September '17

For the Business of Apparel Decorating

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20 || P R I N T W E A R S E P T E M B E R 2 0 1 7 layout had texture, which is a great effect. However, we would have to be careful that it did not distract. Text was a consideration, especially with the small type, where we decided against texture because it was too small and would lose legibility. We chose ink colors with a rustic feel and helped with the woodgrain treatment. We used several different woodgrain types, some more open than others. We had to consider the dimensions since small or enclosed areas might fill in. We chose a fairly open grain that was reminiscent of old redwood deck furniture. This grain had good contrasts to work with as well as reddish colors with variated tones and contrast. We broke down the values in the grain to achieve the look by controlling how they blend and knock out each other. The texture is only a second- ary effect from the main elements, so we wouldn't need every detail. It would make it easier to print by simplifying the tones and maintaining the illusion of woodgrain. We broke out mid-tone, highlight contrast, dark contrast, and the black recesses. After the initial separation of the grains, we ap- plied a filter effect to simplify the informa- tion further to minimize anti-alias or fringe dots around the edges. This would hold to- gether well on-press. We applied a slight embossment to the face of the lettering utilizing Layer Effects. The Bevel and Emboss Layer Style was a favorite tool for this job. We played with very sharp and soft effects. Many of those FROM SOFTWARE TO SUBSTRATE We played with very sharp and soft effects to create depth and dimension. Left: The client provided a few images of local scenery to use as inspiration to in- corporate into the design. Above: The photos used to represent the scenery needed to be simplified. We used the obvious contrasts to effectively create the basic repre- sentation of them. Once we pulled apart our contrasts, we applied filters.

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