WHAT WILL OUR DAY LOOK LIKE? - Dynamic Supply€¦ · WHAT WILL OUR DAY LOOK LIKE? ... WASHOUT...
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Transcript of WHAT WILL OUR DAY LOOK LIKE? - Dynamic Supply€¦ · WHAT WILL OUR DAY LOOK LIKE? ... WASHOUT...
WHAT WILL OUR DAY LOOK LIKE?
• Introductions
• What’s & How’s of Screen Printing
• Setting up your workspace
• Job evaluation
• BREAK
• Artwork & Film Output
• LUNCH
• Screen Prep & Coating
• Pre-Registration & Exposure
WHAT WILL TOMORROW LOOK LIKE?
• Questions from day one
• Job Prep
• Press setup
• Knowing your tools
• BREAK
• Printing
• LUNCH
• More Printing
• Curing
• Clean up
• Review
WHAT IS SCREEN PRINTING?
Definition: A printing technique in which a woven mesh is used to support an attached stencil. The attached stencil is created to form open areas of mesh through which the ink may travel and closed areas blocking the transfer of ink to the substrate. The ink is placed on the upper side of the mesh screen and a squeegee is used to push the ink across the screen and through the open areas of mesh. The ink that passes through the screen is deposited on to the substrate and then cures using either air or heat until it has adhered to the substrate and created a permanent or semi-permanent bond.
1. Job Evaluation
2. Screen Selection and Preparation
3. Artwork Preparation
4. Film Output
5. Screen Exposure
6. Press Setup and Registration
7. Printing
8. Curing
9. Clean-up
STEP BY
STEP
Ink Types
• Plastisol
• Won’t dry in screen
• Opaque
• Excess can be reused
• Water based
• Soft hand
• Water soluble
• Discharge
• Doesn’t need under base
• Available in WB & Plastisol
TOOLS OF THE TRADE
SCREENS
STATIC FRAMES
• ALUMINUM
• WOOD
RETENSIONABLE FRAMES
• ROLLER FRAMES
• LOCKING FRAMES
TOOLS OF THE TRADE
EMULSION
PHOTOPOLYMER
• PRE-MIXED
• FASTER EXPOSURE
• LESS FORGIVING
DUAL CURE
• NEEDS TO BE MIXED
• SLOWER TO BURN
• MORE FORGIVING
INK COMPATABILITY
• WATER PROOF
• SOLVENT RESISTANT
TOOLS OF THE TRADE
FILM POSITVE
INK JET
• MORE OPAQUE
• ARCHIVABLE
LASER
• LESS EXPENSIVE
• FASTER TO MAKE
VELLUM
• CHEAPEST
• LOWER IMAGE
QUALITY
TOOLS OF THE TRADE SUN LIGHT
• INCONSISTENT
• UNRELIABLE
HALOGEN
• FAIRLY SLOW
• REQUIRES SHEET OF GLASS
FLOURESCENT
• LESS EXPENSIVE THAN
HALIDE
• FAIRLY GOOD IMAGE
QUALITY
SINGLE POINT HALIDE
• BEST IMAGE
• MOST EXPENSIVE
EXPOSURE
UNITS
TOOLS OF THE TRADE • ALLOWS FOR
CONTROLED AREA TO
CLEAN SCREENS
• CAN BE BACK LIT TO
HELP ENSURE PROPER
WASHOUT
• CAN BE USED IN
CONJUNCTION WITH A
FILTRATION SYSTEM TO
MITTIGATE THE FLOW
OF CHEMICAL AND INK
WASTE DOWN DRAIN
WASHOUT
BOOTH
TOOLS OF THE TRADE TABLE TOP
• INEXPENSIVE
• LOWER PRODUCTION
SPEED
• LIMITED COLORS
STAND ALONE
• AFFORDABLE
• MEDIUM TO HIGH
PRODUCTION
• EASILY PRINT
MULTICOLORS
AUTOMATIC
• VERY FAST
• EFFICIENT
• DOESN’T NEED TIME OFF
• BUILT IN FLASH
PRINTING
PRESS
TOOLS OF THE TRADE HEAT GUN
• CHEAP
• INCONSISTENT
• UNRELIABLE
FLASH
• AFFORDABLE
• SLOW
• HARD ON PALLETS
CONVEYOR
• FAST
• EFFICIENT
• CONSISTENT
DRYERS
OTHER TOOLS
SQUEEGEE SCOOP COATER
LASER TEMP GUN
INK KNIFE
SCRUB PAD PRESSURE WASHER
SCREEN DRYING RACK
SETTING UP A DARKROOM
What is a dark room?
A UV safe environment in which
unexposed emulsion can be handled
without fear of exposure.
SETTING UP A DARKROOM
How do you block UV light?
• FILTERATION
• Tinted bulbs
• RUBYLITH
• NO BLACK LIGHTS
SETTING UP A DARKROOM
How do you block UV light?
• ELIMINATION
• BLACKOUT
• WINDOWLESS ROOM
• UV SAFE BULBS
SETTING UP A DARKROOM
Controlling Humidity
• Wet room VS Dry room
• De-Humidifier
• Identify sources of humidity
• Washout booths & Dip tanks
• Low quality de-humidifiers
SETTING UP YOUR PRINT AREA
Setting up your dryer correctly
• Proper in feed
• Proximity to heat sensitive supplies
• Proper power
SETTING UP YOUR PRINT AREA
Setting up for proper workflow
• Tools at the ready
• Supplies on hand
• Films available
• Composite
CONSIDER ALL VARIABLES OF THE JOB
• ARTWORK
• SUBSTRATE
• INK
• QUANTITIES
• OTHER: VARIABLES THAT MAY AFFECT THE TIME OR COST
ASSOCIATED WITH THE JOB.
ARTWORK
• RASTER OR VECTOR
• HIGH DETAIL OR LOW DETAIL
• Screen mesh count
• Ink compatibility
• NUMBER OF COLORS
• How many screens?
• SIZE OF IMAGE
• Screen size
• IS ART READY TO GO OR DOES IT NEED WORK
• Will you need to charge an artwork fee?
SUBSTRATE
• WHAT SUBSTRATE WILL YOU BE PRINTING ON?
• Poly
• Cotton
• other
• IS THE SUBSTRATE APPROPRIATE FOR THE ARTWORK?
• High detail images on open weave garments
• WHAT IS THE QUALITY OF THE SUBSTRATE?
• Quality VS Price
• WHAT IS THE COST OF THE SUBSTRATE?
• Is there room for you to make money on the garment?
INK
• WHAT INK WILL WORK BEST WITH BOTH THE ART AND THE SUBSTRATE?
• Consider opacity, viscosity and adhesion
• WHAT ARE THE CURING PERAMETERS OF THE INK?
• Could your ink need to cure longer than your garment will allow?
• WHAT IS THE COST OF THE INK?
• Will you be buying a new product that you may be stuck with?
• Will you need a specialty ink?
• WILL YOU NEED TO CUSTOM MATCH A COLOR?
• ARE THE COLORS GOING TO WORK WITH THE ART AND SUBSTRATE?
• Could dye migration be an issue?
QUANTITIES
• HOW MANY TOTAL ITEMS WILL YOU PRINT?
• Are there enough to justify the job?
• HOW MANY PRINTS WILL YOU DO PER ITEM?
• Are there tag prints or sleeve prints?
• HOW LONG WILL SETUP TAKE VS PRINTING AND CURING?
• Could you possibly spend more time setting up than printing?
• HOW MANY PLACEMENTS?
• How many times will you have to take the garment on and off the
press?
OTHER VARIABLES
• DOES THE CUSTOMER WANT THIS IN A RUSH?
• WILL YOU NEED TO PURCHASE ADDITIONAL EQUIPMENT OR
SUPPLIES TO COMPLETE THE JOB?
• WILL YOU HAVE TO LEARN A NEW PROCESS TO COMPLETE THIS
JOB?
• WILL YOU HAVE TO BRING ON EXTRA HELP TO GET THE JOB DONE
ON TIME?
EXAMPLE
This morning your best customer came in
with the following image and told you that
she wants it printed on 25 red polyester
tee shirts. She also let you know that she
is going to need the shirts in 3 days so
that they can be worn at an up coming
event.
EVALUATION • ARTWORK
• SPOT COLOR
• 11 COLORS
• SUBSTRATE
• POLYESTER
• RED
• INK
• POLY WHITE
• STANDARD PLASTISOL COLORS
EVALUATION • ARTWORK
• SPOT COLOR
• 11 COLORS
• SUBSTRATE
• POLYESTER
• RED
• INK
• POLY WHITE
• STANDARD PLASTISOL COLORS
• NUMBER OF PRINTS
• TOTAL ITEMS 25
• 286 TOTAL PRINTS
EVALUATION • ARTWORK
• SPOT COLOR
• 11 COLORS
• SUBSTRATE
• POLYESTER
• RED
• INK
• POLY WHITE
• STANDARD PLASTISOL COLORS
• NUMBER OF PRINTS
• TOTAL ITEMS 25
• 286 TOTAL PRINTS
• OTHER
• 3 DAY TURN AROUND
WHAT HAVE WE LEARNED? WHAT CAN
CHANGE? • ARTWORK
• CONSOLIDATE COLORS
• USE SHIRT COLOR
• SUBSTRATE
• ASK CUSTOMER IF COTTON IS AN
OPTION
WHAT HAVE WE LEARNED? WHAT CAN
CHANGE? • ARTWORK
• CONSOLIDATE COLORS
• USE SHIRT COLOR
• SUBSTRATE
• ASK CUSTOMER IF COTTON IS AN
OPTION
• INK
• IF THE CUSTOMER IS OK WITH
COTTON WE COULD ELIMINATE THE
NEED FOR POLY WHITE
WHAT HAVE WE LEARNED? WHAT CAN
CHANGE? • ARTWORK
• CONSOLIDATE COLORS
• USE SHIRT COLOR
• SUBSTRATE
• ASK CUSTOMER IF COTTON IS AN
OPTION
• INK
• IF THE CUSTOMER IS OK WITH
COTTON WE COULD ELIMINATE THE
NEED FOR POLY WHITE
• NUMBER OF PRINTS
• THIS NUMBER WILL DROP
CONSIDERABLY WHEN THE COLORS
ARE CONSOLODATED
WHAT HAVE WE LEARNED? WHAT CAN
CHANGE? • ARTWORK
• CONSOLIDATE COLORS
• USE SHIRT COLOR
• SUBSTRATE
• ASK CUSTOMER IF COTTON IS AN
OPTION
• INK
• IF THE CUSTOMER IS OK WITH
COTTON WE COULD ELIMINATE THE
NEED FOR POLY WHITE
• NUMBER OF PRINTS
• THIS NUMBER WILL DROP
CONSIDERABLY WHEN THE COLORS
ARE CONSOLODATED
• OTHER
• 3 DAY RUSH FEE
CONCLUSION
After evaluation it is likely that either you or your customer
would pull the plug on this job. In order for the job to make
sense you would either have to simplify the print to a point the
customer would likely be unhappy with or charge a price that
the customer would surely be unhappy with. Unfortunately this
is a common situation in screen printing and is often missed by
printers that do not perform an evaluation of the job before they
accept it. By taking the extra time you will be able to ensure that
the jobs you take on are in the best interest of both you and
your customer.
GETTING TO
WORK!!
NOW THAT YOU HAVE EVALUATED THE ENTIRITY OF THE
JOB AHEAD AND DETERMINED THAT IT IS A REASONABLE
AND PROFITABLE JOB TO TAKE ON WHAT’S NEXT?
VECTOR ARTWORK
Vector graphics is the use of geometrical primitives such as
points, lines, curves, and shapes or polygons, which are all based
on mathematical expressions, to represent images in computer
graphics.
VECTOR ARTWORK
Vector graphics is the use of geometrical primitives such as
points, lines, curves, and shapes or polygons, which are all based
on mathematical expressions, to represent images in computer
graphics.
VECTOR ARTWORK
Vector graphics is the use of geometrical primitives such as
points, lines, curves, and shapes or polygons, which are all based
on mathematical expressions, to represent images in computer
graphics.
VECTOR ARTWORK
Vector graphics is the use of geometrical primitives such as
points, lines, curves, and shapes or polygons, which are all based
on mathematical expressions, to represent images in computer
graphics.
RASTER ARTWORK
Raster graphics, or bit-mapped graphics, are digital images stored
as arrays of pixels for display and modification. In raster data
there are no lines, circles, or polygons, only pixels that are
grouped to give the appearance of these elements.
RASTER ARTWORK
Raster graphics, or bit-mapped graphics, are digital images stored
as arrays of pixels for display and modification. In raster data
there are no lines, circles, or polygons, only pixels that are
grouped to give the appearance of these elements.
RASTER ARTWORK
Raster graphics, or bit-mapped graphics, are digital images stored
as arrays of pixels for display and modification. In raster data
there are no lines, circles, or polygons, only pixels that are
grouped to give the appearance of these elements.
RASTER ARTWORK
Raster graphics, or bit-mapped graphics, are digital images stored
as arrays of pixels for display and modification. In raster data
there are no lines, circles, or polygons, only pixels that are
grouped to give the appearance of these elements.
WHAT IS A FILM POSITIVE?
DEFINITION: A TRANSPARENT FILM MATERIAL UPON WHICH A
POSITIVE IMAGE IS PRINTED OR DRAWN. FOR THE PURPOSE OF
SCREEN PRINTING THE INK USED TO CREATE THE IMAGE ON THE
FILM MUST BE OF AN OPAQUE OR UV INHIBITING NATURE.
FILM TYPES
INK JET
• MORE OPAQUE
• ARCHIVABLE
LASER
• LESS EXPENSIVE
• FASTER TO MAKE
VELLUM
• CHEAPEST
• LOWER IMAGE
QUALITY
HOW IS A FILM CREATED?
PRINTED
Ink jet printers
Most commonly used
Best method for maintaining image integrity
Requires rip software and all black inks
Used with waterproof film
Laser printers
Less expensive
Faster
Lower image quality
Lower opacity
Used with laser film or vellum
HOW IS A FILM CREATED?
Hand drawn
Using opaque pens a film can be created or altered by hand.
Unique look
Good for people that are not computer savvy
Time consuming
Unforgiving
Almost impossible for multicolor
REGISTRATION MARKS
CENTER POINT MARKS
• All film positives should include center point
marks so that you can ensure that you have
properly aligned the image to the center of you
platen.
REGISTRATION MARKS
• Anytime that you will be printing more than one
color on a single substrate you will need to ensure
that registration marks are included on your film
positives.
FILM STORAGE
OUT OF FLUORESCENT LIGHT
• Fluorescent light will bleach the ink your films
over time and will result in a film that is no longer
opaque enough for proper exposure.
KEEP THEM DRY
• Regardless of them film type that you choose to
work with it is a safe bet that they will work better
dry than wet.