Understanding Colour in Decorative Print
In Part 1 of this mini-series, we looked at design file formats and why choosing the right one is essential for wallpaper and fabric production. In this second part, we look at another crucial elements: colour in decorative print.
Getting colour right is one of the most common challenges in design. What you see on screen doesn’t always match what comes out of the printer, and without the right preparation, the results can be costly or disappointing. By understanding how colour systems work in print, you can make confident choices that carry through from idea to production.
Why colour matters in decorative print
Coloru is one of the most powerful tools in design. It sets the mood of a collection, conveys the personality of a brand, and changes the way a pattern feels within an interior. But achieving the right colour in production isn’t always straightforward. A design viewed on screen in RGB may shift when printed in CMYK inks. Managing this difference is at the heart of colour preparation for wallpaper and fabric.
Colour systems in decorative print
Designers often work across different colour systems. Each one serves a purpose, but only some translate successfully into print.
RGB (Red, Green Blue) is the system used for screens. It creates colour with light, which means it can display bright, vivid tones that can’t be reproduced in ink.
CMYK (Cyan, Magenta, Yellow, Black) is the process used for print. Every wallpaper and fabric design will ultimately be converted to a version of CMYK, as these four colours combine to produce the full spectrum of printable colours.
Spot colours are pre-mixed inks used when an exact shade must be achieved. They are particularly useful for branding or packaging where consistency across products is essential. Some decorative print printing methods can use spot colours to achieve accurate colours on wallpaper and fabrics.
For accurate information on your next design, speak to your printer before creating your production-ready files.
Did you know...
RGB (Red, Green, Blue) is an additive colour model, where coloured light mixes to create the hues you see on digital screens such as computers, TVs, and phones. In contrast, CMYK (Cyan, Magenta, Yellow, Black) is a subtractive colour model, where layers of ink are printed to remove brightness from the paper and build up colour.
As a rule of thumb, RGB is used for digital design and CMYK is used for print. Both systems rely on the colour wheel, which forms the foundation for how colours interact in every medium.
Understanding the colour wheel
The colour wheel has been a foundation of design theory since the 18th century, when Sir Isaac Newton first arranged colours into the circular diagram. It remains one of the most useful tools for designers today.
At its core, the wheel is divided into primary colours (red, blue, and yellow), which can be mixed to create secondary colours (orange, green, and purple). Mixing primaries with secondaries produces tertiary colours, adding even more variety. Beyond the basics, the colour wheel helps identify harmonious colours that sit next to each other, complementary colours that sit opposite, and triadic colours arranged evenly around the circle. By applying these principles, designers can create palettes that feel balanced, striking, or playful (depending on the desired effect.)
Digital vs analogue printing in wallpaper and fabric
Colour behaves differently depending on the printing method used. Digital printing offers flexibility, speed, and the ability to produce unlimited colourways from a single design. Analogue printing, by contrast uses engraved cylinders or silk screens and requires each colour to be separated. While analogue methods demand more setup, they often deliver exceptional quality for large production runs.
If you’re looking for guidance on which print method is right for your designs, get in touch.
Managing colour in wallpaper and fabric design
This is where software makes a real difference. Tools such as CAD/CAM allow colours to be separated, recoloured into different palettes, and digitally proofed before going into production. This step ensures consistency and flexibility, giving you confidence that the colours you’ve chosen will look right in real interiors.
A glossary of useful colour in decorative print terms
When discussing colour in decorative print, a few key terms often come up. Knowing them will help you feel more confident in conversation with manufacturers and designers.
Hue refers to the basic family of a colour, such as red, blue or green. Saturation describes how vivid or muted a colour appears. Highly saturated colours feel bold and vibrant, while desaturated colours appear softer and more subdued. Gamut is the full range of colours available within a given system. For example, the RGB gamut is wider than CMYK, which is why colours sometimes shift when moving from screen to print.
Chroma refers to the purity of a colour, or how much it differs from grey. Value describes how light or dark a colour appears, while intensity is about its strength or vividness. A tone is created by adding grey, a shade by adding black, and a tint by adding white. These adjustments give designers flexibility to create palettes with depth and variety, ensuring colours feel intentional and suitable for both print and interiors.
Understanding Colour in Decorative Print
Colour sits at the heart of decorative print, but it comes with its challenges. By understanding the systems behind it and working with someone who can manage the technical details, you can feel confident that your designs will look as beautiful in print as they do on screen.
Get in touch if you’d like help managing colour in decorative print for your wallpaper or fabric projects.
Haven’t read Part 1 yet? Read Understanding Design File Formats (Part 1 of 2) now.