"Another pinball restoration adventure begins."
Using an original Bazaar (Bally, 1966) NOS backglass set of scans, I have begun the starting steps to fully recreate another ink-screened style pinball backglass from the original artwork.
I say "style" for reason, as using modern technology, versus hand drawn films and drafting screened layers for a bit of simplicity.
This is a combination process using Adobe Illustrator and Photoshop, and has somewhat become a "lost art" with only 8 active full groups of people doing this kind of work in the entire world. The process I will describe is essentially the same as that as used by BGResto and Great Pinball Limited, but not CPR, Shay, or Ron Webb. It really does not cut any corners when it comes to the artwork, as multiple layers are still required to be retraced or redrawn by computer.
Now, some of the "secrets" will be revealed.
The first step is knowing how to capture images properly without glare along proper dpi and resolution.
I generally work between 1200-3200 dpi, but would never go lower than 600 dpi, as the old adage is you can always go down, but never up in quality.
Inspect the pantones on the image when scans are completed to the original backglass, very important before a person starts work.
If the image colors are captured wrong, a person can spend many hours cross checking the original glass.
I cannot emphasize enough the need to have the best quality backglass you can to start with for reference, otherwise an artist is guessing on authenticity for comparison.
If a large format scanner with depth of field adjustments is unavailable, "scanography" is an acceptable method if a person has a camera that can capture enormous resolution images and scale them down in order to increase dpi quality.
Sectionalizing the backglass image with additional scans or photos at higher magnification allows an artist to reconnect sections if there were any anomalies in the master.
I personally do not like "puzzle piecing" as this leads to more work during image cleanup.
Using a standard scanner or "see through" scanners such as the obsolete HP 4600 scanjet provide poor quality focusing, and are best used for plastics, playfields, and other non-depth flat surfaces. The are simply better options today.
When working with backglass images, the images are HUGE (at minimum full size of print, and preferably double or triple size) sometimes as high as 10GB or more, and require a fairly fast computer with very large of scratch disk (15-20 GB allocated) and healthy amount of physical RAM (32 GB) to work properly. The average image size at full print is going to start around 1-2 GB. Management of large files is key to keep things under control. Remember, every time you add a layer the image file size will go up sometimes substantially!
Illustrator is used for the front for the front revector color and blackline artwork, rescaling requirements, or font changes equivalent to the original films which was drawn entirely by hand. The other advantage is being able to make quick multi-point lines and adjustable curves with minimal effort. Much easier than using smart objects in Photoshop.
Photoshop is used for non vector regions and masking. Alignment is not really an issue, if a person conducts measurements from the original glass. Use guide lines for alignment, hundreds if needed! If an an original glass is not available, it is better to find a blown out version than simply guessing, as this can lead to wasted time and money.
Front and back sides of the glass are required, otherwise severe "hot spots" occur and the end product will be poor.
What is seen on the masking layer (modern equivalent of the original silver screening) as white is pure translucent, while black inking is non-permeable. A third pass shaded image layer (grayscale) is used to control the amount of light that can be be seen, and can correct edging issues. When masking, transparency checks are required, but the layer should be treated as a separate image.
Fortunately, there is no chome inking on this particular backglass which requires use of an etched mirror (or paint layer) which would have made things a bit more complicated.
However, the number physical complete layers can sometimes go as high as ten or more, if complete precision is warranted including mirroring. My average is five, if using CMYK. Three, if RGB. Separation requirements are dependent on the close proximity to similar colors within the image itself.
Properly done backglasses use no "cut outs", but pure masking layers to prevent light bleeding.
Eventually all layers will be printed to tempered glass as I have done with others.
Printing onto glass is tricky, as adjustments to colors may be required to achieve the desired effects of the original glass.
In this case, 1/4" tempered glass, not plate as the original.
The average cost is anywhere from $250-650 dependent on complexity and number of image layers required and types of glass used, no different from any other quality pinball backglass reproduction of such low quantity made. Additionally, there are licensing issues that must be observed. I do not do any restorations for profit, but sometimes do consignment base work for other pinball collectors. Copyright infringement is how people get into trouble, which I avoid drama like a plague.
This alternative described provides an equal level quality product to factory originals without doing a full ink screen.
A solvent ink print is preferred over a vinyl printed layer adhered to the glass with heat treatment, but is more expensive. Latex printing is not recommended, as the paint layer cracks over time due to changes in temperature of both the glass and printed layer in contraction and expansion even in climate controlled environments. A test print of colors on glass with a white final surface is required prior to any final application. This may require a two step process (colors then a white backing layer) to accomplish. When searching for a print service, ask to see an example of a test print on glass from the company and conduct a comparison. It is also very important to know the distinction between RGB and CMYK printing processes due to the potential color changes. This "modern" development of a backglass is quite different than original methods of ink screening colors.
Keep flipping.
