Before producing any batch of tea tin can, we collaborate with our design and branding teams to determine precise Pantone values for the logo, graphics, and background elements. We document these specifications in a style guide, such as Pantone 485 C for the red seal, Pantone 342 C for the green leaf graphics, and so on. First, I confirm that the artwork file references the correct Pantone color chip. Next, I confirm with the client to prevent errors in subsequent communication. Additionally, I also specify the acceptable tolerances—for example, ΔE ≤ 2 in CIELAB readings—to indicate the range of allowed deviations. By establishing these benchmarks during the design phase, we set clear expectations for Pantone and subsequent CMYK work. As a result, whether produced for large-volume retail or limited-edition seasonal blends, our tea tins always reflect the brand’s distinct personality.

Choosing the Right Pantone Spot Color for Tea tin can

I first refer to Pantone’s “Metallic” and “Copperplate” guides, comparing printed swatches under D50 lighting to evaluate how each hue will appear on tinplate and paper. For example, I might choose Pantone 877 C to create a metallic silver for a limited edition tea tin can. Additionally, we specify a matte or semi-gloss varnish to control reflectivity, depending on the natural sheen of the tin. Next, I simulate these spot colors on digital proofs and make small-scale print proofs directly on tinplate to see how they will look. Testing ahead of time allows me to identify potential mismatches. For example, green will shift toward blue when printed on bare metal, so I adjust the Pantone value accordingly. This back-and-forth approach ensures that our Pantone color selections translate accurately to the finished tea tin.

Bridging Pantone and CMYK Workflows

Once I identify Pantone spot colors, I start prepress proofing to connect spot and CMYK workflows. On projects that use CMYK for reproduction, such as small batches of custom tea tins, I use Pantone’s digital color library to convert each Pantone value to the closest CMYK value. When converting, we use Pantone Connect or Adobe Illustrator’s built-in conversion tools, and we generate high-resolution digital proofs for client review. However, digital proofs rarely capture the nuances of printed tinplate. We coordinate with our printing partners to produce contract proofs on aluminized paper or laminated tinplate, ensuring that the CMYK blends accurately simulate the selected spot colors under ambient lighting in retail stores. This ensures that the visual effect of the final tea tins is consistent with brand expectations and the actual printing effect.

CMYK conversion when printing tea tin can

Converting from Pantone to CMYK is inherently difficult because printing inks has a narrower color gamut than spot colors. When managing tea can production, we carefully evaluate the color shift that may occur during each conversion process. If a bright Pantone orange leans towards a dark brown in CMYK, I will adjust the conversion result to a custom CMYK blend to restore the vividness. At the same time, we also monitor for issues such as metamerism, which is the different effects of colors under different light sources. We specify that the lighting in our proofing labs meets ISO 3664 standards and requires final approval under both daylight and fluorescent conditions. This ensures that our tea tin cans always display accurate, eye-catching colors, even when spot color inks are not available.

Press calibration for color consistency at press time

If the press is not calibrated correctly, even the best prepress work will fall short of its potential. Therefore, when supervising the printing of a tea tin can, our staff are required to adhere to strict press settings and preheat the press for 30 minutes to stabilize the ink viscosity. The press operator then prints a color bar with CMYK color patches and spot color targets, measures these patches with a spectrophotometer, and compares the readings to our set tolerance of ΔE≤2. If any ink density is outside the acceptable range, we adjust the fountain solution dosage, ink key, or roller pressure until the color matches the approved proof. We implement strict press control and real-time spectral inspection to faithfully render every tinplate.

Post-press inspection and post-press inspection

After our tea tins are printed, they enter the finishing stage, which may include embossing, hot stamping, or varnishing. At various points in the printing process, tin cans are sampled to check for color consistency, registration, and varnish coverage. Technicians visually compare each sample to the master proof and measure critical areas with a dot density meter. We also verify that the hot stamping reflects the expected Pantone metallic color with no bleeding or offset smudges. If any deviation exceeds ΔE ≤ 2 or the registration deviation exceeds 0.2 mm, we stop the line, diagnose the problem, and take corrective action. This proactive, hands-on supervision ensures that every tea tin that leaves the factory meets the stringent color and quality standards we have set.

Ensuring Pantone and CMYK Accuracy in Printing

When it comes to the production printing of tea tins and other types of tins, we oversee every step, from precise Pantone color card specifications and strict prepress conversions to spectrophotometer checks during the printing process and post-press quality audits. By using controlled lighting for proofing, setting tight color tolerances, and actively managing press calibration, we ensure that both Pantone and CMYK jobs produce vivid and consistent results.