Chris Mohler wrote:
>> I am curious why you want to do something like that, because you
>> are then going against the grain of the whole plan: freedom to
>> the artistic concept further without (much) rework on the plates.
> Imagine I'm designing a black t-shirt with say five spot colors,
> including white. After completing the artistic design, I enable the
> 'projection screen'. This theoretically would result in my five
> "plates". However, the white plate will need special attention.
> 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 looks analogue to me to black generation in cmyk, but now
inverted because we are on a black background. interesting concept,
the media color (makes note). since it is going to work for black,
it can be made to wok for any other color, with reversed logic also.
> 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
this looks like trapping to me. is there a difference?
trapping set-up for each plate would be in the projection set-up.
> Now, I am quite interested in learning new workflows - so I am not
> bound to the "how" of the method above, but I hope I have explained
> the "why" well enough. In addition to being able to interact with
> each plate as a grayscale drawable, it would be useful to create
> temporary areas for doing work - be they layers, channels, plates,
> whatever - on which to create paths, selections, etc to in turn use to
> modify the plates manually.
everything of that will work on plates like working on layers today.
I am sure that global concepts like paths and selection will be
applicable to layers and plates without limits. a selection created
on a layer and applied to a plate: sure.
> Icing on the cake would be a mechanism to
> combine/subtract plates using the available blending modes.
to generate plates from channels/layers that is needed, but
generating plates from plates? sounds like a creative kind
of workflow to me.
> the process, it is fairly critical to have an ink density/opacity
> setting for each plate, to simulate (roughly) how the final print is
> going to look. EG, set the white plate at approx 90%, the colors at
> approx 70% - and you can see which portions of the colors are falling
> on the white underlay, and which portions are falling on the black
hmmm, tricky that one. it is natural for the plate stack to work
sort-of like the layer stack. eye symbols to switch plates on/off.
then there is the opacity slider of the layer stack. coverage slider
for the plates? ay be does the dual purpose of previewing like you
need and absolute print balancing.
> After re-reading the notes on the talk, if we have a Layer->Plate
> mapping, I think that will cover most situations. I would prefer a
> way to "mix" the plates,
"mixing" channels + layers -> plates is a starting point for the
development of the design of the plate set-up.
> and to be able to add new layers that could
> later be applied to new or existing plates, but this could be worked
add layers where, image side or press projection side?
founder + principal interaction architect
man + machine interface works
http://mmiworks.net/blog : on interaction architecture
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