"He who marches out of step hears another drum." ~ Ken Kesey
Turns out, we burned the screens on 355's. The job came out great at 60lpi and 22.5, elliptical dot. i wish I could show the results on this one but it is for the Daytona race and I simply can't. Thanks for the input guys.Mike HoeyDirector of EmbellishmentMJ Soffe
if the output is not calibrated we are talking apples to oranges. Most of the uncalibrated output I've seen seems to be off by 10 lpi. So what Colin might be calling 60lpi would equate to our 50lpi. Or in other words, our 55lpi would equal his 65lpi. pierre
if the output is not calibrated we are talking apples to oranges. Most of the uncalibrated output I've seen seems to be off by 10 lpi. So what Colin might be calling 60lpi would equate to our 50lpi. Or in other words, our 55lpi would equal his 65lpi. unless we are talking about calibrated output, SERJ's 100lpi could actually be 70 lpi! So it's hard to compare notes if we are not talking the same language.also to consider, as I understand, full range of dots (3-95%) is only possible at 55lpi on the standard(T) 305 mesh. We can hold 3% on the 330S mesh which has much thinner mesh. 5% or so seems to be our limit on 305T. This means the dots smaller than 15% or so get lost if we print at 100lpi. If we separate the artwork so there are no dots smaller than 15% than we can print 100lpi. the reality is that the 15% 100lpi dot is about equivalent in size to the, lets say, 3% 55lpi dot! . SERJ is probably adjusting his seps to compensate for it and is making it work!I've done the making it work part and unfortunately it bit me in the behind pretty bad. As time goes on output devices change and unless you are linearized, you will have to compensate and adjust your new device to print the same wrong dots. Trying to chase that down can be pretty tough. Sticking with the proper settings makes the life easier in the long run.pierre