Separation studio proof is black4/13/2024 ![]() The colors we broke the image down to are blue, red, grey, gold and black. but I'm still surprised that it doesn't match the closest pantone for you to get the best result). It's pretty difficult to match the flesh tones for some reason and I am not sure if it's because Separation Studio has a pre-defined ink system (which you CAN edit. We choose an image which is comprised almost completely of flesh tones. it looks very accurate as to what you'll get on the press. The proof in Separation Studio was not accurate as to what was printed but once you placed the EPS in Illustrator and go to separations preview -> overprint preview. We were able to break down the original image into 5 colors. So we moved over to separation studio and watched a few vids on that. We attempted spot process and I think we were half-way successful.įirst we tried QuikSeps and were having a bit of a hard time figuring out how to merge these two red channels that were left (red and soft red) but couldnt figure it out. Yeah I guess everything comes with experimentation until the print looks right. These were the standard Union Tru-Tone colors. I had to hit the cyan about 3 times on the press to punch up the green areas, so the separation job wasn't perfect, but it all worked out as an experiment and gave me some idea of the possibilities. I knocked the black channel out of the underbase since it was on a black shirt, so it's white/yellow/magenta/cyan - no black ink. I used QuikSeps for it, doubled the underbase (I think) via "Image/Apply Image". I got a deal on the Pro-Brite colors, and I wanted some non-pthalate colors since I'm doing more and more kid's stuff.įor what it's worth, here's a print I did for my own amusement and education a few years ago. I've started messing around a bit with International Coating's Pro-Brite Process colors, which are a bit brighter than the Union colors, but the Union Tru-Tone colors are generally considered to be the standard. I've no experience with Rutland's process colors. ![]() Some of the dark brownish colors were a bit off, but overall it was very close. That print was very close to the art as it appeared on my monitor. It's not a heavy underbase, but what's referred to as a "print white", and some ink companies sell a standalone white for just such use. It's something that QuikSeps/UltraSeps recommends, and I've read others using it. The idea of printing on a white underbase on a white tee, as well as any light-colored tee, is to have more control over the print. Thanks in advance for your help! And please forgive any potential ignorance in this post. If it causes more problems then not on a manual setup, is it still worth the attempt to learn? Alternatively, is spot process versatile enough to learn on it's own without CMYK? As we only have 6 colors, I guess I am wondering how limited we would be with spot process. I guess my question would is if our setup is adequate enough to handle CMYK without much issue (IE: would YOU do it with our equipment?). We have a manual 6-Color Chameleon /w side clamps, an MSP 3140 exposure unit and an Economax II dryer. ![]() I think it's finally time to step into the world of process but before doing so, I was hoping to get some guidance from the veterans here as to which direction to we should take based on our setup.Īfter doing a fair amount of reading, it seems that one should really only consider approaching CMYK if they have adequate equipment (spot process is apparently a lot more tolerant - but is this only if your gear isnt up to snuff?). White on dark garments, spot colors, artwork manipulation/separation, and all else involved with basic screen printing technique. We've become very comfortable with screen printing in general.
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