FAQ
What is Print Separations?
Print Separations is an automated image separations service that prepares your vector or raster artwork for print quickly, easily, and accurately.
Can I produce Fluorescent Colors with CMYK separations?
You cannot produce fluorescent colors with CMYK inks. Fluorescent inks are produced by adding fluorescent elements into an already bright ink. CMYK inks do not contain fluorescent elements therefore cannot reproduce those colors.
What is different about printing my CMYK files frrom PrintSeparations than printing them direct from Illustrator?
Print Separations calibrates your file specifically for print, adjusting for dot gain, ink translucency, screen angle and frequency, saturation and absorption and many other factors that affect the way your design prints.
Illustrator simply converts the objects you see on your screen between RGB and CMYK, outputting a direct translation that does not account for any printing variables. This is why CMYK files printed directly from Illustrator most often do not look very good.
Illustrator simply converts the objects you see on your screen between RGB and CMYK, outputting a direct translation that does not account for any printing variables. This is why CMYK files printed directly from Illustrator most often do not look very good.
Why do I have to register?
Registration is necessary so we can create an account for you and you can log into the Control Panel in order to submit and process images.
For each customer, we keep an account of the images processed, user logins associated with that account, and payment information.
Registration is free and takes only seconds.
For each customer, we keep an account of the images processed, user logins associated with that account, and payment information.
Registration is free and takes only seconds.
How much does it cost?
For Spot Separations the charge is only $1 per color
For CMYK Separations the charge is only $25 for the entire file, including any spot colors
For CMYK Separations the charge is only $25 for the entire file, including any spot colors
What is CMYK and how does it work?
Also called process color or four color process.
CMYK is an anacronym for Cyan, Magenta, Yellow & Black also known as Key, hence the "K". It is the process of employing subtractive color to create any color in the spectrum (theoretically). Subtractive means that when all color is present the result is black and the absence of all color results in white. The implementation of this process is to use portions, or control the saturation, of the base colors (cyan, magenta and yellow) as needed to "mix" to the final color.
Saturation control is accomplished through halftoning. Halftoning is the process of using round or elliptical dots within a square area, through which the ink passes, shrunk or enlarged to allow more or less ink to pass. Think of it like a checkerboard; the squares are representative of the halftone areas and the checkers of the actual halftone inside them; to change the amount of ink you want to pass for any individual square of the image you just change the size of the checker you are using.
Black is not theoretically necessary but in actuality many colors are not able to be reproduced without using black. Pure black namely, is only achievable as a dark muddy gray through the combination of C,M & Y.
CMYK is an anacronym for Cyan, Magenta, Yellow & Black also known as Key, hence the "K". It is the process of employing subtractive color to create any color in the spectrum (theoretically). Subtractive means that when all color is present the result is black and the absence of all color results in white. The implementation of this process is to use portions, or control the saturation, of the base colors (cyan, magenta and yellow) as needed to "mix" to the final color.
Saturation control is accomplished through halftoning. Halftoning is the process of using round or elliptical dots within a square area, through which the ink passes, shrunk or enlarged to allow more or less ink to pass. Think of it like a checkerboard; the squares are representative of the halftone areas and the checkers of the actual halftone inside them; to change the amount of ink you want to pass for any individual square of the image you just change the size of the checker you are using.
Black is not theoretically necessary but in actuality many colors are not able to be reproduced without using black. Pure black namely, is only achievable as a dark muddy gray through the combination of C,M & Y.
Why am I getting CMYK separations? I was expecting spot separations.
Only PDF and Adobe Illustrator files can contain spot color information. Raster image formats such as JPEG, PNG, or BMP can only be separated as CMYK.
Why is CMYK more expensive? It takes the same amount of time!
CMYK separations are more expensive because in order to get the best results and performance, we dedicate a significantly larger amount of processing power to them.
What is the difference in CMYK and four color process?
There is no difference. They are just synonyms for using cyan, magenta, yellow and black to create a full color print.
Why don't different brands of CMYK inks look the same? Will they print the same?
Different brands of CMYK inks look different, however they should print generally the same as CMYK works on the ratio of one color to the next. PrintSeparations.com files have been calibrated to print optimally with Wilflex Process colors.
Can I use CMYK separations to print on a dark garment or other substrate?
You cannot use CMYK separations to print on a dark garment effectively, without first discharging the color of the garment back to white. If the garment is not originally white you will not be able to use the separations for a quality print. Most printers use Simulated Process separations to print CMYK-like prints on a dark garment; in this process a number of spot colors, that range across the color spectrum, are printed as halftones, or small dots, very close to each other to create the appearance of any color in the spectrum. PrintSeparations.com does not currently support Simulated Process but will in the near future.
Why doesn't it look like there is very much black in the CMYK separations?
Because the image doesn't need it.
Theoretically, Cyan, Magenta, and Yellow, combined, should be able to form any color in the spectrum. However in practice the black color that combination creates isn't dark enough, so pure black is added to very dark shades of gray to achieve greater accuracy.
When separated manually, black as a separation is normally used too freely. Our process only uses as much black as needed to darken the image.
However, for pure black, black is used in lieu of layering all four colors to reduce ink usage.
Theoretically, Cyan, Magenta, and Yellow, combined, should be able to form any color in the spectrum. However in practice the black color that combination creates isn't dark enough, so pure black is added to very dark shades of gray to achieve greater accuracy.
When separated manually, black as a separation is normally used too freely. Our process only uses as much black as needed to darken the image.
However, for pure black, black is used in lieu of layering all four colors to reduce ink usage.
What is the difference in VECTOR and RASTER art?
Vector and raster are different TYPES of art.
Vector files are "math based." They consist of points and commands, for instance:
start at x=40 y=70
draw line to x=80 y=90
draw bezier curve to x=90 y=70
etc.
The above is a much simplified example. Actual files contain color, point size, stroke, shape fill, transforms and a lot of other info that defines the objects within the file. Because the objects are defined in relation to each other on a coordinate system, they can be infinitely scaled up or down in size without losing clarity or resolution (all the points just move proportionally to each other). Vector file types include .eps, .ai, .pdf, .cdr, most types of autocad files (principally used for architectural/structural applications and product design), and other design and specialty file types.
A raster file is defined by the number of pixels it contains. A raster file does not actually contain physical dimensions such as 4 inches x 4 inches; it would look more like 400 pixels x 400 pixels. Depending on the mode of compression employed in a particular file type a raster file might look something like:
start at pixel y and fill r=65 g=230 b=6 and fill to pixel z
from pixel z to pixel af fill r=87 g=43 b=76
etc.
like the vector example above it this is extremely simple and does not take into account all variables, just gives a basic idea or how a raster file is constructed. So you can see that the file does not have any concept of how big it is only that it contains a certain number of pixels. Now, if you have ever tried to blow a jpeg up large of your screen or print it larger than the preview you have probably seen that the image becomes "pixelated," or starts to look blocky on the screen or print. This is because the pixels have been increased in size beyond what will blend to the naked eye. There is a certain resolution, or dots per inch "dpi" necessary to achieve a non-pixelated look. For screen printing this can normally be accomplished with 200dpi; for offset or other types of higher resolution printing 300 dpi is normally required. This means that for screen printing the above referenced 400x400 file that in order to make it look non-pixelated when you print it you can only print it at 2" wide:
400 pixels / 200 dots (also called pixels) per inch = 2"
Once you understand this basic structure of raster files working with them becomes much easier. Raster file formats include .jpeg, .png, .pdf (vector or raster or both), .psd, .tiff, .bmp and many others.
Vector files are "math based." They consist of points and commands, for instance:
start at x=40 y=70
draw line to x=80 y=90
draw bezier curve to x=90 y=70
etc.
The above is a much simplified example. Actual files contain color, point size, stroke, shape fill, transforms and a lot of other info that defines the objects within the file. Because the objects are defined in relation to each other on a coordinate system, they can be infinitely scaled up or down in size without losing clarity or resolution (all the points just move proportionally to each other). Vector file types include .eps, .ai, .pdf, .cdr, most types of autocad files (principally used for architectural/structural applications and product design), and other design and specialty file types.
A raster file is defined by the number of pixels it contains. A raster file does not actually contain physical dimensions such as 4 inches x 4 inches; it would look more like 400 pixels x 400 pixels. Depending on the mode of compression employed in a particular file type a raster file might look something like:
start at pixel y and fill r=65 g=230 b=6 and fill to pixel z
from pixel z to pixel af fill r=87 g=43 b=76
etc.
like the vector example above it this is extremely simple and does not take into account all variables, just gives a basic idea or how a raster file is constructed. So you can see that the file does not have any concept of how big it is only that it contains a certain number of pixels. Now, if you have ever tried to blow a jpeg up large of your screen or print it larger than the preview you have probably seen that the image becomes "pixelated," or starts to look blocky on the screen or print. This is because the pixels have been increased in size beyond what will blend to the naked eye. There is a certain resolution, or dots per inch "dpi" necessary to achieve a non-pixelated look. For screen printing this can normally be accomplished with 200dpi; for offset or other types of higher resolution printing 300 dpi is normally required. This means that for screen printing the above referenced 400x400 file that in order to make it look non-pixelated when you print it you can only print it at 2" wide:
400 pixels / 200 dots (also called pixels) per inch = 2"
Once you understand this basic structure of raster files working with them becomes much easier. Raster file formats include .jpeg, .png, .pdf (vector or raster or both), .psd, .tiff, .bmp and many others.
Does PrintSeparations.com offer simulated process?
Currently PrintSeparations.com does not offer Simulated Process but it is currently in development and will be available soon.
What are the advantages and disadvantages of static frames vs. roller frames?
Static frames are less expensive and easier to re-stretch; many shops prefer them for this reason. There are, however, some serious disadvantages with printing quality.
Static frames cannot be tightened after use. You can expect a screen to "relax" or loosen up by .5 to 1 newton every time you use it, even if if was properly stretched. In order to produce quality prints all the screens on your press need to be stretched to within 1 to 2 newtons of each other. So, as there is no way to tighten a static frame once it is stretched without tearing the mesh off and re-stretching it you are left trying to constantly balance the screens you are using against each other or ripping the mesh off more frequently and re-stretching. That being said it is easier to stretch a static frame than a retensionable frame such as a Newman Roller, etc.
To re-stretch a static screen you clean all the excess glue off the frame, use a clamping system, often times pneumatic, to tension the mesh (waiting a couple minutes and then applying more pressure as the mesh relaxes - repeat as desired - normally 3 to 4 times), apply glue to the frame and mesh and allow to dry.
Stretching a roller frame is done by using "locking strips" to hold the loose mesh to the frame and then tightening the individual sides of the frame one at a time, making sure to keep them equally tight so you don't "pop" the mesh. Roller frames are typically stretched to much higher tensions (30-40 newtons) where static frames are only stretched to 22-25 newtons normally. This extra tension on the mesh means you have to be much more careful with the mesh as the higher the tension, the less force it takes to damage the mesh.
The advantage of roller frames is that you can re-tension them after each use to maintain consistent tension across all of your screens. Most mesh will stop "relaxing" after you re-tension it a few times and it won't need to be re-stretched again until it breaks or "pops." Static frames will need to be continually re-stretched.
Static frames cannot be tightened after use. You can expect a screen to "relax" or loosen up by .5 to 1 newton every time you use it, even if if was properly stretched. In order to produce quality prints all the screens on your press need to be stretched to within 1 to 2 newtons of each other. So, as there is no way to tighten a static frame once it is stretched without tearing the mesh off and re-stretching it you are left trying to constantly balance the screens you are using against each other or ripping the mesh off more frequently and re-stretching. That being said it is easier to stretch a static frame than a retensionable frame such as a Newman Roller, etc.
To re-stretch a static screen you clean all the excess glue off the frame, use a clamping system, often times pneumatic, to tension the mesh (waiting a couple minutes and then applying more pressure as the mesh relaxes - repeat as desired - normally 3 to 4 times), apply glue to the frame and mesh and allow to dry.
Stretching a roller frame is done by using "locking strips" to hold the loose mesh to the frame and then tightening the individual sides of the frame one at a time, making sure to keep them equally tight so you don't "pop" the mesh. Roller frames are typically stretched to much higher tensions (30-40 newtons) where static frames are only stretched to 22-25 newtons normally. This extra tension on the mesh means you have to be much more careful with the mesh as the higher the tension, the less force it takes to damage the mesh.
The advantage of roller frames is that you can re-tension them after each use to maintain consistent tension across all of your screens. Most mesh will stop "relaxing" after you re-tension it a few times and it won't need to be re-stretched again until it breaks or "pops." Static frames will need to be continually re-stretched.
What is the difference in film & vellum?
Film is a clear, normally extruded, plastic film that is coated in chemical that makes it turn black in response to heat. Film is "printed" by applying heat to the film using a thermal imaging device or an image setter to produce monochrome film.
Vellum is a translucent paper that resembles wax paper. It is normally printed using a laser printer and toner, also producing a monochrome separation. Vellum is likely to smear, thus it has to be handled very delicately. It also has a high risk of not exposing well enough to produce great halftones due to the translucent nature of the toner.
Film is widely regarded as a higher quality option for separations, however, image setters and film are substantially more expensive with basic image setters ranging from $8k up; film costs around $2/sq ft. Vellums are significantly less expensive and can be printed on a basic laser printer, making them a good starter option. If you are interested in printing cmyk, simulated process or other halftones you should contact a local reprographics shop to output the film for you if you do not own an imagesetter.
Be careful with printed film acetate. Unless the printer is calibrated to print a high level of ink coverage there is a good chance that the opacity of the printed half tones will not be enough to expose the screen well.
Vellum is a translucent paper that resembles wax paper. It is normally printed using a laser printer and toner, also producing a monochrome separation. Vellum is likely to smear, thus it has to be handled very delicately. It also has a high risk of not exposing well enough to produce great halftones due to the translucent nature of the toner.
Film is widely regarded as a higher quality option for separations, however, image setters and film are substantially more expensive with basic image setters ranging from $8k up; film costs around $2/sq ft. Vellums are significantly less expensive and can be printed on a basic laser printer, making them a good starter option. If you are interested in printing cmyk, simulated process or other halftones you should contact a local reprographics shop to output the film for you if you do not own an imagesetter.
Be careful with printed film acetate. Unless the printer is calibrated to print a high level of ink coverage there is a good chance that the opacity of the printed half tones will not be enough to expose the screen well.
What does "butt to butt" registration mean?
Butt to Butt registration is a method of separating a file so that objects are not trapped where they touch other objects.
Often times trapping interior joints against each other leads to muddy lines between objects where the two colors "mix" or show through each other. Printers seeking high quality prints normally stray from this kind of imprecision, preferring to use butt to butt registration.
Butt to butt registration is very difficult to implement if you do not control the major variables in your printing process: screen tension, squeegie pressures, squeegie angle, etc. However, if the major variables are well controlled butt to butt registration is not difficult and well worth the extra setup time, which you can expect to be between 10-40 extra minutes depending on whether or not you are starting with a pre-registration system like a M&R tri-loc or Newman pin lock registration system.
Often times trapping interior joints against each other leads to muddy lines between objects where the two colors "mix" or show through each other. Printers seeking high quality prints normally stray from this kind of imprecision, preferring to use butt to butt registration.
Butt to butt registration is very difficult to implement if you do not control the major variables in your printing process: screen tension, squeegie pressures, squeegie angle, etc. However, if the major variables are well controlled butt to butt registration is not difficult and well worth the extra setup time, which you can expect to be between 10-40 extra minutes depending on whether or not you are starting with a pre-registration system like a M&R tri-loc or Newman pin lock registration system.
Why is pressure important to screen printing?
Pressure is a very important factor in screen printing because it controls the quality of the print. Many printers fault on the side of using more pressure when an image does not come out right on the press. Many times the application of more pressure will just make the problem worse either by distorting the image by dragging the mesh or forcing so much ink through the screen that it does not all transfer to the substrate and it begins to blot up on the bottom of the screen.
Correct pressure can be achieved by backing off the pressure completely on the press and then gradually adding it while test printing until the ink transfers completely through the screen (if you don't have enough pressure on the squeegie the ink will look streaky or completely flooded still in the screen and only a minimal amount of ink will transfer).
Think of rubbing the squeegie across the mesh like rubbing your foot across a carpet. If you rub your foot hard enough the carpet will actually start to roll with your foot moving it out of its original location. The same effect happens with a screen whn you apply too much pressure; you can actually move the image out of place causing misregistration within your print
Correct pressure can be achieved by backing off the pressure completely on the press and then gradually adding it while test printing until the ink transfers completely through the screen (if you don't have enough pressure on the squeegie the ink will look streaky or completely flooded still in the screen and only a minimal amount of ink will transfer).
Think of rubbing the squeegie across the mesh like rubbing your foot across a carpet. If you rub your foot hard enough the carpet will actually start to roll with your foot moving it out of its original location. The same effect happens with a screen whn you apply too much pressure; you can actually move the image out of place causing misregistration within your print
How do I determine what kind of mesh to print with?
There are multiple ways to describe screen mesh:
the thread diameter
the squares per inch, or "mesh count"
the weave style
the material used to make the thread
THREAD DIAMETER - normally measured in microns, thread diameter varies greatly depending on the application and the material used; frequently in textile screen printing a nylon mesh of 34 micron diameter thread is used
SQUARES PER INCH, "MESH COUNT" - mesh count is the number of squares per inch that are made up of the weave of mesh. Mesh counts range from 60 to 700 and higher depending on the application; typically something under 120 is used for pushing glitter through the mesh onto the substrate, where something over 300 is used for printing fine detail. The mesh count needed is determined by the lpi or lines per inch, also known as the screen frequency; lines per inch is the vertical measurement of the number of lines of pixels. LPI is frequently confused with dpi or dots per inch which is the measurement of the total number of dots in a square inch, whereas the lpi is a linear measurement; so while lpi and dpi are indirectly related they are not synonyms of each other. From a practical perspective this is important in the determination of the screen mesh you will use on a particular design or set of art. When screen printing you want to make sure that your halftone (or dot) covers at least two and a half threads; if the coverage is any less there is a good chance that the halftone will wash off of the screen when you go to rinse out the screen. The higher the mesh count you use the higher the quality of the print should be, so long as you don't cross the two and a half thread threshold.
WEAVE STYLE - Plain weave 1:1 this is a typical weave where one thread crosses the threads in its path by alternating going over/under/over/under evenly throughout the fabric
Twill weave can be in the form of 1:2 where one thread crosses two threads over/2 threads under and so on, or 2:2 where two threads cross over two other threads 2 over/2 under and so on
There are a variety of reasons for choosing different weave styles, however the most common in textile screen printing is twill 1:2
MESH MATERIAL - 100% nylon, 100% polyester, synthetic fiber blends, silk, stainless steel are all available options for screen mesh among other more specialty meshes. Typically stainless steel mesh is used in printing electronics circuit boards, where silk and synthetic fibers are used in textile, fine art and other types of printing.
the thread diameter
the squares per inch, or "mesh count"
the weave style
the material used to make the thread
THREAD DIAMETER - normally measured in microns, thread diameter varies greatly depending on the application and the material used; frequently in textile screen printing a nylon mesh of 34 micron diameter thread is used
SQUARES PER INCH, "MESH COUNT" - mesh count is the number of squares per inch that are made up of the weave of mesh. Mesh counts range from 60 to 700 and higher depending on the application; typically something under 120 is used for pushing glitter through the mesh onto the substrate, where something over 300 is used for printing fine detail. The mesh count needed is determined by the lpi or lines per inch, also known as the screen frequency; lines per inch is the vertical measurement of the number of lines of pixels. LPI is frequently confused with dpi or dots per inch which is the measurement of the total number of dots in a square inch, whereas the lpi is a linear measurement; so while lpi and dpi are indirectly related they are not synonyms of each other. From a practical perspective this is important in the determination of the screen mesh you will use on a particular design or set of art. When screen printing you want to make sure that your halftone (or dot) covers at least two and a half threads; if the coverage is any less there is a good chance that the halftone will wash off of the screen when you go to rinse out the screen. The higher the mesh count you use the higher the quality of the print should be, so long as you don't cross the two and a half thread threshold.
WEAVE STYLE - Plain weave 1:1 this is a typical weave where one thread crosses the threads in its path by alternating going over/under/over/under evenly throughout the fabric
Twill weave can be in the form of 1:2 where one thread crosses two threads over/2 threads under and so on, or 2:2 where two threads cross over two other threads 2 over/2 under and so on
There are a variety of reasons for choosing different weave styles, however the most common in textile screen printing is twill 1:2
MESH MATERIAL - 100% nylon, 100% polyester, synthetic fiber blends, silk, stainless steel are all available options for screen mesh among other more specialty meshes. Typically stainless steel mesh is used in printing electronics circuit boards, where silk and synthetic fibers are used in textile, fine art and other types of printing.
What is moire? How can I eliminate it?
Moire is an undesired pattern that appears in a four color process, or cmyk, print. CMYK requires either that the halftones of the various color channels are separated using the same angle or a set of unique angles, normally separated from each other by 30 degrees.
When mesh is applied to a screen it should be adhered with the squares of the mesh square to the frame. If a screen technician is not careful during the mesh application process the mesh can end up a couple degrees out of square with the frame.
If all of the screens you are using to print a particular job are not stretched at the same angle it is likely you will notice a moire pattern. A moire pattern looks like a stretch mark or zebra stripes; it is very noticeable.
A moire pattern is normally eliminated by removing the screen that is stretched out of square and inserting a new screen. Use deductive reasoning to find the problem screen; print two colors at a time on a test print material until you find the color combination that is causing the pattern. Then change one screen at a time until you eliminate the problem.
When mesh is applied to a screen it should be adhered with the squares of the mesh square to the frame. If a screen technician is not careful during the mesh application process the mesh can end up a couple degrees out of square with the frame.
If all of the screens you are using to print a particular job are not stretched at the same angle it is likely you will notice a moire pattern. A moire pattern looks like a stretch mark or zebra stripes; it is very noticeable.
A moire pattern is normally eliminated by removing the screen that is stretched out of square and inserting a new screen. Use deductive reasoning to find the problem screen; print two colors at a time on a test print material until you find the color combination that is causing the pattern. Then change one screen at a time until you eliminate the problem.
Why are fleshtones so difficult? How does print separations handle this?
Fleshtones are very hard to produce separating manually. They always turn out just a bit off, and it normally seems like the problem is with the red. This is because of dot gain, oversaturation of magenta, undersaturation of cyan and a slew of other problems that make it hard to visually recognize the color percentages necessary to reproduce those colors.
Most photoshop tools require you understand color curves and be able to recognize the difference in density from screen to press. Also, if your screen is not calibrated to the same medium as your press you are going to see something different than what is really happening.
Additionally, many times another object look a little bit off after being test printed, so the press operator adjusts pressure on one of the colors and the fleshtones are thrown off considerably.
PrintSeparations.com handles fleshtones accurately every time because it analyzes actual color data, not what you see on your screen, and manipulates the files individual elements to prepare them for print. PrintSeparations fleshtones have been separated in real screen printing shops on a variety of presses to ensure that the files we deliver to you are going to print accurately.
Most photoshop tools require you understand color curves and be able to recognize the difference in density from screen to press. Also, if your screen is not calibrated to the same medium as your press you are going to see something different than what is really happening.
Additionally, many times another object look a little bit off after being test printed, so the press operator adjusts pressure on one of the colors and the fleshtones are thrown off considerably.
PrintSeparations.com handles fleshtones accurately every time because it analyzes actual color data, not what you see on your screen, and manipulates the files individual elements to prepare them for print. PrintSeparations fleshtones have been separated in real screen printing shops on a variety of presses to ensure that the files we deliver to you are going to print accurately.
How much time does it take an image to process?
This varies depending on the size and complexity of the image. Very few images will take longer than 10 minutes. Most Process in a matter of seconds.
Why are my vector objects being separated as CMYK instead of spot?
The default color mode in Adobe Illustrator is CMYK. If your file is being separated at CMYK that is because the vector objects in your file are set to CMYK color space instead of spot colors.
You can find this setting in the "appearance" toolbar in Illustrator. A CMYK color will contain four sliders, one for each component, whereas a spot color will have a single slider for tint.
You can find this setting in the "appearance" toolbar in Illustrator. A CMYK color will contain four sliders, one for each component, whereas a spot color will have a single slider for tint.