PANTONE COLOR BRIDGE® Coated & Uncoated

The PANTONE COLOR BRIDGE® Coated & Uncoated set is a multi-purpose tool for printers, graphic and web designers. It is best used for determining how Solid Colors will look when reproduced through four-color printing process, as well as a HTML value reference for digital media display intent.

How to use

Locate colors by number by using the index immediately after the 112 New PANTONE Colors and/or at the back of the guide. Compare and evaluate colors only under optimal lighting conditions. Use the lighting indicator tool found at the back of the guides or a light booth supporting either D65 or D50 light sources.

Over time any and all papers will yellow and inks will fade. In order to ensure you have the most accurate color for specification and evaluation, Pantone recommends that you replace your guides and books annually.

Features

  • Cross-reference PANTONE MATCHING SYSTEM® (PMS) colors to sRGB, CMYK and Hex color for Web/HTML
  • Best manage your on-press or digital color reproduction expectations
  • Including 112 New PANTONE Colors
  • This two-guide set features 1,845 PANTONE MATCHING SYSTEM Colors shown side-by-side with their four-color process printed equivalents on both coated and uncoated paper, enabling printers and designers to quickly determine how closely Solid Colors can be matched in CMYK.
  • Colors are each displayed along with coordinating numbers and CMYK, sRGB and HTML values so that graphic and web designers can easily translate Solid Colors to their ultimate printed or digital design intent.
  • New colors have been added to the front of the guides, allowing designers to easily find 112 new means of inspiration, expression and opportunities for creativity.
  • Colors are predominantly arranged chromatically to allow for ease in visually locating color families and ranges.
  • Printed colors bleed off both page sides so they can be best analyzed for matching when guide pages are laid on top of printed works during evaluation.
  • An index can be found in the back of each guide for easy location of colors by number.
  • The convenient fan guide format allows for optimal color scanning and portability.
  • Guides are produced on text-weight paper in order to best simulate the most commonly used industry printing substrate.
  • A lighting indicator tool can be found at the back of each guide, allowing the user to instantly understand if current lighting conditions are suitable for accurate color evaluation and matching.

 

Published in Print Design
Friday, 01 July 2016 00:51

How Works the Letterpress Print Design

Letterpress is the oldest method of printing with equipment and images printed by the "relief" type printing plates where the image or printing areas are raised above the non-printing areas. Letterpress printing exerts variable amounts of pressure on the substrate dependent on the size and image elements in the printing. Letterpress print process is job for professional only. The most problematic is to save colours match from monitor screen to print page. Letterpress printing takes some time. A 10-15 days turn-around is normally.

letterpress

Basically, You need to know printing techniques and processes:

  • File type comparisons
  • DPI comparisons
  • CMYK colour chart
  • Paper sizes chart
  • Length conversion chart
  • Colour profile examples
  • CMYK and Pantone comparisons
  • A printing process diagram

We have many difficult colours for viewing (especially gold, silver, platinum those are terrible), it is a very tactile method of printing as each colour is literally punched or depressed into the paper stock, giving a wonderful debossed effect. Texture, finish and the way something feels are just as important in graphic design as the way that something actually looks.

The ideal tool is the vector application Adobe Illustrator. I am personally choose to start is a two-colour design using type and shape. Each colour will need a separate printing plate made, so the more colours you have then the more plates you need, and the more it will cost. Two colours is usually a good starting point.

Two Colours

The design for each colour plate needs to be separated and supplied as a hi res EPS or PDF file. To reproduce color and continuous-tone images, printers usually separate artwork into four plates—one plate for each of the cyan (C), yellow (Y), magenta (M), and black (K) portions of the image. When inked with the appropriate color and printed in register with one another, these colors combine to reproduce the original artwork. The process of dividing the image into two or more colors is called color separating, and the films from which the plates are created are called the separations.

Create Separation

When your plates come back, make sure the blocks have no raised edges where the plates have been cut – they can show up on your prints when you use a lot of pressure. If there are any edges file them down. Also make sure that the nails holding the block to the wood mount are well sunk. Take a proof to the letterpress printer to help with the position of the different coloured elements correctly. While letterpress previously relied on hand set wood and metal types along with specially made engravings, but polymer plates are more durable (and more easily replaced) and allow us to print artwork from digital files. Polymer plates are produced using a photographic process. The digital design is output to a film as a negative (left), and then exposed to a polymer plate using UV light (right). For plating, we use photopolymer – a light sensitive plastic exposed using high resolution image setter film. We generate our own film and plates in house. These plates use an adhesive backing and mount to an aluminum base in order to bring the relief plate to the proper height the previously used wood and metal types.

letterpress Printing.jpg

You can choose any ink from the Pantone system. Pantone shows you how their colors look on coated, uncoated, and matte paper. Therefore you have the number of the color (for example, PANTONE Blue 072) followed by a suffix, which indicates on what stock your PANTONE Color is meant to be printed. If you want PANTONE Blue 072 on shiny paper, then you would specify the color in this manner: PANTONE Blue 072 C, where C stands for "coated". You then have U, which stands for "uncoated", and then M, which stands for "matte". We love metallic colors. Metallic inks are a notable for their opacity and will print opaque on colored stocks. With the exception of metallic inks, letterpress inks are transparent. Ink is applied to the rollers and you’re ready to print. The printer will add the right amount of ink depending on the kind of finish you want. Lighter ink levels result in more of the stock showing through, which can provide the textured effect that a lot of designers aim for when using letterpress.

PANTONE Color Chart

Offset ink is a specific type of ink used in conjunction with offset printing presses such as those used to produce letterpress prints. Ink is mixed by hand. We use oil-based, lithography inks. Each finished colour will need to be left overnight to dry, then you’re ready for colour number two (for us). Ink up the rollers with the second colour, prep and position the second plate in the chase and run a few rough prints out first so you can fine tune the registration of the second ink with the first ink. You may need to reposition it by a few millimetres on the actual chase. You can also move the stock feed on the press in order to get the registration exactly how you want it.

Once printed the second colour needs to be left to dry overnight too like the first. Try not to move the prints when they are stacked up, especially if you’ve used quite a heavy ink load on your prints. Any drastic movement of the stack and the individual prints could end up with unsightly smudges on them.

Letterpres Process

Once dry, the prints need to be trimmed to your finished size in a guillotine. Every office needs a paper cutter, even You have a colour inkjet office printer only. Paper cutters basically come in two flavors these days – Guillotine and Rotary. The most accurate cuts will always be made with Rotary cutters. For large stacks of paper You need a large electric or hydraulic paper cutter. I recommend to choose maximal size of cutting slightly larger than your printer's largest flat size.

 

Published in Print Design