GRAPHICS PRO

November '20

Issue link: https://nbm.uberflip.com/i/1300666

Contents of this Issue

Navigation

Page 24 of 118

A P P A R E L D E C O R A T I N G S O F T W A R E T O S U B S T R A T E | L O N W I N T E R S LET LIGHT SHINE OUT OF DARKNESS SCREEN PRINT TECHNIQUES FOR BLACK AND WHITE IMAGES 2 0 G R A P H I C S P R O N O V E M B E R 2 0 2 0 G R A P H I C S - P R O. C O M O ne of the oldest existing black and white photos is said to have been taken around 1826 or 1827. Though we wouldn't see a color photo for another 80 years, we have always been in- trigued with the high contrasting elegance of a black and white image. While most imagery today is full color, the classic look of that grayscale photo is often personal preference with an artistic sense. Even our cell phones offer an option for black and white to capture our every moment via the infamous selfie. Black and white, grayscale, or duotone images (as they may be referred to) require a more structured approach to get an ac- curate reproduction. Using a single white ink screen on a black garment usually is not sufficient. It certainly depends on the image, especially if there is a lot of con- tinuous tone and subtle transitions from bright white to black and everything in between. Black and white photographic images require considerations other than just white for a precise result. CREATING CONTRAST For this project, we would add effects along the way to our photograph mashup to en- hance the final print. We chose to work with lighthouse photos because they begin in a high contrast environment by defini- tion. We used the clouds in one photo as they were quite dynamic, but the light- house wasn't as interesting as others. It was time for a little super-imposing… what we call "Frankenstein-ing" our composition. After deciding on the famous and rec- ognizable photo of the 1917 Cape Hat- teras Lighthouse in the Outer Banks, we surgically removed it from its source, then tucked in neatly behind the rocks in the foreground. There remained an area in the background, however, that lacked subs- tance. Our new lighthouse details blended into the sky. We extracted a similar, yet less intense, set of clouds from another photo and moved them in place to pop the light- house forward and complete our stormy sky. We chose all our photos with good con- trast and balance, without too much white so we didn't wash out, or too much black that might bury our whole image. Notice in the images that we did include some black-blacks and white-whites for the hard contrast. To break up the hard edge, avoid a big rectangle of ink, and to make the image part of the garment, we would use a grungy border as an edge treatment. (All images courtesy Lon Winters)

Articles in this issue

view archives of GRAPHICS PRO - November '20