February '20

For the Business of Apparel Decorating

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2 0 2 0 F E B R U A R Y P R I N T W E A R 1 7 THE EVENT for decorated apparel and so much more! Learn More At: Experience the lively exhibit hall, the classes taught by industry experts and the endless networking opportunities, all conveniently located near you! Santa Clara Feb. 7-8, 2020 Irving Mar. 12-14, 2020 TRAINING STOP TRAINING in the HALL Participants as of Dec. 2019 TRAINING STOP ing that with multiple percentages of halftone colors contributed to the shadowed areas as they fell way back. We used halftones in both the base and highlight whites as well. Since we weren't working with many colors, we needed our whites to act as gray tones. We used the highlight white with no base in areas with variable percentages of halftone. The soft tones of white for the gray tones were on the top white to control the opacities. Using the two whites together in multiple variations gave us a full grayscale. The varying tones in all the colors helped give the characters form. We simply split all the colors into three tones. A solid 100% was used for the bright areas, and 25% and 10% tones for transitions and shadows. For the deepest and darkest recesses, we completely knocked out the information for the black shirt to show through. We really used the black of the garment to let the characters blend into the night using slight highlights to catch some drama and generate interest with less colors. The brightest whites were built using both the base and the top white. The red character stuck out but needed some reduction in densities. The red ink held up fairly well without a base and darkened naturally on the garment. We decreased some of the solid red where the shadows took hold and the right amount to help the form look believable. It is comic book art, so it didn't really need to look real, but we digress. The base plate was used to help our design have dimension and really make the colors pop. Some areas have very little or no base to push them back for those heavy shadows. The black wolf had hardly any base other than the bright spots. Less ink on the base helped with the hand of the shirt for a softer feel and drape. We built multiple shades from each ink color to achieve multiple tones and creating more colors with less. Simple but effective. The extra steps made a two-dimensional image look just a bit 3D. Once seps were completed, we output on CTS. Because it was a cartoon, we chose a low frequency of 45 lpi at a 22.5-degree angle. As this cartoon came to life, we wanted to get the most out of the printing. We ran the white printer on high tension N-166 tpi at 45 N/cm2 with 20% EOM using a 65/90/65 triple-ply dual durometer squeegee for that soft edge and hard backer. We flashed just long enough to gel the ink and keep it hot long enough to make it to the smoothing screen to matte down the fibers for the rest of the colors to sit on. Next were the colored inks in subsequent heads and the highlight white all wet-on-wet on N-272s at the same tension using 75/90/75s. Our "client" was extremely happy with the outcome and couldn't wait to receive the garments so she could proudly display them in her community of imagination. 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./, an interna - tional consulting firm specializing in technical advances, plant design, layout, troubleshooting, productivity, quality analysis, and complete garment-embellishing solutions. Visit for more information. Contact Winters at

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