Chapter3 Software Installation and Setup...Chapter 3 –Software Installation and Setup 23 For Windows XP, double click on the folder called Printer Driver v5.5bs, then double click

Chapter 3–Software Installation and Setup

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Chapter 3

Software Installation and Setup

Software overview

About Your Computer

The Fast T-Jet Jumbo 2TM is a high performance inkjet printer. Graphic files can belarge and the data sent from FastRIP to the printer is sent at a very high speed (highdata rate). In order to get the fastest speed and have fewer communication problemswith the printer, you need a fast computer. You can use a standard desktop computer oreven a laptop your printer, but for the best performance, the computer should have atleast 1MB of RAM (2 GB of RAM is better).

If you want to continue working and creating artwork while the printer is printing, havinga higher amount of RAM on board your computer is essential. Ideally you should have adedicated computer for use with the Fast T-Jet Jumbo 2TM.

While sending data to the printer using a USB cable, do not plug in any other USBdevices other than a mouse. USB busses do not have a lot of power and the moredevices plugged in, the more power drain that will occur. In order to run FastARTISTTM,you MUST use a WindowsTM based Operating System. MAC users can create theirartwork in their favorite program and simply network or copy the files over to the PC“workstation.”

Graphics and RIP software

Your new Fast T-Jet Jumbo 2TM includes the latest versionsof both FastARTISTTM and FastRIPTM. FastARTISTTM is aWindowsTM only graphics application that will help makepreparing an image for print a mere click or two of the mouse.With“one-click wonder”underbasing and simple clippingfeatures, FastARTISTTM can help ease the transition if you arenot familiar with graphic applications. For avid users ofPhotoshop, CorelDraw, Illustrator, etc., you may choose towork within your graphics application of choice and still set upthe image properly for printing. There is also the option ofimporting an image into FastARTISTTM from other graphicsapplications in order to take advantage of the one-click Underbase Wizard.

Once a graphic file is ready to print, it needs to be sent to special software called a RIP

Fast T-Jet Jumbo 2™ User’sManual

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(Raster Image Processor.) This tells the machine what image resolution to use, howmany passes of each color to make, when and how to print the underbase and highlightand how much ink to lay down. A RIP is the magic of high-end printers in any graphicsapplication and we have our own very special RIP program called FastRIPTM.

You can print directly to FastRIPTM from any standard graphics program like AdobePhotoshop, Adobe Illustrator, CorelDraw or Macromedia Freehand and still takeadvantage of the white underbase option.

For best results, turn OFF all Screen Savers when printing to your Fast T-JetJumbo 2TM.

Note: For information about installing and using FastARTISTTM and FastRIPTM consultthe individual program’s User’sManual.

Installing Epson drivers

Epson drivers

Even though you will be printing to FastRIPTM, there are manytimes you will need the standard Epson software to performNozzle Checks, head cleanings and standard inkjetmaintenance.

The Driver CD you received with the unit contains theWindowsTM drivers for the Epson 7800. Since drivers oftenchange and improve, you can download the most current driverfor the Epson 7800 by going to http://support.Epson.com andfollowing the links to the Drivers section.

Windows Installation

To install the Epson driver, insert the CD in your computer. Go to My Computer andselect the CD drive. There will be two Printer Drivers folders accessible; one is forWindows XP and 2000 (the preferred Operating Systems) and the other is for theWindows ME Operating System.

Chapter 3–Software Installation and Setup

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For Windows XP, double click on the folder called Printer Driver v5.5bs, then doubleclick on the sub-folder called XP 2000. Locate the Setup folder and double-click toopen. Double-click on the file called Setup and follow the on-screen prompts.

Note: Most newer Windows XP computers will automatically install the Epson printerdrivers.

If you have any problems installing the driver, or getting your program to find the printerdriver, call our Support Department and they will gladly walk you through the process.

Support Hours

Toll Free +1 888-MYTJETS (698-5387)Technical Support +1 480-929-2937Corp. Office +1 480-929-0640Fax +1 480-929-0766Email: [email protected]: www.ScreenPrinters.Net Click on the Support tab.Support hours: 7:00am to 8:00pm Monday through Friday

9:00am to 3:00pm Saturday and Sunday(Mountain Standard Time) USA

Note: Arizona does not observe “Daylight Savings Time.” In the summer months, Arizona is on the same time as California.

Installing FastARTISTTM and FastRIPTM

The magic that makes the Fast T-Jet Jumbo2TM so powerful is not only the printer and ink,but also the software that drives it. Asmentioned earlier, your printer comes with twovery powerful programs–FastARTISTTM andFastRIPTM. FastARTISTTM is a completegraphics program much like CorelDraw andAdobe Photoshop. You can use it for all ofyour graphic image creation or you can simplycreate images in CorelDraw or AdobePhotoshop and import them intoFastARTISTTM to take advantage of the one-click Underbase Wizard or simple clippingoptions.


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FastRIPTM

FastRIPTM is a printer driver specificallydesigned for your Fast T-Jet Jumbo 2TM. ARIP converts the data from a graphicsprogram to computer code called Postscript.This powerful language allows much morecontrol over a printer, making the followingpossible:

Previewing printable images Control over the amount of ink used Faster print speeds compared to a standard print driver

FastRIPTM is extremely easy to use and is almost transparent when working with theFast T-Jet Jumbo 2TM.

Windows Vista Compatibility

At this time FastARTISTTM IS NOT compatible withWindows Vista. Please do not load this OperatingSystem on any computer currently running thisapplication. US Screen strives to stay up-to-date with allWindowsTM Operating Systems so we are currentlyworking to resolve this issue.

For details on installing FastRIPTM, consult theFastARTISTTMUser’s Manual.

Note: It is important to have a basic knowledge of bothFastARTISTTM and FastRIPTM. Although the manualsmay seem very large, don’t be concerned by the size. You do not have to know everything to get started.

Chapter 4–Computer Graphics Software

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Chapter 4

Computer Graphics Software

Computer Graphics Overview

In order to print a good looking image on a shirt, you need a good piece of artwork. Thecustomer typically has no idea about the type or quality of artwork needed so you areoften stuck with inferior designs. If you don’t have computer graphics experience, youmight print this bad artwork and then blame your Fast T-Jet Jumbo 2TM for the poorquality image.

There are a number of great computer graphics programs designed for creating andmanipulating images. If you have never used computer graphics programs before, youmight be inclined to use applications such as Microsoft Word or other word processingprograms that are designed for text and are NOT strong graphic programs.

Recommended graphic programs for this purpose are FastARTISTTM (included with FastT-Jet Jumbo 2TM), CorelDraw (any version), Adobe Photoshop (version 5.5 or higher),Adobe Illustrator (version 7.0 or higher) and Macromedia Freehand (any version).Contrary to popular opinion, great images can be created and manipulated on aWindowsTM based PC as well as the Mac platform. FastARTISTTM, the graphicsapplication that is shipped with your printer, is designed for WindowsTM based PC’s only.Mac users wishing to take advantage of the FastARTISTTM Underbase Wizard and otherconvenient setup options will simply need to transfer the file onto the Fast T-Jet Jumbo2TM PC loaded with FastARTISTTM and import the image.

We often hear from first time users that they did not think they would need to knowabout graphics software. However, getting a great image on a garment is not the sameas taking your digital camera’s memory cardto the drug store and getting picturesmade. Yes, it would seem that simple and it CAN be, but in the world of T-Shirt printingthere are many variables.

The first variable is that the customer will often bring you artwork that is substandard,such as an image their web designer gave them. Web graphics are commonly very lowresolution (not sharp) and may need to be enlarged for a full-size T-Shirt image. Whenyou have an image that is of low resolution at a small size, enlarging the image will onlyblur the image more. To compensate for this, you will need to learn how to make the filethe correct size plus how to improve the quality of the file.


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Vector Programs

Currently there are two types of graphics programs–Vector and Bitmap. FastARTISTTM, CorelDraw, AdobeIllustrator and Macromedia Freehand are called vectorprograms. Vector programs create images based onshapes somewhat like a coloring book. They typicallyhave hundreds or even thousands of typefaces andmany have extensive “coloring book” type stock clip art that you can use to create artwork.

Vector programs are generally used for images with a hard edge like race designs,school mascots, corporate logos, etc.

Pixel Based Bitmap Programs

Programs like FastARTISTTM and Adobe Photoshopare called pixel, or raster based programs, and greatfor work with photographic images. Bitmapapplications can lighten, darken, sharpen and createimages. Photoshop is a common graphics programused by many for manipulating images butFastARTISTTM also contains similar editing tools.Images with lots of gradations or that arephotorealistic are generally created and manipulated in programs such asFastARTISTTM and Photoshop.

Note: FastARTISTTM is both a bitmap and vector graphic program!

Both File Types

If you intend to create your own artwork then you will need both a vector and bitmapprogram. The vector program will be used for working with shapes, text and edges,while the bitmap program will be used for any photographic or detailed images. TheFastARTISTTM program will work with both types of images.

The following section gives tips and suggestions for creating artwork suitable for printingon your Fast T-Jet Jumbo 2TM. Remember, if you are proficient in a graphics programother than the new FastARTISTTM; simply create the images where you are mostcomfortable. For advanced users of programs such as Photoshop and CorelDraw; theentire image can be set up to print directly to FastRIPTM, including images that need awhite underbase. Please note that highlight white (not to be confused with the whiteunderbase) is not available when printing from another program other thanFastARTISTTM.

It is worth mentioning again, FastARTISTTM can be used to create the entire image ifneeded. With similar tools to CorelDraw and Photoshop, those already familiar withother graphics programs can quickly master FastARTISTTM.


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FastARTISTTM/Photoshop - Editing Bitmap/Pixel Based Artwork

Besides the ability to work with vector based images such as hard edge graphics, clipartand font manipulation, FastARTISTTM will do a lot of basic pixel editing functionsnecessary when the customer gives you a pixel/bitmap file such as: jpg, gif, tif orpsd.

Generally, a short run of photorealistic images is not profitable when screen printing.However, should a customer want a picture of the entire team on a shirt - no problem!One of the Fast T-Jet Jumbo 2TM’smajor strengths is the ability to print short runs ofphotorealistic images.

A common problem in the T-Shirt business is that customers need high resolutionimages, yet often all they have is artwork that is small and low resolution. It isMANDATORY that you learn how to make ANY artwork the correct size and resolution,besides knowing how to make the image brighter (most images are dull) with good colorsaturation. In reality, this may be the ONLY time you utilize the FastARTISTTM orPhotoshop image editing tools.

A Quick Note about Photoshop

As you begin to work with different kinds ofimages in different formats and resolutions, it isvery important to have the proper toolsnecessary to clean up and make images“printready.”Even though FastARTISTTM is a verypowerful graphics program, there may be timeswhen a program such as Photoshop is requiredfor specific editing functions.Don’t worry, Photoshop works hand-in-hand withFastARTISTTM, making it a very complimentaryprogram to have when working with bitmapimages.

The goal here is to cover the basics of image editing, so that you can print the bestlooking images possible. When first learning graphics programs, the process may seema bit overwhelming, but don’t get frustrated. Just keep in mind the 80/30 rule: You use30% of the program 80% of the time. But, in this case, it’s actually more like a 90/10rule.

So, you might be asking why you need Photoshop at all if you have FastARTISTTM? In anutshell, you can do almost everything you need with FastARTISTTM but Photoshop ismuch more powerful when creating an image with lots of photographic components.Plus, Photoshop is much more powerful when fixing and cleaning up poor qualityartwork.


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Where to Get Photoshop

Photoshop is the flagship product of Adobe Systems at www.adobe.com. Theprogram retails for around $650 and, as of this writing, version 9.0 CS3 is the mostcurrent version. It is always nice to have the latest and greatest version, but frankly, youcan do everything mentioned here with version 5.5 or higher. If you are a student,teacher or work for a school, you may be eligible for an “Educator Version” from places like www.academicsuperstore.com.

File Types and Resolutions

FastARTISTTM and Photoshop will let you“Open” a wide variety of files including, tif, jpg,gif, eps, psd, ai and others. If you open a filethat is vector based like one from AdobeIllustrator, Photoshop will convert the file frommathematical vectors to small pixels. This iscalled Rasterizing a file.

The important point here is to keep the fileresolution high enough for the image to remainsharp. It is generally taught that a file needs tobe at 300 dpi at the final size in order for it toremain crisp. In T-Shirt printing, you can getaway with file resolutions of 150 to 300 dpiat the final size.

The default setting for opening vector files in Photoshop is 72 dpi. The picture at theright shows a magnified view of a file that is 300 dpi (bottom) and one that is 72 dpi(top). Obviously, the 72 dpi file will be softer.

Check File Mode

This is step that most new users will over look when opening a file. It is very importantto note the file attributes when first opening a file as well as determining the file mode.Note whether it is CMYK or RGB and make changes if necessary. Files must be in RGBbecause the Fast T-Jet Jumbo 2TM does not print spot color.

In FastARTISTTM, even if the file is CMYK from another application, FastARTISTTM willopen/import it as RGB, but FastARTISTTM will open the file at a larger resolution thannormal. For best results convert the file to RGB (if you can) before you import it intoFastARTISTTM.

Yes, Photoshop will do process color separations called CMYK, but for file manipulationand adjustment you should work in RGB mode. In Photoshop, to see the Mode of the


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file, go to Image/Mode. If CMYK is checked, click on RGB.

Check File Size and Resolution

You must know the actual resolution and size of theimage. Otherwise you could be working on a verysmall file and not know it. In FastARTISTTM, import aphotorealistic file and click on the Bitmap main dropdown menu and then Image Size. You will see theactual size of the image. If the resolution is too small,change the size and click on Apply. Remember thatan appropriate image size should be 150 to 300 dpi.If the images physical size is too small, resize theimage before changing the resolution. After the imagesize is adjusted, click on the Bitmap main drop downmenu and then Image Size. Change the resolutionand select Bicubic (as shown below). Click Apply.

In Photoshop, go to Image>Image Size. If it sayspixels per CM, change this to inches and then enterthe image’s intended final print size. Re-adjust theresolution and make sure that Bicubic is selectedas shown to the right. The physical size should bethe final print size.

If you have an image that is very low resolution, your only real choice is to change theimage size and resolution. This is often referred to as“Upsampling.”Photoshopupsamples the image, but in doing so, it must make calculations where to place theextra pixels and what color to make the pixels. Images may have softer edges whenupsampled, but they will also be less pixilated! If you can get a higher resolution filefrom the client, do so.

CorelDraw and Adobe Illustrator have similar Image Size functions.


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Important Point!

If the original file is low resolution and not thefinal size, you need to upsample the file to thefinal print size and 150 to 300dpi (150 is OK forphotos and images without hard edges. 300 to350 is better where there is lettering or sharpedges). Now, you can work on the file and addtype or other elements. It is important toupsample the image first so any additionalelements you add will be at the higherresolution. If you aren’t sure if the image issharp enough, simply zoom in on the file. Itmight look great zoomed out but very soft orjagged when you zoom in. It will print the way you see it when zoomed in.

Check File Saturation

Quite oftencustomers’images will be flat and in need of a color boost. Always checkthe file to see if it needs a saturation boost by going to Bitmap>CMYK ColorAdjustments>Hue Saturation (FastARTISTTM) or Image>Adjustments>Hue Saturation(Photoshop).

Sharpening Images

Typically, an image can be made sharper. Even if the file came from an agency or largelicensed job, don’t assume that their artist knew your needs. Images that are printed notonly get darker, but also get softer. You must make them as sharp as possible.

Go to Bitmap>Filters>Sharpen>Unsharp Mask (FastARTISTTM) or


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Filter>Sharpen>Unsharp Masking (Photoshop).Don’t let the term “Unsharp” fool you.This term came from the old process camera days and means it only sharpens areas ofhigh contrast. The reality is, it sharpens the image but keeps it less apparent that youhave sharpened the image.

Move the Amount slider to 150%. Set the Pixel Radius to 1 and the Threshold to 8. Howdoes the image look? To compare the original to the sharpened version, uncheck thePreview check box (Photoshop). Click it on and off and compare the results. If you can'tsee much difference, move the Amount slider higher. Go all the way to 500% if youneed to but don't make the image too grainy.

Using the Tone Curve

When screen printing, heat transfer printing or direct-printing on garments, images tendto get a little“muddy.”If you have a file with lots of detail in the shadow areas, this willprobably be lost when printed so you need to adjustthe “density levels” of the image. InFastARTISTTM go to the Bitmap main drop down menu, and then to CMYK ColorAdjustments>Curves. In Photoshop go to the Image drop down menu and then toAdjustments>Curves.

The Tone Curve is a very powerfultool that will allow you to adjustspecific tonal areas from the lightest“Highlights” to the darkest “Shadows.” By placing your cursor in the middleof the“Midtones” curve and draggingthe mouse up or down, you canlighten/darken the medium, ormidtones, in an image.


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By clicking on the very top corner and draggingthe mouse in, you can make the highlights lighter(Photoshop). Play around with the Tone Curveand see what happens. A good curve for flatimages is a slight “S” where you lighten the highlight area (35%) and darken the shadowarea (75%).

Bitmap Editing in FastARTISTTM

Photoshop is always in bitmap editing modebecause it is a pixel-based, bitmap-editingprogram. FastARTISTTM (along with CorelDrawand Adobe Illustrator) is in vector editing modewhen you launch the program so you will needto find the bitmap editing tools in theseprograms. In the case of FastARTISTTM, simplydouble click on the image. That changes thetop tool icons to standard bitmap editing tools(very similar icons to Photoshop).

Selecting Areas

In FastARTISTTM, if you want to apply a Tone Curveadjustment or apply Unsharp Masking to selectareas, you simply double-click on the object to havethe bitmap tools available and then click on the Lassotool (Hint: It looks like a lasso.) Next, hold the mousebutton down and draw around an area you want tochange. When you release the mouse, you will havea yellow outline identifying the selected area. Nowanything you do ONLY happens to this area.Using Photoshop, you can choose an area with oneof the Selection Tools on the Toolbar. Click on thetool that looks like a Lasso and draw around the


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object while holding down the left mouse button. When the left mouse button is releasedthe selected area will be identified by what is called “Marching Ants” –small movinglines around the selected area. While the area is selected, any changes made withregards to Tone Curve or Unsharp Mask will only apply to this area. To remove themarching ants, go to the Select pull down menu and to De-Select. If you want to selectsquare or round areas, use the Marquee Tool (top left tool) and use this the same wayas the Lasso tool.

Channels and Layers

What really separates Photoshop from FastARTISTTM

and CorelDraw is the ability to work in Layers to buildimages. In Photoshop, if you set up the workingspace the way we showed, you should have theChannels Palette and Layers Palette open.People often get these confused so here are therules: The Channels Palette is used to create output--Channels print. The Layers Palette is used to createor build the image. You use the Layers Palette to putvarious components together including adding Typeto an image. Layers don’t print.

You will notice that your Channels Palette shows fourchannels: RGB, Red, Green and Blue. In addition,your test file probably only shows one Layer calledBackground.

For more details on using the Layers Palette in Photoshop consult the Photoshopmanual.

Setting Transparent Images inFastARTISTTM

To set transparent backgrounds in FastARTISTTM

double click on the image to enter the bitmap editstate.

This is done by double clicking on the image inthe workspace.

Using the Eyedropper tool, click on the redbackground and then click on the Add Colorbutton in the Color Selection dialog box. This willmake the selected Red the current color.


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Note: The background color can be any solid color, not just red. For example it can bewhite, black, yellow, green, etc. Please also note that FastARTISTTM will only removeone color only. If your image has a multicolor or gradient back ground, it will benecessary to use Photoshop to make the image print ready.

To make the red transparent click on the Eyeicon next to the selected color. This acts like atoggle switch, so selecting it again will deactiveany transparent color.

Remember, it is only possible to have one color set as transparent.

Removing Backgrounds with Photoshop

In order to make removing backgrounds as easy as possible, try to maintain aconsistent/neutral background if possible. For example, if photographing the motorcycleshown below, park in front of a wall or a background that contains a much lighter colorthan the bike. This will help Photoshop determine the difference between the selectedbackground and the object (such as the motorcycle) you intend to keep.

Using the Magic Wand –Click and Delete

With the Magic Wand you simply click on theneutral areas around the image. It works best ifthe background color is slightly different fromany of the edges of your image. Just click andwatch the Magic Wand make a selection aroundthe image. If the “marching ants” selection goes into the main design, change the Tolerance onthe Property Bar. The default is 33 pixels.Photoshop and FastARTISTTM both have MagicWand tools (it looks like a wand with a sparkleron the end.)


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Using the Extract Filter

Photoshop also has a Filter called Extractwhere you draw around an image and thenfill the center with color and Photoshopremoves all the areas around the imageleaving you with a transparent background.Extract works OK but the magic wand ispreferred.

Note: The Magic Wand and Extract filterperform best when the background is asolid color and not gradient. For gradientimages, please see the following–Preparing Images with Gradient Backgrounds.

Making Your Selection a New Layer

In Photoshop you need to get your main imageon a layer with a transparent background (thiswill show as checks all around the image). Witha transparent background you can add additionalelements to the image including Type, dropshadows, glows, and more.

Preparing Images with GradientBackgrounds

Occasionally you may need to prepare an image to print that contains a gradientbackground. If you are printing this image on a white or light colored garment that doesnot require an underbase, things are pretty straightforward. It’s when you are printing this image on a dark colored garment requiring an underbase that things can get tricky.FastARTISTTM requires you have two versions of the same image–one with a whitebackground and the other with a black background in order to process the gradient.


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If the customer supplies you with a Photoshop psd file that has been created in layers,then the process of changing the background color can be very simple. But if the imageis a flattened image such as a jpg or tiff, the process of changing the background colorcan be much more involved, especially if the edges of the image fade into thebackground such as the example above. For the purposes of this manual we willassume that the customer supplied a flattened jpg.

The ability to maintain the gradient look (for dark garments only) will require the use ofboth Photoshop and FastARTISTTM combined in a two-partprocess. The first part will be to set up the image withinPhotoshop. Part Two is creating the underbasing withinFastARTISTTM.

The image that that we will be working with contains awhite background that will need to be changed to black inPhotoshop in order to have the same image both in a whiteand black background.

Never make changes to the original image! Beforemaking any adjustments, be sure to duplicate theoriginal and use the duplicate as your working copy.

Steps for Changing Background Color

There are many ways to change the background of an image using Photoshop. Earlierin this chapter we discussed using the Magic Wand or the Extract filter. In this example,we will use the Magic Wand in combination with the Replace Color filter to change thebackground color.

Note: It is very important to understand that not all images created on a whitebackground will look the same on a black background. Through hours of Photoshopexperience you will learn to use the tools mentioned below to get the bestrepresentation possible.

1. Open the duplicate (working) copy of the image inPhotoshop.

2. Once the file is open, select the Magic Wand tool andset the tolerance to 55 as a starting point. Please notethat the higher the tolerance is set, the tighter theselection will be to the image.


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3. Make sure that the Anti-alias and Contiguous boxes are selected to the right of theTolerance setting.

4. With the Magic Wand tool, left click the white area around the image. The selectedwhite area will now be identified by the marching ants.

5. From the top main menu select Image>Adjustments>Replace Color. The ReplaceColor filter window will now display as follows:


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6. Change the default settings for the Replace Color filter:

Black will be selected as the color–Move the mouse over the white selectedarea of the image and left click. You will notice that the color box within theReplace Color window will now show white.

Within the Replacement Box, move the Lightness slider all the way to the left (-100). Notice how the results box changes from white to black. Your image shouldalso reflect the change as you move the slider. If you do not see the imagechange, make sure that the preview box is selected.


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Adjust the Fuzziness slider to change the softness of the selected edge. Adjust atyour own discretion.

When the finished adjusting the Replace Color setting, click OK.

7. With the Magic Wand tool still selected, right click on the image and chooseDeselect from the drop down menu.

8. With the “Save As” option, save the new image as a jpg. Be sure to use a differentfile name, otherwise you will overwrite the original image with the white background.

At this point you now have the two files necessary for FastARTISTTM to create agradient underbase–One image with a white background and the other with a blackbackground. The results are shown below.

Creating a Gradient Underbase with FastARTISTTM

1. Open FastARTISTTM and import the two images onto your workspace.

2. Select Edit from the top menu bar, then Select All.


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When both images are selected, they will be boxed in as identified above.

3. Click on the Underbase/Highlight Wizard icon from the tool bar and select the wizardoption.

First option - Underbase/Highlight Wizard will manually take you through theunderbase/highlight setup process.

Second option–Heavy Underbase. This is a one click wonder button that willautomatically complete the underbase process for you.

Third option–Normal Underbase. This is a one click wonder button that willautomatically complete the underbase process for you. (For first-time users thiswould be the recommended selection.)

Fourth option–“Last Setting.”Performs the underbasing process with the lastused setting from the manual Underbase/Highlight Wizard.


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4. After selecting one of the four Underbase Wizard options, the Underbase Wizardwindow will open, identifying the two images selected. Within this window it isimportant that the image with the white background be on the left and that the imagewith the black background is on the right. If the images are reversed, click on thedown arrow in the lower right hand corner of the image to select the proper image.Please see the following example:

5. After images are properly orientated as shown above, click Finish.

For more in-depth information regarding Photoshop or FastARTISTTM and any of thesteps listed above, please consult the individual Users Manuals.


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Fixing Bad Line-Art in Photoshop and FastARTISTTM

You can also use a bitmap editing program toimprove the quality of line-art. Earlier wecovered file resolution, noting how a lowresolution file will have very jagged edges. Bysimply upsampling a file to a much higherresolution you will have less of a jaggedeffect, but a softer edge. For black and whiteimages you will want to upsample and thenapply a Tone Curve to make edges black andwhite without any “gray” areas. This process is available in FastARTISTTM, Photoshop,CorelDraw and Adobe Illustrator.

Full-color images set to 300dpi. Black and white set to 500dpi.


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Artwork for Light and Dark Garments

In summary, to set up artwork properly, it is imperative to know first what color garmentthe image is to be printed on. This will then determine if the image background needs tobe transparent, white, black, or in some cases both black and white.

For light colored garments, the Fast T-Jet Jumbo 2TM will print the image just as itappears but does not print the white. If you require white in the image it will benecessary to underbase the image. Printing in color without an underbase is the easiestform of garment printing.

Dark colored garments will always require an underbase that allows the colors to standoff the garment. You may set up the underbase using FastARTISTTM or the graphicsprogram of your choice. When printing a graphic that contains gradients on a darkcolored garment, you must have two versions of the same image: one with a whitebackground and the other with a black background. The two images will then need to beprocessed in FastARTISTTM to achieve the desired result.

Important Point!

You must take ownership of fixing bad artwork. If the file provided as a pixel basedformat like tif, psd, jpg, gif, etc., you can’t assume it is bright, sharp, of high resolutionand ready to print. You must check the resolution and upsample the file if necessary.,Make adjustments if it needs sharpness or boost color saturation if the file is dull.Lighten the file if it seems too dark because the image may print even darker!


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Chapter 5–Printing with the T-Jet Jumbo 2TM

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Chapter 5

Printing with the Fast T-Jet Jumbo 2TM

Your Fast T-Jet Jumbo 2TM is very easy to use. Simply create an image in your favoritegraphics application and load a shirt onto the printer. Choose the appropriate PrintMode, printer resolution, number of passes and white ink mode. Press the Print buttonand within a couple minutes your shirt is done!

Control Panel and Bed and Ink Control System

The two main control areas of the printer will be discussed in this section. For the bestprint results, it is highly recommended you familiarize yourself with how each functions.

LCD Control Panel - located on the rightchrome cover of the printer.

Bed and Ink Control System - located onthe lower right black bed of the machine.

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T-Jet Jumbo 2™ User’sManual

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Control Panel Function

The LCD Control Panel is the original Epson Stylus PRO 7800 control panel andperforms all of the normal printer functions of an inkjet printer. Keep in mind there will besome original functions pertaining to printing on paper that will not apply for printing ongarments. Please do not access or change any setting not described in this manual.This may cause fatal errors and several hours of costly downtime for the printer.

The Epson Stylus PRO 7800 Printer Guide you received with your Fast T-Jet Jumbo2TM has details about using the different Control Panel functions. You will use theControl Panel to perform maintenance, head alignments, nozzle checks and other utilityfunctions as a part of normal operation. However, many of the Control Panel functionswill NOT be used when printing on T-Shirts, such as the media type (roll paper or sheetpaper), the paper cutter and head gap.

Bed and Ink Control System

The Bed and Ink Control System will bethe most commonly used interface duringstandard operation. These buttons movethe printing bed back and forward, up and down, as well as resetting the ink chips,performing lever functions for the bulk ink system and emergency shutoff. You shouldspend time familiarizing yourself with the functions of each button.

Bed and Ink Control System Functions Chart

The printing bed MUST be in the print ready position (loaded into the printerready to print) BEFORE adjusting the head height.


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Basic Steps for Printing a White Shirt

OK, the time has come. You have installed the bulk system you have created a simpleimage in your favorite graphics program and now you are ready to ruin a few shirts. Bewarned, there is a slight learning curve to printing a shirt and you must get over the factsome will get ruined.

In the beginning you will have to worry about the print placement and getting the imagein the graphics program coordinated to the correct location on the shirt. Your printer willalso need to be “broken in” a little. When you first install the bulk system, there is achance not all the inksare flowing yet. You won’t reallyknow this until you have done aprint or two, or a Nozzle Check. Therefore, you should start off using clean rag shirts, orjust accept the fact that you will ruin a few new shirts and buy some extras. Your firstprint may NOT be a winner, but after you have printed a few shirts you will feel like anold pro.

Printing shirts requires different settings for different types of artwork. If theimage is a photograph of people make sure you are using the correct photosettings so the final print will closely match the original. If the image is a teamname or simple cartoon graphic utilize the cartoon print settings to achieve bettercolor saturation.

Garment Holders

Your Fast T-Jet Jumbo 2TM has a variety of garmentholders. The stock machine includes six standard adultshirt holders, one oversize shirt holder and two baseballcap holders. You can also purchase additional garmentholders or make your own. In fact, you could simply lay apiece of foam core across all of the garment holders to printa large beach towel.

The garment holders are held in the proper position by pinslocated on the print bed. Set the garment holdercarefully onto pins prior to loading any garments. Thegarment holder itself is made of a high-impact plastic,but may break or chip if dropped. Place all holders notin use within the base of the printer.

If you have a typical screen printing background youmay wonder what holds the garment in place. You canuse a very slight amount of spray adhesive or table tackon the holders to give them some grip but this is notnecessary. This may seem foreign to you if you are used to loading shirts on a T-Shirtscreen printing press. However, on the Fast T-Jet Jumbo 2TM, the shirts simply lay onthe holder.


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Steps for Printing

1. To turn Fast T-Jet Jumbo 2TM ON, press the Main Power Switch and then thePower button located on the control panel. The machine will go through the startupprocess of positioning the print head and initiating the ink flowing.

2. Load your shirt(s). Please note that you will always load garments when the printbed is in the Eject position (Control Panel end).

o Shirts can be full of lint and some havemore than others. Lint is NOT your friend.It can settle on key components inside theFast T-Jet Jumbo 2TM, affecting printquality and printer operation. For the bestresults, grab a shirt by the shoulderseams and snap it like you would a smalldusty rug before you lay it on the shirtholder. This will actually help pull outwrinkles as well. For the best results, usea heat transfer press to quickly heat andflatten the garment and fibers beforeloading it on the printer.

o Lay the garment on the Garment Holder, stuffing any excess garment into thespace between the top and bottom of the garment holder.

o DO NOT leave the collar or seams exposed on top of the garment holder. Thehead may strike them when printing. Load the collar over the bed top and out ofthe way. It is critical that the shirt lay flat and that the actual holder is flat. Anywarping of the printing surface can cause the print to be soft or out of register.

3. After the garment is loaded onto its holder, the print bed will need to be loaded tomake ready for printing. When the print bed is Loaded, it is positioned to the rear ofthe machine, opposite the Eject end.

Press the Back Arrow on the Bed and Ink Control System for three seconds toautomatically move the bed to the Load end. Make sure there are no obstructions asprint bed moves underneath printer.

You may also move the printing bed manually by pressing the Blue Circle button(Lever) and then pushing the bed from the Eject to Load position. Note that the dragthat you feel is the bed motor. Do not move the print bed manually except whenabsolute necessary.

Press and release the Back Arrow button to move the bed a notch at a time.


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4. Many times, after a printing cycle is complete, you will want the bed to rewind to theLoad end so you can do a second pass on white shirts to get better color saturation.

You can set the printer to automatically reload the bed when it is done with the firstpass. Press the Auto button located on the Bed and Ink Control System panel beforestarting print job and a green light will indicate the Auto function has been activated.

5. Press and hold the Down Arrow button to lower the print head into place. Yourprinter has sensors that will stop this process if there is any obstruction.

Make sure the print head is set to the correct height. If the head hits a garmentholder you may have to do a head alignment. A more serious “crash” of the head may require a head replacement. If the head brushes across a garment you willneed to do a head cleaning cycle before the next print.

If printing white ink on shirts that have been pretreated, it is VERYIMPORTANT that the printing head does NOT hit or even brush across apretreated garment. The pretreatment causes a reaction to the pigment in theink and the ink will permanently clog the head!

6. Choose the artwork you wish to print.

o You can print to the Fast T-Jet Jumbo 2TM ina variety of ways.

Print directly to FastRIPTM from yourfavorite graphics application

Print from FastARTISTTM. (Consult theUser’s Manual for easy-to-followdirections.)

o Make sure the image is the correct size and that you have placed it in yourgraphicsprogram on a “page” that is the same size as the printing bed.

The easiest way to get the correct print placement is create a template in yourfavorite graphics program for the size and placement of the garment holders,or use FastARTISTTM and load a pre-made Template. (Remember, youMUST use FastARTISTTM if printing with white ink. Refer to Chapter 6 formore details.)


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The Fast T-Jet Jumbo 2TM will support a printable areaof 24”x53”(60 cm x134 cm). You can create a Custom Page Size within FastARTISTTM or yourfavorite graphics application to represent this.

You can Open a Template and then Import each graphic into the correct printlocation based on the grid lines that represent an outline of each garmentholder. The Template has either a yellow or a pink placeholder to show youthe size of the graphic. (You amy click on a block of color to delete it.)


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Important Note: When you open a Template, keep in mind printing speed whenimporting graphics. If you are mixing various graphic elements, try to place similarsize graphics side-by-side so the printer will print faster on short graphics. You canalso place graphics sideways in a template and load the shirt sideways.

7. Select the appropriate Print Mode. There are a wide variety of Print Modes availablethrough the FastRIPTM software. Designs are different and have different qualityneeds. Print Modes give you the advantage of printing higher quality images at aslower speed or printing low quality, spot color images at faster speeds.

The following photos show how the Print Modes look if you print directly from AdobePhotoshop (left) and how they look when using FastARTISTTM (right). You MAY NOThave the same print modes available to your printer.


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A Word about Resolutions, Speed and Quality

You will notice that each Print Mode has various resolutions. The resolution that youchoose will not only determine the print quality, but the print speed as well. If you aregoing to use a low print resolution, such as 360dpi, you will achieve a much faster printspeed, but may not get the print quality needed for photo images. This is due the factthat lower resolutions apply less ink dots per inch (dpi) which allows the print head tomove much faster. The print heads must also be perfectly aligned at this resolution oryou will start to see banding in your print. Banding is small horizontal lines that runacross the entire image. For most images 360dpi will be fine, but depending on thegraphic image, you may want to increase the resolution.

If you intend to use higher print resolutions such as 720 or 1440, you will notice adecrease in speed but an improvement in print quality. Print quality and the amount ofink dispensed directly relates to the dpi (dots per inch). A higher dpi will increase printquality and amount of ink but at the same time slow down the print speed. We suggest alower resolution for cartoon images and a higher resolution for photo images.

Print modes that contain “HS”at the end (CMYK, Cartoon 360, 2 pass StandardHS) are bi-directional print modes. This means that the print head will now print in bothdirections as compared to the standard unidirectional print mode that just prints in asingle direction. Bi-directional print modes are twice as fast as unidirectional and willincrease your print speed especially if using a higher resolution. You must be careful towatch for banding/shadowing when printing bi-directionally. In these modes it is crucialthe print heads are perfectly aligned.

Print Modes and FastRIPTM

The number of Print Modes may seem like too many choices. However, once you startto print jobs you will see that they are not that hard to use. You should quickly find thePrint Modes that work best for you.

Note: When first starting out, the most versatile print modecombination for BOTH photos and cartoons is 720 dpi for CMYK and1440 dpi for the Underbase. It is also not uncommon to print the sameimage 2x on a shirt to obtain better color saturation.

CMYK Cartoon and Photo Print Modes

The Fast T-Jet Jumbo 2TM has three basic modes for printing–Cartoon, Photo, andUnderbase. The Cartoon and Photo Print Modes will print the image in color whenprinting from FastARTISTTM or any other graphics program. These two modes werecreated to adjust print characteristics based on the image to be printed. If you areprinting vectored graphics with spot color, use the Cartoon Print Modes. If you areprinting photo type bitmap images, use thes Photo Print Modes.


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Cartoon Print Modes are designed to:

lay down more ink with good color saturation be used for non-critical images allow a lower dpi to be selected

Photo Print Modes are designed to:

lay down less ink with highly accurate colors reproduce an extremely detailed image utilize a higher dpi to ensure good print quality.

There are also Print Modes that are ONLY used for prints that require white ink. Forexample, Cartoon Black 720HS means that you will NOT be printing black ink as acolor. This Print Mode is used when printing on black shirts.

For shirts that do not require white ink, you could choose Cartoon-360 HS CMYKStandard (Light shirt only with no white ink–360 dpi average resolution, high speed).If the image needs more color saturation, choose Cartoon-720 HS CMYK Maximum. Ifthe image is photorealistic choose Photo 720 HS CMYK Standard.

Here is a list of all available Print Modes for the Fast T-Jet Jumbo 2TM:

CMYK Print modes

CartoonCMYK Cartoon 360 2 pass StandardCMYK Cartoon 360 2 pass Standard HSCMYK Cartoon 360 StandardCMYK Cartoon 360 Standard HSCMYK Cartoon 720 2 pass StandardCMYK Cartoon 720 2 pass Standard HSCMYK Cartoon 720 StandardCMYK Cartoon 720 Standard HSCMYK Cartoon 1440 StandardCMYK Cartoon 1440 Standard HS (Bi-directional)

PhotoCMYK Photo 360 2 pass StandardCMYK Photo 360 2 pass Standard HS (Bi-directional)CMYK Photo 360 StandardCMYK Photo 360 Standard HS (Bi-directional)CMYK Photo 720 2 pass StandardCMYK Photo 720 2 pass Standard HS (Bi-directional)CMYK Photo 720 StandardCMYK Photo 720 Standard HS (Bi-directional)CMYK Photo 1440 StandardCMYK Photo 1440 Standard HS (Bi-directional)


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Underbase Print Modes

Underbase Print Modes are selected when printing from the FastARTIST program only.With Cartoon and Photo Print Modes in three different resolutions, you have the abilityto select the proper print mode to match your graphic image. For dark shirts try usingthe 1440dpi print mode to achieve a stronger, more consistent underbase. This is due tothe fact that the 1440 dpi resolution will dispense more ink at a slower speed creatingan extremely even coverage. If you are printing lighter colored shirts it may not benecessary to print such a strong underbase so the 720dpi or 360dpi mode may workbetter.

UnderbaseUnderbase Cartoon 360Underbase Cartoon 360 HS (Bi-directional)Underbase Cartoon 720Underbase Cartoon 720 HS (Bi-directional)Underbase Cartoon 1440Underbase Cartoon 1440 HS (Bi-directional)Underbase Photo 360Underbase Photo 360 HS (Bi-directional)Underbase Photo 720Underbase Photo 720 HS (Bi-directional)Underbase Photo 1440Underbase Photo 1440 HS (Bi-directional)

WindowsTM Underbase

The following WindowsTM Underbase print modes can be selected when printing fromgraphics programs such as Adobe Photoshop, CorelDraw, or Adobe Illustrator. Thereare four print mode options: Image Heavy, Image Normal, Vector Heavy, andVector Normal. Each is available with different resolutions. Bi-directional isalso offered for each print mode as well.

Select the Image mode when printing a bitmap, raster or gradient image. This alsoapplies when printing a gradient image in a Vector program. Anytime you have agradient in any image, the Image mode must be used.

Vector mode should be selected when printing solid vector images. With the Vectormode you will be able to print white areas as a“Highlight White”on the color pass. Thisonly happens if you use named spot colors and apply the named color white.

Heavy/Normal Underbase changes the intensity of the underbase. The HeavyUnderbase modes use a preset that applies more ink in dark and light areas then theNormal Underbase modes. Because underbasing is such a crucial part of image quality,we recommend trying out the different print modes to get a general understanding of thedifference between each one.


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WindowsTM Underbase360dpi Image Heavy underbase360dpi Image Heavy underbase HS (Bi-directional)360dpi Image Normal underbase360dpi Image Normal underbase HS (Bi-directional)360dpi Vector Heavy underbase360dpi Vector Heavy underbase HS (Bi-directional)360dpi Vector Normal underbase360dpi Vector Normal underbase HS (Bi-directional)720dpi Image Heavy underbase720dpi Image Heavy underbase HS (Bi-directional)720dpi Image Normal underbase720dpi Image Normal underbase HS (Bi-directional)720dpi Vector Heavy underbase720dpi Vector Heavy underbase HS (Bi-directional)720dpi Vector Normal underbase720dpi Vector Normal underbase HS1440dpi Image Heavy underbase1440dpi Image Heavy underbase HS1440dpi Image Normal underbase1440dpi Image Normal underbase HS1440dpi Vector Heavy underbase1440dpi Vector Heavy underbase HS1440dpi Vector Normal underbase1440dpi Vector Normal underbase HS

Ink bleeding can be a problem when printing on absorbent material. If you lay downtoo much ink in one pass, you will get great color saturation but there might be aslight bleeding between colors and into the surrounding shirt.

Note: You can minimize bleeding by preheating the shirts in a heat press for a fewseconds to dry them out.


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In some cases you will need to do TWO print passes to get good color saturation andminimize bleeding. By choosing a 2 Pass Print Mode the printer does not lay downtwice the amount of ink, but rather it allows the first pass to dry slightly before a secondpass is printed. This results in less bleeding and brighter colors.

Curing Your Garments

After Fast T-Jet Jumbo 2™ finishes printing, the printing bed will Eject from the unit. Ifyou have pressed the Auto button, the bed will Eject and then immediately rewind to theLoad position.

Finished prints must be heat cured to fully set the ink. Use a conveyor dryer or a heattransfer press with the following settings:

Light Garments(With or without using FastBRIGHTTM)Cure Time: Approximately 60-90 seconds withmedium to heavy pressure.Cure Temp: 330°F (166°C)

Dark Garments(Using FastINKTM Pretreatment solution)Cure Time: Approximately 180-240 seconds withmedium to heavy pressure.Cure Temp: 330°F (166°C)


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Important Point!

Some shirts may scorch if cured too long. A heat press will provide a more even cureand, when printing with white ink, you will see less shirt fibers sticking up through theink.

Before doing your first production run, it is important that you do a test washingfor proper cure. Variables such as climate (humidity) and the amount of ink used on ashirt can extend cure times. Certain garment fabrics may also require more time. Youwill have to find the cure time that works best for your location and print modepreferences.

You should ALWAYS do periodic wash tests as well as test the temperature of yourdryer or heat press using an infrared heat gun. Aim the gun at a shirt leaving a conveyortunnel and read the final temperature. Infrared heat guns are less than $100 and areavailable from most screen printing supply companies or industrial suppliers. You MUSTnot ignore proper curing.

If using a conveyor dryer, use a very slow belt and make sure the garment lies flat. Ifusing a heat transfer press, set the pressure to 70 or 80% of maximum. You shouldclamp the heat element down directly onto the print with a piece of paper or a Teflonpad over the print. You can use a baking pan liner for this purpose.

You will probably scorch a shirt doing temperature tests. This is normal in the garmentdecorating business. Some shirts might show a slight discoloration if you use a heattransfer press to cure the print. (This is most often seen in reds and medium to darkcolors other than black.) This discoloration will usually go away when the shirt cools orwhen the shirt is washed.

Preventative MaintenanceYou must perform a head cleaning if youexperience one of the followingconditions:

If streaks appear in the print If small drops of ink get on the

garment during a printing cycle If the unit has been setting for a

few days If the printing head hits the

garment.

Press the RIGHT ARROW button for three seconds to have the Fast T-Jet Jumbo 2™

go through a head cleaning cycle. You may do this in the middle of a print job ifnecessary.


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Nozzle Checks

The best way to check the print quality is to do a Nozzle Check from the Epson 7800Utilities window. See the Maintenance section of this manual.

If you have been printing a lot of shirts, and if some of these shirts have come in contactwith the printing head, you may have to manually wipe the bottom of the head toremove cotton lint. Recheck your shirt holder height settings to avoid a reoccurrence ofthis problem.

Often it is hard to see the white ink when doing astandard nozzle check on a light shirt or piece ofpaper. Conversely, it is hard to see colors on adark background. Use a piece of clear overheadtransparency film or our FastPOSITIVETM

Waterproof inkjet film (used to make screens inthe screen printing process) to do Nozzle Checks.

Ink Spots and Stains

Spots or ink stains must be removed BEFORE theprint is cured, using a standard Spot Removal gun.Once the ink is cured it is almost impossible to removespots or smudges.

Take care NOT to spray the wet print!


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Prints can be laundered as normal. If possible, give the customer washing instructionsof: Turn print inside out before washing or drying, Cold Water Only, Medium DryerTemperature.

Color Fading

You can expect a little fading with the first washing. This is normal and very similar towhat you would get from a screen printed shirt. If you experience a lot of fading, makesure to check your dryer temperature. If the shirts are damp from excess humidity, youshould put them under the heat press for a few seconds to dry out before printing.

Printing From Various Graphics Programs

If you wish to print white ink on a shirt you MUST print the file to the Fast T-Jet Jumbo2TM from FastARTIST. You can create the image in your favorite application but youneed to export the file from that application and import the file into FastARTIST.

If you are not going to print white ink you can print directly to FastRIPTM from anygraphics application. The image will print in the colors of CMYK but white ink will not beprinted.

Printing From PhotoshopWithout White Ink

While in Photoshop, create the file andmake sure it is the correct physical sizeand good resolution (150 to 250dpi).Expand the File menu and select Printwith Preview. This will show what theimage will print like. The image willprobably be previewed LARGER thanthe window. This is because you havenot yet set up the correct page size.

Click on the Page Setup button. Click onthe Printer button and expand the Namewindow. Choose Fast T-Jet Jumbo 2TM.


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You need to set the properties for theFast T-Jet Jumbo 2TM by clicking onthe Properties>Advanced button.

In the Advanced Options window youneed to set the Page Size to the samesize as the garment holder(s) you areusing.

You now need to choose the correctPrint Mode for your job. Under theDocument Options tab, click onPrinter Features and then Print Mode.

FastRIPTM includes a LOT of PrintModes. Don’t be overwhelmed by them. These give you the power tochoose the correct printer settings fora particular job.

(Some Print Modes you can’t use without going through FastARTISTTM. Do not select the Black T or Underbase modeshere.)

Click Ok to exit each of these windows and then click on Print in the Print Previewwindow.

Printing From CorelDraw

Printing from CorelDraw is JUST like printing from Photoshop. Create the image inCorelDraw. Expand the File menu and select Print. From the General tab, choose theFast T-Jet Jumbo 2TM. Click on Properties and change the settings just like inPhotoshop.

(When printing from CorelDraw DO NOT let the application apply ICC profiles becausecolors may be adjusted incorrectly.)


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Printing from FastARTISTTM

To print from FastARTISTTM consult the Printing CMYK section in theUser’s Manual.

FastARTISTTM also contains a number of Test Files on the CD that are ready to be“dropped” into FastRIPTMand printed. These files are designed for use with white ink ondark shirts and they will show you how easy it is to print stunning images with your FastT-Jet Jumbo 2TM.

Production Rates and Ink Costs

The following chart shows the average production rates and ink costs you can expectfrom your Fast T-Jet Jumbo 2TM. Each image is different and the Print Mode andresolution you choose will have an effect on these figures. Ink costs might vary from thischart.

The ink prices are based on the current prices the summer of 2006 and are in USDollars.


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Chapter 6–Printing White Ink

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Chapter 6

Printing White Ink

White Ink Overview

Printing white ink onto a dark garment was not an easy process to develop because theopenings in print heads are so smallyou can’t use thick ink like standard screen printplastisol. Printing white ink on a Fast T-Jet Jumbo 2TM is made possible by acombination of very special ink that took over a year to develop, a software print drivercalled FastRIPTM that allows the printer to dispense more ink than it was designed for, asoftware package called FastARTISTTM that creates a special underbase and highlightwhite files, and a revolutionary pretreatment that allows the ink to set on top of thegarment and remain white. It is magic!

Warnings and Cautions

There are a few rules you MUST follow to getthis to work. First, the ink contains whitepigment that can settle over time. The goodnews is that your Fast T-Jet Jumbo 2TM

printer will shake slightly when it prints, causingthe ink to remain in motion. However, if youdon’t useyour printer for a few days, youshould lift the individual bulk ink bottles, shakethem gently, then run three or four head cleaning cycles. In fact, it is a good idea to do ahead cleaning each morning and on two or three other occasions during the day.

Note: We recommend you shake your bulk ink bottles daily, regardless of printingactivity, as well as shaking all refill bottles before topping off any ink.


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Caution about Pretreatment

The pretreatment solution is a milky colored, odorless and nontoxic liquid. A chemicalreaction between the pretreatment and the white ink causes the ink’spigments to stayon top of the garment and not be absorbed by the textile fibers. Because of thesereactive chemicals, it is CRITICAL the print head does not touch a pretreated garment -even one that has been dried! You should also have good ventilation in the area whereyou are applying the pretreatment. If possible, pretreat garments in another roomentirely.

Important Point!

Each ink cartridge has “smart”chip that counts the number of drops of ink dispensed inorder to warn you when the cartridge is empty. Normally, you should never run out ofink before the chip “thinks” you are out, however, when printing with white ink, it doesnot take much ink usage before the chip tells the printer it is“out.”If this happensDURING a printing pass, the printer may stop printing and the red lights on one, or allthree, of the white colors will be ON. If you turn the printer off during this process youwill lose the job and ruin a shirt. You will need to reset any chips that are indicatingbeing low or out of ink. Refer to page 17 of this manual for more details.

Due to the nature of pigment settling andpretreatment reaction, there is a good chanceyou will go through more print heads thannormal. If you feel a few hundred dollars everyfew months is a price that’stoo steep to pay,then we recommend you do not use white ink.However, the payoff of is vibrant prints onblack shirts without any screen making, presssetup, or color separations. We feel thesebenefits far outweigh the relatively minoradditional costs.

Pretreatment Basics

Currently we offer two types of Pretreatment, FastINKTM Textile Pretreatment andFastBRIGHTTM Textile Pretreatment. The FastINKTM Pretreatment is for use with darkcolor garments allowing for extremely bright whites and vibrant colors that really pop.FastINKTM Pretreatment should only be used with medium to dark colored garments doto possible discoloration of light shirts when exposed to direct sunlight.

FastBRIGHTTM Pretreatment is designed specifically for light colored garments. Using


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FastBRIGHTTM creates vibrant images with rich deep blacks and reds that will notdiscolor when exposed to direct sunlight.

Note: You must not mix the two pretreatments together or the result will be ruinedshirts.

Applying Pretreatment

It is essential the pretreatment solution be applied evenly toensure a great looking print (free from light and dark spots)on a black garment. You can use manual spray pumps,weed sprayers or any other method you feel comfortablewith to apply a uniform coating of FastINKTM Pretreatment.However, we strongly suggest the use of a Control SprayGun (commonly used to paint broad areas like a porch deckor furniture). Your Fast T-Jet Jumbo 2TM kit includes a Wagner Control Spray Gun, butif you purchased your printer outside of the USA, your machine may NOT include thecontrol sprayer. These guns are fairly inexpensive (usually less than $100 USD at homeimprovement stores) and are not designed for high volume work, therefore you shouldkeep an extra gun handy as backup.

Helpful Hint: Cleaning the gun is simple and should be done on a regular basis toextend the life of your sprayer. Just fill up the storage bottle with water and run itthrough the gun as you would normally dispense any other solution.

Warning: You MUST NOT spray pretreatment near the printer. In fact, you shouldpretreat shirts in a separate room entirely to prevent any overspray from gettinginside the Fast T-Jet Jumbo 2TM . If using another room is not possible, a largecardboard box enclosure is a good substitute for applying pretreatment.


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Proper Pretreatment Application is Critical!

The two pretreatments (FastBRIGHTTM andFastINK2TM White) are magical liquids that keepthe white ink pigments from being absorbed intothe fabric of the garment. When applying thepretreatment solution, do not saturate thegarment! Move the spray gun back and forth ineven strokes. You don’t want the shirt to be soaking wet. Light shirts only require a mistingback and forth, but black and other dark colorswill need a slightly heavier application.Don’t worry, the proper amount needed is something that you will get the hang of withrepetition. Please note, if you miss a spot or apply the pretreatment in an uneven spray,it will be noticeable in the final print.

Dry the pretreatment using a hair dryer, heat transferpress or conveyor dryer. When using a heat transferpress, use a non-silicone pretreatment paper (availablefrom US Screen) to protect the garment when drying thepretreatment. If you use a silicone based paper, it will sealthe pretreatment on the shirt surface and the white inkmay not stick well enough.

You may use a Quillon treated baking pan liner to dry the pretreatment. However,if the paper sticks to the pretreatment after you are done pretreating the shirt, youmay have applied too much pretreatment or the heat press is set for too muchpressure!Standard “butcher paper” or “brown Kraft paper” can also be used as aheat press protector when drying the pretreatment. Clamp the press down withmedium pressure at 330°F for 8 to 10 seconds.

Important Note: Too much pretreatment may cause poor washability.

In inkjet printing, the ink will tend to cling to any loose fibers sticking up from the shirt.When printing a white underbase, it is possible for these fibers to become saturated andshow through any color that has been applied. This is why we recommend the use of aheat press with light pressure before printing to flatten to fibers properly. A conveyordryer or similar method of drying the pretreatment will not flatten the fibers and mayresult in a lower quality print.

Some users have reported slightly better washability if you spray the shirt with waterBEFORE spraying it with pretreatment.


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Printing White Ink

Reminder: If the printer has been unused for a few days,perform two or three head cleaning cycles to get the whiteink moving. Even with regular use, you should get in thehabit of lightly shaking the ink bottle to keep the pigmentsfrom settling.

1. When printing with white ink, it is very importantyou set up the file correctly in FastARTISTTM.Consult the manual for detailed directions. Whenunderbasing solid, spot-color type images, generallyyou’ll print solid white inkand then follow that print with the colors. Underbasing spot-color vector images isas simple as one click of the mouse in FastARTISTTM. If the image has white aspart of the design, a second pass of white is made at the same time as the othercolors. This second pass of white is called a Highlight and it boosts thebrightness of the white.

When printing photorealistic images you will need to run a special routine calledthe Underbase Wizard. This feature of FastARTISTTM will create a separatepiece of artwork that FastRIPTM will use to print an underbase of white ink. Whenunderbasing a photorealistic image, the underbase is NOT solid white but insteadit is grayscale. Grayscale has light and dark areas that give the imagedimensionality on a shirt. This is the magic to printing bright and soft prints ondark shirts.


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Important Point!

How to Create a Simple Underbase for Dark Shirts

The Underbase Wizard has four options to choose from when creating an underbase:

First option - Underbase/Highlight Wizard will manually take you through theunderbase/highlight setup process.

Second option–Heavy Underbase. This is a one click wonder button that willautomatically complete the underbase process for you.

Third option–Normal Underbase. This is a one click wonder button that willautomatically complete the underbase process for you.

Fourth option–Last Setting. This performs the underbasing process with the“last used setting”from the manual Underbase/Highlight Wizard.

When working with the first option “Underbase/Highlight Wizard,”you must manually setthe parameters for the underbase process. Below we have listed the parameter settingsthat will help you get started.

Underbase: whiteUnderbase strength: 100Light areas: 80-90Dark Areas: 5 at the most - but more often 0

NO Clipping Path (if using two versions of artwork)Check Overlap HighlightHighlight: whiteStrength: 0Regions: 100 most of the time(drop to around 80 for bold white text with a black outline)

Light Areas: 0Dark Areas: 0

For best results when printing gradient images with white ink, you should have twoversions of the artwork. One version has a white background and the other has a blackbackground. These two files can be created in Photoshop, Adobe Illustrator, CorelDrawor even in FastARTISTTM. If you use another program, simply save or export the files asa JPG file at 150dpi resolution for the final print size. Import these files intoFastARTISTTM.

There is an excellent video tutorial on Underbasing with Two Versions of theArtwork on the T-Jet Support page.


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2. You must tell FastRIPTMwhat Print Modes to use and choose a Print Mode forboth the white ink and colors. Once you have made these selections, they can beused againfor other jobs. For dark shirts you can get very good “screen print” quality white ink if you select the 1440dpi Print Mode for the white ink underbase.For the top colors of Cyan, Magenta, Yellow, Black and the highlight white,choose 360 or 720dpi Print Modes.

For medium colored shirts use the 720dpi Print Mode (faster than 1440dpi) forthe white ink underbase. In some cases, very light colored shirts may not evenneed a white underbase so images can print using just CMYK and highlight whiteto save printing time. Highlight white will print at the same time as the color pass.

If possible, DO NOT mix print modes. You will notice that certain print modescontain a ‘HS” and “HS (Bi-Directional)” while the standard print modes contain neither. DO NOT use standard print modes in conjunction with HS print modes.The result may lead to registration issues and miss prints. Please note that this isnot referring to the print resolution i.e. 360, 720, or 1440. Print resolutions can bemixed and matched as needed. If you are not sure how different print modeswork together, do a test print before doing a production run.

Note: For more information on print modes, refer to chapter 5 - A Word AboutResolutions, Speed and Quality

Important Point!

Problems with Underbase and Colors lining up.

If you print the 1440dpi HS Print Mode for the white and the colors at 360dpi, there is achance you might see white peeking around the colors. This is due to a technique calledMicro-Weave that eliminates banding. It is almost impossible to have the underbase andtop colors line up perfectly when mixing Printing Mode resolutions. For the best results,keep the printing resolutions the same or use 720dpi Print Mode for the colors on top ofthe 1440dpi white one-pass Print Mode.


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3. Pretreat the shirt and load it in the printer.DO NOT let the print head touch thepretreated shirt. If the pretreatment comesin contact with the white ink in the printinghead, the head may become permanentlyclogged.

Remember, it may take a few test shirts toget a feel for how much pretreatment toapply.

4. Set the number of passes needed. When using the 1440dpi Print Mode for whiteink followed by the 720dpi Print Mode for the CMYK colors and highlight, TWOpasses are all that you will need.

5. Print the job. Send the Print command in FastARTISTTM. FastRIPTM will open andshow the progress of the print job.

Note: If you are not sure how well you did in creatingthe underbase, you can view the actual “Raw Data” in FastRIP to see a sample of the different “Layers” of each print pass. If you chose the 1440dpi onepass white print mode you will not be able toview the raw data.

Within FastRIP, right click on the file loaded inthe queue and select Spool Only. After the filefinishes spooling, right click on the file again and select View Raw Data.

6. Cure the print. Carefully remove the shirt from the holder and cure the print. Thewhite ink will need to be cured longer than standard colors. Cure in a conveyordryer or heat transfer press. (Refer to page 56 of this manual for specific curingtimes and details.)


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If using a heat transfer press, place a siliconetreated piece of parchment paper (a commonbaking pan liner) over the print and close thepress with medium to heavy pressure. Whenyou open the press, peel the paperimmediately. The paper can be used anumber of times before it becomes toowrinkled to use.

Note: You will only use the silicone treatedpaper for curing after the entire print hasbeen completed. You risk ruining a shirt ifyou use silicone paper in the pretreatmentphase.

If you want a glossy print, use a standard Teflon pad rather than silicone treatedparchment when curing the print in a heat press. Teflon pads are available fromheat press manufacturers.

Washing Directions

For the longest lasting print, the shirt should be turned inside out, washed in COLDwater and dried on delicate. If possible, include washing directions the print.When you apply the pretreatment correctly and choose the correct Print Modesyou should get very detailed bright prints like these!


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White Ink Troubleshooting

Problem: White prints seem dull.

Solution 1: You may not be applying enough pretreatment or not using the 1440 printmode resolution.

Solution 2: The print head may be clogged. If you had bright white prints beforeand they now seem dull, you probably have clogged nozzles. Due to the nature of thewhite pigment, you may experience more head clogs than normal. These can easily becleared by doing two or three head cleanings.

Solution 3: The Highlight setting in FastARTISTTM may be wrong. You may actually beprinting white ink ON TOP of the CMYK colors. Reload the image into FastARTISTTM

and redo the Underbase/Highlight Wizard. Try either not applying a highlight or simplytoning down the highlight.

Solution 4: Dry ink may be causing the print head to not seal properly. Due tothe nature of the white pigment, it will build up faster on the capping station and on thewiper blade. Dry white ink around the rim of the capping station will interfere with theprinter pulling ink out of the cartridge during a head cleaning cycle. Use a sponge foamtipped swab and cleaning fluid or water to clean the following areas as shown below.

You should perform DAILY cleaning of these items.

Documents

Chapter3 Software Installation and Setup...Chapter 3 –Software Installation and Setup 23 For Windows XP, double click on the folder called Printer Driver v5.5bs, then double click