Computers and Software > Separation Programs
OUR DOTS ARE FAT.
Dottonedan:
OUR DOTS ARE FAT.
So you think you’re doing fine halftone printing with your films?
Consider the wet film (photo chemical processing) of imagesetters as the bench mark for true halftone sizes. We don’t see those anymore. You younger whipper snappers don’t know what a good dot looks like.
Most Digital film and wet and wax CTS printers are not putting out true size. Even with linierzation, it’s a fat dot. A 25lpi can be linearized to be accuate, That don’t make it a small dot. That just makes the 3% a 3% (in a 25lpi).
Take the low end Epson 1430 and a 65lpi. That’s probably closer to a 55lpi of the wet film (photo chemical processing) of imagesetters. I’m not talking about how pretty the shape of the dot is, I’m talking size.
When I want to do fine halftone printing on film with an Epson 1430, I have to jump to 80lpi to get a good small dot. People used to say you can’t do 75-80lpi on tee shirts. Thats because some of us were using good films back then. Back in the day, it was harder to hold an 85lpi and print it well, but it’s easier now with our fat digital dots, (like doing regular 65lpi).
Our dots are fat these days.
3Deep:
So what cha saying my 1430 is a bad azz and I need to try an 85lpi sep? but wait I kind of like those fat dots makes it so easy to burn 8)
Admiral:
I've made lithographic and flexographic plates in the past. Those lithographic plates were great quality 20 years ago when I made them. I'm 35 now.
As for our I-Image - our separator does lower the opacity of a lot of colors because otherwise we get too much ink - like you said, those dots are fat!
tonypep:
I am not an old (white slapper ;) but this aging whipper slapping fool wants to know if "fat" is referring to D-Max/D-Min, or or shape of dot. Even the best I have seen (for textiles) is what I refer to as a "popcorn dot" under a loupe. And they deliver spectacular results. However, I as I am shifting towards fine art and paper serigraphs this may not be acceptable for continuous tone .
All that said, I am working on some translucent wet on dry images with a 10 dots per inch!
Sbrem:
I also fall outside of the young whippersnapper category, I made our first halftones with a contact screen and tray developed films. It's so easy now compared to that. We'd make 3 different exposures on the film, a highlight bump (no screen) then the main exposure, followed by the shadow exposure, which was done by exposing the film to a 7 watt darkroom light with the yellow filter on it, which would help open the shadows. I got a lot of good info from the Kodak Halftone Guide. I'm OK with today's results, not to mention we don't have a process camera and darkroom anymore.
Steve
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