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Screen printing

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Screen printing is a printing technique where a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact.

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Screen printing   Screen printing​ is a printing technique where a mesh is used to  transfer ink onto a substrate, except in areas made impermeable to  the ink by a blocking stencil. A blade or squeegee is moved across  the screen to fill the open mesh apertures with ink, and a reverse  stroke then causes the screen to touch the substrate momentarily  along a line of contact. This causes the ink to wet the substrate and  be pulled out of the mesh apertures as the screen springs back after  the blade has passed. One color is printed at a time, so several  screens can be used to produce a multicoloured image or design. 
AddressBazar.com is an Bangladeshi Online Yellow Page. From here you will find important and necessary information of various ​Screen Printing related organizations in Bangladesh. There are various terms used for what is essentially the same  technique. Traditionally, the process was called screen printing or  silkscreen printing because silk was used in the process. It is also  known as serigraphy, and serigraph printing. Currently, synthetic  threads are commonly used in the screen printing process. The  most popular mesh in 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.  History  Screen printing​ first appeared in a recognizable form in China  during the Song Dynasty (960–1279 AD). It was then adapted by  other Asian countries like Japan, and was further created using  newer methods.  Screen printing was largely introduced to Western Europe from  Asia sometime in the late 18th century, but did not gain large  acceptance or use in Europe until silk mesh was more available 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 acid salt sensitized  emulsions for photo-reactive stencils. This trio of developers would  prove to revolutionize the commercial screen printing industry by  introducing photo-images to the industry, though the acceptance 
of this method would take many years. Commercial screen printing  now uses sensitizers far safer and less toxic than bichromates.  Currently, there are large selections of pre-sensitized and "user  mixed" sensitized emulsion chemicals for creating photo-reactive  stencils.  A group of artists who later formed the National Serigraph Society,  including WPA artists Max Arthur Cohn and Anthony Velonis,  coined the word "serigraphy" in the 1930s to differentiate the  artistic application of screen printing from the industrial use of the  process. "Serigraphy" is a compound word formed from Latin  "sēricum" (silk) and Greek "graphein" (to write or draw).  The Printers' National Environmental Assistance Center says  "Screen Printing is arguably the most versatile of all printing  processes. Since rudimentary screen printing materials are so  affordable and readily available, it has been used frequently in  underground settings and subcultures, and the non-professional  look of such DIY culture screenprints have become a significant  cultural aesthetic seen on movie posters, record album covers,  flyers, shirts, commercial fonts in advertising, in artwork and  elsewhere.     
1960s to present    Credit is given to the artist Andy Warhol for popularising screen  printing as an artistic technique. Warhol's silkscreens include his  1962 Marilyn Diptych, which is a portrait of the actress Marilyn  Monroe printed in bold colours. Warhol was supported in his  production by master screen printer Michel Caza, a founding  member of Fespa.  Sister Mary Corita Kent gained international fame for her vibrant  serigraphs during the 1960s and 1970s. Her works were rainbow  colored, contained words that were both political and fostered  peace and love and caring. 
American ​entrepreneur, artist and inventor Michael Vasilantone  started to use, develop, and sell a rotatable multi color garment  screen printing machine in 1960. Vasilantone later filed for a patent  on his invention in 1967 granted number 3,427,964 on February 18,  1969. The original machine was manufactured to print logos and  team information on bowling garments, but 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 made this garment screen printing  machine popular. Screen printing on garments currently accounts  for over half of the screen printing activity in the United States.  Graphic screen printing is widely used today to create mass- or  large-batch produced graphics, such as posters or display stands.  Full colour prints can be created by printing in CMYK (cyan,  magenta, yellow and black).  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 as  an expression of creativity and artistic vision.  Another variation, digital hybrid screen printing is a union between  analog screen printing and traditional digital direct to garment  printing, two of the most common textile embellishment  technologies in use today. Essentially, digital hybrid screen printing 
is an automatic screen-printing press with a CMYK digital  enhancement located on one 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.    Printing technique    A screen is made of a piece of mesh stretched over a frame. The  mesh could be made of a synthetic polymer, such as nylon, and a  finer and smaller aperture for the mesh would be utilized for a  design that requires a higher and more delicate degree of detail. For  the mesh to be ​effective​, it must be mounted on a frame and it must 
be under ​tension​. The frame which holds the mesh could be made of  diverse materials, such as wood or aluminum, depending on the  sophistication of the machine 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).  A stencil is formed by blocking off parts of the screen in the  negative image of the design to be printed; that is, the open spaces  are where the ink will appear on the substrate.  Before printing occurs, the frame and screen must undergo the  pre-press process, in which an emulsion is 'scooped' across the  mesh. Once this emulsion has dried, it is selectively exposed to  ultraviolet light, through a film printed with the required design.  This hardens the emulsion in the exposed areas but leaves the  unexposed parts soft. They are then washed away using a water  spray, leaving behind a clean area in the mesh with the identical  shape as the desired image, which will allow passage of ink. It is a  positive process.  In fabric printing, the surface supporting the fabric to be printed  (commonly referred to as a pallet) is coated with a wide 'pallet  tape'. This serves to protect the 'pallet' from any 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 tape to prevent ink from  reaching the edge of the screen and the frame. The type of tape used  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  tendency to creep underneath tape.    The last process in the 'pre-press' is blocking out any unwanted  'pin-holes' in the emulsion. If these holes are left in the emulsion,  the ink will continue through and leave unwanted marks. To block  out these holes, materials such as tapes, speciality emulsions and  'block-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 push the ink through the holes in  the mesh. The operator begins with the fill bar at the rear of the  screen and behind a reservoir of ink. The operator lifts the screen to  prevent contact with the substrate and then using a slight amount  of downward force pulls the fill 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 then uses a  squeegee (rubber blade) 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.  As 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 common types of screen printing presses: flat-bed,  cylinder, and rotary.  Textile items printed with multicoloured designs often use a wet on  wet technique, or colours dried while on the press, while graphic  items are allowed to dry between colours that are then printed with  another screen and often in a different colour after the product is  re-aligned on the press. 
Most screens are ready for re-coating at this stage, but sometimes  screens will have to undergo a further step in the reclaiming  process called dehazing. This additional step removes haze or  "ghost images" left behind in the screen once the emulsion has  been removed. Ghost images tend to faintly outline the open areas  of ​previous ​stencils, hence the name. They are the result of ink  residue trapped in the mesh, often in the knuckles of the mesh (the  points where threads cross).  While the public thinks of garments in conjunction with screen  printing, the technique is used on tens of thousands of items,  including decals, clock and watch faces, balloons, and many other  products. The technique has even been adapted for more advanced  uses, such as laying down conductors and resistors in multi-layer  circuits using thin ceramic layers as the substrate.   

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Screen printing

  • 1. Screen printing   Screen printing​ is a printing technique where a mesh is used to  transfer ink onto a substrate, except in areas made impermeable to  the ink by a blocking stencil. A blade or squeegee is moved across  the screen to fill the open mesh apertures with ink, and a reverse  stroke then causes the screen to touch the substrate momentarily  along a line of contact. This causes the ink to wet the substrate and  be pulled out of the mesh apertures as the screen springs back after  the blade has passed. One color is printed at a time, so several  screens can be used to produce a multicoloured image or design. 
  • 2. AddressBazar.com is an Bangladeshi Online Yellow Page. From here you will find important and necessary information of various ​Screen Printing related organizations in Bangladesh. There are various terms used for what is essentially the same  technique. Traditionally, the process was called screen printing or  silkscreen printing because silk was used in the process. It is also  known as serigraphy, and serigraph printing. Currently, synthetic  threads are commonly used in the screen printing process. The  most popular mesh in 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.  History  Screen printing​ first appeared in a recognizable form in China  during the Song Dynasty (960–1279 AD). It was then adapted by  other Asian countries like Japan, and was further created using  newer methods.  Screen printing was largely introduced to Western Europe from  Asia sometime in the late 18th century, but did not gain large  acceptance or use in Europe until silk mesh was more available for 
  • 3. 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 acid salt sensitized  emulsions for photo-reactive stencils. This trio of developers would  prove to revolutionize the commercial screen printing industry by  introducing photo-images to the industry, though the acceptance 
  • 4. of this method would take many years. Commercial screen printing  now uses sensitizers far safer and less toxic than bichromates.  Currently, there are large selections of pre-sensitized and "user  mixed" sensitized emulsion chemicals for creating photo-reactive  stencils.  A group of artists who later formed the National Serigraph Society,  including WPA artists Max Arthur Cohn and Anthony Velonis,  coined the word "serigraphy" in the 1930s to differentiate the  artistic application of screen printing from the industrial use of the  process. "Serigraphy" is a compound word formed from Latin  "sēricum" (silk) and Greek "graphein" (to write or draw).  The Printers' National Environmental Assistance Center says  "Screen Printing is arguably the most versatile of all printing  processes. Since rudimentary screen printing materials are so  affordable and readily available, it has been used frequently in  underground settings and subcultures, and the non-professional  look of such DIY culture screenprints have become a significant  cultural aesthetic seen on movie posters, record album covers,  flyers, shirts, commercial fonts in advertising, in artwork and  elsewhere.     
  • 5. 1960s to present    Credit is given to the artist Andy Warhol for popularising screen  printing as an artistic technique. Warhol's silkscreens include his  1962 Marilyn Diptych, which is a portrait of the actress Marilyn  Monroe printed in bold colours. Warhol was supported in his  production by master screen printer Michel Caza, a founding  member of Fespa.  Sister Mary Corita Kent gained international fame for her vibrant  serigraphs during the 1960s and 1970s. Her works were rainbow  colored, contained words that were both political and fostered  peace and love and caring. 
  • 6. American ​entrepreneur, artist and inventor Michael Vasilantone  started to use, develop, and sell a rotatable multi color garment  screen printing machine in 1960. Vasilantone later filed for a patent  on his invention in 1967 granted number 3,427,964 on February 18,  1969. The original machine was manufactured to print logos and  team information on bowling garments, but 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 made this garment screen printing  machine popular. Screen printing on garments currently accounts  for over half of the screen printing activity in the United States.  Graphic screen printing is widely used today to create mass- or  large-batch produced graphics, such as posters or display stands.  Full colour prints can be created by printing in CMYK (cyan,  magenta, yellow and black).  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 as  an expression of creativity and artistic vision.  Another variation, digital hybrid screen printing is a union between  analog screen printing and traditional digital direct to garment  printing, two of the most common textile embellishment  technologies in use today. Essentially, digital hybrid screen printing 
  • 7. is an automatic screen-printing press with a CMYK digital  enhancement located on one 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.    Printing technique    A screen is made of a piece of mesh stretched over a frame. The  mesh could be made of a synthetic polymer, such as nylon, and a  finer and smaller aperture for the mesh would be utilized for a  design that requires a higher and more delicate degree of detail. For  the mesh to be ​effective​, it must be mounted on a frame and it must 
  • 8. be under ​tension​. The frame which holds the mesh could be made of  diverse materials, such as wood or aluminum, depending on the  sophistication of the machine 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).  A stencil is formed by blocking off parts of the screen in the  negative image of the design to be printed; that is, the open spaces  are where the ink will appear on the substrate.  Before printing occurs, the frame and screen must undergo the  pre-press process, in which an emulsion is 'scooped' across the  mesh. Once this emulsion has dried, it is selectively exposed to  ultraviolet light, through a film printed with the required design.  This hardens the emulsion in the exposed areas but leaves the  unexposed parts soft. They are then washed away using a water  spray, leaving behind a clean area in the mesh with the identical  shape as the desired image, which will allow passage of ink. It is a  positive process.  In fabric printing, the surface supporting the fabric to be printed  (commonly referred to as a pallet) is coated with a wide 'pallet  tape'. This serves to protect the 'pallet' from any unwanted ink  leaking through the screen and potentially staining the 'pallet' or  transferring unwanted ink onto the next substrate. 
  • 9. Next, the screen and frame are lined with a tape to prevent ink from  reaching the edge of the screen and the frame. The type of tape used  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  tendency to creep underneath tape.    The last process in the 'pre-press' is blocking out any unwanted  'pin-holes' in the emulsion. If these holes are left in the emulsion,  the ink will continue through and leave unwanted marks. To block  out these holes, materials such as tapes, speciality emulsions and  'block-out pens' may be used effectively. 
  • 10. The ​screen ​is placed atop a ​substrate​. Ink is placed on top of the  screen, and a floodbar is used to push the ink through the holes in  the mesh. The operator begins with the fill bar at the rear of the  screen and behind a reservoir of ink. The operator lifts the screen to  prevent contact with the substrate and then using a slight amount  of downward force pulls the fill 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 then uses a  squeegee (rubber blade) 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.  As 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 common types of screen printing presses: flat-bed,  cylinder, and rotary.  Textile items printed with multicoloured designs often use a wet on  wet technique, or colours dried while on the press, while graphic  items are allowed to dry between colours that are then printed with  another screen and often in a different colour after the product is  re-aligned on the press. 
  • 11. Most screens are ready for re-coating at this stage, but sometimes  screens will have to undergo a further step in the reclaiming  process called dehazing. This additional step removes haze or  "ghost images" left behind in the screen once the emulsion has  been removed. Ghost images tend to faintly outline the open areas  of ​previous ​stencils, hence the name. They are the result of ink  residue trapped in the mesh, often in the knuckles of the mesh (the  points where threads cross).  While the public thinks of garments in conjunction with screen  printing, the technique is used on tens of thousands of items,  including decals, clock and watch faces, balloons, and many other  products. The technique has even been adapted for more advanced  uses, such as laying down conductors and resistors in multi-layer  circuits using thin ceramic layers as the substrate.