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39 pages

English

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Description

This essential guide to silk screen stencil printing takes you deep into the method of the craft. From the basics to advanced techniques, this book equips you with the essential knowledge and skill to produce masterful prints.

First published in 1941, this volume gives a brief history of screen printing and details the materials and tools you'll need to master the craft. Learn the various stencil-making methods and create intricate designs with precise registration, achieving clean, professional prints. Packed with practical tips, step-by-step instructions, and illustrative examples, this book is a valuable resource for both beginners and experienced screen printers.

The contents of this volume include:

Stencil Making Methods

Block-Out Stencils

The Single-Screen Stencils

Resist Stencils

Film Stencils

Paper Stencils

Mimeograph Stencils

Photo Stencils

Stencil Making Methods; Block-Out Stencils; The Single-Screen Stencils; Resist Stencils; Film Stencils; Film Cutting Exercises; Paper Stencils; Mimeograph Stencils; Photo Stencils; Miscellaneous Formulas

Sujets

Loisirs

Arts du papier

Arts du Papier

Crafts

Hobbies

Stenciling

Informations

Publié par	Read Books Ltd.
Date de parution	06 septembre 2016
Nombre de lectures	0
EAN13	9781473358409
Langue	English

Informations légales : prix de location à la page 0,0350€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Stencil Making Methods for SCREEN Printing
By
J. I. BIEGELESEN

First published in 1941

Copyright © 2023 Old Hand Books
This edition is published by Old Hand Books, an imprint of Read & Co.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
Read & Co. is part of Read Books Ltd. For more information visit www.readandcobooks.co.uk

Contents
INTRODUCTION
STENCIL MAKING METHODS THE PRINCIPAL TY PES COMPARED
BLOCK- OUT STENCILS
THE SINGLE-SCR EEN STENCILS
RES IST STENCILS
F ILM STENCILS
FILM CUTTI NG EXERCISES
PA PER STENCILS
MIMEOGR APH STENCILS
PH OTO STENCILS
MISCELLANE OUS FORMULAS

INTRODUCTION
Silk screen stencil printing is essentially a process in which the stencil bearing the design to be reproduced is permanently affixed to a screen or ground consisting of silk, organdy, or metal cloth. Paints or other printing mediums are forced through the stencil and deposited on the printing surface, thus forming a facsimile of the original design. The method is known as the silk screen process because, originally, silk was exclusively employed for the screen.
The vital difference between printing designs with the old familiar shipping-case type of stencil and printing from modern screen stencils is that in the latter method the stencil is an integral part of the screen. Permanently combining the stencil with the fine mesh of the silk makes it unnecessary to employ bridges or ties to hold in place the centers or island parts of the stencil, such as occur in the letters D and 0. This simple elimination of the bridges or ties completely revolutionized stencil printing by vastly improving the appearance of the prints, by making quantity production practicable, and by extending the application of the process to an unlimited variety of subjects.
The origin of the process has, by some writers, been attributed to the ancient Chinese. Others credit its development to the Egyptians, but definite evidence cannot be found to substantiate either of these s uppositions.
The nearest early prototype of the present method, of which we have positive knowledge, is the old Japanese method of ste ncil making.
In this process the stencils were cut in duplicate from very thin paper. A layer of hair was laid in crisscross fashion between the two stencils, and the whole permanently lacquered together. The hair held the centers of the design in place, thus, in part, performing the function which is today filled by the silk screen.
There is almost as much conflicting opinion about the first modern use of the screen method as there is about its use in past centuries. It is believed by some that the process originated in France; others hold that it was first used in Germany about 1870; and still others contend that it originated in England some time prior to 1900. It is known, however, that a patent was granted in England in 1907 to Samuel Simon of Manchester, covering the process as it exists today except that Simon used a brush instead of a squeegee to force the paint throu gh the silk.
In America, silk screen stencils have been used for printing designs in one color on felt banners, pennants, armbands, etc., for the past 40 years. In about 1914 or 1915 a multi-color process was developed by a commercial artist named John Pilsworth of San Francisco, who improved the stencil process then in use for printing banners and pennants by permanently attaching the stencil to a piece of silk bolting cloth. This method was patented by Owens, and later became known as the Selectasine or single-sc reen method.
From California the use of the new method spread eastward. At first it was looked upon as a tedious process, requiring too much painstaking effort for practical commercial work. During the World War, when general advertising received a great impetus, it was employed with great success by sign painters and makers of cloth and felt banners. At that time the actual method of reproduction was guarded as a trade secret, much of the work being sold as original, hand-painted products. The "secret" soon became known however, and, during the past 15 years, an industry has grown up in which a large number of silk screen craftsmen a re employed.
This rapid development has unquestionably been due to the fact that the screen method can be employed on a greater variety of surfaces, and for a greater range of uses, than any other printing method ever developed. It works equally well on textiles, paper, cardboard, corrugated board, felt, glass, wood, or metal, and with dyes, tempera paints, oil paints, enamels, or lacquers.
Some of the results obtainable by this process cannot be as satisfactorily produced by any other method. For one thing, the prints are more brilliant than those produced by other methods and more closely resemble the original hand-painted work, because the stencil assures an actual layer of pigment being deposited on the printing surface. Again, the natural opacity and covering property of paint make it possible to print a light color over a darker one. The usual printing methods, employing ink instead of paints, have never been able to do this successfully. Furthermore, large banners and posters, 20 feet or more in length, may be printed in one piece, whereas, by lithographic or other methods, they have to be printed in a number of small sheets or sections, and the n assembled.
Standard types of printing presses are designed to handle paper of certain prescribed thicknesses, so that, if a reproduction is to appear on heavy cardboard, it is usually necessary to print it on thin paper and mount the print on the cardboard afterward, while another sheet of thin paper must be mounted on the other side of the cardboard to overcome warpage. These operations are unnecessary in screen printing, because the processing equipment may be easily adjusted to print on material of any thickness, the cost of mounting and countermounting thus being eliminated.
One very important advantage of the screen process is that the installation and maintenance of the necessary equipment require but a fraction of the capital necessary for installing the complicated machinery used in printing plants of the lithographic or letterpress type. This economy makes it possible for the small advertiser or manufacturer to secure limited quantities of printed matter at reasonable cost; whereas, were it necessary for him to have his work done by other methods, the price in many cases would be prohibitive.
It is not to be expected that screen printing will supplant other processes, because, like all other methods, it has its limitations; but it should be considered as a distinct and practical graphic art process. In fact, one may often see work in which lithography and screen printing are successfully combined. Being a hand method, it is most practicable for work in which the quantities do not exceed 10,000, because as the runs exceed this quantity, other methods become relatively cheaper. Furthermore, the screen process is not so suitable for subjects containing subtle shading or blending of color as for simple, flat, poster work.
Inasmuch as the process originated in the advertising field, it naturally came into extensive use in that field before it was applied to manufactured products. Screen printing was next introduced into the textile industry by batik dyers, who learned that instead of having to wax designs on cloth by hand, thus making an original design on each piece of material, their designs could be repeated mechanically on a quantity basis by applying dyes to the cloth by means of a screen stencil. Adoption of the process by the general textile industry was the next l ogical step.
Use of the process for printing decorative designs, lettering, trade-marks, and instructions on manufactured articles, came more slowly; but, once started, it spread rapidly, and within the past few years has increased with amazing speed. Today the process is used for applying designs to such diverse objects as chests, tables, beds, book ends, and other household articles, including nursery furniture and toys; for printing on machinery, storage batteries, corrugated shipping containers, vacuum-cleaner bags, auto- mobile-tire covers, lampshades, greeting cards, pinball games, cloth novelties, and bridge-table covers. It is used in printing wallpaper and decorative wall panels; for applying colorful designs to oilcloth and waterproof paper for bathrooms, etc. By means of it, type matter and decorations are applied to milk, drug, and cosmetic bottles and containers, as well as to household glassware and ceramics. It is used in making decalcomanias of designs to be placed on show windows, on the sides of trucks, busses, streetcars, and machinery. Very recently new methods have been developed for etching designs on glass signs, display cases, table glassware, chromium, and other highly finished modern metals. Scarcely a month passes in which the process is not applied to some new product, or in some new manner; yet the application of screen printing to industry is still in its infancy.
With the rapid development of the process in industry, a similar pace has been maintained in the field of advertising, wherein new materials and new treatments are being constant ly employed.
BASIC PRINCIPLES OF THE PROCESS
The screen-printing process is made possible by the fact that, when paint is poured on a meshed fabric, the paint will seep through the mesh. However, in order to make this the basis of a practical printing process, it is necessary that the paint be made to penetrate the mesh quickly and evenly