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Artwork by STUART WRIGHT, CPR Art Team


Well take a look at the main shot below.  That is what you should expect.  If you find it appealing, then we're all
in the same ballpark.  On a technical level, however, a CMYK backglass is a totally different animal than a translite.

Translites were done using a photographic process - similar to Kodak or Fujifilm enlargements you'd have made
on photographic paper from a negative from your camera.  Therefore, translites have zero dots, and they contain
zero CMYK halftones or rosettes, even under a microscope.  Their weakness is - being on paper.
Like any poster you had as a teenager, they can become damaged, faded, color shifted, etc.
Depending on the life your machine had before you owned it, many have different looking translites today.
The CPR conversion acts as an alternative, made of hearty tempered glass, for those with shoddy TL's.

A conversion to a silkscreened backglass requires that the original continuous-tone color artwork be split into
four separate layers - Cyan, Magenta, Yellow, and Black (Process Color).  Each process color is printed to the
glass in a separate session.  Each layer is made up of tiny halftone dots.  The resulting image looks like
full color to the eye, but is made up of only 4 colors, via clumps of dots (like grapes) called "rosettes"

With the addition of a mirror layer and a white backing enamel layer, the complete glass looks like Whirlwind
if it had come from the CMYK "backglass era".  Yes, your photographic "zero dots" look will be gone,
but from a player distance, it all becomes irrelevant.  Silkscreening dots are indeed tiny, from the size of a particle
of sand, right down to one grain of flour.  It's all about how they assemble and come together.

Click to Enlarge

Tonal balance is always a challenge in a CMYK conversion from original source.  When you have no negatives and you must
have your own films made by a lab, turned into silkscreening dots, and ink mix control very crucial, you pray the final
assembled image is going to stay faithful to the original balance.  Not too rosy, not too bluish, etc.   This time, we're right
in the pocket, and have ideas the film lab is going to try on the next backglass conversion to tweak our results even closer!


These remaining photos were done at extreme angles to the sun, to "pop" the mirrored bits so you can see them better.
The stuff glowing "hot white" are the mirrored parts.  It's difficult to photograph, but these will give you some idea.

Title accenting

Title accenting

Shiny spots on minivan, video camera

Accents on the highlights of the twisters, Williams "W" logo

Accents on the storm chaser equipment

Accents on the storm chaser dude - CB cord, glove, watch, chest badge