Issue link: https://nbm.uberflip.com/i/1451373
A P P A R E L D E C O R A T I N G 2 6 G R A P H I C S P R O J U N E 2 0 2 2 G R A PH I C S - PR O.C O M S O F T W A R E T O S U B S T R A T E Photoshop. We selected the paths in Il- lustrator, copied and pasted, making sure Path was highlighted in the Palette and renamed the Work Path layer for saving. This hero would be flexing like he might look on a comic book cover with a city scape in the background. We also used those big clunky halftones common in the old comics. Such a great look. Multiple tones were achieved using the base, utilizing the substrate to give us at least two values with each color. To add light and shadow to bring him to life, we took advantage of the black garment for additional values. e base did most of the work for the pop and drama of the bright colors. We also removed image from the colors to give us heavy shadows and to intensify the depth of his muscle tone. We selected paths and removed density utilizing the Levels Palette. Us- ing the Output option, we moved the lever to bring down our solid opacity to percentage of halftone that darkened the tones. We left some areas at 100% to add bright pop. e white printer becomes a grayscale illustration by itself, albeit not as colorful. is is always the magic in- gredient within a good print. Once seps were completed we output- ted on CTS at that chunky old school frequency of 45 LPI at a 22.5-degree angle. To get the most out of the print- ing process, we ran the white printer on a 156 TPI screen stretched to 35 N/cm. A 65/90/65 triple-ply dual- durometer squeegee with soft edge and hard backer did just the trick for a clean opaque rst white down on the surface of the fabric. We ashed just long enough to gel the ink and kept it For highlights and shadows, we created recesses and additional shapes in the costume, for selecting areas for painting in Photoshop. Since many comics are still hand drawn and inked manu- ally, what better way for us to handle this additional hero.