# Screen Printers: What's your secret?



## mikelmorgan (Nov 1, 2008)

I'm new to this forum but old to screen printing. I've notice a lot of new printers on this forum. When I got started I found out things the hard way. When I go to a trade show I usually take a beginners class and learn something new. I thought I would start a thread discussing production tricks. I've noticed old threads, but none current or just for screen printing production So to get this started here is one of my tricks.
When lining up a print I start with a color that relates to the rest of the colors in the design, usually black. Print it on a scrap shirt. Take clear boxing tape and cover the print completely. The tape being clear I can see through it to line up the rest of the colors. Print the other colors one at a time on top of the tape, if it does not line up I take a rag and wipe off the ink on top of the tape and adjust the screen. Print again until the print is lined up. I use the trilock system but it is not perfect. This trick has saved me many hours and shirts when it comes to set ups. I would love to read some other tips from other printers, you never know what you may read that will be a great help to your shop.
Thanks
Mike


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## jack2008 (Nov 24, 2008)

i have a shop.
cold you help me?


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## suzette70 (Dec 19, 2007)

Excellent trick! I'm too new to add any, but I'll take that one.....

Suzette70


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## tdigital (Sep 14, 2008)

Excellent Idea! One question though: Couldn't you just use a non-waterproof transparency? Seems like it would be hard to get the tape to stick evenly onto the shirt.


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## wormil (Jan 7, 2008)

I was taught to register by using the (usually black) film and taping it to the platen. Lay each screen on top the film and register to the registration marks, tighten, double check, adjust if necessary and move to the next screen. Triple check all screens, tape off the reg marks and print a sample. Unless the design is very complicated or the mesh not tensioned correctly this process only takes a few minutes.

I originally learned in a class then later worked in a good size screenprinting shop that did flatwork (signs) and garments.


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## mikelmorgan (Nov 1, 2008)

The tape works great, it lays down fine just don't get in a hurry. The film may be expensive but I'm sure it can work also.
Does anyone else have any tricks they use?


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## wormil (Jan 7, 2008)

How are you burning your screens if you don't print out an acetate/film/transparency/whatever? I know there are systems that don't require printing anything, I once saw a system that projected directly on the emulsion.


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## mikelmorgan (Nov 1, 2008)

I burn screens like most shops, I have and still do register screens the way you discussed and it really works good. But when doing test prints I still do them on tape. I use retentionable screens at 30 newtons tightness. Some times the screens have stretched and the tension different on one or more of the screens or my pressure is high or low and adjustments need to be made. The method you are talking about works great too. I know that other shops do things differently, that is why I started this thread. I love trying new things that others do in their shop. 
Another thing we do here is a template for our films. The registration marks are the same on ALL films. The left chest films are placed in the same place every time, so when we set it up on the press it is in the same place on the platen every time. My operators don't have to measure anything. Just line up the registration marks to the center lines on the platen and they are good to go. I know this sounds simple and a DUH thing to a lot of printers but you would not believe the printers from other shops that have been in my shop and asked why we do this. After they try it, they would not do it any other way. Anyone else have any trick up their sleeve?


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## WearMagic (Oct 31, 2008)

We don't use film at all anymore, everything is also pin registered so the screens are all shot in exactly the same place, the printers will print on a test shirt the first or predominant color, then line the rest of the screens up accordingly, but due to the digital to screen, all the screens are usually very close in registration already!


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## n.signia (Nov 21, 2007)

wormil said:


> I was taught to register by using the (usually black) film and taping it to the platen. Lay each screen on top the film and register to the registration marks, tighten, double check, adjust if necessary and move to the next screen. Triple check all screens, tape off the reg marks and print a sample. Unless the design is very complicated or the mesh not tensioned correctly this process only takes a few minutes.
> 
> I originally learned in a class then later worked in a good size screenprinting shop that did flatwork (signs) and garments.


I also register this way...the other way sounds like alot of work. no ink touches my screens until they are all registered and tight. tape off the registration marks and go.


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## mikelmorgan (Nov 1, 2008)

Thanks to every replying to this thread. I thought there would be more suggestions than this. I know that there are ways of doing things that beginners can benefit from. Lining up a print is just one of the big time consuming things that goes on around here. We print a lot of butt registration, large prints with 3 to 8 colors. Most of the time it takes about 30 minutes to set one up. When we get that one complicated one we may spend hours, working on color, pressures and ink thickness not to mention registration.


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## wormil (Jan 7, 2008)

n.signia said:


> I also register this way...the other way sounds like alot of work. no ink touches my screens until they are all registered and tight. tape off the registration marks and go.


It is more work. The shop I went to work for was registering like the OP and it took them about 20+ minutes to register a six color job. I changed how they registered, how the marks were set and how the artwork was layed out and got registration time down to a couple of minutes. Another part of the problem was their ratty old screens. We switched to Newmans for multicolor jobs and that eliminated a lot of problems.


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## wormil (Jan 7, 2008)

mikelmorgan said:


> ...Most of the time it takes about 30 minutes to set one up.


Yeah, ironic that you posted this while I was typing my other reply. 30 minutes is a long time to spend registering screens. I know some people do not believe in registration marks but IMO it's a big mistake not to use them.


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## TshirtGuru (Jul 9, 2008)

Registration marks are key! I can't imagine registering a complicated design with multiple colors without reggies as I call them. 

Printing on a test pellon and registering the rest of the colors seems like a pain....I could be wrong since I've never tried this method.

But in our shop, we tape one of the films from the design, tape it to the platen, then register each screen according to the one particular film. 

A 6 color job takes about 5-7 minutes. 

Anyway, this post is about secrets. Hm, if I told you, it wouldn't be a secret anymore!


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## kriscad (Dec 18, 2006)

Have great employees!


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## mikelmorgan (Nov 1, 2008)

I was thinking last night on my way home what else do we do that may not be common knowledge. Here's one. When printing sweat shirts we pre flash or run the sweats through the dryer before printing them. This will preshrink the garment and when we print-flash-print there is no problems with the art shrinking before the second print.


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## mikelmorgan (Nov 1, 2008)

Another is glueing our platens, We use a water based glue that we mix 50/05 with water. Pour this solution into old dishwater bottles, squirt the glue onto the platens and spread with a 3"paint roller. (the platens are covered with platen tape) This glue last longer than the spray adhesive, cost about 75% less and when rolled on does not leave a mess all over the shop.


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## TshirtGuru (Jul 9, 2008)

mikelmorgan said:


> Another is glueing our platens, We use a water based glue that we mix 50/05 with water. Pour this solution into old dishwater bottles, squirt the glue onto the platens and spread with a 3"paint roller. (the platens are covered with platen tape) This glue last longer than the spray adhesive, cost about 75% less and when rolled on does not leave a mess all over the shop.


Agree with you about the waterbased glue adhesive. Lasts long and it seems less toxic. We were using aerosol spray tacks for a long time, that crap is nasty, so we switched to waterbased, 100% better.


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## MBrhythm (Mar 1, 2007)

When loading shirts on the pallets, take a stack of about ten shirts and give them a good shake to loosen them up. This will increase your loading time.


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## ino (Jan 23, 2007)

Sorry if I sound a bit dim, I suppose this water based adhesive is the one that carpenters use.


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## maneverfix (Nov 8, 2008)

ino said:


> Sorry if I sound a bit dim, I suppose this water based adhesive is the one that carpenters use.


Carpenters use VAM based adhesives (they are tacky when wet) you need pressure sensitive sticker adhesive


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## maneverfix (Nov 8, 2008)

great forum


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## bluecrab (Oct 18, 2008)

mikelmorgan said:


> water based glue that we mix 50/05 with water.


What kind of glue? Does it not transfer to the shirt? 

Not just any old Elmers white glue I wouldn't suppose?

Sounds like a good plan, getting tired of adhesive spray all over the place.


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## suzette70 (Dec 19, 2007)

Definitely need to know about the glue. Everything is in one room, so I don't like the spray adhesive residue on everything else.

Suzette70


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## wormil (Jan 7, 2008)

Yeah, if I get back into screenprinting I'll have to try out the waterbased glue. I hate spray glue.


Another registration tip... *arrange your marks in an L pattern* instead of square or equilateral triangle. An L shape speeds registration by requiring to you only register in two dimensions, vertical and horizontal; plus it allows you to center the design on your platen quickly and easily. (assuming you draw a line with a Sharpie down the centerline of your platen)

Also echoing the _hire good employees _sentiment. If someone doesn't impress you in the first 30 days, they aren't going to get better any time soon. I've never regretted firing someone although a few times I've regretted not firing someone sooner.


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## mikelmorgan (Nov 1, 2008)

To print tags or neck labels we use an old hat printer with a 4" by 4" platen. With two people on the press we can print up to 600 per hour. We thin the ink about 30% and print through a 305 mesh to make sure it does not have a feel to the print.


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## TshirtGuru (Jul 9, 2008)

suzette70 said:


> Definitely need to know about the glue. Everything is in one room, so I don't like the spray adhesive residue on everything else.
> 
> Suzette70


Our waterbased is called PRO BOND, I think CCI chemicals makes it. Silkscreeningsupplies.com carries it. I swear it smells like elmers glue mixed with water. Once I run out of pro bond, I am going to try mixing elmers glue with water to see if it is the same thing.

I would definitely stay away from aerosol spray tack, that stuff is NASTY!


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## mikelmorgan (Nov 1, 2008)

Don't forget to thin the glue with water and cover your platen with platen tape! Your supplier should have the glue and tape.


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## bluecrab (Oct 18, 2008)

mikelmorgan said:


> Don't forget to thin the glue with water and cover your platen with platen tape! Your supplier should have the glue and tape.


So . . . the glue holds the tape which holds the shirt.

I presumed the platen tape to be "double stick".

How many shirts can you print before having to replace the tape?


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## TshirtGuru (Jul 9, 2008)

bluecrab said:


> So . . . the glue holds the tape which holds the shirt.
> 
> I presumed the platen tape to be "double stick".
> 
> How many shirts can you print before having to replace the tape?


The platen tape protects the platen from getting all icky. Platen tape is disposable so once your shirt adhesive gets too thick and messy, you can easily pull the platen tape off and replace it.

So platen tape sticks to your platen, then you spray on your shirt tack.


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## bluecrab (Oct 18, 2008)

Aha! said the blind man as he picked up his hammer and saw!

Most everything you need to know about platens is under a post in "platen help" by Bill Hood dated May 27th, 2008.

Wouldn't have found this information by searching because I didn't know I needed to go looking for it.


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## tomgrin (Oct 21, 2008)

TshirtGuru said:


> The platen tape protects the platen from getting all icky. Platen tape is disposable so once your shirt adhesive gets too thick and messy, you can easily pull the platen tape off and replace it.
> 
> So platen tape sticks to your platen, then you spray on your shirt tack.


Thanks for all the posts about waterbased glue. So using platen tape, does this water-based glue mix work the same for adhesive in replacement of spray adhesive? Also, how long will this last if you don't print every day and keep it warm and moving? 

We're just starting out and have only a few jobs per month (growing fast though). Did I understand someone correctly in thinking that you could re-tack the WB glue (even if it's on platen tape) by quick flashing it to re-wake it up?


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## TeddyRocky (Mar 23, 2007)

tomgrin said:


> Thanks for all the posts about waterbased glue. So using platen tape, does this water-based glue mix work the same for adhesive in replacement of spray adhesive? Also, how long will this last if you don't print every day and keep it warm and moving?
> 
> We're just starting out and have only a few jobs per month (growing fast though). Did I understand someone correctly in thinking that you could re-tack the WB glue (even if it's on platen tape) by quick flashing it to re-wake it up?


The length of time the tack will stay good for depends on how much water you mix into it. We use two separate bottles. We have one bottle that is 20% water, 80% glue - used for sweatshirts and hoodies. The other is 50% water, 50% glue used for shirts. 

Flashing waterbased glue doesn't make the glue tacky again after it has dried.


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## tomgrin (Oct 21, 2008)

WearMagic said:


> We don't use film at all anymore, everything is also pin registered so the screens are all shot in exactly the same place, the printers will print on a test shirt the first or predominant color, then line the rest of the screens up accordingly, but due to the digital to screen, all the screens are usually very close in registration already!


Curiously, can anyone expand on what he (she? - quoted above) meant by 'pin registered'? Sounds interesting - like it cuts a stop out of registering to the taped down transparencies; which isn't that bad if you have any graphic design experience and a good eye, you should be able to line up 2-4 colors in 5 minutes or so. But time is time, would love to know more about 'pin registering'. 

thanks


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## tomgrin (Oct 21, 2008)

*Tips for registering artwork on a Manual Press: *

For anyone on relatively new, especially on a manual press (w/ no joystick); a small trick that's obvious to some but should be stated anyways;

- Softly-tighten your screen clamps so that your screen is appx 1/2 or 3/4" away from all the way into the screen clamp. This gives you room to loosen and adjust in any direction quickly.
- Also when tightening your clamps, take notice of if your manual press 'moves' your screen a hair when really cranking the clamps down, usually does... if so, compensate for this movement by off-registering (usually to the right as the screws pull the screen to your left)
- Remember that similar off-contact height between screen arms, means easier registering. If your off-contact is cocked up on an angle on screen 1, but nice and level on another (and closer for that matter); you have a different amount of space to 'push' the screen down onto your transparency to see if it lines up. 

That said; MY GOD superior off-contact height (not too much, not too little) is still a p.i.t.a.!!!! Especially if you have any adhesive issues and thick opaque white ink, etc.


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## tdigital (Sep 14, 2008)

tomgrin said:


> *Tips for registering artwork on a Manual Press: *
> That said; MY GOD superior off-contact height (not too much, not too little) is still a p.i.t.a.!!!! Especially if you have any adhesive issues and thick opaque white ink, etc.


Buy a $15 blender from walmart and use it to stir your inks, especially your HO inks such as white. It makes printing white a breeze. I stir until I feel the ink getting slightly warm. With white that's usually about 5 minutes.


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## tomgrin (Oct 21, 2008)

tdigital said:


> Buy a $15 blender from walmart and use it to stir your inks, especially your HO inks such as white. It makes printing white a breeze. I stir until I feel the ink getting slightly warm. With white that's usually about 5 minutes.


Holy C R ^ P! That RULES! Thanks so much!!!! Wish I could click "thank" 10x for that post. We tried to use extender in one small batch in a mixing bucket, and got it pliable, but then our flash time was too long and we started nearly cooking spray adhesive into shirts!!! The white we're using (victory factory's white plastisol) is so thick, we literally can't clear the screen (156 mesh 20x24's, brand new, don't have a tension meter, but they're nice and tight) with all our strength; it's just too thick until we soften it w/ at least a little bit of extender. 

Seems like every time we print flash print (even 4-5 seconds, 2-3" off of the shirt), the spray adhesive turns to concrete. And if we don't spray the adhesive EVERY shirt load; they literally lift up. We're SO over this spray crap but don't have any short term solutions til we order some of the WB glue to mix. Anyone have a suggestion for this issue? We obviously want to print-flash-print for our whites. Our screen stencils are mint; step 7 guides on both sides! 

Someone mentioned a drill bit (mixer) to use especially for whites; do you have problems cleaning the leftover ink out of the blender carafe?


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## gilberto (May 15, 2007)

When my large format epson croaked I started printing my oversize positives at the drafting shop on translucent bond,way cheaper than vellum/film. Sometimes it's free. And for discharge printing I buy my soda ash from a pool supply store for $11 for 5lbs. Instead of $5 for 4oz. at Micheals. That one took some research. Just ask for sodium bicarbonate.


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## gilberto (May 15, 2007)

And for my screens,painters tape, lots of painter's tape. From Big lots because it's cheap. And for semi off topic Big Lots and Harbor Freight are my toy stores.


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## midwaste (Apr 8, 2008)

gilberto said:


> When my large format epson croaked I started printing my oversize positives at the drafting shop on translucent bond,way cheaper than vellum/film. Sometimes it's free. And for discharge printing I buy my soda ash from a pool supply store for $11 for 5lbs. Instead of $5 for 4oz. at Micheals. That one took some research. Just ask for sodium bicarbonate.


Can you expand on this? Are you using basic soda ash for discharge printing?


Since I started using clear application tape for my vinyl cutter, I have a huge roll of regular app tape that I cut strips from to tape off screens. Comes off easier than anything else I have used. It can also be used in lieu of a sticky roller for getting hair, fuzz, etc off shirts.


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## amy_schutt (May 29, 2007)

TshirtGuru said:


> The platen tape protects the platen from getting all icky. Platen tape is disposable so once your shirt adhesive gets too thick and messy, you can easily pull the platen tape off and replace it.
> 
> So platen tape sticks to your platen, then you spray on your shirt tack.


Absolutely love the platen tape. We buy the mask tape that is as wide as our platens from a vinyl supplier (H & H sign supply) because we found it was the same stuff and waaaay cheaper. It's great peeling it off and throwing it out. Like having new platens all the time.

Also, I was having issues getting the screens not being completely cleaned out or rather water seemed to creep into the screens during the drying process requiring clog busting and a hassle. Started using my air compressor to blow them out. Good for getting the excess water around the edges and speeding up drying time. Couldn't do it without it now.

I'm still in the learning process. Love this thread.


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## gilberto (May 15, 2007)

midwaste said:


> Can you expand on this? Are you using basic soda ash for discharge printing?
> 
> 
> Since I started using clear application tape for my vinyl cutter, I have a huge roll of regular app tape that I cut strips from to tape off screens. Comes off easier than anything else I have used. It can also be used in lieu of a sticky roller for getting hair, fuzz, etc off shirts.


Check this out [media]http://www.emich.edu/textiles/PDFs/thiox.pdf[/media]

Also when I'm in a rush I'll use a hair dryer to dry emulsion


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## sgcustoms (Dec 22, 2010)

When using a silver press w/out micros, place four quarters between the screen frame and back of the clamp when registering artwork, this will give you the perfect amount of space if you need to move the screen later.


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## TCSDISTRO (Oct 30, 2012)

tdigital said:


> Buy a $15 blender from walmart and use it to stir your inks, especially your HO inks such as white. It makes printing white a breeze. I stir until I feel the ink getting slightly warm. With white that's usually about 5 minutes.


I was told by Wilflex Plastisol inks that if you use a drill or mechanical device to mix your inks it ruins them because its starts to activate and gel the ink property's. 

Can anyone confirm this?


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## jgabby (Mar 29, 2007)

TCSDISTRO said:


> I was told by Wilflex Plastisol inks that if you use a drill or mechanical device to mix your inks it ruins them because its starts to activate and gel the ink property's.
> 
> Can anyone confirm this?


for me that sound stupid, so with this statement, I ruins my ink each time I flood the screen and make a stroke print.

look this video, see how the ink is "shake" 
https://www.youtube.com/watch?v=MyPzDsg0QIg


I drill my white so the flow is far more better, never had a problem


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## TCSDISTRO (Oct 30, 2012)

I can't watch youtube on satellite

I guess with a slow mix it would be fine


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## sben763 (May 17, 2009)

TCSDISTRO said:


> I was told by Wilflex Plastisol inks that if you use a drill or mechanical device to mix your inks it ruins them because its starts to activate and gel the ink property's.
> 
> Can anyone confirm this?


Total BS. Heat is what will gel an ink. If you mixed the Ink so fast you build up 150F you might start to gel the ink.


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## ScreenFoo (Aug 9, 2011)

I'd be willing to bet you could damage ink with a drill + paint stirrer, if you just held it in one place on high--but that's exactly what anyone who is trying to get the bucket to a workable viscosity would NOT do.

I don't think I'd actually bet anything, but I would bet.


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