Transcripts
1. Introduction: Hey, it's Chessie
from Squeegee & Ink. And in this class, we're
going to be printing this multi-color poster design using a very simple
hinge clamp setup. Squeegee & Ink started as an open-access screen
printing studio specializing in
flatbed printing and bespoke, custom artwork,
poster printing. Normally we'd use
heavy machinery to get these prints done. However, I've
broken it down into a more simple setup that you might even be
able to have at home. This artwork is actually
quite a complicated design. It is taken from
our NFT collection. It's made up of nine
colors and nine layers. However, I'm going
to break it down for you in a series of step-by-step tutorials to show
you how you would recreate something like
this or your own artwork. Additionally, when
taking this course, you'll have full access to
our poster printing template. In this course we will cover multicolor
artwork preparation, mesh count, and
exposure placement. Hinge clamp set up including
inks and equipment, screen registration, printing
technique, and finishing. Everything in this video can be set up in a small home studio.
2. Multi Colour Artwork Preparation: When it comes to screen
printing multi-color images, It's a little bit different from screen printing single color. We have to think of things
like registering the last, so I sit nicely
next to each other. It's also useful to use vector artwork and is also
a consideration where we might be adding
strokes and traps so that the artworks it slightly
on top of each other. And all these kind of
considerations are going to be demonstrated in the template
that I've made for you. And we're going to
run through that now. The template is an
Illustrator file, even though it's saved as PDF. So I'm going to open up Illustrator and find
it in my downloads. So it's very important to use to open it up from
within Illustrator and not just onto
your desktop or in Photoshop because
it might appear blank and we want to be
able to edit it funny. So I can go File Open and I'll find it
in my downloads folder. So it's this poster
printing templates. And and as you can see, there's two quite big upwards. And these were actually
to scale to the size of the screen and roughly what the hinge plants
might even look like. They're going to be
holding our screens. And on the left-hand
side there's the fully separated out
like as an example. And on the right-hand side, this is where your van
separate your artwork and determine all the
different colors and plot our older separations. In this example, we have vectors which are cookie
cutter out of each other. So as you can see that there's
not just a big square. If I pull it over, it looks like all the other
layers or cut out already. So if I show you a
roster image of that, which is, which contains pixels. If I zoom in, you
can see the pixels, but also this is just
one solid shape. So this might be something you can manipulate in Photoshop. But for Illustrator, we
need nice clean vectors. So if I go to the left-hand side and show you what kind
of choices we made. We are using the 23
by 31 inch screen. So that is to size. I've determined the safe
zone of that screen. So that's where emulsion is
going to be on the screen. And it's also not going
to be too tight to print in within this area. So any artwork that goes in there is going to be principle. This gray box here,
this is our paper. So we've determined
that we want to print this out on a piece
of paper that is 35 centimeters or 350
millimeters, and that's a square. And we've also determined
that that piece of paper is big enough to hold our
registration marks, which I hit. And it's also leaving
us room in this kind of section for a border around
our artwork for framing. So you're going to determine
what your paper sizes, but it's really
useful to have it on this template so that you can adapts that paper
size and make sure it fits within the safe zone. Make sure your
registration marks are going to be printed onto it. And that's gonna allow
you to print your artwork really accurately and
line up your layers. Say on here as well. We've got our colors,
the arena image. And then we've isolated each color block and they're going to be ready to make
which film plus tips. Let me show you how I'd
separate this artwork again. Say, I am going to take the paper and I'm going to press Command C and
then Command V, which is copy and paste it. Or I can say, I can
select it and say object. Now edit, Copy and
then Edit Paste. So I've got my piece
of paper and I want it to be under
those red marks. So I can say object, arrange and then send
backwards or send to the back. Or you can press Command
and this bracket. So I might actually
do the brackets. So I'm going to go
command bracket, bracket, bracket underneath the red box until it appears with the
regiments on top of it. So you can send to that
within this group space and you could even look at now so that you don't
accidentally move that paper. You could do that by
pressing Command 2 or game. All right, fundamentally,
shape can select it and say object lock selection, which is also showing you
that that's command to use the shortcut that's locked now. And now I'm ready to take
copy this piece of artwork. So I'm going to select it. I can press Command C, command V and put it over again. Just get a zoom in so I try and get it a little
bit more accurate within my page was pretty cool. So my piece of artwork is ready now to determine what
colors are in it. So I can figure out how many layers I'm actually going
to print this artwork in. I think I'm going to do spot
colors for all of them. Even with the background. I'm thinking of doing a lavender
square, 11 just square. And then I'm going to do
a gradient going from orange into light to show you the lab and
just underneath it. So I'm not going to be
doing split bounce him, which is why you put different
ink colors on the screen. And then they blend. I'm going to do it
in separate layers. So I'm going to show you
how to deal with that. So let's go and pick all of the colors that
are in the outlet. I tend to go for
light colors fast. And then at the end I
wouldn't be printing like my black outlines and my
gradients and background colors. So if I think about what
color I want to print fast, I think I'm going to go
for this light pink. This white is actually
the paper color. So I don't need to
think about that one. So I'm going to pick a swatch. Let me shade the swatches. This swatch where
it currently has a black outline and 0 fell. If I go to the eyedropper tool, I can zoom in and it's a bit. So you can press said
and click and hold. Or you can go to
this, those EMI gone. Okay, that's my eyedropper tool and I can pick out that pink. And that will fill
my swatch with the color that I've
selected in the image. So let me see what
other color I went. Well next I went from grey. Say this one here is going
to be gray in the image. So I have that in his cheek. So I can go ahead and I
drop a tool ci carrier. And then this one. And I go ahead and select
all the colors in the image. So for the pepper color, if I was to, I drop a tool, this background section, I
might get blended Mapbox. However, I know what the code of that lavender color
that I want well, I can do is I can switch
selects this swatch, and I can switch
the feminine color, that this little icon again, I can double-click on
the Fill Color and then I can manually enter
the color-coded, hit. The kind of code for this is B6, a to c, f. So that should be a
nice lavender color. And then it same for the orange. I have to determine
that menu name. So I can switch the
fill on this tuple. Double-click the fill, and it brings me up to kinda pick a. And then I'm going to manually
enter that orange which is t0, t5, see tuple. And that's my nice
bright orange color that I'm going to have later. And then this one is
going to be black. So I can just
eyedropper in his eye. I've determined all the
colors that are going to be in this image
and it comes out as a nine color or layer out what
the advanced be printing. I've got nine different colors and therefore nine different
layers in my artwork. I need to make nine different
copies of my artwork, including these
registration marks. If you imagine he
has full colors, that's going to mean
that you're going to do this a little
quicker than I am. And you're going to need
to make four layers and full copies of the original
image to then separates. I'm ready to select this, which is my outline. And I'm going to copy and
paste down into this section. And then I'm going to
make eight more copies. When I have my nine copies
I'm ready to label and distinguish which layer is
going to be which color I am. Actually, I just used the, the selections
that I've made up. So the first one I'm
going to figure out is which one is this
dusty pink color. So I can select it and
copy and paste it. And I can drag it
down to my fast day. Remains a zoom in and
make a swatch here. We get nice and neat. Maybe the length of
the whole thing. Then I can write what
layer is and what color. This is going to help
us prints a little bit quicker when it
comes down to it. And make sure that
we don't print the wrong color
on the wrong man. I need to bring that down a little bit so it doesn't
go into the image area. So this is where I don't want any ink to be, sort
of put it down. I'm going to write on top of it. So I'm going to
use the type tool. And I'll say I didn't like
teas area will discuss. Looks good. I'm going to use caps and
I'm going to say layer one. Dusty pink. Might make this font white. You can select that
and put it into great, just trying to make
it a little bit neat. So I'm gonna go ahead and label each layer with the color
that I want it to be. I've determined what
each layer is cold and also which color I'm going to be
principally on each one. So now I'm ready to go
ahead and isolate and delete the unnecessary
colors and layers from each
of my nine copies. For example, in this one, I'm going to do this quite
manually to show you fully. But this one, I'm
going to try and lock all of the dusty
pink in the image. Then I'm going to select and delete anything that
isn't dusty pink. And then I'm going to
turn it black eventually. So I can zoom in. And we'll have
done beforehand is I've cleaned up
and made sure that every time I've got this pink is exactly the same CUDA
code wherever we find it. So I'm going to go ahead and select using the
direct selection tool, which is a on the keyboard. And then I'm going
to hold down Shift so that I can select
multiple ones. So missing at this one, this one, and inside the NYSE. And then I'm going to go
Object Lock Selection for commodity. So I'm actually just
going to press command 2. And now they're locked
so they can't be moved. All these other layers, I'm just going to
need to delete. So I could do is I
can drag a square around trying to avoid the registration marks
was really important. And then I'm just
going to have them all selected and delete them. So now I'm only left with
my dusty pink colors. I can then go to
Object Unlock All. And I've only
selected these three. So I could, at this point
makes the fill pure black, which is all the
zeros and a second. And then I could go ahead and do that for the other colors. So on layer 2, the
only little bits of gray on this cheek and
next to the nurse. So I can go ahead and press a, which is the Direct
Selection tool. Again, click, hold down my Shift key to zoom
in a little bit, and then slip the other lobe. It knows this query. And we're going to press
Command 2 to lock it. And then again delete
everything else. Greenness and quick. Then I can say objects on muffle or thus the shortcut there. And then I can make
that pure black. Now what is also ready to go? We're going to work
my way through the other and just now
quite quickly. So the 11 dilemmas, you might see that it's
actually part of this blend. So I want to do is already
cookie cuts it out. So this is the exact shape
that I want it to be. But there's also this kind
of blend layers, the top. So I want to delete this blend layer,
which is the orange. And I'm left with
my lambda behind. So it's just hidden. So I can still look at, delete everything that
was on top of it. And I'm just left with
the background layer and the rabbit isn't going to be
printed on top of the lavender is cut out. So I've put this
paper color shining through for his hat and
his mouth and his chest. If I unlock that, and I'm going to have
this as a pure color. So I'm going to still
make it all black. So I'm going to print it as
one big open area of mesh. The orange, however, this
is slightly different. I want this to be a nice gradient half tone coming down over the
top of the window. So if I still take
that layer and I look at I can go ahead and delete all and everything else that
isn't that orange blend. So I'm left with
this color blend. I'm ultimately trying
to get I can unlock it. And then what I want do is
when I've got this selected, Hopefully you can see
the gradient tab. We can just go to
Window and down to gradient and make sure it's text so you can
see what this is. This is if you want to have
a color blending in yours. And then I'm just going to change the top of
the gradient to pure black and then have the bottom
color or it's fading into, I will not to be white
so that it's going to overlay on top of that lavender and make
this nice sunset effect. So I can select this
orange section, goes through the color dropper, and I'm going to actually manually pick that I
won't miss pure black. And then I will change this
lavender color to white, knowing because laid
down at the bottom, all the way up so
you get all the f's. And then if you wanted to, you could pull this bar
left and right so that the gradient changes of trying. It says that your skin try and copy this so I don't mess it up, but I'm just gonna show
you didn't have it so that the gradient is quite
saturated to the top. And then it goes to
know very much a thing they down or you can have it so that the
gradient is really full up here and just
tapers off at the end. So I'm going to paste him
what it was originally. This gradient is ready
for my RIP software to apply a half-time to it. And I'm going to be using
in 1980 mesh screen, which means that I
want to use a halftone which is 51 LPI. But I'm outputting that
little bit of the film. And it's going to
automatically up my dots in there and make a
nice smooth gradient. The last layer is black, which is again the same
process as before. Um, I just quickly say a little bit better
because select on my black so that you've seen I don't want
to miss any bits, so I'm just going to be a
little bit more about it. And also check that this
block is pure black or white, that Mr. his eyes, which are going to take out double check his fill is black when he's
ready to go as well. Great. Now I have my artwork
separated into all the colors. I should be able to go ahead and stop getting those exposed
and screens and printing. But there's a few things
that I've missed, which is this no margin
of error built-in. So I would have to print
all of these layers like absolutely perfectly
with no misalignment at all. And I'd have to be printing the artwork
right next to each other. There's no overlap
or anything built in to help us out when
we're lining these up. Because we're really
just doing on hinge clamps and we're
not using a vacuum table. It might be quite tricky to
make a full edition of prints with nine layers with
no errors at all. So I'm going to show you a
couple of little tricks to build into your artwork
to make it a little bit more foolproof and easier. The easiest one to start
off showing you is probably this black
layer because the back is going to go down last
and it might even cover up some tiny little misalignments of all the other colors when they're sitting
next to each other. So at the moment,
if I go over here, I can see originally
after a nought 0.5 P T stroke
around this black. So I've essentially made
it fatter so that it overlays into the other color slightly and it blocks them out. It's also important that
this is the flatbed. So it's actually
going to be able to overlaying cover the other
lighter colors underneath it. So if I go ahead and put
a stroke on my new one, I can select it. And then I can go up
to the Stroke tab. And I can just increase the
stroke weight up to new 0.5. I need to double-check that. If I double click
the stroke color that is all the way
down into the zeros, so it's peer back again. And another little
thing I need to think about is, where
are the stroke? Is the sum? Automatically it might have the stroke aligned to the
center of these pots. I want it to sit on the outside. So I'm gonna say align
stroke to the outside. And it's kind of flipped it
and made it quite chunky. The problem with this
is that if I look at my original artwork and I look at the bottom
of the design. If I make this black
layer and make it heavy, personal 0.5 stroke on it. It actually is going to sit further and it's going to
extend further than the purple. I'm in the 11th of the blue
and all these other ones, and it's kinda look odd. So what I wanna do is
still at the stroke. So I've got that leeway
that I want to make a white box to kind of cover over this little and
non anomaly here. That should still
allow me to my stroke. But then just cover
up any though, though errors and then say, Well I can do is
draw a little books. If I take my stroke off quickly. And then they draw a
white box which is exactly lined up to the boss with this and
it's going to cover any, any overlay and make it white. And then the Zoom or we're
going to move my white box. Really, really zoom in and make it just clustering or against. I can see him out again. I can look this books. I can ask my stroke
on and it's going to hopefully be
underneath that box. And I can go ahead and put my nice chunky 0.5 on it
and a half nanometer. Make sure that the
books, the white boxes, the top layer, so it's
over the top of the black. And we should be good
to go on that layer. Now I'm going to
figure out if I need the stroke on any other colors. If I go to my artwork again, which one did I tell
him before I did it on the dock node and I didn't
own the light teal. So I've gone to the top name. So I'm saying this color, this is just determines
when you feel a little bit of
experience in printing. But if I do on this,
this one here, then a mocha white line, possibly in between the
light and the dark mode. So I'll add on that one. And I'm going to add
it on this color here so that underlays know, but until the dark tale
and into the black. So that shouldn't be
any harm its own. I might just copy this
white box command C, Command B for new books. We put it in place. I'm Aja, she just
color this yet I will suddenly so I
can see where it is and I can zoom in really, really, really close up to here. I can turn it white again. We can make sure it's the
top layer by going object, arrange, bring to the front. I can lock it. And then I can
select with a light blue and add the
stroke on to it. I'm gonna make it no 0.5. Double-check with the stroke
is pair of lucky again. And then I can go ahead and
do that on the mode as well. The most doesn't actually
need whether it's white books because it's not protruding outside that neat though squared I'm
trying to protect. So I can really easily just select this one at its
look with five stroke on, make sure it's black. And I am good to go. My separations or ready to
print onto film positives. Now, I'm going to print them on acetate sheet using
my Epson printer. And I'm also going to be using
my RIP software in between there to make sure
they're really rich and dark for my exposures. This is something that you might have set up in urine tszuj. All there are professional
studio days available wherever they can output your film and even exposure of screens for me.
3. Mesh Count and Exposure Placement: When it comes to
choosing which mesh to have on your screen when
you're printing onto paper, like we are in this example, we want to stick within
the mesh range of 60 to 80 up to 90 t mash. That way we're not laying
down too much ink onto the, onto the paper,
might not be able to hold as much ink
as say a t-shirt. So for eight of our layers were African to use the
60 to 80 mesh. So for all of the layers like this black and the
lock on the background. However, when it comes to this very fine rock
here on line 8, it's this kind of
gradient effect. This has very fine
details which are 62 t mesh wouldn't
be able to hold. So we're actually going to use a 1980 mesh on this
particular layer. So they can hold the fine dots and deposit a nice thin layer, the ink right at the
end of our position. When it comes to
exposing your screens, you might find that
you can actually put multiple layers on
the same screen. That's because you can move the paper stock
underneath the screen and you're not constrained where you need to
locate those images. So just make sure they're in the center within the
safe side of your screen, not too close to the edges. And you might find
that you can pack on two or even three layers per
screen to save on costs.
4. Hinge Clamp Set Up Including Inks and Equipment : Normally in the studio when
it comes to printing posters, reduce our vacuum flatbed press. However, I want to show you a really quick and simple
method just using hinge clamps, which you can do at home. Hinge clamps are basically
just a pair of these so that it clamped around your screen in
this section here. And then they would just
be screwed into a table top or maybe a thick piece of MDF like we're
going to use today. And they just hold it in place. And it just means that you can tilt your screen up and down. And it means that you can
consistently print in the same location when you're
doing your whole edition. And it just makes everything
a little bit easier when it comes to registering
multiple color prints. Let me show you all the things
that my setup consists of. So the first thing is
my pre-exposure screen. So that's my 2003
by 31 inch screen. And most of my screens for this project are going
to be 60 to 80 mesh. And that's already got my image prevent onto
it in the middle. Then I went and got a really
nice big chunky bit of MDF. So like protect my table
because I'm going to square in my hinge clamps and I didn't
want to damage the table. So I'm going to
screw one in there. And one of them, I've
already got my paper stock, which is a nice thick one, so it could take quite
heavy to pause it, I think, because we're going
to print nine lays on next. So I've got that pre-cut
ends my 35 35 centimeter. The OBC yet have wherever
your design looks best on. Then I have, this is just
some pre-mixed inks, sort of got Taylor
rounding water-based ink. That one I've gone for because it's really easy
to get in the UK. And I've just got it in
all the different colors. So I've got nine and then I've got my little drawing rack. You don't specifically
need a drying rack. It just makes it easier. Just make sure you
go place to put all your wet prints
in between layers. My screen tape. So this is a bit better than
just packing tape because it doesn't leave residue on my screen when I'm
masking of areas, why I don't want the
ink to go through. Then I've got my
silicone spatula, this just from the kitchen
department on online. And it's really, really
good, easy to use. And my squeegee,
which is bigger than, is wider than my image
and registration marks. So I can print all for
registration marks among guy. I also have because this
is water-based ink. I've got a bucket with
small serine at a low spot. And Iraq for cleaning up
the income between labs. That's pretty much
the whole setup. So I can stop Maschine off my screen and
screaming, hinge class. Yeah.
5. Screen Registration: We're about to register
our fast screen. So I've broken down
the process into six easy to follow steps
that are repeatable. Step one is to take
off fast layer. I'll first screen, which
is the lightest color, and pop the hinge clamps
on there and typing them. Step two is to add a snap. So I'm going to use
two to Penny coins. So a snap is
basically a distance from the surface of the paper and the
bottom of the screen. So what you want
is for the screen to touch the paper and
then jump back off. So I'd say it's a, it's a two-piece height
all the way across. What's happening at the
moment with the hinge clamps, is there actually a little bit higher and then it goes down. So the distance is
higher hair and it goes down to almost
nothing at the end. So I'm going to attach two points to the undecided
the screen in the corner. And now artificially give us a more even distance all
the way around the screen. So I'm just going to put
those on with masking tape. And then you can let you just push the screen
up against the woods and you can try and assess whether that's even
all the way across. Step three is to
take your paper, place it underneath your screen. And then you can look
through your screen and try and locate the paper so that it's
straight underneath. Step 4 is to is to apply some tape around the edges
of the paper so that you can bump the paper up
against the edges and keep your registration
throughout the whole addition. I'm just going to be using
some thick structured type and I'm going to apply that
in long strips to two sides. Step five is to stop
printing your first layer. So I still have open
areas of mesh, right? Definitely don't want
any age of three. So I'm actually going to
Moscow soon that this writing and maybe the edges, but I'm going to keep
the registration marks open because I want
to print those. Sorry, I'm just giving
you some screen type. And Moscow off the
areas of open mesh. I don't think I'm going to get
anywhere near those edges. I'm going to keep it quite
contains this middleware. It's not publicly it to that. Next my squeegee ready. And the first color
is the dusty pink. This is the system three
by day and around the ink. And we've added a
little bit of screen printing medium just to stop it drying in the mesh to quickly and give it nice
fly when we're printing. So I'm going to add a
really generous amount, pretty much the whole top, the whole length of the image. I'm trying to build up a wall
of ink so that my squeegee can glide over the
surface of that screen. Okay. Step six is to clean
up the ink and he removed the tape and just
take that screen off, say against pop it back into
the top as much as I can. Well, I can remove this tape. I like to put it in some
newsprint and wrap it up. And then I'm just going
to guess sponge and some water and take all
that encode the mesh. Most again, to take my squeegee and more
space up in the sink. So I'm finished with that left. This is the first
layer completed. So at this stage, I'm going to let the more dry festival
then stack them up, ready for my second
layer is very similar in the processes of how we lay down the second,
third layers. But that's just a
couple of tweaks that I need to talk
to you about when it comes to registering one layer up to these current
registration marks. Back to step one, we're going to select the screen which corresponds to our
next lightest color. So if I, if I hit, I can attach it in the
hinge clamps like that. And then I'm ready First step 2. Step 2 is to apply the
coins to the underside of the screen to create
that snap that we need. Step 3 is slightly different for the subsequent layers because this time we have some
registration marks printed from the fast
prints that we did. So in this case
we're going to put the paper underneath the screen. And now we're going to line up exposed registration marks with the printed registration
marks underneath. So take your time with this, and this is very important, so we want to be
really accurate. Step four is the same. So we're putting off thick tape, writes really, really close to the edge all the way
along on both sides. Step five is printing, so it's Moscow off the open areas of measure
on my screen wise, I want the eight to go again. As I can put my common
print, the second lab, I have my facts
sheets underneath because that's the one I
read to sit up against. So I'm going to start with my first layer and then I'm going to build
up the whole edition. Step six is cleaning up and
take you all the table. This is the second
layer looks like, and as you can see by
the registration marks, the gray has gone over the
dusty pink and is lined up. So in register. Make sure to use the same
registration technique throughout your entire edition. Now let's move on to some
pretty technique tips.
6. Printing Technique: Let's talk about
printing techniques. The first thing is probably
the squeegee angle. So when we're actually
printing with the squeegee, we want to print it with this, this edge of the plate. So we actually hold the squeegee down and we're having
about 45 degrees. And you will keep that and roof consistent the entire
way through the print. Try not to change
the angularity, come up to the edge
of the screen so that you might actually like compensate for
hitting the age and you might twist
the ankle higher. So we want to keep
it all the same. Even if you do end up smacking into the
side of the frame, That's better than changing your ankle at the last minute. The pressure which you print
is also very important. So that's the
pressure that you're putting the blade under. So if you're doing
it too lightly, you might find that you're not clearing the mesh of the ink. And if you're doing
it very hard, you're probably not actually
going to get bad results, but your angle also
has to be perfect. So you avoid bleeding
and smudging of the ink. If you're squeegee
angle is at 45 degrees, you can push quite hard and maintain clearing
the master easily. If you're squeegee
and goes with lower, your blade is going
to buckle under the pressure of the
force that you have your printing and it's
basically going to smudge the ink onto your paper. So what I try and tell people is to push down
and t can fill the board underneath and maintain
that pressure all the way through the print and follow through after your
prints as well. The speed at which you print is another factor to consider. So I find that a lot of
people go very, very quickly. This might just mean
that you're not putting enough emphasis on starting
and finishing the print. The other things to consider
when you're thinking about print speed are probably
the viscosity of the ink. So very thick. It's like whites or metallics. They just let them
have a little bit longer on the screen
so they can flow. You can definitely put
them out of pressure on. And then as it comes
to thinner rings, you might find that printing
faster means that you can get the ink isn't flowing through onto
the paper too quickly. Flooding your screen in between
prints is very important, especially with water-based ink. As you can find that the ink dries into the mash and
Mike Brock your design. So every time we print, we then leave it with a nice
thin flood stroke over it. So it's all covered in ink. Ready for our next sprint? Let's pull that
information together and I'll talk you through
how I do print. Say the first thing I'm
using quite a lot of ink. I like to work with
a lot of ink because most of it goes back
in the tub anyway. And it's better to have more
than less with this stops you flooding it too much and missing parts
of your printing. Next thing I'm thinking
about is my squeegee is a little bit bigger than
my image on either side. That just means I'm
not going to miss any. When I do my first print, I like to get my whole
squeegee blade covered in ink. That means that the squeegee
is going to collide across the national
Bumble across because that can lead lines in your print when it comes from
the print them the paper. And also just a line, uh, kinda wall of ink
before your squeegee. So the WHO actually dragging all that ink and it's rolling
in front of your squeaking. I'm lifting the
screen up a little bit so that I'm not
printing prematurely. And this is my flood stroke. So I'm holding the
squeegee in the middle. If I've got something
to rest it on, I can hold it with two hands or I can hold it in the
middle we want to hand. So it's a light drag of the ink. I'm not forcing. It's just pretty much the way
that the squeegee across. And I can see that I've gone a little bit further
than the image area, and it's offered up with ink. This time, I kind
of do a little bit the backup onto the
squeegee at the top. So I've got something to
glide the squeegee against. And now I'm ready
for my print stroke. So I get my body
weight over the image. I'm not walking back
as I'm printing. We're chest is over it. I can push down until
I fill the board. I'm starting a few centimeters
before the image area. And I'm trying to
keep the same angle all the way throughout. So pushing down on the board. And I'm still pushing
quite slowly and keeping all at force all the way through the image of a printed
or the image area. And I'm going to cut
the sentiments more. And then I can lift
up to you my flat. So you can flood in
either direction. But it's important to always
print in the same direction. If you print forwards
and backwards, you're actually
going to hit the ink onto the paper at
different angles. And then you might find
some miss registration. But you cannot floods the
screen from each direction. So I'm going to flip
through the side. And that just means that
the ink is staying and it's not dry and that mesh when I'm moving my paper around. And then I can check my print to make sure it's
nice and sharp. If you have any areas missing, that would mean that you
haven't flooded it nicely. You haven't filled the ink
up with the mesh beforehand. If the smudges, you
might have flooded it once or twice written
three times a number, I forced the ink through
to the underside of the print and then it's
going to smudge density. I wouldn't worry about it. I'd get some fresh
bits of paper into their clear the mesh may be cleaned up and
response again. But that's also the
different print technique, things that I can tell
you about all the Mancha. When we're printing flat
stock Normally we might actually be using vacuum board. So that is a big
printing press and it holds the paper down
with a, with a vacuum. But in this case we're going, you've got this board
and the hinge clamps. So it might become necessary to actually hold the paper down a little bit as you're printing, especially when it comes to last layers to keep
them in place. And so they peel off the
bottom of the screen. So a couple of things
that you could do that is you could be using
a spray attack. This is normally used for
holding down tee-shirts for very light misting could help you hold the
paper in place. You can also get a
very small amount Today's to receive
and put that on. Take the majority
of the tack off. Now we'll again hold
the paper down. The problem is when you pull your neck sheets of paper down, saved any first print, Gates gave a second sheet. When you come into
register it you might be fighting
against the TAC. So you kind of want to avoid
it as much as possible. But you can go to it if you need it during
the end of your program. Some other little
things to consider. If it is peeling off the
bottom of your screen, it might mean that you
haven't got enough distance from the bottom of your
screen and the board, she could increase
your snap slightly. That might also help. And printing higher up on the image For all
the way through. And hopefully that will
also help the screen bounce back off your paper
and stopped appealing. For this class. Hi. Hi.
7. Artwork Finishing: We've just finished
the addition and it was a really fun project today. We're really happy
with the result. And we're now ready to put the finishing touches together and get
this ready for sale. As he can see, the prints too has its registration
marks on there. So there's a few different ways of cutting that down nicely. The first being using
the guillotine. Secondly, you could use a scalpel and the
edge of a ruler. Or you can even do
a deck called edge, which is like a torn paper
effect along the border. I personally really
think a combination of takeout and guillotine, straight cut edges
looks really good. So to begin with, I'm going to go through the
whole addition and I'm going to do two sides on
the guillotine. Then I'm going to
follow that up by hand tearing Dakota edges. As you can see, I've
used the inside of the registration marks
to cut up against. And then I've after
my first car, I then use this line
up against the edge of the guillotine to be able to create the second
straight edge. I'm going to cut these two sides and then I'm going to
put them to one side. And then I'm going to
deco the other two edges. I've completed my
two straight cuts and now I'm ready to
do my deck old edges. I'm just going to
push this out the way and say hi to attack of edge. How can you use the
registration marks as before? And all I need for
it is actually just a metal ruler and hold it against two of the
registration marks. And then I'm just
going to enter it. I find that if you hold it
quite close to the edge of the metal and just do lots
of little, little poles. They'll test. There's not too dramatic. And it just gives a
really nice finish. So that's the kind of effect I'm going for with my border. And it still leaves room at the bottom for doing
an addition size. One of the great
things about doing a screen print edition is that the scarcity
of that edition becomes limited so that a smaller addition size might mean that your print
is more variable. One way to show what edition this is and which one
is the addition is, is to write it in the bottom. So again, to have the
edition number head, the title of the artwork, then I'm going to
sign and date it. The last step I'm
going to take with my prints is actually
to weigh them down into nice some glass because there's a heavy
saturation of ink and I want them to be that perfectly flat when I send them to people. So I'm just going to put the addition
on top of each other, place my gloss over
that whole surface. And then I'm going
to put lots of heavy books on there and
weigh it down nice and flat. So it's really presented
professionally.
8. Outro: Thank you so much for
following this class. I hope you found it
really useful and fun. We would love to see
what you come up with when he follow-up process. And hopefully you can come up with a really
cool addition. We'd love to know how many
colors you ended up doing, what the addition size was. So please leave any reviews and it's if you're
struggling with anything, contact us directly and I'm sure we'll be able to guide
you in the right direction.
Chessie Rosier-Parker, Squeegee & Ink Screen Printing Studio
