What have you printed lately?

[ericheartsu]

That looks great. Did you use three whites?

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2 bases (one clear/one white), and a highlight white.

with WOW high solid acrylic ink, the trick is building your inks transparent, and letting your dual underbases cover the opacity. We just started using the clear ink as the first underbase, as it make registration a little easier. It also helps let the other inks, sit on top of an ink, instead of sitting on top of the garment. Sort of in the same thinking of printing plastisol. At least that's how i understand it. Sometimes you have to use the dual white bases, or opacity can suffer.

that run was 288pcs.
looks great! what's the reason for the clear underbase? just about all of the waterbase that i've done here has been for one or two clients and they really like the vintage thing so i haven't ever underbased for them

[johnny]

That looks great. Did you use three whites?

Sent from my XT1585 using Tapatalk

2 bases (one clear/one white), and a highlight white.

with WOW high solid acrylic ink, the trick is building your inks transparent, and letting your dual underbases cover the opacity. We just started using the clear ink as the first underbase, as it make registration a little easier. It also helps let the other inks, sit on top of an ink, instead of sitting on top of the garment. Sort of in the same thinking of printing plastisol. At least that's how i understand it. Sometimes you have to use the dual white bases, or opacity can suffer.

that run was 288pcs.
looks great! what's the reason for the clear underbase? just about all of the waterbase that i've done here has been for one or two clients and they really like the vintage thing so i haven't ever underbased for them

awesome that makes sense, thanks a lot!

[3Deep]

Thanks to themadartist for doing this art for us, six colors

[Doug S]

Nice printing and art.  It’s a nice mixture of solid areas with smooth gradients in the mix.

[kingscreen]

White base, YMCK top. All 230. 47LPI.

[easyrider1340]

Can’t remember if I posted this or not.   I could use your advice.  I’ve done a couple of sim process jobs - and both were for my personal use, as I practice.   
230 mesh, 45 lpi
Manual press
Green Galaxy waterbase inks




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[3Deep]

Not bad at all , but just me thinking I would have like to get more of that blue where all the black is and make blend better in that area.

[Dottonedan]

Can’t remember if I posted this or not.   I could use your advice.  I’ve done a couple of sim process jobs - and both were for my personal use, as I practice.   
230 mesh, 45 lpi
Manual press
Green Galaxy waterbase inks
Sent from my iPhone using Tapatalk

You have a good grasp on the halftones. Those look pretty good.  The blend between the black and the blue, that blue needs to run further under the black for a smooth transition. There seems to be a gap of missing blue dots (white shirt show thu) right there.  This, is where some people are talking about the "interlocked halftones".  I don't like the idea of those myself. In my opinion, as I see it, interlocking requires exact reg. Even when you are thinking you are dead on, you are off a hair, and then there can be some shift during production. With interlocking, you can get the same thing we see here, but maybe not (as much).  Therefore, the best option (IMO) in seps is to run the color under further. Doesn't have to be much.

What I like to do, is to select the black, add to a new channel and select the blue, and add that to same channel. There, you can see if you are overlapping your blue enough.
If in vector, well, this is why Photoshop is just a much better tool for separations, but it can be done in vector also. Just use overprint in Illustrator to that fade. You can do the same thing in Corel I'm sure, I just don't remember how t tell you.

I hope that was helpful. Again, you have a good grasp o the halftone % to create good shades. It's just that blend is off a little.

Thanks
Dan

[easyrider1340]

Not bad at all , but just me thinking I would have like to get more of that blue where all the black is and make blend better in that area.

Thanks, I’m a hobbyist - but like to produce good work.  I agree, the Black was too heavy.    These are giveaways for the poker runs we do. 


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[easyrider1340]

Thanks Dan.  I appreciate the feedback - unfortunately, I’m not smart enough to grasp what you said with one read.   ...going to have to read this again when I’m in front of Photoshop!  Lol

There is way too much black in there, I agree.  This is what I’ve read about - lack of experience correlating monitor/screen to press condition.  It looked pretty good on the monitor/screen.   Obviously, I’ve got lots to learn!

Can’t remember if I posted this or not.   I could use your advice.  I’ve done a couple of sim process jobs - and both were for my personal use, as I practice.   
230 mesh, 45 lpi
Manual press
Green Galaxy waterbase inks
Sent from my iPhone using Tapatalk

You have a good grasp on the halftones. Those look pretty good.  The blend between the black and the blue, that blue needs to run further under the black for a smooth transition. There seems to be a gap of missing blue dots (white shirt show thu) right there.  This, is where some people are talking about the "interlocked halftones".  I don't like the idea of those myself. In my opinion, as I see it, interlocking requires exact reg. Even when you are thinking you are dead on, you are off a hair, and then there can be some shift during production. With interlocking, you can get the same thing we see here, but maybe not (as much).  Therefore, the best option (IMO) in seps is to run the color under further. Doesn't have to be much.

What I like to do, is to select the black, add to a new channel and select the blue, and add that to same channel. There, you can see if you are overlapping your blue enough.
If in vector, well, this is why Photoshop is just a much better tool for separations, but it can be done in vector also. Just use overprint in Illustrator to that fade. You can do the same thing in Corel I'm sure, I just don't remember how t tell you.

I hope that was helpful. Again, you have a good grasp o the halftone % to create good shades. It's just that blend is off a little.

Thanks
Dan

Sent from my iPhone using Tapatalk

[Stinkhorn Press]

Our first process job ever (for a customer, we ran a test for ourselves once)!
y, c, m, k, *flash* spot blue
all on 200|45 static screens (highest we've got!), 41 LPI
un-modified wilflex epic inks.

criticisms, advice, (AND PRAISE) accepted!

[Dottonedan]

PERFECT use of process printing. Nice.  I'm curious tho, why the Cyan after Yellow? I typically go YMCK out of habit, but there are no rules.

[Stinkhorn Press]

PERFECT use of process printing. Nice.  I'm curious tho, why the Cyan after Yellow? I typically go YMCK out of habit, but there are no rules.

THANKS! ha, i didn't at first even CONSIDER process because we hadn't done it AND it's a totally a spot color (tho high) design!
The print order came from the guys I was talking with who HAVE printed CMYK well before, beats the hell out of me!  (we considered this or the order of: spot, K, *flash* YCM)

[Doug S]

I’ve always printed it ymck but I don’t we would’ve had any better results.  Nicely done.

[Dottonedan]

Here's a comparison test we did today in 6 clrs (discharge base white), + YMCK + top white.  all at 22.5 screen angle.

Unfortunately, we can't show the full image, but here's a clip. The intent was just to see how well we would do with cmyk non densitometer calibrated and compare to an 8 clr job we did the day before with the same art. Worked out really well.

I forgot to mention that this image is printed on a Heather Navy and the quality of print and soft hand feel was just about 100% sellable as is, with no changes. Sure, I'd of liked to have gone in and tweak an area or two to make it perfect but this was just to see how we would do.

The best part (for me), is that this is CMYK out of the I-Image without using a densitometer. It's pretty close as it is with plastisol printing and regular blending with sim process, but you can't guarantee a match to any PMS colors with this cmyk right now.  Won't know how accurate I am with these tones until I can get results from a densitometer but in some jobs that don't require exact pms matches, it's a good cost saver for the right order. Thus curve has been working very well. I'd weak it just a little when using cmyk tho. It seems a little too light. Could be richer in the shadow tones.

We also printed on a regular plastisol base to compare. Regular looks a little more grainy and not as smooth, but doable. The discharge base is the faschizzels!