Designer - screen printing
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There is often a dialogue between the designer and the printer about who is right and who is wrong. In many cases, the production department believes that “as long as the designers change their practices, they can print better.” The designers replied: “I don’t know what it’s all about.” Because the designers never go through the net. Printing training, really can't complain about them. In fact, it should be encouraged - the designer goes to the production site to let them see the final printing effect of the entire job. The purpose of this paper is to help designers understand more about the screen printing process and take more responsibility for the final print.
1. Responsible for issuing orders
This may be contrary to the ideas of many printing houses. As far as personal feelings are concerned, if you do it yourself, you will know it. Designers should specify the color sequence, number of meshes, and number of exposures, as shown in Table 1. If there is nothing else, work in the plate making, ink and printing production departments for a few hours.
Table 1 Recommended screens, printing color sequences and other markings on the film
Customer Name Job Number Ink Color
Job Name Date
Clothing color Printing position Mesh number
Remarks Printing color sequence
2. Learning from samples
The design often said that they did not see the final finished clothing, which is puzzling. Can the printing company not give the image designer a production sample for them to learn?
3. Determine the correct print color sequence
Printing on light-colored clothing, the printing color sequence is usually from light to deep, or from the minimum amount of ink to the large amount of ink, because the ink will stick to the back of the screen, and it is not desirable for the dark color to stain the light color.
Print on dark clothing, usually with a white background, or a solid or tone dot. This white layer must be photocured and then printed on various colors. The typical printing color sequence is from light to dark, and any large area of the main color must be printed last.
On dark clothes, use white ink to make a base, then print from the lightest color, the maximum coverage area or the final color of the main color
For true four-color screening (CMYK) jobs, the YMCK color sequence is used. Any spot color should be printed after its nearest primary color, such as red after magenta.
4. Screen selection
This will vary depending on the type of job you are doing. In general, a simple design uses a 45T (45 lines per cm) screen. More complex jobs, the screen can reach 77T. For finer mesh adjustments, a 90-120 mesh screen can be used. The bottom of the screen should be 77~90 mesh, and the color should be printed with a screen of 120 mesh or finer.
5. Clothing printing is not paper printing
Converting a large pattern into a large dot (55lpi to 65lpi), transferring the dots to the stencil, and then printing the dots onto the finished garment is completely different from the paper.
Although some images can be printed with three primary colors, most of the jobs are printed with spot colors. On black clothing, no CMYK primary ink is used for printing, because the printing becomes dark on the underlying color, and the standard spot ink is used to print on the screened white background. This is the so-called "simulation" or "simulation" three primary colors.
6. Design screen display and actual effect
The image you see on the monitor is fine, but the image on the screen is not what you will get. When screen printing, everything "expanded", this is the so-called "net expansion." If there is a 20% density area in the image, convert it to 20% of the dots and print it out, the dots may expand to 40% of the original size, so that there will be nearly 30% dot density on the clothes, in the dark Adjusting the area will become more serious. 70% of the outlets may be printed on the ground (100%). In the case of color separation, it must be considered shallow, leaving room for a large number of outlets.
7. The printer can't relax
After seeing the proof, sitting in the studio and making some minor modifications, this is easy to do. A fine adjustment of two or three colors means re-creating two or three screen printing plates, removing the old screen from the press, loading a new screen, repositioning and trial printing, etc. It is not easy.
The color is the same, and it is not easy to make the small color blocks printed on the glossy paper match the color printed on the fabric.
8. Have a common language
Working with designers every day, I found two different languages. The authors will complain that “red” is not bright enough on black fabrics, and it may be strange that red is no longer bright. In fact, this has nothing to do with red. On black fabrics, red generally needs to be primed, or your background color is not bright enough, or the production staff needs to slow down the scraping speed, use a lower mesh screen, change the scraping angle, or use a comparison. The opaque white base color makes the background brighter, which makes the printed red brighter.
9. Limitations of the screen printing department
There is no reason to expect the screen printing department to produce 2% of the outlets on the screen. This can't be done, but some people can do it. You need to make a test film with different densities from 5% to higher. The plate making department can print the samples and let them print the proofs to see what the results are. At the same time, if the tension of the screen plate used by the plate making department is not suitable, the obtained dot gain may be 50% to 60% more, and this should be taken into account in the mesh modulation version.
If the screen printing shop cannot guarantee accurate overprinting, consider overprinting black and other colors in 2~4 positions of the spot color job.
These are some of the issues that designers should consider when making screen-printed color separations.