Blog.

1. Pantone vs. CMYK colors: the effects on brand consistency

One of the most common print mistakes marketers make is assuming Pantone and CMYK colors are interchangeable. They aren’t, and choosing the wrong one can subtly (or dramatically) change how a brand appears in print.

• Pantone uses premixed, solid inks, making it ideal for packaging, and colors that require precise, saturated reproduction.

• CMYK is a four-color process (cyan, magenta, yellow, black) that blends inks to create color. It’s a more flexible and cost-effective way to reproduce images and artwork, but a less precise alternative.

The key difference? Pantone colors are pre-formulated to be exact, while CMYK colors are recreated on press through ink combinations. When Pantone colors are converted to CMYK without intentionally selecting, testing, and approving the CMYK build, color shifts are almost inevitable.

Tip: Discuss your color accuracy needs in advance and never assume precision based on how a design looks on screen.

2. Color conversion requires extra care

Pantone workflows have shifted in recent years, affecting print outcomes. Adobe no longer includes built-in Pantone libraries unless designers pay for a plugin, which means colors are often manually converted to CMYK during file preparation.

At the same time, printers update their Pantone libraries annually. If designers, printers, and clients aren’t aligned on which libraries or conversion methods are being used, even a familiar brand color can print differently from one job to the next.

The result is subtle color drift — often difficult to detect on screen but clearly visible in print — particularly when projects span multiple vendors, regions, or timelines, where files may be handled, converted, or reproduced differently.

Tip: Always provide both Pantone and CMYK color specifications and confirm with your printer how colors will be converted, proofed, and approved before production.

3. Digital vs. offset printing: why the distinction matters

Digital and offset printing are often treated as interchangeable, but they’re designed for very different production needs. Choosing the wrong one can quietly impact cost, quality, and timelines.

• Digital printing is best suited for short runs, quick turnarounds, and flexibility. It doesn’t require printing plates, which makes it more efficient and cost-effective for smaller quantities or last-minute changes.

• Offset printing is best for larger volumes, delivering more consistent color reproduction and efficiency at scale by using printing plates.

Problems arise when the printing method is locked in too early — before quantities, timelines, or final specifications are confirmed. As those variables change, what was once the right choice can quickly become inefficient or unnecessarily expensive.

Tip: Let your printer guide the decision. They understand how different production methods impact cost, efficiency, waste, and timelines — and that expertise can save both time and budget.

But even when the right printing method is chosen, file setup still plays a critical role in how a project ultimately prints.

4. RGB vs. CMYK: color on screen and print behave differently

One of the most common sources of print frustration is reviewing work on screen and assuming it will reproduce the same way on paper. The reason comes down to the two different color systems used for digital and print.

• RGB (red, green, blue) is used for screens and digital viewing, where color is created with light.

• CMYK is used for print, where color is created with ink.

Because screens emit light while paper reflects it, colors that appear vibrant digitally can look muted or shift once printed.

To bridge the gap between what you see on screen and the final printed result, professional print proofs are recommended. Tools like Epson proofs simulate how CMYK ink will behave on paper far more accurately than screen previews, helping teams catch issues before they become costly reprints.

Tip: Supply print files in CMYK unless your printer has explicitly confirmed their workflow supports RGB.

5. Black ink choice can make or break a design

Not all black is created equal in both digital and offset printing. Choosing the right black ink is key.

• 100% black (K only) should be used for small text to prevent blur and misregistration.

• Rich black (e.g., 60C / 40M / 40Y / 100K) is best for large backgrounds and solid fills, where deeper, more saturated blacks are needed.

Problems arise when the wrong black inks is used in the wrong place. Small text built from multiple inks can appear fuzzy, while large areas of flat black can look dull or uneven if they’re not richened properly.

Tip: Set black usage intentionally in your design files, especially for typography and large color areas, rather than relying on software default settings.

Bonus tips from the print floor: file prep matters more than creative flair

Even the strongest design can fail if files aren’t prepared correctly. InDesign is the preferred tool for most print layouts, fonts should always be outlined, and images embedded. When source files aren’t required, high-resolution PDFs are ideal. In practice, most print delays and reprints aren’t caused by the printer — they’re caused by small file-setup issues upstream.