Elastic Modatex inks are available in Clear Base, White, Black, Yellow Europe, Magenta Europe, Cyan Europe (The last three used only in four colour printing).
If you print onto light coloured fabric I suggest that you add the Clear Base to the normal colours, to obtain the elasticity required.
If you print onto dark coloured fabric, it is better to print a base using Elastic White. Then you can print onto the base using the normal colours.
It is true that the elastic colours have less covering power than the normal ones.
The question about a drier is not important, because you have the same problem with plastisol inks.
Also in plastisol inks there is an elastic base. Usually people add the coloured pigments to the elastic base with good results.

In theory it is possible, but in practice it is extremely difficult, especially if the two colours are close to each other.
In practice there are two ways of doing this:
- Print the first colour; but do not remove the t-shirt from the table; remove the screen and replace it with the new colour. Adjust the position of the screen (but not the t-shirt) and print the second colour.
Or:
- Print the first colour on all the t-shirts. Then remove the screen and replace it with the second colour.
The next process is very slow and difficult because you must reposition each t-shirt on the table in order to get the perfect register.
It is clear that both processes take too much time, particulary from a business point of view.
However, if you are printing for love, then of course it is possible.

 

It is a fact that the water based inks dry on the screen if you stop moving the squeege for more than three or four minutes.
However you do not get this problem with the plastisol inks, because they don't contain any solvent which evaporates.
These plastisol inks become strong only if you dry them at 150°C.
Even though there is the risk of drying on the screen, water based inks are frequently used, because they have good characteristiques:
1) - They don't need the drying oven.
2) - Many people prefere this kind of ink because the finished appearance is very good: the image is absorbed onto the fabric whereas the plastisol ink is laid on the surface.

When you print a light color on a dark fabric there is no difference between the two inks, however you must follow a special procedure: (you can choose one of these)
1) - Print a white base on the fabric and then print your final colour on top of this base
2) - Print your image, dry quickly using a hair drier (without lifting the t-shirt from the table) and then print the same colour again.

What is my advice?
If you can buy a good drier (cost about Euro 5,500.00) you can use both inks depending on the final image required.
Without a drier, water based inks are certainly better. And there are two tricks you can use to delay the drying time on the screen:
1- Add a ritardent to the ink (maximum 2-3%)
2- Moving the squeege in a particular way to ensure that the image on the screen is always covered by the ink. The image must always be loaded with ink.

To be honest there are some driers which, although not designed for this purpose, nevertheless can be used.
For example: a flash drier, which costs about Euro 1,300.00, or a thermal press, which costs about Euro 500.00.
The disadvantage is that it slows down the production time. If you work for love, you can do it; but if you work for business, that's not a good idea.
With regard to the emulsion: a good universal emulsion is suitable for both inks; you can find them at this address: http://www.screenprintingstore.net/universal-emulsions.html

This is a typical problem for a biginner or a small printer.
Because water based ink tends to dry very quickly.
To solve this problem you must:

- To work quickly

- To add a small amount of "slowing agent" to the ink

- After every four or five prints you must lift the screen and spray a little water onto the underside of the screen; then you must print once or twice onto wast paper to avoid any damage to the t-shirt; then you can restart printing

- If, during the printing process, the ink becomes too viscous, you can spray a little water directly onto the ink

- It is important to remember that when you use water based ink the design area must always be covered with ink, because the constant movement of the ink helps to prevent drying.

If you would like any further information or help, please do not hesitate to contact me again.
Kind regards

Franco Ratto

Lisa good morning and thank you for writing.
The most suitable ink for your needs is our "Nyloflex" ink.
It's a solvent based ink which dries at room temperature over about eight hours.
You can use it with a 225 Mesh screen.
You also need to dilute the ink with our 290.15 dilutent.
The printed surface is very thin, flexible and also water resistant.
If you would like any further information or help, please do not hesitate to contact me again.
Kind regards, Franco Ratto

Wendy good morning and thank you for writing.
You perfectly described the standard way to prepare the screens before to use them.
Many years after the correct way to prepare the screens is still the same.
To obtain that, you need an emulsion, which you can find on our website, at the address http://www.screenprintingstore.net/universal-emulsions.html

If you would like any further information or help, please do not esitate to contact me again.
Kind regards,
Franco Ratto

The binding agent is normally referred to as "the catalyst" and of course we can supply this product.
However, you must remember that every ink needs its own kind of catalyst.
Consequently I need the technical data of your ink and this can be found on line or from your supplier.
The catalyst is not expensive, it costs approximately 3 euros per tin which is sufficient for 1 kilo of water based ink.

Regarding your final paragraph, I'm a little confused by your terminology because what you call "emulsion" I would call "catalyst" in the context of your enquiry.

If you need any other help or information, please do not hesitate to contact me again.

In order to answer your question I need to know which kind of ink you used and also if you use a dryer.
However I can give you some general advice.

1- Read carefully the instructions relateing to the ink and if they recommand using a CATALYST this is important, USE IT.

2- If your ink is the type which dries at room temperature, you must wait a minimum of 72 hours to fix the ink. After 8 hours the ink MAY APPEAR TO BE DRY, but it isn't: you must be patient and wait for the ink to fix permanently.

3- If your ink is the type which requires a dryer, you must dry it at 150°C for 2 minutes.

4- When you wash your t-shirt, remember that all ink manufacturers test their inks at a temperature of 60°C maximum.
There are no inks which allow washing above this temperature

5- If you already follow these instructions, it is possibile that your ink is defective. I suggest that you make a note of the batch number and contact your supplier.

I hope this reply is useful.

If you have to print on Polypropylene, the most suitable ink is our Seriprop, wich about I send you the technical information, as attachment.
The inks plastisol are not suitable at all for Polypropylene, because they dry only at 160°C, and this temperature damns the polypropylene.
The ink Seriprop, instead, drys at the room temperature.
In addition, the ink Seriprop doesn't need any varnish over.

You can find all the Seriprop inks at this address: http://www.cplfabbrika.com/seriprop-quasar.html
The cleaners that you need for this ink are:
290.15 (normal) and 290.23 (slow).

If you like, you can make an order by e-mail.
The cost of shipping for a small box (these products are inflammable) is euro 45,00, from our head office (Albissola - Savona - Italy) to Nice.
Maybe is cheaper for you to come here and get the box: you will be welcome. (It's 130 Km only).

If you would like any further information or help, please do not hesitate to contact me again.
Best regards

If they were in cardboard box, the ink you need is Serigloss based solvent.

If, however, and how likely are plastic, then the ink must Seriprop.

The resistance of both is excellent, when used on suitable media, respectively. Both require the same extender 290.15 (regular) or 290.23 (slow).

In theory it is possible, but in practice it is extremely difficult, especially if the two colours are close to each other.
In practice there are two ways of doing this:
- Print the first colour; but do not remove the t-shirt from the table; remove the screen and replace it with the new colour. Adjust the position of the screen (but not the t-shirt) and print the second colour.
Or:
- Print the first colour on all the t-shirts. Then remove the screen and replace it with the second colour.
The next process is very slow and difficult because you must reposition each t-shirt on the table in order to get the perfect register.
It is clear that both processes take too much time, particulary from a business point of view.
However, if you are printing for love, then of course it is possible.

 

This is a typical problem for a biginner or a small printer.
Because water based ink tends to dry very quickly.
To solve this problem you must:

- To work quickly

- To add a small amount of "slowing agent" to the ink

- After every four or five prints you must lift the screen and spray a little water onto the underside of the screen; then you must print once or twice onto wast paper to avoid any damage to the t-shirt; then you can restart printing

- If, during the printing process, the ink becomes too viscous, you can spray a little water directly onto the ink

- It is important to remember that when you use water based ink the design area must always be covered with ink, because the constant movement of the ink helps to prevent drying.

If you would like any further information or help, please do not hesitate to contact me again.
Kind regards

Franco Ratto

Lisa good morning and thank you for writing.
The most suitable ink for your needs is our "Nyloflex" ink.
It's a solvent based ink which dries at room temperature over about eight hours.
You can use it with a 225 Mesh screen.
You also need to dilute the ink with our 290.15 dilutent.
The printed surface is very thin, flexible and also water resistant.
If you would like any further information or help, please do not hesitate to contact me again.
Kind regards, Franco Ratto

In order to answer your question I need to know which kind of ink you used and also if you use a dryer.
However I can give you some general advice.

1- Read carefully the instructions relateing to the ink and if they recommand using a CATALYST this is important, USE IT.

2- If your ink is the type which dries at room temperature, you must wait a minimum of 72 hours to fix the ink. After 8 hours the ink MAY APPEAR TO BE DRY, but it isn't: you must be patient and wait for the ink to fix permanently.

3- If your ink is the type which requires a dryer, you must dry it at 150°C for 2 minutes.

4- When you wash your t-shirt, remember that all ink manufacturers test their inks at a temperature of 60°C maximum.
There are no inks which allow washing above this temperature

5- If you already follow these instructions, it is possibile that your ink is defective. I suggest that you make a note of the batch number and contact your supplier.

I hope this reply is useful.

You can clean it with the Strip Liquid Emulsion.

Modatex inks are the ones suitable for screen printing cold drying t-shirts. In order to obtain bright colours on dark fabrics, it is necessary to print a white cross-hatch with a 43 mesh count, and then print the other colours on it. Leave the cross-hatch to dry before spreading the following colours. Between colours, one can wet print, as long as not too much ink leaks trough. A spray remover, sprayed under the frame, on the printing side, may help. For the wet on wet printing to work, you want a good off-contact distance (the distance between the frame and the t-shirt), of up to 3 mm; make a light flood stroke with the squeegee with just enough pressure at a high speed. The tilt of the squeegee is also decisive; however, with hand screen printing it cannot be thoroughly accurate.
With regards to screen printing using a manual screen printing machine, it is by all means easier to let each colour dry, using a dryer or an equally suitable tool; the printing process will be slower, but the failures will be notably reduced.

The indirect flock consists of a sheet of velvety fabric, available in many colours, which is applied hot on t-shirts or on other things, according to the chosen design.
The procedure:
With the screen printing technique one prints the thermo-adhesive on the t-shirt, as it was a colour, engraving on the frame the design which one wishes to flock. One the adhesive is dry, one lays this flock sheet on the t-shirt, and then it is pressed for about 15 seconds at a temperature between 160 to 180°C. Remove the unglued flock once cold, and the flocked design remains on the t-shirt.

The format 45x64 is suitable for the screen printing of an A3 design (30x42 cm). I advise you against screen printing on bigger formats with this frame, as the space between the design and the frame plays two important roles: to create a "inkwell" for the ink and not to stress the mesh under the pressure of the squeegee.

The manual screen printing desk you have is essential. You obviously need a 7 or 15 cm long squeegee to spread the ink.
As far as the type of ink is concerned, it depends on the type of plastic: if it is common pvc, the Serigloss will do (vinyl ink). If it is polypropylene, you need the Seriprop instead. Some envelops are made of "plastics", which have a low-stretch surface, and therefore are unfortunately unprintable, with whatever ink.
If you kindly send us a sample envelope, we will be able to advise you as to which is the most suitable ink.
On top of the suitable ink, you will also need the thinner and the Frames Cleaning Solvent 51, in order to get rid of the ink from the frame at the end of the job.
You will then need a frame stretched with a 90 mesh count per cm to fit the stencil (generally one adds an extra 27 cm compared to the base of the stencil, and the same goes for its height).

Generally speaking, you will need a one-colour manual desk and a heat-press (therefore only two tools), which can solve most of the frequent screen printing problems which a screen printer is faced with: even the multi-colour screen print. It is not by chance that we offer 7 starter kits and two of these include these two tools, on top of other small, every day use accessories.
If you really want to be self-sufficient with regards to the screen printing equipment, we suggest you add a UV light exposure unit, for the frames engraving

If we are talking about neon UV tubes, you can place them at 20 cm from the frame. The distance between the tubes must not be over 5 cm. The drying times vary according to the emulsion type and its thickness; as a guideline you can do an initial test by drying the 120 mesh count per cm frame for 3 to 4 minutes. You can subsequently make the appropriate adjustments.

The shopping bag, from a screen printing point of view, is comparable to a t-shirt, as it is slipped in a platen, just like a shirt. I think that your choice should therefore be a screen printing carousel, if you intend to multi-colour print; otherwise a one-colour screen printing machine with a t-shit platen will do. Therefore the flat, semi-automatic screen printing machines 50x70 or 70x100 with a book-like opening are not for you.
For a very high number of bags you will need a line with a cylinder print and automatic load/unload.

The one-colour screen print for the hats can be done rapidly with the suitable Mod screen printing desk. Caps, at a cost of 800 Euros. The multi-colour screen printing desk for hats is definitely not cheap. If you already own a manual screen printing desk with two side arms for the locking of the frame, there is an accessory which will enable you to mount the curved small frames for the hats on your desk, closing it like any other frame. It costs 360 Euros and we do merchandise it. If you own a screen printing carousel, you can mount several accessories of the same type on each station, so that you will be able to screen print multi colour hats. Otherwise, in order to be able to multi colour screen print, you can print the images on a transparency film, using a common flat desk, and then put it in the screen printing heat press.

Good morning Kate and thank you for writing.
Your old method which you used at school is easy and produces good results.
However there are four important points to remember:

- It is not important to use hot water: just use water from your tap.

- Don't use too much water to dissolve the gelatine, because the gelatine is almost sufficiently viscous: just a little water is enough.

- Assuming that your design is on paper, if you put it under the screen it would create a template which would make it easier to follow when you brush the gelatine.
Remember: you always paint the negative of your design!

- When the gelatine is dry, you should expose the screen to natural sunlight because this makes it stronger and more resistant.

If you need any gelatine you can find it at this address:  http://www.screenprintingstore.net/universal-emulsions.html

If you need any screens you can find them at this address: http://www.screenprintingstore.net/spot-delivery-stretched-frames.html

If you need any squeeges you can find them at this address: http://www.screenprintingstore.net/squeegees.html

If you need to reuse the screen for another design, you clean it VERY WELL by using a special product wich you can find at this address:  http://www.screenprintingstore.net/strip.html

If you would like any further information or help, please do not hesitate to contact me again.
Best regards

Franco Ratto
Technical Department

I'll reply just as soon as possible by a personal e-mail. Thank you for writing.

The wood frame is lighter compared to a metal one, but in time it tends to warp if subjected to various washes in water, which are used to be able to engrave it. The metal frame lasts a lot longer and tends to flex less on the greater dimensions; however it weighs more. The costs, at least according to our rate manual, are the same if the dimensions are equal.

The yellow or orange mesh tends to eliminate the parasite lights which can reduce the engraving resolution. It is particularly useful on fabrics with a high count mesh (from 120 threads/cm and up), when engraving screened back images o for very fine lines.
It improves the performance of the neon light exposure units, as a source of indirect light, like neon, tends to produce a lot of parasite light.
According to our experience, the yellow mesh does not make much difference on a 100/cm threads canvas. It is worth mentioning the fact that with a yellow mesh one needs to proportionally increase the exposure time, as this mesh absorbs the light.

"25x25 mm" indicates the square profile of the frame, measuring 25 x25 mm.
It consists of a light and handy frame, suitable for frames measuring no more than 50x70 cm.
- The profile called SC1, or TL/0 by other manufacturers is traditionally the most used by the Italian screen printers, and it looks like an isosceles trapezium with matching sides slightly convex, the ones where the mash is glued.
Its volume is about 30x35 mm.
It is made of iron, and it is varnished with blue powders enamel.
The wood frame is lighter compared to a metal one, but in time it tends to warp if subjected to various washes in water, which are needed in order to be able to engrave it. The metal frame lasts a lot longer and tends to flex less on the greater dimensions; however it weighs more. The costs, at least according to our rates manual, are the same if the dimensions are equal.

The stretched frame consists of the frame with the mesh in tension and attached on top of the frame. The emulsion frame is a stretched frame on which the photosensitive gelatin has also been spread and left to dry; in this way the frame is already sensitized, ready to be engraved. The A3 format measures 30x42 cm; the A3 format measures 21x30 cm.

What happens is that the excess of light obstructs the finer lines of the engraving, and it is no longer possible to remove the gelatin. If one increases the exposure even further, it becomes impossible to remove the gelatin from everywhere. We sell an "exposure calculator": it consists of a suitable calibrated film, which is able to determine with just one try the right time of exposure for a certain gelatin, and for a certain canvas.

Elastic Modatex inks are available in Clear Base, White, Black, Yellow Europe, Magenta Europe, Cyan Europe (The last three used only in four colour printing).
If you print onto light coloured fabric I suggest that you add the Clear Base to the normal colours, to obtain the elasticity required.
If you print onto dark coloured fabric, it is better to print a base using Elastic White. Then you can print onto the base using the normal colours.
It is true that the elastic colours have less covering power than the normal ones.
The question about a drier is not important, because you have the same problem with plastisol inks.
Also in plastisol inks there is an elastic base. Usually people add the coloured pigments to the elastic base with good results.

It is a fact that the water based inks dry on the screen if you stop moving the squeege for more than three or four minutes.
However you do not get this problem with the plastisol inks, because they don't contain any solvent which evaporates.
These plastisol inks become strong only if you dry them at 150°C.
Even though there is the risk of drying on the screen, water based inks are frequently used, because they have good characteristiques:
1) - They don't need the drying oven.
2) - Many people prefere this kind of ink because the finished appearance is very good: the image is absorbed onto the fabric whereas the plastisol ink is laid on the surface.

When you print a light color on a dark fabric there is no difference between the two inks, however you must follow a special procedure: (you can choose one of these)
1) - Print a white base on the fabric and then print your final colour on top of this base
2) - Print your image, dry quickly using a hair drier (without lifting the t-shirt from the table) and then print the same colour again.

What is my advice?
If you can buy a good drier (cost about Euro 5,500.00) you can use both inks depending on the final image required.
Without a drier, water based inks are certainly better. And there are two tricks you can use to delay the drying time on the screen:
1- Add a ritardent to the ink (maximum 2-3%)
2- Moving the squeege in a particular way to ensure that the image on the screen is always covered by the ink. The image must always be loaded with ink.

To be honest there are some driers which, although not designed for this purpose, nevertheless can be used.
For example: a flash drier, which costs about Euro 1,300.00, or a thermal press, which costs about Euro 500.00.
The disadvantage is that it slows down the production time. If you work for love, you can do it; but if you work for business, that's not a good idea.
With regard to the emulsion: a good universal emulsion is suitable for both inks; you can find them at this address: http://www.screenprintingstore.net/universal-emulsions.html

The binding agent is normally referred to as "the catalyst" and of course we can supply this product.
However, you must remember that every ink needs its own kind of catalyst.
Consequently I need the technical data of your ink and this can be found on line or from your supplier.
The catalyst is not expensive, it costs approximately 3 euros per tin which is sufficient for 1 kilo of water based ink.

Regarding your final paragraph, I'm a little confused by your terminology because what you call "emulsion" I would call "catalyst" in the context of your enquiry.

If you need any other help or information, please do not hesitate to contact me again.

If you have to print on Polypropylene, the most suitable ink is our Seriprop, wich about I send you the technical information, as attachment.
The inks plastisol are not suitable at all for Polypropylene, because they dry only at 160°C, and this temperature damns the polypropylene.
The ink Seriprop, instead, drys at the room temperature.
In addition, the ink Seriprop doesn't need any varnish over.

You can find all the Seriprop inks at this address: http://www.cplfabbrika.com/seriprop-quasar.html
The cleaners that you need for this ink are:
290.15 (normal) and 290.23 (slow).

If you like, you can make an order by e-mail.
The cost of shipping for a small box (these products are inflammable) is euro 45,00, from our head office (Albissola - Savona - Italy) to Nice.
Maybe is cheaper for you to come here and get the box: you will be welcome. (It's 130 Km only).

If you would like any further information or help, please do not hesitate to contact me again.
Best regards

If they were in cardboard box, the ink you need is Serigloss based solvent.

If, however, and how likely are plastic, then the ink must Seriprop.

The resistance of both is excellent, when used on suitable media, respectively. Both require the same extender 290.15 (regular) or 290.23 (slow).

The water based ink, like the Modatex, adheres very well to the paper fibres, but if it is used in a liquid form it could dimensionally alter the paper, making it swell up or expand. You can avoid this inconvenience by using a more suitable vinyl ink, like the Serigloss (gloss finish) or the Serimat (matt finish). These are solvent based and dry up more quickly compared to the water based inks, and therefore avoid the fabric deformation.

Generally speaking, the discharge is used on dyed fabrics in a "dischargeable" way. the fabrics are either cotton or mixed cotton.
The product consists of a colourless base, to which the discharge powder is added at the time of use within the due proportions; the concentrated dye can also be added, if you wish. Then it is printed just like a common ink. The drying process in the drying rack causes the whitening of the colour of the fabric and its pigmentation with the new colour. It is not possible to use the product without the drying rack, or at least without a source of heat of 150°C. Some people use the heat gun: the process is feasible, but it takes a long time and it is not very manageable.
The new water based colour, the Modatex, dries at room temperature just like the Texprint Mono. We have verified that, if used correctly, it is more wash resistant and lasts longer in the tin, without degrading. On the contrary, the Texprint Mono has a fairly good hold on fabrics which are not compatible with it (or at least in theory), such as certain synthetics; the Modatex on the other hand, has no hold at all; the Modatex develops all its adhesion on the fabrics it is meant for: cotton and mixed cotton.

The pearlescent powder is based on mica, and therefore has a neutral Ph: it cannot possibly badly react to the ink; either coloured or transparent (normally it is added to the transparent base).
The formation of clumps may depend on an unfinished mix or on an excessive proportion of powder dissolved in the base (max dosage 10 to 15% in weight).
Another guess: had the pearlescent powder, by any chance, been mixed with, or were there residues in the ink of metallic gold or silver powder? As these powders are not neutral, and as they easily develop reactions, they could form some clumps.

The two types of ink are not at all in competition, and one of these cannot replace the other. They are both used, choosing the most suitable one each time, according the result one wishes to achieve. As far as the hold is concerned, some water based inks like the Quasar Modatex are exceptionally good on natural fibres, and are better than the plastisols. With regards to the printability, the water based ink tends to dry on the frame and it is necessary to print by using some precautions, especially during the hot season, whereas the print of the plastisols causes less problems. The plastisols polymerize at a higher temperature compared to the water based inks, and not all fabrics can stand these temperatures. The plastisol ink passes well through the mesh of the screen printing frame: you can print it up to a 120 mesh count; the water based ink does not go beyond the 77 mesh count. The water based ink penetrates in the fabric's fibres and gives it a softer touch. The plastisol produces the typical plasticized surface, and it not transpiring: this is to be bore in mind when printing summer t-shirts. Things become more complicated as there are plastisols without pvc: there is a new era of inks which can do without the pvc and the phthalates, which are considered harmful to a certain degree, and are rejected by some fashion manufacturers. The outcome of the print in this case is very similar to the one of the water based inks, but the ink remains fresh on the frame for enough time.

The printing limitations of a t-shirt are due to the size of the platen on which the t-shirt is placed, its thickness and the hemming of the neck and the sleeves. The only way to obtain a design on the 100% of the surface is by screen printing the fabric before sowing the garment.

With regards to the ink for the glass and for the china, you need the Quasar Epoxery with a catalyst, which you can purchase on our web site.

Certainly, it is possible with both the aforementioned inks, and also the solvent based ones. However, it is worth noticing that the result of the mix is fairly empirical, and only the manufacturers have the formulas needed to obtain the exact inks in the Pantone scale or the RAL scale.

It is a fact that the water based inks dry on the screen if you stop moving the squeege for more than three or four minutes.
However you do not get this problem with the plastisol inks, because they don't contain any solvent which evaporates.
These plastisol inks become strong only if you dry them at 150°C.
Even though there is the risk of drying on the screen, water based inks are frequently used, because they have good characteristiques:
1) - They don't need the drying oven.
2) - Many people prefere this kind of ink because the finished appearance is very good: the image is absorbed onto the fabric whereas the plastisol ink is laid on the surface.

When you print a light color on a dark fabric there is no difference between the two inks, however you must follow a special procedure: (you can choose one of these)
1) - Print a white base on the fabric and then print your final colour on top of this base
2) - Print your image, dry quickly using a hair drier (without lifting the t-shirt from the table) and then print the same colour again.

What is my advice?
If you can buy a good drier (cost about Euro 5,500.00) you can use both inks depending on the final image required.
Without a drier, water based inks are certainly better. And there are two tricks you can use to delay the drying time on the screen:
1- Add a ritardent to the ink (maximum 2-3%)
2- Moving the squeege in a particular way to ensure that the image on the screen is always covered by the ink. The image must always be loaded with ink.

To be honest there are some driers which, although not designed for this purpose, nevertheless can be used.
For example: a flash drier, which costs about Euro 1,300.00, or a thermal press, which costs about Euro 500.00.
The disadvantage is that it slows down the production time. If you work for love, you can do it; but if you work for business, that's not a good idea.
With regard to the emulsion: a good universal emulsion is suitable for both inks; you can find them at this address: http://www.screenprintingstore.net/universal-emulsions.html

This is a typical problem for a biginner or a small printer.
Because water based ink tends to dry very quickly.
To solve this problem you must:

- To work quickly

- To add a small amount of "slowing agent" to the ink

- After every four or five prints you must lift the screen and spray a little water onto the underside of the screen; then you must print once or twice onto wast paper to avoid any damage to the t-shirt; then you can restart printing

- If, during the printing process, the ink becomes too viscous, you can spray a little water directly onto the ink

- It is important to remember that when you use water based ink the design area must always be covered with ink, because the constant movement of the ink helps to prevent drying.

If you would like any further information or help, please do not hesitate to contact me again.
Kind regards

Franco Ratto

I'll reply just as soon as possible by a personal e-mail. Thank you for writing.