February '16

For the Business of Apparel Decorating

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20 || P R I N T W E A R F E B R U A R Y 2 0 1 6 FINE PRINTING Much of Weidmann's work is quite large, but this time around we got a bit lucky, as one of his clients commissioned him for an original in a manageable size that was also to be reproduced on garments. Wei- dmann insisted his customer work with us to reproduce the design, based on the success and quality of our past projects together. Once Weidmann finished his artwork, we scanned the image at 300 dpi (dots per inch) to size and saved it as a Photoshop document (psd). We then opened it using Adobe Illustrator and placed it to size in the correct position on our artwork template. With the image selected, we pulled up the TRACING OPTIONS menu and adjusted our set- tings while PREVIEW was clicked on. We were able to zoom into the critical detail areas, adjusting to clean up rough spots. Once traced and converted to vector, we were able to evaluate areas we thought may close in on press. We decided to "split" the screen, separating our one color design into two screens. We do this from time to time so we can keep the dark areas opaque on a lower mesh screen, while holding FROM SOFTWARE TO SUBSTRATE continued on page 111 Although the print would be in a single black, the design was split onto two screens so that high detail areas could be done on a higher mesh screen and the dark opaque aeras could be run on a lower mesh. Many of Weidmann's pieces are large enough that they need downsizing and have many fine details. This time, the size was manageable for applying to garments and other materials. The author reworked some of the highly detailed areas of the design that he feared would close up on press.

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