ColorLayers
Articles on color separation and printing
Everything we have written about preparing artwork for screen printing. No theory for its own sake: every piece is about a decision taken before the films go out.
- Simulated process How it differs from spot separation, and when you need it
- Halftone angles Why every textile ink runs at 22.5 degrees
- Trapping The overlap that keeps misregistration off the garment
- Mesh and line count What your mesh holds, and where the number comes from
- Film output Resolution, marks, file names and emulsion side
- Ink coverage Where the number you quote against comes from
- The problem list What it finds, and what clears it
- Ink palette Count, colours, order and coverage
- Shop profile Where every warning comes from
- UltraSeps alternative Separation that does not live inside Photoshop
- Underbase When you need one, how much to choke, what it costs
- In Photoshop When doing it by hand still pays, and when it stops
- Instead of a licence When a browser beats installed software
- How to do it The order of operations, artwork to films
- Free to use What costs nothing, and what does not
- For designers How to hand over artwork that will not come back
- For print shops Less manual preparation, the same result every time
- Prepress What is automated before production, and what is not
- Halftones Line count, angles, dot shape and the limit of imaging
- Screen printing Prepress from an image to a set of films
- Color separation What it is, how it works, what comes out
