July '18

For the Business of Apparel Decorating

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2 0 1 8 J U LY P R I N T W E A R || 19 Strangler, next on the list, means only one thing: Strangle Hold! It happens often and is certainly a finishing move. This design was created in Illustrator for a clean finish. We used a disoriented look that one might feel in that compromised position. Another dis- tressed font was used with offset for a look of imbalance. All the textures were imported and then vectorized using image trace. The scratches were resized, reversed, and turned different directions to give edge and grit for a chaotic feel. The gray was used to cast a scary shadow. Adding red on top and the highlight white on the edges gave dimension and popped on the black. The white printer was straightforward. The red and white portions had a solid base, while the gray did not. And finally, we did Rolling Death. Talk about intimidation factor! We needed only a white printer and a highlight white because, once again, we needed that hard edge and gritty attitude. We again chose a font that wasn't distressed enough, and while there was texture, we needed to open up the negative space to keep from filling in on press. In the same fashion, we added some layers of texture to knock out positive portions by using intersecting patterns and random distress- ing. As a finishing touch, we replaced the center of the A with a skull and crossbones so everyone would know it was hazardous to their health to tussle with an experienced Jiu-Jitsu fighter. All three images were handled similarly on press. To get a su- per bright white, we started with our heated iron in head one to matte down the fibers on the fabric. Next, we ran the white print- ers on thin thread 123s and 150s at 28 N/cm with 18 percent EOMs. Then we flashed our substantial ink deposit and smoothed it out using a heated roller. The top plates were all on 230 to 305 standard thread meshes as the same tension with a much thinner stencil. Since the garments were cotton, standard RFU inks and a good AP white were used. The gray inks were cut 50 percent with curable reducer to push the color way back. These methods created a very smooth and soft hand with an outstanding drape. Of course, the final graphics were anything but soft!

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