Printwear

July '12

For the Business of Apparel Decorating

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Business Watch From Software to Substrate continued from page 24 | | | | continued from page 14 PRINTWEAR PEOPLE Polyconcept (Roelofarendsveen, Nether- lands) appoints Michael Bernstein as its new chairman and chief executive officer, replacing Philippe Varnier. Bernstein joined Leed's in 1992 and led the transformation of the company from a U.S. bags importer for the retail market to a leading gift and promotional products sup- plier. After five years of strong and profit- able growth, he joined Polyconcept in 2005 through its acquisition of Leed's and became the group's vice chairman and CEO of Poly- concept North America. Zezzo Pierce The Promotional Products Association International (Ir- ving, Texas) names Jon Pierce, owner of Specialty Market- ing Group NW Inc., based in Milwaukie, Oregon, and Dana Zezzo, CAS, chief mar- keting officer at Jetline LLC., headquartered in Mount Ver- non, N.Y., as the 2012 PPAI RAC Volunteer of the Year award recipients. The PPAI RAC Volunteer of the Year Award is presented to regional association members who have demonstrated an out- standing level of volunteerism, leadership and made other significant and measurable contributions to a regional association. Since 2004, Pierce has served the indus- try as a Northwest Promotional Marketing Association (NWPMA) board member and president, RAC delegate and Promotional Marketing Association of Northern Cali- fornia (PMANC) board member, as well as numerous volunteer committees and coun- cils. His strategic leadership style has been instrumental in rebuilding and reposition- ing the PMANC organization. Zezzo has a legacy of industry service dat- ing back to 2003 when he joined the Three Rivers Advertising Specialty Association (TRASA) board of directors. Since then, he served as TRASA President, chaired numer- ous committees and events and has contrib- uted greatly as a highly-regarded speaker and subject matter expert on social media. pw 96 | PRINTWEAR JULY 2012 the dialog box, we selected the darkest object and ad- justed fuzziness. While the "marching ants" were still a marching, we clicked on our target layer, the flag shape in the background, and hit delete to drop out our distressed pat- tern. After deselecting and changing the background layer to a color, we were able to see our texture. Using the quick selection tool, we were able to knock out all the background areas in the dis- tressed pattern, leaving a trans- parent background by simply using the delete key. We added a drop shadow and a small stroke to set the image off the background. To add the type, we used styles from our saved sayer styles in our library. A brush from the smudge tool pushed the straight lines of the flag colors to follow some of the patterns left by the distressing. After creating some ad- ditional outlines and distressing the type in the same style as the flag shape, we merged our layers together. DEEP IN THE ART OF TEXAS Separation was fairly simple. Red, blue and white areas would remain just that—red, blue and white. The white printer or under- base was a bit of a trick. We only wanted some portions of the white areas, as well as just some small areas of the red and blue to set on top of the white. This would high- The design took in- fluences in terms of layout from a popular brand, and then made it origi- nal by incorporat- ing the Texas flag, distressing tech- niques and chang- ing up the font. light the bright areas but not flatten the entire image. We took the composite and added stroke after stroke of white to choke it back a mile. Outputting to film through the RIP would add some interest. The angle and dot shape were our standard 22.5 degrees and ellipse. But, for some crazy texture, the lpi was set at a huge 10 lines per inch. The first white down was ex- posed on a standard 156 tpi (threads per inch) mesh, while the red and blue would be on 230s. The white was a good cot- ton white ink and was printed using a 70 durmoter manual squeegee. We flashed the white for a few seconds. Then, since royal is a bit too light and navy seems a little dark, we mixed them 50/50 to get a perfect flag blue. The red printed next, wet on wet. Only three colors and we had a really nice distressed Texas flag image with a super soft hand. But, since we were able to print a maximum of four colors, we added a trick foil treatment at the end. All it took was an additional quick flash, followed by an HD clear print on top of the blue and red areas and a foil treatment of the same colors. At the end of the day, the image was very simple, yet employed several basic tech- niques that really brought the composition to life. The customer was thrilled, and the audience had to have the shirt. pw

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