October '22

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G R A P H I C S - P R O. C O M O C T O B E R 2 0 2 2 • G R A P H I C S P R O 3 9 by adjusting the layer's opacities. We added each color to separate layers in the Layers menu. With the top layer selected, we clicked Opacity and used the cursor to adjust the level of opacity, showing the bottom layer as it starts to become visible. We set the opacity level to 60%, which blended 60% of the top image with 40% of the bottom layer. ere had to be considerations paid to densities because they would need lumi- nance and transparency as they over- lapped each other. The trick was hav- ing some dramatic transitions between halftones. We went from 100% to as low as 5% in a very short distance to keep that blend smooth between colors. e white printer or underbase would help give brightness. Using a soft brush, we smoothed out the transition levels of density, which had to be accounted for. Utilizing the Info Palette as we painted was instrumental here. is allowed us to see exactly what our grayscale was doing as we adjusted. The palette indicated the amount of ink density or halftone that would be printed in any particular area. e separations were quite straightfor- ward and ready for output as spot colors and layers. ey would just need to be ripped and outputted at 65 LPI (lines per inch) at a 22.5-degree angle. ree standard 230/48's (tpi/u - threads per inch/thread diameter in microns) were used for three colored screens. Proper exposure and resolution were critical to holding the dots all the way down. e white printer was built on a 156/54, and all screens were retensioned and work hardened at a 35 N/cm tension level. We would custom mix the coral, tur- quoise, and gold to match our early direction. e first couple of strike-offs, though registered, just were not blend- ing properly. is is where the voodoo, or hippy magic, as we like to call it, comes in. In the end, we changed out the white printer or base with the gold ink used in the blend. After a few more test prints, the inks began to "blend" between colors and created the addition of the secondary tran- sitional colors. It was important that the inks had similar viscosity or consistency, so one ink didn't overpower another and bury it. e squeegees were 65/90/65 tri- ple-ply, dual-durometer. We flashed and smoothed after the first gold and ran the rest of the colors wet on wet to help con- tribute to the split fountain. With a little babysitting, the print ran smoothly, and the client was pleased with this and the entire line for next year. Sales are look- ing strong, and production orders are in the queue. GP At 21 years old, Lon Winters was the production man- ager for Ocean Pacific and started his 30+ year career reclaiming screens. He's the president and founder of Colorado-based Graphic Elephants, an international consulting firm and apparel decoration studio specializ- ing in screen printing technical advances, plant design, layout, troubleshooting, productivity, quality analysis, and complete apparel decorating solutions. Learn more at Watch video tips from Lon Winters! Give dead screens new life UN-Lok UN-Lok with YOUR SCREENS YOUR SCREENS RIP RIP • Cleans ALL types of locked emulsion • Safe for all mesh • No harsh chemicals or odors • Typically works within 30 minutes • 800-538-5069

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