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Discussion Starter #1
Hello all, my first post!!

I have a couple issues that I could use some advice on how to handle.

I am the artist where I work and have some concerns with some of the printing being done in the shop.

First, I get arguments on underprints, usually white, telling me that it can only be pushed through a 110 screen, yes I know that is rediculous as well, but just humor me.

Second, they think they know the order that spot process's should be printed as well even though I made the seps in photoshop and had the correct order in which I sep'd the art.

Third, I am trying to convince my superiors that waterproof film is the way to go but the print manager doesnt want that because for some odd reason they like to take 1 film from the job and tape it to the palette to line up to, instead of using a pellon and when done they rip the tape off and it rips off the emulsion from the waterproof film.

I'm almost to my wits end here and would really like some feedback on one or all these issues.
 

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First, I get arguments on underprints, usually white, telling me that it can only be pushed through a 110 screen, yes I know that is rediculous as well, but just humor me.

Second, they think they know the order that spot process's should be printed as well even though I made the seps in photoshop and had the correct order in which I sep'd the art.

Third, I am trying to convince my superiors that waterproof film is the way to go but the print manager doesnt want that because for some odd reason they like to take 1 film from the job and tape it to the palette to line up to, instead of using a pellon and when done they rip the tape off and it rips off the emulsion from the waterproof film.

I'm almost to my wits end here and would really like some feedback on one or all these issues.
i feel for ya, been through all that and then some

- depending on the underbase white ink they should be able to go up to 200 at least. the lower the mesh count the more ink deposit, this is often why some printers will ay they can't use higher mesh (because the underbase will not be as bright on a dark shirt). I often have my print shops use 240 mesh for an underbase with halftones. If you do need a solid white underbase, then it's not a good idea to go higher then 110.

- The print order should be decided by the separation artist if they have the press knowledge (there's so many variables on press that can effect print order). Depending on ink color, translucency and coverage the order may change on press, It's best to always discuss print order with the press operator as some things may work in theory but not on press.

- what type of films are you using now? why do you want to use the waterproof ones over what you are currently using?
 

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Discussion Starter #3
I want to use waterproof because it seems all the clear films are having major issues with banding with printers. We just got an epson 4880 and I still am finding myself having to make the RIP lay down more ink then would be needed. Also waterproof dries super fast as well. I am using the Kimoto films.

Yes I run into issues daily I think with my press op, trust me on this, there are no real professionals in the printing space and I am finding myself having to dumb down my seps A LOT to accommodate thier lack of experience. I hate to really hate on them but I mean the op tried to tell me that printing a what would be highlight yellow early in the run instead of right before my highlight white(as i had built the seps for it to be there) was wrong and that he instead tried to print dark gray 2nd to last telling me that its printing 101 to go from least ink to most.
 

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I want to use waterproof because it seems all the clear films are having major issues with banding with printers. We just got an epson 4880 and I still am finding myself having to make the RIP lay down more ink then would be needed. Also waterproof dries super fast as well. I am using the Kimoto films.

ahhh ok, if you're having banding issues and such then it only makes sense to switch. you could just print an extra film of one of the colors for the printer to use during setup if he's insisting. I'm using an image setter so i really don't know much about the films produced from inkjet printers


Yes I run into issues daily I think with my press op, trust me on this, there are no real professionals in the printing space and I am finding myself having to dumb down my seps A LOT to accommodate thier lack of experience. I hate to really hate on them but I mean the op tried to tell me that printing a what would be highlight yellow early in the run instead of right before my highlight white(as i had built the seps for it to be there) was wrong and that he instead tried to print dark gray 2nd to last telling me that its printing 101 to go from least ink to most.
I feel for ya! i go through this on a weekly basis because i deal with many different printers all over the world. each with their own skill levels and experience. My only advice is to keep trying, discuss the issue and hopefully they come around. It is their machines and they are suppose to be the experts *shrug*
best thing to do is have them 'just try it' your way, if they don't have time, try to make time when they aren't busy to do tests.
 

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Discussion Starter #5
Thanks Red,

I think I have convinced my boss that I actually know what I am doing ha! So hopefully this will all be straightened out now!
 
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