The 10 Commandments of Graphic Design Arts – part 2
Continuing… of the paper, shocks and vibrations, whether the line is in 2, 4 or 5 towers, the print speed, the type of printing, the production of films etc. Of course during its production, this is to some extent controlled.
Production runs and grows as print speed increases with distance from the offset sheet and pass in cylindrical, flexography and rotogravure, depending on the paper stock and the use of margins mismatch of color rising. This phenomenon results in surfaces which are covered with pure colors, sometimes leaving blank spaces between them and other times one color to the other agent presses impurities.
Speaking of pure colors, we mean first of all the four colors CMYK in clean but overlapping areas (e.g. only cyan or magenta). What we call color splicing is a technology that allows us to predict the areas that this phenomenon may happen and cause us a controlled and stable blend of pure colors in very thin zones. This essentially creates a trapping zone of colors which will deviate from normal surfaces.
The assembly can occur automatically or manually by the software we use with special arrangements or by the Graphic Design studio we work with.
In terms of studio, talking about In Rip Trapping when the software used for the ripping of our work has integrated or separate module specifically for assembly. If not the case, a workaround is to integrate third party software to perform trap color procedures.
But there are many cases fitting to be made by the same designer. The most traditional of these is the use of black and pure pantone inks. For example, you should seriously think about how to deal with black lettering or black line drawings on a spot photos or backgrounds. … Click to continue reading…