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Screen Printing is a printing method where ink is driven through a stencil with a squeegee– but you probably knew that. It’s all the other jargon that can feel like the screen printing business has its own language. Here’s a comprehensive list of terms, inks and equipment to help you understand what’s going on and get going with your next print project.
Terms
All the terms you might hear thrown around when researching screen printing.
Bit Map– an image created on a visual display unit where each pixel corresponds to one to more bits in memory, the number of bits per pixel determine the number of available colors. Bitmapped graphics is often referred to as raster graphics.
Bleeding– This occurs when an ink migrates outside the area it’s meant to be in. This can occur with 2 different colors printing closely as well.
Blend– Printing two or more inks at the same time to create a gradient like an effect.
Butt Registration– When the edges of 2 different printed colors come edge to edge but do not overlap.
Burning a Screen– Exposing a prepared screen to a very bright light to harden the emulsion. Wherever the light hits the emulsion, the emulsion itself hardens. Wherever the film blocked the light out, the emulsion remains somewhat soft and is washed out of the screen. What is left on the screen is the stencil.
Color Separation– When you send a screen printer a full-color image, color separators then figure out how to break down your image so that it can be printed. This is done using bit mapping and halftones.
Coverage– The quality or amount of ink that is laid down onto a shirt when printed through the screen. Also referred to as the opacity.
CMYK– Cyan, Magenta, Yellow and Key or Black. These 4 colors, when combined, can make almost any color. This video discusses the difference between CMYK, RGB and color matching used during our screen printing process:
DPI– This stands for “dots per inch”. It is a measure of printing resolution that indicates the number of individual dots a printer can produce in a linear one-inch space
Dye Migration– This occurs when you are printing on a polyester shirt. On these shirts, the dye sits on top of the fibers in little beads of vapor. When you print, the ink goes over that dye, when your shirt is put through the dryer those beads of vapor turn into gas and fuse to the inks. This can change the color of the inks based on the color of the shirt they are printed on. Example: white ink printed on top of a red shirt might come out with a pink tint.
Flashing– the process of printing the same ink color twice on a garment. It is most often used when printing a lighter color ink on a darker color material.
Flood– The act of spreading ink over the screen and then pushing the ink through.
Gap Registration-The alignment of artwork in which a gap exists between one color and another.
Halftone– Halftone is the process that creates images through the use of dots, varying either in size or in spacing. The dots are so small, to the eye they blend together to create varying shades of a color.
Ink Well– The side of the screen where the ink is placed.
Knocked Out– Omitted portions of artwork in a design that prevent other colors from over printing. See Stencil.
LPI (Lines Per Inch)- a measurement of printing resolution. A line consists of halftones that are built by physical ink dots during printing to create different tones. LPI is a measure of how close together the lines in a halftone grid are.
Mesh– This is the material which is stretched over the silk screen frame itself. Different screens have different mesh counts. The lower the number, the more ink it allows in.
Mesh Count– This is the number that refers to the size of the openings in between the filaments of thread in the mesh. Higher numbers have small openings while lower numbers have larger openings. Using a higher mesh count will have a softer feel.
Over Printing– Printing one color on top of another color.
PMS Color– PMS stands for Pantone Matching System. It is a method of consistently matching colors developed by Pantone. A general standard for the screen-printing industry is the Solid Coated book.
Registration– The alignment of one color of artwork with another. Multicolor prints require the different colors of the artwork to line up correctly with each other.
Run Off– This refers to prints that appear to extend past the boundaries of the shirt or other printed apparel. These prints work better on some apparel rather than others (we suggest your run off design does not go over any thick seams or pockets as this will interrupt the continuous look special to this type of print).
Spot color– A spot color is any color generated by an ink that is printed using a single run.
Separations / Seps– Once your art is created, each color must be printed on a clear film called separations. These will be used to burn the images for each color into the screen.
Serigraphy– a technical term for screen printing.
Trap– a technique in three color printing where the bottom color “bleeds” out from under the ink that will be printed on top of it. This limits the gaps that can be caused from misregistration.
Vector Graphic– In simplest terms, vector graphics is created using lines and points instead of pixels. This means that it can be stretched or shrunk to nearly any size without compromising the integrity of the art.
Under Base– Printing a layer of white ink before any other colors when creating on darker garments. This allows the colors to stay true and maintain opacity over the dark fabric.
Viscosity– Commonly referred to as the “thickness” or “thinness” of an ink.
Equipment
These are the tools and equipment used during the screen printing process
This is our automatic press operating in our Cleveland, Ohio location
Automatic Press– A screen printing press that operates by using electric motors and hydraulics. An automatic screen printing press has a much higher production rate than a manual press and will typically produce a higher quality print result.
Film/Film Positive– This is the clear piece of “plastic” with your artwork printed onto it in all black.
Printer / Platen– This is a square metal or wooden frame with a screen made of mesh material very tightly stretched over it.
Pictured: The metal frame is the platen, the screen in the inner part that is stretched and holds the artwork
Silk Screen / Mesh– The screen or artwork used to print a particular color.
Squeegee– This is a tool with a flat rubber blade on one side used to pull ink evenly across the screen.
Pictured: Squeegee & Scraper used for screen printing
Stencil– This is the portion of the screen that is not covered and allows ink to go through the screen to be printed onto the surface underneath.
The yellow part of these screens is the part of the screen that the ink will be pushed through and leave a design on your apparel
Inks
These are different types of inks that can be used during screen printing and their benefits and characteristics
Cured Ink– Ink that has been through the oven at about 330 degrees Fahrenheit. Curing is the actual chemical process of the ink drying and bonding to the shirt fabric.
Discharge Inks– Discharge inks literally “discharge” the color out of a tee so that the original color of the tee is “bleached” out. It also produces a soft feel as opposed to plastisol, which can give you a rough feeling imprint. Discharge inks only work on 100% cotton apparel.
Discharge Ink
Metallic Inks– A plastisol ink base containing metallic particles.
Metallic Ink
Plastisol ink– These inks sit on top of threads instead of soaking into them and are not water soluble. They are best for printing opaque graphics onto garments.
Plastisol Ink
Specialty Inks– Specialty inks refer to pretty much anything other than plastisols. These can sometimes include discharge and water-based inks but, is more commonly used when referring to Foil transfers, glow-in-the-dark, puff ink and other unique types of ink.
UV Inks– A types of ink that, when exposed to UV light, will harden or cure.
Water-Based Inks– Ink made up of water that dyes a garment directly, becoming a part of the fabric, rather than laying on top of a shirt
If you have questions about screen printing or what we can do here, contact us! We’ve been screen printing since 1999 and have been able to work with some fantastic artists and we’d love to work with you.
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Good screen printing results start with a good stencil, and the best stencils start with the right emulsion!
Understanding the different types will help you choose the right screen printing emulsion to create a quality stencil for a quality job.
Introducing the Three Types of Emulsion
Screen printing emulsion works much like plastisol ink. Just as plastisol ink cures when exposed to heat, emulsion cures when exposed to UV light. When light hits the emulsion, the emulsion’s photosensitizers within create a strong bond with the emulsion’s resins, hardening the emulsion and making it hold fast to your screens. In screen printing, there are three different types of emulsions, based on the photosensitizers used. Diazo is so-called because it contains benzene diazonium; SBQ-based emulsions make use of Styryl Basolium Quaternary; dual-cure emulsions contain both diazo and SBQ.
- Diazo emulsions require the manual mixing of the photosensitizer with the resins. Diazo emulsions requiring longer exposure and can take 15 minutes or more to fully cure. The resulting stencil tends to be thicker, making diazo emulsions a poor choice for detailed prints or prints that require halftones. Once mixed, diazo emulsions will last a few months on the shelf. Diazo emulsions are the cheapest screen printing emulsion option.
- SBQ-based emulsions come in one pot with no mixing required. They cure extremely quickly — within seconds — when exposed to UV light. The more delicate bonds created by SBQ-based emulsions make the emulsions a good choice for detailed work. The emulsion tends to create a thinner stencil, but multiple coats can be layered if a thicker stencil is required. SBQ-based emulsions have a shelf life of more than a year, and they tend to be the most expensive type of emulsion to purchase.
- Dual-cure emulsions combine the properties of diazo and SBQ-based emulsions. They require mixing and cure faster than diazo emulsions but not as quickly as pure SBQ-based emulsions. It creates a thicker stencil than SBQ-based emulsions, and it isn’t as costly.
Total Ink Solutions offers a variety of different
emulsions for your screen preparation needs.
emulsions for your screen preparation needs.
Find the Perfect Emulsion to Get the Job Done Right!
When it comes time to choosing your emulsion type, there are many factors that can come into play, but you can create quality prints with any of the three types of emulsions. Newer printers might tend toward diazo emulsions because they’re cheaper and more forgiving. SBQ-based and dual-cure emulsions can be trickier to work with because of their faster dry times, but the more difficult emulsions can reward you with a more detailed print.
In addition to looking at the type of screen print you’re creating, you might need to look at the water resistance of the emulsion. You’ll also need to consider the emulsion’s viscosity, or solid contents. Higher mesh count screens require a less solid emulsion, while emulsions that are too thin will not properly coat lower mesh count screens, resulting in pinholes or other flaws in the print.
In the end, you’ll want to choose the type of emulsion recommended by your ink manufacturer. By following the manufacturer’s recommendations, you can be sure you’re using a compatible emulsion that will provide you with a good print. And — as with most things in screen printing — the more you print and the more you experiment with different types of emulsions, the better you will get at determining which emulsions are right for different projects.
For quality stencils, having the right tools for the job doesn’t stop with good emulsion. Anatol offers a variety of different exposure units to help you prepare your screens quickly, efficiently and with sharp detail. Let’s talk more about how Anatol can help your screen-making department!
The XPO-series screen printing exposure units, designed for startup t-shirt printing shops on a budget. There are three models, XPO-2426, XPO-2331, and the XPO-2848. Expose or burn images onto photo emulsions with high output UV Fluorescent lights, with accurate detail. Produce multi-color silk screen printed designs with fine lines or halftones used in four color process with quality film positives. Exposing dual cure, diazo and photopolymers emulsions, plus capillary films are easily done. All of these are commonly used in the textile, graphics, and ad specialty printing industries.
The Ranar XPO-series screen exposure units have a rigid tubular frame with holes in sides where the vacuum draws air from the exposure area. This vacuum frame has a rubber blanket that raises and lowers with gas shocks for easy access. A fast vacuum draws down the neoprene rubber blanket to the clear glass and creates perfect contact between your film positive and screen for clean crisp resolution. An accurate programmable digital timer controls exposure times. We use energy efficient electronic ballasts and unfiltered ultraviolet black light bulbs with 320 nanometers in our screen exposure units. With a flip of a switch the vacuum and ultraviolet lights can be used manually or automatically.
After properly prepping the screen mesh and drying it, use an aluminum scoop coater to apply an even coat of liquid emulsion which is light sensitive.
This must be done in a dark room or with subdued light. The use of a yellow or red light is helpful. Store your screen frame in a dark dry location prior to use as not to expose the emulsion to light.
Before using, have your art ready to go on the screen exposure unit. Place the film positive (make sure you have dark film positive) on the glass at the desired location. Then lower the screen frame on top. Set the timer and start the exposing of your design. The black lights will cure the areas except where the art is. The design blocks the light and prevents the emulsion from hardening.
Typical exposure times to be expected with photopolymer emulsion:
Block letters 1.5 minutes,
Halftones 30-50 seconds
Block letters 1.5 minutes,
Halftones 30-50 seconds
Once you have exposed the emulsion you need to rinse out the unexposed emulsion. Wash out your design using a pressure nozzle and water. Be careful not to wash out your design. A washout booth with back lighting is helpful in this case. Note: do not rinse screen in the sun or direct light as it will harden your design and will not wash out.
Ranar makes its own professional screen exposures units in the USA to insure quality. The entry level XPO-2426 with (8) 20 watt bulbs is perfect for the small silk screening shop using standard 20'x 24' screen frames for manual screen printing presses. The XPO-2331 with (10) 20 watt bulbs can handle a 23'x 31' inch frame which is standard on automatic screen printing presses. The extra large XPO-2848 with (8) 40 watts bulbs can handle (2) 20'x 24' or (1) 23'x 31' or (1) large over size screen frame 28'x 48' used for all overprints and textile printing.
- Black light fluorescent bulbs (320 nanometers)
- Adjustable Exposure times
- Digital timer
- Auto shut off
- Instant Draw Down Vacuum
- Neoprene Rubber Vacuum Blanket
(fabric on one side for durability) - Gas Shock Assisted vacuum frame
- Manual/Auto Mode
- Instant Start Electronic Ballast
- Energy efficient
- 1 yr warranty parts only
(Excludes Blanket & Glass) - Made in the USA.
How To Expose Emulsions | Screen Printing Guide
Once the emulsion has been coated on the mesh and dried, it is ready for exposure. The objective with exposure is to penetrate the photostencil material all the way through to the mesh to ensure hardening around the filaments and thus obtain good stencil adhesion whilst accurately reproducing the detail on the film positive.
Underexposure
If the exposure is not enough and the whole layer is not penetrated by the UV light, the stencil may wash completely off on washout. Or, more typically the stencil may be intact after washout, but break down or become tacky during the print run - both of which are symptomatic of under exposure.
Overexposure
As a general rule, 'direct' systems do not suffer from a lack of flexibility on over-exposure, in fact, if anything, the adhesion to the mesh is improved. However, the resolution and definition of the image deteriorate as the stencil is over exposed. See sections on light geometry and mesh influences for further information.
The following diagrams outline the effects of under-exposure at 1/4, 1/2 and 3/4 of the optimum exposure for a direct stencil.
1/4 Optimum exposure
EFFECTS: During washout the image would appear and the stencil would probably start to come away during washout
1/2 Optimum exposure
EFFECTS: The stencil would probably be damaged by a strong washout spray. The emulsion appears soft on the squeegee side.
3/4 Optimum exposure
EFFECTS: Emulsion appears slightly soft on squeegee side.
Stencil will leave ‘scum’ in the open areas if not washed out properly. Durability is reduced. Stencil is harder to decoat.
Optimum exposure
EFFECTS: All the emulsions is fully hardened and the stencil will provide the optimum resistance and durability.
CPS EXPOSURE CALCULATOR
What is the CPS Exposure Calculator? The CPS Exposure Calculator is a film positive comprising of five columns, each with a resolution target, a set of halftone tints and lines of text. Four of the columns are backed with a grey neutral filter of different density. This concept enables five different exposures to be made simultaneously.
Why use the CPS Exposure Calculator? Incorrect exposure is one of the most frequent causes of stencil failure. The CPS Exposure Calculator provides a quick, accurate determination of exposure times with all photostencil systems to alleviate this problem. It can also be used as a printing aid to optimise print quality, or as a means of process control.
How to use the CPS Exposure Calculator?
- Estimate the correct exposure time using the guidelines available. Then DOUBLE it.
- Expose the photostencil to the CPS Exposure Calculator in the normal way, washout and dry thoroughly.
- Examine the stencil to determine the correct exposure time. Interpretation of correct exposure depends on the stencil system.
Reading the results of the exposure test - Ultra Cap and Diazo sensitised Ultra Coat emulsions:
The stencil will show variations in colour from one factor to the next. Follow the colour change from the lightest to the darkest until it stops. The factor where the colour change stops is the column that represents optimum exposure. Once the correct factor has been chosen, multiply the factor by the test exposure time. This gives the correct exposure time (or number of units) for that particular stencil/mesh/light source combination.
Example: 0.7 x 50 units = 35 units
Correct factor x test exposure = Correct Exposure
If there is still a colour change between Factor 0.7 and Factor 1, this indicates an under-exposed stencil, DOUBLE the original test exposure, and repeat the test.
Example: 0.7 x 50 units = 35 units
Correct factor x test exposure = Correct Exposure
If there is still a colour change between Factor 0.7 and Factor 1, this indicates an under-exposed stencil, DOUBLE the original test exposure, and repeat the test.
Post exposure of a Diazo stencil
Post exposing a Diazo sensitised stencil will have little to no effect on improving its resistance.
Reading the results of the exposure test - Photopolymer emulsions (Ultra Coat 900, Ultra Coat Neptune, Ultra Coat HB, Ultra Coat CTS-L):
Determining the correct exposure with a pure photopolymer stencil is slightly harder than with a Diazo sensitiser stencil as there is no Diazo colour change to guide you. However, the same basic guidelines apply with photopolymer stencils, that underexposure will lead to a weak stencil, whereas fine detail/definition will fill in on over exposure.
Step 1
Expose the stencil using the CPS Exposure Calculator. It is good practice to blank off the bottom of the calculator using either Automask Ruby or a sheet of black paper. This will create an open area of mesh immediately below the targets for the rub test. NOTE a photopolymer stencil will typically be much faster than a Diazo stencil often needing only 1/10 of the exposure time.
Step 2
While it is still wet, rub the squeegee side of the stencil over the different factors. If the emulsion feels soft and is easily removed then it is under exposed.NB it is possible to wash away this soft emulsion using a long/strong wash out from the squeegee side so do not over-develop the test screen.You can see from the image below how the soft emulsion from the 0.25 factor has been drawn out into the open mesh (B) to give a noticeable stain. The degree of softness is less at the 0.33 factor (A) and less emulsion is drawn out. At the 0.5 factor on this stencil the emulsion on the squeegee side has been hardened and the stencil is fully exposed.
Step 3
Dry the screen and examine the targets. Determine which factor resolves the finest line you need to print? NOTE it will be impossible to resolve the fine detail at the centre of the target using a white mesh and exposed to a bank of Fluorescent tubes!
Using a combination of stencil hardness (through cure) combined with resolution, it is possible to determine which factor will give the best result for your application. Multiply your test exposure time by this factor to establish the optimum exposure time.
Using a combination of stencil hardness (through cure) combined with resolution, it is possible to determine which factor will give the best result for your application. Multiply your test exposure time by this factor to establish the optimum exposure time.
Exposure determination using a 21 step wedge
It is possible to use a 21 step (0.15 density) step wedge to determine correct exposure but there is a word of caution. The optimum exposure is a solid step 8, however the test can be influenced significantly by the type of washout used. It is possible to wash back the step wedge by as much as two steps if a long/strong washout is used and a 2 step difference is a 100% difference in time. The 21 step wedge can be a useful tool however in determining any drift in the exposure time as long as the washout conditions remain constant.
Post exposure of Photopolymer stencils
Unlike Diazo stencils a post exposure after processing can increase the solvent resistance of a photopolymer stencil. This can be achieved by either re-positioning the processed and dried screens back in front of the UV exposure unit or simply by leaving the screens in a white light area for several hours. Please note however if the stencil has been grossly underexposed and the soft emulsion washed away from the squeegee side then no amount of post exposure can harden emulsion that is not there! It is always better to achieve optimum exposure in the first place rather than rely on the hardening effect from a post exposure.
The CPS Exposure Calculator as a printing guide
The CPS Exposure Calculator can be used to assess printed edge definition (straightness/clarity of the printed edge) and print resolution (fineness of detail achievable).
The target is designed to allow the user to select the best angle to position the film positive stencils in order to avoid ' saw tooth' and mesh interference. Resolution is checked by assessing the degree of 'filling in ' at the centre of the target.
The target is designed to allow the user to select the best angle to position the film positive stencils in order to avoid ' saw tooth' and mesh interference. Resolution is checked by assessing the degree of 'filling in ' at the centre of the target.
Tints
The 10% and 90% areas can be used to gauge the degree of highlight dot loss and flooding of shadow areas respectively.
The use of a square dot configuration means that the corners of the dots just meet at 50%. Examination of a print will show at a glance whether there is dot loss or dot gain in the mid-tone.
Failure of the corners to meet indicates dot loss. This may be due to undercutting caused by over-exposure, poor light geometry, drying in of ink, or the choice of a low resolution photostencil.
The merging of dots, or thickening of the join between dots, indicates dot gain. This is due to flooding which may be caused by over-thinning of ink, or by the use of a photostencil with poor edge definition. Before starting a print run with, it is always recommended that a test strip is printed, which contains a full range of tone values in the selected dot count.
NB: Positives with square dots are not recommended for fine halftone printing.
The use of a square dot configuration means that the corners of the dots just meet at 50%. Examination of a print will show at a glance whether there is dot loss or dot gain in the mid-tone.
Failure of the corners to meet indicates dot loss. This may be due to undercutting caused by over-exposure, poor light geometry, drying in of ink, or the choice of a low resolution photostencil.
The merging of dots, or thickening of the join between dots, indicates dot gain. This is due to flooding which may be caused by over-thinning of ink, or by the use of a photostencil with poor edge definition. Before starting a print run with, it is always recommended that a test strip is printed, which contains a full range of tone values in the selected dot count.
NB: Positives with square dots are not recommended for fine halftone printing.
Change in exposure time for new lamp distance
Once the exposure has been fixed for a specific film it should be maintained. If the distance between the light source and the film changes, the exposure must be changed accordingly, unless of course, an integrator is used and the exposure time is changed automatically.
Choosing the Right Light Source
As a general rule, the minimum distance between the exposure lamp and the vacuum frame should be equal to the diagonal of the area to be exposed. This will ensure fairly even illumination over the exposure area.
Light Sources
Most modern light sources are based on gas discharge, each type having specific advantages and disadvantages.
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Image courtesy of Natgraph Ltd
Spectral Output of Light Sources
In general terms a light source with a spectral output in the region of 340-440 nM (nanometers) is suitable for exposing photostencil materials. Some light sources have a continuous output, whereas others have a discontinuous or line emission. Modern light sources such as metal halide lamps have a line output and it is important that these emissions coincide with that portion of the sensitivity curve of the photostencil materials, giving the best results in terms of tanning and image contrast i.e. diazo bulbs or photopolymer bulbs.
(A) UV Fluorescent Tubes
These are used in some printing down frames and have the advantage of pure UV without producing heat. However because their output is very low they have to be used in banks very near to the photostencil with consequent problems of light undercutting. If considering UV fluorescent tubes as a source, ensure that their output is suitable, ie between approximately 340-440 nM, blue tubes used in sun beds are the best choice.
(B) High pressure Mercury vapour lamp
The HPR lamp works by vaporising and ionising mercury which normally takes 2-3 minutes from switch on. Once the lamp has been switched off the mercury condenses before it can be vaporised again.The HPR lamp has a relatively low output and a line spectrum with high peaks in the ultra-violet and blue regions. When exposing large areas a number of lamps must be used with consequent undercutting problems and areas of uneven exposure.The HPR lamp normally has a life of about 1000-1500 hours, after which the UV output tends to fall off. A practical light source for small stencils and the hobbyist.
(C) Metal Halide lamp
Metal Halide lamps are now the industry standard and are recommended by MacDermid Autotype as the most practical light source to use. They consists of a quartz envelope containing mercury through which a current passes, vaporising the mercury. Like the HPR lamp, it has a discontinuous line spectrum and requires a restart time, although instant start models are now common. With the addition of metal halides it is possible to adjust the spectral output within the UV and blue parts of the spectrum.The lamp has an average life of around 1,000 hours. It is ideally suited to the exposure of photostencils - clean, efficient and fast because of its relatively high power and high UV output. Different doping materials are used to produce 'Diazo', 'Photopolymer' or 'Universal' bulbs depending on your requirements.
Light intergrators
Timing an exposure is not the most accurate way of ensuring that the stencil has received the correct amount of light. A light integrator will compensate for these variations, since the exposure is controlled by the amount of light falling on a photocell placed on a vacuum frame. An additional advantage of the light integrator is that, regardless of lamp position, once an optimum exposure level has been found, no further adjustments are required.
Mesh effects on exposure
When exposing capillary film or emulsions, treat the photostencil and mesh as a complete entity because of the influence of the mesh on light scatter. This affects both resolution, definition and exposure level.The diagram below shows the light scatter caused by white mesh. Scatter increases with the increase in mesh count and exposure time. As this can cause considerable loss of resolution and definition it is recommended that dyed meshes are used, especially when reproducing fine detail.
Dyed meshes absorb the UV light, thus minimising light scatter hence exposure times have to be increased by 50-150% over the times used for white mesh.
Vacuum Frames
The contact between the positive and the photostencil should be as perfect as possible, as inadequate contact results in light undercutting. Particles must not be trapped between the two surfaces and if using large vacuum frames fitted with flexible rubber blankets allow sufficient time for all the air to be exhausted. In some cases the blanket can become stretched, especially after processing many direct stencils. It may be necessary to use a piece of flexible tubing near or around the positive and connected to the blanket vacuum inlet to insure proper air evacuation by channelling the air.
Light Source Geometry
The photographic properties of photostencils which are influenced by exposure are resolution and definition. Resolution is taken to be the limit of reproduction achievable i.e how fine a line can you resolve. Definition is the reproductive quality, for example, the straightness of edges of print.
Light spread
Photostencils are designed to obtain a specific resolution, but once they are over-exposed, light spread in the emulsion will reduce this resolution ; ie open areas will start to close in. This is influenced by mesh colour, film positive contact and angles at which the UV enters the stencil.
Light source Geometry
If the light rays passing through the positive and photostencil material emulsion are not parallel, changes will occur in the image reproduced in the photostencil. This is often referred to as light undercutting. From a practical point of view, poor light geometry effects do not present a problem when processing general work, ie lettering down to about 6 point and halftones of 65 lines (25 cm) or coarser. It is only when trying to accurately reproduce very fine line halftones or images, that attention must be paid to light geometry.
Factors influencing light geometry
(a) Size of the light source. The larger a source, the greater becomes the angle of light rays travelling from its edges and therefore the degree of undercutting.
(b) Position of the light source. The nearer a light source is to the vacuum frame the greater is its effective size. Conversely if the lamp is moved further away, so its effective size is reduced. It is good practice to increase lamp distance when exposing very fine detail work to reduce the effect of light undercutting if at all practical, (do not forget that the exposure time will have to be adjusted if an integrator is not fitted).
(b) Position of the light source. The nearer a light source is to the vacuum frame the greater is its effective size. Conversely if the lamp is moved further away, so its effective size is reduced. It is good practice to increase lamp distance when exposing very fine detail work to reduce the effect of light undercutting if at all practical, (do not forget that the exposure time will have to be adjusted if an integrator is not fitted).
Positive quality and the absorption of the film base
The film positive determines the image quality of the stencil.
For optimum results use single-layer positives with the emulsion side in contact with the photostencil during exposure.This ensures that light undercutting will be restricted and that the stencil will be uniformly exposed. It will be noted that a normal 100 micron (0.004') polyester film base absorbs a high proportion of the UV light. So when using stripped up positives with two or more layers of film plus adhesive tape, considerable variations in stencil exposure will result. Exposure times have to be adjusted accordingly for the best overall result. Multi-layer positives increase the amount of spotting-out time so careful consideration should be given to the real cost differences between single and multi-layer positives.
For optimum results use single-layer positives with the emulsion side in contact with the photostencil during exposure.This ensures that light undercutting will be restricted and that the stencil will be uniformly exposed. It will be noted that a normal 100 micron (0.004') polyester film base absorbs a high proportion of the UV light. So when using stripped up positives with two or more layers of film plus adhesive tape, considerable variations in stencil exposure will result. Exposure times have to be adjusted accordingly for the best overall result. Multi-layer positives increase the amount of spotting-out time so careful consideration should be given to the real cost differences between single and multi-layer positives.
Washout
When correctly dried and exposed, Ultra Cap and Utra Coat stencils are very tough and will withstand extremes of washout conditions. As a rule, Ultra Cap and Ultra Coat stencils benefit from a 'short, sharp' washout using a strong spray of cold water, predominantly from the print side of the screen.
If the mains water pressure is too low to achieve a strong spray, then a high pressure gun can be used, ideally set with a diffuse spray and held at a minimum distance of 80 cms from the stencil.
If the mains water pressure is too low to achieve a strong spray, then a high pressure gun can be used, ideally set with a diffuse spray and held at a minimum distance of 80 cms from the stencil.
Note
As high pressure guns are available in many different powers it is important to test the jet on a non-printing area before processing a production screen.
If the screen is small enough to be handled easily then the ideal washout process is turn the screen during washout so the emulsion from the image areas is rinsed clean from the squeegee side though the bulk of the washout should take place on the print side.
If the screen is small enough to be handled easily then the ideal washout process is turn the screen during washout so the emulsion from the image areas is rinsed clean from the squeegee side though the bulk of the washout should take place on the print side.
Pre- soak
Although tempting, pre-soaking a small screen prior to washout may cause problems due to the softening effects that soaking can have, especially on thicker stencils that have been under exposed.
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United KingdomCONTACT YOUR LOCAL DEALER:
- Pyramid Screen Products
- Unit 8, West Kingsdown Industrial Estate
- West Kingsdown
- Sevenoaks
- Kent CT15 6EL, UK
- Tel: +44 (0) 208 2552130
- Fax: +44 (0) 208 2552102
- Website Details: http://www.pyramidscreenproducts.co.uk/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Screen Print Supply Ltd
- 3 The Orchards
- Cheswick Green
- Solihull
- West Midlands B90 4HP
- Tel: 0845 017 5558
- Fax: 0845 017 5559
- Website Details: http://www.screen-print-supply-ltd.co.uk
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- The Screen Machine Supply Company LLP
- Unit C, Lyon Road
- Denbigh Industrial Estate
- Bletchley
- Milton Keynes, Bucks
- MK1 1EX
- Tel: +44 1908 270 600
- Fax: +44 1908 270 601
- Website Details: http://www.screenmachinesupply.co.uk
- Email: [email protected]
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- SIA Rigas Sesoma
- Uriekstes iela 3
- LV-1005 Riga
- Latvia
- Tel: +371 67 50 1141
- Fax: +371 67 50 1142
- Website Details: http://www.sesoma.lv
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- CPS Products & Services Ltd
- Grove Road
- Wantage
- Oxon OX12 7BZ
- UK
- Tel: +44 1235 773240
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- Website Details: http://www.cps.eu
- Email: [email protected]
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- Fujifilm Australia Pty Ltd
- 114 Old Pittwater Road
- Brookvale
- NSW 2100
- Australia
- Tel: +61 2 9466 2794
- Fax: +61 2 99053801
- Website Details: http://www.fujifilm.com.au
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Amco Sdn Bhd
- 3, Jalan 5/32A
- Off Batu 6½
- Jalan Kepong
- Malaysia
- Tel: +60 36 252 3288
- Fax: +60 36 2503628
- Email: [email protected]
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- Blue Print Imaging Ltd
- 1, The Inlet
- Takanini
- Auckland
- New Zealand
- Tel: +64 9 299 7770
- Fax: + 64 9 299 7771
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- 10659m Jhandewalan Road
- Nabi Karim
- New Delhi 110055
- India
- Tel: +91 11 4141 2020
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- Website Details: http://www.gurbaksish.com
- Email: [email protected]
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- Right Source 1
- 9439 Magnolia Ave.
- Riverside
- CA 92503
- USA
- Tel: +1 951 406 1155
- Email: [email protected]
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- Litho Supply
- 1430 Girard Blvd. NE
- Albuquerque
- NM 87106
- USA
- Tel: +1 505 265 3556
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Screen Process of Alabama (AL)
- 4250 Praytor Way
- Trussville
- AL 35173
- USA
- Tel: +1 205 655 2757
- Fax: +1 205 655 4418
- Tel: 800 804 0786
- Website Details: http://www.screenprocess.com
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- Tubelite Company, Inc. (AZ )
- 7310 W. Roosevelt
- Phoenix
- AZ 85043
- USA
- Tel: +1 602 484 0122
- Fax: +1 602 278 2341
- Tel: 800 505 4900
- Website Details: http://www.tubelite.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Coastal Supply Company, Inc. (CA )
- 8650 Argent Street
- Santee
- CA 92071
- USA
- Tel: +1 619 562 8880
- Fax: +1 619 562 2772
- Website Details: http://www.signmakingsupplies.com
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (CA)
- 21054 Alexander Court
- Hayward
- CA 94545
- USA
- Tel: +1 510 732 5800
- Fax: +1 510 732 7624
- Tel: 800 824 2468
- Fax: 800 824 2474
- Website Details: http://www.midwestsignandscreen.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Nazdar SourceOne (CA)
- 11821 Western Avenue
- Garden Grove
- CA 92841-2119
- USA
- Tel: +1 714 894 7578
- Fax: +1 714 891 7875
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- T.W. Graphics Group (CA)
- 3323 Malt Avenue
- City of Commerce
- CA 90040
- USA
- Tel: +1 323 721 1400
- Fax: +323 724 2105
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (CO)
- 5301 Peoria Street, Unit F
- Denver
- CO 80239
- USA
- Tel: +1 303 373 9800
- Fax: +1 303 373 9700
- Tel: 800 332 3819
- Fax: 800 332 3820
- Website Details: http://www.midwestsignandscreen.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Garston Screen Printing (CT)
- 570 Tolland Street
- East Hartford
- CT 06108
- USA
- Tel: +1 860 289 3040
- Fax: +1 860 289 3005
- Tel: 800 966 9626
- Website Details: http://www.garston.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Nazdar SourceOne (FL)
- 13160 NW 43rd Avenue
- Opa Locka
- FL 33054
- USA
- Tel: +1 305 681 5152
- Fax: +1 305 681 8545
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Screen Process of Alabama (FL)
- 8286 Western Way Circle Unit D7-D8
- Jacksonville
- FL 32256
- USA
- Tel: 800 804 0786
- Website Details: http://www.screenprocess.com
CONTACT YOUR LOCAL DEALER:
- Sun Chemical Corporation (FL)
- 4506-H LB McLeod Rd.
- Orlando
- FL 32811
- USA
- Fax: +1 407 839 1711
- Website Details: http://www.sunchemical.com
CONTACT YOUR LOCAL DEALER:
- Tubelite Company, Inc. (FL)
- 102 Semoran Commerce
- Apopka
- FL 32703
- USA
- Tel: +1 407 884 0477
- Fax: 800 505 7454
- Tel: 800 505 4900
- Website Details: http://www.tubelite.com
CONTACT YOUR LOCAL DEALER:
- Tubelite Company, Inc. (FL)
- 11205 NW 131st Street
- Miami
- FL 33178
- USA
- Tel: +1 305 883 9070
- Fax: +1 305 883 9456
- Tel: 800 505 4900
- Fax: 800 505 7454
- Website Details: http://www.tubelite.com
CONTACT YOUR LOCAL DEALER:
- Nazdar SourceOne (GA)
- 4260 Peachtree Industrial Blvd.
- Norcross
- GA 30071
- USA
- Tel: +1 770 476 0510
- Fax: +1 770 623 0297
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
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- One Shot Supplies (HI)
- 815-A Waiakamilo Road,
- Honolulu
- HI 96817
- USA
- Tel: +1 808 841 7683
- Fax: +1 808 842 0478
- Website Details: http://www.oneshotsupplies.com
- Email: [email protected]
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- Nazdar SourceOne (IL)
- 1087 N. North Branch Street
- Chicago
- IL 60622
- USA
- Tel: +1 312 943 8338
- Fax: +1 416 663 5629
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
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- Sun Chemical Corporation (IL)
- 2445 Production Drive
- St Charles
- IL 60174
- USA
- Tel: +1 630 513 5348
- Fax: +1 630 513 1655
- Website Details: http://www.sunchemical.com
CONTACT YOUR LOCAL DEALER:
- Nazdar SourceOne (IN)
- 2910 Fortune Circle West, Suite C
- Indianpolis
- IN 46241
- USA
- Tel: +1 317 484 4500
- Fax: +1 317 484 4510
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Tubelite Company, Inc. (IN)
- 3875 Culligan, Unit H
- Indianpolis
- IN 46218
- USA
- Tel: +1 317 352 9366
- Fax: +1 317 352 1637
- Tel: 800 505 4900
- Fax: 800 505 7454
- Website Details: http://www.tubelite.com
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- Nazdar SourceOne (KS)
- 8501 Hedge Lane Terrace
- Shawnee
- KS 66227
- USA
- Tel: +1 913 422 1888
- Fax: +1 913 422 2295
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Commercial Screen Supply (MA)
- 6 Kiddie Drive
- Avon
- MA 02322
- USA
- Tel: +1 508 583 2300
- Fax: +1 508 583 8234
- Tel: 800 227 1449
- Website Details: http://www.commericalscreen.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
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- Etchomatic, Inc. (MA)
- 179 Olde Canal Drive
- Lowell
- MA 01851
- USA
- Tel: 1 978 656 0011
- Fax: +1 978 656 9903
- Tel: 800 634 3006
- Website Details: http://www.etchomatic.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Garston Screen Printing (MA)
- 21 Parkridge Road
- Haverhill
- MA 01835
- USA
- Tel: +1 978 374 0600
- Fax: +1 978 374 9777
- Tel: 800 328 7775
- Website Details: http://www.garston.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Lambert Company Inc (MA)
- 25 Walpole Park South, Unit 1A
- Walpole
- MA 02081
- USA
- Tel: +1 781 628 8150
- Fax: +1 781 440 0874
- Tel: 800 292 2900
CONTACT YOUR LOCAL DEALER:
- Sun Chemical Corporation (MA)
- 800 Hingham St. Suite 2
- Rockland
- MA 02370
- USA
- Tel: +1 781 871 8310
- Fax: +1 781 871 8302
- Tel: 800 999 4657
- Website Details: http://www.sunchemical.com
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- Martin Supply Co. Inc (MD)
- 2740 Loch Raven Rd
- Baltimore
- MD 21218
- USA
- Tel: +1 410 366 1696
- Tel: 800 282 5440
- Website Details: http://www.martin-supply.com/history.php
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- Nazdar SourceOne (MI)
- 687 Minnesota Avenue
- Troy
- MI 48083
- USA
- Tel: +1 248 588 4900
- Fax: +1 248 588 0370
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (MN)
- 45 East Maryland Avenue
- St Paul
- MN 55117
- USA
- Tel: +1 651 489 9999
- Fax: +1 651 489 0202
- Tel: 800 328 6592
- Fax: 800 328 6599
- Website Details: http://www.midwestsignandscreen.com
CONTACT YOUR LOCAL DEALER:
- Sun Chemical Corporation (MN)
- 4463 White Bear Parkway 102
- White Bear Lake
- MN 55110
- USA
- Tel: +1 651 653 3211
- Fax: +1 651 653 3212
- Website Details: http://www.sunchemical.com
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (MO)
- 1806 Vernon Street
- N. Kansas City
- MO 64116
- USA
- Tel: +1 816 333 5224
- Fax: +1 816 333 5446
- Tel: 800 233 3770
- Fax: 800 233 3771
- Website Details: http://www.midwestsignandscreen.com
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- Nazdar SourceOne (MO)
- 4850 New Baumgartner Road
- St Louis
- MO 63026
- USA
- Tel: +1 314 416 0934
- Fax: +1 314 416 1371
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Nazdar SourceOne (NC)
- 7001-C Cessna Drive
- Greensboro
- NC 27409
- USA
- Tel: +1 336 668 4085
- Fax: +1 336 668 4174
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Photochemical Systems (NC)
- 105 Forest Drive
- Knightdale
- NC 27545
- USA
- Tel: +1 919 266 4463
- Tel: 800 849 4463
- Website Details: http://www.photochemical.com
CONTACT YOUR LOCAL DEALER:
- Tubelite Company, Inc. (NC)
- 10700 Twin Lakes Parkway
- Charlotte
- NC 28269
- USA
- Tel: +1 704 875 3117
- Fax: +1 704 875 8912
- Tel: 800 505 4900
- Fax: 800 505 7454
- Website Details: http://www.tubelite.com
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (NE)
- 9313 'J' Street
- Omaha
- NE 68127
- USA
- Tel: +1 402 592 7555
- Fax: +1 402 592 5267
- Tel: 800 228 3839
- Fax: 800 228 3886
- Website Details: http://www.midwestsignandscreen.com
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- Nazdar SourceOne (NJ)
- 7055 Central Highway
- Pennsauken
- NJ 08019
- USA
- Tel: +1 856 663 7878
- Fax: +1 856 663 9467
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Sun Chemical Corporation (NJ)
- 500 Industrial Avenue
- Teterboro
- NJ 07608
- USA
- Tel: +1 201 288 9500
- Fax: +1 201 933 0003
- Website Details: http://www.sunchemical.com
CONTACT YOUR LOCAL DEALER:
- Tubelite Company, Inc. (NJ)
- 300 Park Street
- Moonachie
- NJ 07074
- USA
- Tel: +1 201 641 1011
- Fax: 800 505 7454
- Tel: 800 505 4900
- Website Details: http://www.tubelite.com
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- Commercial Art Supply (NY)
- 935 Erie Blvd
- East Syracuse
- NY 1320
- USA
- Tel: +1 315 474 1000
- Fax: +1 315 474 5311
- Tel: 800 669 2787
- Website Details: http://www.commercialartsupply.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Garston Screen Printing (NY)
- 180 Commerce Drive
- Rochester
- NY 14623
- USA
- Tel: +1 585 321 1610
- Fax: +1 585 321 1665
- Tel: 800 825 8808
- Website Details: http://www.garston.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Reich Supply Co., Inc. (NY)
- 2 Campion Road
- New Hartford
- NY 13413
- USA
- Tel: +1 315 732 6126
- Fax: +1 315 732 7841
- Tel: 800 338 3322
- Website Details: http://www.reichsupply.com
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- Multicraft Inc. (OH)
- 4701 Lakeside Ave.
- Cleveland
- OH 44114
- USA
- Tel: +1 216 432 5656
- Fax: +1 216 432 5757
- Tel: 800 742 8000
- Website Details: http://www.multicraftink.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Nazdar SourceOne (OH)
- 3905 Port Unin Blvd.
- Fairfield
- OH 45014
- USA
- Tel: +1 513 870 5706
- Fax: +1 513 870 5713
- Website Details: http://sourceone.nazdar.com/
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Tubelite Company, Inc. (OH)
- 1224 Refugee Lane
- Columbus
- OH 43207
- USA
- Tel: +1 614 443 9734
- Fax: +1 614 443 0201
- Tel: 800 505 4900
- Fax: 800 505 7454
- Website Details: http://www.tubelite.com
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- Industrial Screen & Sign Supply (OK)
- 5432 S 103 E. Avenue
- Tulsa
- OK 74146
- USA
- Tel: +1 918 664 2226
- Fax: +1 866 664 2226
- Fax: 918 664 2227
- Website Details: http://www.industrialscreensandsigns.com
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (OR)
- 5035 N.W. Front Avenue
- Portland
- OR 97210-1105
- USA
- Tel: +1 503 224 1400
- Fax: +1 503 224 6400
- Tel: 800 228 0596
- Fax: 800 278 0596
- Website Details: http://www.midwestsignandscreen.com
- Email: [email protected]
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- Tubelite Company, Inc. (TN)
- 3111 Bellbrook Drive
- Memphis
- TN 38116
- USA
- Tel: +1 901 396 8320
- Fax: +1 901 396 4648
- Tel: 800 505 4900
- Fax: 800 505 7454
- Website Details: http://www.tubelite.com
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- Sun Chemical Corporation (TX)
- 1505 109th Street
- Grand Praire
- TX 75050
- USA
- Tel: +1 972 641 3908
- Fax: 800 888 4657
- Website Details: http://www.sunchemical.com
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (UT)
- 1160 S. Pioneer Road, Suite 2
- Salt Lake City
- UT 84104-3743
- USA
- Tel: +1 801 974 9449
- Fax: 1 801 974 9442
- Tel: 800 497 6690
- Fax: 800 497 6691
- Website Details: http://www.midwestsignandscreen.com
- Email: [email protected]
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- Regional Supply Inc (UT)
- 4517 W 1730 S Ste 6451
- Salt Lake City
- UT 84104
- USA
- Tel: +1 801 262 6451
- Fax: +1 801 261 5658
- Website Details: http://www.regionalsupply.com
- Email: [email protected]
CONTACT YOUR LOCAL DEALER:
- Midwest Sign & Screen Printing Supply, Inc. (WA)
- 401 Evans Black Drive
- Seattle
- WA 98188-2912
- USA
- Tel: +1 206 433 8080
- Fax: +1 206 433 8021
- Tel: 800 426 4938
- Fax: 800 426 4950
- Website Details: http://www.midwestsignandscreen.com
- Email: [email protected]
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- Midwest Sign & Screen Printing Supply, Inc. (WI)
- 10061 South 54 Street
- Franklin
- WI 53132
- USA
- Tel: +1 262 641 8550
- Fax: +1 216 641 8555
- Tel: 800 242 7430
- Fax: 800 242 7439
- Website Details: http://www.midwestsignandscreen.com
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- CPS Products & Services Ltd
- Grove Road
- Wantage
- Oxon OX12 7BZ
- UK
- Tel: +44 1235 773240
- Fax: +44 1235 771196
- Website Details: http://www.cps.eu
- Email: [email protected]
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- Mino International Ltd
- 4-47-54 Nukui
- Nerima-Ku
- Tokyo 176-0021
- Japan
- Tel: +81 3 3577 1621
- Fax: +81 3 3577 3326
- Website Details: http://www.mino.co.jp
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- CTS Industries Pte Ltd
- 125 Pioneer Rd
- Singapore 639592
- Tel: +65 6276 3328
- Fax: +65 6276 3336
- Website Details: http://www.ctsind.com.sg
- Email: [email protected]
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- Porto Silk Comercio e Importacao LTDA
- Rua Sao Carlos, 977
- Porto Alegre, RS
- 90220-121
- Brazil
- Tel: +55 51 3332 0125
- Fax: +55 51 3337 4766
CONTACT YOUR LOCAL DEALER:
- Dupiza Com. Ltda
- Rua Branco De Moraes 588
- Chac. Santo Antonio
- Sao Paulo 04718-010
- Brazil
- Tel: +55 11 5181 9716
- Fax: +55 11 5181 3195
- Website Details: http://www.dupiza.br
- Email: [email protected]
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- Screentec Corporation (ON)
- 930 Westport Crescent
- Missisauga, Westport
- L5T 1G1
- Canada
- Tel: +1 905 670 7042
- Fax: +1 905 670 7046
- Tel: 800 668 5302
- Website Details: http://www.screentec.ca
- Email: [email protected]
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- GMS Prod Graficos Ltda
- Santa Filomena 66 Recoleta
- Santiago 4
- 6622882 Chile
- Tel: +56 2 730 0000
- Fax: +56 2 730 0163
- Email: [email protected]
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- Insumos Serigráficos
- Av. 2 Calle 24-26
- San Jose 4175-1000
- Costa Rica
- Tel: +506 233 8507
- Fax: +506 221 5304
- Email: [email protected]
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- MacDermid Autotype Inc.
- 1675 Winnetka Circle
- Rolling Meadows
- USA
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- JL. Lingkar Luar Barat No. 8A
- Duri Kosambi Cengkareng
- Jakarta 11750
- Indonesia
- Tel: +62 21 5437 6633
- Website Details: http://charliesps.co.id
CONTACT YOUR LOCAL DEALER:
- MacDermid Autotype Inc.
- 1675 Winnetka Circle
- Rolling Meadows
- Winnetka
- USA
- Tel: +1 847 818 8262
- Fax: +1 847 818 8280
- Website Details: http://www.cps.eu
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- T309, Tech Center, SK N Technopark
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- Seongnam-Si
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- Bucheon Technopark
- 301-504 Samjeon
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- Apartado 0819-01189
- Avenida Domingo Diaz (Via Tocumen)
- 1189 Panama
- Republica de Panama
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CONTACT YOUR LOCAL DEALER:
- MacDermid Autotype Inc.
- 1675 Winnetka Circle
- Rolling Meadows
- USA
- Tel: +1 847 818 8262
- Fax: +1 847 818 8280
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Name: William Shorter
Mobile Number: +44 7831 109181
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Posted by1 year ago
Archived
Hey everyone,
I've been having trouble with washing out the emulsion after exposure to a halftone image. I am using Chromaline ChromaBlue emulsion, one coat of both sides of the screen, I let the screen dry overnight, and expose it for 2 minutes to the halftone image. I have done a step wedge test - my original one in the summer said the ideal time was 90 seconds, but this one I did a few days ago (trying to trouble shoot my problem) seemed to indicate that 2 minutes was better. The step wedge test washed out fine, too, as does any other image that we have burned lately. Just these halftones seem to result in the emulsion peeling off of the screen. I made sure that the screens are cleaned thoroughly before they get emulsion. They are left completely dark, overnight, and I wash them out after exposure with a pressure washer. The first image was with a garden hose that I could control the pressure and spray of.
Any suggestions would be helpful. I originally thought the coldness of the drying room and the water we use to wash them out was the problem, but I've since added a small heater in the room to keep it about 65-70 degrees, and I added some hot water to the cold water so it is about lukewarm to mildly cold now. I have also had this problem with two different batches of the same brand of emulsion. I've used this emulsion for at least 6 months now with no other issues, including doing halftone images. And, perhaps the worst part, I did this same exact halftone image about 10 days ago and, while I couldn't get out all of the little dots, I got most of it washed out without this weird effect on the emulsion. I'm out of ideas at this point.
Pictures, the first one is with the garden hose, the second one is with the pressure washer: https://imgur.com/a/rOI6m
Compatible with all wheel WA models HS50 HS55 HS70 HS80; HS50 WA; HS55 WA; HS55K1 WA; HS55K1 WAS HS55K2 WA; HS55K2 WAS RIGHT AUGER WHEEL WA MODEL Includes OEM part numbers: 72401-732-000 AUGER, R. This is the right side auger for a wheel model HS50 or HS55 Honda snowblower. Please feel free to email with questions.
Please note that it is not compatible with track models.
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