Setting film buat sablon
Banyak cara untuk setting film buat sablon, tapi yang mau saya setting disini adalah gambar vector yang biasa dibuat oleh CorelDRAW.
Contoh yang saya ambil adalah gambar mickey dengan bahan dasar warna gelap (abu-abu).



Berikut langkah – langkahnya :
1. Sesuai kan ukuran dengan yang kita inginkan.
2. Buat tanda cross sebagai tanda untuk menyatukan tiap warna nantinya.


Lalu convert tanda kross tersebut menjadi symbol.

Setelah di covert di copy lalu paste menjadi beberapa lalu tempat di beberapa bagian

Setelah beberapa sudut di beri symbol kross tadi lalu kita buang warna (delete) yang menjadi dasar bahannya

Setelah bahan dasar nya di hapus / delete maka hasilnya akan seperti diatas.
Setelah gambar seperti diatas, yang kita perlukan adalah mengetahui warna apa saja yang digunakan dalam gambar tersebut, dan kita bisa mencarinya dengan cara dibawah ini

Nah sekarang kita sudah mengetahui warna apa saja dalam gambar mickey di atas. Lalu sebelum melanjutkan ketahap berikutnya sebaiknya warna putih kita replace dulu dengan warna lain yang tidak ada dari warna gambar mickey tersebut.



Setelah yang putih diganti dengan warna lain hasilnya tentunya akan seperti ini (putih saya ganti dengan warna hijau

Lalu kita harus bisa menentukan juga, apabila disini terdapat 4 warna, berarti film untuk sablon yang harus kita buat ada 4 lembar. ( 1. Putih , 2. Kuning, 3.merah, 4 Hitam ). Maka gambar diatas harus kita copy lalu paste menjadi 4 gambar. Sekarang kita buat film yang pertama.

Film 1 adalah putih, dan karena tadi sudah diganti dengan hijau maka kita buat bagian yang putih/hijau tadi menjadi hitam dan yang lainnya menjadi putih atau hilang. Dengan cara replace warna kuning, merah dan hitam menjadi putih, pada gambar 1 maka



hasilnya akan seperti ini
Lalu replace warna hijaunya menjadi hitam, lalu kasih keterangan dan film pertama warna putih sudah selesai. (lihat hasil film pertama dibawah ini.


Film ke 2 saya ambil warna kuning, caranya adalah klik gambar ke 2 lalu warna hijau merah dan hitam kita buat menjadi putih dengan cara direplace warna seperti contoh diatas.

Pada gambar ke2 yang tersisa hanya tinggal warna kuning, lalu warna kuning tersebut kita buat warna hitam dan kasih tanda dan film ke 2 telah selesai. (lihat gambar dibawah)

Film ke 3 yaitu warna merah lakukan cara seperti diatas hanya warna nya beda yang harus diputihkan nya, begitu juga Film ke 4.


Selamat mencoba dan semoga mudah dimengerti. 


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index separation tutorial.

index separation tutorial.
this tutorial is for intermediate to expert level photoshop users, as well as for those who are familiar with using channels for spot color separations.
here's an explanation by another website on the advantages of index over halftones
wrecks 'n effects let's begin! (image on top. explanation below image)

never resize index seps in RGB mode. everything will become 'dirty'. ideally, create index separations at print size. you can however resize index seps in index mode without significiant quality loss
Onward!
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1. Resize to 200 DPI at print size. - 200 DPI is not a concrete setting. I've gone as low as 160 dpi on a detailed image and had relatively undistinguishable results. It seems DPI from 160-200 yield the best results, but that is using our specific meshes and inks. There are too many variables to give a concrete number here.
2. Saturate if necessary. Images that are low contrast and low saturation.... makes Jack a dull separation. Low constrast and low saturation makes Jack a dull separation. Low constrast and low saturation makes Jack a dull separation. Low constrast and low saturation makes Jack a dull separation. Low constrast and low saturation makes Jack a dull separation.
It will yield a bevy of gray or whatever middle tone color swatch you may have chosen.
3. Sharpen if necessary - Sharpening essentially helps to crispy the contrast and saturation. Otherwise see #2 and Jack.
4. Swatch palettes are wonderful, you will see... Most swatch palettes start with a default set of 30+ colors. You will want to reduce the swatches to none before you begin to add your own color swatches. To empty the palette, hold ALT and mouse over the colors, a pair of scissors will appear, click to manually cut the extra colors out of the palette. It would be handy to save your empty palette for future use. BTW, in Photoshop, you can cut extra brushes out of your brushes palette with the same method. (Works for most other palettes)
Adding colors to the swatch palette is easy. While mousing over the RGB image with your brush or paint bucket tool, hold ALT, which will allow you to color pick. Now mouse over your swatch palette and click to drop the color into the palette.
HOW TO CHOOSE COLORS.
1. Choose dominate colors.
2. Choose vivid primary colors.

Sometimes, if there are enough print heads/screens available, I will choose an extra color for an object in the tee that takes up a majority of the design space. Most Nascar tees have a car that take up more than 40% of the design, so I will choose an extra swatch of color so that the car looks good. For a car, I usually choose the basics, white, black, main color of car, and one light or dark analogous to the main color of the car depending on highlights and shadows. If it has a alot of shadows, I will choose an additional dark main color, or vice versa if the highlights on the car is extrememly hot. That way, the car is being separated with 4 colors.
5. Save the swatch palette you just created.

** random tip: There may be times where you may opt to use halftone separations along with index, since gradients are handled better by halftones. drop shadows/glows are better handled and printed with halftones. Or logos that call for a specific PMS color need to be cleanly separated by manual method as indexing will sometimes yield mixed dots even if you specify specific colors.


2. Select all, copy, undo three steps - essentially copies the index mode image into the clipboard so you can paste back into the original RGB mode.
You probably want to label the layers. never can be too safe these days, with all the gangs, diseases, and Avian flu. I usually have the layers labeled: index, flat RGB, clean yellow mask, etc. Make sure you have a copy of the flattened RGB (if you have the image built in layers). Leave the index mode image on the top layer.

1. Sometimes you cannot tell if one hue or another is too dominating until you have them dropped into channels, but it is a good idea to take a look at the index separations. If you have text or logos that require a specific color, undoubtedly they will be speckled with colors you know do not belong, so for text or other objects that are solid colors, it is best to separate manually.
** gray is your enemy, if you didnt choose gray in your swatch, it has dressed itself in another color and is trying to fool you. it will be most likely be the most midtone color there is.
heres why. you take a picture thats 16.8 million colors and drop it down to 8-12. when PS calculates who becomes what color, it takes the midtone colors and curses them to be gray, the dullest of a non partying colors... they dont drink or smoke, they are really uncool like Mark H, so theres going to be alot of it. thats why we saturate the image at the beginning...
now.... what you've just read, is just based on an assumption and may not be true, but it sure did sound like it would work. its like if you read a book on brain surgery. you would have a basic understanding, and would be able to talk about it over coffee, but put yourself in the operating room, you would probably just cause permanent neurologic deficiencies in the patient, and maybe then some.
let's look at how to create channels.

how to create channels.
1. open channels palette. press new channel button to make a buncho new empty WHITE channels.
2. leave an Alpha channel right below the BLUE channel. this will allow for easy toggling back to RGB. when you click on the layers palette, PS for some reason will select all channels excluding Alpha channels. since we will be changing most of the channels to spot colors, they will be chosen as well, which is frustrating. so when you do choose on the layers palette, since the Alpha channel left under 2 will not be chosen, you can use the shortcut apple-4 followed by apple-~ to just show RGB! this works because when you choose an unchosen channel, it turns off all other channels, then by choosing RGB by using apple-~, it then just shows RGB!!! YEAH... workaround for an annoyance!
3. double click on another Alpha Channel.
4. which will bring up 'Channel options' menu
5. select spot color
6. click in the color swatch area
7. which will bring you to 'Color Picker' menu
8. go to your swatches palette and begin from the first swatch. the color will change in the 'Color Picker' menu.
9. press 'Custom' which will bring up the PMS color swatches. it will automatically choose a PMS color closest to your swatch. press OK from the PMS color picker.
10. under the 'Channel Options', it should automatically change the name of the Channel.

Now repeat steps 3-10 until you have named the other Alpha channels with the rest of swatch colors.
On colored shirts, create spot color channel named 'Tee', fill with 100% black, and give it a spot color of the shirt color.
The order of the channels is top down. The top is what would be printed first, thus the 'Tee' color channel is first follwed by the base white if used. Usually gray/middle tones will go near the top, and black and highlight white will go on the bottom. Visually, on screen, it shows from the bottom up. You may have to move some colors around to get the image to show proper, but it will hardly ever look 100% like the original RGB. Move colors that are dominant/important in the image to the bottom of the channels. If you have highlight white, it will not show properly. No worries.
I usually put black on the bottom and duplicate it. Visually this shows what black will turn out on the shirt with some dot gain. If you havent compensated and lightened the shadows before indexing, you will be able to tell where black will eat everything.
Ive started to set the color of the base white to NOT WHITE. Depending on the color of the shirt, say if it is a blue shirt, I set the spot color option on the base white as a midtone blue... as base white on a blue shirt, yields.... midtone blue. Makes sense eh? Visually in the channels, its a better representation.
Next section - how to drop index selections into channels.

1. Have the index mode image showing. Make sure only the RGB channels are showing in the channels palette.
2. Select > Color Range
3. Fuzziness = 0.
4. Choose color from swatch palette starting from left. Press OK in Color Range.
5. Result will be a selection only around color of the chosen swatch.
6. (not shown) Choose the appropirate channel you created earlier, and fill with BLACK.
7. (not shown) Deselect All
8. Repeat steps 1-7 until you have done all the colors you had chosen in your swatch palette.
Keyboard Shortcut Tip: Apple-D to deselect, Apple-~ to toggle back to RGB mode. If you are manipulating channels with the use of the layers, use Apple-D, Apple-4, Apple-~.

After dropping the first round of index mode separations into channels, I found that gray dots were mingling in the Talladega logo. I re-indexed to clean up the original index separation.


Compare this image the text in this separation compared to the first index separation shown a few images before. See how there are no more grays dirtying up the text?
So above, the image was re-indexed with red, yellow, orange, white and black. Violin! You Reak Ugh! No more gray in the text. But now everywhere else, the separations are incorrect. It is easily fixed, by creating a mask and deleting outside the mask. I usually label re-indexed sections as 'CLEAN' etc etc. that way Iknow to leave them above all other layers, since from then on, they will always retain their index information and separate accordingly for further re-indexing.

For most index separations, I will re-index sections of the image with limited palettes, and then combine all of them for one final separation.

heres another example of separating in sections for clarifacation.
the image above was sent to me as a 5x7, 200DPI jpeg to be upsampled and printed at 15.5x18 with 10 colors. it was reduced to 160 DPI and the print came out pretty well.
the black with yellow outlines image is an example of how i separated the image into color sections. each section is separated with the minimum needed colors, so they will not be dirtied up by the other colors. this can be tedious, but if you knock out the paths/masks you'll save yourself alot of frustration cleaning up the separations. (example... section 2 was only separated with blue, light blue, and white, nothing else. section 6 was separated with black, white, yellow, and gray)
so make sure to separate (as in layers, not index separate) your image into sections, whether it be during creation or afterwards with paths so it will be easier to indexs separate later.

observe the image above. saturating the image is necessary to make sure that gray or a midtone color will not dominate the majority of the index dots. it is a learned skill as far as knowing how much to saturate. in the meanwhile, one can take the flattened rgb and convert to index and investigate. if the index pattern seems to be dominated by one color, you could just as easily undo and index again. most of the time i will index an image, drop everything into channels to see where the problem areas are. once you get the hang of it, it shouldnt take much time.
lets skip to the point where we have indexed the image and dropped the colors into the channels.
heres an example of what happened to the gray plate.

the left image is the gray index channel. the right is the manipulated one. i took an airbrush and manually cleaned up the plate. whats cool on a dark shirt, which would have a base white, is that the base white will take place of where the gray ink should be.
another reason i knew where to take the gray index out is i had all the colors laid out in the channels. i usually place the gray plate near the top of the channels palette which means it will be printed early on. with all the colors turned on in the channels except RGB, if you toggle the trouble plate on and off, you can see where it is needed and where it is not. turned back on, i took an airbrush and erased the pixels where i did not think the gray index dots were unneeded.

above is the black plate. left is original. right is manipulated. black has a tendency to heavy up, so just as the gray plate, i erased some of the pixels anticipating the dot gain. in the red 1 area, the black ended up fine. in the blue 2 section however, after printing, there was no contrast between the shadow underneath the car and the valance. it all turned black. in hindsight, the pixels should have been reduced approximately 70% more.
lets make base white.

to make base white, take the original non-index mode rgb layer, and use Image > Adjsutments > Selective Color > and take the Black out of the Red, Yellow, Orange... any colors that would need a base white. Royal blue, and red need to be reduced down quite a bit, as when one desaturates an image, they do not desaturate as much as other colors. see how much black i took out of the rgb layer on right.

after adjusting the black, desaturate, inverse, and use levels to make sure the middletone is leveled out to make sure ink will not be in the shirt area. this is also the same method to create highlight white except you will use adjustments to darken areas like red, yellow, etc.


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Persiapan Sablon

 

PERSIAPAN SABLON
A.      Pembuatan klise (Film)
Klise atau film adalah lembaran yang digunakan sebagai bahan acuan cetak. klise digunakan sebagai model untuk menyablon benda yang menjadi sasaran cetak. model atau gambar akan tersablon sesuai dengan model asli klise 

• Bahan klise : bahan yang harus bersifat tembus cahaya
• Membuat klise

1. Manual , bisa menggunakan  (1) Kertas hvs : berikan minyak kelapa, lalu dikeringkan (2) Kertas kalkir : tidak perlu lagi diberi minyak, karena sudah bersifat transparan
2. Langsung : menggambar model langsung pada layar screen, yang kemudian dilapisi larutan afdruk (emang kurang praktis, jika tidak hati-hati bisa membuat screen cepat rusak)
3. Setting komputer : diprogram langsung dengan program komputer kemudian dicetak dengan printer (yang laser lebih diutamakan)
4. Fotografi : ini teknik terbaik yang biasanya digunakan oleh industri periklanan/ industri bidang grafika. hasilnya harus berbentuk film positif, yang danantinya akan di afdrk sebagai klise pada screen

B.      Mengafdruk Film (Exposing)
yaitu proses memundahkan gambar model ke screen dengan menggunakan cahaya UV (ultraviolet). dan bahan afdruk terdiri dari campuran emulsi dan sentitizer (obat afdruk)
a.       Menggunakan larutan afdruk

1. Pelapisan (coating) : pembuatan larutan afdruk
2. Pengeringan awal (stat drying) : screen dikeringkan dengan menggunakan alat bantu, agar memperkuat persenyawaan obat afdruk dengan kain screen (Ingat tidak boleh kontak langsung dengan cahaya : bisa menyebabkan kegagalan). jika sudah kering, lalu boleh lakukan penyinaran secukupnya
3. Penyinaran (Exposing) : untuk memindahkan gambar model ke screen dengan bantuan cahaya.  jaga agar screen tidak terkena cahaya luar secara langsung
4. Pengembangan (Developing) : untuk memperjelas hasil gambar afdruk yang terletak paa layar screen. Di cuci menggunakan air mengalir untuk menghentikan reaksi kimia, jika tidak dicuci maka akan mengeras layar screenya.  Kemudian semprot lagi dengan handsprayer untuk memberishkan lapisan afdruk yang seharusnya luruh, lakukan hingga klise pada screen betul-betul nampak jelas dan bersih dari sisa lapisan afdruk
5. Tusir (Corecting) : pengkoreksian secara keseluruhan jika diperlukan, dengan menggunakan larutan afdruk pada klise terdapat dareah yang seharusnya tidak tembus cahaya
6. Pengeringaan Akhir (finish Drying) : lakukan seperti pengeringan awal, boleh langsung di bawah sinar matahari, lakukan sampai benar-benar kering

b. mengafdruk dengan menggunakan lembaran afdruk
yaitu melakukan proses exposing dengan mengunakan bahan afdruk berupa lembaran dengan ketebalan tertentu yang telah dilapisi bahan peka cahaya. Semakin tebal lembaran afdruk yang digunakan , semakin tebal pula tinta sablon yang akan tercetak</span> Baca Selengkapnya...