April '23

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1 2 G R A P H I C S P R O • A P R I L 2 0 2 3 G R A P H I C S - P R O. C O M A P P A R E L D E C O R A T I N G After the layout was built and colors laid in, we exported into Photoshop to add texture effects for shadows and high- lights. We airbrushed in realism here. e customer wanted a distressed result and both programs worked very well together; it was easy to get the textures we needed. We used sandpaper, cement, and some grungy metal. We imported them and converted to grayscale to use as overlays. We used Levels and Curves to adjust highs and lows for just the right amount of contrast. We didn't want the texture to cover too much of the image, so we left a lot of open space for shirt show-through and knocked them out, then set up in Channels for easy output. Since the substrate was black and neu- tral, it required a carefully worked white printer or under-base plate. It was fairly dense in areas because of the bright colors needed, but we decreased some densities for secondary tones. We would let the dark of the garment create the black outlined areas and deep shadows. We also made sure to choke the base plate to avoid any peeking out from under the color on press. We sent the seps off to the press man- ufacturer to build their own screens. We didn't see the final results until the show. e prints looked good to us, but that's not where this ends. As Paul Harvey would say Light color builds for the shirts. Final shirt on the press.

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