CMYK & Pantone Colours

CMYK is generally used for full-colour artwork; Pantone is a defined spot-colour system. The best route depends on the artwork, the stock and finish, and how tightly the colour needs to match an established brand standard.

Choose colour based on the artwork

CMYK builds a broad range of colours from process inks and suits artwork with photography, gradients or multiple tones. A named Pantone reference is useful when a brand has a specific solid colour that needs to be discussed consistently.

Neither route removes the effect of the chosen card. Uncoated, kraft, recycled and coloured stocks can all change how a colour appears compared with a bright white coated stock.

Prepare colours deliberately

Avoid supplying important brand colour only as an RGB screen value. Make it clear which colours are essential, which are flexible, and whether any colour reference is part of a wider brand guideline.

If the tag includes foil, white ink, a dark stock or a special finish, separate those decisions from ordinary artwork colour and discuss them with the production team.

Review colour in its physical context

A desktop monitor, phone and printed tag do not use colour in the same way. A proof or sample is most useful when the final stock, finish and viewing conditions matter to the decision.

Practical checklist

Identify essential brand colours in the brief.
Keep RGB source files separate from the final print-ready artwork.
State the selected card and finish when asking for a colour check.
Review any proof against the use case, not only on screen.

Continue planning your tag

Decision context

Choose a colour method that matches the print objective

CMYK combines process inks and is suited to photographs, gradients and multicolour artwork. A Pantone or other named spot reference can define a particular brand colour when the production method supports it. RGB is a screen colour model and should not be treated as a reliable print specification.

Paper colour and surface change the perceived result. Uncoated, kraft, recycled, coloured and textured boards interact differently with ink than a white coated stock. Lamination, varnish and metallic foil also alter gloss, density and contrast, so the material belongs in every colour decision.

Convert or specify colour deliberately rather than allowing export software to make an unnoticed change. Check overprint settings, rich black construction, small reversed text and fine tints. A named brand reference should be separated from process images so its intended treatment is clear.

Approve critical colour from an appropriate production reference or physical proof where available. A monitor preview helps review content but cannot reproduce substrate texture, metallic reflection or every ink condition. Record the exact colour values and stock in the final artwork and quote brief.