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INTRODUCTION
Methods of Printing
1. Direct Printing
3. Resist Printing
a. Block Printing
c. Duplex Printing
d. Transfer Printing
f. Digital printing
g. Stencil Printing
h. Screen Printing
One major difficulty with early stencils was the isolated parts
of a design, such as the center of the letter O which would fall out as soon as
the outer ring was cut. The solution the Japanese came up with was quite
ingenious. They would hold loose pieces in place by gluing them to the main
body of the stencil with human hair. Later on they used silk thread thus
forming a bridge, but a bridge so fine and strong that when the stenciling
was finished it was all but invisible. This was the for-runner of Silk
Screening.
Classification Of stencils:-
Stencil graffiti:-
Stencils have also become popular for graffiti, since stencil art
using spray-paint can be produced quickly and easily. These qualities are
important for graffiti artists where graffiti is illegal or quasi-legal, depending
on the city and stenciling surface. The extensive lettering possible with
stencils makes it especially attractive to political artists.
Home stenciling
Aerosol stencils
Street stencils
Stencils have also become popular for graffiti, since stencil art
using spray-paint can be produced quickly and easily. These qualities are
important for graffiti artists where stenciling is illegal or quasi-legal,
depending on the city and stenciling surface. The extensive lettering possible
with stencils makes it especially attractive to political artists.
SCREEN PRINTING – A BROAD STUDY
Figure: - Pitch marks: the first screen prints all the circles and a cross
in the first circle, the second screen prints colour in the second circle
and a cross in the first circle, the third screen prints colour in the third
circle and a cross in the first circle
.
As a further aid, repeat crosses known as ‘pitch marks’ may be
incorporated at one or both sides of the screen and the positions of the
following screens checked against the first pitch mark. Often registration
marks are printed along the selvedge. One such scheme is illustrated in
Figure below. When screen printing is carried out by hand, alternate repeats
are normally printed along the full length of the table and then the gaps are
filled in. This allows time for the print paste to penetrate the fabric and
partially dry before the frame falls on the next printed area. If the design
includes an outline this is printed first, to achieve maximum smartness and
as an aid to accurate fitting.
Figure: - Robot lifting a flat screen from the rack prior to fitting it on
the printing machine (Viero)
The width of the gap between the areas printed by any two
adjacent screens must be a whole number of lengthways design repeats. This
need not necessarily be the same as the lengthways screen repeat as there
may be several design repeats per screen repeat; for example, where there
are three design repeats per screen repeat, the gap between adjacent screens
need only be one-third of a screen repeat.
Figure: - Fully automatic flat-screen printing machine
The fabric is gummed to the blanket at the entry end and moves
along with the blanket in an intermittent fashion, one screen-repeat distance
at a time. All the colours in the design are printed simultaneously while the
fabric is stationary; then the screens are lifted and the fabric and blanket
move on. When the fabric approaches the turning point of the blanket, it is
pulled off and passes into a dryer. The soiled blanket is washed and dried
during its return passage on the underside of the machine.
C. Rotary Screen-Printing
OBJECTIVES
The present study was undertaken with the following
Objectives:-
CHAPTER-3
METHODOLOGY
STENCIL PRINITNG
Stenciling Equipments:-
a. Brushes:-
b. Craft knife
Use for cutting out stencils from card (stock). Always cut a
stencil on a proper cutting mat using only your fingers to move the knife and
at the same time use other hand to move the stencil so that we are constantly
cutting towards ourself. Push the point of the blade through the stencil board
or acetate and then flatten it out, in that way we will use the whole blade.
Don't remove the knife until the whole shape has been cut out. When we
reach a corner or sharp point lift the heel of hand and move the stencil
around, do not remove the knife.
c. Masking tape
e. Pencils
g. Tape measure
h. Natural Sponges:-
Natural sponges are used for sponging. They are valued for
their textural quality. Synthetic sponges can be used for colour-washing.
Method of Stencil Printing
Virtually any paint can be used to stencil with but the two most
popular types are Acrylic and Dry-brush Oil. Acrylic paint dries fast, is easy
to clean with water and comes in hundreds of different colors. Dry-brush oil
paint is non messy, does not smudge or bleed and will adhere to any surface.
Markal Paint Stiks fall into this category and will adhere to any wall paint,
water or oil based, plastic, melamine, wood, metal, tiles, glass, fabric or
almost any other surface inside or out.
a. Acrylic Paint:
Dip your brush or sponge into the paint and then wipe off most
of it on a piece of kitchen paper. If you use too much paint you will find that
it bleeds behind the stencil, giving the pattern very ragged edges. Apply the
paint using an up and down stippling motion, start on the outside of each of
the stencils cut outs and work your way in towards the middle.
If you are using masking tape to hold the stencil in place, you
must push the stencil tightly against the surface so no paint can seep down
the back. When using more than one color, wait for the first color to dry
before you apply the second color, always use a clean brush or sponge. The
lightest color should be applied first.
Using liquid paint for stenciling can be problematic, my advice
is to keep your brushes and stencil very clean and use as little paint as
possible. If you are not sure, wipe off a bit more, you can always add some if
the color is not right. Stencils look better when the color is built up in layers.
Clean-up:
b. Dry-Brush:
Peel off the skin from the paint, dip in your brush and swirl
onto a palette or the corner of the stencil, where there are no holes. Markal
Paint Stiks can be rubbed directly onto the palette or stencil corner. Using a
circular motion transfer the paint to the stencil, keep the brush in an upright
position at 90° to the stencil.
One paint stick or pot of dry-brush paint can give you many
different shades of the same color. The harder you press the darker and more
definite the color will become. For a really light fresco look apply the dry
paint with a sponge.
Clean-up:
To remove paint and glue from your stencils and brushes soak
them in turpentine for a few minutes. Using a stencil brush sweep the paint
off your stencil and finish off with kitchen paper. You can also use kitchen
paper for the brushes; just keep rubbing until no more color comes off.
Steps
it does not have a stain resistant finish. The fabric was pre-washed to
assure that it was clean of any surface treatment that will keep the paint
from adhering. This helps in eliminating use of fabric softener. The
color of the fabric affects the color of the paint so use of dark colours was
avoided.
OHP sheet, glass and a small sharp matte knife like an Exacto blade. If
we are adapting a design, make sure it will work as a stencil. If we have
complex interlocking lines, we will need at least two stencil overlays,
which will require careful pattern matching.
3. Tape the original to the glass with the design facing down. Turn over
the glass so that we can see the design and tape the OHP sheet to the
glass over the design.
4. Carefully cut out the stencil, following the lines of the original. We
will probably find that it is easier to cut accurately if we pull the blade
slowly towards us. Turn the glass as necessary.
5. Lay out paint colors on the palette (Flat board used for holding and
mixing colour).
6. Now we test the colors and practice our painting on a piece of fabric.
Make sure our brush/sponge is evenly covered with paint but do not load
it. A loaded brush/sponge will spread paint under the edges of the stencil.
7. Now apply the paint with a gentle pounding motion, holding the
9. When we finished, stencil was lifted carefully. Now the paint was
10. After 24 hours, we iron our fabric on the back to set the color, using
Precautions:-
2. Don't be tempted to heat set our fabric too soon. The paint may feel
SCREEN PRINTING
Printing Technique
Screen is made of a piece of porous, finely woven fabric called
mesh stretched over a frame of aluminum or wood. Originally human hair
then silk was woven into screen mesh; currently most mesh is made of man-
made materials such as steel, nylon, and polyester. Areas of the screen are
blocked off with a non-permeable material to form a stencil, which is a
negative of the image to be printed; that is, the open spaces are where the ink
will appear.
a. Screens:
The rule of thumb with screens and meshes is that the tighter
they are, the better the quality of output. The benefits of a tight mesh include
a decreased likelihood of the mesh moving out of registration during
printing and lesser chances of one color bleeding into another.
A tight mesh also deposits the ink evenly onto the substrate. A
soft mesh may have deposits of ink towards the edges thus printing with
more ink in the center and less towards the corners. The uneven deposit of
ink results in lowered printing quality.
b. Squeegee:
c. Press:
To get good quality screen printing, the platen must never move
during printing. Even if you do everything else right and the platen shifts,
the quality of the print will suffer. Also the color arm must not deflect when
it in or out of the registration gate.
d. Ink:
Water-Based inks
These penetrate the fabric more than the plastisol inks and
create a much softer feel. Ideal for printing darker inks onto lighter colored
garments. Also useful for larger area prints where texture is important. Some
inks require heat or an added catalyst to make the print permanent.
Discharge inks
Glitter/Shimmer
Metallic flakes are suspended in the ink base to create this
sparkle effect. Usually available in gold or silver but can be mixed to make
most colors.
REVIEW OF LITERATURE
"We need to learn how to spread the vision of liberation and life everywhere in humble,
small, invisible ways. Like grass slowly growing up through the cracks in the concrete,
perhaps our counter information can eventually sneak up on the mighty machine and
topple it."
- PB Floyd, Slingshot-
Highly substituted guar gum can be used in the printing of cotton with
bifunctional reactive dyes as an alternative to alginate. In this work, a
bifunctional reactive dye and blends of substituted guar gum and
alginate were used. The rheological, technological and colorimetric
parameters of the mixed printing pastes were studied and compared
with those of alginate printing pastes. (Sonja ostar Turk and Reinhold
Schneider, 2000). (4)
The study showed that laccase enzyme formulation has been used in
discharge printing of cotton fabrics dyed with different reactive dyes
and the effect of enzyme conc., pH of the printing paste, treatment
time and temperature of enzymatic treatment as well as the viscosity
of the printing paste on colour discharge studied. The optimum
conditions for discharge printing are found to be 4.5 pH, 60 degree
centigrade temperature, and 1h time of treatment, and the 90.4 poise
viscosity at a shear rate of 31.61s-1. The concentration of enzyme
depends on the nature of dye used. (I Abd EI-thalouth, F kantouch, et
al., 2008). (6)
The present study was conducted that approximately 50% of all textile
printing is now accounted for by pigment printing systems. The
fastness performance and ‘handle’ now are acceptable for many
outlets. (shekhar sing, 2007). (7)
This study was carried out in major Finnish textile companies in order
to create an environmental impact profile for wet processing in
Finland as a part of drafting the Best Available Technique (BAT)
Reference documents for the European IPPC Bureau. System
boundaries were defined for alternative process technologies to be
used in BAT definitions. The use of resources and process emissions
is, however, monitored for the whole wet processing only in the
companies under study. No remarkable differences in energy and
water consumption between continuous and batch wet processing
could be measured; the lowest dyeing liquor ratios were reported on
jet machines and the highest on winch dyeing machines. Dyestuff
consumption depends on the colour shade required; some dyes have,
however, low fixation rates, such as reactive and sulphur dyes, only
60% on average. About 20% of the process liquor containing unfixed
dyestuffs and auxiliaries end up in sewage treatment plants. These
chemicals are not recovered and reused in the companies under study.
All industrial plants in Finland discharge their wastewater to
municipal sewage treatment plants, which carry out wastewater
analysis and control. All textile plants, which use more than 50 tonnes
of organic solvents per year, are under official off-gas control in
Finland. (Eija Kalliala, and Päivi Talvenmaa 2000). (10)