MINISTRY OF EDUCATION

ART & CRAFT

A TEACHER AND STUDENT LEARNING RESOURCE

YEARS 9 & 10

PRODUCED BY
CURRICULUM DEVELOPMENT AND ADVISORY SERVICES
The Ministry of Education owns the copyright to this book, Art & Craft, Printmaking for
Years 9 & 10. Schools may reproduce this in part or in full for classroom purposes only.

No part of this text resource may be reproduced, stored in a retrieval system or is transmitted in
any form or means, electronic, mechanical photocopying, recording or otherwise without the
permission of the Curriculum Development and Advisory Services.

Issued free to schools by the Ministry of Education.

First Edition 2016.

© Ministry of Education, Heritage & Arts, Fiji, 2016.

All rights reserved

Published by:

Curriculum Development and Advisory Services

Ministry of Education, Heritage and Arts
Waisomo Building
Private Mail Bag
Suva
Fiji.

2|Printmaking
 Acknowledgement
The Ministry of Education would like to acknowledge the contribution
made by Mrs. Komera Tuicakau in the compilation and completion of
the Printmaking textbook for Years 9 and 10.

3|Printmaking
Introduction
The Printmaking textbook for Years 9 and 10 includes all the Printmaking topics in
the current syllabus. It covers three (3) major areas which includes: a) Masi
Printing, b) Air Brushing and c) Screen Printing. Notes are given with follow up
activities and the teachers are encouraged to research further on the topics covered
in order to enhance their knowledge. It is hoped that the resource will be of great
help to both the students and the teachers.

4|Printmaking
 Contents

1.0. MASI PRINTING

1.1. Definition of Masi

1.2. Importance and uses of masi in the i’Taukei society

1.3. Places where masi are produced

1.4. Masi Designs (Boarders, Semi – Boarders, Center Piece)

1.5. Materials needed for the printing of masi

1.6. Masi making and the printing process

2.0. AIR BRUSHING

2.1. Definition

2.2. Uses of Air Brushing

2.3. Materials needed for Air Brushing

2.4. The process involved in Air Brushing

3.0. SILK SCREEN PRINTING

3.1. Definition

3.2. Uses

3.3. Materials needed for screen printing

3.4. Processes

3.5. Overprinting

3.6. Solvent Green Style

5|Printmaking
 Source: supplied by the author

6|Printmaking
 1.0 MASI PRINTING

1.1. Definition
Masi (also known as tapa) is a material made from the bark of a mulberry
tree.

The Mulberry tree is about 2cm to 3cm in diameter and grows more than a
meter in height. It also grows well in sandy soil. The plants are cut when
they are 8 to 10 months old. The outer layers are separated from the core of
the stalk/stem and the outer bark is scraped off. The cuttings are than
stripped, soaked, beaten and joined together to form the required length and
width of the masi.

Masi comes in a variety of sizes ranging from a meter to a massive 10 to

15m in width and length. The shapes vary from a square, circle and even
rectangular shapes. However the designs are closely related to the place
where it is printed. There are three standard Masi colours – i.e. white, brown
and black. The overall outlook and the prints of a Masi usually depend on
the intended use.

The masi tree is not only planted and used in Fiji, but it is common in the
Pacific Islands and its uses are similar throughout the Pacific.

7|Printmaking
 Stripping of
the bark
Young plants are
cut when they' are
8 to 10 months
old. The outer
layer is separated
from the core of
the stalk/stem
Soaking and the dark
outer bark is
• These strips are scraped off.
coiled and soaked
in water for
several hours to
separate the inner
white bark from
the center bark,
which is scrapped
with a sea-shell.
The inner bark is
then soaked again
to make it more
pliable and
toughens it for
beating into a
cloth of the
desired length
and texture.

. Pieces are then overlapped

and beaten at the joints to
form larger pieces
The pieces are generally
beaten together with a
mallet called ike (ee-kae) and
the resin in the bark acts as
adhesive to hold them
together. The edges are also
adhered with starch
obtained from a root called
yabia (yah-BEER) or
arrowroot.

8|Printmaking
 1.2. Importance and uses of Masi in the Fijian society
Masi plays a significant role in the i’Taukei society. It is one of the
renowned traditional artifacts closely associated with the i’Taukei.

Traditionally, Masi is mainly used as clothing and it is a common item in all

ceremonial functions like weddings, funerals, birthdays and other traditional
ceremonies.

Apart from clothing, it is also used for decorative purposes as in curtains,

wall hangings, bed covers and as blankets. The various uses of masi makes
it a valuable commodity in the Fijian society.

Masi is used as a meke costume

Source: picclick.co.uk

9|Printmaking
 Wedding Costume

The use of “Masi Kuvui” or the

smoked brown Masi denotes the
chiefly status of the wearer.

Source: supplied by the author

Birthday
Costume
and wall
decoration

Source: supplied by the author

10 | P r i n t m a k i n g
Masi is used as a costume
during a funeral ceremony.
Close relatives seen here are
wrapped in Masi, paying
their last respect to the
deceased. Also note the use
of Masi as a wall covering.

Source: supplied by the author

Now Masi has been contemporarily used for other purposes like the making
of bags, pencil cases, book covers, etc. A lot of Fijian made products get
their inspiration from the Masi designs and now we closely link these masi
designs to Fiji. Recently, the Fiji Airways have included the masi designs
on its airplanes, showcasing the designs to the world and re- enforcing the
value of Masi on the Fijian society.

Source: pinterest.com

11 | P r i n t m a k i n g
 1.3 Places where Masi is produced
Due to specialisation, Masi was only produced in certain islands in Fiji,
which includes Vatulele, Taveuni and Southern Lau. Now through inter –
marriage and due to the easy availability of materials, the production of Masi
has spread Fiji wide.

Source: 2009 Ezilon.com

KEY
Islands where Masi are produced

12 | P r i n t m a k i n g
 ACTIVITY
1. Define Masi.
___________________________________________________________
___________________________________________________________
___________________________________________________________
___________________________________________________________
2. Complete the table below

Uses of Masi Explanation Pictorials

1.

2.

3.

4.

13 | P r i n t m a k i n g
 3. On the map of Fiji, locate, shade and name three places where Masi are
produced.

Source: 2009 Ezilon.com

KEY:

14 | P r i n t m a k i n g
1.4. Masi Designs (Boarders, Semi – Boarders, Centre Piece)
Designs used by different places are similar in the sense that they normally
depict the things around them (natural resources) or use basic shapes as
motifs, but there are also marked differences between each Masi piece from
different places as tabulated below.

Places Features Example

Vatulele Big bold designs

Source: supplied by the author

Southern Lau Very detailed and

intricate designs

Source: supplied by the author

Taveuni Use of basic shapes like

triangles
Source: supplied by the author

15 | P r i n t m a k i n g
 All Masi have common features like boarders, semi boarders and center
pieces.

Boarders
When printing Masi, we normally start with the boarders and work towards
the center piece. Unlike contemporary art, there are specific traditional
designs that are used as boarders. It is advisable that you look at a printed
tapa and get some ideas on the boarder designs.

Below are some common boarders used in Masi printing

Source: 1, 2, and 3: supplied by the author

16 | P r i n t m a k i n g
 Semi- Boarders
These refer to the designs used straight after the boarders. You can have
more than one (1) semi – boarder. You also have an option to change the
printing colour from black to brown.
Examples:

Source: supplied by the author

17 | P r i n t m a k i n g
Center Pieces
This refers to the design that is printed in the center of the Masi. Fijian artifacts
designs such as the war club, canoe, bure, lali, saqa moli and fan are often used as
center pieces (check the Fiji coins to give you ideas on the traditional artifacts).
Printing colour or dye may also be changed from black to brown.

Source: supplied by the author

18 | P r i n t m a k i n g
 1.5 Printing Masi (materials needed)
The following materials are needed for Masi printing.

1. Sharp paper cutter (available in bookshops and in some retail outlets).

2. Used or unused x-ray films (or similar materials).

3. Black and brown paint (poster paint to be used for practice on newsprint

and fabric paint /black soot on Masi or cotton materials)

4. Newsprint/Masi/A3 papers for printing

5. Sponge/ old Masi for dabbing and cleaning of x – ray films.

6. Old newspapers

7. Vanish (optional if printing on Masi)

Masi stencils that are

cut on old
X-ray films.

19 | P r i n t m a k i n g
The Printing Process
Step 1
Selecting the designs – the artist has a huge task of deciding the designs or motifs
to be used as a boarder, semi- boarder and the center piece.
Step 2
Cutting of the stencil - transfer the design on to the x- ray film either by tracing or
just stick the designs on to the x - ray film and cut it neatly. The designs should be
visible when cutting, if not, it is better to wash the x- ray film before cutting the
design.
Use a paper cutter to cut the designs neatly. These designs are re- usable and
should last for more than a year if kept properly. (Note: traditionally designs were
cut on banana or pandanus leaves)

Step 3
The printing process - the working bench, surface or table should be covered with
old newspapers to prevent paint from staining the bench, surface or the table.
Start with a boarder design, by carefully dabbing the sponge in the paint from one
corner and work around the edges.

Source: 1. Fijitimes.com
2. robertsfijimission.blogspot.com

20 | P r i n t m a k i n g
The sponge or the old masi that is used for dabbing should not have excess paint,
otherwise there will be a lot of smudges.

After dabbing on the design, check to see that there are no paint markings on the
motifs, but if there happens to be any, clean it using another sponge so that it does
not make unnecessary markings on the Masi. Normally black paint is used for the
boarder.

Source: eattmag.com/how-to-make-tapa-prints
Once the boarder is completed, the semi – boarder is next in line. There can be
more than one semi – boarder and the colour can also change from black to brown
but it will solely depend on the artist. The same dabbing process is also used, not
too much paint to prevent smudging and the cleaning of the motifs after each use.
Make sure that while working on the semi – boarder, you also have ample space
for the center piece.

The center piece will be the last design to be dabbed in. Colour can either be black
or brown. Once completed, time is given for the paint to dry before using the
printed masi.

21 | P r i n t m a k i n g
 Source: kivu.com/fijian-tapa-cloth

22 | P r i n t m a k i n g
ACTIVITY
1. Find and circle the following words (you may go horizontal, vertical or
diagonal and even backwards)
Boarders Centerpiece Masi Printmaking Vatulele
Semi boarders Southern Lau Tapa Taveuni

L Y H M T Z S E H S K A P E R
J P A P A T E I L E U R C E E
B S F P V R M A S B I A A G H
I W L J E P I D C N G E P E C
P U Q Z U V B C T R L Z O E W
S E A W N D O M H G Y K M U S
Y U H L I P A J L X L L E Q D
M X M O N K R Q S M T Y I S B
M G I M I R D R Z S M W K C W
T W C N E C E I P R E T N E C
X Q G P E D R H M W J R M P G
A T B F R O S H T E X N L S R
F N L A V E V A T U L E L E S
R V O D B C H S V T O T M C E
Y B R O D G L P H I Z S R C F

23 | P r i n t m a k i n g
 2. Identify a traditional place in Fiji where Masi is produced.
__________________________
3. Draw 2 designs for the boarder, semi – boarder and center piece associated
with the place you have chosen for Question 1.
Design One Design Two
Boarder

Semi –
boarder

Center
Piece

24 | P r i n t m a k i n g
 4. In groups of four, you are to cut all the designs that you have selected and
have drawn in Question 3. It is compulsory for each student to cut the
design.
5. With the same group as above, print the designs on A3 size paper or
newsprint. Start printing with a boarder, semi – boarder and then the center
piece. Note:

i. Do not use too much paint.

Boarder ii. Brown can be obtained from mixing
equal proportion of blue, yellow and
Semi - boarder(s) red.
iii. Check and wipe the stencils after
Centre Piece every use

6. In the same group, present on the following;

i. challenges faced in printing the masi and the lessons learnt during the
process; and
ii. display the printed masi on the classroom walls or on the notice board.

25 | P r i n t m a k i n g
 Source: wikihow.com
26 | P r i n t m a k i n g
This is another print making technique. As the name explains, the presence of air
used in the brush is an important factor in this method of printing.

The concept of airbrushing has been around since Neolithic man when they
grinded berries in their mouth and sprayed the “pigment” onto the cave walls.
Airbrushes were invented around the turn of the 20th century. Since then, artists
have used this tool to create amazing work of art.

Air Brushing is commonly associated with the spray painting of motor vehicles. It
would be of a great help if a visit is made to the places where motor vehicles are
spray painted in order to give you more ideas on Air Brushing.

Source: wikihow.com

27 | P r i n t m a k i n g
Here are some tips on how to get started with airbrushing in order to create your
very own masterpiece.

Part 1 of 2: Preparation

Source: en.wikipedia.org

1. Assemble your materials.

Successful airbrushing requires a few items. Take note that there are some
airbrushes that have built in system for air which will not require you to
have a separate gas tank.

28 | P r i n t m a k i n g
 2. Know your tools
Successful air brushing requires knowledge of how each component of the
airbrushing system contributes to your desired effect.

a) Air brushes come in two types: single-action and double-action.

Double-action airbrush will offer greater control whereas a single-action
airbrush has less moving parts and is easier to clean.

Source: en.wikipedia.org

b) The nozzle is the part of the air brush where the needle rests. You may
wish to use different needles depending on the project.

29 | P r i n t m a k i n g
 Source: en.wikipedia.org

c) The air source is what supplies the air pressure that is needed for the air
brush to properly spray. Most art projects will require an air source that
can deliver 100 P.S.I. at a constant rate. Consult a professional to
choose the proper air source for your project.

Source: en.wikipedia.org

30 | P r i n t m a k i n g
 3. Prepare your paint
Using the air brush bowls or jars from the set, mix the acrylic paint with a
little bit of water, so that it has an inky consistency. If you are using inks,
you generally will not need to dilute them. Remember, you can always add
more water but you cannot take water out, therefore, add only a few drop at
a time. Developing the right consistency of the paint requires practice.

Each project will require different paints. Consider the surface you are
painting and adjust accordingly. For example, textile painting will need a
paint that is soft and flexible so that the paint will not crack after being worn
or washed. Conversely, a harder, less pliable paint would be better suited for
airbrushing onto a metal surface.

4. Test your paint

Adjust the needle cap on the airbrush so that the needle does not touch the
cap, leaving just enough room for air to escape. Try spraying the paint on a
piece of paper to check for the consistency, and practice using the lever and
button on your airbrush. For the smoothest effect, keep the airbrush about 20
cm (8 inches) away from the surface.

Source: en.wikipedia.org

31 | P r i n t m a k i n g
 5. Practice controlling atomization.
Atomization refers to how finely the paint particles are sprayed. Higher
pressure will create a finer atomization of paint.
a) Paint type and viscosity will affect atomization. Experiment with
different paints and consistencies to find your desired effect.
b) For precision spraying, a finer airbrush needle and low-viscosity
paint will be needed. Use low air pressure for this task (15-40
P.S.I.)
6. Practice cleaning the airbrush.
Detach the airbrush bowls or jars, and immerse the air brush in the bucket.
Move air through it to wash the paint. This will prevent the colours from
mixing in the air brush. Then, blow water out of the airbrush by directing it
at a rag or piece of scratch paper.

Part 2 of 2: Begin Airbrushing

Source: en.wikipedia.org

32 | P r i n t m a k i n g
 1. Sketch your drawing.
Using a pencil, sketch a light outline of your work. Use the eraser to eliminate any
unwanted lines and try to lighten the ones you need as much as possible. Take a
step back and check to see if your sketch resembles what you have in mind.
2. Start working on your painting.
As you paint, go one color at a time and try to build from the bottom layer up.
Generally, you will want to move from light to dark colors. Fill in general areas
first.
a) Mask off areas that you do not wish to paint. Apply a frisket (a plastic sheet
with adhesive backing) to your painting. Using the craft knife, cut around
the area you wish to cover and remove the extra frisket. Peel the frisket off
the covered area when you have finished. You can also use tape and cut-out
pieces of copy paper to achieve sharp and clean edges.
b) Finish with a fine needle to create details. As you’ve already learned, you
will need to lower air pressure to 15-40 P.S.I. for this task.
3. Seal the painting
When you are done with the artwork, spray a fixative over the paint to seal
it.
a) Stand 3 to 4 feet away and spray using continuous horizontal strokes. Be
careful not to overspray.
b) Let it dry and then apply second coat if desired using vertical strokes.
4. Wash out the airbrush
Clean the airbrush immediately after you have finished painting, so that the
paint will not dry inside and block the needle. To make sure that you have
cleaned everything, you need to disassemble the airbrush (being careful with
the fragile needle).

33 | P r i n t m a k i n g
ACTIVITY

1. Define the term air brushing.

_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
2. List the equipments needed for air brushing.
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
____________________________________________________________
3. Describe the procedure used in air brushing.
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________

34 | P r i n t m a k i n g
 4. Make a dull looking hibiscus flower vibrant by spray painting the colours of
your choice.

5. In a group of 5, using the air brushing technique, do the following:

i. create or sketch a design;
ii. choose the surface/ material on which the design is to be printed; and
iii. air brush on the surface/material chosen.

35 | P r i n t m a k i n g
 6. In groups of 5 :
i. Collect pine cones, dry flowers, old toys or any other material/object,
and airbrush it using the colors of your choice.

7. Unscramble the tiles below to reveal a message

36 | P r i n t m a k i n g
37 | P r i n t m a k i n g
 Screen Printing

Screen printing is a printing technique that uses a woven mesh to support an ink-
blocking stencil to receive a desired image. The attached stencil forms open areas
of mesh that can transfer ink or other printable materials which can be pressed
through the mesh as a sharp-edged image onto a printing material. A fill blade or
squeegee is moved across the screen, forcing the ink through the mesh openings.
Basically, it is the process of using a mesh-based stencil to apply ink onto a
printing material, whether it be t-shirts, posters, stickers, vinyl, wood, or any other
material.

Screen printing is also a stencil method of print making in which a design is

imposed on a screen of polyester or other fine mesh, with blank areas coated with
an impermeable substance. Ink is forced into the mesh openings by the fill blade or
a squeegee and onto the printing surface during the squeegee stroke. It is also
known as silkscreen, serigraphy, and serigraph printing. One colour is printed at
a time, so several screens can be used to produce a multicoloured image or design.

There are various terms used for what is essentially the same technique.
Traditionally the process was called screen printing or silkscreen printing because
silk was used in the process prior to the invention of polyester mesh. The most
popular mesh in general use is made of polyester. There are also different types of
mesh size which will determine the outcome and look of the finished design.

38 | P r i n t m a k i n g
Printing Technique

Source: en.wikipedia.org

As illustrated above, screen printers use a silkscreen, a squeegee, and hinge clamps
to screen print their designs. The ink is forced through the mesh using the rubber
squeegee, while the hinge clamps keep the screen in place.

Parts of a screen

Source: pinterest.com

A. Ink. B. Squeegee. C. Image. D. Photo-emulsion. E. Screen. F. Printed image.

39 | P r i n t m a k i n g
Types of Ink
Cracking Ink
Cracking ink effect is when the ink produces an intentional cracked surface
after drying.
Discharge Ink
Discharge ink is used to print lighter colours onto dark background fabrics.
They work by removing the dye of the garment – this means they leave a
much softer texture. A disadvantage with this process is that they are less
graphic in nature than plastisol inks and exact colours are difficult to control.
An advantage of using this process is that they are good for distressed prints
and under-basing on dark garments that are to be printed with additional
layers of plastisol. It adds variety to the design or gives it a natural soft feel.
Expanding Ink (puff)
Expanding ink, or puff, is an additive to plastisol inks which raises the print
off the garment, creating a 3 dimensional (3D) feel and look to the design. It
is mostly used when printing on apparel.
Flocking Ink
Flocking ink consists of a glue printed onto the fabric and then flock
material is applied for a velvet touch.
Foil Ink
Foil ink is much like flock, but instead of a velvet touch and look, it has a
reflective/mirror look to it. Although foil is finished with a heat press
process, it needs the screen printing process in order to add the adhesive glue
onto the material for the desired logo or design.
Glitter/Shimmer Ink
Glitter or Shimmer ink is when metallic flakes become an additive to the ink
base to create this sparkle effect. It is usually available in gold or silver but
can be mixed to make most colours.
Gloss Ink
Gloss ink is when a clear base is laid over the previously printed inks to
create a shiny finish.

40 | P r i n t m a k i n g
Metallic Ink
Metallic ink is similar to glitter, but smaller particles suspended in the ink. A
glue is printed onto the fabric, then nano-scale fibers applied on it.
Mirrored silver Ink
Mirrored silver is a highly reflective, solvent based ink.
Nylobond Ink
Nylobond is a special ink additive for printing onto technical or waterproof
fabrics.
Plastisol Ink
Plastisol is the most common ink used in commercial garment decoration.
Good colour opacity onto dark garments and clear graphic detail with, as the
name suggests, a more plasticised texture. This print can be made softer with
special additives or heavier by adding extra layers of ink. Plastisol inks and
as well as other types of inks require heat to cure the print.
PVC and Phthalate Free Ink
PVC and Phthalate Free inks are relatively new type ink and it has a soft
texture.
Suede Ink
Suede ink is a milky coloured additive that is added to plastisol. With suede
additive you can make any color of plastisol to have a suede feel. It is
actually a puff blowing agent that does not bubble as much as regular puff
ink.
Water-Based Ink
These types of ink penetrate the fabric more than the plastisol inks and
create a much softer feel. Ideal for printing darker inks onto lighter coloured
garments. It is also useful for larger prints where texture is important.
Designs in Screen Printing
In screen printing, designs or the stencils can be reusable or it can be used only
once. Reusable designs are cut on green film whereas a design that can be used
only once are cut on paper. Both stencils will enhance permanent designs when
used in printing. For practice purpose it is advisable to use designs cut on paper.

41 | P r i n t m a k i n g
 For any designs, you will need the following materials
Screen Polyester Mesh Paint Squeegee Paper Cutter
(fabric/Poster)

Design Old newspaper/ Stapling gun Material /

(paper/green plain material paper to print
film) for backing on.

Paper Design
If you are designing on the paper, then there are certain limitations.
For example, when you are cutting the letter “O”. There is a need to account for
spaces to hold the inside circle of the letter “O” as shown in example 2.
Example 1 Example 2

Therefore, to cut the letter “O” on paper, it is best to use Example 2, because the
white strips will hold the inside circle of the letter “O”.
Abstract designs are best used for this option. You can cut your abstract designs or
stencils on the A4 paper or any paper size for that matter.

Cutting abstract designs

You will need:
1. A pair of scissors, and a paper cutter
2. A4/A3 paper

42 | P r i n t m a k i n g
There is a particular fold that you will need to do on the paper –

a. On a landscape mode of the paper, fold your paper into half.

b. From the fold line, fold into half again

1st Fold Line

2nd Fold Line

c. From the 2nd fold line fold a triangle at the corner.

2nd fold line

3rd fold line 1st Fold Line

Cut designs of any shape along the lines

After cutting, open up the folded paper to reveal your design.

Now the design is ready to be used in screen printing.

43 | P r i n t m a k i n g
 PRINTING METHOD
1. For your first print, test on paper or newsprint.
2. Place an A3/A4 paper or newsprint on which you will test your design on.
Layout your design. Place the polyester mesh screen on top of the design.
You do not need to stick the design as the paint will hold the design once
printing starts.
3. Once the desired result is achieved, you can now print directly onto the
material you intended to print on.
4. Get the fabric or the material in which you are going to print on ready as you
will need to print quickly as the designs are on paper and it can be damaged.
Put the paint on one side of the screen and using the squeegee, spread the
paint across in one direction making sure that they are spread out evenly.
Repeat 2 or 3 times.
5. Once completed, lift the screen from one side and repeat the process on the
other materials that needed printing.
6. When printings are completed, pull out the design from the screen and wash
the screen properly. Make sure that all the paint is washed off and the screen
is not damaged. Dry the screen before the next use.

SOLVENT GREEN METHOD

This screen printing method is where the designs are cut on green film which are
reusable. The green film has excellent visibility for multi-coloured artwork and is
simple and fast to cut with easy peeling properties. Mistakes can easily be
corrected and overcuts close up during adhering.

Source: en.wikipedia.org

44 | P r i n t m a k i n g
Printing Methods

1. Once the design is cut on the green film, it is than adhered to the screen
using a thinner (available in hardware shops). For adhering the stencil on to
the screen, a cotton wool is used.

Steps for fixing the green film on to the screen

 Lay the design on a flat table (the shiny side facing the table).
 Put the screen on top, making sure it is centered.
 Apply thinner (just enough) using cotton wool on the screen and dab in all
the mesh area.
 Let it dry and peel off the plastic from the green film design. The green film
should now adhere to the screen and it is ready for use. This screen becomes
a reusable and permanent design.
2. For your first print test on A4/A3 paper or newsprint.
3. Place the paper or newsprint on a flat surface. Put the screen on top and
apply paint as in paper designs. Once the desired result is achieved, you can
now print on to the material you intent to print on.
4. Once completed, lift the screen from one side and repeat the printing process
on the other materials.
5. When printing is completed, wash the screen properly by making sure that
all the paint are washed off and the screen is not damaged. Dry the screen
before the next use.

45 | P r i n t m a k i n g
OVERPRINTING
In over printing, more than one color is used with the same design. This is ideal for
green film but does not augur well with paper designs. The same procedure for
green film printing is used but other colours are used in two ways – print on dry, or
print on wet.

Print on Dry
For this method we will have to wait for the first colour to dry before applying the
second or other colours.

Print on wet
In this method, we do not have to wait for the paint to dry, but the other colours are
applied straight after printing the first colour. It has a different effect on the
outcome with colours mixing and forming other interesting colours where the
designs overlap.

For overprinting, another option is the use of another material for backing. The
outcome is not predetermined but normally the final result is beyond
comprehension. In this method, the material for backing is spread straight after the
newspaper on the printing table/surface. When printing, you will have to spread
your material on top of the backing material and then print. What will happen is
that the paint from your material will also make markings on the backing material.
Allow for a number of designs. Once satisfied with the outcome, the backing
material through overprinting now becomes another art piece.

46 | P r i n t m a k i n g
ACTIVITY

Find the following words

ACRYLIC BLACK COLOURS CONTRAST
COTTON DESIGN GREENFILM HUE
NEUTRAL OILBASED PAINT SCREEN
SOLVENT SQUEEGEE TSHIRTS WATERBASED
WHITE

S B C R E E N N P R I N T I N
G L B W P Z I O D T U G J B S
N A V H T F I D T G R U G T S
E C X D E S I G N T B Z R K I
E K Z D E S A B L I O I A M T
R B G H Y Q Y R S J H C G Z N
C I U R P K A O T S X F R Y I
S E O E Y F L O T N X S E G A
O Y N A M V T U A J O A E W P
E E G E E U Q S M C Y C N H I
D J P N U C O L O U R S F I K
C J T M L T A K A H L Y I T S
S L W A T E R B A S E D L E M
J U I V V C K A R B G Z M I D
M Z X K U V P Z L G Y N I B C

47 | P r i n t m a k i n g
 2. Differentiate between the following terms:
i. Paper design and green film design.
________________________________________________________
________________________________________________________
________________________________________________________
ii. Water based and Oil based paint.
________________________________________________________
________________________________________________________
________________________________________________________
iii. Print on dry and print on wet.
________________________________________________________
________________________________________________________
________________________________________________________
3. List and explain the printing procedure for either the green film method or
Paper design method.
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
4. Create and cut three (3) abstract designs on paper.
5. In pairs, use the designs below or create your own and cut it on a green film
or on paper. Paste the design to the screen and print it on your chosen
material. (Note: for dark material add white paint to your chosen paint
before printing).

48 | P r i n t m a k i n g
49 | P r i n t m a k i n g
 PRINTMAKING
1. Unscramble each of the clue words below. Then copy the letters from the
numbered cells and write it on the corresponding numbers in the bottom
cells to reveal a message.

PNITR

50 | P r i n t m a k i n g
 APPENDIX

READY MADE MASI STENCILS

i.

51 | P r i n t m a k i n g
 Source: supplied by the author

52 | P r i n t m a k i n g
53 | P r i n t m a k i n g
 Beating the
masi bark
using the
wooden
anvil on a
special
wooden
platform

Source: kivu.com

Joining the
masi pieces

Source: kivu.com

54 | P r i n t m a k i n g
 Wedding party in traditional masi attire

Source: supplied by the author

A personalised masi with the name used as decoration during a funeral ceremony

Source: supplied by the author

55 | P r i n t m a k i n g
 AIR BRUSHING DESIGN

56 | P r i n t m a k i n g
 References

1. Masi definition accessed@http://en.wikipedia.org/wiki/Tapa-cloth (20/08/2014)

2. Preparation of masi pictorials accessed @ www.kivu.com/fijian-tapa-cloth (20/08/2014)
3. Masi motifs accessed @ https://www.facebook.com/Fijian Masi Printing By Selai
Buasala (22/08/2014)
4. How to air brush@ howtoairbrush.com (18/09/2014)
5. Airbrushing method accessed @www.youtube.com/watch?V=RpSpCr8P1Hs
(20/09/2014)
6. Screen printing technique accessed @en.wikipedia.org/wiki/Screenprinting (05/10/2014)
7. How to screen print accessed@www.youtube.com/watch?vzeixkslkubw (10/10/2014)

57 | P r i n t m a k i n g