Computers and Software > Raster and Vector Manipulation Programs, and How to Do Stuff in Them.

Re-do previous split fountain art as process

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Homer:
I think you double click on the color node or right click, I'll check. It inserts a new "color box" to mess with. What version of corel?

Double click on the line, it drops in a new node..

Frog:

--- Quote from: Homer on October 08, 2021, 04:42:13 PM ---I think you double click on the color node or right click, I'll check. It inserts a new "color box" to mess with. What version of corel?

Double click on the line, it drops in a new node..

--- End quote ---

BINGO! Now I'm getting somewhere. Hey, both of you...

Dottonedan:
So, this is an outsiders observation. I don’t use Corel, but we all know illy and Corel are vary similar.
When one creates a feature, the other duplicates that and gives it another name and key command.

for I’lly,  how we (or most of us) approach these blends is like Inkman said. Manually.
Thomas knight argues that you do blends best with interlocking. I highly disagree (although I don’t care to tell him, since it only starts feud). The fundamental of color separation prove this.
Interlock king is another way, similar to how indexing is another way and can be done just fine. Not the best way, but it’s another.

If you take an element selection and want to create good smooth transitions, you do one from say red, over to o % of that red.  Then copy that, paste behind, and tell that to overprint. (Corel has this feature also).

the difference here, from creating the gradient  straight over to another soot color is that (the middle transition there has computer white or knock out white. This is what Thomas uses as the basis or reasons why interlocking works better. Yes, in this case, he’s right. Interlocking works “better than that straight typical blend”.   But they key is, that’s a more old school, archaic method used 25-30 years ago. It’s not how you should create good blends in illustrator, Corel, or vector.

You copy the first blend, paste behind, tell it to overprint, (so that neither blend is knocked out of each other) and then you can even select multiply to visually see that blend. In the one blend, you blend it over to 0% of that same color.  This is so you are not introducing other issues at that end.

the bottom yellow, you then have the same characteristics except you switch the locations of the blends and put the color under the red where you want. This is manual vector separation control and not just letting the program and feature dictate the outcome.  Since both are told to overprint, nothing will knock out of either. So you extend that yellow out a little more allowing for a more filled area under the lighter areas of red, creating good oranges. You don’t just flip the gradient colors. That would be the old school program method.

The only reason I am not a fan of interlocking is that you are relying on perfect registration and the dots are next to each other rather than over and under.  It’s this over and under that creates better 2ndary and tertiary colors. Interlocking is like index.  Index places the squares side by side. Then to capture better visual color blends, and more color, you need more actual colors than you can if you had blended those colors.  With interlocking, miss reg is actually more of a benefit for the blending aspect.  Therefore, I avoid that method. It’s not bad. It’s just not as good.

The way I explained above (overprint and multiply) with duplicating the blend and changing the color to another underneath, and maneuvering those blends is the optimum method for great blends.

Frog:
You guys seem to be discussing sepping this as spot colors rather than process, is that correct?
Initially, I was more interested in merely re-creating this in a way that looked a lot like my split fountain print.
What I came up with, for instance, prints pretty nicely as a digital print or transfer. So, as a screen print on white shirts, isn't this also a good candidate for 4 color process? (kinda' what my output devices are doing automatically)

Dottonedan:
Sorry.  It’s a habit to try and think of how this can print in Spot colors.

would probably print more controllable at spot colors. Same 4 color number.
Green, into a deep blueish purple, into red, into yellow.

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