# Halftone inverted to print White on Black



## TYGERON (Apr 26, 2009)

Back story:

This was a rush job from a teacher for a club. We talked single color for time and budget reasons. I priced it as single color front and back print. She sent one graphic that was 3-4 spot colors that I started to redraw as single color. Then I get this one in color that "the kids REALLY want". Not feeling like explaining colors, cost, time, art seps, blah blah, I decide to do it as 2 colors.
Lamenting my decision, I wasted time getting started and visualizing how it'll look and thinking how I'm going to do it. While sitting at home binge watching "Criminal Minds" and eating chips and salsa, my brain decided to drop in for a visit:

*Brain:* "Dude, sorry I'm late. Had a few things come up."
*Me:* "You need something? And don't ask for any chips."
*Brain:* "Bro, I'm here for YOU. Yeah a little late but here. And I got your answer." 
*Me:* (Crunches chip)
*Brain:* "Uh, just halftone it, invert it and call it a day."
*Me:* (Smiling) "I love you, B. Want a chip?"


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## TYGERON (Apr 26, 2009)

For anybody interested:

126 mesh, 32.5 line count, 22.5 angle, single pass, Union HO White.

And I used Neil's video to trim the background (without the powerclip)

http://www.t-shirtforums.com/graphics-design-help/t467105.html#post2594417


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## ShirlandDesign (Nov 29, 2009)

Did you adjust curves before or after inverting? Also by how much, it seems like to get a solid white for lettering I always over blow the half tone


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## TYGERON (Apr 26, 2009)

ShirlandDesign said:


> Did you adjust curves before or after inverting? Also by how much, it seems like to get a solid white for lettering I always over blow the half tone


 Interesting you should ask.

You know I thought of @tpitman who said a while ago in a post that he adjusts _after_ inverting. For some reason I just don't feel that . Kinda makes more sense though.
I dialed the White/very light areas in the image back a bit to contrast with the 100% White of the lettering. It's subtle though.


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## cyclesurgeon (Sep 10, 2010)

TYGERON said:


> ...Lamenting my decision, I wasted time getting started and visualizing how it'll look and thinking how I'm going to do it. While sitting at home binge watching "Criminal Minds" and eating chips and salsa, my brain decided to drop in for a visit:
> 
> *Brain:* "Dude, sorry I'm late. Had a few things come up."
> *Me:* "You need something? And don't ask for any chips."
> ...


Dude, I think our brains are related...


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## TYGERON (Apr 26, 2009)

cyclesurgeon said:


> Dude, I think our brains are related...


 Doctor!

Haaa-haaa!!


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## scaf77 (Jan 10, 2011)

Nice work!
I have a hard time getting solid text on these jobs without blowing out my halftones.
Any advice?


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## KillaKeem (Feb 7, 2014)

any advice?


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## TYGERON (Apr 26, 2009)

KillaKeem said:


> any advice?


Sorry. Missed @scaf77 post.

Key is the mesh count, halftone frequency and emulsion/exposure/light source.
With a good exposure, the emulsion should be cured enough that washing out shouldn't require a heavy pressure to the point of blowing out dots. Sometimes screens are _under-exposed_ to hold smaller dots, then re-exposed after wash-out to fully cure. If it's _over-exposed_, finer dots may not wash out. But two steps shouldn't be required. Work at dialing in optimum exposure initially. A single-step calculator is good to do so.
Using a dual-cure or diazo emulsion gives a bit more latitude than a photopolymer, which tends to expose faster. Using a high UV single point light source helps too. Don't be afraid to use a coarser mesh and lower halftone frequency. Halftones don't have to be 305's at 55-65 line count. And with smaller text and solid areas that butt against halftone areas, a thin solid outline helps keep sharper edges.
Clear film and dense ink deposit and firm contact with emulsion when exposing is also critical.

And using 2 screens works too. One with the halftone and one with solid areas and text.


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## Grahamdata (Jan 20, 2015)

There is nothing I don't like about this print! Really great coverage and nice artwork. Great job!


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## ShirlandDesign (Nov 29, 2009)

> And using 2 screens works too. One with the halftone and one with solid areas and text.


Can you compensate enough in curves to do the job well with one screen?


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## porkchopharry (Mar 4, 2012)

ShirlandDesign said:


> Can you compensate enough in curves to do the job well with one screen?


I've done a number of designs with halftones and solid fonts on one screen. No adjustments/curves needed really for the font portion. Once you get the levels right for the halftones and converted to halftone, then you add the font, etc.

The real trick is in the printing of it I suppose. But it's easy enough to get the hang of.


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## ShirlandDesign (Nov 29, 2009)

> Once you get the levels right for the halftones


Kinda what I was getting at. So I usually as a ball park figure pull the 50% dot down to say 38% in curves to compensate for dot gain with a black on white halftone, this usually works out fine. I haven't done enough inverted halftones on black to spend the time to work out in curves how to adjust so that you don't over blow the ink laid down doing print, flash print. Of course to get a heavy solid white for lettering this just increases the problem.


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## porkchopharry (Mar 4, 2012)

Hey John,

I was a professional photo retoucher for a number of years before I decided I was sick of it and was going to pursue my dreams of having my own "t-shirt shop". 

I don't really use curves for light levels, I use the levels control (in photoshop). 

There's really no set rule for levels and/or curves though. Especially with something photographic. However, a lot of time the details are in the "mids, or midtones" so that is what I will adjust firstly and keep my eyes on most. 

The last design I did like this I had to expose the screen a couple times to get the result I wanted. You can see that one here, it has a solid font as well: http://www.t-shirtforums.com/show-your-stuff-screen-printing-print-job-examples/t444362.html

That's a one hit white waterbase on black tee.

As far as dot gain and such, I don't over analyze it too much. I think? Once I am happy with the actual screen, I just figure out a way to finesse it on press to make it work. If that makes any sense at all.


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## ShirlandDesign (Nov 29, 2009)

Kinda, like a lot of things in screen print it's by feel. It's a good tip though to think detail instead of % range. I've only used levels to limit the light range top end, bottom end, not to enhance a given range, opens up a new line of thought for me, thanks. Awesome shirt, let alone awesome water based ink shirt.


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## porkchopharry (Mar 4, 2012)

Levels and curves I guess are basically doing the same thing. I just find it easier to use the level control - high, mids, lows - and dial it in that way. Sort of like a graphic equalizer. 

Then comes a bit of experimentation when you expose. I guess everyone's unit exposes differently. Maybe you get it right on the first go. Or you look and say - I could improve this - go back to PS and give it a tweak. 

Those tweaks are almost always in the mids though I find, especially shadowed stuff. 

After awhile, you can sorta nail it on the first go round. Or maybe the second, and then sometimes you wanna grab your hair and pull. But usually if the first screen isn't perfectly the way you like, you know where to correct for the second go round. 

At least that's the way I do it. Maybe not the most efficient. But it's a learning process, and you just improve as you learn. 

Yep, a lot of it all has to do with feel. Again, for me at least. I never really considered myself to be a "decent" printer until I learned to accept and deal with the constant variables of printing. Dunno if I'm even a decent printer still, but I'm getting there.


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## tpitman (Jul 30, 2007)

Very nicely done.
The reason I do the adjusting after inverting is first, to change it to a spot color white so you can see how it'll look as you adjust the levels. Not saying it can't be done your way (obviously) but for me it always made it easier to do it, and, for me, less hit and miss. Mainly for converting photos to print on darks.
Again, your print is nice. Very clean halftones in solid "gray" areas.


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## porkchopharry (Mar 4, 2012)

I'd never thought of adjusting after inverting, I may give that a try sometime.


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## TYGERON (Apr 26, 2009)

porkchopharry said:


> I'd never thought of adjusting after inverting, I may give that a try sometime.


 Like I said in the mention, it actually makes more sense. 
I'll be trying it too.


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## sgsellsit (Jul 31, 2008)

Yep invert then adjust it gives a better idea of the final output.


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