Ragged Old Flag
Printing shirts for America’s 250th
By Lon Winters
There are projects we print for customers and there are projects we print for ourselves. The first pay the bills. The other fuels the soul. This one started around a table, not a press, with the team discussing the upcoming 250th anniversary of the United States and how, for all the noise in the world, we’re still proud to be American. We decided we needed to do something special. Not just a shirt. Not just an image. Something more complete. Something we wanted to wear with pride. We called this project “Ragged Old Flag” before we even put together a reference. Design, separations, apparel, screen making, color matching, on press strategy, squeegees, floods, and finally, storytelling all were coming together into wearable art. We always say, “Every T-shirt tells a story!”
The first decisions had little to do with the art or designs, but more where the images might live. If this was for the America’s 250th, the blanks had to be American made, right? All black, navy, or charcoal tees, rockers, crews, hoodies, and full-zip sweats were chosen not only for principle, but for consistency. Fabric quality and surface smoothness mattered, and all were manufactured right here in the good ol’ USA. It turned out to be a bit pricey, comparatively, but well worth it. We planned the graphics to rely on the garment color to influence the print. The blanks were canvases for this fine art. Before any design was finalized, we mapped out the garment. Neck label Graphic Elephants (our company) branding, sleeve established date, upper back tag, the full color front flag print, a clever, what we call the underbelly, and finally, an applied faux leather company branded patch.
The smallest graphics were built first. Inside the collar, a simple single color Graphic Elephants Unmistakable mark in soft gray ink served as authorship. On the sleeve, a circular arrangement of stars surrounding “EST 1776” was printed in navy ink on black, subtle and historically flavored. This print doesn’t necessarily demand attention but recognizes our country’s discovery. All was built in spot colors in Adobe Illustrator for vector output.
On the upper back, the 250th American Anniversary tag introduced a little Photoshop to the process. We wanted small, faded, and distressed in navy and red that looked like it had always been there. The vector AI type was placed into Photoshop where negative space textures were added to create tonal variation. That artwork was exported as a bitmap for separation and became the first simpler version of the strategy that would define the front graphic. Let the garment do a lot of the work. The flag itself started from a referenced image, nothing too stylized or all that artistic. After the structure was verified accurate, (50 stars, 13 stripes) we moved to Photoshop to give it character and dimension. Distressed, vintage textures, edge erosion and grunge were applied to remove color and ink in variations. We were strategically subtracting information so the shirt would show through and become part of the color palette, creating multiple tones and shadow areas. As part of the separation strategy, we created a black channel to simulate the background.
The print was essentially a simulated process, though we removed the unwanted data. The palette consisted of a white printer or base, blue, red, a custom mixed-dirt color, and finally, the highlight white to make areas pop in the stars and stripes. That dirt color and variations is what made the entire old worn, even dirty, flag much more believable. Back in Illustrator, the distressed Photoshop channel seps were placed for output. The white printer was intentional and was designed to be imperfect. We wanted it broken so the garment could influence tone in an unpredictable fashion. In some areas, the colors remained bright, and in others, they were transparent, allowing tones to shift depending on where the ink landed.
Then we added the part no one sees immediately. The preamble of the Constitution was traced from a historical document in Illustrator, preserving the original script header. The paragraph text was reset in a similar period-appropriate font. Printed upside down inside the shirt in soft gray, it can only be read by lifting the hem. It isn’t seen — it’s discovered. Printed through a high mesh with thin gray ink and light pressure to be part of the fabric for the wearer’s comfort.
On press, everything came together a bit easier than one might think on multiple styles. High mesh screens at N-272 TPI were used for the soft hand and drape we would achieve. The distressed nature of the art made the prints forgiving. The print order began with the white printer, followed by a flash, smoothing station, then blue, red, dirt, and finally the hi-white.
A small faux leather elephant patch was then applied to the sleeve with a transfer machine, intentionally not screen printed to finish the package. It’s kind of our “swoosh.”
When you look at the finished apparel, the details don’t shout. The 250 back tag barely announces itself. The sleeve is historical and looks like it has always been there. The flag doesn’t sit on the shirt, it almost belongs to it. The underbelly “We the people” feels like a secret between the garment and the wearer. Most projects start with art and end with cure. This one started with intent and ended with emotion. We asked ourselves what the apparel should say. It was proud, worn, and honest. As America turns 250, we didn’t make a commemorative shirt. We made a ragged old flag for close friends and family to wear. In the immortal words of Johnny Cash, “On second thought, we do like to brag, ’cause we’re mighty proud of that ragged old flag!”
Lon Winters is founder and president of Colorado-based Graphic Elephants, an apparel decorating studio and international consulting firm. He was inducted into the Academy of Screen and Digital Printing Technologies in 2013 and is widely recognized for his contribution to the graphic printing industry. Learn more at graphicelephants.com.
