Printwear

November '19

For the Business of Apparel Decorating

Issue link: https://nbm.uberflip.com/i/1177508

Contents of this Issue

Navigation

Page 16 of 68

1 4 P R I N T W E A R N O V E M B E R 2 0 1 9 1 4 P R I N T W E A R N O V E M B E R 2 0 1 9 What's Old is New Again AND AGAIN AND AGAIN… For the "Bulldogs" text we used more tex- ture because we chose a heavier font. Our client wanted an authentic distress for the print, so we employed a few dif- ferent textures to achieve various effects. Some were a complete punch out of the image and others were done with a subtle- ty that allowed for decreases in the ink de- posit. We find textures everywhere around us in chipped paint on a fence, the wood grain in the kitchen floor, or the stucco on the wall outside the house. We opened our first wood texture in Photoshop with RGB making sure the Channels Palette was displayed to pro- vide a digital breakdown of the values that make up the image, each a little different from the other. We used the channel with the highest contrast between the lightest grain and the darkest. The green channel was our choice and we clicked and dragged it down and hovered it over the icon left of the trash can to create a duplicate for ma- nipulation. In the Levels option under the Image menu we select Adjustments. Using the white eyedropper tool to hover over the green channel's lightest grain we find pixels at a value and lower and remove it. This leaves the darker grains. We selected the green channel then copied and pasted it into our design file with a new channel. It would be individually selected and used to knock out design elements. The client wanted a lot of variable tex- tures. One way to do this is to have some textures cross-sectioned but not others. We used a light overprint white to get some tonal ranges to display as distress- ing. The other textures were used gener- ously for an array of effective results. In parts of the design, the texture is com- W ebster defines the word gimmick as a trick or device intended to attract attention, publicity, or business. We see it all the time in advertising. It gets old after a while. Speaking of old, there is a new technique known as distressing or vintage printing taking us by storm. We see it now in everything from advertising to furniture to architecture. The thought that comes to mind for us decorators is, "How do we get that look on a brand- new garment?" and thus the deliberate distressing was born! There are several types of distress we can do, and it lends itself nicely to the hand of a garment as well giving us an overall lighter ink deposit. People love that worn-out look and after enough washes the feel is perfect. There are thousands of resources for textures on the internet. Many are free and stock photo sites have a huge assortment of textures. Wood, metal, water, grunge, and many more. There are prefab knockout textures that leave the shirt showing through. It can be that simple. Sometimes a range of tones might give us a little more authenticity. We find that with more detail, we use the distress as a secondary effect and not as the dominant one. For the latest distressed job, we started with a pretty straightforward diamond shape and were mindful of our font choices knowing that thin or condensed fonts sacrifice legibility. SCREEN PRINTING From Software to Substrate Lo n W i n t e r s The client wanted an authentic vintage look so we started with a straightforward diamond shape, a heavy font, and several textures. (All images courtesy the author)

Articles in this issue

view archives of Printwear - November '19