"He who marches out of step hears another drum." ~ Ken Kesey
I don't do it much, but then again, I don't presently do a lot of sophisticated multi color jobs that would benefit. The benefit is that much less ink wherever possible.My friend Rockman uses this method (or at least did), and hopefully he will chime in and explain how he determines how each top color gets it's own tint percentage determined by its inherent "covering" power.Many knock out the ub entirely under black.
I do like Inkman most of the time. If it's not sim process I'm probably using a a solid base through a 150/48 because I want to clear the base screen in one hit so registration isn't frustrated by excessive gain on the base and I want that ink on top of the garment for a quick flash and a boss print. Higher counts are totally usable, we've done up to 310/30 for base white, just depends on how much matt-down you need and what you're going for up top. I'm not really attracted to halftoning the base expecting it to fill in solid from gain but now you guys have me thinking about it regarding the shirt/bases ability to 'grab' ink and help for wow printing....I do really like the halftoned ub, where applicable, for giving more depth to the tones of your top colors though. It's a similar approach to a classical painting technique ( I think..can't remember the word for this) I've seen people do where they build up tonal layers before painting the "top" and main component of the work.
ohhh, so it's like a hairline knockout of the UB on all the lines between each top color? Then tops are butt reg and the butted edges of each color fall into this 'gutter' rather than smearing up with each other on top of a solid white plate?
Quote from: ZooCity on June 06, 2012, 04:39:52 PMohhh, so it's like a hairline knockout of the UB on all the lines between each top color? Then tops are butt reg and the butted edges of each color fall into this 'gutter' rather than smearing up with each other on top of a solid white plate?Yep