Pantone colors and networking tool.

Hello

I am doing a logo using the NET tool. I have to use pantone colors, since it will be used on a bussinesscard.

Now, I'm having the following problem: I select a darker color on the lower part of the object, and the gradient goes from dark, to light, to normal.

Why is this happening? Is this because I use the PANTONE? He looks just yucky.

Thank you!

Image:

[IMG] http://i22.Photobucket.com/albums/B338/Aetza/drop.PNG [line]

I clicked three times, so I have three horizontal and three vertical lines. The bright part that happens between two lines.

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Also, I have no knowledge of printstuff.

And because of this, others are here trying to help you avoid yourself in trouble. Before anyone actually starts to load money to do the work of design or preparation for commercial printing, they have really should consider their responsibility (what a concept!) in fact be less familiar with the printing process. Otherwise, if you present yourself as a designer for print, you really are defrauding the customer.

Take a course at school local tech. part-time work in a newsroom for peanuts, just learn. At the very least, ask someone to give you a functional to a newsroom tour when you can.

It's not rocket science; It is especially a simple mehanics. But it is also not just a simple matter of reorienting your work of web RGB. (Actually, it's backwards; usually, you first need to design for printing and then reuse for the web).

As soon as you start talking about real ink on paper, you talk about the work reality and materials in real-time on some really expensive equipment. Commercial offset printing is very competitive. Printing houses by jobs citation needed according to the jobs coming in from external preparers method are built right, i.e.; that the external designer knows what he does. You can't wait for a print shop to eat the costs involved in the setting of your file-picking errors.

In short, the printing world is full of very bad relations between angry designers who think they know what they are doing (often these days here just because they did a design work for the web) and printing of the houses who know that they don't. Trust me: you don't need this stigma. A print designer she should consider a question of the need for very strong with publishing houses, based on the mutual respect of professional relationships. Without this, you really will be not competitive, no matter how skillfully talented you consider yourself.

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But it's really a pantone

There is no such thing as 'a pantone. PANTONE is a trademark; It's a business. Different Pantone libraries are a few sets of standard tones or sheet of color published by Pantone and process used to communicate colors to the publishing houses. PANTONE is not the only game of spot colors, but it is most commonly recognized in offset lithography; It precedes graphic computers for decades.

When you create a file for the separation of color (e.g., mass printing), your concern is if it will be printed in spot color or process-color printing (or, in some cases, a combination of the two). So that your color file correctly, you should build properly.

And the color separation isn't the only issue; There are other issues affecting if work is printed correctly, such as the density of ink trapping and total. For example, spot is inherently less forgiving when you neglect the issue of trapping.

All prints are a matter of production economics. Business process vs. tones, several practical factors come into play, including the type of paper, the specific press which will be executed work and even the nature of the work of art itself (ex: line vs halftone, tightness of registration of color and others).

When designing for the printing of separate colors, do not think in terms of 'color '; think in terms of real, physical inks. Basically, your job is to deliver to the printing of a file that contains an image by ink - especially with spot (i.e.; that too many people think as a synonym for "Pantone"). Don't think a point of color as a 'color '; Think of it as a ink.

Offset presses have an ink separate for each ink that will be printed. Each ink hits the paper at a time other than the sheet passes through the press. Typical printing of SME - SMIs, bread & butter jobs like business cards are usually run on rather small presses. Those who are rarely more than 4-color presses and are often 2-color presses. If, in your work, the number of colors for separation then exceeds number of inkwells on the specific press, the job cannot be printed in a single pass; the paper must be rerun to apply the number of inks and implies another implementation of press operation - you pay.

So if (as it may seem), you take the warning 'use Pantone colors' just average for "make sure that all of the colors you use are selected in the Pantone swatch library", you're already in trouble. Whenever you add a color it draws in a spot color in your file, you're requiring another ink on the press.

If you've read and taken seriously into consideration the foregoing, you will understand that, overall, it is rarely practical (profitable) to design a room containing more than three tones. As soon as you need three colors, you should consider 4 color (CMYK) process.

(The high-end printing is often done involving more than four inks; it is not uncommon for work leaves color-plus-1 or process color-plus-2 tones.) MultiPass jobs may involve spreadsheets, varnish and metallic inks. But this impression of "lavish" is knowingly extravagant and is always carefully prepared to maximize the economy within the limits. Bien_qu' it may be, this extravagance isn't definitely usually the sort of thing used for the project type card.)

JET

Tags: Illustrator

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