The print can be monochrome or polychrome. In the latter case, the colors are the building blocks of your drawing. It is by combining them with each other that your draw will be formed. At each pass, the support (paper or textile) should be located relative to the screen. This is rigging. By placing marks as small wedges on the test bench, you can print all copies with the same calibration. The shift is more or less tolerant depending on the subtlety of the image and the type of print (art print or advertising). To better understand the features, it is important to first learn how does screen printing work.
You can expect when creating a visual by providing an overlapping wedge (a color that shimmers under another), rather than a wedge from edge to edge. This is the stage when you are more likely to fool you. If the screen is not properly attached to the hinges, if the pads are badly stuck, if the hinges do not fit snugly on the table, if the paper is badly cut, if by placing sheets they are not well placed on the pads …. Either you read on some sheets or you make a mistake at the whole drawing . This step shows the complexity of silkscreen printing, where you must be careful and focused on each step.
Without an absolute search, this is a typical mistake that can occur. So much so that this is the signature of this technique. This is also how we recognize the print made on silk-screen printing. If you do not want an offset, do not print on silk screen! I never guarantee my customers a perfect fit on all leaves. Everything must be done, verified. To do this correctly, you need to answer the question of how does screen printing work.
A mistake and this is a funnel effect. The shift, and we end up with the border between the two colors. This is a technical mistake that you can play on silkscreen to create graphic effects. The question is: how to remove screen printing.
Here is a recent joke. The buyer asks me to print large canvases measuring 1.5 x 1.2 m. To aggravate the complexity of the format, the artist wanted to print two different colors of the visual: two copies in red and two copies in white. I was so absorbed in the sequence of steps that I forgot the color, and I mistakenly printed three images in white and only one in red. After this first mistake, it was decided with the client to stroke one of the white copies in red. And there, a second calibration error is made, white and red were biased.
The client found the result plastically more interesting than the other 3 copies. Something happened for him. Then he asked me to do all the following series in the same way with a white undercoat shifted under each color. For example, this may be the result of an error, it may be enrichment, and in this example it is clear that he added an additional plastic dimension.
Everything is ready: a stack of printing medium, adhesive tape attached to the hinges, marking on the table and ink supply to the screen. After a deep breath, grab a mop and spread the ink on the screen. At this stage, there is always a moment of concern. It is hard to start because we are wondering if everything will be fine, and if we will not ruin all our print media. This is the stage at which all the results of our work will crystallize and errors will be identified.
How to remove screen printing. Here is a table that will allow you to have a general idea of all the errors that may occur: the importance that I attach to them during the rally (with more and more sad emoticons) that they generate, the type of error, the frequency with which they can occur, and when they arise
This is a name full of poetry to describe a physical phenomenon. In screen printing we use a screen consisting of a frame on which synthetic fabric is stretched. This screen after a print run must be thoroughly cleaned for reuse. Despite this, the screens retain the memory of the previous experience. Between the fibers of the fabric there are residues of ink and various materials, the fibers themselves change where the ink is repeatedly passed. Proof, if necessary, that actions on this issue go well. In principle, these images do not interfere with our impressions, but sometimes some ghost images reappear on the current print, which affects the quality of our print.
To make sure that you do not have this problem, you will have to use a new frame each time, increasing the budget for the draw. Which is not very realistic. Finally, we take the risk, which is minimized by choosing screens that are less tired to create beautiful flat areas. Screens are the soul of a workshop. Everyone recognizes the screens that he used, and with nostalgia recalls the previous draws and the difficulties that he had overcome to achieve this.