October '14

For the Business of Apparel Decorating

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16 | Printwear O ctO b e r 20 1 4 For minimal ink deposit, we went with 75/95/75 triple-ply, dual-durometer squee- gees and standard flood bars. All squeegees and floods were set at our zero point, and all speeds at mid fives, with pressures minimal. The angles on the squeegees were at 10 to 15 degrees. We only flashed after the white printer and printed the balance wet-on-wet. Setup came together in just less than 15 minutes using our pre-registration system. After just a cou- ple minor adjustments and several test prints to stabilize the gain and loss, we were ready to run. Without incident, we knocked out the production in short order. The customer was so pleased with final print that they asked us to develop an entire line around the "barn find" concept using sev- eral different makes and models of old vintage classics. Something about the vintage concept that makes us go all old skool. But you knew that. and placed it on the door. We positioned it appropriately, and then transformed it using the move tool so it looked like part of the original truck. We then rasterized it in final position by merging and flattening the visible layers. To really give the truck an old-school vintage look, we used the filter and artistic menus to look at different effects. We chose our favorite version, flattened it, and then combined a couple of different patterns for a smudge and brush feel. We distressed the whole thing by grabbing a favorite water color-style texture, bringing it into our file, and opening color range. Again, our marching ants appeared, so we turned off the eyeball to the texture layer and hit the delete key to remove the textured area. This allows for transparent imagery that lets the shirt show through when we print. But, you can still proof the final image by adding the shirt color as a background layer and moving it to the back. Sim Setup We separated the image using a traditional simulated-process method, but kept it very simple. We only needed to print a soft or process black, a white printer, a couple of blues (light and dark), and a highlight white, in that order. Output was a simple 50 lpi, 22.5-de- gree angle in an elliptical shape. This setup gave this print just enough detail and clean transitions but wasn't difficult to hold together on screen. Since the print would go on light-colored garments and because we want a very soft hand, we kept the screens simple and straight forward as well. All the meshes were basic and standard 230/48 (tpi/u) stretched on retensionable frames, work hardened or stabi- lized and retensioned to 30 to 35 N/cm. From Software to Substrate | | | | pw After changing the red truck to blue, the author flipped the image, added the logo, and sized it appropriately.

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