ImagesMagUK_Digital-Edition_Dec17

TIPS & TECHNIQUES www.images-magazine.com 54 images DECEMBER 2017 This can be quite difficult on high- contrast multi-colour prints. Set it off Add an outline in a contrasting colour to both the print and main logo, setting simple elements apart from the background pattern. This strategy is not well suited to small, unsupported text or highly detailed free-floating shapes, but for larger text and simple shapes, outlines can work wonders. Make a move Relocate the design on garments featuring a troublesome pattern or print in the standard decoration area. Use a non-traditional placement and target an area with an easier background to handle. Imagine a smaller identifying mark for a collar tip, sleeve or hip. Not every customer is so flexible, but those who refuse to alter their logos often appreciate options without additional background or framing elements. Back it up Cover the print with either a fully filled background area or a patch-styled appliqué that supports and surrounds the logo. A carefully created, pliable fill or well-placed appliqué in a shape that complements your logo can provide an uncomplicated background to frame your decoration. Go with the flow Create a variant version Include the print as an element in your design. Design a new version of your decoration just for this garment that uses shapes and colours from the print, or which uses negative space to showcase it. Imagine the logotype reduced to a bold single-colour outline, leaving it to be filled with the print underneath. Blend in by design Recolour your logo to align with the palette of the print and intentionally go for a lower-contrast tonal look. For brands that exude a calm I f you’re like me, you’ll have counselled at least a few customers whose previous decorators’ attempts at branding on printed materials have rendered their logos unintelligible. Sadly, many decorators confine themselves to stitching the same logo on all garments, in the customary colours, regardless of the print on which it’s placed. With a modicum of effort, however, you can create a decoration over a print that stands apart, both from the background and from the competition. You simply have to decide to go beyond the standard rendition, and choose either to fight the print or go with the flow. The following simple concepts provide a method for educating the client, allowing you to start the design process with predefined examples to speed your client’s decision-making process. Fight the print Select colours that stand apart from all colours in the print to increase contrast. Ensure that logos are seen on printed fabrics by following some clear advice from Erich Campbell class, these understated looks can hit the perfect note. For established brands with high recognition, or garments that won’t carry brand recognition alone, hinting at the logotype may be enough to carry the identity. Standing out fromthe printedcrowds With a modicum of effort you can create a decoration over a print that stands apart, both from the background and the competition The DKD band’s large, simple and single-colour logotype would lend itself well to swapping colours to boost contrast against the printed fabric; however, the brand really doesn’t like to change the colour of its logo. With such a simple piece, a bold outline is all that’s required to set the piece off, even on this busy paisley print This is an original concept that I designed for a red- headed friend who rehabilitates Japanese cooking knives. It was originally created for black garments, as seen in the upper left hand corner. Shortly after the original concept, a secondary design was added to be more versatile on other colours. That said, it wasn’t prepared for novelty patterns...