Need some advice regarding printing...
- Thread starter Mr.81
- Start date
jHouse
Senior Member
tim-ater said:read his blog
Oh - I see.
Well, I'm sure a watermark isn't going to stop people from copying. If they want it - they'll nick it.
You own the copyright from the simple fact that you were the one who created it. Just make sure you date it up - then you can prove that you were the original designer.
DocDelete
Junior Member
Greg said:
Coated stock is not the same as gloss lamination. Coated stock may be more commonly referred to as gloss art board (the most common for promotional print work), where the paper traditionally has a clay-like content to give it a sheen. Uncoated stock could be referred to as silk, or more commonly matt - a rougher finish, like bond photocopy or letterhead paper.
Gloss lamination heightens the gloss finish to the nth degree, but when you consider that matt lamination is available then clearly these finishing processes have no bearing on pantone colour books.
The issue of 15% 'saturation' may be referring to the fact that 15% yellow does not have the same impact as 15% black, tonally. So you need to bear that in mind if you're using pastel shades and expected type to be legible.
Going below 15% black to make text look light grey is going too far, especially for very small and fine text - where the individual dots of the screening process will make the text look rougher and rougher, simply becuase the dots are spaced too far apart.
Graduated tints are something that can lead the novice astray. Try to think how one end of the spectrum will blend through to the other in terms of individual C M Y and K values. For instance going from black to dark blue is going to look best going from C100M100Y0K100 to C100M100Y0K0. If you try to blend from just 100% K (no cyan or magenta content) there will be a washed-out greyish area in the grad just before the C and M components really bite. The problem is that most RGB monitors will show a healthy saturated grad.
Going for a paper proof is value for money on initial work. Another thing to try is to produce a CMYK print-ready PDF, then RIP that back into Photoshop, and look at the CMYK channels in isolation. This can often highlight banding, knockout and overprint issues.
It's a minefield, and requires that you give yourself every chance to proof and reproof your work, until the day your feel for printing on paper becomes second-nature.
It's only taken me about 20 years
eneyekay
Member
if you're working in 4 colour (CMYK), make sure all the values add up to no greater than 180, otherwise the printers will hate you because the project won't dry quick enough... supply them with a pdf generated in InDesign/Quark with 3mm bleed and crop marks if necessary. If the job is going to be 2 colour, that's where your pantone colours will come in useful... say if the printers have a 2 colour litho heidleberg GTO press, you'll save yourself some cash that way as they're often cheaper to run... pantone/spot colours are also useful when using metallic or flourescent inks.
if you also create a 2 colour job with random spot colours, because litho deals with metal plates, it might be a possibility for you to rename the spot colours in your palette in InDesign/Quark as 'colour 1' and 'colour 2', and then turn up at the printers and select the desired pantone colours from their swatch book? after all, you can put any colour on any given plate... you can also create a 2 colour job in photoshop by removing 2 of the CYMK layers and tell the printers to ... actually, that's prolly a bit technical
I would say lastly that if you're doing a lot of work for print, it is very useful to pick up a pantone book... i got one from eBay for £55 which included coated and uncoated. The color you see on the screen, and run off a deskjet/laser printer at home is NOT the same colour that comes off the lithograph presses.
if you also create a 2 colour job with random spot colours, because litho deals with metal plates, it might be a possibility for you to rename the spot colours in your palette in InDesign/Quark as 'colour 1' and 'colour 2', and then turn up at the printers and select the desired pantone colours from their swatch book? after all, you can put any colour on any given plate... you can also create a 2 colour job in photoshop by removing 2 of the CYMK layers and tell the printers to ... actually, that's prolly a bit technical
I would say lastly that if you're doing a lot of work for print, it is very useful to pick up a pantone book... i got one from eBay for £55 which included coated and uncoated. The color you see on the screen, and run off a deskjet/laser printer at home is NOT the same colour that comes off the lithograph presses.
