PRINTING
Taping the Screen
Your screen developed well, it is now dry and you want to start printing. Before you start to print, the screen must be taped to prevent ink seepage through the edges where the fabric mesh meets the frame. Since tapes vary in adherence strength and are affected by the ink chemistry, it is important to choose a tape that works with the ink you are using.
Use plastic tape when printing with water based ink.
Use paper tape when printing with oil based ink.
Use masking tape when printing with oil or water based inks but it is not as durable as paper or plastic tape and would work only for short runs.
Tape Width should be 2” or more. Measuring the tape length is an important step in making a neat and professional-like screen. When taping the inside of the screen, measure each length from corner to corner with a slight overlap. For example: If your screen is 8” x 10” measure two pieces 8 1/2” and two pieces 10 1/2” for the inside of the screen. Screens are always sized by the inside dimensions. The outside dimensions will be somewhat larger and it is always best to measure what they are and cut eh exact size.
After you have measured and cut the correct size length of tape, adhere half of the tape to the mesh and half of the tape along the wood frame (see diagram). Repeat this on the outside of the frame, being sure to cover the entire perimeter on both the outside and the inside of the frame.
If you made the multicolor screens, the images made by the registration pins can be taped over. If the image is too close to the artwork to be taped, use blockout.
Off Contact and On Contact
There are two techniques of printing, namely off contact and on contact. On contact is defined as follows: When the screen is in the down position or the print position, the screen fabric is resting on the surface of the item to be printed. This needs no special preparation. Off contact is defined as follows: When the screen is in the down position the screen fabric is prevented from touching the surface of the item to be printed by a piece of cardboard or other material that is
taped to the outside of the screen.
Off contact is usually used when printing on a nonabsorbent surface such as paper. Off contact keeps the screen fabric from sticking to the paper after a print is made. When the screen is in the down or print position and not touching the surface of the item to be printed, the squeegee pressure will push the screen fabric down. The off contact will cause the fabric to spring away quickly from the paper thus eliminating a static cling (See Diagram). When the print stroke is complete, the screen fabric should not be touching the print surface. Prepare off contact by taping a piece of cardboard, about 1/16” to 1/4”, depending upon the size of the screen, to the outside of the wood frame. Experiment to gain the maximum fabric spring from the paper without creating too much off contact.
Hinging the Screen
Some screens come with hinges that are attached to a separate base. These screen printing units fit neatly together. Simply screw the hinges to the back of the base and into the screen, as shown in the Diagram.
For “ T” shirt printing with a screen that is hinged to a base, it is important to make the following variation in hinging. Place a piece of cardboard, the same width as the cardboard you will use to insert inside the “T” shirt, under the hinges that are attached to the base. This will elevate the hinges so the screen hinges will meet the base hinges when the “ T” shirt is under the screen. By meeting the height of the cardboard that is inserted in the shirt the balance in the printing unit is reestablished.
“ T” Shirt Printing requires a platen which is inserted into the shirt to prevent ink from going through the fabric and penetrating the back of the shirt. This can be made from cardboard. Cut a rectangle that is wide enough to stretch the shirt tightly so there are no wrinkles in the printing area. It is very important to keep the print area smooth when garment printing. This cardboard rectangle is removed after each print is made, and is placed inside the next shirt to be printed.
Constructing a Platen For Monocolor Printing
A more professional platen can be made with 3/4” plywood with a Birch or Formica top (See diagram). Have a lumber yard cut a 15” square with rounded corners so it is easy to slide the “T” Shirt on. Bolt a 2x4 to the bottom of the platen. It should be long enough to extend past the platen so the shirt can drape, and so the 2x4 can also be bolted to a table or a waist-high stationary object. Attach another piece of wood across the top so there will be room to screw hinge clamps. Approximately 2” past the back of the platen, attach a piece of wood the same thickness as the platen. It should be as wide as the platen, and deep enough to screw on hinge clamps (approximately
4” x 15”).
Constructing a Platen For Multicolor Printing
The basic construction remains the same as the monocolor platen;
however, instead of using hinge clamps to hold the screen, the 3 point contact bar system is used. Since the platen
and the screen sit on the 2x4, the contact bar must be thicker in this case so the eyebolts can butt up against it. To calculate the thickness of this bar, simply add together the thickness of the screen wood and the thickness of the platen.
Constructing a Table For Monocolor or Multicolor Yardage Printing
To print yards of fabric with specific pattern repeats a long table must be available or constructed. It must be wide enough to hold the screen and the contact bar. The contact bar must
be screwed or taped securely to the back of the table. On top for the contact bar, attach bolts which will serve as register stops for the pattern repeat and for multicolor registration. These bolts
should be placed at intervals of the desired pattern repeat. The thickness of the contact bar must be equal to the thickness of the screen so the L-angle can lock against the bolt and the eye-bolts can butt against the contact bar (See Diagram).
Page 20
Preparing Registration
Registering the Screen for Monocolor Printing on Paper
When printing one color on paper, you can use a screen with hinges attached to the base or you can use hinge clamps. When the screen and base are purchased as a unit and the hinges are attached to both parts, you cannot move the screen so the stock must move to be centered. When printing an edition of paper prints, it is important to have registration guides that enable you to print the same image on different pieces of paper in approximately the same position. Once you find the place on the paper where you want the image to print, make an L shape and an inverted L shape in each corner of the paper on the printing base. Tape will work nicely as a
paper guide. Now you can print repeat images on different pieces of paper in approximately the same position on each separate piece of paper. Place each piece of paper within the L guides to print in consistent registration.
If you choose to use hinge clamps you will need to screw them into the printing table or you can use a C-clamp to hold the back of the hinge clamp to the table. Hinge clamps will enable you to move the screen vertically or horizontally but this is not crucial for monocolor printing.
Registering the Screens for Multicolor Printing on Paper
When printing more than one color on paper, hinge clamps will work better and give you more flexibility since they allow you to move the screen horizontally and vertically. Hinge clamps prevent the loss of registration and make it easier to print. Once tightened, hinge clamps lock securely and do not slip while printing.
To register the screens you will need to center your main acetate or outline (let’s call this the master) to the center of a piece of the stock you are printing on. This will serve as a master for registering all the colors and traps.
Place this master sheet on the printing table and register the first screen to it. Be sure to
print light colors first unless your design calls for an opaque light color on a dark ground. Check to see if the screen image lines up with the acetate or master image. Be sure to leave no spaces between colors when they are supposed to meet. This is when the traps you made as artwork are necessary. Move the screen horizontally and vertically to achieve the maximum overlay coverage.
Once you register the screen to the artwork, make a paper guide by placing an L and an inverted L on the printing base where both lower corners of the paper rest. Now you can begin to print. Paper is printed wet to dry so you will need to wait until the first color is dry before you print the second color.
To print the second color, place the master sheet within the guides. Now line the second screen up to the artwork, aligning the design so no spaces appear between the colors where they are supposed to meet. Make doubly sure of the registration by placing a dry print under the screen and seeing if the image falls in the right place. If not, make the necessary adjustments, tighten the hinge clamps and print.
Before you begin to print, tape your original drawing to the print base. Take your first screen, place it loosely in the hinge clamps and move the screen so the image lines up with the portion of your original design that is to be printed. Now tighten the hinge clamps. Replace your original drawing with the stock that is to be printed. Always register stock by placing L and inverted L in lower corners on the print base. This is to ensure that each piece of print stock sits in the exact same place for all colors. If you are not careful enough to place each piece of
stock within these guides the successive colors will not line up properly and they will be out of registration.
Registering the Screen for Monocolor Printing on Textiles
When printing one color on a “T” shirt, simply center the shirt under the image and tighten the hinge clamps. If you are using a stationary screen and base, center the shirt under the screen. When printing this way be sure the entire image prints before lifting the screen because the shirt will shift on the cardboard. Make test prints to get the feel of laying down the ink before using your good stock.
Always use an adhesive when printing on textiles to prevent movement of the garment when you lift the screen. CrownTM Table Adhesive works very well and does not stick to the garment. Simply apply a few drops to the printing area and allow to dry to a tacky finish. Then place the textile down without creating any wrinkles. Wrinkles will stop the ink from printing properly and cause uneven deposits.
Registering the Screens for Multicolor Printing on Textiles
If you are using the homemade Eye Bolt and L-Angle system, you will need help printing. Since textiles must be printed wet to wet, you will have to remove each screen and replace it with the next color screen. This might be difficult for one person to do without having the ink dry in the screen or without having to lay the screen down.
If you are printing alone you must create a setup area where each screen would be easily accessible without wasting time and energy looking for screens. A bridge table set up next to your printing area where the screens can be propped up between prints will do fine.
Have the shirts ready and close by. Mounting adhesive is necessary to keep the garment from shifting while printing and now is the time to apply it. You can use a hair dryer to speed up the drying time.
Since you took the time to use the 3 point contact system to register the screens to the artwork when you exposed the screens, they should now be in perfect registration for printing. In the diagram shown, the colors that are going to print are green for the leaves, red for the apple, and black for the overall outline. To determine your print rotation, start by printing light colors and work toward dark colors. Of course careful examination of your art work will determine which colors overlay or print over each other. In this example, the green would print first, the red second and the black third.
Slide the shirt onto the platen with the collar towards you and smooth out any wrinkles that might appear. Take your first screen, in this case the green leaves, and check for placement on the garment before inking the screen. Note: The screen must make 3 point contact with the contact bar. If you need to adjust the shirt do so now. If you are ready to start printing, pour ink in the screen, make a flood stroke and then make a print stroke. Usually, the print stroke is made towards the printer; however with the eye-bolt L-angle system the print is made away from the printer to prevent the squeegee from pulling the screen away from the contact bar. If the screen is pulled away
from the contact bar, the print will be out of registration and it could also create a blurred image.
After the print is completed, lift the screen gently and make a flood stroke. Without putting the screen down on the shirt again, check the print. If the image does not look complete put the screen in the 3 point contact position and make another print stroke, being sure to print away from yourself. If the print looks complete, prop the screen on the work table so the outside of the screen does not touch anything.
Now you are ready for screen number two. In this example, screen two is the red apple. Repeat the process exactly the way you printed screen number one. Take the second screen and place it in the print position over the first print, in the 3 point contact position. Check to see if the
first print aligns with the second screen. If the screen needs minor adjustments, simply turn the eye-bolts in or out to fine tune the image. If the first print aligns with the second screen then ink the screen and print away from yourself exactly as you did with the first screen.
Finally, repeat the same process with the third screen, which in this case is the black outline. Be sure this last outline fully covers the image. Here is where the traps become relevant. The last screen should also pull the print together and reward you for taking the time to properly complete each step.
It is not recommended to print more than three colors at a time with this 3 point contact system, because the time between prints could cause the ink to dry in the screen.
Register the Screens for Monocolor or Multicolor Yardage Printing
When using the 3 point system for yardage printing, you have a choice of printing wet-to- wet or wet-to-dry. For instance, if the table is long enough you can print one color, making all the prints along the line. You can clean the screens and allow the prints to dry and then follow with the second and third screens, waiting between colors. The technique is always away from yourself.
The number of repeats of the pattern can be controlled by the distance between the bolts on the contact bar. It is quite common for professional screen printing shops using this technique to work in teams. This technique is still widely used today. For example, three colors might be printed by three persons following each other down the line, printing a separate color. Note: If the repeated images are too close to each other the bottom of the screen may interfere with the previous print.
Printing Techniques
Now you are ready to print. Actually the printing stage is the easiest of all the work you have done and the most time consuming to perfect. Using a narrow blade spatula, scoop some ink onto the screen just below the image area. Raise the screen slightly and spread the ink over the entire image area with your squeegee. Press lightly; the object is to cover the image with ink, not to push the ink through the screen. This is called the flood stroke.
After you have flooded the screen with ink, lower the screen onto the textile or paper and run the squeegee down the screen. Apply more pressure; the object is to push the ink through the screen and onto the stock. This is called the print stroke. Paper printing will require less pressure than textile printing because paper is a nonabsorbent surface. Angle the squeegee with the handle toward your body. The squeegee should be comfortable in your hands. Always use two hands for uniform printing.
Lift the screen slightly and push the ink back up to the top or flood stroke. Remember to press lightly when flood stroking. Do not move the stock until you have checked the print. If the image looks complete, remove the stock. If the image does not look complete you may want to overprint. When overprinting do not remove or move the stock, simply lower the screen and try again. Always remember to flood stroke.
It takes time to develop a good printing technique. Observation and practice will turn you into a good printer, so print, print, print!
Always test print before production runs. Use scrap paper or textile to get the screen going before you use your good stock.
Cleanup.
Scoop all ink out of the screen with cut cardboard pieces. Return unused ink to the container; never waste ink! Remove the screen from the hinges or hinge clamps. Clean the screen according to the instructions on the ink can label. For example, water based inks require water cleanup with a spray hose. Oil based inks require solvent cleanup. For solvent cleanup, place the screen on a stack of newspapers and pour some screen wash inside the screen. Wash it around with a rag or paper towel. Remove the newspapers and repeat the process until the image area is clear. The image area is clean when light shines through when you hold the screen up to the light.
TROUBLESHOOTING
THE FOLLOWING PROBLEMS CAN OCCUR DURING SCREEN MAKING AND PRINTING AND WHAT YOU CAN DO ABOUT THEM
Taping the Screen
Your screen developed well, it is now dry and you want to start printing. Before you start to print, the screen must be taped to prevent ink seepage through the edges where the fabric mesh meets the frame. Since tapes vary in adherence strength and are affected by the ink chemistry, it is important to choose a tape that works with the ink you are using.
Use plastic tape when printing with water based ink.
Use paper tape when printing with oil based ink.
Use masking tape when printing with oil or water based inks but it is not as durable as paper or plastic tape and would work only for short runs.
Tape Width should be 2” or more. Measuring the tape length is an important step in making a neat and professional-like screen. When taping the inside of the screen, measure each length from corner to corner with a slight overlap. For example: If your screen is 8” x 10” measure two pieces 8 1/2” and two pieces 10 1/2” for the inside of the screen. Screens are always sized by the inside dimensions. The outside dimensions will be somewhat larger and it is always best to measure what they are and cut eh exact size.
After you have measured and cut the correct size length of tape, adhere half of the tape to the mesh and half of the tape along the wood frame (see diagram). Repeat this on the outside of the frame, being sure to cover the entire perimeter on both the outside and the inside of the frame.
If you made the multicolor screens, the images made by the registration pins can be taped over. If the image is too close to the artwork to be taped, use blockout.
Off Contact and On Contact
There are two techniques of printing, namely off contact and on contact. On contact is defined as follows: When the screen is in the down position or the print position, the screen fabric is resting on the surface of the item to be printed. This needs no special preparation. Off contact is defined as follows: When the screen is in the down position the screen fabric is prevented from touching the surface of the item to be printed by a piece of cardboard or other material that is
taped to the outside of the screen.
Off contact is usually used when printing on a nonabsorbent surface such as paper. Off contact keeps the screen fabric from sticking to the paper after a print is made. When the screen is in the down or print position and not touching the surface of the item to be printed, the squeegee pressure will push the screen fabric down. The off contact will cause the fabric to spring away quickly from the paper thus eliminating a static cling (See Diagram). When the print stroke is complete, the screen fabric should not be touching the print surface. Prepare off contact by taping a piece of cardboard, about 1/16” to 1/4”, depending upon the size of the screen, to the outside of the wood frame. Experiment to gain the maximum fabric spring from the paper without creating too much off contact.
Hinging the Screen
Some screens come with hinges that are attached to a separate base. These screen printing units fit neatly together. Simply screw the hinges to the back of the base and into the screen, as shown in the Diagram.
For “ T” shirt printing with a screen that is hinged to a base, it is important to make the following variation in hinging. Place a piece of cardboard, the same width as the cardboard you will use to insert inside the “T” shirt, under the hinges that are attached to the base. This will elevate the hinges so the screen hinges will meet the base hinges when the “ T” shirt is under the screen. By meeting the height of the cardboard that is inserted in the shirt the balance in the printing unit is reestablished.
“ T” Shirt Printing requires a platen which is inserted into the shirt to prevent ink from going through the fabric and penetrating the back of the shirt. This can be made from cardboard. Cut a rectangle that is wide enough to stretch the shirt tightly so there are no wrinkles in the printing area. It is very important to keep the print area smooth when garment printing. This cardboard rectangle is removed after each print is made, and is placed inside the next shirt to be printed.
Constructing a Platen For Monocolor Printing
A more professional platen can be made with 3/4” plywood with a Birch or Formica top (See diagram). Have a lumber yard cut a 15” square with rounded corners so it is easy to slide the “T” Shirt on. Bolt a 2x4 to the bottom of the platen. It should be long enough to extend past the platen so the shirt can drape, and so the 2x4 can also be bolted to a table or a waist-high stationary object. Attach another piece of wood across the top so there will be room to screw hinge clamps. Approximately 2” past the back of the platen, attach a piece of wood the same thickness as the platen. It should be as wide as the platen, and deep enough to screw on hinge clamps (approximately
4” x 15”).
Constructing a Platen For Multicolor Printing
The basic construction remains the same as the monocolor platen;
however, instead of using hinge clamps to hold the screen, the 3 point contact bar system is used. Since the platen
and the screen sit on the 2x4, the contact bar must be thicker in this case so the eyebolts can butt up against it. To calculate the thickness of this bar, simply add together the thickness of the screen wood and the thickness of the platen.
Constructing a Table For Monocolor or Multicolor Yardage Printing
To print yards of fabric with specific pattern repeats a long table must be available or constructed. It must be wide enough to hold the screen and the contact bar. The contact bar must
be screwed or taped securely to the back of the table. On top for the contact bar, attach bolts which will serve as register stops for the pattern repeat and for multicolor registration. These bolts
should be placed at intervals of the desired pattern repeat. The thickness of the contact bar must be equal to the thickness of the screen so the L-angle can lock against the bolt and the eye-bolts can butt against the contact bar (See Diagram).
Page 20
Preparing Registration
Registering the Screen for Monocolor Printing on Paper
When printing one color on paper, you can use a screen with hinges attached to the base or you can use hinge clamps. When the screen and base are purchased as a unit and the hinges are attached to both parts, you cannot move the screen so the stock must move to be centered. When printing an edition of paper prints, it is important to have registration guides that enable you to print the same image on different pieces of paper in approximately the same position. Once you find the place on the paper where you want the image to print, make an L shape and an inverted L shape in each corner of the paper on the printing base. Tape will work nicely as a
paper guide. Now you can print repeat images on different pieces of paper in approximately the same position on each separate piece of paper. Place each piece of paper within the L guides to print in consistent registration.
If you choose to use hinge clamps you will need to screw them into the printing table or you can use a C-clamp to hold the back of the hinge clamp to the table. Hinge clamps will enable you to move the screen vertically or horizontally but this is not crucial for monocolor printing.
Registering the Screens for Multicolor Printing on Paper
When printing more than one color on paper, hinge clamps will work better and give you more flexibility since they allow you to move the screen horizontally and vertically. Hinge clamps prevent the loss of registration and make it easier to print. Once tightened, hinge clamps lock securely and do not slip while printing.
To register the screens you will need to center your main acetate or outline (let’s call this the master) to the center of a piece of the stock you are printing on. This will serve as a master for registering all the colors and traps.
Place this master sheet on the printing table and register the first screen to it. Be sure to
print light colors first unless your design calls for an opaque light color on a dark ground. Check to see if the screen image lines up with the acetate or master image. Be sure to leave no spaces between colors when they are supposed to meet. This is when the traps you made as artwork are necessary. Move the screen horizontally and vertically to achieve the maximum overlay coverage.
Once you register the screen to the artwork, make a paper guide by placing an L and an inverted L on the printing base where both lower corners of the paper rest. Now you can begin to print. Paper is printed wet to dry so you will need to wait until the first color is dry before you print the second color.
To print the second color, place the master sheet within the guides. Now line the second screen up to the artwork, aligning the design so no spaces appear between the colors where they are supposed to meet. Make doubly sure of the registration by placing a dry print under the screen and seeing if the image falls in the right place. If not, make the necessary adjustments, tighten the hinge clamps and print.
Before you begin to print, tape your original drawing to the print base. Take your first screen, place it loosely in the hinge clamps and move the screen so the image lines up with the portion of your original design that is to be printed. Now tighten the hinge clamps. Replace your original drawing with the stock that is to be printed. Always register stock by placing L and inverted L in lower corners on the print base. This is to ensure that each piece of print stock sits in the exact same place for all colors. If you are not careful enough to place each piece of
stock within these guides the successive colors will not line up properly and they will be out of registration.
Registering the Screen for Monocolor Printing on Textiles
When printing one color on a “T” shirt, simply center the shirt under the image and tighten the hinge clamps. If you are using a stationary screen and base, center the shirt under the screen. When printing this way be sure the entire image prints before lifting the screen because the shirt will shift on the cardboard. Make test prints to get the feel of laying down the ink before using your good stock.
Always use an adhesive when printing on textiles to prevent movement of the garment when you lift the screen. CrownTM Table Adhesive works very well and does not stick to the garment. Simply apply a few drops to the printing area and allow to dry to a tacky finish. Then place the textile down without creating any wrinkles. Wrinkles will stop the ink from printing properly and cause uneven deposits.
Registering the Screens for Multicolor Printing on Textiles
If you are using the homemade Eye Bolt and L-Angle system, you will need help printing. Since textiles must be printed wet to wet, you will have to remove each screen and replace it with the next color screen. This might be difficult for one person to do without having the ink dry in the screen or without having to lay the screen down.
If you are printing alone you must create a setup area where each screen would be easily accessible without wasting time and energy looking for screens. A bridge table set up next to your printing area where the screens can be propped up between prints will do fine.
Have the shirts ready and close by. Mounting adhesive is necessary to keep the garment from shifting while printing and now is the time to apply it. You can use a hair dryer to speed up the drying time.
Since you took the time to use the 3 point contact system to register the screens to the artwork when you exposed the screens, they should now be in perfect registration for printing. In the diagram shown, the colors that are going to print are green for the leaves, red for the apple, and black for the overall outline. To determine your print rotation, start by printing light colors and work toward dark colors. Of course careful examination of your art work will determine which colors overlay or print over each other. In this example, the green would print first, the red second and the black third.
Slide the shirt onto the platen with the collar towards you and smooth out any wrinkles that might appear. Take your first screen, in this case the green leaves, and check for placement on the garment before inking the screen. Note: The screen must make 3 point contact with the contact bar. If you need to adjust the shirt do so now. If you are ready to start printing, pour ink in the screen, make a flood stroke and then make a print stroke. Usually, the print stroke is made towards the printer; however with the eye-bolt L-angle system the print is made away from the printer to prevent the squeegee from pulling the screen away from the contact bar. If the screen is pulled away
from the contact bar, the print will be out of registration and it could also create a blurred image.
After the print is completed, lift the screen gently and make a flood stroke. Without putting the screen down on the shirt again, check the print. If the image does not look complete put the screen in the 3 point contact position and make another print stroke, being sure to print away from yourself. If the print looks complete, prop the screen on the work table so the outside of the screen does not touch anything.
Now you are ready for screen number two. In this example, screen two is the red apple. Repeat the process exactly the way you printed screen number one. Take the second screen and place it in the print position over the first print, in the 3 point contact position. Check to see if the
first print aligns with the second screen. If the screen needs minor adjustments, simply turn the eye-bolts in or out to fine tune the image. If the first print aligns with the second screen then ink the screen and print away from yourself exactly as you did with the first screen.
Finally, repeat the same process with the third screen, which in this case is the black outline. Be sure this last outline fully covers the image. Here is where the traps become relevant. The last screen should also pull the print together and reward you for taking the time to properly complete each step.
It is not recommended to print more than three colors at a time with this 3 point contact system, because the time between prints could cause the ink to dry in the screen.
Register the Screens for Monocolor or Multicolor Yardage Printing
When using the 3 point system for yardage printing, you have a choice of printing wet-to- wet or wet-to-dry. For instance, if the table is long enough you can print one color, making all the prints along the line. You can clean the screens and allow the prints to dry and then follow with the second and third screens, waiting between colors. The technique is always away from yourself.
The number of repeats of the pattern can be controlled by the distance between the bolts on the contact bar. It is quite common for professional screen printing shops using this technique to work in teams. This technique is still widely used today. For example, three colors might be printed by three persons following each other down the line, printing a separate color. Note: If the repeated images are too close to each other the bottom of the screen may interfere with the previous print.
Printing Techniques
Now you are ready to print. Actually the printing stage is the easiest of all the work you have done and the most time consuming to perfect. Using a narrow blade spatula, scoop some ink onto the screen just below the image area. Raise the screen slightly and spread the ink over the entire image area with your squeegee. Press lightly; the object is to cover the image with ink, not to push the ink through the screen. This is called the flood stroke.
After you have flooded the screen with ink, lower the screen onto the textile or paper and run the squeegee down the screen. Apply more pressure; the object is to push the ink through the screen and onto the stock. This is called the print stroke. Paper printing will require less pressure than textile printing because paper is a nonabsorbent surface. Angle the squeegee with the handle toward your body. The squeegee should be comfortable in your hands. Always use two hands for uniform printing.
Lift the screen slightly and push the ink back up to the top or flood stroke. Remember to press lightly when flood stroking. Do not move the stock until you have checked the print. If the image looks complete, remove the stock. If the image does not look complete you may want to overprint. When overprinting do not remove or move the stock, simply lower the screen and try again. Always remember to flood stroke.
It takes time to develop a good printing technique. Observation and practice will turn you into a good printer, so print, print, print!
Always test print before production runs. Use scrap paper or textile to get the screen going before you use your good stock.
Cleanup.
Scoop all ink out of the screen with cut cardboard pieces. Return unused ink to the container; never waste ink! Remove the screen from the hinges or hinge clamps. Clean the screen according to the instructions on the ink can label. For example, water based inks require water cleanup with a spray hose. Oil based inks require solvent cleanup. For solvent cleanup, place the screen on a stack of newspapers and pour some screen wash inside the screen. Wash it around with a rag or paper towel. Remove the newspapers and repeat the process until the image area is clear. The image area is clean when light shines through when you hold the screen up to the light.
TROUBLESHOOTING
THE FOLLOWING PROBLEMS CAN OCCUR DURING SCREEN MAKING AND PRINTING AND WHAT YOU CAN DO ABOUT THEM
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