Hello, I would like to ask you some questions; i.e. what is the difference between a wood frame and a metal one?
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.
I would like to know what the difference is between white and yellow silk thanks
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.
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.
Hi, I would like to know the difference between a frame “metal profile 25x25” and one “SC1 metal profile”, and also their meaning and their characteristics which differ from a wood frame. Can you please reply as soon as possible, as I would like to place
"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.
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.
What are and how do you use the discharge inks?
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 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.
What is and how do you use the pearlescent powder?
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 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.
I have a manual screen printing desk I would like to print some plastic envelopes; can you advise me as to what equipment I need? The ink type, the frame…indicating perhaps the name of the items.
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).
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).
What is the difference between a stretched frame and an emulsion frame?
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.
Which machines do I need to buy to start screen printing?
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 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
Hi, I would like to know if it is possible to create a correct source of light for the frames’ dry using 6 UV, 40w lamps, and if that is the case, how far do I have to place it and how long for.
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.
which one of your water based inks should I use for screen printing dark t-shirts also with multiple colours?
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.
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.
What is the flock and how do you print it?
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 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.
Plastisol or water based? How do I make my mind up?
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.
I would like to know how it is possible to print on the whole surface of the t-shirts
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.
I would like to purchase a semi-automatic, flat, screen printing machine; what puzzles me undecided is the fact that you do not see many of them around. I have to screen print some paper shopping bags, what do you think?
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.
For a very high number of bags you will need a line with a cylinder print and automatic load/unload.
what happens if one exposes the gelatin for longer? In order not to take any risks, is it not enough to expose it to the light for a longer period of time?
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.
hello, I need to print some hats…is there a way to screen print them by using the frames or is it only possible to do so by using a press?
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.
i-am-interested-in-screen-printing-t-shirts-with-roughly-an-a3-format-and-i-would-like-to-know-if-it-is-necessary-to-use-a-frame-45x64-or-if-a-smaller
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.
Which ink do you recommend for the glass?
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.
Hello, I would like to know if the plastisol types of inks can be mixed together
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.
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This is Franco Ratto,