How to Coat a Screen with Emulsion

Posted by Mary Yaeger - 9/18/2017

Also seen on Printwear 

Coating a screen is also referred to as “making a stencil”. The process is done with emulsion which is a thick liquid that is sensitive to UV light. When you place artwork on the photo sensitive emulsion and expose it, a negative stencil is created. This negative stencil is what allows the ink to be printed on a garment.

Before we get into coating a screen we need to discuss the different types of emulsions that are available. There are three types of emulsion and capillary film – which could be used as an alternative to coating the screen. All emulsions work with plastisol inks. Water based inks will eat through most emulsions so you will use an emulsion formulated to work best for water based printing.

Diazo Emulsion

Diazo emulsions have been used for many decades and are still preferred when low production cost is a major consideration. Diazo emulsions are either water resistant or resistant to UV and solvent-based inks. Plastisol inks may be used with either diazo emulsion type.

Dual Cure Emulsion

Diazo-Photopolymer emulsions, also known as dual-cure emulsions, offer the largest variety of features and applications. Dual cure photo-stencil systems provide remarkable image quality and exceptionally durable stencils. These are premium emulsions for use with UV, plastisol, water-based, and solvent-based inks. Whether you need an emulsion with high chemical resistance or one specifically for ceramic inks, our selection provides the right emulsion for your requirements.

Pure Photopolymer Emulsion

Photopolymer emulsions are one-component emulsion systems that are pre-sensitized and ready for use. They offer very fast exposure speed and can be used universally, but often are developed for specific applications and exposure equipment such as direct projection, high emulsion over mesh ratio or for coarse mesh counts. Photopolymer emulsions are typically resistant to UV, solvent-based and Plastisol inks.

Capillary Film

Capillary film can replace liquid emulsion as the technology necessary to meet a wide range of decorator demands, including textured garments, textured prints, and higher resolution images at a lower production cost. Capillary film is not messy like liquid emulsion, does not require mixing ingredients, does not require storage in the refrigerator, and has a longer shelf life. There is no waste, since you cut off and use just what you want.

Application

Emulsionscoop coaters are a must-have tool for coating screens with all direct liquid emulsions. Emulsion scoop coaters are the perfect way to get a smooth, even emulsion layer on your screen.  Simply pour an appropriate amount of emulsion into the coater reservoir then position the coater against the screen and move slowly and smoothly from the bottom to the top, adjusting the angle of the coater slightly as you go to ensure good coverage.  

It is usually best to get an emulsion scoop coater about 2-3 inches narrower than the inside screen frame width. You want the coater to be just wide enough to cover the entire emulsion width in one pass. For heavier ink deposits or to increase the durability of the screen for longer runs additional coatings may desired after the 1st application dries. This will provide a thicker more durable stencil. 

Now, you are going to start with a screen that has been degreased and dried without being contaminated with dust, lint or finger prints. Next, you are going to fill the scoop coater with emulsion. Place the screen frame in an upright position and secure it in place. Use two hands to hold the scoop coater.

When coating screens the emulsion needs to be even on the mesh. Thick and thin places will cause problems during drying and exposing. The thin places will expose faster and cause the image to not wash out due to over exposure. The thick places will expose slower and cause the image to break down and wash out.

There are three types of coating methods:

1&1 Coat – Apply one coat of emulsion on the print side, rotate the screen 180, and apply on the squeegee side. Dry in a horizontal position.

2&2 Coat – Coat twice on the print side, then twice on the squeegee side. After each coat, rotate the screen 180. Dry the screen print side down. This will require a longer dry time, longer exposure time and yield a thicker stencil. This coating method is great for athletic printing.

3&3 Coat – Start by using method 2 above. After complete drying of the emulsion in method 2, add an additional coat on the print side and dry again. This method produces the sharpest edges and thickest stencil and ink deposit.

After coating the screens, let them sit overnight to dry. Screens need to be dry to the touch before exposing.

Underbase Printing

Posted by Dustin Koch on 9/12/2017

What is Underbase Printing? 

This is a bottom layer of ink used to optimize the brilliance and quality of a print. The most common under base used is the main white ink that a shop is using, and it is most commonly used on darker garments in order to deliver the quality of colors the job needs. There are other ways to print an under base, but this lesson will be focusing on using white ink to achieve a quality print. 

Why use an underbase? 

Well, have you ever tried printing a red ink on a black shirt and wonder why it appeared to be "off looking" or "flat?" Most printers have gone through this as well. Under basing takes that "flat" look and turns into a "popping" look. This process enables you to give a better looking product to your customers that will have them coming back to you for future orders. Yes, an under base on a shirt will cause a thicker print on a garment, but the trade off is a much better print and much better satisfaction in your customers.  

What Inks Should I Use?

When using a white as an under base, choose a white that is smooth, soft, and high in opacity. This will allow for the best result while the other inks are being printing on top. As far as the other colors, using a medium opacity ink like the Texsource GEN Series would be ideal. Texsource Prime Time, Texsource White Dream, and Texsource Odyssey White are great for cotton and cotton/poly blend garments. Rutland Super Poly White and Triangle 1706 are great for Polyester garments.

Tips for Underbase Printing Printing:

Printing

A great under base will result in a great finished product, whereas, a bad under base will result in a bad finished product. The first layer of ink laid down will need to be smooth and consistent in order to be successful. This may require a double stroke on the white or a print, flash, print before moving onto the other colors. Each garment reacts different to a stroke of white causing for the printer to need to know his/her inks and his/her garments for the best results. 

Trap It! Choke It! 

It is very often that customers have issues registrating an image that requires an under base. The best way to resolve this issue is not necessarily on the press, but rather, in the artwork. There are two different methods that can be used to help registrate an image properly. Option one is to choke the under base by 1 point. Choking the under base simply causes it to be slightly smaller than the inks that print on top. This will allow for the white ink to "disappear" when the print is complete. The second option is to trap the ink on top by 1 point. This process causes the image on top to be slightly bigger than the under base causing it also to "disappear." 

Mesh Count 

The most common mesh counts for the under base white are a 110 and a 160. This allows for a solid and smooth image area for the other inks to print on. Higher mesh counts can result in a less desired look to the finished product because it will not allow a good base for the primary colors. Because printing on top of an under base is like printing on plastic, a higher mesh count will be needed for the colors going on top. Anywhere from a 200 to a 305 depending on the detail needed

Tools of the Trade - Screen Openers

Posted by Mary Yaeger – 9/6/2017

Why have screen openers in your shop? Simple. Sometimes ink will “dry up” an area of your screen which has the possibility of ruining the image area and the mesh itself. Not only does this slow down your production time, but it could cost you money in the long run. Regular use of screen openers helps prevent clogging and work delays.

Screen openers are used by screen printers everywhere. Just as there are many different screen printers, there are many different brands of screen openers. This fact alone can make it difficult to determine where to start when you buy one, but it is important to note they all have their advantages depending on the type of printing your shop does. Screen openers typically come in two forms – spray and foam spray. Both forms of sprays are meant to be used with different types of inks – water based or plastisol.

As mentioned in previous articles, plastisol ink does not “dry”. It has to go through a curing process to be considered “dry”. So, when we say an area in the screen has dried up, what does that mean in terms of plastisol ink? Depending on the mesh that you are using (especially really fine mesh), plastisol essentially gets lodged in between the mesh threads. When this happens, your standard press wipes or press wash won’t penetrate those threads well enough to get the plastisol out. This is where screen openers come into play. Screen openers are a more aggressive version of press wipes/wash. And can get in between the fine threads to remove the ink.

Water based inks are a little bit different than plastisol in this case. With this particular type of screen printing you will run into ink drying, but there are screen openers made specifically for water based inks! Most screen openers recommend regular use of screen openers. Not only does this open dried up areas on the screen, but it prevents clogging in the first place. It is important that when you use water based inks you keep the screen wet to prevent the ink from drying. Water based screen openers are another tool for screen printers to ensure they are protecting their mesh and keeping up with quality and production.

Another great aspect about screen openers is that they can also be used to clean ink and dirt from your press. While press maintenance may not be high up on a shop’s list of to-do’s it is important to remember to occasionally wipe your press down to protect it.

How to use a screen opener:

When using a screen opener it is important to remember that you are using a chemical. There are some screen openers that smell bad and there are some that smell fruity (typically oranges). That being said, remember to open a window or turn on fans as to inhale as little chemical as possible. Whenever you run into a screen clogging issue, spray the screen opener in a circular motion 6 to 8 inches away from the screen to open. Only a thin application on dried-in areas, and a few passes with a clean rag, is needed to open the mesh back up! 

Typically screen openers do not leave an oily residue or film, but it is important to check with your supplier to make sure you are getting the right product for your shop.

To learn more, visit us online at screenprintingsupply.com

How do I choose the Right Exposure Unit?

Posted by Mary Yaeger - 9/5/2017

Currently in the screen printing industry, there are 3 main types of exposure units - UV, LED, and Halide lamp exposure units. Figuring out which one would be the best fit for your shop can be a confusing experience so we have listed some of the key differences.  

The most economical choice is a UV exposure unit, often available in a tabletop model or with a stand.  They are reliable and easy to use and maintain. They offer great performance and versatility at the best price.  This is an excellent choice for a startup shop or those looking for value. 

LED exposure units are relatively new to the industry.  They offer greater energy efficiency, lighter weight, longer bulb life, and can significantly decrease exposure times when used with the proper emulsions.  This type of exposure unit is recommended for higher production shops or those who desire better performance than UV units. 

 

Lastly, Halide lamp exposure units are the workhorse of the most demanding shop environments.  They offer larger size exposure areas and the highest resolution exposures available.  They have a short 'warm-up' time and they can offer extremely fast exposure times once in use.  

To learn more about these products, visit us online at screenprintingsupply.com

Using Chem 8100 to Clean Screens and Squeegees

Posted by Mary Yaeger - 8/29/2017

In the video above, Texsource team member, Dwayne Collins, demonstrates how to expand your usage of the Texsource Chem 8100 Press Wash. Texsource Chem 8100 is a press wash designed for lightning fast screen reclaim. Not only can you clean up blocked image areas, Dwayne shows us how to clean up squeegees.

Squeegees, just like everything else in your shop, needs to be taken care of to ensure durability and a long squeegee life. You can always just wipe your squeegee off, but what about the hard to reach places? You know, those hard to reach nooks along the rubbers' edge. That's where Chem 8100 comes in handy. Spray it on and use your rag to wipe away the dissolved ink - even running your finger along the edges to make sure all the hard to get plastisol ink has been removed.

Another perk of the Chem 8100 is that it has no odor which makes working with it more pleasant than other washes. It also does not lock in photopolymer emulsions and films which allows for quick and easy reclaiming.

Once you are ready to start printing again, you don't have to worry about a long wait before re-taping your screens or changing colors. Chem 8100 dries in a matter of seconds meaning that you can get back to the funnest part of the job - printing!

Below is an outline of how to use Texsource Chem 8100 Press Wash:

Clean up excess ink from you screens using clean up cards. This is the best way to get as much ink off the screen as possible - and it saves you money! That ink can be placed right back into its original container for later use (recycling win).

It is easiest to use Chem 8100 in a spray bottle, but if you don't have a spray bottle you can apply the wash using a rag.

If you are using a spray bottle, simply spray the image area and use a shop rag or old shirt to wipe away the remaining ink.

If you are applying the wash by rag - agitate the ink with the wash rag and wipe away the dissolved ink.

An important thing to note about the rag you use is that you will need to continuously roll it to make sure you are picking up ink and not just smearing it around. Reapply Chem 8100 as needed and continue to follow up with a dry rag wiping both sides of the screen.

Your screen is ready for tape application and more printing within 10-15 seconds.

Texsource Holds Introduction to Water-Based and Discharge Screen Printing December 1

Posted by Mary Yaeger - August 22, 2017

KINGS MOUNTAIN N.C.— Back by popular demand, Texsource Screen Printing Supply is offering an Introduction to Water-Based and Discharge Printing class featuring Matsui Ink on Dec. 1. 

The class will cover key topics on all things water-based for an in-depth and hands-on experience led by Matsui.

A free lunch will be provided onsite for all participants courtesy of Texsource. The class runs from 9 a.m.–4 p.m at the company's North Carolina location, 714 Cleveland Ave., Kings Mountain, NC 28086.

The class costs $29.95 and will cover all of the following:

• Introduction to water-based inks
• Water-based printing on white and light-colored fabrics
• Discharge printing on 100 percent cotton and blends
• Printing on 100 percent polyester and tri-blend
• 301 stretch series for synthetics and blends
• Special effects inks such as foils, reflective, metallic, and suede puff
• Hands-on printing with all ink products

To register, visit: https://www.screenprintingsupply.com/Class-12--Introduction-to-Water-Based-and-Discharge-Inks-featuring-Matsui-Inks--Dec-1_p_16128.html

Matsui Inc. and Texsource Screen Printing Supply Announce Distribution Partnership

Posted by Mary Yaeger - 8/21/2017

Matsui International Company, Inc., a leading manufacturer of water based inks, announces a distribution partnership with Texsource Screen Printing Supply.

Matsui offers a comprehensive product line which includes water based pigments, bases, additives, and special effect products for a broad range of applications, including: textile, wallpaper, transfer, and specialty services. From exclusive products to a wide variety of industry standards, every product is manufactured with the finest quality and highest standard in reliability.

The Matsui mixing system allows printers to easily create their own custom colors. Combined with a variety of additives for effect and specialty printing, Matsui hopes to open new doors for print shops of all production levels.

There has been a significant growth in the demand for water based screen printing due to the inks’ vibrant colors, natural hand-feel and decreased environmental impact. For Texsource, this partnership means being the first fully stocked east coast location for Matsui Inks.

To kick off the partnership, Texsource held a water-based and discharge screen printing class that Matsui representatives, Jesse Martinez and Enrique Castillo, introduced attendees to the products and techniques unique to the process. With such a great interest and astounding attendance for the first class, Texsource will hold the class again December 1^st. There are plans to continue offering the class on a yearly basis to give customers the training they need to be successful in the industry.

Matsui and Texsource Screen Printing Supply are dedicated to ensuring customers are comfortable with the products they are purchasing. Texsource sales staff is to receive on-going training regarding Matsui products to ensure the most accurate information is shared.

Texsource Georgia Holds Introduction to Screen Printing Class September 21

Posted by Mary Yaeger - August 21, 2017

NORCROSS, G.A.—Texsource Georgia will be hosting an Introduction to Screen Printing class at their Georgia Location – 2783 Peterson Place Norcross, G.A. 30071.

The class runs from 9 a.m.–4:00 p.m.

The class covers key topics during the seminar, including screen printing basics, ink selection, artwork presentation and press set up. Participants will also enjoy a hands-on demonstration where they will print their own shirts!

A free lunch will be provided onsite for all participants courtesy of Texsource.

To register, visit: https://www.screenprintingsupply.com/Georgia-Class--Introduction-to-Screen-Printing-Class--Sep-21_p_15459.html

You can get the most up to date information from Texsource Georgia on their Facebook Page.

Advantages and Disadvantages of Plastisol and Water Based Screen Printing

Posted by Mary Yaeger - 8/15/2017

There are two main types of ink that get used for textile printing – plastisol and water based. While plastisol is more widely known and used, the desire for a more eco-friendly shop has brought water based screen printing into the spotlight. What you will find is that both types of inks have their incredible advantages, but they also have a few drawbacks.

To get started, let’s discuss mesh. The mesh count you use is one of the most important factors to consider when printing (no matter what method you choose to print). Here is a short outline of the different mesh recommendations for inks:

• 24-40 mesh for Glitter inks
•  60-80 mesh for Shimmers and thick white underbases
•  86-110 mesh for Metallics
• 110 mesh most popular for light colors such as white ink
• 160 mesh most popular for black ink. It holds more detail than 110, but less ink will pass through the screen.
•  200-230 mesh holds high detail though the ink may need to be reduced. This mesh is great for water based inks.
• 230-305 mesh is mostly used for super fine detail half tones and CMYK process prints. This mesh is also great for water based inks.

Plastisol Ink

Plastisol is the most popular ink in the industry. It is easy to use and promoted as “user friendly”. Plastisol is not water soluble so you don’t have to worry about it drying in the screen. These inks are generally used right out of the container. No mixing needed. Plastisol is perfect for getting the opaque look on dark garments. It is formulated for printing on light and dark garments. Since plastisol does not dry in the screen, there is no worry about ruining a screen or wasting product. Plastisol does not “dry” when exposed to air. Plastisol has to be cured between 280-350F. The greatest advantage of this is being able to reuse the ink for multiple jobs. As long as the ink has not been contaminated by dirt, lint or other ink, the plastisol can be scooped off of the screen and placed back in its container.

Likewise, if you leave the ink container open for several days, the ink will be ready to use when you come back. You can also leave the ink in a screen for several days without worry of clogging or ruining the stencil. Plastisol also has the capability of wet-on-wet printing which means increased production times – saving your shop time and money.

It is generally recommended that you store plastisol at room temperature. This means keeping your shop temperature controlled. If the ink gets too hot (above 90F) there is a possibility it could start the curing process in its container. A big disadvantage of printing with plastisol is that has tends to have a greater hand-feel. This is a disadvantage because most t-shirt enthusiasts desire a vintage look and soft hand-feel to their shirts. Another thing to note about plastisol is that it should not be ironed. The iron could “re-melt” the plastisol and smear ink on your garment.

If you would like to dispose of any contaminated ink be aware that uncured plastisol is considered a hazardous waste and should be disposed of according to your community guidelines. When plastisol is cured, it is not considered a hazardous waste, but make sure you still properly dispose of it.

Water Based Ink

What plastisol can’t achieve is where water based ink steps in to play. Water based inks are great for achieving that vintage soft hand-feel that is desired by most. Water based inks soak into the fabric instead of standing on top. Water based inks are promoted as more “eco-friendly”, but it is important to keep in mind where you are getting this information from. Just because it is labeled as eco-friendly, does not mean that it isn’t free of “co-solvents” that could be petroleum based. The reason these co-solvents are used varies, but one of the reasons is meant to reduce the time and heat necessary to cure the ink on the fabric.

While water based gives most people the look and feel they want in their prints, there are a few factors that deter people from even trying it in the first place. Unlike plastisol which is ready to use right out of the container, water based ink requires a little bit of mixing math. Water based inks start out as two separate products – pigment and base. You have to add the right amount of pigment to the right amount of base to get the desired color. There are also several additives that you must consider for each type of print.

With a name like water based it is easy to assume that curing would be a simple process because in reality all you are doing is evaporating the water to cure. At a craft level, this might not be too bad. Water based inks can air dry, but not in enough time for high production jobs. For shops that are printing at an intermediate to high production level, the dryers that are required for water based inks are typically larger than the dryers used for plastisol. To help the ink cure faster, you can add what is called a “catalyst” to the ink. The catalyst allows for a fast dry time and ensures an even dry over the entire printed area. The disadvantage to using a catalyst is that it greatly reduces the life span of the ink. When you add a catalyst to water based ink the shelf life is limited to 4-12 hours.

Water based ink tends to dry in the screens if not tended to constantly. For this reason, it is important to keep a spray bottle full of water nearby to keep the ink wet. If the ink dries in the screen it will clog the mesh and ruin the screen. It is also important to consider the type of emulsion you are using. Water resistant emulsion is a MUST! Water based inks will melt or eat through any other type of emulsion. This will end up destroying your stencil and setting your print job back.

Simple Steps to Ensure an Easy Screen Reclaim

Posted by Mary Yaeger - 8/9/2017

What is reclaiming? It is the process of removing a stencil from a screen to use the screen for another job. A Screen can be used for approximately 20 print jobs before it needs to be re-meshed. 

For your reclaim job you will need:

• Ink wash
• Emulsion Remover
• Haze Remover
• Degreaser
• 1 red scrub pad
• 1 blue scrub pad
• 2 white scrub pads

After you clean the screen of ink with the ink wash or press wipe, use the blue scrub pad. Place it in your sink and rinse.

Spray emulsion remover to remove the emulsion, scrub with the red scrub pad on both sides of the frame.

Rinse the image off of the screen with cool water.

You may need to repeat this process to completely remove the stencil.

At times the mesh will be stained with ink or emulsion. Using a haze remover, you can eliminate those stains. You will need to pour the haze remover directly on the red scrub pad and scrub both sides of the screen. Lay the screen flat and wait 3 minutes. Scrub and rinse again with a pressure washer.

Key Points for 4 Color Process Screen Printing

Posted by Mary Yaeger - 8/7/2017

Also seen on Printwear 

If you are new to the industry or a veteran of 20+ years, you have heard of 4 color process printing. This style of printing is one of the many ways to achieve photo realistic prints. With only 4 colors, just about any image can be recreated on a garment. Hard to believe? Maybe not. Even though it sounds over simplified, it was discovered that you can break a photograph down to 4 primary colors – cyan, magenta, yellow and black. By breaking the photograph down to 4 primary colors we can then print using halftones and white to create the photorealistic image we want. Here are a few things you should know before diving into process printing.

Shirt Color

White is the ideal shirt color for CMYK printing because CMYK inks are translucent. However, you are not limited to only printing on white garments. If you are printing on a darker shirt, use a white under base to really make those colors pop.

The garment that you use to print on should have a tight weave so the individual “dots” of your design have a surface to print on. While the weave should be tight, don’t use heavy thick materials as these usually interfere with the detail of the halftones. Not saying that it can’t be done – it just isn’t recommended.

Art Quality

This one is simple - the higher the quality of the image the better the print.

Printability is another factor to consider. Colors that look great on the computer screen may not work when they get printed on the fabric. Likewise, doing a test print on paper doesn’t mean it will be the same when it is printed on fabric. For best results use test pellons (available in black and white) or a fabric that is a similar color to your actual print job.

Color Separations

Color separations start with a print ready file which is something you can achieve using programs like Photoshop. Alternatively, you can use a separation software meant for screen printing. You want to make sure that the file you download is a high resolution JPG. The very first thing you should do when you open your program is make sure it is set to CMYK. When using programs like Photoshop, the default settings are ideal for printing on paper – not shirts.

Not only will you strip the image down to the four main process colors, you will also need halftone dots. The dot shape will have to be adjusted to and elliptical shape which works well with the squares created in the screen mesh. It is also important that you adjust screen angles for each color.

One of the unique aspects of process printing is having the ability to integrate texture, gradients and special effects within your design.

Mesh Size

For CMYK printing you want to use a high mesh count. 305 or higher is industry recommended.

Print Order

While people have their preferences a general rule is to print light to dark. The preferred print order for CMYK printing is yellow, magenta, cyan and black. If you are printing with a white under base, you will have to print that first.

Wet on Wet

Time to print! Generally there is no need to flash between colors unless you are printing a white under base. In that case, only the under base is flash cured. The inks blending create a myriad of tones so it is important that you print wet on wet.  One of the biggest challenges of CMYK printing is to lay down the same amount of ink to create a consistent image. If you are manual printing, make sure to use only one print stroke per color. The ink must not retouch the stencil once the print has been made – you will have a mess otherwise. 

Printing on Stretchy Garments

Posted by Mary Yaeger - 08/04/2017
Also seen on Printwear

 With the popularity of athletic garments in today’s fashion trends, now more than ever, print shops are seeing stretchy substrates make their way through the door. Printing jobs like cheer uniforms, team jerseys or workout gear is on the rise.

There are several things to consider about the garments themselves and how your shop plans to tackle the garments. First, you have to get to know the material. For example, is it nylon, polyester, spandex, lycra or some combination? Is the garment plain or sublimated (like camouflage)? Getting to know the material is important because it sets the mood for the rest of the job. Knowing the substrate you are going to print on will give you an idea of cure time and whether or not you will be fighting dye migration.

Next, you have to decide how you are going to print the garments. You have nylon bonding agents, plastisol with a stretch additive, and silicone ink.

Choosing a stretch additive to add to plastisol is one option, but adding too much stretch additive could reduce the opacity of the ink. Only add 1%-5% stretch additive to retain the ink’s opacity. Also, some stretch additives can be used as an under-base to help improve the stretch of the inks printed on top. While stretch additives boast that you can use it with any plastisol, you will find that the best results are found when using it with an athletic ink or ink that already has some stretch to it like athletic inks.

If you decide that you want to print on nylon using plastisol, you have to consider purchasing a nylobond additive. The unfortunate thing about printing plastisol on nylon materials is that if you don’t use the nylobond additive, the ink won’t stick. Nylobond works as an adhesive for the ink – working like a glue to keep the ink on the garment. You also run the risk of the ink cracking. The other downside to using this method is that the mixture must be used immediately after mixing. The shelf life is anywhere from 8 to 15 hours depending on the environment of your shop. After that, the mixture becomes rock solid. Choosing to print this way also reduces the viscosity of the ink considerably. If this happens, you can let the mixture sit around for a few hours to harden enough to print.

Another option you have is using silicone ink. Silicone offers soft hand-feel, durability and flexibility like none of these other options. You also have no worries about cracking after it is printed. Silicone ink is ideal for printing stretchy garments, but it is expensive. You also have to follow guidelines to mix toner with a catalyst or base depending on the type of look you are going for. This tends to turn people away from using it all together.

One of the benefits of silicone is that it cures at a lower temperature compared to plastisol. This is ideal for printing polyester. Polyester is one of the great offenders for dye migration – releasing dye anywhere from 220F to 340F. Because of its unusually large cure window, silicone offers a cure time around 270F (at the lower end of polyester’s cure time).