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Rich black vs 100K: choose black for print
For small black text, start with black ink alone: C 0, M 0, Y 0, K 100. For a large dark background, your printer may recommend a rich black with additional process inks. The right choice depends on the artwork and the printer’s specification.
Which black belongs in your artwork?
| Artwork | Starting choice | What to check |
|---|---|---|
| Small black text and fine lines | 100K: 0/0/0/100 | Keep the detail on one ink separation; confirm the provider’s rules. |
| Large black panels | Printer-approved rich black | Ask for the recipe and total ink limit for the chosen paper and process. |
| Small white text on a black panel | Check the complete text/background combination | Several ink separations around fine white lettering can expose registration problems. Ask about minimum size and weight. |
One ink avoids having several printing plates align within each small black letter. Additional inks can deepen a broad black area, but that does not make them the right choice for every detail. Mojoprint illustrates these different cases.
Why do rich-black recipes differ?
“Rich black” names a kind of ink build, not one universal code. These published provider instructions demonstrate the difference:
- Jukebox Print: C 60, M 40, Y 40, K 100.
- PrintNavi: an example of C 30, M 30, Y 30, K 100.
- Mojoprint: C 50, M 50, Y 50, K 100.
Use these as attributed examples, not interchangeable instructions. Their arithmetic totals are 240%, 190% and 250%. A total alone does not approve a mix for your job: follow the provider’s limits and specification. Avoid using Registration colour as a design black; it serves a different production purpose.
A browser preview cannot approve the printed result. Our CMYK converter explains the limits of unprofiled screen conversions; it does not select a production black for your press.
Check the file, including overprint
Overprinting leaves the underlying ink in place; knocking out removes it beneath the object. The result can change even when the foreground colour values stay the same. InDesign’s default Black swatch at 100% normally overprints, but other objects that appear black do not necessarily behave the same way.
- Inspect the final artwork in a separation preview. In InDesign, use Window → Output → Separations Preview.
- Inspect each ink separately. For text intended to be black-only, check that its shape is not also carried by cyan, magenta or yellow.
- Review overlaps and reversed text. Confirm unusual overprint settings with the printer instead of applying a blanket rule.
Adobe’s overprinting reference explains the Black swatch, rich black and separation controls. Software preview is a production check, not a physical colour proof.
Ask for one clear specification
Copy and adapt this request before final export:
For this job, could you confirm the black-only settings for small text, the rich-black recipe for large areas, the maximum total ink coverage, and any restrictions for reversed text? Please also confirm the required colour profile, PDF export settings and how you want overprinting handled for this paper and print process.
Record the answer with the project. A recipe approved for one job should not quietly become the default for every future print.
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