Screen printing is one of the most specialized techniques of creating wonderful designs on textiles. The historical background of screen printing process. Screen printing training l Sefar Competence & Training Center Screen Printing l EN l To recognize the opportunities for process optimization through correct. DIY Screen Printing Tutorial. Use common craft items to make your own. “screen printed” shirts, bags, and more! Materials needed: o a t-shirt/tote-bag/etc.
|Language:||English, Spanish, Portuguese|
|ePub File Size:||16.45 MB|
|PDF File Size:||8.50 MB|
|Distribution:||Free* [*Regsitration Required]|
b. Once you have selected the screen, you w ill prepare the screen for printing. i. Degreasing: 1. The first step in screen preparation is the degreasing process. Screen printing is a process though which ink is mechanically applied to a substrate the computer and each color separation is printed to a transparent sheet. This is a wrap up of a screen printing course I took with The Print Club We were also shown what can go wrong during the printing process.
This converts areas of contrast into a series of larger and smaller dots, to give the representation of shading. Although any image can be printed in either way a good example is my 'Just Jess' design , which I have printed in both ways, having created two separate screens , in the example I am using here, I have chosen to print in light ink onto dark fabric. More by the author: Because I was also done with the artwork on my screen, I used the pressure washer and a slightly stronger cleaning product to get all of the original emulsion off of the screen, ready for the next person to use. When we use a bitmap file to make a screen, we either get colour, or no colour, which is exactly what we need. Did you make this project? The screen pictured would use black ink, and black dots would really show up on the final artwork.
I have at least four screen prints on the walls in my home, and I absolutely adore the styles that are possible using this very simple technique.
So last week I called in a belated Christmas present from my wife Laura and took a two-day screen printing course at The Print Club, London. The first day was spent learning the basics of screen printing, a little history, and learning how to set up our pre-prepared artwork files ready for printing on day two.
I spent quite a long time deciding on what artwork to prepare for the course. We would be printing using two colours, and I was told to bring a laptop with a photoshop design and my two colours already separated. My wife Laura is famous among our friends for accidentally swapping out the wrong word in a sentence, or getting phrases ever-so-slightly wrong, but close enough so that you understand what she means. Some of her highlights include….
Using one of these phrases, along with an uncanny depiction of her I made using the website familyguyyourself. I traced the character in Adobe Illustrator and added a paint splatter effect behind the text, then brought everything into Photoshop for some tweaks and colour separation.
Our class of six was shown some real-world examples, which were mostly done by artists based at The Print Club. I was absolutely blown away by what is possible using only a few colours.
This piece by Steve Wilson, for instance, was printed using only three colours cyan, magenta and yellow.
Using combinations of ink layers, the most incredible effects can be created. The gradients here were made using halftone dots. Another piece here, demonstrated by our class tutor Simon, shows two versions of the same screen print, using the same colours, only printed in different orders! We were also shown what can go wrong during the printing process.
The Print Club has a poster show each year called Blisters , which has some seriously high standards for acceptance. One of the main reasons a piece might not be accepted is due to the mis-alignment of the colour layers. This alignment is called registration.
This was a problem for my artwork. The black layer would be printed on top of the pink. With this in mind, I added an extra millimetre of pink to the edges of the first layer.
This process is called trapping. The last colour layer hides any mistakes, as long as that colour is dark enough to cover any previous layers. Trapping my artwork would prove crucial later on. To make your artwork edges appear smoother, Photoshop does this really clever thing called anti-aliasing.
This goes back to the early days of digital fonts, when typesetters needed to make really small pt sizes work on pixellated screens. What happens is in areas of contrasting colour, the pixel values are changed to a series of varying colours and shades, to give the appearance of a smooth edge.
In screen printing however, this is bad.
We can only print using a solid colour, not shades. So each colour layer needs to be converted to a bitmap. A bitmap file is perhaps the simplest form of image file there is. It consists of pixel values of either black or white.
When we use a bitmap file to make a screen, we either get colour, or no colour, which is exactly what we need. With a solid colour, illustrated design, like my artwork, this part is easy. My artwork started as a vector, so its contrasting areas were solid blocks. If, however, you want to convert an image with a much higher level of detail into a bitmap, like a photograph, we have to use a halftone.
This converts areas of contrast into a series of larger and smaller dots, to give the representation of shading. Doing this process in Photoshop can be real trial and error.
Any artwork with a gradient see the Polaroid example above , or solid colour going from dark to light, needs to be converted to a halftone. I exported my two layers as pdfs, which were sent upstairs for printing in solid black onto acetate. To get my artwork onto a screen, we first needed to visit the dark room. Here, our instructor Simon walked us through the process of transferring photo-sensitive emulsion onto the back of our screen.
Tipping the emulsion from a tray onto the screen and then sliding it up to the top in the dark was a little tricky. From here, the newly-covered screens were moved quickly to a dark, heated cabinet to dry for around 20 minutes.
Once dry, we started actually transferring the artwork to the screen. You can include as much or as little detail as you like. Now you need to decide whether you would like to print the black parts of your image in dark ink onto a lighter coloured fabric, or alternatively the white parts of your image in light ink onto a darker coloured fabric. Although any image can be printed in either way a good example is my 'Just Jess' design , which I have printed in both ways, having created two separate screens , in the example I am using here, I have chosen to print in light ink onto dark fabric.
Use a paint brush to carefully paint a thin layer of fabric non-water-soluble glue onto any areas of the screen through which you do not want ink to go. In this case, I want to print the white parts of my image, so I filled the black parts with glue. However, if you want to print the black parts of your image, you need simply do the reverse i.
It's important to ensure that the material of the screen is not touching the surface on which you are working, otherwise you will end up glueing the screen to the surface!
By thedoghouse Max and Molly Designs Follow. More by the author: Did you make this project?