Curated CMYK blacks and rich blacks

Every value

Builds with a full write-up

• PPC-127

Pairs beautifully with

Three combinations that hold up on press. Open one and the Studio starts with the stock, the foil and the ink already locked in.

PPC-127 on Gmund Cotton Shiny Cream

PPC-127 on Gmund Cotton Shiny Cream is uncoated, so the dots gain: the same 40/30/30/100 build prints a step darker and duller than it looks on screen. That softness is usually the reason to choose this sheet. The warm cream with subtle sparkle ground shows through a translucent build — the printed colour shifts toward the sheet, so sign off against a printed sample.

Gmund Cotton Shiny CreamPPC-127

Compatibility matrix

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PPC-127 on Silk matte 16pt

PPC-127 on Silk matte 16pt is sealed, so the build lands close to 40/30/30/100 on the proof — dense, and the screens stay crisp. The any ground shows through a translucent build — the printed colour shifts toward the sheet, so sign off against a printed sample.

Silk matte 16ptPPC-127

Compatibility matrix

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PPC-127 on Clear acrylic

PPC-127 on Clear acrylic is sealed, so the build lands close to 40/30/30/100 on the proof — dense, and the screens stay crisp. The transparent ground shows through a translucent build — the printed colour shifts toward the sheet, so sign off against a printed sample.

Clear acrylicPPC-127

Compatibility matrix

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Common questions

Do these blacks and rich blacks shift on uncoated stock?

Yes, every one of them. Uncoated fibres absorb the ink and the dots gain, so the identical build comes back darker, duller and lower in contrast than the coated version. It is not a fault — it is what that sheet does to process ink. Judge it on a proof printed on your stock.

Can you match a brand colour with one of these blacks and rich blacks?

Often, yes — and where a build stops short of the brand colour we say so and quote the spot alternative instead of quietly printing something near it.

How are the tonal steps built?

Each run starts from one tested base. The shades add 25%, 50% and 75% black to it; the tints drop the ink to 75%, 50% and 25%. That gives you seven values that belong together, so hierarchy inside one hue never needs a second colour.

Are these an official colour standard?

These are our own tested recommendations, developed on our presses and our stocks. They are not a published colour standard and are not affiliated with any colour system.