July '21

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G R A P H I C S - P R O. C O M 2 0 2 1 J U L Y G R A P H I C S P R O 6 1 or knockouts helped break up some of the color and minimize the overall ink cover- age for a softer hand. We used a posterization technique to create the graphic look for each sense. First, we found photos that had good contrast balance for nice definition and turned them into grayscales. Since the splatters would be the base for the color- ization, we only required the darkest val- ues for the lines and shadows to define the shapes. We extracted all the informa- tion in the photos around the shapes and eliminated it, then ran the Posterize filter in Photoshop, which added the texture for a more illustrated look. The fingerprint was the least difficult because it's a series of lines, but since they would be knocked out to allow the black fabric to show through, we had to increase the weight slightly so it wouldn't fill in on press. We added some bold lines around contours to some features as another way to break up the image. Much of the color was flat and straight- forward, which made it easier in the sepa- ration process as there was minimal con- tinuous tone. Among the chosen primary and secondary colors that would be print- ed, we needed the addition of green and orange. We would do some old-fashioned color mixing. Blue and yellow make green, and yellow and red make orange, right? Careful consideration of percentages of each were used to mix each one. We re- ferred to our test squares for formulas for accurate colors. With the chaos of the splatters, we lay- ered the elements over the color with line definition clean and enough weight for definition. We kept the grayscale of the eye without posterization. This ele- ment already had a good amount of dark contrasts with the blackness of the pu- pil and eyelashes. The tones around the eye had darker transitions where shadows The eye already had a good amount of dark contrasts with the blackness of the pupil and eyelashes.

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