The simplicity of the art can sometimes make it very complex on the press. The variations in color are subtle and we have to be real thorough for this to show in the final print.
The images below will demonstrate how each color is printed on the press and how it changes as the other colors are added. Think of this process like the transporter beam on Star Trek. Something being beamed up has to go through a break down to the atomic level, then transported to another location and put back together as it was before. Same concept here.
We must first analyze and determine how many colors it will require to make the print look like the original. Then we must break apart all of these colors in Photoshop into individual channels in black and white.
The First color is a mixing red to blend with other colors to make oranges, purples, browns an so on. . .
Next is a yellow. Yes, you can already see the oranges being created. This is how it appears on the press.
Even though there is not a lot of blue, there is still enough to justify it to make the final look like the original.
A second red is required for the more solid areas. The first red can be modified on the press to a different shade to compensate for the dot gain and blending that will take place. This red only works on the pure reds.
Green can be made with blue and yellow, but not with the shade of blue we are using.
Next is the first of two blacks. This is a thinned black that is used for mixing and blending.
The nest black is a stronger pigment for the outlines and dark areas.
A highlight white is added for blending back the higher areas in the art and gives the art more dimension.
After the seps are made we import into a vector program and add the type registrations, and a legend of information. Then we send each color to it's own plate of film. A screen is made of each of these and set up on a press.
After many hours of pre-press work, you have a T-Shirt!
Actual print on a shirt.
