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ABOUT COLOUR continued
GETTING THE BEST FROM CMYK
avoid tints You’ll get best reproduction from colours that are made up from
that contain
one or two inks (i.e. magenta and cyan etc). When using lighter shades,
less than 5%
avoid tints that contain less than 5% of either Cyan, Magenta,
Yellow or Black, as they usually print much lighter than they appear on
screen and you may be disappointed with the outcome. For best results,
use tints containing 5% to 30% where possible.
If possible, choose from the colours on our complimentary colour charts
– these are printed on our presses and apart from printing your job for
real, these colour charts will give you the closest approximation to how
your fi nished job will look, although some variation may occur.
Try to avoid large areas of the same colour too – that’s where
try to avoid
colour issues (banding, ghosting etc.) becomes most noticeable – ask us
large areas for advice. Try to break up large areas of colour with alternate elements
of the same or add a background image. Vignettes, or gradient fi lls are best avoided
colour
– they have a tendency to show ‘banding’ and look unprofessional. The
Adobe website offers some advice on gradients if you wish to use them.
A NOTE ABOUT PROOFING
As part of our Hand-Holding service we will supply you with
either a colour printed proof, a proof using our online proofi ng
software (Smart Review), or an emailed proof. As with all proof
types, none of these are colour accurate. The proof acts as
a guide as to how the fi nished print will look, and should only be
used to check layout.
None of the proofi ng types can be relied upon to spot items such
as objects set to overprint, hairlines, JPEGS/RGB/Duotone images
(which may proof in colour, but print in black and white).
If you need a more technically accurate proof to check for
overprint, hairlines, JPEGs/RGB/Duotone images, special effects or
transparencies, then ask for details of our Soft Proofi ng service.
22
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