This is exactly the way Arnold taught three color printing with any
process: dyes, litho, silkscreen, gum, and I found it worked with gravure.
To finish what Peter started, you always start with the cyan printer
(made from the red separation). This gives you an idea of the overall
contrast and density of the print. A lot of times, you can stop there
if you see that the cyan layer isn't giving you the contrast you need.
Next comes the magenta printer (from the green separation). This adds
a bit to the density and begins to give you a clue as the final color
balance. If you see the color balance going off (takes a little
practice) you know you might have to modify the yellow printer.
Last, you print with yellow (blue separation), which has almost
no effect on the overall image density, but strongly affects the
color balance. Adding a little yellow at a time is a good idea if
the process you are using allows it. You can also mix tints with the
yellow if you want to alter the balance.
Overall, the process of going from cyan, to magenta, to yellow is a
logical one, allowing you to work first with the contrast and last
with the color balance. With lots of alternative three-color processes
you don't need a black printer, there is enough density with just
the three process colors to give you a decent black.
Anyway, since Peter mentioned "The Color Print Book" (now sadly op)
you can see an illustration of one of my color gravures in it.
Offset printing doesn't do justice to the velvety shadows in the
print caused by the ink thickness, but that's a road we have already
been down.
Carson
carson@ileaf.com