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Discussion Starter #1
Tomorrow we will be printing the attached image. In the past, I've had printers unable to do this job for different reasons. I'm trying to save myself some headache and get some suggestions on the best way to print. I've got the films now to print a yellow underbase with the orange on top, and I've also considered doing a white underbase with yellow and orange on top, but I don't want to lose any detail, which seems to happen sometimes, and the gradients get too blurry. Is that caused by off contact or a dull squeegee?

Any suggestions would be greatly appreciated.
 

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Discussion Starter #3
I don't have any 200 screens. I have 155, 175, 230.
Should I go with 175 or up to 230? I'm doing the others on a 230 with a 22 degree angle and 46 frequency, ellipse shaped dots. Now, granted, last time I tried this job I didn't know nothing bout anything (if that even makes sense, LOL). It may actually be easier this go-round with the things I've learned since. I've never put white on anything smaller than a 155, which I've only started doing recently thanks to this forum, and I must say, my whites have been BEAUTIFUL!!
 

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I would base (w/white) everything except those half-tones. If you let those drop to shirt color you will get a better effect and not run into losing the detail. My base would have the words, trees, birds, ground, and sun, but not the half-tones fading to shirt.

We print designs like this all the time. It should work out just fine! If you choke in your base, you can use all 175 or 230 for this print. I've heard people that put the base on a lower mesh screen and people that put their base on a higher mesh screen. It all depends on if you want a thicker base (color pops more) or a soft(er) hand (faded look, yet color stay consistent on garments).

Let me know how this job goes! I'm curious how you work it out!

Thanks,
Anthony.
 

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I would base (w/white) everything except those half-tones. If you let those drop to shirt color you will get a better effect and not run into losing the detail. My base would have the words, trees, birds, ground, and sun, but not the half-tones fading to shirt.

We print designs like this all the time. It should work out just fine! If you choke in your base, you can use all 175 or 230 for this print. I've heard people that put the base on a lower mesh screen and people that put their base on a higher mesh screen. It all depends on if you want a thicker base (color pops more) or a soft(er) hand (faded look, yet color stay consistent on garments).

Let me know how this job goes! I'm curious how you work it out!

Thanks,
Anthony.
Sorry about how i am about to respond to this but.. I completely disagree. This should be printed White underlay (correctly done with halftone white underlay under the halftone part of the image as well) then flash, then Orange then Yellow (In that order.. always try and print dark to light and wet on wet when it comes to halftone printing. If the highest mesh count you have is 230... All 3 screens should be 230 mesh with an lpi of 48.625 (i have my own formula how i come up with that number.. been using it for 20 years and almost never ever get moire patterns)If you put the underlay and its halftone on a different mesh screen, you most likely get a moire pattern and your underlay screen will dictate how the rest of the print looks... and all 3 screens should be on the same mesh and all should have a screen angle of 22.5 degrees... This way if your customer does what mine always do... "oh yeah.. by the way.. can i get 6 of these on black and 6 on royal blue shirts also...?" This way....Your art will at least be best set up for the most consistant print (color wise) on all types of colors. If you want to private message me and send my your original file, i can send you back how your seps should look. 90% of my jobs have halftone of some sort and I've been doing this for a long long time.. Oh yeah... don't forget to base down your orange and yellow inks for better blending
 
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