Silk Screen Printing Instructions

The Speedball systems allow total flexibility. You can create screen stencils in a variety of ways and produce prints with three SPEEDBALL water-based, solvent-free inks; watersoluble, permanent acrylic and textile inks.

These instructions have been prepared in simple language. If followed, they will produce satisfying results.

In addition to the materials supplied in the SPEEDBALL Kits, you may want to have the following items on hand:
. Water resistant masking tape, 1 "wide
. Screw driver
. Old newspapers
. Sheet of cardboard
. Small scrub brush
. House detergent (See pg.6)
. Scissors
. Small lamp or lamp cord with a standard socket
. BBA No.1 Photoflood (preferred) or a clear 150W incandescent bulb
. Aluminum foil disposable pie tin with 10" or 12" diameter
. Cellophane tape
. Paper cups
. SPEEDBALL Technical Black Ink & SPEEDBALL Pens
. Old towels, rags, paper towels
. 9"x12" piece of glass, plexiglas, or lucite
. Rubber gloves
. Apron or smock

If you plan to make a large number of prints, you may wish to string a line through spring-type clothespins or make a rack to keep prints from smearing while they dry.

Step A

The kickleg should be "freeswinging".

Step B

Step A

Step B

Lay your cutouts on this paper as desired and lower the screen.

Step C

Press down on the screen frame to insure complete contact with all cutouts. Make your first print. You will find with the first pass of the squeegee, the ink will cause the cutouts to stick to the underside of the screen creating a stencil effect.

Once you see how simple this method is, you may wish to try variations by creating two or three designs with torn paper of various shapes and printing each in a different color or hue. Do not overlap cutout pieces on the screen.

For intricate cutouts and small pieces, you may use school paste or rubber cement to adhere them to the bottom of the screen. NOTE: Generally ten to fifteen prints can be satisfactorily produced by this method. When a larger number of prints is desired, you should use one of the more "permanent" methods.

Direct block-out or "Negative Method"

Step A

Step B

Step C

Tusche-resist or " positive!' method
Step A

Step A-Alternative

Step B

Be certain that screen is elevated-not touching table. Paint the Drawing Fluid over those areas of your layout that you want to print. Leave the screen to dry in a level, flat position. Make sure nothing touches the areas covered with Drawing Fluid.

Step C

Step D

If some areas remain slightly blocked, scrub them lightly with a small stiff brush on both sides of the screen (an old toothbrush will do a good job). DO NOT USE HOT WATER DURING THIS STAGE. Allow your screen to dry in a level (horizontal) position, bottom-side up.

Drying time may be accelerated by using a hair dryer or fan.

This is one of the most exciting methods of Screen Printing because it offers the widest range of possibilities. It makes possible the printing of fine line drawings, various hand and commercial lettering techniques, as well as photographic half-tone positives.

All methods of photographic Screen Printing require three things: (1) a screen prepared with a light-sensitive coating, (2) a film positive, or equal, and (3) a light source that will enable you to transfer the opaque images on your positive to the light-sensitive screen you have prepared.
Let's examine these requirements.

Step A--Mixing the photo emulsion
SPEEBALL DIAZO SYSTEM:

Step B Coating the screen

Step C-Drying the coated screen

Once the sensitized screen is dry, it must remain in a darkened area until it is ready to be exposed. A fan in the dark area will greatly speed up the drying of the emulsion on the screen.

Step D--Preparing a positive

A "positive" is any opaque image (usually black), on any transparent or translucent surface. There are many ways you may choose to prepare them.

A excellent transparent film for this purpose is Bienfang" Wet Media Mylar. Wet Media is available in various sizes.

SPEEDBALL Screen Printing Craft Kits include both plain and printed tracing paper. The printed sheets (positives) have copy and illustrations that may be used to create a picture or message. With the plain sheets, you may make art work of your own with SPEEDBALL Technical Black Ink and an artists' brush or SPEEDBALL pens. Excellent results can also be obtained by using dry transfer or pressure sensitive letters and symbols. These can be applied directly on the tracing paper or clear plastic. The graphics must be opaque to light.

Another way of producing positives is through copy machines that have the capability of reproducing very opaquely on film, tracing paper, etc. In order to satisfactorily produce a positive using a copy machine, the following conditions must be met:

. (1) Black and white line work-Must be opaque
. (2) Photographic print-Must have high contrast
. (3) Copy machine must have capability stated above. You must check this out in advance. Photographic images can also be accurately screen printed.
However, because of the half-tones (or continuous tones) which are in all photographs, a special type of "positive" must be prepared. This must be done by someone with photographic expertise and who has the necessary equipment.

Essentially, this person will photographically transfer the halftones to Kodalith Ortho film. A dot patterned half-tone screen will be placed between the lens, and the ortho film. These "half-tone" dots will be exposed to the film simultaneously with the photograph.

The resulting "half-tone" negative will then be converted by the photographer to a "half-tone" positive.

This is the same type of "conversion" that is made in the preparation of photographs for newspaper and magazine printing. The dot pattern breaks up the continuous tones into a half-tone interpretation that can be printed.

Fine art half-tone screen printing involves a posterization process whereby a series of selected positives are produced through a process camera. With filters, the process camera can selectively identify specific colors in the original art. These are then, sequentially prepared for color registry. This is a highly technical procedure and should be attempted only by experienced printers.

For an in-depth treatment of photographic screen procedures, we highly recommend the book, "Screen Printing-Contemporary Methods and Materials" by Frances and Norman Lassiter This book 00 is available at most artists' materials stores.

Step E

A screen using positives made tracing paper and india ink could now look something like this:

Step F-Light source

The positive can be placed in contact with the coated (dry) screen by either of the above methods.

Figure F-1 does not require the foam rubber cushion and the positive will read "correctly" as it's positioned in the screen frame.

Figure F-2 employs the use of a foam rubber cushion which is cut to the inside dimensions of the screen frame. The positive is placed in reverse (mirror image) on top of the underside of the screen.

PLEASE NOTE:

More sophisticated light sources, reflectors and equipment can, of course, be used. However, as any variable is changed, you will have to adjust the exposure times and distances. This will require experimentation through the use of test strips or other light testing devices or procedures.

Turn on the light and note the time. Expose according to time and distance indicated in chart. After exposure, remove positive and take screen to sink.

Step G

Once you have completely washed the screen, let it dry thoroughly in a level flat position.
Hold the dry frame to the light and check for pin-holes. These can be covered with Speedball Screen Filler or pieces of masking

I stuck to the bottom of the screen. If Screen Filler is used, let the screen dry again. Follow the directions found in the section, "Making Prints."

NOTE: Photo Emulsion should not be left in the screen indefinitely unless a permanent stencil is wanted.

Cut three pieces of cardboard about 1 " x 2" and use these for registration guides. Place these next to the lines you drew on the base so you can correctly locate each sheet to be printed.

These guides should be fastened securely with tape or rubber cement. Good guides are particularly important if you intend to print more than one color of any print.

Step B-Selecting inks for printing on paper
WATER SOLUBLE INKS

Avoid slick coated, high gloss papers or vinyl or plastic coated papers.

Stir the ink completely until you achieve a "buttery" or "creamy" consistency. If too thick, add one or two drops of water or Water Soluble Transparent Extender Base. Mix thoroughly. Colors may be intermixed.

PERMANENT ACRYLIC INKS

These water-based acrylic inks dry waterproof.

To achieve transparency or economy, SPEEDBALL Extender Base (preferred) or Transparent Base may be added. Do not allow ink to dry in screen.

For most other printing applications like posters, greeting cards, book covers, etc. 20# weight and over cover stock paper is recommended.

Avoid slick coated, high gloss papers or vinyl or plastic coated papers.

Stir the ink completely until you achieve a "buttery" or "creamy" consistency. If too heavy or thick, add one or two drops of water, SPEEDBALL Acrylic Extender Base or SPEEDBALL Acrylic Transparent Base. Mix thoroughly.

Step B-Alternative
Selecting inks for printing on non-paper surfaces.

WATER SOLUBLE INKS These can be used on wood or masonite if first coated with an acrylic emulsion base coat such as SPEEDBALL Gesso. To achieve water resistance, use an acrylic aerosol spray or a solventbased varnish as a topcoat.

TEXTILE INKS-

ACRYLIC INKS -

Step C-Printing on paper

Spoon out the ink across the end of the screen nearest to you. With the screen lifted slightly from the base, apply an even blanket of ink onto the print area. Be sure to use an easy, smooth stroke with the squeegee at a slight angle away from you. This is the flood stroke. Drop the screen onto your paper Lift the squeegee over the ridge of ink and make the print stroke by pulling towards yourself. Keep the squeegee at a 45 degree angle with enough pressure to scrape the ink from the screen. Lift the screen from the print, make the flood stroke, set the kick leg, remove the print and put it to dry on your rack or line. Insert new paper, release the kick leg and repeat the process.

Sharp clear prints can be produced provided you (1) maintain a generous quantity of ink on the screen, (2) use the flood stroke and (3) maintain adequate and even pressure on the squeegee during the print stroke.