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Graphic design printing processes trapping chokes and spreads

Continued from previous page Dangerous Subject Why did I say "Dangerous Subject?" It is dangerous, if you're not prepared to take the responsibility of trapping. I have the experience and know-how to build trapping into all of my projects, but I don't. I employ one of two techniques: Technique #1 Avoid Trapping Traps all together. Knowing when, where, and how to trap can become a nightmare — particularly when there are many objects to be trapped, or when the subject is process color. It takes a lot of experience and knowledge in color printing to do it successfully the first time. Many software packages claim to do the trapping correctly, but nine out of ten better litho pre-press experts will say that so much depends on equipment variations that they'd rather do it themselves. I say okay. So I look for ways to avoid trapping all together. First, have no touching colors. Easy but slightly (sometimes) boring. Use solids over screens (tints) of the same color. 50% blue printing over 100% blue won't need trapping. Solid black over color. Most of the time you can get away with solid black (or a very dark blue or green) overprinting a color. Colors are transparent, even black. If the dark colors overprint completely there'll be little difference to notice. The best policy is to ask your printer to see samples, or check the paper sample box. You'll find that solid overprinting will show slightly if it runs into a non-printed background, or if it is printed onto very absorbent paper. Remember, one layer of ink will form a slight coating and will tend to "hold out" subsequent coatings. Utilize kindred color families that share one or more color values, when building with process colors. For instance, I recently ran a solid tan background similar to PMS #466 (11.5C, 23.5M, 43Y, 0K) with a burgundy graphic and type similar to PMS #477 (72C, 87M, 100Y, 0K). Trapping was no a problem because the dark color overprinted all, eliminating the chance for problems. This is actually more complicated than it needs to be, but if you study the recipes for color building, (you'll find on our ColorBuilder disk) you can prevent many trapping problems. __ I never use the built in PMS color generators in the software. They're not nearly as good as the one I've developed over the years through trial and error with various output devices. __For process color subjects like photos, or complicated, "soft-edged" illustrations, grow your background in behind the illustration and call for an overprint of the darker families over the lighter. Or avoid it with a white, no-print zone surrounding the subject. ...on to Technique #2 ->

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