{{short description|Black ink mixed with other colors for a darker tone}} {{about|the ink mixture created by combining black and some other color|people named Richard Black|Richard Black (disambiguation)}} '''Rich black''', in printing, is an ink mixture of solid black over one or more of the other CMYK colors,<ref name="Hodges">{{cite book | title = The Guild Handbook of Scientific Illustration | author = Elaine R. S. Hodges | url = https://books.google.com/books?id=YWaOBSjevD0C&q=cmyk+rich-black&pg=PA242 | year = 2003 | publisher = John Wiley and Sons | isbn = 0-471-36011-2 | url-access = limited }}</ref> resulting in a darker tone than black ink alone generates in a printing process.<ref name="thebooklover"/><ref name="howtowow-ai">{{cite book | title=How to Wow with Illustrator | publisher=Peachpit Press |author1=Obermeier, Barbara |author2=Chan, Ron | year=2006 | pages=68 | isbn=9780132705080}}</ref>
A typical rich black mixture might be 100% black, 50% of each of the other three inks. Other percentages are used to achieve specific results, for example 100% black with 70% cyan (C), 35% magenta (M), and 40% yellow (Y) is used to achieve "cool" black. "Warm Black" is 35%C, 60%M, 60%Y, and 100%K. The colored ink under the black ink makes a "richer" result; the additional inks absorb more light, resulting in a closer approximation of true black. While, in theory, an even richer black can be made by using 100% of each of the four inks, in practice, the amount of non-black ink added is limited by the wetness that the paper and printing process can handle.<ref name="graphicprint">{{cite book | title=A Guide to Graphic Print Production | publisher=John Wiley & Sons |author1=Johansson, Kaj |author2=Lundberg, Peter |author3=Ryberg, Robert | year=2012 | pages=332 | isbn=9781118184875}}</ref> A safe and practical rule of thumb is that ink coverage should not exceed 240% on normal papers. Papers that "pick", such as low-end recycled papers, or thin papers, such as newspaper, should have even less coverage. Wetness is not a problem with laser printers, however, and registration black (or "400% black") produces very striking results in laser prints.<ref name="regmarks">{{cite book | title=Intelligent Vision Systems for Industry | publisher=Springer Science & Business Media |author1=Batchelor, Bruce |author2=Whelan, Paul | year=2012 | pages=12 | isbn=9781447104315}}</ref>
Rich black is often regarded as a color that is "blacker than black".<ref name="SGIAJournalBrown2014">{{cite magazine |last=Brown |first=Chris |date=September–October 2014 |title=The Question of K: A Primer on Gray Component Replacement |magazine=SGIA Journal |publisher=SGIA |url=https://www.printing.org/docs/default-source/default-document-library/journal/brown.pdf?sfvrsn=962368d7_0 |access-date=23 December 2025 |pages=39 |format=PDF |quote=Press operators sometimes add C, M and Y ink to the K channel to produce rich blacks that appear blacker-than-black.}}</ref> While this is impossible from the point of view of color theory, the difference can often be seen in the printed piece. The difference is most apparent in backlit (also known as "translite"<ref>{{cite web |title=Black is Beautiful, but... |website=Packaging South Asia |date=2020-07-16 |url=https://packagingsouthasia.com/supply-chain-function/black-is-beautiful/ |access-date=2025-12-23 |quote=The difference can also be apparent in backlit (also known as “translite”) pieces}}</ref>) pieces, where rich black more thoroughly blocks the light from coming through.
The use of rich black has to be based on a full understanding of the printing conditions, including the inks, printing press and especially the paper. If too much ink is used on poor quality paper such as newsprint, this may cause the paper to literally fall apart. In addition, excessive amounts of ink may not have a chance to fully dry before the printed result comes into contact with other pages. The additional ink used to create rich black also results in higher printing costs.<ref name="production-for-print">{{cite book | title=Production for Print | publisher=Laurence King Publishing | author=Gatter, Mark | year=2010 | pages=160 | isbn=9781856696999}}</ref>
Care must be taken when using electronic design programs (e.g. when managing a CMYK document in Adobe Illustrator or Corel Draw) – "black" may or may not equal 100%K depending on the CMYK profile specified in the image's settings, and Photoshop will represent the various tones using RGB values close to black; in an RGB document, "black" always equals RGB value (0, 0, 0).<ref name="production-for-print"/>
Another reason to use rich black for small areas of black is to avoid trapping issues. Rich black is often used for text printed over a picture or colored background, because otherwise any slight mis-registration between printing plates would produce a white or colored halo around the text, making it much harder to read.<ref name="thebooklover">{{cite book | url=https://www.gutenberg.org/ebooks/22606 | title=The Booklover and His Books | author=Koopman, Harry Lyman | year=2007 | pages=6}}</ref><ref name="production-for-print"/><ref name="simon-downs">{{cite journal | title=Is it a book, is it a screen, no it's…—graphics and the interface in electronic paper | author=Downs, Simon | journal=Digital Creativity | year=2005 | volume=16 | issue=1 | pages=31–32 | doi=10.1080/14626260500147751| s2cid=5418426 }}</ref>
==References== {{Reflist}}
==External links== *[http://www.printernational.org/rich-black-plain-black.php Rich black versus plain black - Printernational]{{Clarify|date=January 2022|reason=The CMYK values in this source are different from those given in the main text and infoboxes for the same colors. Only the correct source should be referenced, and if it is this one, the text needs correction.}} {{Shades of black}} Category:Shades of gray Category:Graphic design Category:Printing terminology rich_black