[INKJESS]

Take a look at this photo. This is a shirt another local screen printer did. A friend gave me this shirt and I'm kind of amazed at how well it's done. This design is only about 2.5 inches in diameter. Look how the spaces are inbetween the different features, literally one thread width and near perfect with an underbase, lol. I don't think I could do this and my press registers pretty tight.
Am I missing something here, how can that thin a separation in inks be achieved? I did a job recently with a similar very fine gap between 2 colors and it was tough, let alone all over the design.

 

[lben]

That is some tight registration! I haven't tried more than one color at a time except where I had plenty of room in between them. I'd say someone had a lot of patience. Or maybe done with one of those table presses or whatever they're called where the registration is preset on the screens and you just plunk the screen down on the frame and print then change screens.. Or maybe an automatic press.

Or someone with really good eyesight was able to line them up just right. Still a good job that I don't feel qualified to do yet.

 

[sben763]

The under base is choked you can see this especially with the red. unless I missing something is a great job. When there are thin lines in your set up you need to compensate for dot gain. I will adjust this in my workspace setup. Some print the artwork with setup defaults. I have mine as default setup at a 20% dot gain. Recently I did a skull print that the customer only wanted 1 screen with halftone and solid color. So I changed the space to 30 or 35% dot gain. I had already printed a film at 20% setup and a second in the 30% range. Noticed that the 30% was smaller. I do print with a RIP when printing halftones.
This is easier on a automatic press http://www.t-shirtforums.com/show-your-stuff-screen-printing-print-job-examples/t182598.html. Some of the info on that print and with halftones was a P/F/P job

 

[INKJESS]

That is some tight registration! I haven't tried more than one color at a time except where I had plenty of room in between them. I'd say someone had a lot of patience. Or maybe done with one of those table presses or whatever they're called where the registration is preset on the screens and you just plunk the screen down on the frame and print then change screens.. Or maybe an automatic press.

Or someone with really good eyesight was able to line them up just right. Still a good job that I don't feel qualified to do yet.

No kidding, see that. I said it was actually a thread width but if you look closely it's about literally a hair in between some of it, and like I said, there IS an underbase to boot. I looked at it with a magnifying glass.

 

[ScreenFoo]

Looks to me like the overprints are trapped at least a half a point to me. Not tough to do with good stuff.

Look at the inline on the nozzle--the yellow has bridged the gap in the underbase. The bottom of the right ax handle is a little smeary on the bottom as well.

Not bad work, by any means--but not amazing work either.

If you have good films and a good press and you can't do this kind of work, it's time to take a closer look at your screens and stencils.

 

[TYGERON]

Looks like puff or HD.

 

[INKJESS]

The under base is choked you can see this especially with the red. unless I missing something is a great job. When there are thin lines in your set up you need to compensate for dot gain. I will adjust this in my workspace setup. Some print the artwork with setup defaults. I have mine as default setup at a 20% dot gain. Recently I did a skull print that the customer only wanted 1 screen with halftone and solid color. So I changed the space to 30 or 35% dot gain. I had already printed a film at 20% setup and a second in the 30% range. Noticed that the 30% was smaller. I do print with a RIP when printing halftones.
This is easier on a automatic press http://www.t-shirtforums.com/show-your-stuff-screen-printing-print-job-examples/t182598.html. Some of the info on that print and with halftones was a P/F/P job

Does anyone else adjust the dot gain from time to time? Also, how is that done in Corel?