| CMYK and RGB are two different colour models, and | | | | can create most other colours. All commercial, |
| understanding the difference can mean producing a | | | | full-colour printing uses CMYK inks. So why is the |
| great-looking insert rather than a muddy, disappointing | | | | difference important? Most colours created on the |
| one. We'll have to delve into a little science to explain | | | | RGB monitor can be duplicated using CMYK inks, but |
| this difference. The RGB colour model is used by | | | | not all. As your RGB monitor is generating light, it can |
| monitors, televisions, scanners, and digital cameras. A | | | | create some bright colours that can't be duplicated on |
| monitor uses very small bands of red, green, and blue | | | | any CMYK printing press. Paper can only reflect light, |
| light to generate colour. RGB is additive because when | | | | so if you print the super-bright RGB colours in CMYK, |
| you add all three colours together, you get white light; | | | | they get a lot duller. If you're designing artwork in an |
| when you turn off all three lights, you get black. By | | | | RGB colour space, we'll have to convert it to CMYK |
| mixing varying amounts of red, green, and blue light, | | | | to print. Depending on your artwork, the colours might |
| you can create most other colours. However, the | | | | shift a little or a lot. When sending artwork for printing |
| paper used for a magazine, CD booklet, DVD sleeve | | | | you ought to provide all your images in CMYK. This |
| can't generate light like a computer monitor. It relies on | | | | way, if there are any colour shifts, you'll be able to see |
| reflected light, and the subtractive colour model CMYK. | | | | them and take steps to correct the problem. If you |
| When you add cyan, magenta, and yellow together | | | | supply RGB images, your prnter you make the CMYK |
| (CMY), you get a colour close to black, and when you | | | | conversion, and hopefully show you a proof. If you |
| don't lay down any ink, you get white-that is, the white | | | | want to make any changes to your images at that |
| of the paper. A fourth colour, black, is added for | | | | point, your job may be delayed and incur additional |
| economical and practical reasons, and is referred to by | | | | charges. It's much better for you to supply CMYK files |
| ‘K' so as not to be confused with blue. By mixing | | | | up front. What's the difference between process and |
| varying amounts of cyan, magenta, yellow, and black | | | | spot colours? Process colour uses translucent CMYK |
| inks, you can create most other colours. All | | | | inks laid on top of one another to fool your eye into |
| commercial, full-colour printing uses CMYK inks. So | | | | seeing other colours. A spot colour ink is a |
| why is the difference important? Most colours created | | | | specially-mixed hue that is not made by combining two |
| on the RGB monitor can be duplicated using CMYK | | | | or more inks, but rather is a single ink of a specific |
| inks, but not all. As your RGB monitor is generating light, | | | | colour. Spot colours can be brighter or more saturated |
| it can create some bright colours that can't be | | | | than process colours, or have special properties, such |
| duplicated on any CMYK printing press. Paper can only | | | | as metallic gold or fluorescent green. Will the printing on |
| reflect light, so if you print the super-bright RGB colours | | | | my CD / DVD match my booklet or digipak? All |
| in CMYK, they get a lot duller. If you're designing | | | | packaging is printed in HP Indigo process (CMYK) |
| artwork in an RGB colour space, we'll have to convert | | | | colour, while standard on-disc printing is done with inkjet |
| it to CMYK to print. Depending on your artwork, the | | | | inks. While the processes are similar, some colours-blue |
| colours might shift a little or a lot. When sending | | | | and orange in particular-look very different due to the |
| artwork for printing you ought to provide all your | | | | different inks and different substrates. In general, the |
| images in CMYK. This way, if there are any colour | | | | HP Indigo prints are brighter and more saturated than |
| shifts, you'll be able to see them and take steps to | | | | their inkjet equivalents. If matching the disc to the rest |
| correct the problem. If you supply RGB images, your | | | | of the package is important to you, we can provide |
| prnter you make the CMYK conversion, and hopefully | | | | you with proof copies of all your items, however |
| show you a proof. If you want to make any changes | | | | because of the different processes involved we |
| to your images at that point, your job may be delayed | | | | cannot guarantee we will be able to provide you with |
| and incur additional charges. It's much better for you to | | | | an exact match. What are the differences between |
| supply CMYK files up front. What's the difference | | | | printing on the disc face and printing the rest of the |
| between process and spot colours? Process colour | | | | packaging that I should keep in mind when designing? |
| uses translucent CMYK inks laid on top of one another | | | | Discs are printed with a different process than the rest |
| to fool your eye into seeing other colours. A spot | | | | of the packaging. Booklets, digipaks, and jackets are |
| colour ink is a specially-mixed hue that is not made by | | | | printed with HP Indigo (CMYK) inks, using a high-quality |
| combining two or more inks, but rather is a single ink of | | | | process liquid electrostatic lithography. Discs are printed |
| a specific colour. Spot colours can be brighter or more | | | | either with Inkjet printers or for larger runs (over 1000) |
| saturated than process colours, or have special | | | | are silkscreened. There are a couple of key |
| properties, such as metallic gold or fluorescent green. | | | | differences to keep in mind: The tonal range that we |
| Will the printing on my CD / DVD match my booklet or | | | | can hold while silkscreening the discs is 15-85%. Tones |
| digipak? All packaging is printed in HP Indigo process | | | | lighter than 15% may blow out to zero, and those |
| (CMYK) colour, while standard on-disc printing is done | | | | darker than 85% may fill in completely. As a result, we |
| with inkjet inks. While the processes are similar, some | | | | do not recommend using very dark or very light |
| colours-blue and orange in particular-look very different | | | | photos on the disc.High-contrast images work best. |
| due to the different inks and different substrates. In | | | | Subtle changes in tone can be lost in the silkscreening |
| general, the HP Indigo prints are brighter and more | | | | process.Gradients or blends do not print well, and can |
| saturated than their inkjet equivalents. If matching the | | | | look uneven or blotchy. We strongly recommend |
| disc to the rest of the package is important to you, we | | | | avoiding gradients or blends on the disc. Gradients that |
| can provide you with proof copies of all your items, | | | | look smooth on CD packaging don't translate well to |
| however because of the different processes involved | | | | the silkscreen printing process on the disc. Highlights |
| we cannot guarantee we will be able to provide you | | | | and shadows don't offer smooth transitions, instead |
| with an exact match. What are the differences | | | | dropping off dramatically and resulting in an uneven, |
| between printing on the disc face and printing the rest | | | | rough-looking line.Due to registration issues with |
| of the packaging that I should keep in mind when | | | | silk-screening, we cannot print overlapping screens |
| designing? Discs are printed with a different process | | | | such as duotones or spot colour mixes (e.g., 25% PMS |
| than the rest of the packaging. Booklets, digipaks, and | | | | 115 and 65% PMS 215) on the disc.The line screen on |
| jackets are printed with HP Indigo (CMYK) inks, using a | | | | the disc is 100 lpi, which produces lower-quality images |
| high-quality process liquid electrostatic lithography. Discs | | | | than the 200 lpi printing for the offset-printed |
| are printed either with Inkjet printers or for larger runs | | | | packaging. Here is a comparison of a photo printing on |
| (over 1000) are silkscreened. There are a couple of | | | | a booklet and printing on a disc. The image on the disc |
| key differences to keep in mind: The tonal range that | | | | loses details in the piano player's coat, and the highlight |
| we can hold while silkscreening the discs is 15-85%. | | | | on his head. The subtle variations in the background |
| Tones lighter than 15% may blow out to zero, and | | | | images are also lost. Expect to lose detail and overall |
| those darker than 85% may fill in completely. As a | | | | image quality if you print an photo on the disc.using |
| result, we do not recommend CMYK and RGB are | | | | very dark or very light photos on the disc.High-contrast |
| two different colour models, and understanding the | | | | images work best. Subtle changes in tone can be lost |
| difference can mean producing a great-looking insert | | | | in the silkscreening process.Gradients or blends do not |
| rather than a muddy, disappointing one. We'll have to | | | | print well, and can look uneven or blotchy. We strongly |
| delve into a little science to explain this difference. The | | | | recommend avoiding gradients or blends on the disc. |
| RGB colour model is used by monitors, televisions, | | | | Gradients that look smooth on CD packaging don't |
| scanners, and digital cameras. A monitor uses very | | | | translate well to the silkscreen printing process on the |
| small bands of red, green, and blue light to generate | | | | disc. Highlights and shadows don't offer smooth |
| colour. RGB is additive because when you add all | | | | transitions, instead dropping off dramatically and |
| three colours together, you get white light; when you | | | | resulting in an uneven, rough-looking line.Due to |
| turn off all three lights, you get black. By mixing varying | | | | registration issues with silk-screening, we cannot print |
| amounts of red, green, and blue light, you can create | | | | overlapping screens such as duotones or spot colour |
| most other colours. However, the paper used for a | | | | mixes (e.g., 25% PMS 115 and 65% PMS 215) on the |
| magazine, CD booklet, DVD sleeve can't generate light | | | | disc.The line screen on the disc is 100 lpi, which |
| like a computer monitor. It relies on reflected light, and | | | | produces lower-quality images than the 200 lpi printing |
| the subtractive colour model CMYK. When you add | | | | for the offset-printed packaging. Here is a comparison |
| cyan, magenta, and yellow together (CMY), you get a | | | | of a photo printing on a booklet and printing on a disc. |
| colour close to black, and when you don't lay down | | | | The image on the disc loses details in the piano |
| any ink, you get white-that is, the white of the paper. A | | | | player's coat, and the highlight on his head. The subtle |
| fourth colour, black, is added for economical and | | | | variations in the background images are also lost. |
| practical reasons, and is referred to by ‘K' so as | | | | Expect to lose detail and overall image quality if you |
| not to be confused with blue. By mixing varying | | | | print an photo on the disc. |
| amounts of cyan, magenta, yellow, and black inks, you | | | | |