More Shirts in the Media

My daughter has a VHS copy of Clueless she used to watch when she was about 12 — I was looking over her shoulder one day & spotted a character wearing a shirt I’d printed & hollered “Hey! I printed that,” but it was years before I finally tracked down a still photo from the film. Back when I owned Vreeland Graphics, we printed for Tesoros Trading Company, and I’m just about certain that this was a shirt we printed for them, based on a Tarot card, or some such thing from Mexico. It was one of the first jobs I ever sepped for process on dark in Photoshop, so I remember it well because it was a difficult thing to learn, though I’ve lost the file.

There was a recent Buzzfeed article about how cool & hip Austin is (bleh- not going to link to buzzfeed, sorry) and about 2/3′s of the way down the page, I spotted Johnny Depp wearing a Continental Club shirt.  I printed for the CC for over almost 15 years – up until I sold VG — but this wasn’t any old Continental Club shirt — it was from the very first batch we ever did, on spec, I believe. Steve at the club liked the shirts, but after we printed just 72 of these, he asked us to change the color scheme to more closely match the neon sign in front of the club, so here is Johnny Depp, wearing a shirt I printed in Gill Ediger’s shed, with my own bare hands, of which there are only 72 in the world. I cut the amberlith and applied the zip-a-tone & letraset type to this art, by hand, old-skool style.

He must have acquired this while he was in town filming What’s Eating Gilbert Grape, which was filmed in Pflugerville and Georgetown, I believe, about the exact same time that we would have printed these shirts. My wife was impressed. It looks like Buzzfeed lifted the photo from this Austin blog which is the only other place I could turn up the image.

Next up, Neil Young in an Antones Jimmy Reed shirt. Johnny Depp is all well and good, but wow, this is a trifecta right here. 1. Neil freaking Young! 2. Design by the iconic Austin artist Danny Garrett, and yeah, Neil, Jimmy Reed, and Antones, are all the best. So, so proud of this one. I knew the photo was around, but drew a big fat blank hunting for a quality copy of it for years and years, until I posted this Ask MetaFilter question, whereupon it was solved in, like, 10 seconds, flat. I love MetaFilter. Seriously, though. Neil Young! I’m more proud of that than about anything in my life, except my children.

The good folks at MetaFilter actually turned up two different versions, one by photographer Chris Walter, from whom I quickly purchased a digital copy, and another by Mike Hashimoto, also available for purchase.

Keep on printing in the free world!

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Upgrading Challenger 1 Safety Cables

The original M&R Challenger series 1 and Gauntlet series 1 presses shipped with “cycle interruption” safety cables that prevented the indexer from turning when they were unplugged, so that no one could step between the print heads and get hurt by the indexing pallets while the press was running. This all seemed well and good, but they used regular 1/4-inch phone jacks which were prone to failure. People karate-chop them instead of using 2 hands to pull them apart, maybe because they have stuff in their other hand, or maybe because they’re lazy, but they come unsoldered all the time. Sometimes, just the press running will cause enough shake that they spontaneously disconnect, the press will stop mid-print, & you have to scurry around looking for the unplugged safety wire. When this happens mid-flood, or mid-stroke, you can count on rejects.

Here’s a photo of a Challenger 1 with the old 1/4 inch phone jacks still installed:

The upshot of this was that although the machines need safety cords, they are frustrating, prone to breakage & way too much time is spent futzing with them instead of printing, so the vast majority of Challenger 1 owners simply bypass them, which is all too easy to do, once someone shows you the trick. (Don’t ask me)

There’s good news for series 1 press owners, though! The fast, simple & reliable magnetic cycle interruption cables that M&R introduced with the Series II presses are completely compatible with the series I machines, with just a tiny bit of work.

Here’s one of our Challenger 1′s with its new magnetic safety cables:

The end wires inside the first and last print heads are identical, so the only problem is connecting them to the heads, since the gigantic magnets don’t fit through the holes formerly occupied by the old 1/4 phone connector wires. I talked it over with my friend Joe from, and we came up with a pretty simple solution in just a few minutes. It took him about 2 hours per press to drill holes in the end caps of the print head arms, and attach the cables with zip ties, and now both our “venerable” Challenger I’s have fancy new safety cables!

Here you can see the custom drill & zip tie configuration for holding the new cables to the print heads:

I highly recommend this to any Challenger I owners out there, instead of simply bypassing the old cords out of frustration. We’ve had zero problems with them spontaneously disconnecting or shorting out, or coming unsoldered after 4 months, and I’m very happy we made this upgrade.

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Converting an RGB file to Quadtone for Screen Printing

Recently, when I separated the file for my upcoming Maple Leaves shirt, I recorded my screen as I worked through it, so I could make this here instructional video.

The file is a scan of a black & white negative, but I discovered something with my slide scanner — if I leave it in color negative mode when I load it with black & white film, it imparts some really interesting color casts to the resulting scans that look antique. The original RGB file wasn’t actually tinted by me — it was tinted by my scanner.

So, what I wanted to do in the separation process was to preserve this tinting as much as possible while setting it up to print as a halftone process screen print. It ends up being 5 colors in the end. I will always use at least a black & grey doutone for printing black & white photos, because it gives me so much more on-press control than just a simple greyscale halftone. The theory here is that if there’s less black in the highlights, you won’t kill them with excessive dot gain attempting to get the shadows dense, & by moving some of the midtone & highlight information to a grey screen, you can control perceived dot gain by adjusting the brightness value of the grey ink. So, if the print is looking just a tad too dark in the midtones by the time you’ve got good solid coverage in the shadows, you can just put a lighter grey in the grey screen, and presto! In offset printing, duotones are also used to alter the hue of a greyscale photograph. These will actually have black toning the image across the tonal width, but the black will be underlain with a second halftone screen with a color in it, like yellow or orange, to give a sepiatone effect, for instance.
(General ink mixing hint: Bright orange and black always makes the best deep browns. Wilfex’s fluorescent orange + black is my favorite brown of all.)

With this file, I really need to do both — I need a medium grey to control the highlights & midtones, & I needed an orange & a tan to tint the image. So, anyway, to the video. I used captions instead of a voice-over, because I hate doing voice-overs. Deal.

The video is a bit long at 15 minutes, but it’s an edit/speed-up of what was just over an hour’s worth of work, undo’s notwithstanding. Command-z is my friend, as is Save As…

The steps you see here:
1. Desaturate the file, using the Black & White adjustment dialog, which offers more control than just converting straight to greyscale.
2. Covert to greyscale, which is necessary before you can convert  to duotone.
3. Convert  to duotone, which opens the duotone dialog, where you can pick ink colors, and add up to three additional colors, but choosing the quadtone option.
4. Convert the file to multichannel mode, which allows you to make selections based on individual channels, and make adjustments based on those selections. Key here — Command-clicking on a channel in the channels pane makes a feathered selection based on the density of the contents of that channel. Then, you can switch to other channels and make adjustments based on that selection. (Shift+command-click another channel to add its contents to the selection, or option+command-click another channel to subtract its contents from the selection) Also, the Select by Color Range… tool is very useful. If you use the Sampled Colors option, you can pick a density with the eyedropper, then adjust the sensitivity of the selection with the slider.
5. General dot-gain adjustments. T-shirts are coarse, they wick the ink, & gain is much worse than any of the paper settings in Photoshop’s color settings.
6. Add a white channel for a total of 5 colors.

Coming up “soon” (ha!) I actually print the thing.

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This History Post Stolen From

These are some pretty awesome videos of printers rockin’ it Old Skool. Amberlith! Cameras! Wooden frames! And those old oval machines — they were rock solid, but watch the press in the first vid — one long bar controlled all the squeegees at once, so you had a choice — single stroke all the colors or double stroke all the colors.

Here’s one from Winterland, who for a while had the whole music industry sewn up. Early in the video, they pan by a Dangerous Toys shirt, which was an account that they stole from me when they signed their major label deal.

They also had the old ovals, but also some of the more new-fangled Arrow Multiprinters. Winterland actually did some really good work & pushed multi-color printing on dark shirts in some new directions at the time. I still have a Neville Bros. shirt that I’m pretty sure came from Winterland, and I learned a bit about sepping halftone underbases for dark shirts by reverse-engineering their prints.
Both of these videos are courtesy of this fun thread at The Shirt Board, which is turning into my favorite T-shirt printing-related message board. Lots of experience there, & a nice bunch of folks.

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Growth Management Through Customer Attrition

Hello, Printshop.
I’m sorry, those vinyl air-dry inks are really expensive and difficult to work with, so we really don’t do bumper-stickers. Okay, thanks for calling.

Hello, Wearables Printing.
Gosh — I’m sorry. Our margins are really slim & it only takes a few rejects on those expensive sweatshirts to gobble up all our profits, plus they’re slow to print, & we’ve got to change all our settings on the press. Okay, thanks anyway.

Hello, T-shirt shop.
Yes sir, just T-shirts. Great! Wait, no — 4 color process doesn’t work well on fabric. We get too much dot gain & the colors always come out muddy. I do appreciate you calling, though.

Hello, Spot Color T-shirt Printing Incorporated, may I help you?
We do — I mean we can, but we’ve got to charge a lot for printing on darks because of all the challenges with opacity. I really can’t come down on that quote. Well, thanks anyway, have a nice day.

Hello, Spot Color on White T-shirt Printing Incorporated, how may I direct your call?
Color matching? Well, our ink manufacturer makes a range of stock colors, but we haven’t had a need to invest in a Pantone matching system until now, so I can’t guarantee we’ll get that color exactly. Okay, thanks for calling.

Hello, Spot Color Black Ink on White T-shirt Printing incorporated.
I’m sorry, when I tried to open your file I got a missing font message, so we just printed it like that. REFUND? GOOD DAY, SIR!

Hello, Spot Color Helvetica Bold Black Ink on White T-shirt Printing.
Youth sizes? No, we can’t fit those on our platens. Okay, then, goodbye.

Hello, Spot Color Helvetica Bold Black Ink on Adult White T-shirt Printi…
Huh… they hung up.


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Come and Take It!

It’s not fine art, it’s a line in the sand.

If someone wants to take my coffee, they’ll have to pry it from my cold dead hands. Express your love for freedom, Texas and the caffinated beverage of your choice with my new Come and Take It shirt!

Order Here!

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New Wearable Serigraphy Design

At long last, a quiet spell at work has given me the opportunity to turn my attention back to my Wearable Serigraphy line of shirt prints. I’ve got this one all the way through the duotone separation process & onto film, & next week I’ll be prototyping it on 5 different brands of shirts to see which one prints the best. I’m doing white shirts on the next three designs so that I can go 85 line instead of 55. They should be available for sale by early December.

I took this photograph when I was 17 years old, on vacation in Zion National Park, with a borrowed camera. I had a few prints made, but let the roll languish in one box or another through umpteen moves & houses, and finally got the negatives out last year & scanned them all on my good Nikon slide scanner. I found that when I leave the scanner on the color negative setting, it imparts some really nice color tones to the black & white images, so that’s what I’m attempting to reproduce here.

It’s set up as a 5 color print. Black, medium grey, orange, tan & white.

Proof! Here is the black sep on film!

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The Advent of FlinGard™!

As a businessman, one must be ever vigilant for marketing opportunities. In the world of screen printing, one can always find an “under-served” market, often in the form of fresh-faced suckers who don’t know better, and are ready to blow their inheritances on the latest, greatest innovation, like “Scorch-off.” That’s right! Only $16.95 for a 79 cent bottle of hydrogen peroxide, re-branded with a fancy label!  (I shit you not) A smart businessman has a solution ready for a problem, and if there’s not a problem for your solution, create one. Flood bar wings! Thousand-dollar Precision Pallet placement mechanisms to replace that hard-to-operate 50 cent cut length of 2X4!

I’ve been on the wrong side of this equation for too long, and have made my bold move with the introduction of the FlinGard Pro™. Tired of the messy splatter of flingers flying out of your screens & onto your press & shirts? If only plastisol weren’t so stringy and flingy. But what is one to do? Well… for only $39.95, you can halt those flingers in their tracks before they gum up production, bringing your expensive presses to a grinding halt,  causing your operators heartburn, and sending your customers screaming for the hills! No more messy hours Zimming out flingers, no more mounds of rejects heaping at the end of the dryer. Your press will be sparkling clean, with no gloopy globs of ink to be wiped over & over until your fingers bleed. Order yours today, and free your printers from worry and your clients from care!

Stop those blobs in their tracks!

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Dear Union Ink: Please fix this.

Let me start off by saying how much I love Union Ink. Not the company per se — though I have met some very nice people from Union Ink, but specifically, their fabulous products. In the early 80′s when I first started printing, it was generally accepted that getting plastisol out of those damn metal paint cans was simply a chore. Ink was thick, stringy, stiff and dull, and that was just how it was, then. The only inks I knew about were the few cans of Sanchez that we’d managed to smuggle across the border from Mexico (now owned by Sericol, and still a fabulous ink, if you’re in Latin America, btw) after The Great Fire in mid 1984, and International Coatings, which was generally something everyone avoided if at all possible, or used with a deep sigh of resignation.

Then one day, a fellow printer & friendly competitor named Paula (I forget the name of her one-woman operation now) mentioned Union’s Brite Blue in a conversation, because I just could not get the color a client needed out of the crap I had on the shelf in our garage. I ordered me exactly one quart of ink, god even knows where from, and the sky opened up. It was beautiful, bright, creamy, smooth, and so easy to get out of the can. I became a lifelong customer and ardent adherent that day, and you can ask all the poor ink vendors who have darkened my door since, only grudgingly willing to even look at a competitor’s line.

People used to call Wiflex “Won’tflex” because like IC, their stuff was ungodly thick and impossible to work with, but they came around. Wilflex’s inks are pretty great these days, and I still use their fluorescent pigments willingly, and rely on them for great bright colors because Union’s flourescent colors are tacky and build up wet on wet.

Union upped their game in the late 80′s with the Tru-Tone process colors, and still, no one can touch them. They’re utterly consistent, as close as you can get to SWOP specs in plastisols, and they introduced printers the world over to the meaning of the word thixotropy. Awesome stuff, guys. Your product helped me make a lot of very picky clients happy over the years. In fact, the Union reps used one of my award-winning shirts to show off the Tru-Tone inks in their trade show booths for quite a few years, in the early Aughties — thanks, guys, I was always proud.

But… this.

What the hell is up with this? For nearly as long as I’ve been buying your lovely inks, I’ve also been buying your viscosity reducer, because it makes Rutland worth using — it’s the PLUS 9000 guys, check it out. For nearly 28 years, even single time I order a gallon of this stuff, it has arrived in one of your tin cans, bent, crushed, maimed, dented, often leaking, mangled and otherwise dinged or damaged, and I’ve just about had it. I’m challenging the obviously ample minds at Union to do something about it at long last. The photo above isn’t even really much worse than average — that’s just how it rolls with this stuff. These things tip over, spill, drip and make a general pain in the ass of themselves, and have since day one.

I’m going to guess that you have your reasons for using these containers, but UPS has not been kind to them.  Dear product engineers at Union Ink – it’s simply time to think of something new.

Thanks in advance, your biggest fan.

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T-shirts In Popular Music

Okay, so maybe Adrian Belew’s first solo album doesn’t quite rank as “popular,” but I’ve started noticing when the word “t-shirt” shows up in a song lyric now and then, so I thought it would make an interesting category if I can gather a few of these up. Belew is best known for his work in King Crimson & as a sideman & touring member of the Talking Heads. His first solo album Lone Rhino (1982) has long been out of print in the US, so I was pretty happy when I recently stumbled upon a copy, having lost my vinyl of this many years ago. This is a pretty fun, goofy song, actually, and it’s been great hearing this thing again after so long.

Adidas in Heat

Jet set ski shop quasi silver Porsche jacket
bleached blonde forty-dollar Foster Grant
capped teeth two-inch eyelash
pseudo gamma delta doll

Adidas in heat

Beer slob Saturday addict pops another top
“Kill that sonovabitch,” he screams at the t.v.
the thrill of victory, the agony of my feet
Adidas in heat

Sports awareness T-shirt
sports awareness T-shirt
you have the paraphenelic regalia
of an athletic supporter

Forced to wear this T-shirt
sports awareness T-shirt
you have the paraphenelic regalia
of an athletic supporter

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