Two-color printing (overprinting) can improve the appearance effect by adjusting the intensity and density of the colors used in printing. The appearance effect is enhanced because the use of two colors reduces the contrast between colors. For example, when we have a very bright magenta, print the upper details with a darker magenta. Under the effect of bright magenta, it may lose darker points and enhance the image. This method of achieving the overall effect of the image by printing halftone dots in the details is obviously continuous in tone. POP displays and other large-scale design patterns for close-up viewing can achieve good results from this method.
Using the six-color process, not only can the image sharpness and resolution be improved, but also the smoothness of the excessive tone is better. Some of the more difficult colors such as meat, grilled food, water, sky, chrome, and similar metallic colors can be obtained by adding light tones in two-tone printing.
Two-tone printing also reduces the appearance of texture in overprinting. It reduces the halftone dot pattern on the one hand and expands the range of reproducible tones on the other. With six-color printing, rough halftones will appear less rough, 50 line / inch halftones will look like 100 lines / inch, and 65 line / inches will look like 120 lines / inch or better.
Printing with two-tone cyan and magenta also expands the dynamic range of the copied image. The dynamic range is the difference between the brightest and darkest areas. Simply put, it makes the dark tone darker and the bright tone brighter.
Most printing has a maximum dynamic range of not less than 2.0. This standard is rarely achieved in screen printing, generally between 1.6-1.8. A dynamic range of 2.0 means that 1% of the bright dots can be restored, and the copied ink color can absorb 99% of the light and reflect only 1% of the light (compared to this, the black screen printing can only fall at 97.5% -98.4%).
However, the dynamic sensitivity range of the human eye can reach more than 4.0 (1 / 10,000 light can be felt, or 99.99% black can be felt). This is why the details of dark tones can be seen in the visual world, but not in printing. With the two-tone color mode, we can increase the printed dynamic range to 2.2 (99.4% black). This may not seem like a big deal, but we can see that the black levels obtained are better than those obtained with four-color overprinting.
With two-tone printing, we have increased the highlight and dark tones in the expanded tonal range. In the past, our process often lost some of its gradation when printing brighter pastel colors or darker colors, and the tone was shorter. Due to the soft appearance, better gradation depth and dark tone details, the two-tone tone has a relatively long tone.
Using the advantages of two-tone printing to control highlight colors, we have obtained better control of highlight neutral colors that were previously difficult to control, such as beige, sand, ice, crystal reflection, detergent, tan, etc. These colors have very few third-color components. Two-tone printing allows us to use larger dots in these color areas. This allows greater control of the environment and physical variables, more accurate color reproduction, and a reduction in the visible color range.
You can also get benefits in the dark part. By using darker colors than the normal primary colors, magenta and cyan, we can better control the third color that needs to enhance the surface color of the dark areas. Its main advantage is that we do not need to use too much black to compensate for the lack of dark tones. Using less black ink in the third color component can maintain rich colors such as reddish brown, walnut, dark red, maroon, dark green, and indigo. In the four-color mode, the black that must be added completely covers the tonal components of these colors, showing a flat and black color.
The use of duotone can compensate for the difficulty in copying brighter and darker colors, and the color drift phenomenon is better controlled. Color drift refers to the color characteristics that change the appearance when the color tone becomes darker.
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