300 ... But your print will only be as hood as your seps.
mesh count
hello its me again...just want to know what mesh count usually used for cmyk process!!!?thanx in advance.
1 - 8 of 8 Posts
We use 305 mesh for all our CMYK 4 color process printing.
Oops... I meant good not hood... Lol300 ... But your print will only be as hood as your seps.
thanx guys...but is it the standard mesh count for cmyk printing?im only using mesh 120...can i use this mesh?thanx guys!!!
120 mesh is too low but you can still do it but in lower lpi like 25-35 LPI thou the dots will be larger and the print quality mught not be the one you wanted since the dots is easily noticeable..unlike when you use 55LPI up where the dots is almost unnoticeable in the naked eye and will result in better print quality.
Similarily I am using four 156 mesh screens, but I am a total noob and what does lpi stand for and how do I adjust that in CS5?
Your question is a loaded one and an accurate answer requires more questions to be answered first.
Let me explain. In my shop- I try to steer clients AWAY from process printing for many reasons but mainly for brightness, vividness, range of color, ease of printing and accurate reproduction limitations.
In process printing (much like on simulated process) we use an underprint white ink even on white shirts to help seal the fabric and provide a more prdictable print surface. This underprint is NEVER a solid white coverage. Its a halftone and usually an exact opposite of the black plate with exception to any boarder effects. Depending on Manual printing or automatic printing the under print white should be (for the best results on a t-shirt) a 55 line halftone usually at 22 degrees and we use a 230 mesh for automatic and a 190 mesh for manual. The follow up colors should all also be at 55 line 22 degrees and put on 305 mesh.
The Key to consistent process printing on FABRIC is forget most of what your taught about the process for paper, rosettes are not critical and actually work against you on fabric more often than not, just make sure your screens are all pretty much the SAME TENSION and that your actually able to hold ALL of your halftones on the screens. Lastly use a good dual cure emulsion on your screens, we use ULANO TLX (shameless plug-Ulano your welcome) and after many years of testing all the big fancy emulsions out there we find the ability to hold 1% halftones on a properly coated and burned screen. (YES YOU READ THAT RIGHT)
With the ability to hold all the dots, and to control the surface of the print area from oversaturation of ink, you can get a very nice blending of colors needed for good process or simulated process prints.
We do this every day in our shop.
Lastly for proper coating and burning of your screens- the brightness or wattage of your exposure lamps is critical. we have a 1200 watt pinpoint lightsource from NuArc that works very well. Its not the top of the line nor is it the bottom, but you would need to run through a few tests with an exposure calculator to calibrate your process. If you find you still have questions I am usually happy to answer questions by phone at 770-978-2854. GOOD LUCK AND I HOPE THIS HELPS!
Let me explain. In my shop- I try to steer clients AWAY from process printing for many reasons but mainly for brightness, vividness, range of color, ease of printing and accurate reproduction limitations.
In process printing (much like on simulated process) we use an underprint white ink even on white shirts to help seal the fabric and provide a more prdictable print surface. This underprint is NEVER a solid white coverage. Its a halftone and usually an exact opposite of the black plate with exception to any boarder effects. Depending on Manual printing or automatic printing the under print white should be (for the best results on a t-shirt) a 55 line halftone usually at 22 degrees and we use a 230 mesh for automatic and a 190 mesh for manual. The follow up colors should all also be at 55 line 22 degrees and put on 305 mesh.
The Key to consistent process printing on FABRIC is forget most of what your taught about the process for paper, rosettes are not critical and actually work against you on fabric more often than not, just make sure your screens are all pretty much the SAME TENSION and that your actually able to hold ALL of your halftones on the screens. Lastly use a good dual cure emulsion on your screens, we use ULANO TLX (shameless plug-Ulano your welcome) and after many years of testing all the big fancy emulsions out there we find the ability to hold 1% halftones on a properly coated and burned screen. (YES YOU READ THAT RIGHT)
With the ability to hold all the dots, and to control the surface of the print area from oversaturation of ink, you can get a very nice blending of colors needed for good process or simulated process prints.
We do this every day in our shop.
Lastly for proper coating and burning of your screens- the brightness or wattage of your exposure lamps is critical. we have a 1200 watt pinpoint lightsource from NuArc that works very well. Its not the top of the line nor is it the bottom, but you would need to run through a few tests with an exposure calculator to calibrate your process. If you find you still have questions I am usually happy to answer questions by phone at 770-978-2854. GOOD LUCK AND I HOPE THIS HELPS!
1 - 8 of 8 Posts
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