February '18

For the Business of Apparel Decorating

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2 0 1 8 F E B R U A R Y P R I N T W E A R || 53 the color indicates "spot color" and adjust the solidity to 20 percent for most colors, 100 percent for the underbase and black, 50 percent for gray, and 70 percent for the top white. These percentages will help give you a more accurate preview of how the separation looks in the actual print. FINDING BLACK You will be using data from K for your black channel. Adjust levels or curves to make sure the darkest black is 100 percent solid and that there are no 1 or 2 percent dots in the lightest area. You can use your "info" window to check the percentages. FINDING CYAN, MAGENTA, YELLOW For this group of colors, I take each color then knock out (command—click—delete) the colors that don't belong. To find cyan, copy the data in channel C, and paste it into channel T. Then, knock out M, Y, and K. You'll be left with only the cyan areas. Copy and paste the data to a new channel for your cyan. Do the same for M, Y, and K to find each respective area. FINDING GREEN, PURPLE, RED For this group of colors, I'll be using calcu- lations (under image—calculations). To find green, go to calculations, and choose Source 1: C; Source 2: Y; blending: screen; Result: new channel. Knock out M and K. To find purple, go to calculations, and choose Source 1: C; Source 2: M; Blending: screen; Result: new channel. Knock out Y and K. To find red, go to calculations, and choose Source 1: M; Source 2: Y; Blending: screen; Result: new channel. Knock out C and K. FINDING GRAY For gray, copy your full-color CMYK im- age and paste it into T. Then, knock out K and the rest of the colors that you have previously found. You'll be left with only the gray areas. USE YOUR MASKS TO CLEAN UP THE SEPARATION After you've located all the colors, use your masks to clean up any stray dots that may be in areas they shouldn't be. Do this by selecting your mask, then delete the areas that you want to remove to white. You can also use this selection to adjust the halftones for each channel. I prefer to use levels (im- age—adjustments—levels) or curves (im- age—adjustments—curves) to fine tune each channel. SPOT OUT PANTONE COLORS Choosing the correct Pantone color is key to matching the artwork to the final print. Use your color picker in your channel to match the desired color as closely as possi- ble. Then, click "color libraries," and Pho- toshop will automatically find the Pantone color that matches closest to your choice. Use this as a starting point, although you may need to adjust the color once you see it on-press. THE FINAL TOUCHES Once you have added the information to each channel, click the "eye" on the chan- nels for a preview. Open a copy of your image and place it side by side with the separation for comparison. Here you can make color adjustments or adjust the print order until you are satisfied with the re- sults. There are several different ways of man- ually locating colors in Photoshop. These are just a few of the techniques I've found that work for me. My advice is to explore all the features of Photoshop to see which method works best for you.

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