Printwear

December '19

For the Business of Apparel Decorating

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1 4 P R I N T W E A R D E C E M B E R 2 0 1 9 1 4 P R I N T W E A R D E C E M B E R 2 0 1 9 SCREEN PRINTING From Software to Substrate chipped paint, rust spots, bullet holes, and mottled textures, among others. In every instance, the texture is laid over the existing imagery. We used an array of values that helped give high contrasts to the colors. The wood textures were direct knockouts of the colors with shirt show-through creating some definition. The varying weights of the grains created value rang- es as well. To add the metal texture we made a selection of the texture channel and deleted the selected area out of the shape. All our textures were handled in the same way. Textures with a wide range of values resulted in interesting transitions. We pushed back densities in the colors to create solids and halftones going from 60% to 30 and down to the teens and lower. These would print visibly without a base under them and some tones would be ever so slight. The combination of these effects would make for a great faded classic, distressed, vintage design. In Channels we did most of the separating process as we continued to build out our colors with the textures applied. We used the white printer limitedly in this image. We required just enough base white to pop some parts forward while still letting others naturally fall back. We used the white as a base to build up some color, particularly in the red and gold areas as they tend to fall back a little too far without any help. The final image appears to have gray in it, but it is, in fact, a result of halftone densities and reducing the white ink in the base so it would fall back. We didn't need a highlight white. At its highest opacity the base is only 50% going down to five and even zero in shadow areas achieving multiple values with minimal ink colors. We output on CTS at a 55 lpi frequency and a 22.5-degree angle. We needed to keep these prints very soft so we would employ several methods to do so. We would use a hot iron in head one and pre-press the already smooth fabric. We chose a 40/1 tight ring-spun fabric. 305-34 tpi mesh at 30 N/cm2 was used for everything on this. Once the white was printed, we flashed and then smoothed again with a heated roller. The balance of the colors were all printed wet-on-wet with squeegees all being 75/90/75 triple ply dual durom- eter at 15 degrees with minimal pressure opened up for a fast flood and print stroke. And, finally, we used a dummy screen with no image to step on the wet ink at the end of the print cycle to split it for a very effec- tive final result. And, by the way, fun was had by all in some much improved shirts! PW Lon Winters learned screen printing from the bottom up, starting his 20-plus- year career reclaiming screens. He has won nearly 50 international industry awards and honors, published numerous articles, and led several industry seminars and workshops. Currently, he is president of Colorado-based Print This, Inc./GraphicElephants.com, an international consulting firm special - izing in technical advances, plant design, layout, troubleshooting, productivity, quality analysis, and complete garment-embellishing solutions. Visit www.graphicelephants.com for more information. Contact Winters at lonwinters@aol.com. Distressed textures such as chipped paint, rust spots, and bullet holes were added for a weathered effect.

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