Read Free Online Books by Laramie Briscoe Tank

Printing technique

Screen printing (traditionally chosen silkscreen printing; likewise known as serigraphy and serigraph press) is a press technique where a mesh is used to transfer ink (or dye) onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or duster is moved across the screen to fill up the open mesh apertures with ink, and a reverse stroke and then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to moisture the substrate and be pulled out of the mesh apertures equally the screen springs back after the blade has passed. One colour is printed at a fourth dimension, so several screens tin be used to produce a multi-coloured image or design.

Traditionally, silk was used in the process. Currently, synthetic threads are commonly used in the screen printing procedure. The most popular mesh in full general use is made of polyester. There are special-use mesh materials of nylon and stainless steel available to the screen-printer. There are also different types of mesh size which will determine the outcome and look of the finished design on the material.

The technique is used non simply for garment press but for press on many other substances, including decals, clock and watch faces, balloons, and many other products. Advanced uses include laying downwardly conductors and resistors in multi-layer circuits using sparse ceramic layers equally the substrate.

History [edit]

The affiche shop at Heart Mountain War Relocation Eye was operated by Japanese-American internees who used the silkscreen method to design information for the entire center (January 1943)

Origins [edit]

Screen press first appeared in a recognizable form in China during the Song Dynasty (960–1279 Ad).^{[one] [2]} Information technology was and then adjusted by other Asian countries like Nippon, and was further created using newer methods.

Adoption in the West [edit]

Screen printing was largely introduced to Western Europe from Asia quondam in the tardily 18th century, but did not proceeds large acceptance or utilise in Europe until silk mesh was more than bachelor for trade from the east and a profitable outlet for the medium discovered.

Early in the 1910s, several printers experimenting with photo-reactive chemicals used the well-known actinic light–activated cross linking or hardening traits of potassium, sodium or ammonium chromate and dichromate chemicals with glues and gelatin compounds. Roy Beck, Charles Peter and Edward Owens studied and experimented with chromic acrid common salt sensitized emulsions for photo-reactive stencils. This trio of developers would prove to revolutionize the commercial screen press industry by introducing photo-imaged stencils to the manufacture, though the acceptance of this method would have many years. Commercial screen press now uses sensitizers far safer and less toxic than bichromates. Currently,^{[ when? ]} there are large selections of pre-sensitized and "user mixed" sensitized emulsion chemicals for creating photograph-reactive stencils.

A group of artists who later on formed the National Serigraph Gild, including WPA artists Max Arthur Cohn and Anthony Velonis, coined the word "serigraphy" in the 1930s to differentiate the artistic application of screen press from the industrial employ of the process.^[3] "Serigraphy" is a compound word formed from Latin "sēricum" (silk) and Greek "graphein" (to write or draw).^[iv]

The Printers' National Environmental Assist Center says, "Screenprinting is arguably the most versatile of all press processes. Since rudimentary screenprinting materials are then affordable and readily bachelor, it has been used frequently in underground settings and subcultures, and the not-professional await of such DIY culture screenprints take become a significant cultural aesthetic seen on movie posters, record album covers, flyers, shirts, commercial fonts in advertising, in artwork and elsewhere.^{[ verify ]}

1960s to nowadays [edit]

Credit is given to the artist Andy Warhol for popularising screen printing as an artistic technique. Warhol's silk screens include his 1962 Marilyn Diptych, which is a portrait of the extra Marilyn Monroe printed in assuming colours. Warhol was supported in his production by principal screen printer Michel Caza, a founding member of Fespa.^{[5] [6]}

Sister Mary Corita Kent gained international fame for her vibrant serigraphs during the 1960s and 1970s. Her works were rainbow coloured, contained words that were both political, and fostered peace and dearest and caring.

American entrepreneur, creative person and inventor Michael Vasilantone started to utilize, develop, and sell a rotatable multicolour garment screen press auto in 1960. Vasilantone afterward filed for a patent^[7] on his invention in 1967 granted number three,427,964 on February 18, 1969.^[7] The original machine was manufactured to print logos and team information on bowling garments, only was soon directed to the new fad of printing on T-shirts. The Vasilantone patent was licensed by multiple manufacturers and the resulting production and boom in printed T-shirts fabricated this garment screen press machine popular. Screen printing on garments currently^{[ when? ]} accounts for over half of the screen press activeness in the United States.^[8]

Graphic screen-printing is widely used today to create mass- or large-batch produced graphics, such as posters or display stands. Full colour prints tin be created past press in CMYK (cyan, magenta, yellowish and blackness).

Screen printing lends itself well to printing on canvas. Andy Warhol, Arthur Okamura, Robert Rauschenberg, Roy Lichtenstein, Harry Gottlieb and many other artists have used screen printing equally an expression of creativity and creative vision.

Another variation, digital hybrid screen printing, is a wedlock between analog screen press and traditional digital direct-to-garment press, two of the most common textile embellishment technologies in use today. Substantially, digital hybrid screen printing is an automatic screen-printing press with a CMYK digital enhancement located on i of the screen print stations. Digital hybrid screen printing is capable of variable data options, creating endless customizations, with the added ability of screen print specific techniques.

Method [edit]

Screen printers utilize a silkscreen, a squeegee, and hinge clamps to screen print their designs. The ink is forced through the mesh using the rubber squeegee, the swivel clamps keep the screen in place for piece of cake registration

A. Ink. B. Squeegee. C. Prototype. D. Photo-emulsion. E. Screen. F. Printed image

Dissimilar samples of the printed image

A screen is made of a slice of mesh stretched over a frame. The mesh could exist fabricated of a synthetic polymer, such equally nylon, and a finer and smaller discontinuity for the mesh would be utilized for a blueprint that requires a higher and more fragile degree of detail. For the mesh to exist effective, it must be mounted on a frame and information technology must be under tension. The frame which holds the mesh could be made of diverse materials, such every bit wood or aluminum, depending on the sophistication of the car or the artisan procedure. The tension of the mesh may be checked by using a tensiometer; a common unit for the measurement of the tension of the mesh is Newton per centimeter (N/cm).

How to screen impress 1 image

How to screen print with multiple layers using CMYK

A stencil is formed by blocking off parts of the screen in the negative image of the pattern to exist printed; that is, the open spaces are where the ink volition appear on the substrate.

Earlier printing occurs, the frame and screen must undergo the pre-printing process, in which an emulsion is 'scooped' across the mesh. Once this emulsion has dried, it is selectively exposed to ultra-violet light, through a movie printed with the required blueprint. This hardens the emulsion in the exposed areas simply leaves the unexposed parts soft. They are then washed away using a water spray, leaving behind a clean expanse in the mesh with the identical shape as the desired epitome, which will allow passage of ink. It is a positive process.

In fabric press, the surface supporting the fabric to be printed (unremarkably referred to as a pallet) is coated with a wide 'pallet record'. This serves to protect the 'pallet' from whatever unwanted ink leaking through the screen and potentially staining the 'pallet' or transferring unwanted ink onto the next substrate.

Next, the screen and frame are lined with a record to prevent ink from reaching the edge of the screen and the frame. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate. More aggressive tapes are generally used for UV and water-based inks due to the inks' lower viscosities and greater trend to creep underneath tape.

The last procedure in the 'pre-press' is blocking out any unwanted 'pivot-holes' in the emulsion. If these holes are left in the emulsion, the ink will continue through and exit unwanted marks. To cake out these holes, materials such equally tapes, speciality emulsions and 'cake-out pens' may be used effectively.

The screen is placed atop a substrate. Ink is placed on top of the screen, and a floodbar is used to button the ink through the holes in the mesh. The operator begins with the fill up bar at the rear of the screen and behind a reservoir of ink. The operator lifts the screen to forestall contact with the substrate and and so using a slight amount of downward force pulls the fill up bar to the front of the screen. This effectively fills the mesh openings with ink and moves the ink reservoir to the front of the screen. The operator so uses a squeegee (rubber bract) to move the mesh down to the substrate and pushes the squeegee to the rear of the screen. The ink that is in the mesh opening is pumped or squeezed by capillary action to the substrate in a controlled and prescribed amount, i.e. the wet ink deposit is proportional to the thickness of the mesh and or stencil. Equally the squeegee moves toward the rear of the screen the tension of the mesh pulls the mesh up away from the substrate (called snap-off) leaving the ink upon the substrate surface.

There are three mutual types of screen press presses: apartment-bed, cylinder, and rotary.^[nine] A development of screen printing with flat screens from 1963 was to wrap the screen effectually to course a tube, with the ink supply and squeegee inside the tube. The resulting roller rotates at the aforementioned speed equally the spider web in a roll-to-roll car. The benefits are loftier output rates and long rolls of product. This is the only way to make loftier-build fully patterned printing/coating as a continuous procedure, and has been widely used for manufacturing textured wallpapers.

Textile items printed with multi-coloured designs often utilize a moisture on wet technique, or colours dried while on the press, while graphic items are allowed to dry between colours that are and so printed with another screen and often in a different colour after the production is re-aligned on the press.

Most screens are prepare for re-coating at this stage, but sometimes screens will have to undergo a further pace in the reclaiming procedure called dehazing. This boosted step removes haze or "ghost images" left backside in the screen one time the emulsion has been removed. Ghost images tend to faintly outline the open areas of previous stencils, hence the proper noun. They are the result of ink residuum trapped in the mesh, often in the knuckles of the mesh (the points where threads cross).

Stencils [edit]

A macro photo of a screen print with a photographically produced stencil. The ink will be printed where the stencil does not cover the substrate

A method of stencilling that has increased in popularity over the past years is the photo emulsion technique:

1. The original prototype is created on a transparent overlay, and the image may be drawn or painted directly on the overlay, photocopied, or printed with a computer printer, simply making so that the areas to be inked are not transparent. Any material that blocks ultra violet light tin can exist used as the moving picture, fifty-fifty carte du jour stock. A black-and-white positive may also be used (projected onto the screen). However, different traditional plate-making, these screens are normally exposed by using motion picture positives.
2. A screen must and so be selected. In that location are several different mesh counts that can be used depending on the item of the design being printed. Once a screen is selected, the screen must be coated with emulsion and dried. Once dry, it is then possible to burn/expose the print.
3. The overlay is placed over the screen, and then exposed with a light source containing ultraviolet light in the 350-420 nanometer spectrum.
4. The screen is washed off thoroughly. The areas of emulsion that were not exposed to light dissolve and wash away, leaving a negative stencil of the image on the mesh.

Garment press inks [edit]

Mitt-painted colour separation on transparent overlay by serigraph printer Csaba Markus

Caviar beads

A caviar bead is a glue that is printed in the shape of the design, to which modest plastic beads are then applied – works well with solid block areas creating an interesting tactile surface.

Nifty ink

Ink may exist and then applied as to produce a croaky surface after drying. Similar neat may occur unintentionally if the ink does not cure fully.

Discharge inks

Belch inks use zinc formaldehyde sulfoxylate (the zinc analogue of Rongalite) to remove, or discharge, the dye back off the material. Cons of using discharge inks are that the process only works properly on night fabrics that have a content of 100% cotton. Fabrics with under-dyes and material blends will discharge their dye to unlike degrees. The fumes resulting from the application and curing are pungent and strong ventilation and a face mask are commonly needed to salvage exposure. Pros to this procedure is that belch is especially effective for distressed prints and under-basing on dark garments that are to be printed with additional layers of plastisol. It adds diverseness to the design and gives it that natural soft experience.

Expanding ink (puff)

Expanding ink, or puff, is an additive to plastisol inks which raises the print off the garment, creating a 3D experience and await to the design. By and large used when printing on apparel.

Flocking

Flocking consists of a glue printed onto the material and then flock material is applied for a velvet touch.

Foil

Foil is much like flock, starting with an adhesive glue or plastisol ink base of operations layer. Foil is finished by applying a thin canvas of reflective/mirror like material on elevation of the screened base, and so heat pressed to set. The foil substrate does not adhere to non-screened areas of the design, and the rest of the foil sheet is discarded.

Four-colour process or the CMYK color model

Four-colour procedure is when the artwork is created then separated into iv colours (CMYK) which combine to create the total spectrum of colours needed for photographic prints. This ways a big number of colours can be fake using only 4 screens, reducing costs, fourth dimension, and set-up. This processes utilises halftones. The inks are required to blend and are more translucent, significant a compromise with vibrancy of colour.

Glitter/shimmer

Glitter or shimmer ink is when metallic flakes become an condiment in the ink base to create this sparkle issue. Usually available in gold or silver but tin can be mixed to make virtually colours.

Gloss

Gloss ink is when a clear base laid over previously printed inks to create a shiny finish.

Metallic

Metallic ink is similar to glitter, but smaller particles suspended in the ink. A mucilage is printed onto the cloth, then nano-scale fibers applied on it. This is often purchased already fabricated.

Mirrored Ink

Mirrored silver and aureate are highly reflective, solvent-based inks. Mirrored inks can be prone to tarnishing over time.

Nylobond

Nylobond is a special ink condiment for printing onto technical or waterproof fabrics.

Plastisol

Plastisol is the most common ink used in commercial garment ornament. Good colour opacity onto nighttime garments and clear graphic detail with, as the name suggests, a more than plasticized texture. This print can be made softer with special additives or heavier by adding actress layers of ink. Plastisol inks require oestrus (approx. 150 °C (300 °F) for many inks) to cure the print, except in the example of low cure inks.

PVC and phthalate complimentary

PVC and phthalate free is relatively new breed of ink and printing with the benefits of plastisol but without the two master toxic components. It as well has a soft texture and is being produced by nearly major suppliers.^[10]

Suede ink

Suede ink is a milky coloured additive that is added to plastisol. With suede additive yous can brand any colour of plastisol have a suede experience. Information technology is really a puff blowing agent that does not bubble as much equally regular puff ink. The directions vary from manufacturer to manufacturer, but generally upwardly to 50% suede can be added to normal plastisol.

H2o-based inks

these penetrate the material more than the plastisol inks and create a much softer feel. Ideal for printing darker inks onto lighter coloured garments. Likewise useful for larger area prints where texture is important. Some inks require heat or an added catalyst to make the impress permanent.

Water-based dye (ink)

As opposed to a thicker 'Plastisol Alternative' this (ink) arrives as a concentrate which is mixed into a printing paste (thickener) to allow Screen Printing, this process is best used on light garments and equally the dye is in the fibers themselves is often used for dish cloths, napkins and the like. This is like to traditional textile press.

Loftier density

High density is a process which uses a type of varnish against a lower mesh count with many coats of emulsion or a thicker course of emulsion (east.grand., Capillex®). Later on the varnish passes through to the substrate, an embossed-appearing, 'raised' area of varnish is created. When cured at the stop of the process, the varnish yields a Braille effect, hence the term 'loftier density'.

Non-garment uses [edit]

Screen with exposed paradigm gear up to be printed

Screen press is more versatile than traditional printing techniques. The surface does not have to be printed nether pressure, unlike carving or lithography, and it does non have to be planar. Different inks can be used to piece of work with a variety of materials, such equally textiles, ceramics,^[eleven] wood, paper, glass, metallic, and plastic. Equally a outcome, screen printing is used in many unlike industries, including:

• Balloons
• Clothing
• Decals
• Medical devices
• Printed electronics,^[12] including circuit board printing
• Product labels
• Signs and displays
• Snowboard graphics
• Textile fabric
• Thick film technology
• Pinball machines

In screen printing on wafer-based solar photovoltaic (PV) cells, the mesh and buses of silver are printed on the front end; furthermore, the buses of silver are printed on the back. Subsequently, aluminum paste is dispensed over the whole surface of the dorsum for passivation and surface reflection. I of the parameters that can vary and tin can be controlled in screen printing is the thickness of the print. This makes it useful for some of the techniques of press solar cells, electronics etc.

Solar wafers are becoming thinner and larger, so careful printing is required to maintain a lower breakage charge per unit, though high throughput at the printing stage improves the throughput of the whole cell production line.

Automation [edit]

To print multiple copies of the screen blueprint on garments in an efficient fashion, amateur and professional printers usually use a screen press press, which is a colloquial term every bit most screen printing machines are vastly different from Outset Printing Presses. Many companies offer unproblematic to sophisticated press presses. These presses come up in i of three types, Manual (also referred to every bit Handbench), Semi-Automatic, and Fully Automatic. Most press companies will use one or more semi-automated or fully automatic machines with manual machines for modest runs and sampling.

Whilst Manual Screen Printing can be washed with Carousels, Handbenches (both of which are frequently referred to colloquially as presses) or even on to tables. Semi and Fully-Automatic machines are cleaved into 2 main categories; Flatbed Printers ^[13] (Poster, Art Press or other flat substrates) and Carousels and Oval Machines (Garments and other apparel, amongst other textiles). Both which are fundamentally similar in terms of automation just differ in areas such as physical footprint and upgrade paths.^[14]

These machines are much faster and utilise either pneumatic force per unit area generated past air compressors or apply electrical motors to draw the squeegees, rotate and raise or lower pallets removing much of the manual labour from the task - resulting in significant reductions in operator fatigue too every bit more than consistent results.

See as well [edit]

• Batik
• Gocco
• Ink jet

References [edit]

1. ^ Sheng, Angela (1999). "Review: Why Ancient Silk Is Still Gold: Issues in Chinese Material History". Ars Orientalis. 29. JSTOR 4629553.
2. ^ "History'due south Influence on Screen Printing'southward Future | ScreenWeb". screenweb.com. 2006-05-04. Archived from the original on 2013-01-21. Retrieved 2012-11-15 .
3. ^ "Interview with WPA silkscreen creative person Tony Velonis". Library of Congress . Retrieved 29 March 2020.
4. ^ "Serigraphy | Ascertain Serigraphy at Lexicon.com". Dictionary.reference.com. Archived from the original on 2012-10-25. Retrieved 2012-11-15 .
5. ^ Popular impressions: Europe/United states of america (PDF). New York, N.Y.: The Museum of Modern Art, Department of Prints and Illustrated Books. 1999. pp. 1–ii.
6. ^ Mistry, Bhargav (2010-12-07). "To the Guru of Screen Print, Michel Caza". Print Week . Retrieved 2018-11-18 .
7. ^ ^{a b} "patft » Folio 1 of 1". Patft.uspto.gov. 2010-08-26. Archived from the original on 2012-10-19. Retrieved 2012-11-15 .
8. ^ "Industry Analysis". Sgia.org. Archived from the original on 2012-10-14. Retrieved 2012-11-15 .
9. ^ "Flatbed cylinder screen press". Screenprinting Technology. Archived from the original on 14 April 2018. Retrieved viii May 2018.
10. ^ "The path to PVC free printing". Images Magazine. 19 January 2016. Retrieved 2022-02-23 .
11. ^ Kiddell, Peter (2015-06-26). "Understanding ceramic and glass decorating - Techniques". FESPA. Archived from the original on 2015-07-07. Retrieved 2015-07-01 .
12. ^ "Printed electronics: A new world of opportunity". FESPA. 2015-03-10. Archived from the original on 2015-07-07. Retrieved 2015-07-01 .
13. ^ "Apartment bed screen printing press".
14. ^ "The ascension, autumn and ascent of the oval". 17 February 2016.

Farther reading [edit]

• Biegeleisen, Jacob I. Biegeleisen (1972). Screen Press: A Gimmicky Guide to the Technique of Screen Printing for Artists, Designers, and Craftsmen. New York: Watson-Guptill Publications. ISBN 0823046656.
• Chieffo, Clifford T. (1979). Silk-Screen as a Fine Art : A Handbook of Contemporary Silk-Screen Press. New York: Van Nostrand Reinhold. ISBN 0442215614.
• Lengwiler, Guido (2013). A History of Screen Printing. Cincinnati: ST Media Group International. ISBN 0944094740.
• MacDougall, Andy (2008). Screen Press Today: The Nuts. Cincinnati: ST Media Group International. ISBN 0944094619.
• Saff, Donald; Sacilotto, Deli (1979). Screenprinting: History and Technique. New York: Holt, Rinehart, and Winston. ISBN 0-03-045491-3.
• Zahn, Bert (1935). Silk Screen Methods of Reproduction. Chicago, Illinois: Fredrick J. Drake & Co. Ref.1942.1694.

External links [edit]

• Media related to Screen printing at Wikimedia Commons

jonesexis1991.blogspot.com

Source: https://en.wikipedia.org/wiki/Screen_printing

Share this post