Printwear

July '19

For the Business of Apparel Decorating

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1 8 P R I N T W E A R J U L Y 2 0 1 9 1 8 P R I N T W E A R J U L Y 2 0 1 9 ing elephant. Easy enough! These shirts would be our instrument of personal ex- pression. With plenty of elements to show our complexity. ELTON REDONE It seems appropriate that an elephant should be our distinct subject matter, and, really, who doesn't love pachyderms? Our starting point had to be the elephant's positioning. Nothing is more stunning than one charg- ing forward with ears billowed out and strong tusks forward. Next it was onto tex- ture, and because of the natural folds and wrinkles of an elephant's skin, our black line needed to emulate this feel. We wanted an illustrated look, so the black line was hand inked and was an involved process to build the boldness and contrast needed. The black line would be doing the work of corralling the negative space for our injection of colors. Adobe Photoshop has many ways to ap- ply colorization with filters and brush types, but we took a more basic approach and uti- lized existing swathes of color in the form of splatters and brush strokes in a rather Jack- son Pollack kind of way. With the infinite amount of available stock photography on the net, we chose some interesting displays SCREEN PRINTING From Software to Substrate Check out this sample and more at Graphic Elephant's booth in Meadowlands, N.J. later this month! Plan your trip at printwear.ly/meadowlands19 We took advantage of high-tension meshes with 35 to 45 N/cm2, a quality resolution dual cure stencil, and sharpened triple-ply dual durometer squeegees and winged flood bars. One of our biggest challeng- es and the most critical component was the white printer base plate. With the splashy color, we added a few spatters intermittently along the edge of our framing for some flare. This is our original Elton, which was a hit, but we knew he needed an updated look. To do so, we gave him a bold pose and took tattoo influences to create the intricate designs on our elephant. We took a basic approach in Adobe Photo- shop utilizing existing swathes of color in the form of splatters and brush strokes in a rather Jackson Pollack kind of way. About 50% gray allowed for some transparency as it layered over the color in the final schematic to defuse the shadow areas which showed a significant change in the opacities.

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