Colour Modes

The offset lithography process utilizes four basic colours: cyan, magenta, yellow and black. This system is typically referred to as CMYK. In order to make this system work properly, the designer must ensure that every single design element is in CMYK format (not RGB). RGB is another type of colour system that provides a greater array of hues for online projects. If any of the elements in a design are left in RGB format when sent to print, the colours will be converted to CMYK and will not be the same as in the original design.

Different Types of Black

If you asked the average consumer, most would think that the colour black is simply the colour black. However, in the world of print design, there are actually a few different types of black. The two most common types are “plain black” and “rich black.”

It is important to remember that “rich black” varies depending on printer preference. If a design element with any black colouration is created outside of Photoshop (plain black) and then placed next to another black element created in Photoshop (rich black), the difference is quite obvious.

The CMYK breakdown of plain black is typically 0-0-0-100. With this breakdown, you can see that the black ink is completely saturated while the other colours are not used at all. Rich black represents some variation of colours that look black. In Photoshop, the default CMYK breakdown for black is 75-68-67-90.

If the designer is intentionally trying to make an element darker and richer in print, he or she should find out which variation of rich black the intended printer likes to use. Terms such as “warm” or “cool black” are some of the most common in this situation. “Warm black” contains higher magenta (M) levels, while “cool black” includes higher cyan (C) levels. The designer should never use a total saturation level for all colours (100-100-100-100) since this will make printing very difficult and risks over-saturation on the final print copy.

The Importance of Getting Your Black Right

Although paper over-saturation and print designs with conflicting black tones are big problems by themselves, the most damaging problem that arises from getting the black colouration wrong revolves around setting types or text. In print designs, using any variation of “rich black” colouration for the typeface can cause major problems with the final copy. It is extremely difficult for the printer to match up each CMYK separation perfectly, so it is very likely that some of the cyan, magenta or yellow colours will fall outside the font characters. This problem will make the text in the design look blurry and simply unprofessional.

Colour modes and the different types of black represent just a small portion of the many issues involved with getting the colour right in print design. A professional designer with experience in print design can help you avoid the pitfalls and complete a beautiful design.

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DO Learn the Colour Wheel

All colours start from some combination of the three primary colours: yellow, red and blue. The first combination of the primaries creates the secondary colours: green, purple and orange. The tertiary colours then arise from a combination of each secondary colour and its neighbouring primary colour. These six colours are red-orange, red-purple, blue-purple, blue-green, yellow-green and yellow-orange. All of these colours can be found in the basic 12-colour wheel that most people are most familiar with.

Each colour has a variety of different features that make it unique. Temperature is one of the more prominent features of colour. While reds and yellows portray a warmer temperature, blues and purples are cooler by nature. Intensity, or saturation, also plays a major role in colour wheel theory. Saturation is determined by the amount of grey a colour incorporates. Intensely saturated colours are bright and vivid, while lightly saturated colours are subdued and soft. The value of a colour is also important. A colour’s value is dependent upon lightness or darkness of the hue.

DON’T Skip the Colour Wheel Rules

The first basic colour wheel rule deals with differences in values and intensities. When a colour is combined with similar colours of different values or intensities, it creates a colour scheme called monochromatic.

An analogous colour scheme is created when three neighbouring colours on the colour wheel are used together. These three neighbours are harmonious because the share the same undertones. Adding another neighbouring colour will create more power and emphasis within the design.

Complementary colour schemes work under the old “opposites attract” idea. They utilise opposite hues on the colour wheel. These opposites work well together as a pair. Cool colours have warm complements.

DO Understand Colour Psychology

Although different people have different perceptions of colour, all humans see warm hues before cool hues. Colour psychology is extremely important to the effective use of colour in any design.

• Red: Aggressive and stimulating, impossible to ignore
• Pink: Depends on its saturation and value, can be sensual and theatrical or romantic and gentle
• Orange: Stimulating and friendly, radiates warmth and life
• Yellow: friendly and striking, extremely striking when combined with black
• Brown: wholesome, rich, rustic, earthy, stable
• Blue: dependable, calm, serene, darker blues add credibility and power
• Green: natural, life-giving, serene, neutral when used in natural designs
• Purple: Complex, royal, spiritual, mysterious, daring, creative
• White: Pure, simple, clear, bright, contrasts well with all other colours
• Black: dramatic, powerful, classic, elegant, contrasting

DON’T Stop Experimenting with Colour Combinations

Even the most forbidden colour combinations can work in the right situation. There are many different tools and applications available online to help you choose the right colour scheme for your project. Don’t be afraid to try new combinations, you may be surprised what works well in your design!

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