Posted by Chelsea Chafin - webmaster on 1/31/2017
Finding the right emulsion can be tricky, but is also vital to the screen printing process. Emulsion is used to create your stencil, meaning without it, you have nothing to screen print. It is photosensitive no matter what form it is purchased in, the options being direct emulsion (liquid) or films, so be sure to handle in yellow safelight conditions. Deciding which type is best for you comes down to understanding the subcategories along with the presented options.

What type of liquid emulsion is out there?
A liquid emulsion is a direct emulsion applied to your screen with a scoop coater. You have three choices in liquid emulsions, and all three print plastisol ink. There are pure photopolymer emulsions, diazo emulsions, and dual-cure emulsions. Diazo and Dual-Cure emulsions are both two part emulsions: they require the screen printer to mix the diazo sensitizer into the emulsion base. Pure Photopolymer emulsions are the only one part liquid emulsion.

Most screen printers will recommend a pure photopolymer direct emulsion for quite a few reasons. To use this type of emulsion, no mixing is required and it can be used straight out of the container. In regards to the screen printing process, this emulsion does the work for you while staying consistent and lasting longer, meaning that you have to purchase it less as well. However, the one thing you have to watch out for with this emulsion is how fast it exposes. While it is great in terms of getting the job done, this short range of exposure latitude means if you don't have your correct exposure times down you can very easily overexpose your screen and be left without a usable stencil. With that in mind, please note that pure photopolymers tend to be able to create a thicker stencil (though any can create a thick stencil if coated enough times). When it comes to your work environment, this emulsion is one that is least affected by its surroundings, giving it a shelf life of anywhere from one to two years. It is the most light sensitive of the three (making it faster acting), but also the most expensive.
Ulano QTX Pure Photopolymer Direct Emulsion.

If you're interested in the cheapest version, you will want to go for a diazo emulsion. However, you need to be aware that this type of liquid emulsion is the most affected by its environment and takes the longest to burn. You must have a very strong light source to prevent underexposure and be extra careful of where it is stored. Even with its downsides, it is still recommended to beginning screen printers because of its price and the educational use of two part emulsions: it changes color as you mix the two parts to create the emulsion to affirm that the sensitizer has reacted completely. It also can be very forgiving during exposing times as even if it takes you longer depending on the humidity, you may still have a good result. Unfortunately, even with this exposure forgiveness, you often risk the possibility of underexposing your screen, which can make other parts of the process more difficult. You have the option to create a solvent or water resistant emulsion with diazo, but you can only choose one or the other.

The last option is certainly a unique one. Dual-Cure emulsion's purpose is to combine the benefits of both a photopolymer and a diazo emulsion. The effect is created by adding diazo to a photopolymer base. Much like the diazo, the contents must be stirred together to create the emulsion, meaning it also has the value of color change. Dual-cure is forgiving like the diazo as well, but leaves less opportunity to underexpose. The main reason this one is not normally chosen over the photopolymer is the mixing process and the fact that even with the better properties of the diazo, it still is not as long lasting as the photopolymer with having a shelf life of only six to eight weeks. It will also break down if the run gets to be too long, but the run would have to be in the thousands for this to affect you. However, it is a good option in regards to working with both solvent and water based inks.

Note on Burning: It is important to realize the burning times differ between these three emulsions. For example, in a decent environment with a good light source, if a photopolymer is burning a basic design at 1 minute, then a dual-cure will burn the same design at 2 minutes and a diazo at 5 minutes.

What are emulsion films?
Capillary film is emulsion (any of the three represented above) dried onto a sheet by the manufacturers and then sold by quantity and thickness. By already being set, you're guaranteed a fast, smooth, even coat. Using film allows for more versatility as you can screen print on coarser materials such as twills, piques, and corduroy and depending on the level of thickness you are using to screen print, it is argued to be possible to print white ink on black shirts without flashing, more than doubling your production. One downside to capillary film is it’s only really as good as the emulsion dried on it, but the main issue is the cost. If you're screen printing smaller images, using an entire sheet seems wasteful, but also unavoidable. In regards to buying the film in quantities, it can also be argued as a waste if you're doing a short run even with large images. To avoid other printing difficulties, it is important to note that there have been issues with applying the film to mesh. In order to reduce this problem, you need to make sure to wet down the screen before application with either water, or for better application consistency, a wetting agent. A way to avoid this is an indirect-direct method, but it requires you to re-coat thicker film with liquid emulsion, upping your cost that much more. However, Texsource does offer Chromaline's Direct/Indirect Stencil System which eliminates some of the cost of this process.

In the end, which is better?
Arguably, the photopolymer direct emulsion and the capillary film are on the same level, especially when the film has dried photopolymer on it. The difference being that when exposed properly, the pure photopolymer direct emulsion will last a long time and its shelf life is longer as well. When that is considered, along with the overall cost, the smarter move may be to go with the photopolymer. In regards to finding a financially easier route, a dual-cure would be your next option eliminating both the film and photopolymer for their cost. It is a sturdy emulsion yet allows for errors while still having a decent shelf life. A diazo emulsion would be a last resort for some, or a first for a startup company without the funds for a better functioning emulsion. It has a very low shelf life (4-6 weeks) which can get lower depending on the storing environment.

With this information at hand, you always have the option to contact your local sales representative to figure out the best emulsion for you. Texsource offers many different types and colors, so it will always come down to your individual shop and preference.

Posted by Chelsea Chafin - webmaster on 1/19/2017
You may say to yourself, “I have been screen printing for years, why would I need to go to a 101 class?” However, to think that way is to do yourself a disservice. Many of us are more than familiar with being a jack of all trades, and in screen printing this would include the capability to mess with all the little tricks, whether it be a puff here and there, a discharge design, or even sublimation. But we know how the phrase ends, don’t we? “Jack of All Trades, Master of None.”

When it comes to the basics of screen printing, you do, in fact, want to be the master. You want to understand not only what customers may ask for, but how to accomplish any task. Say a customer walks in with a certain dark colored garment in mind with a bright design. You’re going to need to know how to create a white underbase at the lowest cost to you. Depending on the size of the design they want, it’s also good to know the mesh, ink, and fabric details.


Screen Printing 101 classes allow you to refresh on the fundamentals, which really comes in handy when you’re out learning the new stuff that continuously pops up (who was excited when silicone inks came out?). By consistently keeping yourself up to date on new (and most of the time, easier) ways of doing the basics, you could save yourself a lot of time to be able to focus on learning more risky techniques.

Let’s be honest, a lot of us are self-taught screen printers. We worked through trial and error time and again. We may have even researched and watched video after video trying to choose the way that we thought was best. It still may be, but seeing in person different ways and then being able to ask questions and have an open and honest discussion with other screen printers is vital to improving our skills.

For instance, we may all clean our screens differently. Maybe the easiest way for you to clean your screen is to slide on the heavy duty gloves and scrub it down. It may take a few hours, but it’s the way you’ve always done it, right? However, there are other options. More and more companies are coming out with ways to lower cleaning and reclaiming time. There are products like Easiway Chemicals’ Dip Tanks that use 2-in-1 chemicals to not only cut down on time but also on the effort you spend bent over your screens.

Tips like that and more are discussed during these classes and you’re encouraged to ask questions to understand fully instead of being forced into more trial and error. The point is, when it comes to classes, no one is working against you. We want you to be as successful as possible because in the end, it helps out everyone involved. It’s a win-win situation at its finest.

Not to mention, who doesn’t get frustrated when cure times are off? Wouldn’t you want to know why it’s happening to your exact machine in your exact situation instead of having to try all the different ways to fix it with no promises of the best outcome? That’s why actually talking with experts is so important. It’s not just how to screen print, it’s how to master screen printing. Be a master of your art in its most basic form, then mastery of its counterparts are sure to follow.
Posted by Chelsea Chafin - webmaster

 Like I mentioned in a blog last month, “Screen Printing: A Package to Start,” beginning a screen printing company can be very stressful. The blog discusses which screen printing equipment startup package is best for your business. We here at Texsource want to make the transition as easy as possible, so here are some key factors to consider for your startup. While some may seem more important than others, please keep in mind that each is needed to create an efficient business.
Space. 

One of the most important things for a screen printing company, or any company for that matter, is to have the space to produce. Whether you decide to rent a space for your workshop or to begin out of your home, it is a decision that should be made before further purchases. Note: even if you work from home and have very limited space, Tabletop presses are available.

Startup Fund. Arguably, this could be your main concern depending on if you need to budget for a workspace. You need to make sure you have enough financially to stock up on all the supplies necessary. Whether you do this through saving the money, obtaining a business loan, or equipment financing, you should go into the business with a plan.

Research. Speaking of plans, it takes more than just wanting to create and sell and then doing so. You will want to understand your client base and the market you are entering. What customers do you want to attract? What areas do you plan to sell to and during what times? Are there annual (or more so) special events that occur in which your design/products would sell great?


Ryan Bolin, Manager at Texsource Screen Printing Supply, hard at work (or playing Warcraft).


Site Management. SEO tools are extremely useful to you when it comes to researching and improving your business as you move forward. At least basic knowledge of SEO tools such as Google Analytics or those offered via social media will really come in handy to you the more you understand your business.  These tools allow you to keep track of what is being viewed, bought, or passed over in your online store.

These four elements will help you build your screen printing business once you are knowledgeable in how to screen print and will greatly influence your growth. Also, they will help eliminate stress as you move forward and help you to focus on what you started the business for: screen printing.
Posted by Chelsea Chafin - webmaster

 Purchasing a startup package can be very intimidating, but we want to make it easier on you. You may have inherited screen printing equipment (or an excess of ink) or have always had the desire to start your own business and finally have the means to do so. Fortunately, the packages are designed to give you a sense of what screen printing requires before you upgrade your equipment to better suit your needs.

When it comes to machinery, Texsource offers two brands of startup packages: Genesis Equipment and Vastex Equipment. In regards to your first package, it helps understanding on where you are both skill-level and knowledge-level as to which would be best.  

If you are completely new to screen printing, the Genesis beginning startup packages are the way to go. They give you a sample of everything you may need. Take for instance Package 01 which includes: (1) Genesis 1 Color / 1 Station Manual Screen Printing Press, (1) Heat Gun, (1) 500 Watt Halogen Exposure Unit, (1) Wood Frame 20 x 24 110 mesh, (1) TexMist can adhesive, (1) pint of Easiway Easi-strip, (1) pint of Easiway 701 screen wash, (1) pint of 842 press wipe, (1) pint of Tex-Blue emulsion, (1) pint of White Dream ink, (1) pint of Black Dream ink, (1) pint of red #10 ink, (1) roll of 2" blockout tape, (1) scoop 15", (1) ink spreader, (1) quart of Chem 901 blockout liquid, (1) scrub pad handle, white scrub pad, and red scrub pad, (5) stir sticks, (5) white pellons 14 x 16, and (5) black pellons 14 x 16.

Genesis Package 01

Before you get intimidated by all the products available, please note that it’s a good thing. The package is designed to give you a little taste of everything so you can decide what products you like and see where you may want to improve. Anxious about how to use some (or all) of the supplies? Texsource offers free admission to one of our Screen Printing 101 Classes (NC, GA, IN) with purchase of a Genesis package to eliminate some of the stress associated with starting a new business.

Understanding these products becomes useful for future purchases as well because you are going to need to upgrade your equipment sooner with the less expensive the package is. This is mainly aimed at you, Heat Gun. Ask any of Texsource crew which piece should be upgraded first and they agree that you will need a more secure dryer. You may be able to get away with using a flash unit to dry, but if you’ve purchased the first Genesis package you will not have that option. A dryer allows you to work on more shirts without having to stop your creative process to hand-cure (possibly unevenly) each shirt.

The higher Genesis packages come with a decent flash unit, so when it comes to upgrading further you will want to choose between a new press and exposure unit based on what works best for you (both will arguably be needed at some point). You will learn how to decide this in any classes you take along with any and all trial-and-error.

Now, if you have inherited equipment and are pretty familiar with it, Vastex with its sturdier equipment may be the perfect fit for you. These packages do not come with any of the extras that a Genesis package does, but their focus is to grant you the best equipment possible to immediately produce out of your shop. They offer entry shop choices along with Tabletop if you have the skill but not the room for your business.

If you choose to go with a Vastex but would like more options in regards to inks or chemicals, please note that Texsource offers different packaging for screen cleaning chemicals and different brands/styles of inks.
Posted by Chelsea Chafin - webmaster on 12/14/2016
Why is the Pantone Color of the Year important? For almost two decades, Pantone has come out with a specific color each year that is, for all intents and purposes, brand new. By brand new, it is meant to be a color that has normally received little to no attention that will now branch out and be largely popular. So, as designers turned screen printers, why should this matter to you if you can already make the color? Maybe some would even go as far as to quote Shakespeare, “What’s in a name? that which we call a rose / By any other name would smell as sweet.” True that, Juliet. Similarly, 2016 artists may have pondered if a Rose Quartz (and Serenity) would have made it to Apple had it not been color of the year.

But that’s exactly it! Yes, you can create a unique color and leave it at that, maybe even name it yourself and hope it gets out there, but the yearly meeting at Pantone can end up turning your color into a million-dollar idea, especially in regards to the teams who have been selected to promote said color. These colors are selected based on anything from what is going on within social media to what is going on globally. This became especially true for 2017’s choice of Greenery, a color which is dedicated to climate change and nature itself.

Pantone's Color of the Year 2017: Greenery.

Pertaining to art and creation, creating new ink colors is already something that many designers are interested in doing (especially by mixing together different shades). When doing so, by simply adding the extra step of preparing ways to present them later proves to be extremely useful.

Essentially, understanding the logic behind Pantone’s color choice can have a major influence on your work. For instance, there may be one specific overall color chosen for the year, but Pantone releases a list of colors that they believe will be most popular based on region. What this means for designers is that you may use one color for your design sold in North America, but if you have stores or shipments overseas, say in Italy, you may end up choosing a different ink for that area knowing that the design will sell better with a slight change.

The colors nominated are aimed at your audience, which should not be misconstrued to be directed towards your own personal artwork. You aren’t changing colors of your work to please mass corporations, you are doing it based on research that individualized people and/or the majority have a strong opinion on the reason behind the color was chosen. Basing colors on strong opinionated issues results in consumers purchasing items based on the feelings that the colors have been found to ensue.

We all understand that color is a large part of the design process. It may seem risky to change such a significant portion of the piece based on research done by a third party, but that is also why it is important for you as the designer to be involved in how and why it is chosen. Understanding your audience should already be on your radar as a business owner, so keying in on certain colors is a small task that will earn big results.

Fortunately, when it comes to getting the correct ink, Texsource offers PMS matching, as do many of the brands carried. Please note that there are many ways to mix different shades of the main color to produce varying shades. For instance, as mentioned above, 2017’s choice is Greenery, yet Thrive, a more yellow version of the green color, is projected to do better in North America. The theme stays the same, meaning the emotions attached will as well, but in a way that targets exact areas making it seem more personalized. You as the artist will always have the choice to make decisions like this depending on where you sell and what sells best. The Pantone Color of the Year is there to be used as a marketing tool, and a well-researched one at that.
Posted by Chelsea Chafin - webmaster on 11/30/2016
Black can be created by laying out multiple colors on top of each other, so instead of pure black being used, your screen and printer will register 100% black as an overlay first of CMY (cyan, magenta, and yellow) and finally, it will process K (black) over top the blend. This creates a lighter black resulting in transparency that is more like a dark gray when against bright colors.




If you choose to stick with CMYK coloring when doing a multi-color project including black, your best option from there is to create a rich black. This is created by altering the CMY colors to create a darker mix. The most common combination for a rich black that does not represent any other color would be a 60-40-40-100 CMYK. 
 
                 100% Black v. Rich Black
In order to see how your colors are blending, especially in regards to any questions you have about a certain tone that appears, it is important to preview your separations. By previewing the separations before you print, you are able to view not only the blends that create your colors, but also where there may be any overprint within your design. 

Once it comes to printing out your separations, it is highly recommended that you use RIP software. This will allow high-quality halftones creating a smoother and more vibrant blend. When choosing the ink to best represent your CMYK project, Union Tru-Tone Process Black will give you a consistent and accurate color reproduction.
Posted by Chelsea Chafin - webmaster on 11/1/2016
When printing, you want your finished product’s image to look like what you created on the screen. However, if that merchandise happens to be a dark t-shirt, you may incur a hiccup or two. 
If you print on a dark shirt without a white underbase, the final color will be dulled. The vibrancy you once had will disappear and the design itself may be hardly recognizable. This can be extremely frustrating, especially if you have already printed onto a t-shirt and are confused by how it turned out.
A white underbase is all you need. The phrase itself can be intimidating if you haven’t run into it before and can even seem like it will take a lot of work to accomplish. It won’t. The creation of an underbase is simple and will save you so much extra work and frustration in the long-haul. 
If you are printing a black design on a dark colored shirt, i.e. a black logo on a maroon shirt, then it should be noted that no underbase is needed. Black never requires an underbase, and, in fact, one may subdue the black, eliminating its rich color. 

First things first, if you are using Illustrator, check that the colors you are using are being typed as spot colors. You will know when you are doing this because the symbol (a white triangle in the right hand corner with a black dot in its center) will be visible around the square. As you progress forward, continually save your colors this way.
Just like when you are printing separate colors, you will be printing a separate film for your underbase. This will require an actual color being used for your underbase. 
Crisper images are guaranteed with an underbase.

Note: do not use the regular white swatch. It signifies a lack of color, not the color white. 

With that said, to create your underbase you need to select all areas where color other than black will be present (use the shift key to select more than one area). While selected, fill in the space with the intended color. 

Once you have colored your design as you see fit, copy and paste it. You want two layers of this so that one can become the underbase, which simply put is just an extra layer of ink between the design and the shirt. With the bottom layer selected, choose your underbase color. Being placed under your color, it will not be visible to the naked eye, but if you remove the design color at any point you will be able to see it is placed correctly. You will also want to select any “white” space you may want, such as an eyehole. 

Afterwards, you will want to turn on your Attributes. From there, select Overprint Fill. Again, you won’t see a huge difference except maybe a tiny line around your picture. To make sure your image stays tight against the shirt, create a stroke of the intended color around the design and then select Overprint Stroke. It will be past your underbase, guaranteeing the proper blend is on top of the shirt.

When you are ready to print, most white inks will work for the underbase, though a particularly useful ink for this task would be International Coatings Blocker Gray. It works well to help prevent dye migration.
If you have any questions or concerns, Texsource has a great staff accessible anytime during business hours (Monday through Friday 8:30-5:30). Monthly screen printing classes are also available and encouraged to those eager to learn how to screen print.

#screenprinting #screenprintingsupplies #silkscreen
Posted by Chelsea Chafin - webmaster on 10/26/2016
When it comes to your design, you want it to print exactly as you see it. Unfortunately, there are times when you will print out a new design on a fresh t-shirt and notice one, maybe more, pinholes in the image. This can be frustrating on many levels, and if you aren’t properly prepared beforehand, can really mess with your mojo.

This is where blockout comes in handy. Blockout will cover and fill the pinholes present in your design. The fluid acts as a barrier so when you continue forward with screen printing the hole is no longer there. You are able to purchase large amounts of this liquid at a time, but through Texsource Ulano offers two types in both quart and gallon sizes. The two types of blockout liquid are no. 10 for coarse mesh and no. 60 for fine to medium. If you know from the beginning what type of design you are doing and on which mesh, being able to see this difference is extremely useful. The liquid itself will take anywhere from 10-20 minutes to dry depending on how many holes you have and how large.

If, however, you feel both sizes of the liquid are still on the large side for you because you haven’t come across many, if any, pinholes in your designs thus far, Texsource also offers blockout pens. Note that both the liquid and pen should be used on the press during screen preparation. Texsource’s ecofriendly pen, the blue blockout pen, still takes the regular 10-15 minutes to dry. In cases where you may be in a hurry, or noticed that the issue has already been printed, you can use the green blockout pen for touch-ups which only takes 30 seconds to 1 ½ minutes. The green pen is the only blockout which can or should be used off the press.

If there are large holes that were accidental, or even if areas are without emulsion on purpose, blockout tape becomes very useful. Some users may suggest regular packing tape for this process, and while it may be a cheap go-around, you definitely see the difference. Regular packing tape tends to be extremely adhesive and can ruin your mesh and create a mess. Blockout tape specifically fixes this problem and also manages to not damage the emulsion while being easily removable from the frame and mesh in one pull. It speeds along the clean-up process tremendously and leaves your materials unharmed.


 Texsource-branded PMI Split Tape for Frames 

After you have used blockout products, whatever the reason may be, it is vital that you test the print. In economic terms, it is best to experiment on a test pellon than a scrap t-shirt or paper and Texsource offers pellons in both white and black. If you found out about any pinholes from a printed shirt, you want to make sure no more of your product suffers the same fate.
Subscribe to: Posts (Atom)
Copyright © 2017 ScreenPrintingSupply.com Blog - Learn from the Very Best!