September '21

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G R A P H I C S - P R O. C O M 2 0 2 1 S E P T E M B E R G R A P H I C S P R O 8 1 and tonal ranges. We used the blue channel from the RGB to isolate an area for the dark brown shadow in the bevel of the type and eliminated the lighter gray where the yellow is in the text and solidified the information left over after it was removed. Most of the brown would be a solid fill but for tonal variations from the original. Some of the brown would mix nicely with some of the tones from the yellow. Having the combination of the values from dark to light gave this a nice reproduction on press. Similarly, we used other channels to help us develop each of our colors. Last but not least, we had to have our white printer, or base-plate, for the colors to pop. Most of the image area required some base with exception to the black. The base-plate was reduced in the shadows to allow the substrate to darken the ink color. Yellow and white needed a solid fill so they were at their brightest. Once seps were completed, we output- ted on CTS with a frequency of 45 LPI at a 22.5-degree angle. We ran the white on a 156 TPI screen at 35 N/cm2 using a 65/90/65 triple ply, dual durometer squeegee followed by a flash and smooth- ing heated iron in a Teflon screen. Next, the colored inks and the highlight whites all ran wet on wet on 230's at the same tension using harder 75/90/75's. No color changes were required for the four different color combinations — nice! Re- order followed within a week for the event. This is the new normal … GP At 21 years old, LON WINTERS was the production manager for Ocean Pacific and started his 30+ year ca- reer reclaiming screens. He's the president and founder of Colorado-based Graphic Elephants, an international consulting firm and apparel decoration studio special- izing in screen printing technical advances, plant design, layout, troubleshooting, productivity, quality analysis, and complete apparel decorating solutions. Learn more at

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