🚀 go-pugleaf

Ariel_Walden@adobeforums.com schreef:
> Hi,
> 
> Season's greetings to everyone.
> 
> Here's a cover that I've been doing (executing according to a micro-managing
> client would be a more apt description).
> 
> ftp://www.freelancebookdesign.com/Images/voltaire1.jpg
> 
> The client has had a copy printed out, and finds the orange too dull. He
> would like it "stronger" (more vibrant?).
> 
> I have recommended that he choose perhaps a pantone orange. But other than
> that, can anyone suggest a way that the orange would come out stronger?
> 
> As far as the colour itself goes, this is what he wants. And he is happy
> with the way it looks on screen. But as usual, in print things are never as
> vibrant as they are on screen.
> 
> What options or printing techniques (coatings?) can you think of to make the
> text "stronger," while keeping this colour.
> 
> Many thanks for any help,
> Ariel
> 
> 
> 


Need a password for that link Ariel...

If you print only black and orange then the printer could use a very stronge orange or a flourescent orange. Why don't you have a chat with your printer about what processes they can print?

Thanks Karen. I suggested a flourescent colour. He hasn't decided what 
printer to use yet, though. Are there any coatings that might help? UV? 

Ariel, 

      The client has had a copy printed out, and finds the orange too dull.
      He would like it "stronger" (more vibrant?).





Well, fluorescent (Day-Glo) orange is one option -- but it may be a little out of character with the book. Or choose a bright orange from the standard Pantone range.

But I see another problem that should be of more concern: your choices of font, letterspacing and leading makes the text harder to read than it should be.

Neil

Hi Neil,

Thanks for your input. I appreciate the issues regarding kerning and 
leading. I'll take another look at those when the time comes. 

      "Happy with the way things look on screen"




Bad bad bad to approve any color on-screen. If you do not have pantone swatch books, buy at least one process guide and one pantone solid guide. Get a pantone to process guide too. Any solid orange will not translate well to cmyk.

Hi Richard,

Thank you for your comment.

I did initially mention to the client that process orange is a problematic 
colour. And I used CMYK values from a colour guide, not relying on the 
monitor. In fact, the colour in the proof was very much close enough to the 
screen colour. But on paper it lost its vibrancy (this is something that I 
warned the client about as well). If they insist on orange (again, not my 
design choice), it looks like a spot is the way to go.

Ariel

Ariel,

Short of hexachrome, ink in a spot orange is the only way to get a bright orange. Good oranges are out of the CMYK gamut.

And apparently also out of stock in my local supermarket. <g>

Neil

Ariel,

Short of hexachrome, ink in a spot orange is the only way to get a bright orange. Good oranges are out of gamut in CMYK.

And also out of stock in my local supermarket. <g>

Neil

As far as approving color on a monitor, if it ain't calibrated, don't bother. And most clients, like most other computer users, haven't a clue what monitor calibration is.

Neil

As far as approving color on a monitor, if it ain't calibrated, don't bother. Similar for printing out to non-color managed printing. And most clients, like most other computer users, haven't a clue what monitor calibration is. Or why or how to tune the color on that big office collating color laser printer from your files.

Neil

As far as approving color on a monitor, if it ain't calibrated, don't bother. Similar for printing out to non-color managed printer. And most clients, like most other computer users, haven't a clue what monitor calibration is. Or why or how to tune the color on that big 35 ppm collating color laser printer from your files.

Neil

Ariel,

      The client has had a copy printed out, and finds the orange too dull.
      He would like it "stronger" (more vibrant?).




To some extent, it may also be a question of obtaining a convincing effect and avoiding flatness.

What about a (possibly very faint and preferably) horizontal gradient for type and frame, maybe brightest at the E in QUELQUES, and/or a faint greying outside the frame?

Sorry if this is completely off.

Hi Neil and Jacob,

Thanks for the comments. Previewing the colour on the monitor was okay since 
the hue wasn't so much the issue; it was more a question of the 
strength/glow of the colour, which naturally is much weaker in printed 
matter when it is not backlit.

Jacob: I had offered a version with a light bevel, but that was rejected. 
Maybe a simpler gradient would do the trick more effectively.

Tomorrow the client is going to the printer to pick a spot colour. I'm 
waiting to speak to the printer myself to know whether the writing and 
border should knock out the black or overprint, and also I'm wondering about 
trapping if it knocks out.

Thanks,

Ariel

Ariel, 

      I'm waiting to speak to the printer myself to know whether the writing
      and border should knock out the black or overprint, and also I'm wondering
      about trapping if it knocks out.





Speak with your printer and understand what happens to your file when it goes into production. Beveling and other type "tricks" are not necessarily going to make it more readable. Choose the right spot orange. Even Dayglo. Spot gloss varnish it (or similar) and use a dull varnish (or similar) over the rest of the cover.

You need to have the type KO with a small trap. Inks are transparent. If you simply overprint the orange border or type, black will show through.

Neil

Ariel,

I took the liberty to experiment a bit with the faint greying outside the frame suggested in post #10, using the outer edges of cover and frame as boundaries of a compound path with a white/black fill and a low/not so low opacity (Illy speak).

It does seem to add focus to the inframe part, and to provide a certain perception of depth (depending on the opacity), the outlying part seeming more or less withdrawn like a bevel/raised like a frame.

Thanks again Neil. Although I know that regular process and spot colour are 
transparent, I could imagine that some metallic or fluorescent ones are 
perhaps not.

In the end, customer chose pure pantone orange.

The printer said that trapping is unnecessary as it is done in-rip. 

Thanks for the suggestion, Jacob. In fact, there was no time (or money) left 
to try things out. You know how it is...
Regards,
Ariel 

Ariel,

If you look at a number of paperback titles, you will see that hot stamping (foil, color) is often used to punch up the type. It's very effective, and you might be able to find a fluorescent hot stamp material. This stuff is generally opaque, and does not require traps or knockouts underneath.

Offset metallic and fluorescent inks would still have show-through.

Neil

Thanks Neil. It's been a bit busy here, but I've been meaning to thank you 
for your input and information, which is much appreciated.