July '20

Issue link:

Contents of this Issue


Page 83 of 102

G R A P H I C S - P R O. C O M 2 0 2 0 J U L Y G R A P H I C S P R O 7 9 Both the Levels and Curves palettes were instrumental in achieving this. Levels ex- ponentially reduced our percentages down to single digits, and Curves gave us manual control. The difference we made in those shadows gave a better final print and was reduced into the teens and single digits. It's noticeable in the jaw, cheekbone, and nose areas. All of the type was built in Illustrator for ease of warping the text in a vector format. We used both the Free Transform tool and Warp filtering to compose our layout while adjusting sizing and angles. We took a screenshot of the skull photo and used it as the template to lay out the verbiage in precise locations to size, eliminating any misalignment back in Photoshop for seps. For fonts, we followed the styles that the animation series used for the actual shows' titles. When using Channels to set up our sep- arations, some densities in the grayscale of the image were fairly high in percentage of tonal range. With dot gain on press antici- pation, some tonal areas may fill in, par- ticularly anything 50% or higher. To read those tones, we opened the Pal- ette options and chose Info with the check mark next to it. The Info palette showed us the percentage of black on the left with the eyedropper tool. The Channels infor- mation recognized is the positive areas. Once the text was moved back to Pho- toshop, we deleted that information from the skull image to allow the shirt to show through and appear black. Reproducing this photographically meant we had to have transitional tones from almost black to bright white. Shadow and highlight tones changed throughout the image, and using a single white ink screen would not give us the result we wanted. We decided to split the whites, using a lower mesh for our white printer or base- plate and a higher mesh for the details and softer areas of the print. The State of Mind title along the bottom was placed onto both white screens to ensure maxi- mum opacity. The base helped punch up all the opacities of the bright areas. We don't have the base under every portion of the image as we allowed other parts to fade or mute naturally in the highlight for variance and depth in the imagery. We manually set up some of the tones so we didn't want that base support. There are spots in the upper cranium that were solid and would need to be print- ed using both whites. The hi-white had more flexibility on press to control finer tones and high details. With the two dif- ferent screens, we could achieve a great variety of highs and lows in the final print result. PRINT COMPLETION Once seps were completed, we output- ted through the RIP on CTS (computer to screen). Because of its graphic nature and huge output size, we chose a low fre- quency of 45 lpi at a 22.5-degree angle. To get the most out of just two screens, we went extreme. For maximum white ink coverage and deposit, we ran the white printer or base on high 110 threads per inch at 30 N/ cm2 with 20% EOM using a 65/90/65 triple ply duel durometer squeegee for that soft edge and hard backer. RFU (ready for use) quality white ink was used. 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 hi-light to sit on. A 305 at the same tension using a 75/90/75 was YOUR PROTECTION PARTNER CS-4180 1/3 Printwear Ad_July.indd 1 5/20/20 8:13 AM

Articles in this issue

Links on this page

view archives of GRAPHICS PRO - July '20