March '20

For the Business of Apparel Decorating

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2 0 2 0 M A R C H P R I N T W E A R 1 7 Even though we wouldn't require a black screen, we used a black channel to select from and knocked out colors for shadows. Some colors held up well even without the base and were reduced in densities as well. The black of the fabric would reflect our black channel. The text solution, 'Freaky Tiki!', was notched, rough, and even a little tooney. The text was arched to match the alignment of the planks. In Illustrator, the text was formatted and altered in vector and then cop- ied and pasted into a layer in Photo- shop to apply Layer Effects. We used the Bevel & Emboss and Drop Shadow tools to control the depth of the bevel and the colors of the highlights and shadows. The white printers were built by removing the positive information of the blacks and de- fusing or reducing densities for deeper tones. To make the colors bright and bold, higher percentage densities were used. We used two bases to have control over transitions from dark to light to support the changes of shades and tones. The white acted as a determiner for opac- ity and brightness. The soft base had much of the information for the colors and bumped medium tones while minimizing hand. The hard base was used for the brightest and most opaque areas for pop. This gave us a perfect gray scale once the two were printed together. The client wanted to go one step further with the concept and create a separate image using only the mask with some Graphic Elephants stank and textures. For this, we added the leaves for a base and muted flames in the background to embellish the composition. The mask was enlarged and had the same colors and bases with a twist by adding a high-density black base and a clear over print. The larger HD shapes added some visual and tactile texture and the clear added sheen and more texture. The mask was designed to look wooden, so we created slivers to match the direction of the wood and manually added one at a time, placing them in Illustrator. The smaller shapes on the clear prints were added at random. Once seps were completed, we output on CTS with frequencies at 55 on the textured piece and 85 lpi for the flat, both at a 22.5-degree angle. We ran the soft white on 305 and the hard on a 180, wet-on-wet using 65/90/65 triple-ply dual durometer squeegees followed by a flash and smoothing heated roller. Next, the RFU colored inks and the highlight white were printed all wet-on-wet on 30s at the same tension using 75/90/7's. The HD base black ran on an 80/71 with a 400-micron stencil while the clear ran last after a flash on the same mesh with a 200. For substantial ink deposit, we went with 55/90/55s. A large project overall, but our customer was quite pleased. Funny how a surfing theme moved into a Tiki theme, but what is surf without Tiki? PW At the age of 21, Lon R. Winters was the Production Manager for Ocean Pacific. He learned screen printing from the ground up, starting his 30+ year career reclaiming screens. His companies have won more than 50 international, SGIA, industry publication and FESPA garment decorating awards and honors, has served over 15 years as an honorary Golden Im - age Judge, published hundreds of articles and columns, led a multitude of industry seminars and workshops, and consulted on projects large and small throughout the world. He is a master creative problem solver. Winters is the president and founder of Colorado-based Graphic Elephants, an international consulting firm and apparel decoration studio specializing in screen printing technical advances, plant design, layout, trouble- shooting, productivity, quality analysis and complete apparel decorating solutions. He was inducted into the Academy of Screen Printing Technology (ASDPT) in 2013 and is recognized for his contribution to the graphic printing industry. Learn more at The client requested a second image featuring just the Tiki mask and a few added finishes. THE NEXT GENERATION DESIGN EXPERIENCE CS-4030 Printwear FreeStyle Polo Ad.indd 1 1/29/20 1:22 PM

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