How would you have printed this?

[GraphicDisorder]

We ran this job today, Shelly and I had a discussion about this job and I wanted to get some outside opinions on how you would have printed it.  (print order, how many flashes, wet on wet, etc)

It's 2 blues, orange, white ub, and white highlight. 

We have a 8 color press, so please comment as if you have 8 color machine. 

[Nation03]

Never printed on an auto so I don't know how well this would work, but I'll give it a go.

Head 1: White UB (150 S-Thread)
Head 2: Flash
Head 3: cool down
Head 4: cool down
Head 5: First Blue (305)
Head 6: Second Blue (305)
Head 7: Orange (305)
Head 8: Highlight White (305)

[Dottonedan]

It's hard to say just by looking at your final. The original art may suggest a different story to me. While prints can look great when we see them here, they could be dead on or they could be slightly off or worse...from the original. 

This seems somewhat cut n dry on the surface and the print looks great. Nothing to compare to outside of that so its hard to say how we would decide to do it.

It could be done well in multiple ways and all would be right if the customer was happy.

Myself, my first choice is to do as high of a mesh count as I could get away with.
Many can't imagine it, but I would consider under basing the colors with a white on a 290-310 mesh. By goal us to achieve as little ink lay down as can be nrasrsaru to both underbase the top cord (enough) and to support making my top white bright as well.

All other colors would also be on 290-310 also.
I would flash the white in this most often, but on occasions, even on black garment, you can get away with no flash...depending on your art needs. Some jobs won't allow you to do that. For example, a wet underbase on the job even at high mesh would make your blue too pastel as you got into production.

More commonly, for everyone else, I do 230 base, flash and use high mesh on top...like between 290-310.

[GraphicDisorder]

Static frames you'd still suggest same Dan?

[Inkworks]

FOR Platisol and traditional meshes:

1- UB White 230
2- Flash
3- HL White 230
4- L. Blue 230
5- Orange 200
6- Flash
7- Cool down
8- Dark Blue 230 to open up any distressed detail lost in wow of previous colours.

[Homer]

230 base, 305 top colors:

WB
Flash
cool
blue
blue
orange
flash
HW

[Dottonedan]

Static frames you'd still suggest same Dan?

Nothing wrong with static frames and being able to do a job the way I described since we are focusing in on one job (as long as your static frames had a high tension at that time). 25n is 25n no matter static or Retentionables. For the most part, Retens are better than static simply because you can bring them back up to par and be more precise for re orders through documentation. With static, it is what it is and you hope it's currently high enough.  I have seen a few shops buy pre stretched screens that come in with low tent ion. Can't always trust it's good enough. For wet on wet, you do need the best tension, off contact and peel. Ink type can also toss in a wrench.

[JBLUE]

230 base, 305 top colors:

WB
Flash
cool
blue
blue
orange
flash
HW

This is the print order I would have used.

[alan802]

I think we could do this particular job without 2 whites, but this is the first option if the highlight white screen is needed:
1. UB, 150/48 or 180/48, one stroke
2. Flash
3.
4. Light blue, 225/40
5. Dark blue, 225/40
6. Orange, 205 Newman roller mesh
7. Flash
8. Highlight white

If the highlight white screen is popping because of the lack of a cool down, then you can do the revolver mode, same mesh counts:
1st round:
1. UB
2. Flash
3.
4. Light Blue
5. Highlight White
6. Flash
7.
8.
2nd Round
1.
2.
3.Dark Blue
4.
5.
6. Flash
7.
8. Orange

This option would be with one white screen.  I'd use one of several different mesh counts for the UB/white, a 110/71, 102 newman roller mesh, or a 135/48 could do it.  Stencil thickness would play a huge role here, a thick stencil could provide you with the ink deposit required to get that white to look good.
1. UB, 110/71, 102 newman roller mesh, or a 135/48
2. Flash
3.
4. Light Blue
5. Dark Blue
6. Flash
7.
8. Orange

I think this would be a perfect candidate for a discharge underbase:
1. Straight Discharge Base
2. Short Flash
3. Light Blue
4. Dark Blue
5. Orange
6. Flash
7.
8. Highlight White

[Homer]

I think this would be a perfect candidate for a discharge underbase:
1. Straight Discharge Base
2. Short Flash
3. Light Blue
4. Dark Blue
5. Orange
6. Flash
7.
8. Highlight White

Al's got it here too, however I don't think I would run the second flash after the orange. Proper tension of course.

[GraphicDisorder]

Most here answered similar how I suspected.  So how did we print it?   

Done with 2 rotations flashing between each color using 2 different flashes.  We had no puller today anyway and it was a Sunday, but over all.  I'd like to get into more wet on wet printing, we simply don't do a lot of it. 

It is to the point we are doing a few jobs a week that end up revolver for one reason or another varying from not being used to wet on wet, poor planning, or various other reasons.   For me it's time to correct that because it's eating up a lot of time when we have to do that.  So it's learn wet on wet.  Or buy a press with more colors.   

So do I need newmans to really be serious about wet on wet? 

[mk162]

No you don't, but it will help.  We print all the time wet on wet, you will need statics with good tension though.  the stuff that comes out of your shop is top notch.  Seriously, the only thing you will gain with newmans is better production.  I don't really see your prints improving that much, there isn't much room to move up.

The biggest thing with wet on wet is mesh selection.  also using the perfect amount of pressure on all heads.  that is critical.  a print can go from great to really bad if you crank the pressure down on a wet on wet overprint.

[Prosperi-Tees]

Amateur question - where is the 2nd blue in this print?

[mk162]

it's not an amateur question, i was wondering the same thing.

[Gilligan]

Inside the shark.