Kala’s Quick Guide

Updated 9/22/2020

We want you to get what you expect! We aspire to set proper expectations and give you information to better understand how color in works. So let’s get started:

Sections Methods of Color Reproduction Understanding Color "Do's" and "Don'ts" Methods of Proofing Color Frequently Asked Questions (and answers)

000-1332 V# 002 Kala’s Quick Color Guide Methods of Color Reproduction

There is no in your monitor! We are printers, and we use ink. We use ink on a variety of substrates - and the same color of ink will look different on different substrates/materials or with different finishes or coatings. Monitors, in contrast, emit and color and vary based on type, manufacturer, and the software driving it. It’s incredible how far the ink and printing, as well as the monitor and software technology have come, working to give humans what we expect.

Mechanical reproduction is subject to variation as well. We take great care of our high-tech equipment to hold tight tolerances - and insist we get what we expect. We like to push as we perfect our craft. But remember it is mechanical, humans make it, parts do wear - so we work to control those variables to get you what you expect. Much (or most) of this starts before we even put a drop of ink in the press.

Color reproduction options: Spot and Process Kala has a few options to consider when recreating the in your artwork. If you have photographs or other image- based artwork, you’re going to need process printing to recreate the image. Text and other shape-based artwork (sometimes called vector art) have a couple of options to recreating their color. Performance and cost are typically the most significant factors to determine the method you choose.

• Spot colors Spot colors are simply colors where we mix various to make the ink a specific color. The color you pick will print using an ink that is that color.

• Process color SPOT INK COLOR Process color is where we use special , typically: , , and ink with small patterns in the art to essentially “mix” the color(s) right on the material using these process inks.

2 Kala’s Quick Color Guide

I want color printing

Decide Color method

+ Standard full-color printing choice Process Spot + Accurate color reproduction and + Able to reproduce photographs or Simulate color with Ink is mixed to ultra-fine details even with light colors raster-based art process inks desired color ? Can be expensive in some scenarios, + Generally the affordable choice, Process + Spot particularly if art has many spot colors especially with digital printing ? Uses Some of the art is to reproduce color printed process, and sections are printed spot

Decision Ink Set

3 Color Process 4 Color Process Expanded CMY CMYK CMYK+ O,V, and/or G

+ Lower cost + Most popular + Best option to + Great choice for choice match colors colors within the + Good reproduction particularly in the smaller gamut. of colors at a fair , , or price ? More expensive

Spot vs. Process Using Spot colors typically is a cost-based decision - with each option having different advantages. For instance, 137 can be printed with the , with process printing (CP version below), or with expanded gamut (XGC) version to get the color. There are other reasons to use a Spot color. For instance, if you have small text or kanji, a spot color may give a result that’s easier to read. “When in doubt, proof it out!”

As you can see, the visual results are different for these 3 ink-set options, and the pricing will be different as well. Color, design, and usage all play into these decisions, so please let us help you in making these decisions.

Learn more: https://www.pantone.com/color-intelligence/ articles/technical/spot-vs-process-color

SPOT, PROCESS, AND EXPANDED GAMUT OPTIONS 3 Kala’s Quick Color Guide

Other spot Inks to consider • Opaque is used generally on metallic and transparent/clear substrates to add white or to go behind color areas to add opaqueness to that area. Ask us about the creative ways we use Opaque White! (aka “Standard White” or “Premium White” on our digital presses)

• Metallic inks have a metallic effect that can be used to enhance your design in unique ways. (Digitally, we tint a metallic ink with process inks) In this way, you can have a wide variety of metallic colors.

• Fluorescent inks are fluorescent and like metallic inks, can give a unique, bright design.

• Invisible Inks! What good is invisible ink? Glad you asked - it can turn yellow when subjected to UV light. Yes, I understand the irony that it’s both invisible and yellow. Ask about other colors of invisible ink that are available. One advantageous use is to add it to your label to help with authenticity and traceability. You may find invisible ink technology used in currency! (No, we don’t print money)

4 Kala’s Quick Color Guide Understanding Color Printing

Color We all know what color is, right? We identify with the color! If Ritz were to stop putting their product in a package with a bold and yellow logo - we may have trouble finding that delicious buttery treat. We understand the importance of color and your desire to get the color you want. Some options vary in price and accuracy, and many of those variables depend on the color itself. For instance: light or colors are more difficult to consistently reproduce (especially light colors that are green or gray). We first need to identify a color, like most printers - we lean on Pantone to help us with that. Learn more: https://en.wikipedia.org/wiki/Color

Pantone Your packaging designer will be familiar with the Pantone Matching System (PMS). In short, you pick a color with a corresponding number that will communicate to us what you mean. "PANTONE 485 C” will say the same thing to everyone using the system. (It’s red by the way) Learn more: https://en.wikipedia.org/wiki/Pantone

Custom Colors We also provide the ability to create a custom color outside of the Pantone matching system. Please refer to our custom color guide for details.

Light and Light Sources If I have a red apple, and I go into a deep cave with no light, is it still red? What if I light a match in that cave and see that it is red, but if I walk out into the bright sun, is that apple still the same color of red? If it is our apple (lucky!), then we know that it’s color is constant - but the subjective color isn’t. It’s a brighter color to our eyes in the sun. It’s crucial that you understand the context of your color. We have a light booth at Kala with a consistent standard light source to use when we are checking a color. Learn more: https://en.wikipedia.org/wiki/Light#Light_sources

Color Perception Careful - our own eyes can deceive us. “No way is that the same color!” She screams, Then put them next to each other with appropriate (see above) and “Oh… oops, I guess they do!”. Drama aside, it’s good to realize that putting colors next to other colors can change the perception. Ultimately it’s the correct perception that you are after, so this takes diligence with the Inset colors are the same designer and understanding how print in combination with the design will change color. See more: http://www.psy.ritsumei.ac.jp/~akitaoka/shikisai2005.html

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Color Gamut / Monitors and printing have various color capabilities. We refer to the colors they can reproduce using different as it’s gamut or color space. If I were to say that something has a larger color gamut - I would essentially be saying it can reproduce a wider variety of colors. Make sense? If not, hopefully, the links will help. Learn more: https://en.wikipedia.org/wiki/Gamut https://en.wikipedia.org/wiki/Color_space

Halftone Look at an image of something printed (newspaper, magazine, brochure, packaging, etc…) with a magnification device, and you’re likely to find little dots making up the image. Fascinating, right? It’s the first step of understanding that printing using halftones is a simulation. It’s a way of getting ink arranged in a way to trick our brains into seeing a tone. You have to understand halftones before you can understand color “process” printing, up next… Learn more: https://en.wikipedia.org/wiki/Halftone

Process Printing - Bringing it together Now that you understand a bit more about color, and halftones making up that color, we can now talk about the technology that printers use to produce color. We overlap semi-opaque special process colors (also known as the secondary colors of light): Cyan, Magenta, Yellow - and usually Black. Black ink increases the gamut, particularly for darker shades (“gamut” heh, we’re learning here!). We overlap them using halftones of each separated color to produce the desired color or image. Computers help too, I guess :-). Most of the color printing products you’ve seen print with these four colors, often referred to as “4 color process”, “4CP”, “CMYK (K is for black)”, or “Full-color printing.” It’s good to know that our digital presses have -precise registration so that the result can be more consistent than conventional process printing. We keep CMYK in our presses, so it’s the more affordable way of reproducing colors. Still, there are other options to go over. Learn more: https://en.wikipedia.org/wiki/CMYK_color_model

Expanded Gamut printing Expanded gamut printing is where we add additional colors to CMYK: namely Orange, Green, and Violet. We do this to expand the gamut of colors we can accurately reproduce with process inks. You may have gathered, if your chosen colors have Orange, Green, or Violet hues - expanded gamut printing may enable a better match. In short, more inks = more possible colors.

3 Color process printing (aka. EPM on digital) Sometimes Cyan, Magenta, and Yellow can get the job done on your Flexible Packaging Project. We can consult with you on this, and getting a Press Proof (which we will get into later), will help determine if you like the result, and save some money in the process. (Pardon the pun)

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Color Measurement & Delta E We have instruments to measure color, and to compare them to how much they vary from each-other. The distance between two colors is called Delta E. (aka: dE or ΔE) Also, understand the human eye can detect differences in certain colors more than others. The method of coming up with a tolerance that can be measured “scientifically” can help to interpret how different two colors are. Learn more: http://www.colorwiki.com/wiki/Delta_E:_The_Color_Difference https://en.wikipedia.org/wiki/Color_difference

7 Kala’s Quick Color Guide Color “Do’s” and “Don’ts”

Providing Artwork to ensure color accuracy Our welcome kit found here (https://www.withkala.com/welcome) has art specifications on how we like to receive artwork that is ready for us to manufacture your product. In this document, we want to ensure an understanding of the process outside of the art file itself.

When it comes to color communication, please realize that if we quote the product using 4CP (Cyan, Magenta, Yellow and Black Inks) as explained in the above section, our systems will convert the Spot colors listed in your artwork to process colors. This approach may require communication with the designer or WE SEPARATE TO INK SPECIFICATIONS, REGARDLESS OF those responsible for color communication in your organization. WHAT IS CONTAINED IN THE FILE

• 4 color process printing: We will accept a version of your art that is already separated 4 color process. We recommend using the Pantone CP versions of the desired colors because it may yield a more consistent/favorable result for that particular Pantone color. • Alternatively, If you are printing Expanded Gamut or 3 color process (EPM), we want the Pantone spot colors left as PANTONE C spot colors in your file. Regardless of the ink-set used, we are okay with you leaving all of your spot colors defined as spot colors in your file, but just understand that our systems will separate them, and you will not have control over how they separate. The one caveat this creates - is the separation models are subject to change. Pantone is trying to improve realization of intent. Generally, they are improved, but you may see slight variations from previous runs in the separation libraries when they update on our end. Make sure you use the names from the Pantone Color Library (ie: “PANTONE 2068 C”). • You need to inform us upfront if you want a mix of spot colors and process. Our department will make sure your spot colors print as spot inks, and the remaining colors separate properly for the ink-set used. • It is ideal if you refer to specialty or custom spot colors consistently by their full name as we quote it to you: “Premium White”, “Digital Silver”, “CC123-1234”, etc…

Your art file Prepress process at Kala Ink-set used (per pricing)

All colors named properly as SPOT colors Separated into specified Spot(s) spot color(s) CMYK Images, All colors named properly as Separated into 3 colors 3CP (CMY aka EPM) SPOT colors CMYK Images, separated (CP) process colors Separated into 4 colors 4CP (CMYK) - or - (realize each method can All colors named properly as SPOT colors give a different result) same as above Separated into 4 colors 4CP + Spot(s) and specified spot color(s) ie: CMYK + Premium White CMYK or expanded gamut images, Separated into 5, 6 or 7 Expanded Gamut (CMYK+OVG) All colors named properly as SPOT colors colors as needed

8 Kala’s Quick Color Guide

Process colors can affect the legibility of small items Realize in the design that half-toning of small text, kanji or other line-art objects has to be verified by a press proof to ensure readability and desired outcome. Take this Example: (EXAMPLES ENLARGED TO SHOW DETAIL)

PANTONE 350 ON A MONITOR PANTONE 350 CP PROCESS HALFTONE SIMULATION

PANTONE 2120 ON A MONITOR PANTONE 2120 CP PROCESS HALFTONE SIMULATION

To the left, zoomed in on small text on your monitor. To the right, a simulation of how that text will look built with halftones. This isn’t saying this is right or wrong - just it needs to be considered in your design with full understanding of what may happen. In short, Light colors with small type or kanji become hard to read. * We recommend no smaller than 5 point text for readability reasons.

Pantone Coated vs Uncoated Our materials are generally coated, so please use the Pantone Coated Guide, and not the X Uncoated Guide (ie; “485 C” or “485 CP” not “485 U”)

Technical Colors Many times there are technical colors used to denote the die line, seal areas on flexible packaging or other marks that coincide with tolerances or manufacturing communication. It is imperative that the technical colors defined are not used for objects in the artwork. While you’re at it - put any such marks on their own layer.

Barcode Color Barcodes like contrast. Black on white is best, but if your design needs otherwise - consider the halftone and the contrast. 100% Magenta with 100% Cyan makes a crisp blue barcode with no half-toning for instance. Don’t forget the appropriate amount of

9 Kala’s Quick Color Guide white/quiet space around your barcode!

Coatings & Laminate Finishing Changes Color Adding a protective layer changes how the light reflects the color. You will have drastically different results with the various methods of coating or laminating the color, and different colors will behave differently. Concerned? You can order press proofs that are actually finished.

Mins & Max Thin lines and small text have special considerations when it comes to color. There are considerations in separating and overlapping inks. Be sure to become familiar with the artwork guidelines provided in Kala’s welcome kit.

Overprints Adobe Illustrator lets you overprint white. This leads to unwanted results and should be avoided. Be mindful of overprinting, particularly with spot colors, and be mindful of how it will affect the final result. We won’t know your intent, so it’s not something we can catch. Let us help you if you have questions or concerns.

Blacks Avoid building process . You can use black ink and produce richer/darker blacks by having more than one layer or hit of black ink on our digital platform. Our prepress department can help you achieve the results you desire. Let us be a part of building your design to reach your objective.

Intent? Considerations of the System Ink, Material, Print Method, Environment (Lighting where the product will be viewed - give examples), Finish Option - Brilliant White paperboard has different properties than other material. Are you trying to match something else already printed or manufactured? Please make us aware of your color intent. It may mean we need to do a custom color or come up with smart ways to help get the look you desire.

Last run vs. Specific Color Sometimes changes are made to art files without thought to the differences they can make in the final product. Related to getting intent - make sure you communicate if it’s more important to hit a consistent color vs hitting a specified Pantone color that may be in the art. Communication with our prepress department and the designer can help ensure consistent and predictable results.

RGB vs. CMYK images If you separate your image(s) to CMYK, you will have a better idea of the result than having our systems take an RGB image and separate them. In critical situations, keep this in mind, and ask for a hardcopy or press proof if you have concerns.

Don’t use your to judge color.

Don’t be afraid to ask questions. Knowledge and understanding are key to a perfect print job!

10 Kala’s Quick Color Guide Methods of Proofing

Electronic proofs Generally, we provide electronic PDF proofs for approval. They are NOT intended for accurate color representation, but to simulate the final product in a way where you can be satisfied that you will get what you expect.

Hardcopy printed proofs Particularly with conventional Flexo printing, it can be costly to make plates and do a print run to see color. We have a high-quality specially tuned to emulate what the press will produce that will be a better representation of color than your monitor, or the electronic proof printed out onto a consumer-level printer.

Press proofs With digital printing, we can provide printed proofs that, if desired, are even finished with your desired finish. It takes longer, but since we make press proofs on the equipment that will ultimately produce the finished product, you can be confident in the results.

Ink Drawdown Press proofs are the best way to represent color ON DIGITAL

“When in doubt, proof it out!” Runs are very costly, and it doesn’t do anyone any good if you don’t get what you want. New colors or designs when critical should get a press proof or at least a hardcopy printed proof to ensure you get what you expect.

11 Kala’s Quick Color Guide Color Frequently Asked Questions

How close are you going to get to this color? [On a scale of 1-10] You may not like this answer, but the truth is: It depends on the color! It also depends on the material you print on, whether you are using a spot color or one of the three methods of process printing. Please understand that there is a certain amount of deviation in the manufacturing process, inks, materials, finishes, and other factors. Some colors have more variation than others. Press proofs and open communication around expectations are the best ways to answer this question. In general, we pride ourselves on our technical abilities and our craftsmanship in consistently delivering on color.

Why does this run look different from my previous printer? Several possibilities: Different materials, inks, presses, finish (coating/laminate), and to answer a question with a question: What is the intent? Is the intention to match a particular Pantone color or a specific print run? If what we produce looks better or matches the specified Pantone color closer, is that inadequate? Communication of intent upfront will help us meet your expectation.

Why does this run look different from the previous run? While we strive to keep our equipment calibrated and regularly measure output to achieve consistent results from run to run, there are known tolerances that are considered acceptable due to the capability of the press. Light colors and certain hues are affected visually by tiny variations in manufacturing and will (as expected) vary more. Spot colors can reduce this effect, but generally have an additional cost.

Why doesn’t this match the color on the proof? Understand that electronic (PDF) proofs are simulations, and not intended to match the color. Remember, there is no ink in your monitor! Press proofs that are not finished with the laminate or coating will vary from the finished product. Outside of that, we should remain within specified tolerances of our equipment, and we will stand behind the quality of our work.

Why is the color not as ______? (Vibrant, Rich, Full, etc…) It sounds like you could be printing a Pantone color with a method of process printing. Spot colors can help with some of these issues. Also, the material and finish may play a part in what you are seeing. Matte laminates tend to dull colors, for instance.

Why does the color look so different on a metallic material? Inks are somewhat transparent, and so the reflective properties of the metalized material change the way the color looks. Adding opaque white behind the color will help, but you still can’t get a level of white that matches typical white materials. Press proofs are the best way to see what will happen before a production run.

Why do I need opaque white? Most color ink is somewhat transparent, so you may need opaque white if you want colors to look more like they would on a white material. Clear, and metalized materials need opaque white to back colors, or to let the metalized sections shine through. Ask for samples on the great effects you can achieve with Opaque white inks.

How opaque/bright can I get the white? 12 Kala’s Quick Color Guide

The material manufacturing process varies, which creates variation in the whiteness in both papers and films. Other properties of the material can further change the white level. Please ask for samples or a press proof to determine what materials meet your objectives. Likewise, inks can vary, but the most significant variation with ink is how much of it we put down. Naturally, it can cost more to have your material more white/bright. There are limitations to how much ink can be laid down successfully, and you’ll need to work with us on determining the best solution for you.

Why did the varnish or laminate change the color? Adding a protective layer to your product changes how the light reflects the color. You will have drastically different results with the various methods of coating or laminating, and different colors will behave differently. Darker colors have more variation when finished than lighter colors.

Do I use Pantone C or Pantone CP colors in my art? First, understand what inks are producing your product. Are you using process ink or Spot inks? If you are using process are you using 3 color process (CMY), 4 color process (CMYK) or Expanded Gamut (CMYKOVG)? Only use CP if you are printing 4 color process, and make sure to set the swatch color type to process in Illustrator. Otherwise, use the Pantone C color in your artwork. If you use Process C colors, and it is printing using process printing, our systems will separate them automatically into CMYK (realize, you lose control of how they will separate). Regardless of the inks used, we will accept Pantone C colors in your artwork; remember, you will need to be clear on which colors will be spot colors if printing a combination of process and spot colors.

How do we build our art? In short - Illustrator file or press-ready pdf converted to outlines separated correctly for the method it will print. Ideally, you should separate RGB images for CMYK printing. For more information, see our Artwork Guidelines.

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