You expect every page and every copy to have the same colours. Yet differences can arise. Consistent colours call for good preparation of your file: from colour space to profile. This is how you keep your colours the same from start to finish.
Why colours can differ
Colour in print depends on the file (RGB vs. CMYK), the print profile used, the paper type and the calibration of the press. The same design on matt and on gloss paper looks different, for instance, because the paper absorbs the ink differently.
How to keep colours consistent
- Supply in CMYK with a standard print profile (e.g. ISO Coated).
- Use the same colour values for recurring elements (logo, colour areas).
- Choose your paper type deliberately; ask for a sample if needed.
- Request a proof if colour is crucial.
A proof as certainty
For colour-critical work a physical proof is the best guarantee: you see in advance exactly how the colours turn out on your paper. We are happy to think along with you about colour management for an even, professional result.
Consistent colours in reprints
Do you want to reorder later with exactly the same colours? Then supply the same file with the same colour profile, and mention that it is a reprint. Small deviations between print runs can technically never be ruled out entirely, but with a fixed profile and spot colours you stay as close to the original as possible.
For brands whose corporate colour is sacred, a spot colour is the safest route. You can read more about colour management at the International Color Consortium.
Work in CMYK, not in RGB
The biggest source of colour difference is already in your file. Your screen works with light and shows RGB; a press works with ink and prints CMYK. Bright blues, signal green and neon colours simply do not exist in ink and are brought back to the nearest printable colour during conversion. So convert your images to CMYK yourself and you see that shift beforehand instead of afterwards on paper.
Use the profile that belongs to your paper. For coated paper that is usually a different profile than for uncoated paper, because uncoated paper absorbs more ink and the colour therefore turns out slightly duller. If you supply in RGB we convert it, but then the default conversion determines the result and not you.
Deep black and large even areas
A large black area consisting only of 100% black often looks greyish on paper. For such areas you use deep black: black supplemented with some cyan, magenta and yellow. For ordinary body text you do not, because then four inks have to land exactly on top of each other and small text quickly becomes blurry. You can read more about this in our article on deep black and rich black.
Large even spot colours are sensitive for the same reason: the bigger the area, the sooner you see a small difference between two sheets. Do not spread such an area across the fold if you can avoid it, and bear in mind that a colour difference within the printing tolerance is normal.
Frequently asked questions about consistent colours
Why do my colours differ from page to page?
Often because of supplying in RGB or without a fixed colour profile. Work in CMYK with one profile (FOGRA) for consistent colours.
How do I get my exact corporate colour?
Use a spot colour (PMS). It is printed as a separate ink and is more accurate than a CMYK approximation.
Why does my book look different from my screen?
A screen emits light and works with RGB; paper reflects light and works with CMYK ink. You will never remove that difference entirely. A calibrated screen and a proof bring the two as close together as possible.
Can I guarantee the same colour in a reprint?
With the same file, paper and print profile, a reprint comes out virtually identical. So keep your source files and note which paper you chose; then we can make a following run match seamlessly.