SCREENPRINTINGA BEGINNERS GUIDE

II

Index1. IntroductionWhat is Screenprinting?........................................................................ 1A Brief Timeline of Screenprinting........................................................ 2Materials and Other Info........................................................................ 3Advantages/Disadvantages.................................................................... 4

2. Design PreparationOverview....................................................................................................... 5Vector/Raster............................................................................................ 6 Halftoning............................................................................................7-8Multi-Color Prints...............................................................................9-10

3. Screen PreparationOverview..................................................................................................11Wooden/Metal Frame Comparison.......................................................12Screen Degreasing....................................................................................13Degreasing Procedure............................................................................14Emulsion.....................................................................................................15Coating Emulsion......................................................................................16Design Transfer.........................................................................................17Transferring Your Image........................................................................18Design Washout.........................................................................................19Proper Washout Technique..................................................................20

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4. On PressOverview....................................................................................................21Taping the Screen/Press Prep.............................................................22Pulling Prints........................................................................................ 23Print Pulling Technique........................................................................24

5. Clean up & ReclaimingOverview.....................................................................................................25Cleanup/Screen Reclaiming Procedure............................................26

6. BibliographyBibliography......................................................................................27-28

1

1. Introduction Screenprinting, also known as Serigraphy, is a method in which ink gets applied to directly to a substrate, usually paper, By means of “burning” or exposing an image or design to a taught mesh screen covered in a light-sensitive photo emulsion to create a “stencil” that blocks off portions of the screen so ink cannot pass through while leaving the desired printing area open for ink to be pushed through the screen with a squeegee. For each individual color a separate screen is used and the design made into layers called separations. Screenprinting has a wide application range and is one of the most versatile printing processess available to printers.

What is Screenprinting?

2A BRIEF Timeline of SCreenprinting

2500 B.C.E

960C.E.

1907C.E.

1910C.E.

1928C.E.

1960 - PresentC.E.

Early s

tencil

work simila

r to th

eproces

s

of scree

nprintin

g is u

sed by b

oth the

Greeks a

nd the E

gyptians.

In Japan

and China,

silk held

between

two piec

es of st

rong pap

er had

sten

cils c

ut

in them

. The p

aper

was glued

toge

ther,

leaving t

he silk

exposed

to allo

w the p

aint

to flow through.

Screen

printin

g was

first pate

nted in

England by S

amuel

Simon in

1907. I

t was

originally

used as

a popular

meth

od to

print e

xpensiv

e wall p

aper,

printed

on

linen

, silk, a

nd other fine f

abric

s.

Roy Beck

, Charl

es Pete

r and Edward

Owens s

tudied an

d experi

mented

with

chromic

acid sa

lt sen

sitize

d emulsi

ons

for photo-re

active

sten

cils. Th

is would

revolutio

nize th

e scre

en prin

ting i

ndustry.

Roy Beck

, Charl

es Pete

r and Edward

Owens s

tudied an

d experi

mented

with ch

romic aci

d salt s

ensit

ized

emulsi

ons for p

hoto-react

ive st

encil

s.

This r

evolutio

nize sc

reen prin

ting.

The a

rtist A

ndy Warh

ol was

one

of the fi

rst popular

izers

of scree

n

printin

g in th

e Unite

d States.

Many o

ther art

ists h

ave used

screen

printin

g as a

n expres

sion

of crea

tivity

and ar

tistic

vision.

Early Stencilwork

Early Silkscreen Invented

The First Silkscre

en Patent

Invention of Emulsion

The First Emulsio

n Invented

As an Art Medium

Graphic screenprinting is widely used today to create many mass or large batch produced graphics, such as posters or display stands.

3

Materials

Materials and Other Info Before starting any printing process you must first setup a printing area. This may not seem too important, but having everything ready to go keeps your work area clear and efficient. Not only does this allow you keep your area clean and your prints our of harms way while you work, it also makes cleanup quick and easy. The faster you clean up the less likely you will have problems with your screens clogging, or ink drying on the press. Dried ink and unclean conditions will ruin your ability to reclaim and reuse your screens for newer projects. You should also always research in detail the chemicals and inks you are going to be using to make a print run. Different brands, or depending on what the ink/emulsion are based on, can have a huge impact on creating your stencil and pulling your prints.

Water Resistant Masking Tape, 1" WideSmall Scrub Brush/SpongeScissorsSmall lamp with a standard socket.Clear 500W Incandescent Bulb.Old Newspapers, Old Towels, Rags, Paper Towels.Large Piece of Glass, Plexiglass, or Heavy Book.Pressure Washer/High Pressure HosePlastic Spatulas, Ink Cards, Scoop CoaterPlaten and Hinged Screen ClampScreenprinting InkDegreaser, Emulsion, Sensitizer, Emulsion RemoverClear Acetate Sheets and access to a printerScreenprinting SqueegeeDrying FanLight Safe Environment, Light Safe Drying Rack

•

•

•

•

•••••••••

••

•

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The screen printing process gives an individual the opportunity to print images and text on a variety of promotional items.

Relatively low cost for large or small quantities as compared to other printing methods, such as offset lithography printing.

Screen printed graphics can be more durable than digital prints in some circumstances, and can even allow printing on irregularly shaped products such as waterbottles.

Harder to produce prints of photographic images.

Aligning and re-aligning designs become an issue during long print runs. this can cause misregistration of ink.

Generally limited to a lower number of colors due to the complexity of multi-color prints.

Screen Printing has a fairly large setup cost. Usually, it screen printers charge about $20 per color seperation as a basic overhead for the setup.

Advatanges DISAdvatanges

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2. Design Preparation Setting up your design is a major step in the screen printing process, as such great care should be taken to attain an optimal print. Gradients cannot be used, as they will not expose properly. Instead silkscreen artists use halftone patterns to emulate the effects of a gradient use a small repeated shape. Artwork must also be seperated by color, whether this is spot colors or process colors each screen will be used to print one color so you art work must be separated to burn each individual color selection to it’s own screen. Each portion of the design should be printed as opaque as possible on clear acetate sheets. This ensures that no light is exposes unwated areas of the design. This makes it easy to wash out once it is burned onto your screens mesh weave. You can use either Raster or Vector based imagery.

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Vector images allow your design to be scalable to any size and are a great choice for burning screens because of this flexibiltity.

File formats include eps, wmf, and svg.

A vector image can be any color that can be assigned to the curves. This includes rgb colors, cmyk, spot, and process colors.

Vector graphics also produce smaller file sizes and are easier to manage while still keeping the same quality.

Raster images are stored and recorded as pixels, thismakes the image ahrder to upscale or downscalewithout losing detail.

File formats include jpeg, gif, png, and bmp.

Using raster based images are better suited for photographic images but produce larger file sizes.

Using a high resolution raster image can reduce the jagged edges created by a rasterized image.

AVector Images Raster Images

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Sizing HAlftones

Halftoning In screen printing you need to have a solid black image on your film positive to properly expose your stencil. If your image requires solid blocks of color and no gradients, or shading, then it’s no problem. But if your image is more photographic or has significant gradients and varying tone then you have a problem. When you turn your image to black and white for your film positive you will have significant amounts of grey image area which will not properly expose. The best way to screen print photo style images is to use a halftone pattern. A halftone pattern is a series of dots that vary in size and shape and spacing to create an optical illusion of varying tones and gradients. The dots are so small that the human eye blends them together so they appear as smooth tones.

Halftones come in a range of shapes and sizes. Determining the right size and frequency of halftones is always a tricky process. But the general rule of thumb for determining correct halftone to use is 3.5 multiplied by the halftone line count you wish to use. This tells you the minimum mesh count of the screen you should be using. For example, a 65-line halftone image would require a 230-thread/in. mesh count or higher. The higher the mesh count, the better the reproduction of the image on the stencil and the print.

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9

Multi-Color Prints If your print contains multiple colors you will have to create each color as a seperate layer. Since screenprinting requires a solid black film positive to properly tranfers your design to a screen you will have to have a film positive for each color you use. For example if you are using a design with Green, Yellow, and Black you would have to create three different positives, one for each of those colors. To align all the color seperations properly use registration marks. These are marks used to align your designs in relation to each other to prevent misregistration. Once you have done this you would burn all three positives to their own screens. You would then pull prints of a the first color, setting aside the first color print run. Once it’s dried you would then go through the process again until all the colors are printed.

Trapping

Trapping is important if you want your print to look precise. This is done before your prints are sent to press. Trapping introduces areas of color that ‘overlap’ other colors. When printed, these areas cover registration errors where you might get a ‘halo’ of white space around your design. These errors are usually caused by the paper shifting or changing shape while it is printed, or by presses or plates that are out of register. As a result, the colors print incorrectly.

Without Trapping With Trapping

10Original BlackGreenyellow

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3. Screen Preparation Screens consist of a wooden or metal frame with a mesh of silk fibers stretched across the open part of the frame. This silk mesh comes in different mesh counts. The lower number mesh count means the holes are larger allowing more ink, or thicker ink, to be pushed through the screens openings. The higher the count the tighter the weave, this allows less ink to be pushed through but it can create sharper lines with more crisp and clear text. There are pro’s and con’s for using a wooden frame or a metal frame, along with using wither a high or low mesh count weave. For most standard manual textile screen printing applications, an aluminum frame will be the most practical solution. With a little care and knowledge, the mesh will last for long enough to pay for the entire screen and can provide much more income if properly upkept.

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Wooden MetalMetal frames are generally made out of steel or aluminum. They are very durable and have less of a tendency to buckle and warp.

Mesh counts come in a variety of sizes the most common are 8xx (Meshcount of 100), 10xx (Meshcount of 200), 12xx (Meshcount of 300).

Frame Material

Example of mesh count (Not to Scale)

Wooden frames are generally made out of a harder variety of wood and is usually coated to protect the frame from absorbing ink and water, which would cause it to warp and bend.

Frame Material

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Screen Degreasing Degreasing your screens before coating them in emulsion is a key step. Do you have to do this? It seems like a simple question, but it has far reaching effects. If you purchased new or used screen, you must degrease it before use. Never go directly coating stage. since the mesh has been handled it has been subjected to the surrounding conditions like oils, dust, and dirt. If those elements are not removed they will cause the emulsion to separate around that area causing a premature screen breakdown. After the screens have been degreased and air-dried, they need to be kept in a dust-free environment to avoid contamination with particles. This undercuts all the work you just put into cleaning them. Dust-free environments are hard to manage it's a better idea to degrease your screens when you plan on coating.

The “Fish Eye”: Fish eye is a term used to describe an area of the screen were the emulsion has separated away from the mesh. It becomes a round pocket of air and emulsion that resembles a fish eye.

Pin Holes: The bane of coating any screen, it is the most common of all screen problems. Pinholes are small random holes that show up during the print process. Sometimes they can be detected by looking through the screen. You can block these off with tape or a type of screen sealer.

Effects of Grime

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Degreasing procedure

Pre Rinse both sides of the mesh with water. A pressure washer is recommended however a garden hose with a dial setting will work too.

Rinse both sides of the screen where the degreaser left in or on the mesh. Then dry screen horizontally with a fan or hair dryer.

Spray the screen mesh liberally and then using a soft sponge scrub softly in clockwise motion until the screen has been covered by degreaser.

1. Pre-Rinse

3. Final Rinse/Drying the Screen2. Apply Degreaser

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Emulsion Prep

Emulsion Emulsion is a photosensitive material that you use ot cover your screens mesh area. When mixing your emulsion you should do so in a light safe environment such as a dark room, or low light room. So as not to expose your emulsion prematurely. This is crucial if your emulsion is to have a longer shelf life. Choosing your type of emulsion is an easy task, and mixing is just as easy. There are many types of Emulsions avaialable (Water Based or Plastisol based with different attributes.) The different types of emulsion are used under different printing circumstances, depending on what screen, mesh count, inks you are using, and how long your print run is going to be. You can order premixed emulsion to forgo this step of the process or you can order ‘mix it yourself ’ kits where you mix in the sensitizer.

You must mix your emulsion in a light safe room. Depending on your emulsion type, the mixing ratio of emulsion to sensitizer will vary. More detailed directons will always be included with your emulsion on how to mix it properly. Thoroughly mix the emulsion and the and let it stand for a couple of hours. After mixing keep the emulsion in a light safe container in a refridgerated area. Emulsion can last from 1-2 months to a year depending on how you’ve mix and stored the emulsion.

+ ++LS1-2 Hours

Emulsion S

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Coating EmulsionThere are advantages to coating both sides of your screen, you can get a crisp and clearer image. But it is not required. Repeat steps 1-4 using the scoop coater on the front side of the screen. Some types of emulsion require you to coat both sides of the screen to be use effectively.

Fill your scoop coater about half way to the top. Try to distribute it evenly throughout the scoop coater.

Once the screen is coated place it in a light safe room or drying rack horizontally. If a screen dries vertically the emulsion will sag and distort making it hard to burn your image. To speed up dry time use a fan to circulates cool air throughout the drying rack.

Starting with your screen perpendicular to the floor or table you are working, put the thinner side of your scoop coater against bottom of the backside (The flat side) of your screen. Make sure the entire side of scoop coater makes contact with the screens mesh.

Holding the scoopcoater and screen tilt them at a 45 degree angle. Wait until the emulsion starts to contact the screen. When it does pull up evenly to the top of the mesh.

Making sure once you reach the top of the screen tilt thescreen back to it’s original position. Pull the scoop coater away quickly trying to scoop the excess back into the resevoire to prevent dripping it onto the coated screen ruining your smooth finish.

3. Coating the Front (Optional)

1. Pouring Emulsion

4. Drying the Screen

1/3. Coating the Screen

2/3. Coating the Screen

2/3. Coating the Screen

Emul

sion LS

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Exposure Times

Design Transfer After the emulsion is fully dried the next step is to transfer your design to the screen. This must be done in a light safe environment until the final exposure is complete and the excess emulsion is washed out of the mesh. Exposure units consist of several UV emiting lights, an automatic timer, all set within an enclosure for accurate exposures. Exposure units are great but exspensive. You can expose screens using a normal 500W lightbulb. This method takes more calculation to be able to get nice crisp exposures. You will use the acetate sheet, with your opaque design of a single color layer, to block out the UV light. The UV light hardens and exposes the areas that wasn’t covered by the opaque part of your design. After exposing continue to spraying out your design at the washout station as fast as possible.

Lamp DistanceScreen Size8" x 10"

10" x 14"12" x 18"16" x 20"18" x 24"

12 Inches

17 Inches

15 Inches12 Inches

17 Inches

5-6 Minutes

10-11 Minutes

8-9 Minutes5-6 Minutes

10-11 Minutes

exposure Time

UV Lamp

All examples are using a 500w bulb as the exposure light source.

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transferring Your ImageUV

Lamp

In a light safe environment, using the table of exposure times seen on page 18, adjust your lamp to the correct height above your screen. Note: All examples are using a 500w bulb as the exposure light source.

Lamp Setup

Tape your design into place, wherever you want it to appear on your screen, against the coated back side of the screen. Make sure it is a flat as possible, Plawce the screen on a large black surface or sheet of paper.

1. Placing Your Design AscetateFinally when your design sheet has been placed accordingly on your screen you can turn on your exposing lamp. Using the table on page 18 expose accordingly for your screen size and lamp height.

3. Expose the Screen

Setup your exposure unit in a light safe environment ona stable surface. The exposure unit should be set to exposea single coated screen for1 minute and 35 seconds.

Exposure Unit Setup

Tape your design into place wherever you want it to appear on your screen, against the glass sheet of the exposing unit. Make sure it is a flat as possible, place the screen on a the exposing unit.

Place a glass sheet on the frontside of the screens mesh, creating positive pressure. Completely cover the top of the screen with black surface, as to not let in any light whatsoever.

1. Placing Your Design Ascetate

2. Positive PressureFinally when your design sheet has been placed accordingly on your screen you can turn on your exposing unit, expose for the allotted time.

3. Expose the Screen

Exposing UnitPlace a glass pane on top of your design sheet. This creates positive pressure allowing the design to register more precisely.

2. Positive Pressure

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Washout Issues

Design Washout It’s recomended to move to this step from burning your screen as quickly as possible. You should have an area that is specifically set up to spray your screens out and reclaim your screens. You need to spray the emulsion with cool water to stop the emulsion continuing to expose. Many people use pressure washers without the motor running, but using a garden hose with a spray nozzle works as well. You don’t want to use too high pressure to wash out the emulsion or you may cause the design to break down before it even goes to press. The unexposed emulsion should washout pretty easily if it has been exposed properly. The goal of washing out your screen is to clear the soft unexposed emulsion from your design area. This clears the mesh weave, ink should now be able to pass through the design area easily.

Under Exposed Emulsion Over Exposed Emulsion

Premature stencil breakdown

Pinholes

Sawtoothing

Stencil Scum in your Image

Difficulties reclaiming screens

Loss of Image details

Difficulties washing out image

Sawtoothing

Design could not show up

Emulsion can crack and separate from the screen mesh

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Proper Washout Technique

The initial spray should be withcool water to help stop the unexposed emulsion from developing. This should be done at low pressure with a fan spray setting if possible. This should be done to both sides of the screen.

Always start the spray off the stencil area and work your way up into the design area. Spray the design area in a consistant fashion going left to right on the screen from the bottom of the screen to the top of the screen.

1. Initial Spray

2. Design Washout

Check your emulsion for pinholes and imperfections. You can cover holes with platen or masking tape. Let the screen air dry completely.

3. Air Dry

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4. On Press Efficiency while working on press is one of the most important requirements for a print run to go smoothly. Preparing your printing press so you can work without pause helps in keeping your work area clean and your prints out of harms way. Especially if something does go wrong. For easy clean up you want to tape the inside edges of your screen and mesh, so as not accidentally print the open areas around your screens emulsion coating. This also protects the screens edge from soaking up ink making it harder to clean. Aligning your screen and artwork beforehand helps cut down on the time trying to fix registration errors, instead of making prints. Once your at a good pace the process becomes faster and smoother. Your prints will improve as long as you keep you work area organized, and clutter free.

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Attach the screen as evenly as possible to the screen hinge. Make sure it is fastened well.

Off Contact is an air gap between the bottom of the screen (print side) and the top of the substrate.You can tape washers on the bottom of the screen to create a slight off contact.

Align your artwork on the platen wherever you want the design to print. Lower every so often to check the alignment. This also helps make micro adjustments as you are aligning the screen and substrate.

2. Attach Screen

1. Off Contact

3. Align Artwork

Taping the Screen Press Prep

Seal off the open edges around your screens mesh with platen or masking tape. The tape should be attached simultaenously to the mesh and the screens frame. This creates a gutter in case excess ink reaches the edge your screen.

Folding the platen tape creates a small tab. This helps when you are ready to clean up, after a print run, and makes it easy to to remove the tape from the screen.

1. Creating the Gutter

2. Dog Ear the Tape

Platen

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Squeegee Angle

Pulling Prints Pulling prints is one of the most satisfying steps of the screenprinting process. It’s done at a quicker pace than creating your screens stencil. The main trip up in this step of the process is how well the print get’s pulled. Firstly you must perform a flood stroke, this spreads ink across your mesh readying itself for the print stroke. The print stroke pushes the ink onto the substrate creating your desired print. To little pressure and ink won’t push through your image area properly, too much pressure and you risk overbleeding your image area causing the design to blur. You can prevent this by letting up on the amount of pressure you are using and by readjusting the angle and speed which you pull the squeegee across the stencil. If you stay consistant with your pulls, your prints will become more consistant.

O.k. Too FarThe squeegee should be held at a slight angle while putting a low amount of pressure on the blade. If you push to hard, or hold the squeegee at too low of an angle, it may cause more ink to push through the screens mesh. This causes overbleed and contributes to the creation of a sloppy print.

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Align your substrate and mark where the edges, or if printing shirts, where the collar, and center line are. This allows for multiple prints to be made accurately without the image shifting.

After you have done the previous flooding of your design. You can perform the printing stroke. Start the pull roughly an inch above your design. By putting a little more pressure on your squeegee you can close the off contact gap. You then pull the squeegee from the top of the screen towards yourself pushing the ink through your stencil.

Remove your print from the press and set it out to air dry. If you printed on fabric you’ll want to heat set the design with a flash dryer or a heat gun. For paper stock/posters make sure it lays flat so it won’t curl when it dries.

1. Align Substrate 4. The Print Stroke

5. Dry the Print

Print Pulling TechniquePour your premixed ink evenly across the area above your design with a small ink scoop or spatula. The ink should be spread as long as the length of your design.

After pouring the ink you are ready for what is called the flood stroke, which is where you drag the squeegee back towards the bottom of the image making just enough contact to leave a thin layer of ink covering the entire image area, but not enough to push through to the other side. Do this before every print you make.

2. Pour Ink

3. The “Flood” Stroke

Platen

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Saving Ink

5. Clean up & Reclaiming Cleanup is one of the most important steps of the silkscreening process. Keeping your tools and screens constantly clean will ensure that they last as long as possible, providing quality prints throughout their life cycle. Preventing ink from drying on your screen is key to keeping your screens usable, as long as there are no tears and the mesh retains its tension. In order for this to happen, the screen needs to be returned to it’s original, emulsion free state. This process is called reclaiming the screen. It requires the use of chemicals/reclaimers to break down the emulsion. and a high water pressure to wash the emulsion out of the screen. The stencil remover won’t always give good results without using a pressure washer/high pressure water source to blast away the loosened emulsion.

After you have finished your print run, it is generally a good idea to scoop as much of your ink off the screen as possible, Not only does this help with cleanup, it also saves you ink and money over the long term. Use either ink cards or screenprinters spatula to scoop up the remaining ink out of the screen and back into it’s container for later use.

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cleaning Screen Reclaiming

Remove the tape you used to mask off the screens edges. Take your screen to you washout station and wash away all of the ink. Cleaning all ink from the mesh is key for long lasting screens. You can save the stencil for another print run at this point, or you may wish to recover the screen for a new design.

1. Rinse Out

Using an emulsion solvent liberally spray the entire screen and let it start to soften and break down the emulsion for 30 seconds or so. It is recomeneded that you also use a sponge/scrub brush to scrub the emulsion for hard to remove spots. Use more emulsion solvent if necessary.

Using your pressure washer, spray from left to right from the bottom of the screen to the top. Make sure that all of the emulsion is being washed out of the screens mesh.

Set you screen in a dust and grime free area to air dry. Once dry you can degrease, re-coat and re-use the screen for a new design.

To save your stencil let the screen air dry completely. Store in a dry area free of dust and grime.

2. Breakdown Emulsion

3. Final Spray Out

4. Air DryOptional: Saving Your Stencil

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