Black has always sparked controversy. Throughout human history, it has symbolized sin, hell, and sorrow, as well as humility, dignity, authority, and the ultimate luxury. In Michel Pastoureau’s famous work, Black: The History of a Color, the author poses a crucial question:
"The historian, like the physicist, must ask: how much black is there in black? For a 16th-century dyer, there were dozens of shades: lampblack, wine black, oak black. Each carried a different symbolism and a different price."
From the Color of Renunciation to the Hue of the Elite
Pastoureau notes a fascinating historical paradox. For a physicist, black is pure light absorption. For a medieval monk or judge, it was the color of renunciation and modesty. However, by the end of the 14th century, black became the color of the elite. The Dukes of Burgundy, followed by the rest of Europe, began wearing black to manifest their solemnity, virtue and wealth.
This was "noble" black, extremely difficult to achieve with the dyeing techniques of the time. Obtaining a deep, lustrous shade required the most expensive ingredients, such as oak galls. Consequently, dyeing cloth black was the most costly process—more expensive even than obtaining royal purple.
The Modern Absolute
In the 20th century, black became a radical hue. On one hand, it is the uniform of elegance (Chanel’s famous "little black dress"); on the other, the color of rebellion, anarchy and counterculture. As Pastoureau writes: "Black no longer wants to represent anything; black wants to be an absolute."
Today, in the world of printing, black remains a subject of lively discussion. In books or art albums, we strive for the best possible effect. However, it is worth remembering that "best" does not always mean "deepest" — sometimes it is a muted, grayish black that best conveys the artist's vision.
Printing Practice:
From a printing house perspective, based on our experience, we have prepared a few golden rules that will allow you to master this color and avoid technical surprises:
1. Use Rich Black (for backgrounds and large elements)
Standard black ink (K=100%) often looks washed out on large surfaces. To give it depth, we use a "rich black" mix by adding other colors:
Standard black: C=40%, M=30%, Y=30%, K=100%
Cool black: C=60%, M=40%, Y=40%, K=100%
Designer Black: C=70%, M=50%, Y=30%, K=100%
(Note: The safe Total Ink Limit (TIC) for most substrates is 240% – 300%).
2. Small Text (below 10-12 pts)
Here, the rule is reversed: use only K=100%. This avoids "color fringing" (registration errors) that can make small print unreadable.
3. Overprint Black
Ensure that your black objects are set to "overprint." This eliminates white gaps (light leaks) at the edges where black objects meet other colors.
Choosing the right shade of black is a tribute to a craft that for centuries has sought to trap light within matter. Whether we are looking for a noble black reminiscent of the Burgundian court or a modern, raw aesthetic—the key to success is precision and an understanding of technology.
Aleksandra Dziech