Back to Basics - One Color Light on Dark Question

[mimosatexas]

This is kind of a problem that isn't a problem, and more a subject I was hoping to get some ideas about alternative methods and how shops handle something "basic".

I do a lot of one color back designs, light on dark, that follow a relatively simple formula: 

1. Medium sized logo/mascot/larger event or show title at the top where the field of color is large/bold
2. Small text of a roster, cast, volunteers, business names, etc where the color is fine lines/dots/details

My standard method for these prints is one of the following, usually determined by whatever I feel is optimal based on the shirt brand/style/color, the art, ink color, etc:

1. One screen, usually 150S/180S/225S with DC white/color when possible.  Makes it super simple to print, no muddiness in the small details and the bolder areas pop
2. One screen, anywhere from 110 to 225S with some HO plastisol (very often white), that is print/flash/print.

These methods "fail" whenever the shirt is not dischargeable and/or the ink color does not work well with p/f/p like a fluorescent.


ALTERNATIVES?
I print manually, but I realize that doing one screen p/f/p is a no go for efficiency reasons on an auto, and honestly it just doesn't seem like the optimal and go to method for manual either considering certain colors will not lend themselves to full opacity with p/f/p.

The obvious solution is a base white followed by a highlight/top color. "Duh!" right? Well...I haven't always had great luck with this in my shop, especially with the thin text and small details.  Sometimes these basic designs just end up being a huge PITA.

When I do a white base, I usually choke the base by 2px (at 300ppi) and expand the top color by 1px (300ppi).  This gives me effectively a 1% trap, which works great for almost everything, BUT on certain designs I feel like text gets muddy or the image just isn't as clean looking as a standard p/f/p or DC one hit print.

I was wondering what other shops do for these kinds of basic prints.  I know some of you probably have it dialed in enough to barely choke your base (if at all) and can lay down pixel perfect print strokes on every shirt (manually with statics, I just haven't been able to quite get there).  I think that is awesome, and should be the goal of course, but I was hoping to hear some inventive ideas and details for those of us who have to compensate for less impressive equipment and what not.  How do you handle these jobs when it comes to specific mesh counts, eom (high eom, cap film even?), using a certain brand/line of ink, trapping/choking differently, etc.  Really any ideas would be welcome.  I always get these jobs done and the clients are happy, but sometimes it feels like something so basic can still be improved and I'd love to hear how other shops handle it.

[jsheridan]

I know some of you probably have it dialed in enough to barely choke your base (if at all) and can lay down pixel perfect print strokes on every shirt (manually with statics, I just haven't been able to quite get there).  I think that is awesome, and should be the goal of course, but I was hoping to hear some inventive ideas and details for those of us who have to compensate for less impressive equipment and what not.

Just gotta keep on keeping on until you get there with what you got.

Registration is a foundation of the print, do your best in pre press with whatever jig system you can come up that puts the screens in the press the same way. If you don't have one, get a magnifying loop to help with tight reg.

[Frog]

If you don't have one, get a magnifying loop to help with tight reg.

Though I have a collection of loupes, linen testers, and magnifying glasses, for the last few years I have slipped on a pair of fairly strong reading glasses to get up close and personal with screens and prints on press. These are stronger than even these old eyes can use for reading I think +3, as the writing has worn off of the earpiece.

[mimosatexas]

The registration is not really an issue. I use a DIY version of the triloc and rarely have to touch a micro honestly. Pixel perfect repeatability on every print stroke can be a problem though when manual printing on longer runs, especially on statics with 20ish Newtons, even Smesh. 99 out of 100 might be fine but without choking the base the 100th may have white poking out.

I guess the point of the thread is not "how do you register screens" and more a question of specifics when it comes to how people approach this basic kind of print. What mesh counts, how much are you choking your base and what happens when that simply erases fine detail in text , etc.

[Shanarchy]

Every one will have a different answer as they will have different variables (press, mesh count, tension, ink, etc). And one's shop quality is another shops poop.

The most important thing here is that your customers are happy. The fact that you want to improve is even better.

I stopped not choking my underbase. I thought is was a band-aid. Now I believe it is the right way. If you put down a white underbase then cover it perfectly with a top color of red, theoretically you would always see the white layer if you were looking at the print close up from the side. think of if you put a sheet of red paper over a sheet of white paper. look at it from the angle and you can see there is another piece of paper under it. The band-aid (in my opinion) comes when you have to choke your undebase a lot. Then you have to ask what are you compensating for, loose mesh, unparalleled platens/screens, press not holding tight registration, etc.

For 2 dozen tees, I will P-F-P a super opaque ink when possible (QCM and Union have great super opaques). But it will always look better with the color printed over an underbase. As long as the underbase isn't poking out.

When I prepare an underbase, I usually choke the artwork 1pt (I work in Illustrator), but for smaller text I usually do .5pt. If the white is going over white as a highlight, it really doesn't matter much to me. But I'll usually still choke it .5pt. And your underbase print must be smooth, or your top colors will look rough. But I'm sure you already know that.

The time to print with an underbase and top color is the same as P-F-P. The time difference comes into making the extra screen, and more importantly registering this screen. This is where the pre-reg system comes into play.

I also like to use an ink with good opacity for my top coat. Not a super opaque, but and ink like Wilflexor Union Ultrasoft will offer nice opacity to cover a decent underbase. I find some inks that are weaker in pigment I need to P-F-P the underbase to get good coverage of the top coat.

For now keep doing what you're doing to get the job out the door and make the customer happy. If you have extra time on your hands, make a couple of screens to experiment with. Always strive to better yourself.

[jsheridan]

What mesh counts, how much are you choking your base and what happens when that simply erases fine detail in text , etc.

You use the mesh that can hold the level of detail of which you are wanting to print. Very fine text may take a 230 or higher mesh to support the detail.

If the text is already to fine, expand the color so it falls off the base rather than shrink the base.