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Even the best original can be spoiled on press by conflicts with other parts of the layout.

Another solution to the problem of screen tints is to print a screened back illustrations or photo in the background.

For a neutral background without the headaches, try photography.

Neutral tints made from more than two process colors are the hardest to control on press, because the least inconsistency in dot gain shifts the entire color to a new hue.

Another time to consider using custom ink is when your design calls for broad areas of flat screen colors.

Logos are another subject where consistency of color is important.
Four color process inks cannot produce consistent screen colors.

If consistency of color is important as it almost always is in a full blown campaign then consider specifying custom inks.

If you can add a fifth unit on press, you can beef up process yellow by using flourescent yellow ink.

Dense yellow without a red cast is almost impossible to reproduce on a four color press.
Even at 100 percent, yellow ink is nearly transparent. To make yellow show up, try adding a hint of magenta.

Silhouettes with no detail can be effective, too.
They loo a bit flat, but they do produce dramatic shapes. When you scan these types of silhouettes, make sure any detail that does appear in the photo is eliminated.

When you print silhouettes or back-lit subjects, pay attention to how much detail you want in the deep shadow.
A little detail, enhanced perhaps on your desktop, can give a silhoutte contour.

Black Subject are almost as though to reproduce as white ones. Black subject must retain density, as well as neutrality an detail.

Be careful of excessive color casts when you work with whites.

Some subjects require special attention during prepress, white is such a subject.

When you specify stochastic screening, make sure the paper you select has a very smooth finish.