How to Achieve Great Color Every Time (1,549 words)

You're on a press check, trying to get the color you expected when you sent the job in. First, you work the mid-tones to get a good balance. Bam, your solids and solid overprints go south on you. The olives and plums are too blue, and the oranges are growing mold. The whole page looks flat and lifeless, and what you see on the printed sheet couldn't really be called "color." So, to get more color, you have them add more ink, and all three colors are added evenly. The mid-tones are completely off and detail is gone.