The Mystery of Spot Colors: A Quick Guide

If you’ve ever heard the term “Pantone®” and thought about complex color theory or expensive swatch books, you’re not alone. Many people are familiar with Pantone but may not fully understand how the Pantone Matching System® (PMS) works. The good news? It’s easier to grasp than you might think. By understanding how Pantone spot colors are created and used, you can simplify the process.

A Brief History of Pantone

Pantone started in the 1950s as a printing company in New York. In the mid-1960s, they began standardizing ink colors and creating reference books. This process led to the creation of the Pantone Matching System, which became a vital tool for designers and manufacturers. The PMS system allows them to reproduce specific colors consistently.

Pantone has become an industry standard, providing swatch books for both process and solid colors. These books detail ink formulations and Lab* target values. Lab* is a color space used to ensure color consistency despite production variances. Although the Pantone system includes references for CMYK colors (process colors), most people refer to its solid colors (spot colors) for precise color matching.

Pantone also produces separate references for coated (C) and uncoated (U) papers. Interestingly, the same ink color will have a different Lab* value depending on whether it’s printed on coated or uncoated paper. A matte reference was briefly available but has since been discontinued—if you have one, guard it!

How Pantone Spot Colors Differ from CMYK

Colors in printing are reproduced using one of two main methods. The first is the CMYK process, which uses four colors: cyan, magenta, yellow, and black. By combining these colors in different amounts, printers can create a wide range of shades. A similar process is used in digital screens (RGB), where colors are created by mixing red, green, and blue light.

The key difference between CMYK and RGB lies in how color is created. RGB relies on an emissive process, meaning more color leads to a brighter (whiter) image. CMYK, on the other hand, uses a reflective process, where adding more color leads to a darker (blacker) result.

Pantone spot colors, however, are produced differently. The Pantone system uses 14 base colors, plus transparent white, to create its spot colors. These include Reflex Blue, Rhodamine Red, Orange 021, and several others. By mixing these base colors, Pantone can achieve hues outside the CMYK color gamut. Some colors, such as certain blues, oranges, and greens, cannot be created with CMYK alone.

Why Don’t We Always Use Spot Colors?

If Pantone spot colors offer such a wider range of hues, why not use them all the time? The answer lies in practical production. Most printing presses are set up for CMYK, which works well for most jobs. CMYK is also essential for printing full-color images. To add a Pantone spot color, however, requires additional steps: producing the ink, creating a new printing plate, and running a separate printing unit. This costs time and money.

Additionally, if a Pantone color is within the CMYK gamut, it’s usually unnecessary to use a spot color. However, there are situations where spot colors make sense. For example, when a brand color is used heavily in a design, using a spot color ensures consistency. Since CMYK uses four independent printing units, consistency depends on maintaining uniformity across each unit. A spot color, being premixed, is less prone to variations, providing a smoother, more solid appearance.

When Should You Use Spot Colors?

There are several scenarios where it makes sense to use Pantone spot colors:

1. Brand Consistency: If a piece (e.g., a brochure or book) uses a consistent brand color, a spot color ensures that the color remains consistent throughout the print run.
2. Color Outside CMYK Gamut: When a color cannot be achieved through CMYK (e.g., some bright oranges or specific blues), a spot color is necessary.
3. Visual Impact: Spot colors often appear smoother and more vibrant than CMYK colors due to their premixed nature.

While spot colors can enhance the design, it’s important to keep production practical. Most jobs only use one or two spot colors in addition to CMYK. Using six spot colors for a design that includes process images would be cost-prohibitive.

Best Practices for Designing with Spot Colors

When designing for print, it’s perfectly acceptable to use spot colors—even if the piece will ultimately be printed in CMYK. Just make sure you convert the spot colors to process in your design software. This ensures your preview accurately reflects the final print output.

For example, in Adobe InDesign®, you can convert spot colors to process by double-clicking the color in the swatches panel and changing the color type to “process.” Alternatively, you can set all spot colors to process globally in the Ink Manager by selecting “All Spots to Process.” Be sure to select the correct Pantone color library (C for coated paper or U for uncoated paper) to ensure your colors are accurately represented.

Pantone also offers “bridge” books that show both spot and their corresponding process colors side by side. These resources are invaluable for print designers, helping to set expectations for what will be achievable during production.

Final Thoughts

Spot colors are an essential tool for print designers, offering a broader range of colors and more consistency than CMYK process printing. However, it’s important to understand when and why to use them. By considering production costs and design needs, you can make informed decisions about whether to incorporate spot colors into your projects.

If you have questions about spot colors or designing for print, don’t hesitate to reach out. Contact Phillips Prepress at 888-ask-phil for expert advice!