November '20

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A P P A R E L D E C O R A T I N G 2 2 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 S O F T W A R E T O S U B S T R A T E We call the first one our soft black. It has much of the shadow areas and will be printed with a transparent process-like ink first in the print order. The second, or hard black, is the solid areas and is printed last to reintroduce the hard contrast and de- tail. We were essentially filling in the gaps between black and white with soft black, white printer, gray, a hi-white, and hard black in that order. The white printer, or underbase, kept those hi-whites bright on dark colors and a black garment. We were printing on white, silver, dark gray, charcoal, and even black. It was necessary to print all the inks on all of our shirt colors so that the final prints looked almost exactly the same. This also helped hold together some of the transi- tions and smooth them out while printing mostly wet on wet as they blend. We flashed only once after the base. Out- put was at a frequency of 75 LPI (lines per inch) and a 22.5-degree angle on a quality dual cure stencil to resolve as much as pos- sible. Each of the inks were cut from 10% to 50% with halftone base as the screens ranged from 300 to 380 TPI (threads per inch) 40-45 N/cm. Off-contact was minimal as was pressure using all 65/90/65 triple ply dual durome- ter squeegees. Registration had to be precise to keep the transition smooth. FINAL THOUGHTS Our final print result looked awesome! As you know, we love working on black, but this time all the shirt colors turned out real- ly well, though we would say it worked best on the charcoal gray where we can really pick up the entire grayscale printed tonal imagery from white to black. GP At 21 years old, LON WINTERS was the production manager for Ocean Pacific and started his 30+ year career reclaiming screens. He's the president and founder of Colorado-based Graphic Elephants, an inter- national consulting firm and apparel decoration studio specializing in screen printing technical advances, plant design, layout, troubleshooting, productivity, quality analysis, and complete apparel decorating solu- tions. Learn more at Above: For a graphic layout, we added a thin line and a drop shadow layer to frame it all up. Right: There are a few areas of solid black in our photo and there are also areas where the black is used more subtly to help build darker gray tones and transitions. It was necessary to print all the inks on all of our shirt colors so that the final prints looked almost exactly the same.

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