Advanced Screen Printing: Design Your Own Team Pennant | Leitha Matz | Skillshare

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Advanced Screen Printing: Design Your Own Team Pennant

teacher avatar Leitha Matz, Maker

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (20m)
    • 1. Introduction

    • 2. A Quick Overview

    • 3. Designing Your Pennant

    • 4. Text Manipulation in Illustrator

    • 5. How to Build a Printing Screen

    • 6. Layered Stencils: Another Printing Option

    • 7. Emulsify Your Screen

    • 8. Expose Your Screen

    • 9. Print Your Pennant

    • 10. Final Thoughts

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About This Class

After you've made a single-color print with a stencil, what comes next?

It's time to step up your printing game with multiple colors and photo emulsion printing! These are simple processes that you can use at home to create professional-looking prints.

If you completed my Fast Screen Printing with Stencils class, you already have most of what you'll need to get started.

This advanced course will take you through the process of setup, layout, alignment and multi-layer printing.

We'll be making a cool-looking fan pennant, so rally your team spirit, and let's get printing!

Meet Your Teacher

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Leitha Matz



I work as the head of product at a startup, but when I'm not at the office, I'm always making things of my own. I especially love illustrating, writing and design.

Here at Skillshare, I usually focus on creating classes in printing -- everything from stencils to woodblock.

I find printmaking inspiring because anyone can quickly start making successful prints with very few tools. It really opens the doors to producing a vision of your own on all kinds of materials: t-shirts, walls, stationery, stickers and so much more.

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1. Introduction: an advanced screen printing. We go beyond the Stessel into multicolor on photo emotion printed. I'm like the mass. I love printing, and I'm excited to show you everything I know about how to get beautiful print results in this class. We're going to design a team. Pen it, whether you're already rooting for a team or just know somebody who needs a boost, you can print a pendant or a whole bunch of penance to make your team spirit stand out. This class is gonna be perfect for those who are already a little familiar with stencil printing and ready to dive into layers. So we'll get started with an overview of the process and a little history of pennant making to get to inspired to make your own. 2. A Quick Overview: when we print with a stencil, stencil blocks the ink and lets it through only in the areas we select. A photo motion printing integrates the stencil into the screen. So to do this, we first treat the screen with a photosensitive emotion. Then we keep the treated screen in a dark area where it can dry. You'll need to have your design printed on Transparency film, and so then the film needs to lay on top of the treated screen. So when we exposed to bright light, the clear areas harden into a stencil and the dark areas stay soft. When the screen is exposed for the right amount of time, we take it immediately to a showerhead or a sprayer hose in the sink and pushed the emotion out of the unexposed areas. So when that's dry, our screen is ready for printing, and the emotion stencil will stay in the screen for far more prints than you'd get from a paper stencil. When you're done with the screen and want to recycle it for another project, you'll need emotion remover. You want to put on gloves and apply the emotion remover to the screen and wait a few minutes. Then you spray out the screen without water. You might also need the lightly scrub. Some of the areas of the emotion is stubborn, and that's it. I'll go into more detail with a live demo, but this is really the quick overview. In the meantime, I'm gonna post the list of supplies you need in the class project area, and our next step is pennant design. 3. Designing Your Pennant: as I'm designing a pennant, the first thing I think about is the shape of the pennant itself. If you remember back to geometry class or your shapes from elementary school, you probably remember the I saw Seles Triangle. Now every pennant is essentially an assassin. Lee strangle its got to even sides, and then one angle, which doesn't match the other two. Theus Astley Strangle can be shorter. This is is a kind of a short fat one. You can also make it longer. The only thing you have to be concerned about is does your design fit on your printer? Because you're gonna need a printer for printing ink on transparency film I have drawn and I saw Seles Triangle here in Illustrator. You could do the same in photo shop. Just find that illustrator is better for use with vector graphics because I can more easily manipulate the images and text without having them break down and pixelated. In this case, have the isosceles triangle have another one inside it. You'll notice it's an uneven edge here That is just because I'm giving myself a border to play with. The white areas here represent a group of items, which are the areas that I'm going to print as white. I recommend setting up your groups of layers in this way because then when you go to print , you can just turn off the background and print out exactly what you need. In this case, the white areas will print on a piece of transparency film, and then I can turn off the white and print one that is the black areas, and I'm all set up for getting my screens ready. So another additional thing to note is that I have made the white areas. This is the first layer, the background for the head. But I haven't gone all the way to the edge. When I turn on the black area, you can see that it evens out. It becomes slightly bigger and rounder on. That's just because I don't want tohave any border on the white. I just want the face to show up like this. So I keep the white areas of the head slightly smaller and then in the black areas, I define the features. You can see that the text I've used here is really just simply angled text. There's no curve to it. It doesn't have to follow necessarily a wedge for Matt. But if you call from some of our examples of vintage tenants, it is common to make the text wedge in order to fit it into the sauce. Elise Triangle. I've done up a quick example here of wedge shaped text, so I've individually scaled these letters to create that angle. You can go the other way and use the object menu to do some text warping or perspective, or even an envelope Distort. It all depends on what effect you want to get with your text, so I'll show you a couple of options here. 4. Text Manipulation in Illustrator: There are a few different ways to shape your text to the pennant and I'll go through those now. The first thing I'll do is get in. I saw Seles triangle set up so that we have a pendant to work with. I'm just gonna go over here to the rectangle tool. I'll bring out a rectangle, you know, as large as my art board area, and then I'm going to go to the guides. I'll bring a guide down to that center point from here. I'm gonna get out my pen tool, and I'm going to delete the point up in this corner. And then I can click on my selection tool and drag the bottom corner up to our midpoint. And here we haven't assassinates triangle. It's now I'm gonna make sure I'm saving my document because I realized I haven't done that yet. And I have my initial shape. I'm gonna bring out a new layer, and on this new layer, I will type out the text that I want to see in my pen. It I'm gonna keep this short long text tends to get pretty squishy at that lower corner side, so I'll choose the type tool, and then I will just start typing the text that I want. My default text is in myriad pro, so I'm gonna change that over to Vince. It are nice collegiate font, and I'll make that a little bit larger so that we can beat it. And that's looking pretty good. As you can see, we have text which doesn't exactly fit the area. There are a couple of options. The first option is I could just rotate the text that I have, maybe line it up with that baseline that's created by the triangle and refit the text to that space, and that can work pretty well. Another idea would be to use vertical scaling with the touch type tool. You can find the touch type tool in the toolbar at the top or the one along the side. I'll just click touch type tool here, and when I come down to my workspace, you'll see that my pointer is showing the touch type tool option. I can not click on any of my letters individually, Andi change them, and one of the advantages of doing your type sizing this way is that the letters will stay on the correct track and you can edit them. I have roughly the right shape here. I would, of course, do some more manipulation than move this around a little bit in the space to make sure that I have the right borders for printing. You can see the touch type tool is one option you can use. Now, let's look at another boy of manipulating our text. We're gonna use the envelope, distort feature. In order to use this technique, we first have to have a shape to use and then we need also some text to use it on. So we do happen to have a shape right here. One of the requirements that we need here is for the shape to be the top layer. So I'm going to drag that above the others. In the meantime, I will turn off the text that we manipulated before, and I will create ah, layer that can contain just the base text. We have the text that we want our base text and we have the shape that we're looking to make that text into on top of the text in the layers. Now we need to make sure both objects air selected and I will go up to the object menu. I will choose envelope Distort, make with top object, and you'll notice that my text will warp to the dimensions of that object. So you see, this is not exactly the effect that we want, but it's close. I'm gonna go ahead and control Z that undo it, and now I will manipulate my shape a little bit. First, I will make a copy of my shape layer and just keep that hidden, and I will go to the pencil and used the ad Anger Point tool. I'll add an anchor point here at the top directly below that and then all years theme delete Anchor Point tool To get rid of the end of the triangle. I can use the anchor selection tool to straighten this out a little bit, and now I have a shape that's going to be a little bit better for the wedge that we're looking to create. I'll use the shift key to select both objects. Once again, I'll go up to the object menu again. She was enveloped a stored and again shoes make with top object this, then you could see that we have the wedge that we were looking for, and it doesn't have the distortion that we had before. I will just scale this down a bit, and then we can turn on the original pendant and see that this is looking more like what we expect dependent toe look like it's wedge text. It's not too distorted, and we can actually also edit the contents. And you can do that by going back to the object menu, back toe envelope, distort and clicking. Edit contents. Then we can manipulate what the text says. Maybe I want to change it to go, Dad, and you can see I maintain that wedge shape that I had in the first place. So this is a really good option for creating text that fits the space. So the last optional show you is not my favorite, but I will demonstrate how it's done. The first thing I'll do is turn off the layer that we have here and we'll go back to our original text. I'm gonna select that, and I will go up to the object menu and expand here in the expand menu. I will just hit okay, and you can see that I now here have paths with points that I can manipulate under the distort and transform area you can see free, distort using free distort. I can manipulate this text into a wedge that is gonna fit my space and hit OK, if I like that, I can additionally do some turning and scaling to make it with space slightly better. So that's another option for way that I could manipulate the text. One of the major disadvantages of expanding and using the filters is that you can no longer edit the text as text, so the option is there, but it is limiting. So now you've seen a few different ways to manipulate text. You can run it on an angle like I've done here. You can use the touch type tool to individually address each letter. You can use envelope distort, or you can use expansion and distortion to get the effect that you're looking for. So if you haven't done so already, now is the time to start developing your project. So go ahead and open one up and get some feedback on your initial design ideas 5. How to Build a Printing Screen: If you plan to do a few projects, it might be worth your time to build a few of your own screens. You can buy them pre made, of course, but that adds up. The first thing you need to build a screen is one or more frames. Now these congee from old pictures or from thrift stores. They just need to be wood and a manageable size. Try to make sure it doesn't warped if it won't lay flat on a table, it's gonna give you problems when you try to print. Then you'll need a sharp knife, scissors, a staple gun. It could be kind of the small size staple gun that you would use for crafting projects. Doesn't need to be too big. If you go to big with your stables, you might end up with edges poking out of the other side of your brain, which could be a little hazardous. So I like to use a smaller staple gun. Masking tape or painter's tape is really handy. A little hammer for finishing the edges and, of course, a thin mash fabric. Now this fabric could be cotton, holly or actual silk. I've seen people use old gauzy curtains. You can get this kind of thing at craft stores in the fabric section. I don't need to cut this fabric with good margins so that there's room to work don't come into smaller. You'll just have to throw it away. You establish one side like this and then you go to the other side, stretching the fabric as you work. When I'm putting in Staples, I like to put in a couple on each side just to kind of established things and then pull things tight and ad those last staples to really give it that perfect edge. Now this one's a little raise, so I'm just gonna tap it down. So you're, er, uh, this screen is very tight. It's very even all across the surface. I've cleaned up the back of it with some masking tape. Just to keep those edges down. Makes it easier toe clean when I'm doing my wash up time. And it also keeps the edges from fraying as much so it will make your screen last longer. Actually, on now we're ready to start printing 6. Layered Stencils: Another Printing Option: If you don't want to mess with photo emotion codings, you can still do a lot with a stencil cut from Transparency Film. Here I have two screens represent two different layers in my print. I've cut out transparency film for each layer, and I just print and I love the first layer dry. And then I print again with the second stencil that I can pull the stencils off the screens and use them again if I want. The downside of this is that it takes a while to cut up a stencil, and it's not as precise as photo motion printing. Plus, you can't do great Asians or half tones, but using stencils, I can layer as many colors I want. And the stencil cut from transparency film holds up pretty well over multiple uses. Now look at the photo emotion process and the advantages and disadvantages that go with that 7. Emulsify Your Screen: So to sensitize your photo emulsion, you're gonna need to take the sensitize. Er put some cold water in it about halfway up, shake it really well, mix it up really well, and then added to the emotion material, but you can see right now is a pleasant blue color, and that's gonna turn into kind of icky green after week. Add the potion here. This is dangerous stuff. So trying to get it on yourself and wash it off really quickly if you do so I've mixed it in there. I'm gonna mix it up really well. A butter knife that you could use it a spoon or whatever Can we get all throw there? And then we want to get the lead back on this so that we don't expose emotion to light before it's time to do that. And you can see that it's it's turned in kind of kind of a small be green. Now let me just get this cleaned up and then we will be ready to go with our printing wants to get into that dark room. Now that this bottle of motion is sensitized, I'm gonna want to keep it in a cold place. It will be okay for a few months if you keep it cool. So basement refrigerator, but you don't want keep the cap off of it, and you don't want to let it heat up. An important thing to note here is that I don't actually need to apply the photo motion across the entire screen. I'm only going to be printing the area where the cat's head is. I can probably just identified that area of the screen and blocked off the rest of the screen with transparency or tape so that we come to the part of the process. That's gonna be a little hard to show you because it happens in the dark. What I'm going to do, though, is just describe it and then I'll show you the results. What it's going to happen is I'm gonna go into the dark room. I'm going to apply the photo impulsive fire to the screen. I'm going to use my squeegee and run the squeegee across the screen to create a nice coating that I'm gonna flip the screen over, do the same thing on the other side. Once I have a nice coating on the screen. I kind of want to make sure there's no gaps or holes as much as I can. I'm gonna put this screen into a box and I'll close up the box on overnight. I'm gonna let the screen dry. At that point, I can take the screen out, apply the stencil and expose it to light. But I don't want any light hitting the photo multiplier before it's time. So that's the process on. We'll come back and I'll show you the screen exposure part of this process tomorrow. 8. Expose Your Screen: So now I have to treated screens. They both have photo emotion embedded in them. Let them rest overnight and today I'm going to take my stencils. I'm going to put the stencils on top of the emulsified screens, and I will put a piece of glass on top of the stencil to make sure that it doesn't go anywhere and that it's properly exposed to light. I'm gonna put that in the sunlight for about six minutes, and then I'm gonna take it to the sink and wash it out. One last thing I want to cover before we expose the screens so late is which way does the stencil go on the screen? This is the proper way to do it that is, on the flat side of the screen. You're able to put a piece of glass on top of the stencil and make sure that it doesn't go anywhere while you're exposing it to light. You can do it the other way around, where you put the stencil inside the center of the screen. And if you place the stencil this way, you would certainly do it so that it's readable, upright on, not backwards. But you're going to have a harder time keeping the stencil flat within the screen, and you might have to tape it down pretty well in order to keep it straight. So just keep in mind if you're looking at the bottom of the screen than your text should be reversed. And if you're looking at the top of the screen, your text should be straight. So that's the process, and let's go get some sun. 9. Print Your Pennant: after the screen is well scrubbed and well dried, I find it's helpful to hold it up to a window or bright light to check for holes in the emotion. I'll need to cover those untreated edges with tape, but there aren't any gaps in the main design area. So at this point, printing will be just like we did for stencil printing. You'll make sure your screen is blocked in all the right places so the ink doesn't go everywhere, and then you'll put down Inc and use the squeegee evenly. Pull the ink across the design. If you're doing multiple layers, do your first layer and let that ink dry on the surface and go clean up your screen. In the meantime, with the second or third layers, you'll need to pay attention to positioning. This is where a second set of hands or pair of clamps can come in handy for stabilizing the screen. And just like in the stencil printing video I did before, I'm going to do a little edge clean up. I'm gonna let this dry and then I'll cover it. I'll iron it to Heat, said it, and we're good to go 10. Final Thoughts: So that was gone through the whole process. And I have a custom pendants printed for my team. I'm gonna save those screens, and we're actually going to do team jerseys as well, so that we can all look good while we're running up those mountains. In the meantime, what can you do with your pendant? I am probably going to attach this one Teoh adult like a stick on. Then we'll have something for a cheering fan. And then at that point, I could also choose to genital wall if I wanted to keep it around. It's a reminder of our run. Or I could also attach it with pins to, you know, maybe outfit or a backpack. So thank you for going through this whole class. I'm really excited at this point to see what you guys come up with. Eso I hope that you any questions that you have in the class forum area in the discussions on and let me know if there's anything that I haven't covered or if you would like more information at this point would be a great time to start the project. If you haven't done so already on and thank you so much for enrolling. I hope you have a wonderful time printing