Chris Mohler schrieb:
> Imagine I'm designing a black t-shirt with say five spot colors,
> including white.
> Whew ;)
Whew, too ;) Makes me wonder if it has to be that hard or if
it points to some missing software improvements. Trying to understand
the example, i hope you don't mind some uninformed questions (and also
some out-of-sequence quoting).
Besides anticipating printing press idiosyncrasies ('choke'),
it seems to me you're manually creating kind of a color separation.
Quite naively: doesn't photoshop know you're printing on black?
> Here's my workflow for this in PS: I would use the (badly named)
> 'Apply Image' command to take the contents of each color plate and
> combine them into the white plate using the mode 'multiply'.
this is to create the white underpinning, resp. the beginning thereof.
'Apply Image' is short-hand for 'blend anything with anything',
but doesn't do any tricks that could not be achieved with layer stacks
in combination with proper channel masking. On track?
> I would
> also manually "choke" the white plate - this means making the white
> areas a point or two smaller than the colored areas, thereby
> preventing the white from poking out at the edges of the colored
> areas. This process can get a bit tricky, especially if the original
> artwork is very complex.
if the artwork was fully vectorized, say a pure inkscape job,
would that make things easier?
> Often, create temporary layers (or plates),
> perform selection/drawing functions, then combine the result back into
> a plate in one of two ways - either making a selection on the temp
> layer and going to the plate and filling or erasing, or using the
> 'Apply Image' command to take the RGB channel of the current layer and
> combine it with a plate using a mode such as Multiply, Screen, or Add.
i assume the temporary layers are mostly grayscale?
the temporary layers serve as 'mixing stage' because it takes
several steps to create a desired mask, or is it more
to keep selections/drawings for reuse?
thanks for your patience,
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