My first CMYK print. A combination of hand drawing and scanned images prepared for four color process printing. Of all the printing tricks and techniques CMYK prints are the most fun.
For the second technique we'll consider Drawing Fluid. The technique is fast, easy and is best suited for images that need to have a hand-painted feel. The set up is easy. Using a clear screen, simply apply the drawing fluid directly on the screen. Make sure the back of the screen is not touching anything. If the back of the screen touches another object, the drawing fluid will give an unpredictable image as it flows along the places of contact. A good trick is to tape cardboard spacers to the back of the screen frame. Doing this will hold the screen up and off the work surface. Use Drawing Fluid just like you would ink or paint. Drawing fluid is a positive process. Where the drawing fluid is applied will be where the ink will go on your print. The image does not have to be completed in one session so take your time! Different ways to use Drawing Fluid. If you are more comfortable tracing ...
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 ...
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...
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