Curated CMYK reds
Two-ink builds that stay saturated instead of going brick. Reds shift the most between coated and uncoated of anything in the library.
Close, not exact. Each swatch is simulated for a standard coated or uncoated sheet, but a screen makes colour with light and paper reflects it. For the real thing, use the printed reference card.
Previews simulate a standard coated or uncoated sheet. A screen can't show ink exactly; the printed card can.
14 tonal runs · 98 builds
Dark → light, left to rightPPC-108
PPC-035
PPC-075
PPC-002
PPC-037
PPC-072
PPC-107
PPC-039
PPC-074
PPC-109
PPC-036
PPC-003
PPC-038
PPC-073
Every value
What to know before you specify one
- The same build is not the same colour on two stocks. Coated seals the surface, so the ink sits on top: denser, brighter, sharper. Uncoated absorbs it and the dots gain, so the identical numbers come back darker, duller and lower in contrast. Flip the switch above to see the difference, and judge the final colour on paper, not on a screen.
- Below about 8% a screen stops being reliable. On uncoated it fills in, on coated it can vanish. The tint steps here sit above that floor deliberately, so the light end of a family still prints as a colour rather than as a rumour.
- Process is right for photographic work, for anything with many colours in it, and for jobs where the colour needs to be close rather than exact. A spot ink is right when the colour is the brand and has to be identical on every run, and when the colour sits outside what four inks can reach at all.
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-108 on Gmund Action Crystal Vanilla Sorbet
PPC-108 on Gmund Action Crystal Vanilla Sorbet is uncoated, so the dots gain: the same 0/55/35/40 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 / vanilla ground shows through a translucent build — the printed colour shifts toward the sheet, so sign off against a printed sample.
Compatibility matrix
Start this combinationPPC-108 on Gmund Bier Lager
PPC-108 on Gmund Bier Lager is uncoated, so the dots gain: the same 0/55/35/40 build prints a step darker and duller than it looks on screen. That softness is usually the reason to choose this sheet. The pale oat cream with fine brown and grey grain fleck ground shows through a translucent build — the printed colour shifts toward the sheet, so sign off against a printed sample.
Compatibility matrix
Start this combinationPPC-108 on Gmund Bio Cycle Cannabis Hanf
PPC-108 on Gmund Bio Cycle Cannabis Hanf is uncoated, so the dots gain: the same 0/55/35/40 build prints a step darker and duller than it looks on screen. That softness is usually the reason to choose this sheet.
Compatibility matrix
Start this combinationCommon questions
- Do these reds 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. Check it on the printed reference card in our sample kit, and approve your digital proof before anything prints.
- Can you match a brand colour with one of these reds?
- 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 house recommendations, set for the papers we print on. They are not a published colour standard and are not affiliated with any colour system.