STEP BY STEP GUIDE TO

SCREEN PRINTING

2014

CONTENTS

INTRODUCTION
BACKGROUND AND HISTORY
GETTING STARTED
STEP 1 MAKING YOUR ARTWORK POSITIVE
STEP 2 COATING THE SCREEN

PREPARING TO COAT YOUR SCREEN

CHOOSING THE RIGHT MESH TOP TIPS
COATING YOUR SCREEN

STEP 3 EXPOSING THE ARTWORK

PREPARING TO EXPOSE
EXPOSING THE ARTWORK
EXPOSING - TOP TIPS
EXPOSING WASH OUT

STEP 4 SETTING UP THE PRINT

PREPARING THE SCREEN TO PRINT

REGISTER THE PRINT

STEP 5 PRINTING

FLOODING & PRINTING

TOUCH DRY PRINT

STEP 6 CURING

CURING YOUR ITEM

CURING EQUIPMENT TOP TIPS

STEP 7 CLEANING UP
STEP 8 RECLAIMING YOUR SCREEN
HEALTH & SAFETY
GLOSSARY
CONTACT DETAILS
2

WELCOME TO THE WICKED

PRINTING STUFF GUIDE TO
SCREEN PRINTING

This guide has been designed to take you through the screen printing process, with
some sections tailored for an in-depth look at the tricky bits. We have tried to keep it
simple and light hearted whilst still making sure you get the knowledge you need.
Should you need even more information, check out the FAQs section of our website
or get in touch if you have a new question, wed love to help. We have also developed
a quick guide poster, buyers guide and catalogue that compliments this.
We offer a range of screen printing training courses to suit your needs. Whether you
are an absolute beginner or maybe struggling to print that multi colour complex job,
wps have developed a number of courses, events and workshops to help you get the
most out of screen printing.
HOW TO USE THIS GUIDE
We recommend that you use the guide in conjunction with our screen printing
tutorials on YouTube. This can be accessed from our website by clicking tutorials or
by searching for wicked screen printer in YouTube.
By clicking on words which are underlined you will be taken to our website or
YouTube channel.
This guide highlights the top tips and things to remember from our experienced wps
team and network of screen printers. Look out for the orange stars!
Lastly we note the kit you will need for each screen printing step to help make the
journey even simpler.
We hope you enjoy reading the guide and putting it into practice.
3

BACKGROUND & HISTORY OF

SCREEN PRINTING

Screen printing is a special technique used for printing onto a variety of fabrics and
papers. It is called screen printing because the design that you want to print is
created on a mesh screen with certain parts of the design masked so that ink only
penetrates the screen where you want it to penetrate.
You may have heard it called silkscreen printing because traditionally the screen
mesh was made of silk. Today, the most popular mesh is made of polyester.
Screen printing as we know it first appeared in China during the Song Dynasty around
960-1279 AD. Other Asian countries adopted and advanced this printing method and
used it in combination with hand painting and block printing.
Samuel Simon patented screen printing in England in 1907. At that time it was used
to print high quality wall papers, linen, silk and other fine fabrics. Initially, printers
experimented with light-reactive chemicals as a way of creating light-reactive stencils.
Commercial screen printing now uses sensitizers that are far safer and less toxic.
There are also a large selection of pre-sensitized and user mixed sensitized
emulsions for creating light-reactive stencils.
This popularity continues today and screen printing is commonly used in commercial
and fine art prints as well as posters, t-shirts, hats and CDs. Part of its appeal is that it
can be used on a wide range of materials such as paper, metals, plastics and wood.
Since screen printing materials are readily available and affordable it has become a
popular method of production. Subcultures and underground settings favour the DIY
approach for posters, record sleeves, flyers, t-shirts.the list is endless.
Pop artist Andy Warhol used the technique extensively and created one of the most
iconic images of the 1960s. His depiction of Marilyn Monroe was screen printed in
vibrant colours.
4

STEP 1: MAKING YOUR

ARTWORK POSITIVE

The first thing you will need to do is to produce your artwork ready to be exposed
onto the screen. You can produce your artwork using a graphics package. Common
packages are Adobe Illustrator, Adobe Photoshop, Corel Draw and MS Paint but you
can use any graphics package that you like. Artwork designs are typically produced
using vectors (scalable solid lines) whilst photographic images are represented in
pixels (dots).
If you dont want to use a graphics package you can also create your artwork freehand
onto a special transparency film using a bromide pen for maximum opacity.
However you decide to produce your artwork you will need to produce a layer for
every colour in your design. A layer is simply a sheet of transparency film onto which
different parts of your design are printed. If your design has only one colour in it then
you will need only one sheet of film, a two-colour design is two sheets and so on. The
layer contains only the part of the design that will be printed in a specific colour.
Your stencil is a light barrier. The darker it is the better. Print two films and stick
together for maximum opacity.

FILM POSITIVE
There are different types of transparency film depending on what type of printer
(inkjet or laser) you are using or whether you are producing your artwork by hand.
Waterproof film is best. You should always print your positives as solid black images,
no grey tones. You may need to refer to your printer instructions on how to print
transparencies.
5

STEP 1: MAKING YOUR

ARTWORK POSITIVE

Registration marks are used to help you line up the different layers when you come to
print. A registration mark is just a circle with a cross in it and you need to make sure
that each layer of artwork has a registration mark in each of the four corners and
placed at least one inch away from the artwork.

You are now ready to move onto exposing your screen

6

STEP 2: PREPARING TO COAT

YOUR SCREEN

In this step we explain how to prepare your screen for exposing.

SELECT THE CORRECT SCREEN SIZE FOR YOUR ARTWORK
Its important to get the size of the screen right and to allow enough space around your
design. Start by measuring the outside dimensions of your artwork (height and width)
then just follow these simple steps. Add 8 inches to the height and 6 inches to the width
of your artwork. This will allow for your registration marks and gives you the final
dimensions of the screen that you need to use.
DEGREASING
Degreasing removes dust and grease from the screen before you expose it and this
reduces the chance of getting pinholes which will appear on the finished product. Use a
degreaser and always make sure you follow the instructions on the bottle. Degreasers
normally come ready to use but sometimes will come as concentrates and so will need
to be diluted. Check the manufacturers instructions. Scrub both sides of the screen
using a soft, chemical-resistant brush and then rinse the screen with a hose.
Dry the screen with a fan heater or leave it to air dry. This process removes any
dust that may be clogged in the mesh weave.
SENSITIZE YOUR EMULSION
If you are using Ulano emulsion dilute the sensitizer powder with lukewarm, distilled
water then pour the mixture into the emulsion, thorough mixing is essential. If you are
using Autosol emulsion you will not need to dilute the sensitizer - just add it neat. The
emulsion will turn from blue to green when sensitized. Leave to set for 1 hour so that all
bubbles have dispersed before you use it.
Typically emulsion that is mixed has a shelf life of 4 - 6 weeks. You can extend the shelf
life a few weeks by storing in a fridge. Allow emulsion to come to room temperature
before using. If you havent coated screens in a few moths its a good idea to use fresh
emulsion.
7

CHOOSING THE RIGHT MESH

TOP TIPS

We recommend using 43T for the majority of general, textile work.

If you are using inks that are textured or heavily pigmented you should choose a coarser
mesh (i.e. a lower mesh number) This will allow more ink to get through the screen and
forms a heavier ink deposits.
If you want to produce fine detail, for example photographs or fine line drawings, you
will need to use a finer mesh (i.e. a higher mesh number) This allows less ink through
the screen and results in a thinner ink deposit.
Yellow mesh eliminates the problem of light scattering that can cause poor definition
when fine meshes are used with direct photo emulsions.
MESH COUNT GUIDE
COUNT

TYPE

IDEAL USES

10T
15T
21T
32T
43T
55T
64T
77T
80T
90T
110T
120T
140T
160T

Coarse
Coarse
Coarse
Textile
Textile
Textile
Textile
Textile
Textile
Textile
Textile
Paper
Paper
Paper

Glitter
Glitter
Glitter
Maximum opacity on dark fabrics
Bolder graphics
Finer detail
Finer detail
Finer fabrics, halftone graphics
Finer fabrics, halftone graphics
Extremely light material, general graphics
Extremely light material, general graphics
General process
General process
Photographic detail

The mesh count is the amount of holes per inch in a screen. The lower the count
the coarser the screen, the higher the count the finer.
8

STEP 2: COATING YOUR

SCREEN

If you are using water-based inks you need to use a water-resistant emulsion such as
Ulano 925WR. If you are using Plastisol or solvent-based inks such as Nylobag, Correx or
vinyl inks you need to use a solvent-resistant emulsion such as Ulano Proclaim. There
are also emulsions like Autosol that work with both inks types.
First fill a coating trough with emulsion. From this point onward and until your screen is
fully exposed, you will need to work in subdued light. Start by holding your screen
vertically with one hand then place the coating trough to the mesh, starting at the
bottom of the screen. Next, tilt the trough until the emulsion touches the mesh and
slide the trough up to the top of the screen pressing firmly against the mesh. When you
reach the top of the screen, tilt the trough back and away from the mesh. Make sure
you avoid the sides of the frame with the emulsion.
Turn your screen and repeat on the opposite side.
Check the instructions on the emulsion. These will tell you whether you should apply
additional coats. Unless the manufacturer specifies otherwise, we recommend that you
coat once on the underside and once on the print side of your screen.
When the screen has been coated, dry it with an oscillating fan-heater on both sides,
edge-to-edge and corner-to-corner. You will be able to tell if the screen is dry when the
emulsion changes from glossy wet to matt dry. You can also use a drying cabinet to dry
your screen. Test your screen by running your finger around the edges. If its still tacky its not yet dry.
Your screen is now ready to be exposed.
9

STEP 3: EXPOSING THE

ARTWORK

Here comes the tricky bit! Now well explain how to transfer your artwork onto the
screen.
Make sure the room you are working in has very low light, blocking out UV rays.
If using an Exposure Lamp; start by placing a block of dark foam onto a flat surface then
place your dry, coated screen, print side down, over the foam so that the foam slots
inside the screens frame and sits flat against the mesh.
Place your film positive onto the screen reverse side up (the artwork should be touching
the emulsion), make sure the artwork sits at least 3 inches away from the frame due to
tension. If you are doing multi-colour designs with multiple screens you will need to
take care that the registration mark is always in the same place on each screen. For
example, if your registration marks are 2 inches from the bottom on the first screen you
should make sure they are 2 inches from the bottom on each of your screens. This will
make it much easier to register the design on the carousel.
Now place a sheet of clean glass over the transparency and screen. By doing this you
create a vacuum between the mesh of the screen and the artwork.
For best results use a 5mm double-glazed sheet of glass. Use a 10mm sheet if you
want to decrease the distance between the exposure lamp and the glass.
Place your exposure lamp in position with the light directly over the image. Adjust the
height of the lamp as required. The lamps distance from the screen should be as
instructed in the exposure instructions.
10

STEP 3: EXPOSING THE

ARTWORK

Refer to the exposure lamp instructions regarding the exposure time for different
halogen bulbs. Different emulsions have different exposure times and different light
sources will also have different exposure times. Guidance can be found in the technical
data that comes with the emulsion.

EXPOSING WITH THE WPS EXPOSURE LAMP

If using the WPS 1000-watt halogen lamp, exposure times are as follows:
For screen sizes up to 31 x 23
Set the lamp at a height distance of 23 inches from the screen and expose your
screen under the lamp for 20 minutes. OR
Set the lamp at a height distance of 20 inches from the screen and expose your
screen under the lamp for 16 minutes.
For screen sizes up to 20 x 24
Set the lamp at a height distance of 15 inches from the screen and expose your
screen under the lamp for 8 minutes.
All exposure times can be reduced if the lamp height is lower (closer to the glass).
Timing is everything, if the exposure time is 16 minutes, be sure to switch off the
lamp after exactly 16 minutes.
Remove the glass, remove the artwork film and pick up the screen. You are now ready
to wash out the screen.
Professional Exposure Units can reduce your exposure time to under 2 minutes in a lot
of circumstances.
11

EXPOSING THE ARTWORK

TOP TIPS

We know how difficult exposing can be and so we have included a section to help you
work out the best exposure time for your screens.
MESH
1. Mesh tension - too low or too high. Higher tensioned screens will expose faster.
2. Mesh count/colour - Higher mesh counts will expose slower. Yellow mesh will have
a bit longer exposure than a white mesh. Approximately 15 % more.
COATING
1. Coating Trough size ratio to open mesh area If the coater edges are too close to
the frame they will be held up on the mesh due to the tension of the mesh as it
approaches the frame. This will cause there to be more emulsion deposited in the
centre of the screen from tension sagging.
2. Exact coating thickness multiple coats will increase the exposure time. The more
layers of emulsion on screen the longer it will have to expose for.
3. Coating Trough lip There is a thick and a thin side to the scoop coater. They
deposit different amounts of emulsion per stroke. The more rounded side will
deposit more emulsion per pass requiring more exposure time.
4. Speed of Stroke -A slower stroke will deposit more emulsion.
EMULSION
1. Emulsion Sensitiser - Pre - sensitised emulsions expose faster than other emulsions.
2. Emulsion solids content - higher solid content emulsions penetrate the screen mesh
better and give better edge definition.
3. Emulsion age - Expired emulsions have erratic results. Make sure your emulsion is
not expired. Pre -sensitised emulsions generally have a one year shelf life. Emulsions
have a 4 - 6 week window of use after mixing.
4. Moisture in Emulsion Layer - Humidity is key. Emulsion that are not completely dry
can bubble and peel away from the screen during wash out.
12

EXPOSING THE ARTWORK

TOP TIPS

Still having trouble? Have a read through this section for some top tips!
EXPOSURE UNIT VARIABLES
1. Lamp type: Times vary whether you are using a 500W bulb up to a metal halide unit.
2. Lamp Age: Bulbs age over time and have less UV output. Exposure times will begin
to lengthen.
3. Lamp distance to stencil: The closer the screen is to the bulb the faster the exposure.
THE IMAGE WONT WASH OUT? You are probably over exposed.
1. Check your film for opacity. If they are not opaque enough light will be passing
through them and expose the image underneath.
2. Reduce the exposing time . Work through all the variable to determine correct time.
3. Make sure the room you are working in isnt letting any other light in.
If you are using an open exposure unit make sure you are using the correct amount of
weight and it is evenly distributed over the image the heavier the glass the better.
Imbalanced pressure can cause poor exposure in the area without positive contact.
TOO MUCH OF THE IMAGE HAS WASHED OUT? You are probably under exposed.
1. Increase your time. Work through all the variable to determine correct time.
2. Make sure you have fresh bulbs in your unit. Over time bulbs need to be replaced.
3. Ensure you are using the correct mesh count for the amount of detail required.

EMULSION BUBBLES AND WASHES AWAY? This could be a humidity problem.

This is due to excessive moisture still in the emulsion or the emulsion on the screen
was not completely dry. High humidity or a damp screen will not only cause emulsion
13
to bubble but can cause your film positive to stick to the back of your screen.

STEP 3: EXPOSING THE ARTWORK

WASH OUT

Use a light-pressure hose to thoroughly wet the screen and leave it to stand for a
minute or so. After a minute, increase the water pressure and wash out the screen. You
can do this using a wash out booth if inside.

You can now switch the lights on again.

Now run a medium-pressure hose or tap over the image.
If you find that you have under or over-exposed you will need to clean the screen and
start again.
When the image on the screen is completely clear of emulsion use a newspaper (or
similar material) to soak up the excess water. You can leave the screen to air-dry or
alternatively use a fan heater or drying cabinet to speed up the process.

14

STEP 4: PREPARING THE

SCREEN TO PRINT

Use the brown tape to tape up all sides and corners of the screen where the mesh
meets the frame. Make sure that the image and the registration marks are not covered
over.
The next step is to use a filler to fill in any spots or holes on the underside of your
screen. You can check for holes and spots by placing the screen up to a bright light. If
you can see any light coming through your design the ink will get through and appear on
your final print. These pinholes are created by dust that is present when you coat the
screen or by dirt on the glass used for exposing.
Its important to use the right sort of filler. If you are printing with water-based inks you
will need a water-resistant filler. If you are printing with Plastisol or solvent-based ink
you will need to use a filler that is solvent-resistant. Screen fillers air dry and you can
speed up the process with a fan heater.
You are now ready to set up the printing press.

15

STEP 4: REGISTER THE PRINT

Before you can start printing you will need to make sure that your screens and artwork
are lined up, registered. This is an important step especially when you are printing more
than one colour.
Fit your garment or item to be printed over the platen on the printing press. Make sure it
is straight and flat on the surface of the platen.
Dont forget to use hi tak spray or roll-on adhesive to hold it in place.
You will need to place your item correctly on the platen and mark up the position to
always get the perfect print. For example, if you are printing onto a t-shirt, polo or
sweatshirt mark where the neck falls on the platen. If you are printing a bag, tea towel,
hoodie or umbrella make sure the surface is flat and centered on the platen.
Place your positive on the garment, position it for printing and stick it down with tape.
With the clamp head of the press in the down position, place your exposed screen in
the clamps. Line your item up to the artwork on the screen by moving the platen in or
out taking care to line up the registration marks as closely as possible.
Now secure the screen by tightening the two hand wheels on top of the clamp head.
Once you have done this loosen the two hand wheels on the micro-registration top plate
behind the clamp head and adjust the screen until the registration marks on your
artwork are exactly lined up to the registration marks on the screen. When you are
satisfied tighten the two hand wheels again.
Lift the screen into the up position. If you are printing with more than one colour, spin
the carousel to the next position and repeat the process for each colour making sure to
keep the item in the same position. Once each screen is aligned, remove the artwork
16
from your item.

STEP 5: PRINTING

Youre ready to print. This is the most exciting part! The printing process is the same
for both water-based and solvent-based inks.

To start, use a palette knife or mixing stick to place a long run of ink onto the screen
nearest to you. Make sure that youve followed the steps given in the previous
section. This will mean that youve set up your printing press correctly and registered
your design.
If youve already done a few prints make sure that your adhesive is still tacky but if
this is your first print lift the screen into the fixed, upright position and spray roll-on
adhesive onto the print area of the platen.
You will need to line up your garment or item for printing as we described in the
previous section.
If you are printing onto paper, board, card, boxes (flat), canvas, transfers and other
flat objects we recommend printing with a vacuum board or a professional Hand
Bench machine which comes with a built in vacuum. The vacuum board has a suction
attachment to hold the item in place whilst printing as using Hi Tak spray adhesive to
keep them in place will damage them.
If you are printing onto a black garment, you will need to print a white base of
your design first.
Allow it to dry and then print it again with your chosen colour onto the white base.
This will allow you to achieve a high opacity print without any bleeding of the t-shirt
through the ink. If you are printing onto a light coloured garment through a fine mesh
count, you will not need to print a white base.
17

STEP 5: PRINTING

Lower the screen until it rests just above the item to be printed. Youre ready to flood
the screen. Tilt the squeegee towards you by 15 degrees and push the ink to flood the
image. Work from the top of the screen downwards towards the clamp head. You can
now lower the screen onto the item.
Dont forget to leave a small snap off between the screen and the platen. This will
help reduce bleed and tackiness of ink when printing.
Lift the squeegee and place it behind the line of the ink at the top of the screen, tilting
it 15 degrees away from you, draw the squeegee firmly over the screen. Lift the screen a
few inches off the item, flood the screen again and take it to the upright position.
Struggling to get an opaque print when using light ink on dark garments? Flash dry
the print and put another layer down. Do not tilt the squeegee to far, try and keep
it at 15 degrees to avoid pushing to much ink onto the garment.
If you are printing only one colour then you are ready to cure your print.
Printing a second colour? Regardless of what type of ink youve used, just touch dry it
using a heat gun, flash dryer or hand curer before printing your second colour.
Repeat these steps for each colour you will print.

18

STEP 5: TOUCH DRY PRINT

Printing a second colour? Regardless of what type of ink youve used, just touch dry it
using a heat gun, flash dryer or hand curer before printing your second colour. You
will only need between 10 15 seconds to dry the ink to touch. Do not get too close
to the garment with the heat.
Repeat these steps for each colour you will print.
If you are printing only one colour then you are ready to cure your print.

19

STEP 6: CURING

Regardless of what ink you have used to print, it will need to be cured before the job is
finished. The type of equipment you use to cure will depend on the type of ink you
have used to print.
If you have used water-based ink: You can cure the ink at 180C by using a flash dryer
or tunnel dryer for up to 3 minutes. The exact timing will vary depending on the colour
printed. Be careful with a flash dryer though as they can warp the platen and it is easy
to burn the item when using the high temperatures needed to cure water-based inks.
Alternatively you can use a heat press for 80 seconds. If you mixed a catalyst with the
ink you can cure the ink with a heat gun.
Mixing a catalyst with the water based ink: Always follow the manufacturers
instructions but as a guide the catalyst should be added at oz. catalyst to of ink (1
to 64) by volume. This will make sure your ink is wash fast. For half litre of water-based
ink add 40ml of catalyst. Mix only what you need as once you have added the catalyst
the mixture has a shelf life of only 48 hours. If you have used a catalyst you must clean
the screen and equipment immediately after use.
If you have used Plastisol or other solvent-based ink: In between the application of
the different colours of your design you can use a heat gun but to fully cure you should
use a tunnel dryer or flash dryer for 2 minutes at 150C. If the ink is already dry you
can cure with a heat press for 60 seconds at 150C.
When you have completed your print run you need to clean up.
Dont forget the wash test!
20

CURING EQUIPMENT
TOP TIPS

We know that your budget can dictate what type of curing equipment you have. So
here is a quick guide to what works and what doesnt.

21

STEP 7: CLEANING UP

Remove all the screens from the printing press and carousel heads. Scrape any
excess ink off the screen and squeegee and put it back into the pot.
USING WATERBASED INK? Wash your screens down thoroughly with a water hose.
DO NOT allow the ink to dry on the screens or it will clog the mesh. Once the
screens are clean you can either dry them with a fan heater or leave them to
air dry.
USING PLASTISOL OR OTHER SOLVENT BASED INK? Clean your screens with screen
wash and make sure to clean both sides of the screen thoroughly.
Rack your screens vertically ready for your next run.

22

STEP 8: RECLAIMING YOUR

SCREEN

If you are not going to print a design any more its time to reclaim your screen so that
you can use them for something new.

Remove all tape from the mesh. Following the manufacturers instructions apply
stencil strip with a cloth to both sides of the screen. Gently use a brush on both sides
until the stencil breaks up.
Using a power washer to clean the screen thoroughly on both sides; we recommend a
fine spray at 1500 psi.
If there is any ghosting of the screen you can use a ghost remover / haze paste to
remove them.
Some water-based inks will stain the mesh permanently.
Once the screens are clean you can either dry them with a fan heater or leave them to
air dry.
The screens are now ready to use again.

23

HEALTH & SAFETY

It is important to consider your environment in order to select the correct type of ink
to use. If working in a well ventilated garage or workshop environment, then Plastisol
inks or solvent based inks are fine to use. They contain an odour and require a solvent
screenwash to remove them from your screens.
If working in your home or in schools and colleges, select a solvent free ink such as a
waterbased ink in order that no fumes are emitted and also for ease of cleaning
down. e.g. if using a bath or shower and only water to remove the ink from your
screen. It is not advisable to use, keep or store any inks and chemicals in an area
where there are persons under 18 years of age.

ENVIRONMENTAL PRINTING
If you want to do your bit for the environment,
choosing biodegradable platens, cleaning products
and water based inks.
PREFER BIO-DEGRADEABLE PRODUCTS
You could also try biodegradable screen
wash that has a low odour and contains less
harmful chemicals to the printer and environment.
WPS supply a range of environmentally
friendly products, which are drain safe.

24

GLOSSARY

25

GLOSSARY

26

NEED ANY FURTHER

INFORMATION?

If you need any printing or product advice, to arrange a visit to our

workshop or to place an order, there are many ways to contact us:
Opening hours:
9.00am to 5.30pm Monday to Friday and selected Saturdays.
Unit 7, The Grove Workshops
Three Gates Road, Fawkham,
Kent, DA3 8NZ
T: +44 (0) 1474 709 009
F: +44 (0) 1474 709 200
sales@wickedprintingstuff.com
www.wickedprintingstuff.com

27