A few years ago if you had asked this question then the answer would have been a resounding yes! However we've been redefining design styles and ideas lately so it's now a little more complex.
Yellow can work on a black background, but it's as much about fonts and where the colour is used that affect the overall look of the site. Make sure you're using ...
Talk to the production house and ask them what rich black they prefer. There is no single rich black every print provider uses. Each print provider has their own formula for a rich black. And, in many cases, the print provider may want simply 100% K and they will adjust the black to match their own environment. Therefore, the best option is to ask the print ...
On spot blacks
Many of the other posters have discussed parameters for rich blacks in process colour. It's also worth noting that you can mix spot blacks (and other spot colours in fact) with process colour in documents. For example, it is common practice to print text in a spot black ink on a process colour document.
Process black ink is intentionally ...
By "pure black," I guess you and they are referring to a completely neutral black. Of the three things you ask about, only one potentially has that quality: darkness. "Black" animal fur and natural (not dyed) human hair are actually very dark brown, as a close examination will tell you. (I don't necessarily recommend close examination of a panther, except ...
A few precisions on the use of pure black and rich black...
Some things are misleading and have not been explained in a very technical way; once you understand how things really work, it's easier to make the right choice.
First, black is not gray, it's black. The reason why it may appear "charcoal" on screen it's simply because it hasn't been enriched with ...
I can't really claim to know much of anything about mixing house paint.... It's my understanding though that the mixing system is more akin to a Pantone mix than a CMYK mix.
On screen, it would be just a black.
It would equate to 0R0G0B so.. black.
---> RGB -- >
On press.. it'll get rejected by most prepress departments or at least get changed.
Welcome to what is probably the Number 1 'gotcha' for people new to print design :-) and yes, people who encounter it for the first time not pre-warned almost always run into just before a deadline...
RGB black is simple. It's just no light coming from the screen.
CMYK black isn't simple. There's black ink (the 'K' in CMYK), but even with 100% black ink, ...
You want the Threshold function. It lets you set a cutoff value, where all pixels lighter than that value become white, and all others become black.
The Threshold function can be found at Image>Adjustments>Threshold.
There is no answer to your question as such: everything above C0M0Y0K100 is darker than process black. However, consider that 100% ink means that your printer fills the entire raster, while 25 fills only a quarter of a raster.
This means that the lower the value of your other colors the more uneven it is, so it might be perceived as grainy. So while M100 ...
Although it was a pretty funny comment, yellow text on a black background is not a designer hate crime. Here are some sites that play with that concept. It's important to note that what you'll find throughout all these great sites is some consistent themes though.
They never go full, true black background
They never use yellow text as paragraph text where ...
This is more of a community wiki sort of question, but the obvious problem is that with super-fine lines (small type sizes etc), your type may at the very least become fuzzy because of the dot screens used to compose CMYK.
At the worst, the plates are misaligned slightly and you get color halos.
I have seen both in print.
Choice of rich black recipe
When doing rich black you need to keep in mind it will have a tint when used as gray or as a gradient.
You might want to use this to your advantage either by using a mix of rich black that will look neutral in its gray shade or by using one that has more Cyan, Magenta or Yellow if you actually want to create a colored gray.
To be honest with you, I don't think there's an actual name for it, as it hasn't been separated into a design trend of it's own.
However, looking at the photos you attached, I do notice something in particular: The futuristic design that uses white and black is usually very clean looking and give an impression of evolution. You see, we have to look at a ...
Ok, I think this question is quite difficult to answer because there could potentially be many variables at play. I'm just going to concentrate on the practicalities of printing the job, so you don't upset your printer with your novel choices of mixes for rich black.
I assume, it's four colour process offset lithography.
It might depend on the press and ...
Use a Hue/Saturation adjustment layer and turn the saturation down to zero. You can then turn the lightness down as needed to make it black.
Edit: Sorry I assumed you had a transparent background. Instead, use the threshhold adjustment layer. It will turn your image pure black/white
The concept of color is a somewhat muddy area of science as much of it is psychological, and there are many contradicting definitions in the words we use to describe color.
For instance, sometimes people use "color" to refer to hue or chroma or colorfulness or saturation, but these are all technically distinct concepts. For this reason, you'll often hear ...
Simple answer: Don't use the [Registration] swatch in InDesign*.
Registration black is 100% of all inks. It should only ever be used in registration marks used to reference the alignment of the different inks or plates used. Don't ever use registration black in your artwork. Ever. Your printer will hate you (the man and the machine).
A true CMYK black is ...
200%-300% Never over 400% sweet spot is ~220-250%
Generally you base the % coverage of inks off several factors.
Your 4-color proof
Paper weight being used <---Most important
Paper color (Cyan vs Yellow) <---Most important
Once you take all those factors into account you can make your black and run some test prints.
I don't think ...
In pre-press, we usually add a BOOSTER to black.
The best way is to use:
This combination will result in a rich black required by the press.
Every Tom, Dick and Harry working in the press running your files will love you if you make your heavy coverage black in your document. That 4o% of Cyan is what we call a "booster".
However, if you ...
I suspect this came about by working in RGB to start with, then converting to CMYK. This would turn your RGB(0,0,0) text into a colour composed of all four CMYK channels, rather than pure 100% K.
As Marc and Scott say, body text should be 100% K.
(If you did need a stronger black, you's be better of going for a double hit of the black plate rather than ...
Shifted plates are always a concern in smaller elements. But there really isn't any advantage to rich black in small elements anyway since you won't notice the difference (except when there's a problem).
The bigger issue to be mindful of is overprint vs knockout. If you'll be using your black over photography at large sizes you have to remember that black ...
Your document needs to be in CMYK. To validate this in Photoshop for your document, go to Image > Mode > CMYK Color
Now select the piece of text and check you've got solid black (0,0,0,100) in the Select text color window, see image below:
If you have Acrobat Pro, yes you can. I don't believe Acrobat Reader has this function.
(These instructions may vary depending on which version of Acrobat you use. I'm using Adobe CC 2015)
Open the PDF in Acrobat Pro.
Under the "Tools" menu (top left), choose "Print Production", which is under the "Protect and Standardize" section:
From the list on the ...
The process is called spot UV varnishing. You need to ask your print company if they can do it. Not all print companies have the required equipment. Generally, those printers who specialise in high quality sheet fed lithography often have such capabilities.
Basically the varnish is applied just like a regular ink, then the sheets are passed through a ...
Rich black should never be used on small text or strokes because of registration between the colors on the press and is a easy way to make your pressman not like you.
Single color black shouldn't be used for large coverage areas because of consistency in the black across the area and the depth of the black could be lighter than a rich black.
This is ...
I use rich black when ever there's more than an eighth-inch of area to cover. What that means if large type with thick strokes or area of solid black call for rich black in my opinion.
I never use rich black on body text or small elements.
I don't believe there's a "rule" or practice for when or when not to use rich black. It's all merely designer choice. ...