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

Effects of stock on color


From:

Print Production Essentials: Spot Colors and Varnish

with Claudia McCue

Video: Effects of stock on color

Planning your job, and designing for it, you have to take into consideration not just your choice of ink, but how that ink's going to look on the final stock. And here I'm showing you Pantone 1915 on coated stock and uncoated stock. It's exactly the same ink. The difference in appearance is just the way the ink behaves when it hits the paper. So, you're going to find that colors are more vibrant on coated stock, usually coated stock is going to be a little brighter. You know, it's a little bit shiny, and so that light that's coming back up through the ink makes for a brighter color. And then ink is going to be absorbed a little bit into uncoated stock. So, that's going to mean that it's duller, sometimes it's lighter. And you don't have the light reflecting off it, the color is not as strong. Again that's exactly the same ink.
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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

Effects of stock on color

Planning your job, and designing for it, you have to take into consideration not just your choice of ink, but how that ink's going to look on the final stock. And here I'm showing you Pantone 1915 on coated stock and uncoated stock. It's exactly the same ink. The difference in appearance is just the way the ink behaves when it hits the paper. So, you're going to find that colors are more vibrant on coated stock, usually coated stock is going to be a little brighter. You know, it's a little bit shiny, and so that light that's coming back up through the ink makes for a brighter color. And then ink is going to be absorbed a little bit into uncoated stock. So, that's going to mean that it's duller, sometimes it's lighter. And you don't have the light reflecting off it, the color is not as strong. Again that's exactly the same ink.

And I want to underscore that when I, I point out to you that when you start to pick your colors in Illustrator or InDesign. When you look down through the list you'll see Solid Coated and Solid Uncoated, and you'll also see Color Bridge Coated, Color Bridge Uncoded and so forth. The coded and uncoded of course are referring ot the paper. But I've already pointed out that the ink is exactly the same ink. So, why are there two libraries? Well, it's because Illustrator and InDesign, are trying to mimic, onscreen, how the ink is going to look different on coated versus uncoated stock.

So, you'll see that it looks a little duller if you pick an uncoated. It looks a little brighter, a little stronger color if you pick the coated. Again, it's trying to mimic onscreen what it's going to look like. You don't really know what it's going to look like until you see an ink draw down, or you see the job on press. Or after you've run a few jobs, you get sort of a sense of how the ink's going to look on paper versus how it's displayed onscreen. But if you have your heart set on a particular color, and you want something that's really strong and vibrant, you should take into consideration that you're probably going to have better results if you use coated stock.

It might cost a little bit more to run, but it means that you're going to get that color that you had your heart set on. So, remember it's sort of an equation, not just the ink you pick, but it's also the stock that, that ink's going to print on.

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