May '18

For the Business of Apparel Decorating

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2 0 1 8 M A Y P R I N T W E A R || 19 We utilized the Bevel and Emboss layer effects in Adobe Photo- shop for text. It was an easy way to add pop and push beyond a plain, flat print. We were careful to not choose too many effects for fear of any production hassles. The angle of the lighting for the bevel gave us a variance in opacities as natural lighting might, setting the highlight and shadow modes at 100 percent and properties set in the palette. The company logos were treated in the same fashion but were quite a bit smaller. To beef up the bevel effects, we added a higher increment for the depth so that it spread to be noticeable. We also adjusted opacities in the highlights and shadows but almost never to 100 percent opaque. We used the blue for the shadow on M&R and the lighter blue as the shadow for GSG. The small pennant flags between the logos did not have any base, so they naturally fell back on the charcoal substrate. We tried to use the shirt to allow secondary elements to influence the final print result. We decided on a subtle, pushed back feel for the eagle in the center of the shirt in the offset position. Early on, we wanted to use big chunky halftone dots in the eagle as a retro sort of thing. Our first approach was to take a separated value from the photo and make a halftone bitmap by taking the grayscale image under the Image menu using Mode and selecting Bitmap. We set the Method to half- tone where we chose a 25 lpi frequency. Clever? Perhaps, but it was a fail. The test print had a pattern that would not be acceptable. We figured that since we were making the bitmapped halftones in Photoshop and not waiting for a RIP software to do the job for us, it wouldn't be an issue. Wrong! Since the bitmap was prefabricated, it became an element with positive areas in which we placed a bitmap into the design layout, and it should have retained whatever prop- erties were assigned. We had used several bitmaps laying over each other, which created a natural moiré, noticeable before we even went to continued on page 32

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