The Exposure Table- At the heart of screen printing is the creation of the screen. One of the earlier techniques, drawing fluid and filler, featured artwork created directly on the surface of the screen . When the printing is complete, the artwork is removed from the screen and lost during screen reclamation. Exposing a master image to a photosensitive emulsion on a screen allows the reclamation of screens without loss of the artwork. Now the screens are simply tools of the craft rather than artwork originals. Exposure tables are a nice tool to have although screens can certainly be "burned" using halogen shop lights and a watch. Screens can even be exposed using the sun! At it's core, an exposure table consists of a bright, non-point light source and a way to hold the artwork master tightly to the emulsion on the screen. A tight fit reduces light bleed and allows detail to be transferred to the emulsion. Several types of masters can ...
The best way to get into screen printing is to dive in. Most of the machinery, printers, and expensive techniques are, for the most part, aimed at production, speed, and squeezing some profit out of narrow margins. Some equipment, such a computer and graphics software will open up additional capabilities but these aren't a requirement to get started. For the rest of us, there are many ways to get beautiful prints without access to a full-boogie printing lab. We'll start small because small is accessible, and we'll build on that. Some stuff we'll need. Screens: These fall into two types wood frame and aluminum frame types. The general consensus tends to be to using pre-made aluminum-frame screens. They stay tight linger and have a better service life than the older wooden types. Don't discount the wooden frames though! Especially when a non-standard or large size is needed. Start out with a 20x24 screen @110 mesh. Hig...
Rubylith is a little different than what has been discussed to date. It resembles the hand cut stencil in that it is a hand cut process but unlike the hand cut stencil the final step is to shine high-intensity light through the Rubylith to a photosensitive emulsion. The Rubylith prevents the emulsion from chemically setting. This is another "positive" process. Where the Rubylith has masked the emulsion is where the ink will go on the print. Rubylith is not sensitive to light and is made of a two layer plastic film. The top layer is red and the carrier is clear to light pink. The objective with Rubylith is to use an x-acto knife to cut the artwork out of the red layer while leaving the carrier layer underneath undamaged. Small cut-throughs are not a problem but if you've made ribbons out of it, lighten up on the blade or move back to a regular stencil. Cutting takes a bit of practice, my first Rubylith cut almost fell apart! Rubylith can h...
Comments
Post a Comment