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Resend mark template

so once that say we're gonna go ahead and open up separation studio and just separate and separation studio it's actually extremely easy all we have to do is file open we go to our reasons over here and we find the 100% proof that's the tiff right here and it's opening up as its opening up it's actually color separating so you can see the color separations actually pop through on screen right here and it does an amazing job of color separating out and selecting every single part of the image so first of all we take a look at the color separations you can see how fast that happens and you can see all the colors blended together and it looks very very close to our original artwork and that's exactly what we're looking for we're looking for something that's very close to the original which is right over here now it is slightly different slightly lighter and that can be enhanced so let's walk through how we take it from here so separation studio takes the artwork and separates it into nine different channels no not very many colors actually show up in every image so a lot of times you don't need nine channels also a lot of times you don't want to burn nine screens and some of you don't have a nine color screen printing press so let's take a look at the how it breaks down from the under base and the great thing about is you can preview each of the screens if you notice the under base it's not a solid white plate it's a nice soft half toned under base now obviously this image has a lot of red that's the second color oh by the way this is the same order you print into so how easy can it be separate it print the same order and then take out the colors that you don't have this does have some blue well it's kind of hard to see blue but guess what I can also view the blue as a film much easier to see the blue there we'll decide later if we want that blue now it's got a quite a bit of yellow in it and not a lot of purple in fact no purple so let's go ahead and delete purple we don't need it it doesn't have any green either so let's go ahead and delete green and it doesn't have turquoise so let's go ahead and delete the turquoise it does have gray has a lot of different gray elements which is pretty cool because the grains spot process separation studio actually gives it a lot more tonal range versus just printing gray with white half tones but also gives you another option of color you can cut out because what half does do create gray and then a white highlight now if you notice this is not a solid white base how do we get to those nice bright colors right there well we give it a bright white highlight now this is how it breaks down six colors separation and voila or we could go ahead and print the film's and probably be good to go but let's enhance them a little bit so these are the ways that I enhance a separation studio fall now I do it all in image preview mode I think this is the genius part a spot process separation studios when we get on press you'll actually see these inks the same color profile dings in fact they're all Pantone colors by the way so if you have a Pantone system you can't mix them or you can buy them straight out of the can from will flex we offer those on screen printing calm as well and you can also swap them out but to get your results on screen you actually print them out of the can put them on the press and what you see here is a very color profile look like remember color profiling in four color process we're doing a very similar thing in spa process right here so under base typically let's handle this by boosting it a little bit and what I mean boosting a little bit is typically it doesn't add enough under base so what I do is I boost it up typically about 10 percent or until I see a true white come through so you see this come out a little bit right here you can see some true white start to come through here in the tires and if it's getting too high on the light tones you can always bring those back a little bit but you want to boost the under base up just a little bit sooo true white starts to come out an image and I can overlay it here see how it says under base 100% that's what I'm looking for right here the under base is still halftone that's fine but right here it's a hundred percent I'm really looking for that especially in these bright areas so next the red is there too much red we don't know yet because guess what the white over prints typically a little too strong so unfortunately the white under print in spa process separates the studio is typically a little bit too weak and the over print is typically a little bit too strong so the nice part about it is it's very very simple to adjust simply right-click and go to adjust Channel and on the over print what I do is the vice versa I don't need these half tones over printing the rest of my colors Bluff let's get rid of them so we just degrade that down until we just have the highlights that we want and the highlights that we want are typically sometimes they can bring those out even more by bringing the bottom part the high saturation up so check out the results now so now that that red truck is much brighter and the white is a much wider and that's exactly what we're looking for so let's take a look at the original right here oh we're getting a lot closer now that's the original that's the separated one it's looking really really good and we do need half the boost of color so we can choose to boost the color if we had if you want to if it needs more red we can bring more red in but that's just going to make it probably too red maybe it will boost it a little bit but the great thing about it is now we can see a clearer image because we're not over printing data on top of it we can do the same thing to by deselecting the white so by deselect than why it takes out the white highlights so right over here I'm turning the light on and off we can do that with any color we can do that with actually see how these colors would stack up on top of each other to see what colors are actually important so they're red obviously extremely important that blue not a lot of blue in there now we might want blue it does add some depth and feeling there or doesn't change the image that much if it's just not there but let's go ahead and leave it in for printing purposes and then of course the goal that's pretty important in the gray it's adds a lot of depth and we have our full-color image here and if we go ahead and tweak this too much put too much orange and doesn't too rusty I liked a little bit more and look I think it looks pretty good the way it is to be honest with you but let's see what would happen if we adjusted a couple of them the different options you have for adjusting because not only do you have the option of adjusting with just the adjustment tool you can actually highlight different parts of the image or actually color in so for instance up here let's say you want this moon to be a little bit redder up here we can actually take just the red Channel by highlighting just the red Channel so we take the active channels either by highlighting just the channel itself or go to active channels up here and unselect all the other channels and then just the red then we can take our saturation tool I can color in the red in this image as I'm coloring this you can see the reds here are getting brighter so it's actually bringing out the red I'm doing it manually not with the entire Channel so that's one image that's one option that we have there is actually coming here in color in this isn't a great example but for instance in other images like eyes I'll use them to bring out blue and eyes but you can do it just by bringing out one channel at a time the highlights or the mid-range of a different image now those mid rage toes that actually doesn't look good at all so I'm gonna back that out and then just dealing with the high saturation so you have a really a ton of control right here if you want to bring out certain parts of the image the other thing that you can do is you can lasso stuff so you can take a square box so you can lasso just this part and then just deal with this part now there's not a great example of that in this image because you know most of the image is pretty hard to just lasso apart or but if there was just one section in the barn per se like right here we can just take that out and just pull that section out with a cut tool with a lasso tool it does allow us to do a lot of different stuff and then it does give you a lot of functionality between these different lasso ranges to be able to take different parts and now let's say we can adjust that read a lot differently so that's selected there we double click to select the range and now we can adjust the reg and bring this all the way up and you can see all that coming up all at once without adjusting the image down here you know not to say that looks too great but that's an example of what you could actually do and you could do that for all the different colors so you wanted to make the gold active and do the same thing on the gold channel so I can adjust the gold channel up to bring out more gold in this top print so that's turning more gold now so you have a lot of control with these tools to be able to change the color values in fact you can actually change the color themselves so let's say this you know blue for instance you don't want that blue to be there you want it to be green you actually go into the blue you can double click it by double clicking the color over here you can change it to green simply hit save and now it's green and now that's a green shade instead of a blue shade so you can drop in colors you can change colors and you actually change the Pantone color values of those colors as well so if you know the RGB code of a Pantone color so let's say we wanted to change the red we can go to custom and we can plug in a different red RGB value or a different lab RGB so just go to Google on Google Lab 2 Pantone or Pantone to RGB you can actually see those different results right then and there which is really cool and you can actually plug in and put different custom colors or out of the bucket colors and do your separations that way so we're getting a little bit of Vance the point is is that you basically have a lot of you know tools right here not just addition tools you also have erasing tools and desaturation tools right here so if you added too much saturation or you wanted to simply erase part of a color so let's say we didn't want red in a certain part of the image so once again let's highlight just the red right here and we didn't want red in the wheel right there we could come over here to our razor tool select that so just select the eraser and simply erase the red in that part of the image altogether and you have once again a lot of control on how to do that now we don't have any red chrome dust in the center of our wheel right there and it's all back to chrome or natural so you got a lot of control out of separation studio here just some examples of how you can deal with it or handle with it and then you're done you can see the color profiles if you are changing the colors you can find the equivalent RGB or lab values for the Pantone colors you're switching to and even see those before you go to press and from here you can actually go and print a press proof so save the color proof you know this is a customer color proof customer 100% proof we'll call it color proof that's 100% right there and we typically want to save this as a JPEG something that they can view very easily and the nice part about that is that's gonna save in the same spot that we just had the other file and it's a color proofed version of that image so let's see where we started out with once again and see where we ended and see how close so let's say a customer gave us this we said okay we brought that depressed we took that to separations and we ended up with that and they said dang that looks awesome or they said oh man it looks like it needs a little bit more yellow and we go in there and make the tweaks and then resend it to them we have the complete control and function out and we actually get them to sign off on it because it's color profile before it actually goes on press saving us a ton of time so separation studio I think one of the coolest parts about it is the color proofing capacity not any other program lends itself to it and will actually illustrate how Photoshop would color separate there's a lot of plug-ins for Photoshop that does a pretty good job of color separations but it doesn't color proof it so we're done separating it out of here the one thing separation studio doesn't currently though future versions probably will is print the films and handle vector data so we'll show you how to print the films and we're gonna save this as a as a EPS file so we're going to go ahead and save this an easy-to-access spot our downloads is EPS file and then reopen that up in Photoshop and show you exactly how that looks now remember how it looks and separation of studio you can see all the colors well if we look at what happens in EPS world it opens it up and we see the separations there's the six separations that we ended up with but our colors are drastically different that's right black so let's go ahead and add a white underbase so if we add a channel new channel excuse me black under base of course we're gonna go ahead and on a percent capacity channel on our black under base move that to the very top of the image and now we can see the same image but look at the colors they don't look near the same so this looks like the original artwork it doesn't look very good at all and we've done all that work to clean it up and to color proof it and this is what the customer wanted and this is what we separated it looks great but in Photoshop when we brought it back into CPS which is actually how Photoshop reads color it doesn't look anything like it so that's one downside of color separating Photoshop is the color doesn't really come through though it does in separation studio so saving those color proofs is a great way to show your customers what they're actually going to get so we can print our films out of Photoshop so we can print our films here or we can print them out of Illustrator and by printing them out illustrator you can put them all at once rather than having to click one at a time but you can also handle vector data these are all spot colors that's one great part about it that's why it's called spot process Pantone colors can be used in vector data or in all this raster data so raster data yet it's grayed has half tones but it's not very crisp if you look at these in these fonts up here it's very very grainy fonts not gonna be very crisp if we want a nice crisp logo vector data we want to add that separately and that's gonna be done in either CorelDraw or illustrator let's jump over to illustrator and show you how to do that okay now we're in illustrator the first thing we're gonna do is we're gonna create a new document now we can do this as a any type of document really but what I would recommend is a template that you can download that brings in the registration marks and opens up the canvas so this you do open up and see my came out here not in RGB mode because we're actually handling the color just a little bit differently and it brings and opens up the canvas right here with registration marks colored in registration mark color already you can change the canvas of course we'll see if the canvas is the right size so once you have your canvas open which you can download the registration mark template use that as the canvas or create your own and create your own registration marks that's very easy to do as well if you have your own template but blank canvas and now we go to bring in the file so we're still handling the EPS but instead of opening it we're placing it so file and then place and let's go to our recent spots here which is the Downloads and then place that file that was pre separated whoa it's bringing in the Pantone colors as different solid Pantone colors right there so let's see if it placed perfect there we there we go we Center it this has good data it's a good size for our 3919 film Center right up on the film right here make sure it's centered to the artwork which it is and then right voila we have our film and we can actually see it now unlike CorelDraw illustrator doesn't show us our end result but it does show us our separations and it brings in our vector data right here so you see all of our under base are red our blue our gold our gray and I can create vector elements out of any of those colors and it brought them in ready to go into illustrator so I can start adding vector no problem so let's say I wanted to add a logo I wanted to add a mark we can do it right here ready to go so let's go ahead and add some vector data so let's let's say add one of Ryan it's our new trademark I don't know if we're actually going to end up printing this but let's go ahead and add our new mark got our mark here we grabbed it let's go ahead and paste it onto this and actually show you how to color it in vector so we brought it over here now we can take the white we can drop it in to the different areas of the image let's say we don't want the outside area let's ungroup that and then just leave that part so we delete it the outside now we got the inside and we can bring that in size it put it in on the right hand side here and then we got vector data right there now you can see vector data as an under base or an over print which is now you pretty hard to see the white underbase here so what I typically do with the whites is I double click them and I bring in just a little bit of cyan so you can see a little bit of blue there so you can do that on your under base and on your overprint you do the same thing but you make it a little bit darker so there's the under brace in the over print so actually accidentally change that to their print I want to change that back to the under base but let's say I want the under base and the over print so how do I accomplish that well that's pretty simple you simply hit copy and then paste now you got the new print on top simply come over here put them on top of each other color the over print one and then you're going to want to put a little bit of stroke and use the stroke as our over print typically probably like a point five and that's going to be enough there so it's going to be slightly choked on the under base slightly over printed on the over print and pretty easy to register and one more thing there so under here you want to look at your attributes I'm gonna pull up my window and attributes and now I select over print fill and over print stroke and that will actually over print the underbase is a little bit different in CorelDraw and you can go to our YouTube page you can see the difference separation studio videos on CorelDraw and that shows you how to do it very similar process but not able to see it quite as easily the last thing I wanted to show that after we showed how to add vector data before we go to print films is actually seeing the separations which is probably the coolest part of illustrator so if you go to window once again and then you go to separations preview so let's go ahead and open that part up separations preview now we can actually go in here we can see the different color separations so let's open up our over print preview and then let's take out the CMYK and now let's go ahead and look at our color separations preview so there we go we're going to take out the black and there's our white underbase there's our red there's our blue there's our gold there's our gray and there's our a white top and you can see how that matched perfectly with the vector data and how the vector dated hi to all of it you can see they look different because we actually added this different color so we can see the separations but this came out great and it's ready to print so we got our vector data here were ready to go to films so we're gonna accurate we go to our custom page size we've got a 72 by 5 we're going to need to customize that a little bit so this is a 24 inch roll this is a 14 inch wide print longer than that and we're gonna go landscape mode so actually it change the mode on that so go to page setup again go to portrait mode right you think that and there it is prints it alright they're side by side 24 inches you know wide and pretty much good to go we do need to look at our output and this is where we select the composite to separations top base and only printing the files that we want so white underbase of course red blue gold gray top and then on my sure how this Pantone black I think it was from that other part of that rhino net logo outside that snuck in there and we're good to go we hit print once we have an accurate default setup and it prints our films alright in a row so now let's talk let's jump over to accurate and talk about our film settings so we talked about how to separate the artwork we talked about how to put your registration marks on if you are in Illustrator let's jump back to Photoshop talk about four color process and then back over here to simulate a process to wrap this section up by printing our films so that we can go expose our screens and get on press and start making some money okay so we're going to be printing half tones so we're gonna be using accurate to print those half tones now we're gonna use some setting as an accurate and kind of show you how that functionality is an edit configuration which is really the only thing that we're adjusting here is at a configuration that we're adjusting our halftone configuration we got our printer setup I'm using the Epson t3 to use 70 or the 1430 we have both right here selected but we're really selecting the halftone and we're really selecting the frequency we'll talk about the angle in a second let's talk about frequency and that's typically depending on the type of printer you're doing and the LPI I've seen lines for inches that also known as the frequency that's what I'm referring to and it's typically the screen mesh so in the screen printing 101 classes the screen print experience classes we talked about a five multiple meaning if you have a 300 mesh you're gonna divide that by five and you're gonna be using that sixty LPI as your max LPI and that's typically what happens with four-color process and stimulated process printing for four color process printer using 305 mesh screens so you're gonna be printing a 55 to 65 l pi/4 simulator process to 30 mins 45 to 55 LP i you can always go higher especially if you have better quality exposure units but that's typically we recommend starting so we're gonna start with our four color process image at 55 LP i and then we'll talk about the angle and the screen dot style which you have a couple different selections here so let's jump back into photoshop and illustrate what's talking about here so a lot of different types of four color process printing talk about what's called the rosette pattern the rosette pattern is typically done in offset printing and which basically creates an optical illusion of showing color kind of melding together to create these tiny little rosettes as you see here and making that color i'll work giving your eye an optical illusion but look at how precise this has to me i mean let's go ahead and change this and kind of show you just if your screen because an offset print you have plates that are literally solid it's printing on paper that doesn't move that much and pretty consistent and holds a dot very very well but when you're printing on a screen printing press and you have a lot of different variables like oh man start naming the different variables you have like your screen tension and you have your shirt and then you have your squeegee pressure and that's all different burials that you're gonna have watch what happens if you're just slightly off so that was the first and now now we're actually gonna show what this would be oh wow all the sudden this image that made sense because all these little rosettes work perfectly you're slightly off and then you're more off and you're not even close so I actually recommend not printing the rosette pattern even though you'll read about it a ton when it comes to four color process printing you would want to typically print the flamenco method which is something that Charlie once again from spa process separation studio free hand graphics taught us and that's linear dots meaning all single angled dots and that means your dots stack instead of surround and because it's inks typically transparent stacking dots actually worked pretty good together I mean think about your computer printer doesn't stack around four color process dots when it prints CMYK images no it prints all the wet ink on top of each other so by stacking yellow or cyan and yellow you create green or magenta and yellow create red and it's naturally creating these colors by stacking dots which is way easier to register so linear line half tones that aren't actually changing the frequency I always typically keep it at twenty two and a half degrees now if you get some more rays you can change that to 61 you want to offsetting angle so typically twenty one twenty two point five or sixty one are good angles to use and I also like using the round dot versus the ellipse which is also quite common rounds exposed better they're easier to control I mean you can play with all these and the rule is really there's no rules and you can pretty gets you could get some cool stuff out of FM lines or lines or diamonds but I typically stick with round if you're trying to replicate something so you've got fifty five LPI here and round and as typically you're gonna change when you come to do spot process you're gonna change 55 to 45 and hit okay so let's keep that on fifty-five then we'll go to our films and add a couple more pieces of information that are important when you're actually outputting but that's how you would actually set it and I typically recommend for spot process like this you're going to be doing 55 45 to 55 and then once again for a simulated process you're gonna be doing a little bit higher because you definitely want to have a little bit higher resolution there for the four-color process printing so back to the four-color process image where we started and now we're gonna print each film so we do want to select each one it doesn't really matter where you start but you're gonna come here and you're gonna hit print and you're going to and some data now we've already set our films up to print to the 55 LPI which is great but under print and we got accurate selected which is great and we got a good sizing here and a good film here on a 24 inch wide roll that's all great there's a little bit more information now we we can add Center crop marks absolutely necessary now in Illustrator we had to do that manually but in Corel I mean in Photoshop it does it automatically for us now we also want to add labels super important if we don't add our labels it won't print the color of film and you can see how close these color look at how close the magenta and yellow are to each other yeah right you're gonna recognize that on press you want it to actually print yellow and magenta on your film now you can add registration marks I typically don't because there's just more things I have to tape off it it gives me these Center you know corner crop marks and good registration marks in the center inside so it gives me typically enough data and then finally we want to add calibration bars calibration bars allow us to see a halftone gradient scale on the side of our film now we'll talk about this during screen exposure but this is basically the speedometer to our exposure and tells us how good we're actually doing so once again if we don't do that we're not knowing if we're capturing the data inside the image we're never gonna know that until we print it we might not even know that then but if we can see that on the outside which will explain during the exposure process it makes the whole you know printing process much easier the key is saving steps behind so do the state of the steps ahead not have to get on press register the whole freaking job and then realize that you put the wrong color in the screen have to clean the screen all the way out or you're half continent exposed properly so if you do it right out of the get-go you're going to be much more successful and once those things are selected we simply hit print and likewise on in Illustrator over here we're going to select our areas of film right here we would go to accurate first and change that so we'll accurate settings then go to edit configuration and we're going to change that to a 45 LP I keep the dots linear single angle right there and then we already have our Mark's right there Center crop marks is in registration color so we don't have to create those ourselves we got our output we got we're gonna deselect that and then let's go to advanced so under marks and bleeds we're gonna add color bars for our calibration bars gives us a gradient scale on the bottom and color bars on the side different halftone levels right there and once again we can print these all at once rather than having to go color by color and just print and it rips them all at once we got everything set up good to go and it's pretty much that easy guys separating in with the right tools is not very hard and following the process so it's all about tools and process the other right tool is follow along with a video on the process it gets pretty easy the great part about it is there's tons of other videos on YouTube that we've done webinars on you can go back and reference as well but this is the the guts of how to separate so let's wrap this up by printing our films one film at a time and then go ahead and register our screens burn our screens of course register them get on press and get to printing which is always the fun and exciting part but the magic doesn't happen unless you do good work pre-press cleanup your art start out with good art of course clean it up make sure it's nice and sharp color separated properly colored profile properly put your films properly and now you're to exposure so let's get in the darkroom and make some screens