(Task at base of post after the deffinitions)
Definitions
The majority of these definitions have been taken from the publication that I am producing for the OUGD504 - What is Design for Print studio Brief 1 therefore I have used several sources which are listed in the book's bibliography. I have included it in this post also after the task.
The majority of these definitions have been taken from the publication that I am producing for the OUGD504 - What is Design for Print studio Brief 1 therefore I have used several sources which are listed in the book's bibliography. I have included it in this post also after the task.
Duotone
Duotone images use two, often contrasting colours, such as black and yellow to get a sharp result. One colour is placed over another, E.G. Yellow over Black. It is used to get the most effective result from a limited palette image black is used to give "punch" to any highlights or middle tones.
www.accentgraphe.ch/Poster-Kino-Freier-Film-Aarau
www.behance.net/gallery/Urban-Outfitters-Annual-Report/2844563
Spot Colour
A spot color is any colour that is printed using a single run and is used by designers to specify areas of an image which requires a specific finish such as varnish, UV ink etc. Used in offset printing, spot colours are generated by an ink that is printed using a single run. Spot colours are also used in the production of designs to specify to the printer that there needs to be a special finish applied to the artwork such as a varnish or foil. Spot colourscan be specified to be printed as glues or other prinatble mediums.
Monochrome
A monochrome image is an image which has been produced in one colour or shades of one colour.
www.wordsarepictures.co.uk
www.escapearti.st
Pantone
Pantone are a provider of colour systems across the world, they are an industry standard and have many systems which are used for varying jobs and roles.
The Pantone Plus Series is a reference system for specifying and controlling colours for print and web. Pantone offer physical swatch booklets for industry to use when briefing clients and specifying business. There are various specific systems that Pantone use such as the Colour Bridge, Metallics, Neons etc. in order to offer business to various industries. An example of how specific the systems can be is the fashion and home colour system whereby there are over 2000 colours in a cotton and paper format to help interior and fashion designers to get exact colour palettes in place for their work.
Pantone offer the ability to attempt to forecast the colour trends of the upcoming year in every industry and provide "colour of the year" and trending palettes online to help boost sales.
Pantone have over 3,000 existing and new pantone colours in paint which is available for trade and public to use in their interiors.
The Pantone Plastics Color System allows ensures that people who work with plastics can specify and manufacture colours "through opaque and transparent plastic color chips".
Pantone have offered custom colour systems to allow businesses to pick and make custom colours for example the royal mail.
www.idox.cotswold.gov.uk/WAM14/doc/107710-Page-2.pdf?extension=.pdf&page=2&id=107710&appid=0&contentType=application/pdf&location=VOLUME1
Pantone 2685c purple
www.designweek.co.uk/editors-view/copyrighting-a-colour/3035398.article
TOYO
www.liochem.toyoink.com/products.cfm?id=color_and_media_materials/plastic_colorants
This means they are suitable for Automotive interiors, bumper & facias and also most importantly Food, beverage & medical packaging. This is where pantone is not as effective due to the form of material that the colour is being applied to, which obviously has different properties to stock.
www.liochem.toyoink.com/products.cfm?id=printing_inks/gravure_and_flexo_inks
Trumatch Colour System
In the swatch libraries we see many different swatch systems to pick from, at this point, pantone has been the standard to which we work by, however there are others that can prove effective. Taken from the Trumatch website, the explanation tells you why they are useful in their own right and can not really be compared to Pantone (the market favourite).
I have edited out the unimportant info.
TRUMATCH Origins
"...critically different from how 4-color printing filters white light reflected off paper through dots of transparent "process" inks of cyan, magenta, yellow and black (CMYK, which is "subtractive color")."
"The conversion from RGB (additive color) on-screen to CMYK (subtractive color) on-press is complex and not exact because they are different color gamuts."
"...different digital color printer manufacturers also use different print engines and different 4-color ink pigments, and that these inks are also different than the standard inks used on a commercial 4-color press."
"This is why it is essential to assign colors from actual CMYK printed samples rather than from RGB color representations on-screen. By referencing printed samples, the color you see, is the color you get."
"For those whose work depends on 4-color accuracy, TRUMATCH is a...unique way for computer users to eliminate 4-color matching problems..."
"This digital System displays accurate, balanced proportions of process color that are logically organized and conveniently arranged according to the familiar R-O-Y-G-B-I-V spectrum. There are 50 hues, with 40 perfectly proportioned tints and shades of each hue, plus a section of 4-color greys, resulting in over 2,000 color choices."
"To create smooth tints of each hue, TRUMATCH uses the ability of digital imaging output to target tint screen percentages to 1% accuracy, thereby maintaining smooth proportions of cyan, magenta and yellow (CMY)."
This is increadibly sales driven and fairly basic however it is interesting to note that in a commercial printing world there are companies being unique in order to sell their colour coding product. The information about black being handled in a separate manner to other colours is confusing at this point so I have emailed the company to get some more detailed information.
To provide printed colour on a medium of stock, ink is needed. By looking into the vast range of inks which are available, how they work and why they are in demand, it is easier to see the importance of which colour systems are chosen when working on a project.
Rich Black and Plain Black
Task
Spot Colour (2 or more)
Monochrome & Tints (solid colour and half-tone)
Packaging & Promotion
There is an instant legibility in this piece of package design using 100% K and no tints. This monochrome branding uses black ink and white packaging, in this case a vinyl on glass. This is a cheap and fast printing process.
The email I sent got a reply which explains one of the FAQ answers from their website in a bit more detail. Trumatch say in another FAQ that Trumatch will not, or should not replace a solid ink system as they both have different applications, but when working in a 4 colour process then Trumatch stands out as you can see the separations and the shifts in tints (explained in the email below). The system holds the tints at a constant but alters the amount of Key added.
To provide printed colour on a medium of stock, ink is needed. By looking into the vast range of inks which are available, how they work and why they are in demand, it is easier to see the importance of which colour systems are chosen when working on a project.
The conventional inks which are applied to mass produced products within a Pantone swatch system can achieve many desired effects. However, for one offs, custom jobs or something with a bit of extra aesthetic appeal there are many speciallist inks such as scented inks, clear ink and light sensitive inks such as UV ink.
Scented inks
work with many technologies including the use of capsules. A print is produced and a spot varnish is applied, imbedded on the surface of the varnish are small capsules of scent, when rubbed fragranced oils are released. Due to the water based nature of the ink it is not possible to use them on any stock which has been sealed, such as plastics.
Fluorescent Inks
produce a sharp bright glow in daylight and UV light, these are often used in situations where information is required to stand out in daylight situations.
Luminescent Inks
produce a dull coating of colour during in daylight, however when in areas of dim or pitch black lighting, they emit light in a bright manner.
Pearlescent Ink
are used to give a pearl effect over a dark backgroun
Thermal Sensitive inks
are water based UV inks which disappear at high temperatures and re-appear at room temperature. The ink posseses little or no light fastness qualities therefore when exposed to direct sunlight over long hours the ink becomes over worked and damaged.
Daylight Active Inks
posses similar technology and qualities to thermal sensitivie inks. They are UV water based inks which disappear in artificial or non UV light sources, but then re-appear in Daylight or UV Light. The inks also have a poor light fastness.
Metallic Inks
achieve a metallic effect finish by intergrating bronze or aluminum powder with the ink itself.
Tactile Inks
inks work to enhance the feel of a piece of typography or design. The ink is emmited so that it sits up to 0.5mm above the surface of the stock it is printed on. The applications of this ink are predominantly for the blind and where saftey information needs to be displayed with extra punch.
Textured Inks
Can be applied to a surface area in order to give a textured feel to the inked area.
Water sensitive ink
Water sensitive inks are solvent based non reversable inks which change from white to another colour when it comes in contact with a water solution.
Holograms
Holograms use a special type of holographic ink which provides the effect of three-dimensional images on a flat surface area. Ticket stubs and money use this ink in order to provide a secure way of tracking fakes.
There are several ways to represent black when printing artwork. 100% black ink measured as 0C, 0M, 0Y, 100K in chromatic percentages is the simplest solution. What is known as a rich black can also occur in print by printing Cyan, Magenta and Yellow in varying combinations with Key. The most common combination is 63C, 52M, 51Y, 100K which occurs when an image format is altered from RGB to CMYK.
The problem with all combinations of rich black is their appearence on the screen. When printing a rich black and a plain black together it is easy to see a difference between the two areas of ink.
When using the registration option in programs such as InDesign, black mismatches can occur. Registration is used to print colour at 100% on all plates when producing the registration marks for proofing. Ink is then placed at 100% wherever registration is provided, therefore an over printing of colours can occur and stock can become saturated.
Task
Branding & Identity
CMYK (process)
http://www.septemberindustry.co.uk/septemberindustry-exclusive-golden/
A tint of CMYK can achieve a "candy cane" striped aesthetic.
A tint of CMYK can achieve a "candy cane" striped aesthetic.
The use of two spot colours allows with a Cyan allows the printer to achieve depth and the feel of a three dimensional object in two dimensional printed format.
Monochrome & Tints (solid colour and half-tone)
www.matthew-hancock.co.uk/portfolio/selected/rossilong.html
"Rossi Long Consulting provide comprehensive project management and fulfilment for civil engineering and architectural enterprises across the east of England.
The visual identity slots the company initials together into a solid block, making reference not only to construction work but also to the bringing-together of many disparate materials and companies that project management on this scale requires. It is strong, clean and logical.
The full suite of applications make use of this central marque, giving an overall feeling of consistency and integrity across the brand"
Packaging & Promotion
CMYK (process)
www.studiothomson.com/work/design/cads-2006/
Simple file format packaging for printed pieces of artwork has been given its own colour to highlight the other CMYK colours. The packaging has a crimped and folded system with a cut slot for one leaf to fit into another.
Spot Colour (2 or more)
The 2 spot colours used in each of these pieces of packaging adds an interesting way of creating depth in the typography. The 2 colours work to give a hierarchy and focal point in the information.
Monochrome & Tints (solid colour and half-tone)
There is an instant legibility in this piece of package design using 100% K and no tints. This monochrome branding uses black ink and white packaging, in this case a vinyl on glass. This is a cheap and fast printing process.
Publishing & Editorial
CMYK (process)
Spot Colour (2 or more)
Spot colour (1 spot colour)
Spot colour (1 spot colour)
Monochrome & Tints (solid colour and half-tone)
Information & Wayfinding
CMYK (process)
Spot Colour (2 or more)
Monochrome & Tints (solid colour and half-tone)
200 Aldersgate timelapse from dn&co. on Vimeo.
Bibliography for Information.
Used in the publication and for Task 2.
200 Aldersgate timelapse from dn&co. on Vimeo.
Used in the publication and for Task 2.
Lupton, E. (2008). Indie Publishing: How to Design and Produce Your Own Book. 1st Edn. New York: Princeton Architectural Press. pp 46, 47, 118-121, 129-151.
Denison, E. et-al (2010). Print Formats and Finishes:: The Designer’s Illustrated Guide to Brochures, Catalogs, Bags, Labels, Packaging, and Promotion. 1st Edn. Mies, Switzerland: Rotovision. pp208 - 247.
Harkins, M. (2010). Basics Typography 02: Using Type, 1st Edn. Lausanne: AVA Publishing. pp38-47, 84-85, 118-119, 170-173.
Ambrose, G. Harris, P (2006). Basics Design: Print and Finish, 1st Edn. Lausanne: AVA Publishing. pp 12, 22, 28, 48 - 109, 160 - 171.
Wiles, R. (2012). Handmade Packaging Workshop: Tutorials & Professional Advice for Creating Handcrafted Boxes, Labels, Bags & More, 1st Edn. London: Thames & Hudson. pp18 - 21, 28, 164 - 167.
Schwesinger, B. (2012). The Form Book: Best Practice in Creating Forms for Printed and Online Use, 2nd Edn: London: Thames & Hudson, pp 126, 131, 138 - 145.
Ambrose, G. Harris, P (2008). The Production Manual: A Graphic Design Handbook, 1st Edn. Lausanne: AVA Publishing. pp
Evans, P. (2004). Forms, Folds and Sizes: All the Details Graphic Designers Can Never Find but Need to Know, 1st Edn: Minneapolis: Rockport Publishers Inc. pp 20, 58 - 61, 70 - 75, 126 - 128, 144 - 162.
Aldridge, S. Miller, L (2012). Why Shrink-Wrap a Cucumber?: The Complete Guide to Environmental Packaging, 1st Edn: London: Laurance King Publishing. pp 206 - 239
Mason, D (2007). Materials, Process, Print: Creative Solutions for Graphic Design: 1st Edn: London: Laurance King Publishing.
The Green Stationery Co Ltd (2007). Green catalogue product selection. [Online] The Green Stationery Co Ltd. UK. Available at: http://www.greenstat.co.uk/storefront/evolution_ContentPage.html?Content=26 [Accessed 28 Oct 2012].
Rolling Press (2008). We Print Stuff. [Online] Rolling Press, USA. Available at: http://www.rollingpress.com/ [Accessed 17 October 2012].
Print Quotes Direct (2009). How to Understand a Blueline Printing Proof. [Online] Google, USA. Available at: http://www.printquotesdirect.com/printing-articles/printing-guide/how-to-understand-a-blueline-printing-proof_58.html. [Accessed 05 October 2012].
Lenz, S. (2008). Are “green” inks as good as traditional inks? [Online] Creative Pro. Last updated: July 25, 2008. Available at: http://www.creativepro.com/article/eco-friendly-inks [Accessed 17 October 2012].
Chilvers Reprographics (2011). International Paper Sizes [Online] Chilvers, UK. Available at: http://www.chilvers.co.uk/pdfs/Paper%20Size%20Chart%20pdf.pdf [Accessed 15 October 2012].
Stock Displays (2001). Paper Sizes [Online] Stock Displays, UK. Available at: http://www.paper-sizes.com/other-paper-sizes/newspaper-sizes [Accessed 23 October 2012].
Font Factory (2012). Catagories [Online] Font Factory, AUS. Available at: http://www.fontfactory.com/categories.php/cPath/22?sid=aa8033f709cae33de880de16748be728http://www.infor.uva.es/~descuder/docencia/IG/typeface_classifications.pdf [Accessed 01 November 2012].
IPC (2012). Services [Online] Imperial Packaging Corporation, USA. Available at: http://www.imperial-packaging.com/Services/DecoratingDefinitions.aspx [Accessed 01 November 2012].
Pipes, A. (2009). Production for Graphic Designers. 5th Edn. London: Laurance King Publishing. pp 87, 161, 182
No comments:
Post a Comment