The black plate should resemble a touch plate. Black was never designed to be an equal partner in this process. The black was added because of the inability of CMY to hit the darkest color shades. The color theory behind this process is that the CMY portion of the four color process set is the subtractive of RGB. Why does my black plate dominate the design? The halftone underlay will eliminate mottling and smearing, creating a clean, easy-to-print design.ħ. This lays the foundation of the tints and shades of the design, creating a stark, crisp print. Printing too much white, or having too much dot gain, can actually deplete the black (or shade) of the color space, limiting the color depth and range. When printing with the under base white, it should resemble a gray study of the design, rather than a flat solid plate of white. The correct rotation is: White Base – Flash - Wet white - Yellow- Magenta - Cyan - Black (You shouldn’t have to print Black on Black garments) The base white is used on dark garments and will be printed first, then flashed and followed byt eh remaining colors wet-on-wet. Select the lightness channel, duplicate it, invert, but use curves to choke back the plate by only 8-10 percent. Use a white under base plate as you would with a wet white in l-a-b mode. How do I make a white plate for dark garments? Do not use a bleed-resistant white, for it will build up during the print run.Ħ. If you do not have a mixing white, a non-bleed white should be used. This can be creating by blending a mixing white (like your mixing-system white) with an extender at about a 50-50 ratio. The wet white should be a transparent white. The wet white is used on both light and dark shirts and will be printed before all wet-on-wet colors, allowing it to mix with them. The use of a “wet white” is the best defense for this situation. Even with correct color data and top quality inks, you must prepare for this. As the inks flow quicker, you will experience dot gain. How do I keep my flesh tones from looking “sunburned” later in the run?Īs a print run progresses, the inks shear, causing a viscosity drop. If you do not have total black and white points, you may use the “levels” option to adjust the points.ĥ. You may check the areas with your ‘info’ tool. Your goal is to have some area in the design that is 100 percent black and an area that is 100 percent white. It is recommended that you set your white and black points. In screen-printing, you are working with black and white gray scales to set the tone of the design. How can I give my print more depth and/or contrast? The program can then separate the ink values you will be using on the press.Ĥ. To get on the right track, apply color values and convert your image to CMYK mode. This color set is lighter and weaker than the pigmented process sets, resulting in too much information included on the cyan and magenta plates. If you use the default color values in Photoshop as you change the CMYK mode, you will have separations designed for paper printing. This allows you to load your own CMYK color values later.ĭark and muddy prints are usually a direct result of incorrect color values in the program.
If you receive a CMYK art file form an outside source, convert the color mode back to RGB when opening the file. There are some colors that are covered with pigmented inks that may not be covered with the default CMYK color values in your computer. The four-color process is a very limited color gamut compared to RGB. Why doesn’t my print look like the on-screen image? The resolution should be 2.5 times the desired line count and the angles should be separated by 15 degree intervals.Ģ. This program allows the user to load custom color values. Start by creating CMYK separations with Adobe Photoshop. How can I create good 4-color process separations myself? When taking a design representation and attempting to recreate it with process inks, take these basic steps to make the printing process easier and more predictable on the press.ġ.
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