INTRODUCTION

to SCREENPRINT

These notes are a small complement to the worckshop of

INTRODUCTION TO SCREEN PRINTING of the Academy of
PRINT WORKERS BARCELONA
la serigrafía
We find the origin in the Latin word “sericum (meaning silk)
and in the Greek word graphé (meaning to write or draw)”.

Screen printing is a flat printing technique used in the me-

thod of reproducing documents and images on any mate-
rial, and consists of transferring an ink through a stretched
mesh on a frame. The passage of the ink is blocked in
areas where there will be no image by an emulsion or varni-
sh, leaving free the area where the ink will pass.

The printing system is repetitive, i.e. once the first model

has been achieved, the print can be repeated hundreds or
even thousands of times without losing definition.

historia
In Western China between 500 and 1000 A.D. the printing of Buddha images over twenty metres high was done in the caves of Tuan Hoang,
using paper stencils and using paper stencils and Chinese inks.
In 18th century Japan, paper stencils were held in place by silk threads and human hair, gummed with a varnish called shibo.
One hundred and fifty years later, silk fabrics and bamboo frames emerged.
Silk printing travels to Asia and Europe via the trade routes initiated by Marco Polo.
In Europe from the 19th century onwards, it was used to print fabrics, in what was called “Lyonnaise printing”, due to the place (Lyon) where
this system was applied. Lyonnaise”, after the place (Lyon) where this system was applied. Also in France, the painter Toulouse-Lautre painter
Toulouse-Lautrec who used it for the posters of the Moulin Rouge. Something innovative at the time at the time, as posters were usually made
in lithography.
The first silkscreen prints, but on paper (advertising posters) appeared in the United States around 1916. It was the American Guy Maccoy who
was the first to use the silkscreen technique for artistic purposes. During the Great Depression, many artists were looking for ways to repro-
duce their original work and expand their income possibilities instead of relying only on their originals (more expensive and less affordable).
Maccoy had been developing ideas for the printing process using silk screens with various chemical components. In 1932 he made his first
two silkscreens and shot approximately 40 copies of each design. In 1938 he had his first solo exhibition. It was the first time that silkscreen
prints were presented in a gallery.
It was in the United States, with the rise of photography and chemical products, that silkscreen printing took on a spectacular impulse. Althou-
gh in 1948 Maccoy formed the Western Serigraph Society and became its first president, it was not until the first half of the 1960s that this
technique became popular thanks to Andy Warhol. In his search for the loss of the artist’s “aura” he would find in silkscreen printing - and the
repetition of the work it allows - the perfect formula to democratize art.
la pantalla
serigrafica The mesh stretched over a wooden, aluminium
or iron frame forms the screen printing screen.
The screen fabric, which was originally made of
silk, is now usually made of polyester, nylon or
acrylic materials acrylic materials.

The diameter of the threads that make up the gauze is uni-

form, but the gauze can be of different thicknesses. In other
words, the number of threads per linear cm varies.

The more threads per linear cm, the less ink passes between
the threads passes between the threads. The fewer threads
per linear cm, the less amount of ink passes between the
threads.

Depending on the support on which we handprint we will

choose one type of mesh or another.

-For textile, fabric use, that is, a more absorbent support,

we will need more ink. And, therefore, a screen with fewer
threads per linear cm.

-To print on a smooth and flat surface like a plastic or glass

that are very little absorbent, we will need less ink. And, the-
refore, a top spinning screen.
 STAMPING BRACKET SCREEN SPINNING

43 fabric (better dark)

43 - 62 tissues (lighter)

79 - 90 - 120 paper

100 - 150 plastics, glass, metal surfaces

As always, not everything is so schematic. Depending on the

design you choose, a 62-mesh screen will fit you for paper.
Even a 43-mesh screen. For example, many artists depen-
ding on the design they have (broad strokes, large texts, little
detail...) will use screens of 72 or 79 mesh for both textile and
paper.

In addition, another factor is involved: the type of ink we

choose. The more aqueous, the more ink passes through the
mesh; while the less water content it has, they will be more
covering but less fluid (hence the use of the retardant).

Below we explain the types of ink…

As always, not everything is so schematic. Depending on the
design you choose, a 62-mesh screen will fit you for paper.
Even a 43-mesh screen. For example, many artists depen-
ding on the design they have (broad strokes, large texts, little
detail...) will use screens of 72 or 79 mesh for both textile and
paper.

In addition, another factor is involved: the type of ink we

choose. The more aqueous, the more ink passes through the
mesh; while the less water content it has, they will be more
covering but less fluid (hence the use of the retardant).

Below we explain the types of ink…

Finishing the section of the screens we must also consider
that the color of the gauze varies between white and yellow.
The latter allow to obtain a better quality in the copy of the
original, since they do not refract the light of the expose unit
(or other light source that we use to insolate), insoladora in
spanish,. At the same time, yellow fabric screens are more
expensive than white fabric screens. Like aluminum frames,
they are more expensive than wooden ones.

Wooden screens are more economical and if we want to ex-

tend their life and delay the time when they begin to deform
 working margin

According to your supplier you will find that the dimensions

of the screens are indicated considering their outer frame or
their inner frame. If you come across the external measure-
ments, the easiest way to find out the internal measurement
is to subtract 8 or 10 cm.

At the same time, we must consider that to work optimally

with our image to be stamped and the internal frame of the
screen, there must be a minimum space of 7 or 10 cm free
to deposit the ink, and allow us to complete the stamping
movement comfortably, maintaining the recommended 45º
angle.

In this way, to print an image in Din-A4 (21 x29,7cm) we

recommend a display of internal measures of 40x50cm;
that is, a display of external 50x60cm. And to print a Din-A3
(29,7x42cm), a display of internal measures 50x60cm; and
external 60x70cm.

Even if it doesn’t look like it, this is an important point to

consider. Screen printing is a game of mistakes. And working
with enough space will allow us to significantly reduce them
during stamping. The counterpart to this is that the bigger the
screen, the more expensive it is...

From Print Workers Barcelona we recommend a midpoint in

your budget; always considering that a good screen (as well
as a good paper) are a good investment that will revert in
screen

full screen

inside screen

ink
space

design
 make yout own screen

An economical way to get started in screen printing is to make

the frames yourself. Order some racks and staple the fabric to
the frame. If you do, it is always best to wet the fabric before
and finish fixing the staples with a hammer.

The most important thing is to get a good tension of the

screens... The fabric, once tightened, you would cut it leaving
about 3 centimeters above the frame frame that you would
secure to this with contact glue.

One more time, sir... Calibrating the time needed to do well with
the purchase or custom tightening of your screen you can deci-
de which option you will choose…
the film
A film or “fotolito” in spanish is a photographic (negative)
cliché printed on transparent or translucent paper such as
acetate or polyester, in which is the typography and images
we want to screen. The photolith is used as a template for
subsequent stamping, fixing it to the screen through the pro-
cess of insolation and development.

That is, it is nothing more than an opaque image, printed or

drawn on a transparent or translucent support. But at the
same time it is one of the most important elements to “suc-
ceed” in screen printing.

The film is the image that we want to transfer to the matrix

and, therefore, the quality of what we are going to print de-
pends on it. The first thing is to take into account the process
to which the fotolito is destined.
 opacity of the film

The film is the original that we must put in contact with the
surface of the matrix that we want to make: screen printing
screens (emulsion). Once in contact with the matrix we will
apply light to exposure these matrices.

The photolith must be sufficiently opaque to prevent the

passage of light through the image we have made. The other
areas shall be translucent to allow light to pass through. A
photolith that is not sufficiently opaque in the black parts will
hinder the entire process of insolation and development of
the matrices, as it runs the risk of filtering light in unwanted
areas. In turn, a photolith that is resolved in a slightly translu-
cent support, will leave little light in the areas where it should
pass.

films can be solved in many different ways. The most optimal,

best-performing and most accurate films are those known
as filming films (or commonly known as professional films). In
the past, they were developed on high contrast transparent
photographic film. Their use was very extensive in printers
and in the printing industry. The production process of these
films and the machinery for it have been varying over time.
Gradually in the industry the use of films has been replaced
by other processes and this makes getting such films scarce
and expensive.

Thanks to the use of films suitable for films (available in our

corner shop), printers of resolutions higher than 1440pp such
as the Epson Stylus Pro series and black inks of high opacity;
the world of prepress (films) presents affordable alternatives
again. It is advisable to use this type of professional photolith
(much cheaper than the traditional one, but more expensive
than a “home” one) for orders or to ensure a 100% perfect
insolation.
 make a fotolito

However, there are many ways to achieve good results

without the need for professional filming. The first would be
to work the image on a translucent support with all those
materials that can block the passage of light: inks, inactinic
markers, cutout masks and a whole host of techniques that
we can think of.

Another way would be to print the desired image on some

type of suitable support depending on the machine, such
as, for example, matte polyester for laser printers. The only
thing we must achieve is a very opaque print that restricts the
passage of light. In this case we must take into account that
the resolution of the photolith will directly condition the result
of our matrix.

A simple way to get started in the world of photolithography

is to print your design on 2 acetates. Put them together
with adhesive tape to increase their opacity even more and if
necessary apply an opaque spray.
 fix fotolito to the technique

In screen printing, for example, we must work with photoli-

thographs taking into account that the opaque area is the
one that will be transformed into our image to be printed. The
translucent areas will be the background or reserve areas.

fotolitos pluma y fotolitos trama

When working with photolithographs we can basically speak

of two types of photolithographs: feather photolithographs
and hatched photolithographs. Feather photoliths are equi-
valent to images of absolute contrast, of completely opaque
masses. The raster photoliths are those that allow us to
reproduce images containing grayscale.

Hatches are equivalent to small opaque dots that, depending

on the size and distance between them, produce gradations
of gray. The screens are absolutely necessary for four-color
work, also intervening the angle of each of the frames.

feather raster
 support

We must always take into account the type of support to be

printed in order to create an image and a fotolito that is sui-
table for it. Very fine lines in silkscreen printing, for example,
will cause problems when printing on textile. On the contrary,
if we want to print on paper we will be able to make images
with more detail and definition.

The wefts that can be applied in screen printing are direct-

ly related to the screen yarn. That is to say, the number of
threads of a screen printing screen will force us to work
with fotolitos with a smaller or larger screen dot. The more
threads, the smaller the screen dot can be and the more de-
tail it offers to the eye. If the weft is not suitable for the yarn,
our image will be reinterpreted and we will lose definition.
Amy-Daddy’s Girl
Print 40 x 60 cm
printworkersbarcelona.com
Cuatricomy
 the image of the fotolito

In an ideal world the images to be printed, in order to obtain

a good fotolito, should be vector graphics. Vector graphics
are digital images where the outlining and coloring is done
through mathematical equations. Unlike common images that
are bitmaps and, therefore, are made up of pixels, vectors can
be enlarged without ever pixelating, they also allow moving,
stretching and twisting images in a relatively simple way.

There are several programs to work with vectors, such as

Corel Draw, Adobe Illustrator, Freehand...

Example of vectorized image Example of pixelated image

But as we said, your design can be the result of a direct

drawing (with an opaque marker for example) on an acetate
or you can also choose to obtain the fotolito with a bitmap...
In this case we recommend you to prepare the design at
least at 300dpi resolution.
photoemulsion
The emulsion is a paste of photosensitive chemical content
that will allow you to sensitize your screen to light. Coating,
“emulsionar” in spanish the screen consists of applying the
emulsion using the reguera evenly on the mesh of the frame.

For a correct insolation/exposure it is essential to coat /

emulsify the screen correctly: with a thin and uniform emul-
sion layer. We must ensure that the screen is free of dust
and grease before emulsifying. In many cases it is necessary
to clean the screen with soap and water before taking any
steps. Allow to dry completely before applying the emulsion.

Choose a good “raedera”scoop coater: the tool we use to

coat is known in spanish as raedera or emulsifier. We need
to look for a raedera of the right size for the screen (it should
always be a few centimeters smaller than the internal size of
the screen). It may be much smaller, but it should never be
wider than the internal size.

Remove the emulsion and pour a good amount of it on the

raedera or emulsifier. The emulsion should cover at least half
of the emulsifier cavity. And it is that as with ink, we need to
work with abundant emulsion to work well. And always at the
end of the emulsification we collect the leftover and deposit it
back in the emulsion pot.

It is essential that the emulsion reflects a thin and uniform

layer. If there are no traces or thick emulsions left, we can re-
move them with a spatula or a blunt edge card. We can also
pass the same raedera but with the inclination of +/- 45%
looking up to collect the excesses.

With one layer and for short runs, if the emulsion is fine, it is
enough to emulsify only by 1 side. The outer face, so you will
be in contact with the fotolito at the time of insole.

Remember that we let dry the emulsified screen in a dry and

dark place before insole.
 light during emulsification

The emulsion is a photosensitive and light-reactive material.

The moment of greatest sensitivity is when the emulsion is

dry. During the emulsifying process we can work with a dim
light, but we should still protect the emulsion as much as
possible; closing the emulsion bottle, recovering the excess
emulsion and cleaning the utensils in the shortest possible
time.

Many people choose to do the whole process with a red

or yellow light, like a photo lab room. We believe this is not
necessary. But once again you are the one who chooses your
way of working.
 types of emulsion

The emulsion can be for aqueous or solvent inks or dual/

mixed emulsion resistant to aqueous and solvent inks.

Diazo Emulsion
This type of emulsion has two components: the emulsion and the
diazo sensitizer (mixture of polyvinyl alcohol and polyvinyl acetate).

Main features:
- stability of the solvents
- ease of recovery
- does not harm the environment
- screens can always be kept in the dark, protected from light
- depending on their shade we can tell if they are tender (they
have brightness and a darker color) or old (matt and lighter)

This type of emulsion is used for water-based inks or solvent-ba-

sed inks, the emulsion is for one or the other, however there is a
catalyst that can be applied to the emulsion for water-based inks
for use with solvent-based inks as long as it is for a short run.

This type of emulsion usually lasts about 4 months.

Photopolymer Emulsion
It does not need the addition of more emulsion layers to get the RZ
value close to 0 (for the solids content).

Its shelf life is longer, approximately one year, although it can last
longer in the refrigerator. Exposure time is shorter.

They work for both solvent-based and water-based inks.

They do not pollute.

They are more expensive than the previous ones. But they are
much more practical... And we recommend them to you. Especially
the Murakami Aquasol (with characteristic blue tone).
screen exposure
As we explained in the course, insolation is nothing more than
a strong light input that allows the emulsion to be fixed where
it receives the light. Where your design is. That is, the part of
the emulsion screen on which your photolithograph is cente-
red (opaque image) will not receive light; and, therefore, it will
not be fixed.

Thus, when developed (by rinsing with strong water pressure)

the emulsion will come off where the light did not reach. That
is, where our design is on the photolithograph.

This will allow the ink to pass through the emulsion when
printing, thus obtaining a matrix that will allow us to print an
infinite number of times.

the exposure unit

There are many ways to insolate a screen, and on the internet

you will find numerous tutorials on how to make a suitable
light box/insolator/exposure unit. The more powerful the ma-
chine, the shorter the exposure time.

Each insolator/light box has its own exposure times depen-

ding on the bulbs it uses: from halogen bulbs to ultraviolet
fluorescent tubes... So here it is the artist who will prepare
a sheet of exposure times for his designs according to the
exposure time of the exposure unit it uses.

It is advisable to prepare this time sheet according to the

type of design (stain/photolithography, feather or weft/hat-
ched photolithography) and the spinning of the screen.
Like this, a possible time table should consider:

Design Screen Screen Screen Screen

43 62 90 120

Spot

Raster

It is important to consider that these times will vary when we

change the type of emulsion and when we decide to emulsi-
fy on 1 or 2 sides.
If we emulsify only 1 side, the exposure time will be reduced.
As the light will have less emulsion pending to be fixed.

During the exposure process it is essential that the photo-

lithograph is in full contact with the screen. That is why the
professional heat presses make the vacuum (to ensure this
total contact). In a homemade heat press, the vacuum is
replaced by placing a heavy weight on the screen and the
fotolito.

As always, when looking for the best method to insolate your

work, it is a matter of evaluating what is worth more... Prepa-
re your own light box, buy an insolator or go to a coworking
workshop like the one at Print Workers Barcelona where we
will be happy to advise you ;)
inks
There are basically two main types of inks: water inks and
solvent inks. From Print Workers Barcelona we recommend
you always work with water-based inks. For both environ-
mental and health reasons, because water-based inks are
obviously not very toxic today.

Depending on the medium to be printed, some inks or others

can be used, as it allows great versatility of both media and
inks. In essence, what distinguishes one screen printing ink
from another is not the pigment, but the other components
that allow its adhesion to the different media (plastics, textiles,
metal, etc.)

The less absorbent the substrate on which we affix, the more

solvent you will need. This way it will always be much more
toxic to work on plastic, metal or glass than on paper or
fabric. In this way, when working with solvent inks (PVC and
epoxy inks), the use of gloves is recommended and good
ventilation is essential.

Screen printing inks have much more covering power than

other printing inks, because they also have more pigment. Ink
thicknesses in screen printing media are much higher than in
other printing systems (up to 30 microns in thick layer screen
printing, while offset printing is up to 2 microns).

In the water inks we will find inks for paper and inks for
textile. And in turn, within textile inks you will find various
types: acrylamines or “acraminas” in spanish (water-based
trasparent), lacquers or “lacas” in spanish (water-based but
with a minimum amount of solvent) and plastisols (with many
solvents).
textile inks

Acraminas
Textile inks offer a wide range of choice. Depending on the type of
fabric we work on. The acrylic inks are introduced into the fabric,
mixed with the colours of the fabric. Resulting very soft to the
touch and allowing us to play with transparencies. All this subtracts
covering capacity. So in case of dark tissues, acraminas are not
convenient. Finally say that they dry quickly and that to preserve
them in the fabric after numerous washes we can choose to dry
the garment on the back or spend a “quarantine” of 8 days without
washing them after stamping to ensure their permanence in the
fabric.

Lacas
So, for dark fabrics we will be inclined by lacquers or plastisols.
Lacquers are more covering, but do not penetrate the fabric so they
have a less pleasant touch. But their effect is very impactful on the
tissues. And they dry just like the acraminas.
A variety of lacquers are the discharge / rongeant inks that, by
incorporating a “bleach effect” allow the acramine to feel with dark
fabrics and the same covering capacity as normal lacquer. Because
they have a greater covering capacity, because they are thicker,
they need a small amount of retardant to work more comfortably.

Plastisols
Finally the plastisols, which are based on pvc, allow you to work
without risk of drying the ink (you can leave the screen quietly with
ink and have a coffee ;). But since they are not air-dried, they require
special drying (150º heat). On the other hand, they have great
covering capacity and detail resolution; being more pleasant to the
touch than lacquers (but not as much as acraminas) because they
need less ink to cover the fabric.
Plastisols are modified PVC resins based on solvents, while the
base of the lacquers are water-soluble resins, hence they are not so
recommendable at environmental level.

Which to choose in textile?

We can work perfectly on a raw color tote bag with an acrylic or also
with a lacquer if we want to highlight the design more. That is, depen-
ding on the effect we are looking for, we will choose what type of ink is
suitable. Of course, considering the limitations that acraminas present
for dark tissues.
 paper inks

We will normally use water-based inks.

Among them, paper lacquers are usually the most ideal

option because of their higher covering capacity. This makes
the ink dry more easily, so we will use a small amount of re-
tardant to be able to print more comfortably.

Despite this, a good way to get started in screen printing is

to use acrylamines, which in principle are intended for textile,
because as it is more liquid does not dry, and although they
do not have much hiding power, they are comfortable for
beginners.
printing
When working, it is basic to separate clean areas (printing
area, paper store and work), of dirty area (inks, water, spatu-
las...). At the same time, we must consider that screen prin-
ting needs time and dedication.

At the time of handprinting, it is always preferable to use a

large amount of ink, this can always be recovered later. You
need to find that 75 degree angle of steady, steady pressure.

Do not forget to load/pull the foot to always refresh the ink on

the screen, just as we did the course.
 the register

As we explained in the course, the registration is basic to

center your image on the paper and then place your sheet or
garment always in the same place to repeat the result of the
stamping.

The register is essential to play with 2 and more colors. You

can use an acetate (stamping on it) or simply looking through
the screen as we did in the workshop.
recovery and
conservation
screen
If we consider the screen as an investment for your project.
The care of it is also essential.

Before its first use, it should be degreased or at least cleaned

with soap. At the end of each printing it is also necessary to
clean it with soap and abundant water to prevent the dried
ink from clogging the mesh and thus avoid the loss of infor-
mation.

But before washing the screen, it is always advisable to

“unload” the screen. That is, make several runs on test paper
(or newsprint) to remove as much ink as possible from the
screen. This will help us both when cleaning the screen and
on a practical level. If you clean screens in your sink it will
always be easier to clean the less ink on the screen. And of
course, following environmental criteria we also avoid flushing
a lot of ink down the drain.

Once the screen is washed, we dry it and we can store it until

its next use ;)
congrats!
You are ready to set up your own workshop at home or come
to our Studio!

From Monday to Thursday our Studio works as a real

#gymdeserigrafia.

Before coming for the first time, we will do a skype to advise

you on how to approach the project and what materials to
buy.

And once you enter the workshop, you have our assistance
from start to finish. Especially when it comes to emulsifying,
insolating and stamping your stencils.

Take a look at these videos of your colleagues:

https://youtube.com/playlist?list=PLi4fvmhgUldD8-vi-
NK61eD66PnZYaO2d

More info about the Studio and your workshop vouchers here:
https://www.printworkersbarcelona.com/studio/

LINK ORA LABORA CAJA DE LUZ

https://oralaborastudio.es/tutorial-insoladora-serigrafia/

More info about screen printing:

https://www.screenprinting.com/pages/how-to-screen-print-
video-series
https://www.anthemprintingsf.com/Screen-Printing-
Tutorial-s/103.htm
suppliers
Our trusted supplier and our recommendation to you:

Rittagraft
10% discount with your Academy card
www.rittagraf.com
C/ Llobregat, 72, local left, 08904 L’Hospitalet de Llobregat, Barcelona
Shipments to the whole Peninsula

Another supplier in the Barcelona area:

Marserbcn serishop, S.L.

https://marserbcn.weebly.com/
Ferrocarrils Catalans, 14 Local
Corner Carrer Foneria
08038 Barcelona
T. 931402208

Providers exclusively online:

KLP Serigrafia
https://klp.kalipo.com

PulpoensuTinta
https://www.pulpoensutinta.com

LaFabrica
https://lafabricaserigrafia.com
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