# Process screen printing - Photos



## rrc62

I've been doing a little reading on this and it sounds interesting. Is anyone here doing it? From what I gather, you print CMY and K colors, each in half tones and the end result looks close to the original photo. 

I read that you need very, VERY precise registration and fine mesh screens (300 or so). All I currently have are 110. Are there any other tricks? Do you have to thin the ink using a fine mesh screen? I would be printing on transfer paper, not directly to the fabric.

I've done some screen printing, but since I set up to do digital transfers, I haven't even looked at my screen printing equipment. This whole dark shirt thing has me wanting to blow the dust off it though.


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## Ken Styles

There are some videos on 4 color process that you should watch before you start this.

I have one video that watched recently that convinced me that I was not ready to dive that deep into the craft.
Yet, it was fun to watch how it worked.


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## rrc62

Ken Styles said:


> There are some videos on 4 color process that you should watch before you start this.
> 
> I have one video that watched recently that convinced me that I was not ready to dive that deep into the craft.
> Yet, it was fun to watch how it worked.


Online videos? From what I can gather, registration is a pretty big deal, especially if you're using high frequency halftones. Other than that, I don't see it being that difficult. Creating the 4 color separation films in X3 isn't hard. I've printed 4 colors before, just not process CMYK. I figure it will cost me 4 screens, 4 quarts of ink and an afternoon to give it a shot.

Any idea where I could find some videos?

Thanks


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## Fluid

practice, practice, practice
Check out these articles
U.S. Screen Print & Inkjet Technology


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## Fluid

you need to try printing a halftone underbase for your process. Will take it to the next level.

Major areas that need attention

As mentioned above, burning of screens and retaining the halftones
Proper angles for your plates.
Good screens
Good sharp squeegees
Good tight registration press


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## rrc62

So it sounds like you really need a 6 color press. CMYK + white underbase. I have a 4 color press so I'd have to do it without the underbase. I have a large UV exposure unit, but it is not a vacuum unit.

I've made screens in the past by printing to a file in Corel, then printing the file to the printer using Ghostscript, which works great. My C8800 has a postscript driver installed, but I can't get it to print halftones directly from corel. It will print halftones from Ghostscript like my other printer though.


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## rrc62

Thinking about this some more, I realize that I don't want to print to shirts, I want to print to transfers, then press those to shirts as they are needed. Would I still need to use a white base seeing as how the transfer is white? Would I lay down colors in reverse? If the proper order is CMYK, would I print KYMC on the transfer. I'd imaging ordering is important so that layer appear correctly when pressed. So if I did use a white under base, in order for that to be an under base on the pressed shirt, it would have to be the top layer on the transfer.

Thanks...

PS...Nice work Fred. Those prints are amazing.


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## Solmu

ImageIt said:


> Personally, i believe Adobe Photoshop is essential to the production process. If you don't have it, buy it. If you can't afford it, buy an academic copy.


That simply doesn't make any sense. If you qualify for an academic copy you should buy it whether you can afford the full version or not (why not save the money?), and if you don't qualify for an academic copy, you shouldn't buy it, as you wouldn't have a legal copy of the software. Paying money to break the law is just twice stupid.


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## rrc62

Ive been using PS for years. I find the half tone filter in PS is more of an artistic effect though. It has never produced a good enough halftone to use as a screen film. Basically, I use PS to work the image, then import it to X3 and print the halftone separations.


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## rrc62

ImageIt said:


> Printing to a transfer might actually let you get around having a 4 unit press. If you custom make a platen which includes pin registration, it might be possible to print process color images, then come back and re-register the transfer to add the white underbase.
> 
> fred


Would I still need the white underbase? How would an average photo look after pressing with no white underbase? My guess is that the white makes the colors pop. Kind of the same principle as heat transfer on dark, but on the other hand, plastisol is opaque. For instance, I've printed red ink on black shirts with no problems, but that was a straight spot color, no halftones.


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## tpitman

You don't use a photoshop filter to make the halftones. You turn on each channel by itself, change the mode to grayscale, then to bitmap, then in the following dialog boxes you put in your halftone dot shape, angle and linescreen. Save the file, then go to the history palette, select convert to bitmap at the bottom, trash it, and click okay when it asks if you want to delete "convert to bitmap". You'll have your original file back with all the channels. Do this for each channel, saving each as a separate file. I save 'em at 800 dpi to gain as much edge sharpness in the dot as possible, and the files aren't that big since they're 1-bit files. You'll get a good usable halftone doing this. The 800 dpi might be overkill, and many say 300 is fine, but if you've ever looked at the difference between edge definintion from a 300 dpi laser printer and a 600 dpi laser printer, you'll know what I'm talking about. I've compared films output this way to ones off of FastRIP and an Epson 2200 and they're as sharp. I'm currently using an HP 9800.


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## tpitman

ImageIt said:


> I'm currently in the process of perfecting my ability to print process color. So far things have been going well. It has taken at least 6 sets of 5 screens to get me to where i'm at now and expect to go though more screens in the future. I'm glad to share whatever knowledge i have.
> 
> fred


These samples are process on black tees? Not to sound skeptical, because all I've printed is process on white with a white underbase to help hold down fibrillation, but many say process on black is tough or next to impossible because the white underbase necessary to block out the black renders the process inks pastel. I'm using Union's process inks also. Is the transfer function you show here the one you used for this prints? I already have to double-stroke some stuff to get a good, rich print, so maybe I'll try these, since they're a little more aggressive on the ends. By the way, the samples you are showing look pretty damn good, especially for someone just venturing into process work. Process on black would be a hell of a lot easier than simulated on black if it works as well as these samples indicate.

Thanks for your input.


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## Solmu

ImageIt said:


> There is nothing "illegal" about academic software.


*If* it's purchased lawfully (i.e. not obtained by deception) by a qualified user; it can't be bought and used by just anyone as you seem to be implying.


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## rrc62

I see. I think your idea about printing the underbase last using pin registration would work fine. I see the need for micro registration printing the 4 colors, but the underbase could be off a whisker and not really effect the print, meaning registration would not be that critical. Since these are transfers, the underbase would in fact be the last printed layer.


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## Ken Styles

Wow, this thread is jam packed with great info.
I think I'm gonna bookmark it.


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## rrc62

I need to think about this in reverse, since I'll be printing transfers. If I understand correctly, the process colors should overlap the white slightly so no white is seen around the edges. In my case, since I'm printing the white last, I would choke the white slightly so it falls inside the outline of the process colors. Am I on the right track?


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## rrc62

Thanks Fred...I'm waiting on supplies to give this a try. Is there any particular order that the color layers should be layed down?


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## rrc62

I ordered this paper...

Transal Premium HOT PEEL Heat Transfer Paper 15x15"

I also just noticed "adhesion powder" on their website. I wonder if that is required or just an additive to make it better. It says to apply it to the last layer then do a final cure. I was under the impression that when printing to transfers, you you cured just enough so it is dry to the touch, then final cure takes place under the heat press.

I'll probably also use pigment black since I already have it, so my black would be the last layer before the white. C,M,Y,K then White.


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## rrc62

What would you guys recommend for angle and dot shape for the CMYK layers. Working with each channel in PS worked, but I think I get a better quality halftone in X3 then printing in Ghostscript. I used an output resolution of 800dpi and the "halftone screen" method. I may not be using the proper angles, shape and lpi settings.


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## tpitman

I just checked the screen angles and line frequency in Photoshop's print dialog box, and you're right, they're different. Have you had any problems with moiré using the Adobe default settings?


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## rrc62

When I break work with each channel separately, convert to grayscale, bitmap then save each separately, the print dialog does not come into play. The default in the bitmap dialog is 50lpi and 45 degrees and it will apply those setting to each color unless you change them.

When printing separations in corel, it assigns a different angle to each color in the print dialog. I don't see anything like that in PS CS2.


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## Fluid

rrc62 said:


> What would you guys recommend for angle and dot shape for the CMYK layers. Working with each channel in PS worked, but I think I get a better quality halftone in X3 then printing in Ghostscript. I used an output resolution of 800dpi and the "halftone screen" method. I may not be using the proper angles, shape and lpi settings.


55 manual -65 auto lpi
Scott F of usscreen suggests for angles
C-15
M-47
Y-75
K- 75
or
C-22.5
M-52.5
Y-82.5
K- 82.5

Everyone has their magic numbers that work well for their setup.
Your best bet is to try sample various angles and see which works best for you


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## rrc62

Would angle matter if you used a round shape? with ellipse or diamond shapes you can see the angle differences, but it seems that with a round shape, it wouldn't matter.


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## Fluid

It should yet testing (R&D) is always a safe bet. I never use Round shape unless its a simple spot color with halftones.

Angles come into play with the mesh. The angles help with the mesh interfering with the dot patterns which is what causes the moire


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## rrc62

Well, I've got my C8800 postscript driver printing nice halftones with Photoshop, but my blacks may not be heavy enough to block 100%. There is a "transparency" option in the PCL driver but not the PS driver. I set the media type to "transparency" on the printer menu, but I don't think it's making a difference. It might be fine. I haven't burned a screen yet. Doesn't seem as dark as my cheap Brother laser though. Any ideas?


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## buzzbox

i have a ? for you tpitman. it's been a long time since i have done straight cmyk. Common practice in photoshop is to duplicate your file and leave the original open (image - duplicate) then split your channels. select new action, record your bitmap conversion with a pause on screen angle.


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## buzzbox

where do you get your screen angles from fluid?


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## buzzbox

not to mention black and yellow never have the same angles.


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## buzzbox

has anybody ever measured angles before? the plate that has the most detail needs the least amount of frequency interference. what angle is that? mesh count is meaningless unless you measure the interference on your screen. then work down. yellow almost always has the most interference due to it's use as a tonal correction color.


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## rrc62

The defaults in X3 are (Freq/Angle)...

C = 65/15 
M = 65/75 
Y = 65/0 
K = 65/45

In Photoshop they are... 

C = 47.4/108.4 
M = 47.4/161.6
Y = 50/90
K = 53/45

I'm inclined to just use the Photoshop defaults.


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## rrc62

That's right. I design everything at 300PPI. Should I be using a higher resolution for designing process printed artwork?


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## rrc62

ImageIt said:


> For outputting, you need to enter the DPI value of the printer. The C8800 is 1200x600, so you would enter 600 DPI. Print using the printers highest printer resolution.
> 
> fred


Where would I enter that? I don't see it anywhere in the print dialog. I'm not doing the grayscale to bitmap conversion thing mentioned earlier. I'm printing directly from Photoshop to the postscript printer. I set the output to separations, in the driver select Black/White and it prints a film for each channel with the dot attributes defined under "screen" in Photoshop.


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## Fluid

yellow and black screens never have issues. It is usually witht he magenta and cyan where problems lie with cmyk inks. Pretty much wehat all the industry articles say.

I got my angles from an article by Marc Coudray about 10 + years ago.


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## Fluid

Most PS defaults will work well yet every now and them you need to modify. Just converting to cmyk and using the channels seems to work ok for most jobs.
tweaking color before and after (individual channels) cmyk conversion will make them that much better


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## rrc62

ImageIt said:


> In the print dialog, with "output" selected, click on screen, then in the "halftone screen" dialog, click auto, then in the "auto screens" dialog enter the DPI and the LPI and click ok, and ok again.
> 
> fred


Thanks Fred, I see it now. So "printer" should be set to 600 or whatever the printer resolution is and "screen" should be set to 55? It almost sounds like screen should be set to the LPI of your screens. IE: 305 in this case, but that sets the frequency too high. 600 and 55 seem to work, but I'm unclear as to what that 55 actually refers to.


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## Fluid

check this out
Measuring Resolution Inch by Inch - SPI PPI DPI LPI Demystified


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## Fluid

Fred, PS was short hand for Photoshop not Postscript


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## Fluid

the angles I posted were Scott Fresnors not mine. Mine I keep to myself as its a lil trade secrete I got from Marc along with some tweaking of my own.

I also output to two imagesetters. I have a epaosnr1800 as a back up and only used for about a month waiting for my imagesetter to arrive.

Im not arguing with your info just adding to it. 

Also - Using stochastic screening is a major plus when dealing with high end images as your not using halftones. Only issue is with lots of blends. Then I use both methods.

Here are some good articles 

http://www.mrprint.com/images/articlestips/Top_Ten_Secrets_v3.pdf
and 
The M&R Companies :: Articles & Tips


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## Fluid

> In this context, it is indistinguishable. Photoshop and illustrator are both built upon postscript foundations. Both programs include a full postscript interpreter


Yes indeed

we could go on for days and many wouldn't know what were talking about. No need to keep it up. You and I both have a good understanding of the process you more so on the math end than I I dropped out of engineering in College as the math got too intense.  Now I'm a printer of 11+ Years.

Keep the ink moving


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## rrc62

ImageIt said:


> Type in 75 degrees and measure what it produces. I'll bet $1 it isn't 75 degrees.


Is that why when I enter a screen value of 55, I get CMYK frequency values of 51.3, 51.3, 54.5 and 60.6? Is that Photoshop just saying...Hey, 55 won't work, but this will? Is it optimizing based on my screen and printer settings?


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## rrc62

ImageIt said:


> Fluid, you have any samples to share?
> 
> fred


Hopefully I'll have something to bring to show and tell next week sometime. My ink and screens came today. Everything else will be here on Monday.


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## tpitman

buzzbox said:


> i have a ? for you tpitman. it's been a long time since i have done straight cmyk. Common practice in photoshop is to duplicate your file and leave the original open (image - duplicate) then split your channels. select new action, record your bitmap conversion with a pause on screen angle.


Well, I'm not sure what the question was, but common practice isn't always what I do. Frankly, I tend to do things the hard way, and read software instruction manuals only under threat of physical pain. Splitting the channels and running an action is in fact a quicker and simpler way of doing it. Thanks for the info.


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## Fluid

ImageIt said:


> Fluid, you have any samples to share? I came to this group looking for information, not giving it. So far screen printing process color has gone much easier than expected. It seems easy enough that anyone willing to invest in good equipment can make a decent product. Am i wrong?
> fred


I will bring my digital camera in on Monday and will take pics.
Most of my work is simulated or index yet I have some good 4-clr process.

Actually 4-clr process is easy yet does require good equipment in order to get a consistent quality result.

Proper Dot gain
Quality art/image
Quality films/halftones
Good Exposure unit.
Proper tensioned mesh frames
Mesh type
Tight registration press
Shirt weave

All these come into play with 4-clr process and actually any printing methods. 

Also note the YMCK print order can change if the art/seps are not dead on. I have any times changed the order to get the proper reproduction on the shirt

ScreenWeb | Preparing Digital Files for Screen Printing

Scott F's article IMAGES - THE JOURNAL FOR TEXTILE SCREENPRINTING, EMBROIDERY AND GARMENT DECORATION


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## rrc62

Fluid said:


> Most of my work is simulated or index yet I have some good 4-clr process.


How does simulated or index differ from 4 color process?


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## Fluid

they use more colors and specific colors form the design. Same principal of mixing colors on press to achieve secondary and tertiary colors. Usually needs 6 colors minimum to get a good print yet the more color the better, We usually print around 8


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## rrc62

Thanks Richard. That would be too many colors to be practical for me. 

Another question....How do you guys prep a photo for 4 color process? Do you lighten the image overall to compensate for dot gain? Or maybe just lighten the dark areas? There looks to be a few ways to do this. Shadow/Highlight adjustment seems to be the best, but there is also the Curves adjustment.

I also see the Transfer button on the print dialog. This seems to be a dot gain adjustment, so by cutting back on the higher percentages, that should reduce dot size in the more dense regions. If this is how it works, would you mind sharing your transfer settings? Would a tonal adjustment to the shadows accomplish the same thing? Can't preview the Transfer settings, so it's kind of trial and error.


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## Fluid

Nice print Fred.


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## amazingshubi

Hi Ross,
I have done process printing on both manual presses and automatic presses. It involves a lot more labor in setup time, but the results are awesome!! There are special process inks in Cyan, Yellow, Magenta, And of course black. When you order ink specify the process colors. Also to print your films you need a printer that will print the half tones. I have printed CMYK to transfer paper, but I wouldn't recommend it.
Jeff


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## buzzbox

i can register a 8 color job in under 2 min to 1000th of an inch


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## buzzbox

read your stuff fluid, not bad. index is my game. i use rgb channels and cmyk channels to get my full tonal values when indexing. i eat those dam grey point photoshop algorithmic choppy index values for lunch. hehe

hey fluid what is the best dpi for an inkjet printer? this is an important question. because the dot has no edge definition. so really this is a simulated question. think about this - i can produce a shirt at 9600 dpi, no kidding.


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## rrc62

buzzbox said:


> i can register a 8 color job in under 2 min to 1000th of an inch


If I start doing more screen printing, I'll probably buy a 6 color press with micro registration. 8 color would be nice, but I'd have to build a new shop around the press.


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## buzzbox

*screen printed using simulated inkjet seps*

here is the blown out (by the flash) pellon shot below, right on the press.










the grey tinted it slightly


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## buzzbox

first the edge of every dot is blended like an injet. to do this i used a transparent white negative to bleed the edges. you have to compensate in photoshop for this. it was printed at 181 ppi. 7 colors.

registration is the key. below is a pic of the equipment used to register this.
otherwise your setup will not be cost effective. actually painful.










there is a proprietary pic for you fred!

by colors do you mean what brand of ink?


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## rrc62

buzzbox said:


>


In order for this to work, your positives would have to be registered exactly the same on every screen before burning. In this case, you are registering the screen frame to the platen, not the image, which is fine as long as the images are precisely positioned on each screen.

So how are you getting your positives registered on the screens so precisely? Do you use the same gauges?


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## buzzbox

the tolerance is needed so when the transparent white goes down it aligns with the process dot.


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## buzzbox

as for the alignment of the film to the screens. the same machine is used for the alignment on the exposure table. there are pins mounted on the glass to hold the film. multiple screens can be exposed at 1 time. the exposure table has multiple alignment heads. as for the film, a computer program was written special for aligment in a machine custom made by me. see pic below










the pic below is the vaccum pump assembly for the punch


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## rockwell

Great post people!


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## mgatechcameroon

hello rrc62.
its like u are getting me abit confused here , generaly it is said that u can't print cmyk on darks instead u print simulated proecess color and worse u said plastisol is opaque which means u are surely not using transparent plastisol and last i don't know the kind of underbase white u are using for if it's matte base then i don't known how u gonna transfer it 
to a shirt ,since matte bsae after curing won't melt into the shirt, so i would like to know if u are talking of doing doing simulated proces color or cmyk with transparent plastisol on darks. please i am really lost.


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## not_a_high_horse

from what i can gather from my experience working in offset pre-press one of the major hurdles would be in the design. If you make your designs so that each colour has the same ink density (before separations) you would have a lot more chance of getting it to look right. But if your density's run something like this you would have a real fight ahead of you - C 1 M .3 Y 2 K .4


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## bwc2210

ImageIt said:


> With only 4 colors, you would only be able to print process on white shirts.
> 
> 
> 
> 
> 
> If the C8800 is postscript, it should have a driver option to print halftones. For my color phaser, i need to tell it to print as b&w fax friendly.
> 
> Photoshop can make bitmaps the same as ghostscript and can print to a none postscript printer.
> 
> fred


ok, i have an epson 1400....what do i need to start printing basic halftones? i just want to print black and white.. I am not interested in doing any process printing right now....but i figured you all might have some answers for me....software?....mesh?....etc...thank you kindly! and obviously i am working on a super tight budget....so maybe someone could give me the bargain way and then maybe a little more expensive way..


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## darwinchristian

Well, i'm happy to say that last night i printed my first process color image, with decent results, i think, for my first time...










this was printed on a test pellon though. when i tried printing onto a 100% cotton white tee, the results were not as satisfactory... leaving what i believe to be "snowflaking" due to the fibers of the cotton and the need for more ink.

i have looked over Imageit's thread: http://www.t-shirtforums.com/screen-printing/t29657.html
for a while, and have yet to figure out how exactly to tailor my transfer function settings to my own needs. but i guess there, as for anyone, it will take some figuring. 

I have printed 99 shades of black at 55 lpi to see where the highend and lowends drop out:









the black remains fairly solid through 90%, when shading is first visible, and on the other end 10% black seems to mark the end of any tangible shading.

with this in mind, i was wondering if any of you fellos out there who have walked the hard route had any info or advice to offer me in my new travels. i don't think this would help for the transfer function, as that seems like it would need much testing on my particular setup to properly adjust.

but is there a way to keep this in mind when i do my separations... for instance tweaking my colors to use less of the shades between 0-10, and 90-100%? 

i realize my line of questioning is vague. i apologize. i guess i'm just looking for any tips before i spend the next month vigorously testing everything.

derek


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## darwinchristian

ImageIt said:


> Your problem is that the smallest dots are burning away.


makes good enough sense. i used ulano's QTX emulsion for the screens, knowing full well the resolution capabilities are limited on an ultra-fast emulsion. I mean to get a good emulsion for my exposure setup and will probably consult someone over to Ulano today or tomorrow. right now i am only holding a line weight of 0.3, positive and negative.



> There is a downside to using the levels command, rather than a transfer function.


okay. i will focus on using the transfer function as opposed to the levels adjust. (something that is still somewhat of a mystery to me...) 

i use both corel and photoshop. for the image above i output from corel with 55 lpi across the board and Jeff Proctor's CMYK angles 55, 22, 5, and 80, respectively. i think i'd like to try adobe's default screens for the next go, based on the info you had posted earlier in this thread about mathematical inconsistencies between the software and the RIP.

Also Fred-
just wondering if you've expirimented with other underbases for your process work besides a 110 "bulletproof" white... I saw someone post about a halftone underbase and thought about how much sweeter that could be...

thanks for the help and encouragement.

derek


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## arcueid

Hi guys, been reading up on this thread.
The photos printed are mostly colored. So what about black and white photos for screenprinting?
Have been looking up on articles(on the internet) for photoshop tutorials on separating black and white photos(highly contrasted) into a minimal amount of colours as possible and converting shadings to dots instead of pure shading.
But to no valid.
Sorry i'm new to post processing and i was wondering if it's possible to convert a black and white photo to be printed on a shirt with minimal amount of colours(like 2-3)?


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## out da box

You can print a black and white photo on a t-shirt in guess what? Black and white! You can do a print with black ink on a white shirt and vice-versa, but sometimes you may need one or two shades of grey to keep the midtone details really clear. I would use a black and grey on a white shirt, and 1 or 2 whites, maybe 1 black, and maybe a grey on a black shirt.
All film must be halftones made by a RIP or bitmapped in photoshop.


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## arcueid

out da box said:


> You can print a black and white photo on a t-shirt in guess what? Black and white! You can do a print with black ink on a white shirt and vice-versa, but sometimes you may need one or two shades of grey to keep the midtone details really clear. I would use a black and grey on a white shirt, and 1 or 2 whites, maybe 1 black, and maybe a grey on a black shirt.
> *All film must be halftones made by a RIP or bitmapped in photoshop.*


hey thanks man!
just wondering if there's any good tutorial out there for both processes mentioned?


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## arum

out da box said:


> You can print a black and white photo on a t-shirt in guess what? Black and white! You can do a print with black ink on a white shirt and vice-versa, but sometimes you may need one or two shades of grey to keep the midtone details really clear. I would use a black and grey on a white shirt, and 1 or 2 whites, maybe 1 black, and maybe a grey on a black shirt.
> All film must be halftones made by a RIP or bitmapped in photoshop.


hi! how do you separate the grey? im printing black and white on my white shirt. and just using black ink. the result is good but not satisfies me and i thought of should having a gray into it. but i dont know how to do. hehe! 

here's the image

http://sphotos.ak.fbcdn.net/hphotos-ak-snc4/hs055.snc4/35109_1403507123870_1118117307_31156705_5724810_n.jpg


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## out da box

Cmyk plus underbase white on white tees. Looks great on black or colors also. Sepped in quick seps. This came out very good, it's a 8 hr turnaroud too, so I'm happy it worked right the first time.


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## tpitman

Nice. Although Steve at QuikSeps states that the underbases for process seps aren't designed for anything other than white and light shirts, I've found that it actually works pretty well. I've done a couple of jobs where I've slapped a black shirt on just to see how it turns out, and am almost always surprised. Might have to hit the underbase twice before overprinting. I just did some sport gray tees for myself, and I hit the underbase twice instead of a highlight white and it turned out great, but if I had it to do over, I'd go with the highlight white and the single pass on the underbase.
QuikSeps is really a great program.


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## Celtic

Gotta love QuikSeps ...........I do too !!!


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## kingscreen

I have a few CMYK process videos on YouTube including a couple using a white underbase. [media]http://www.youtube.com/watch?v=gqENVIEolgc[/url] and YouTube - CMY Screen Print on Dark T-Shirt with Base and http://www.youtube.com/watch?v=KW0f...0 mesh and the CMYK screens are all 305 mesh.


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## 100%pinoy

WOW, nice prints...

OK. everybody has his magic numbers in angles and frequencies that works in your setup, base on your experience, what angles do you use in white base and highlight??

22.5 for Yellow
67.5 for Magenta
7.5 for Cyan
37.5 for Black

I will be trying to use this angles....


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