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Unless otherwise specified, it is always a good idea to work on color profiles derived from the Fogra39 characterization, such as the color profile already preset on Adobe programs, Coated Fogra39 for glossy coated wood-free paper (Gloss-coated, wood-free – type 1 paper) and for matte coated paper (Matte-coated, wood-free – type 2 paper).

• Type 1 paper is a glossy, wood-free coated paper. Characterized by Fogra39. Its color profile is ISO Coated v2 (ECI), while on Adobe programs it corresponds to the Coated FOGRA 39 color profile. The latest version of the profile is the Fogra 51 (PSO Coated v3). In our opinion, the Fogra is even better chromatically.
• Type 2 paper is matte-coated, wood-free paper and the same applies to type 1.
• Type 3 paper is a light glossy coated roll. Characterized by Fogra28. Its color profile is ISO Web Coated, while for Adobe programs it corresponds to the Web Coated FOGRA 28 color profile.
• Type 4 paper is uncoated white or “usomano”. It has Fogra47 characterization. It has color profile: Uncoated ISO 12647, while on Adobe programs it corresponds to the PSO Uncoated ISO 12647 color profile. The latest version of the profile is the Fogra 52 (PSO Uncoated v3), according to our opinion the Fogra 47 is even better.

Each of your projects requires a preliminary comparison that involves us printers to advise you on the best color optimization, in this case the BLACK, based on the type of project to be carried out but above all in order of the chosen paper (for example the paper used for newspapers isn’t be able excessive amounts of ink). When printing, we define “classic” black as that given by the composition CMYK 0; 0; 0; 100, or with 100% black ink. Rich black is instead constructed by adding percentages of ink of the various colors to give more richness to the black, then to achieve it more brilliant. One of the most classic rich black compositions is C = 40, M = 40, Y = 40, K = 100.

It is important to never exceed the total amount of ink by using a simple addition: indeed for type 1 and 2 papers never exceed 300 for total coverage, for type 3 220 and for type 4 260 (Total Link).

In the above case, the rich black consists of 40 + 40 + 40 + 100 for a total of 220.

• Texts, traces and lines: black K = 100
• Solid forms: rich black, where the 40,40,40,100 almost always goes well but, if you have doubts or if you are working on a particular type of print, you can also clarify with us.

Generally you never must convert fonts to paths. Exceptions are when we talk about logos or fonts used in an artistic way.

• The text can no longer be changed once it has been turned into a path.
• The file with paths is much heavier.

In a file intended for printing there are different types of boxes, containers of graphic elements. In particular, there are:

• The Bleed Box is the limit within which to insert the graphic elements that must bleed, and they typically extend past the page edge since 3 mm up to 5 mm maximum;
• The Trim Box is given by the line that defines the final trimmed product size, after the final cut, and must be defined by the cutting marks;
• The Art Box is the area within which the internal graphic elements are inserted, which must not be bleed. It is good to leave a few millimeters (usually 5/10 millimeters) between the Art Box and the Trim box, to avoid possible problems during production.

Generally you never must convert fonts to paths. Exceptions are when we talk about logos or fonts used in an artistic way.

• The text can no longer be changed once it has been turned into a path.
• The file with paths is much heavier.

The images must be in high resolution, ie they must have a resolution of at least 300 dpi in the size in which they will be reproduced. Do not insert into the images to be enlarged at 200/250% to fill the box or to reduce to 25/50%. More the original image matches the final layout box, better the print quality will be.

Using adaptive interpolation in PDF generation (which is the only standard for managing files in print) can reduce quality and create problems with contrasts in images. For particular images it is always better to ask us the best solution if you have got a doubt.

For a better visualization of the project it is recommended to convert the images in the CMYK profile. It is not mandatory but the display will surely be closer to the print result.

Some RGB colors cannot be reproduced in CMYK. A suggestion is to use the photoshop command “gamut warning” to check the exact reproducibility of the images in the CMYK gamut from RGB to avoid, once the project is printed, to obtain chromatic results different from those desired!

It is not necessary to convert the images from RGB to CMYK while you are still working. It is important that in exporting the PDF, you export it in full color and the software will convert all the images within the file.

Call us to have our .joboptions already prepared.

• Have you only used CMYK colors with the right color profiles for the type of paper you’re going to print on?
• Have you used the right blacks? Black 100k for texts and tracks?
• Have you designed your file considering all kind of the graphic elements boxes?

• Did you bring the items that should be “bleed” to the Bleed box?
• Did you leave the fonts without converting them to a path?
• Have you only used high resolution and CMYK images?

Remember that, if you still have some doubts about how to proceed, we are always at your disposal to give you advice and suggestions.