Hi I need to silkscreen on fabric, but with a particular effect: I what that the texture of the fabric will stay visibile under the colour. Is is possible? What`s the best ink to use it for this effect?
Hello, I silk screenprint on paper with a 120 thread frame with a Serimat Red ink that when it dries it looses its covering and then I should apply the ink again. How can I solve the problem?
Does the problem arises printing big and regular areas? It could depends on the permeability of the paper that soaks up the ink, so the ink itself goes into the fibre without remain on the paper surface. A frame of 120 thread it`s too much for big areas, maybe it`s better a thicker 77 thread frame that allows to a higher quantity of ink to pass and deposit on the paper. You should also try to change paper and silk screenprint using a less absorbent and more compact one so the ink will dry before go into the fibre.
Hello, I`m writing you to know something about ink and how to screeprint on nylon: what`s the most suitable ink to screenprint on nylon? I also need to know how to dry with low temperature because if the temperature is too high the nylon could burne
To screenprint on nylon we suggest you Nyloflex ink. This is a solvent based ink that dries with natural temperature or you can fasten the drying time by blowing warm air. If the screenprinting process is difficult you can add catalyst, it allows to improve the resistance of the ink without modifying the drying time.
Hello, I need some information about your frames. Can I re-use the frame for more than one time?If I use a engraved frame how many tshirt can I screenprint? And how many tshirt can I screenprint if I would use your light sensitive emulsion?
After the screenprinting process the frame can be completely cleaned from the ink and stored for following printings or it`s also possible using a specific product to remore the emulsion and engrave again it. This is always possible with every kind of emulsion unless it has been catalized but this is really unusual.
The emulsion you are referring to is the Universal emulsion QLT ready to use, that doesn`t need a UV light but just a “cold” light as an alogen or neon. This emuslion lasts for about 100 water based ink printings, but with other inks (plastisol or solvent based) is the same as other emulsions. The frame engraved with the emulsion QLT can be recuperated and agraved again.
Hi, when working with plastisol inks can I use a heatpress to dry the ink (I heard they sometimes use a heatpress to create a glossy effect) or do I need a flash dryer?
Good Morning. For about a year I've been printing, using Modatex inks, onto cotton t-shirts with good results. Recently I began to print onto syntetic fabrics using the same inks. However I noticed that the print was cracking when I applied any tension.
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.
Hi. I’d like to start printing on t-shirts and I’m looking for some advice about what materials to buy: screens, emulsion and inks. Reading your FAQ I think your Modatex ink would be better for t-shirts rather than Plastisol. However, as a beginner, I’m
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
Hello, I use water based inks but I have run out of the binding agent I normally use with them. Do you sell an emulsion for fixing the ink and making it water proof? If so what is the name of the product? Best, Lynn
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.
HI, I need to print onto Polypropylene sheets also know as corrugated plastic, correx boards. These boards are used for printing signage for estate agents, construction and other markets. I need the correct ink. I have searched and found not definitive an
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.
Good morning, and thank you for your web site. I need an ink to make screen printing on a plate, so it must be resistant to the hands and resist the most time as possible. thank you for your reply
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 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 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.