrum to work with in a two-color job.

So this'll just be my black plus 187, and I'm going to add 100% of my 187 To 100% black, and you can see here that I could have less then 100%, and keep this in the back of your mind. When you're working on jobs that involve spot colors, especially if you're working on a two color job, this can make it look like you have more crayons to work with. So I'm going to click OK, you can see that new little icon there that tells me that this is a Mixed Ink Swatch. And now, I'm going to use that to modify my gradient. So, instead of having just black all by itself for this stop, I'm going to change that so that it uses that black plus 187. And immediately you can see the change in that gradient. I'll click okay.

And anytime you're using spot colors, it's always a good idea to double check- By going into separations preview an turning on separations, because that turns on overprint preview. An we already know that we just have two colors, but keep that in mind to, even if you aren't going to wake up that Separations panel. Up under View, and it's the first item so it's easy to overlook, Overprint Preview gives you a truer rendition of color onscreen. And especially, if you're using blending modes or anything like that with spot colors, again, it gives you a truer rendition of what you're doing and you have a better idea of how this is going to print.

So in the future, when you're working on two-colored jobs and it seems to you that you're very limited in your range. Remember this, you can create mixed ink colors and you can greatly extend, what you can do in that project.

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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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